Tuesday, May 11, 2010
Black headed matches
Hi all, I was wondering if anyone knows where I might be able to get some black headed matches? Any ideas?
Monday, May 10, 2010
New text from Aditya
Myth, Meaning, Interpretation
Aditya Malik
What makes a particular story a myth? What is the meaning of a myth? How do we interpret myths? As a genre, myth belongs to a set of narrative types that include legends, epics, folk-tales, fables, riddles and so on. Invariably though, in the common imagination, myth is contrasted with narratives that have a historical content. Myth and history are two extremes of a binary spectrum that underlies the analysis of Judeo-Christian textual traditions, particularly biblical scripture. The need for this distinction arises from a particular anxiety to ascertain the ‘truth’ behind textual claims. ‘Truth’ and ‘fact’ are made identical in this context. History deals with ‘truth’ and ‘fact’ in the sense of ‘what really happened’. Myth, on the other hand, deals with the opposite spectrum of everything that is imaginative and fantastical. Not all cultures, however, draw such a clear demarcation between myth, history, legend etc. The boundaries between ‘fact’, ‘history’ and ‘imagination’ are blurred. In India, for example, the great Sanskrit epic called the Mahabharata is classified as belonging to the narrative genre of ‘itihasa’ which means ‘that which took place’. The epic, which is several times the length of the Greek Iliad and Odyssey put together, would, from a western perspective, be classified as myth or legend because of its predominantly imaginative fabric. But in the Indian context it is clearly ‘history’ as ‘that which took place’.
To call one story a myth and another history, therefore also involves the politics of labelling and representation. Who has the authority to claim this distinction when we examine and read narratives? Who has the authority to label narratives of other cultures as myth, history, legend or epic? For the sake of argument, even if we continue with the separation between myth and history, it is still not clear what myth is. Is there a specific quality to a story that makes it a myth? Do myths have a particular structure to them? Clearly, when we read certain stories we feel ourselves in the presence of something that has great depth and complexity. We feel convinced that these stories could not have been composed by a single individual or author, they seem to transcend individual authorship, speaking to a shared, collective experience of being human. These stories express our deepest dilemmas and fascinations through characters and images that we feel belong to us on some deeper level. From one perspective these stories need no interpretation – they communicate in a direct manner about the experience of being human that cannot or does not get articulated in our everyday lives. The stories that we call myths have the ability to touch us in deep ways by expressing something that accompanies us in our daily lives as a constant unarticulated, unspoken, almost silent presence. And, yet, from a scholarly perspective there is a need to understand and interpret those stories we call myths.
Claude Levi-Strauss approaches this question by posing a structural analysis to myth (Structural Anthropology, 1958). Myths according to Levi-Strauss can be laid out and understood in terms of sets of binary oppositions, for example, god-human, hunting-agriculture, wilderness-settlement, female-male, life-death, cold-hot etc. These binaries are embedded, so to speak, within the story and characters of a myth and transcend the particular context of a community, tribe or society. Levi-Strauss takes pains to understand myths on their own terms through their underlying structure rather than in sociological or psychological terms while looking for sets of universals that go beyond specific cultural or historical contexts. In other words, he is interested in a non-contextual interpretation to myth rather than looking at the meaning myths gain by being performed, for example, in rituals or by being told and transmitted in other cultural and social contexts within a particular community. Although his approach to myth is structural, Levi-Strauss develops the idea of the bricolage and bricoleur as a way of understanding how myths are created and recreated (The Savage Mind, 1962). A bricolage is an assembly of seemingly discontinuous, and, therefore, unstructured objects that are put together in an improvised but meaningful way. Someone who has the ability to put different objects into a coherent whole is a bricoleur. Levi-Strauss argues that ‘myth-makers’ are bricoleurs putting together disparate bits of meaning into a narrative whole that then provides a structure to a myth. Thus while the assembly of myth follows an improvisational sequence as opposed to a planned model, a particular myth itself coheres around a structure or pattern that is given by binary pairs.
The performance of myths and their shifting historical situatedness raises the important question of meaning and interpretation. In opposition to Levi-Strauss’s structural view that has the potential to ‘freeze’ the meaning of a myth, is the view that myth emerges in specific historical and social situations that allow its meaning to alter and transform. Older layers of meaning are, however, not lost in the new interpretation. As Hans-Georg Gadamer (Truth and Method, 1960), in his critically influential work on hermeneutics points out, there is a persistence of meaning through time by a process of what he calls ‘historically effected consciousness’ (‘wirkungsgeschichtliches Bewusstsein’). New readings of a text do not completely erase preceding interpretations of a text. New interpretations are, in fact, built on preceding ones. The meaning of a myth or for that matter other texts and narratives are embedded in layers or spirals of interpretation that move up and down through a funnel of time and place or Zeitgeist. Perhaps myths resist being pinned down precisely because of their tremendous depth and complexity, allowing for ever-expanding configurations of meaning and interpretation.
Aditya Malik
What makes a particular story a myth? What is the meaning of a myth? How do we interpret myths? As a genre, myth belongs to a set of narrative types that include legends, epics, folk-tales, fables, riddles and so on. Invariably though, in the common imagination, myth is contrasted with narratives that have a historical content. Myth and history are two extremes of a binary spectrum that underlies the analysis of Judeo-Christian textual traditions, particularly biblical scripture. The need for this distinction arises from a particular anxiety to ascertain the ‘truth’ behind textual claims. ‘Truth’ and ‘fact’ are made identical in this context. History deals with ‘truth’ and ‘fact’ in the sense of ‘what really happened’. Myth, on the other hand, deals with the opposite spectrum of everything that is imaginative and fantastical. Not all cultures, however, draw such a clear demarcation between myth, history, legend etc. The boundaries between ‘fact’, ‘history’ and ‘imagination’ are blurred. In India, for example, the great Sanskrit epic called the Mahabharata is classified as belonging to the narrative genre of ‘itihasa’ which means ‘that which took place’. The epic, which is several times the length of the Greek Iliad and Odyssey put together, would, from a western perspective, be classified as myth or legend because of its predominantly imaginative fabric. But in the Indian context it is clearly ‘history’ as ‘that which took place’.
To call one story a myth and another history, therefore also involves the politics of labelling and representation. Who has the authority to claim this distinction when we examine and read narratives? Who has the authority to label narratives of other cultures as myth, history, legend or epic? For the sake of argument, even if we continue with the separation between myth and history, it is still not clear what myth is. Is there a specific quality to a story that makes it a myth? Do myths have a particular structure to them? Clearly, when we read certain stories we feel ourselves in the presence of something that has great depth and complexity. We feel convinced that these stories could not have been composed by a single individual or author, they seem to transcend individual authorship, speaking to a shared, collective experience of being human. These stories express our deepest dilemmas and fascinations through characters and images that we feel belong to us on some deeper level. From one perspective these stories need no interpretation – they communicate in a direct manner about the experience of being human that cannot or does not get articulated in our everyday lives. The stories that we call myths have the ability to touch us in deep ways by expressing something that accompanies us in our daily lives as a constant unarticulated, unspoken, almost silent presence. And, yet, from a scholarly perspective there is a need to understand and interpret those stories we call myths.
Claude Levi-Strauss approaches this question by posing a structural analysis to myth (Structural Anthropology, 1958). Myths according to Levi-Strauss can be laid out and understood in terms of sets of binary oppositions, for example, god-human, hunting-agriculture, wilderness-settlement, female-male, life-death, cold-hot etc. These binaries are embedded, so to speak, within the story and characters of a myth and transcend the particular context of a community, tribe or society. Levi-Strauss takes pains to understand myths on their own terms through their underlying structure rather than in sociological or psychological terms while looking for sets of universals that go beyond specific cultural or historical contexts. In other words, he is interested in a non-contextual interpretation to myth rather than looking at the meaning myths gain by being performed, for example, in rituals or by being told and transmitted in other cultural and social contexts within a particular community. Although his approach to myth is structural, Levi-Strauss develops the idea of the bricolage and bricoleur as a way of understanding how myths are created and recreated (The Savage Mind, 1962). A bricolage is an assembly of seemingly discontinuous, and, therefore, unstructured objects that are put together in an improvised but meaningful way. Someone who has the ability to put different objects into a coherent whole is a bricoleur. Levi-Strauss argues that ‘myth-makers’ are bricoleurs putting together disparate bits of meaning into a narrative whole that then provides a structure to a myth. Thus while the assembly of myth follows an improvisational sequence as opposed to a planned model, a particular myth itself coheres around a structure or pattern that is given by binary pairs.
The performance of myths and their shifting historical situatedness raises the important question of meaning and interpretation. In opposition to Levi-Strauss’s structural view that has the potential to ‘freeze’ the meaning of a myth, is the view that myth emerges in specific historical and social situations that allow its meaning to alter and transform. Older layers of meaning are, however, not lost in the new interpretation. As Hans-Georg Gadamer (Truth and Method, 1960), in his critically influential work on hermeneutics points out, there is a persistence of meaning through time by a process of what he calls ‘historically effected consciousness’ (‘wirkungsgeschichtliches Bewusstsein’). New readings of a text do not completely erase preceding interpretations of a text. New interpretations are, in fact, built on preceding ones. The meaning of a myth or for that matter other texts and narratives are embedded in layers or spirals of interpretation that move up and down through a funnel of time and place or Zeitgeist. Perhaps myths resist being pinned down precisely because of their tremendous depth and complexity, allowing for ever-expanding configurations of meaning and interpretation.
Friday, May 7, 2010
Thoughts and feelings?
For those who weren't able to come to uni today some of us did a wee group design sesh and came up with this for the essay layout, obviously open for changes depending on the text we get etc. What does everyone think? Also I had to leave early, what happened with the title layouts?
Wednesday, May 5, 2010
Monday, May 3, 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for 3 May 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Minutes for 3 May 2010
Hey guys, here are the minutes for yesterday. Please check them as I'm not a 100% sure they are accurate.
Minutes for the 3 May 2010:
Exterior: (outside of French Wallet)
1. Investigate just using photographs (If possible use the landscape format) with Image credits. The image should creep over slightly on to the other page.
2. On the flip side still include the Bibliography of the artifact.
3. Pages should include page numbers to make the contents page relevant.
Interior:
4. Use Portrait format for the inside, a single narrow column. This should include pdf. information Tessa provided us and also an Artist Bibliography (Artist C.V.).
5. For the inside try different typefaces but it should be (mono spaced) and a point size of either 9 or 10.
The rest of the Catalogue
6. Title Page: use Bodoni typeface. - 8 or 10 pt
7. Heading: use Bodoni typeface.
8. Determine who has the most and least amount of writing and information, compare in order to establish the grid.
9.Writings/Essay - create a new grid for this to go over a spread (2pgs). Use place holder text of a 1000 words.
For Alex
10. We are going to show him images of the pdf. we were given. For the films we will try to show him as many stills as we possibly can.
Saturday, May 1, 2010
Atherton info
KEVIN ATHERTON ‘IN TWO MINDS’ A HISTORY OF A PIECE
1978 – Performed live at Project Arts Centre, Dublin.
1978 Performed live at Belfast Polytechnic, Fine Art Department.
1978 Performed live at Farnham College of Art, Surrey, England
1978 ‘In Two Minds- Installation Version’ selected by Stuart Brisley for a five person group show at The Serpentine Gallery, London.
1980 ‘In Two Minds – Final Version’ performed at a performance art festival at De Lantaren, Rotterdam, 1980.
2006 ‘In Two Minds – Past Version’ and ‘In Two Minds – Future Version’ performed at the ‘Soft Launch of ‘Rewind Research Project – British Artists Video from the 70s and 80s’ ‘Dundee Contemporary Art’
2006 ‘In Two Minds – Past Version’ performed at Tate Britain as a part of ‘Analogue Video’ research project.
2006 ‘In Two Minds – Past Version’, two-screen installation in-group show, ‘Embodied Time – Video Art 1970 – Present’, Lewis Glucksman Gallery, Cork
2007 Dundee ‘Lost and Found’, Dundee Contemporary Art, two screen original Serpentine piece projected at an evening screening.
2007 ‘In Two Minds – Past Version’ shown in ‘Bits and Pieces’ group show, Macroom, Co Cork. Ireland
2009 ‘In Two Minds – Past Version’ performed with Sarah Pierce as ‘A Conversation’ at ‘Four Gallery, Dublin.
2009, ‘In Two Minds – Past Version’ two screen installation as a part of five-person group show, ‘The Studio Sessions’, San Francisco Museum of Modern Art.
2009, ‘Two Minds – Past Version’ performed at ‘Stills Gallery’, Edinburgh as a part of ‘Rewind – Lost and Found’.
2009 ‘Two Minds – Past Version’ performed as a part of a ‘Conversation’ with Sarah Pierce at the Van Abbe Museum, The Netherlands as a part of ‘If You Can’t Dance, You can’t Join the Revolution’.
2009 -2010 ‘Golden Thread Gallery, Belfast – ‘In Two Minds x 3’, all three versions installed as a six screen installation.
2010 ‘In Two Minds- Original Serpentine Version shown as split screen projection at Tate Britain, as a part of ‘Rewind and Play’ Artists Film and Video. May-June 2010
New Zealand. ‘In Two Minds – Future Version’, shown in group show.
1978 – Performed live at Project Arts Centre, Dublin.
1978 Performed live at Belfast Polytechnic, Fine Art Department.
1978 Performed live at Farnham College of Art, Surrey, England
1978 ‘In Two Minds- Installation Version’ selected by Stuart Brisley for a five person group show at The Serpentine Gallery, London.
1980 ‘In Two Minds – Final Version’ performed at a performance art festival at De Lantaren, Rotterdam, 1980.
2006 ‘In Two Minds – Past Version’ and ‘In Two Minds – Future Version’ performed at the ‘Soft Launch of ‘Rewind Research Project – British Artists Video from the 70s and 80s’ ‘Dundee Contemporary Art’
2006 ‘In Two Minds – Past Version’ performed at Tate Britain as a part of ‘Analogue Video’ research project.
2006 ‘In Two Minds – Past Version’, two-screen installation in-group show, ‘Embodied Time – Video Art 1970 – Present’, Lewis Glucksman Gallery, Cork
2007 Dundee ‘Lost and Found’, Dundee Contemporary Art, two screen original Serpentine piece projected at an evening screening.
2007 ‘In Two Minds – Past Version’ shown in ‘Bits and Pieces’ group show, Macroom, Co Cork. Ireland
2009 ‘In Two Minds – Past Version’ performed with Sarah Pierce as ‘A Conversation’ at ‘Four Gallery, Dublin.
2009, ‘In Two Minds – Past Version’ two screen installation as a part of five-person group show, ‘The Studio Sessions’, San Francisco Museum of Modern Art.
2009, ‘Two Minds – Past Version’ performed at ‘Stills Gallery’, Edinburgh as a part of ‘Rewind – Lost and Found’.
2009 ‘Two Minds – Past Version’ performed as a part of a ‘Conversation’ with Sarah Pierce at the Van Abbe Museum, The Netherlands as a part of ‘If You Can’t Dance, You can’t Join the Revolution’.
2009 -2010 ‘Golden Thread Gallery, Belfast – ‘In Two Minds x 3’, all three versions installed as a six screen installation.
2010 ‘In Two Minds- Original Serpentine Version shown as split screen projection at Tate Britain, as a part of ‘Rewind and Play’ Artists Film and Video. May-June 2010
New Zealand. ‘In Two Minds – Future Version’, shown in group show.
Friday, April 30, 2010
Motor Distribution
I found this website while looking for grid/layout ideas. It has a lot of ideas and examples of back issues of selected magazines, and also a wide selection of artists’ publications, including more experimental projects in sometimes very small print runs.
Motor Distribution
Motor Distribution
Wednesday, April 28, 2010
Star Signs
hey Katherine,
My starsign is Gemini, I found Kevin Atherton was born November 2nd 1950, so he's a Scorpio.
I found this on the net if anyone needs to match signs to a date..
http://www.astrology.com.au/12signs/signs.html
Mel.
My starsign is Gemini, I found Kevin Atherton was born November 2nd 1950, so he's a Scorpio.
I found this on the net if anyone needs to match signs to a date..
http://www.astrology.com.au/12signs/signs.html
Mel.
Artist Email..
Hey Aaron,
Im in the same boat as Jo, have found quite a few places it was exhibited but would like to double check I havn't left out any important ones etc.Mel
Tuesday, April 27, 2010
Sunday, April 25, 2010
Contacts
Hi Guys
Here's the info I've received from Tessa so far. If you already have the email contact for your artist but they're not listed below just go ahead and send them an email. At the very bottom of this long winded post I've attached the initial email I sent through to Tessa to pass on.
------------------------------
amaliapica@gmail.com
Dear Amalia,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Moon Golem' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
(I've also attached the most recent iteration of the (OUR) text - can you make sure you are happy with everything inside? Do you think it's a good way to explain the
All my best, and please find their letter posted underneath.
Tessa
------------------------------
garethamoore@gmail.com
Dear Gareth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Map (from uncertain pilgrimage)' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
m.barnas@chello.nl
Dear Maria,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Writing Room' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
micfortune@gmail.com
"Aileen Lambert
Dear Mick and Aileen,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Banshee Lives in the Handball Alley' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
ep100@btinternet.com
Dear Elizabeth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
I have sent them on the great list you made of all the TROPHY exhibitions. They would love to have high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
Hi there
We are a group of 10 graphic Design students from New Zealand who feel
incredibly fortunate to be producing a publication for the exhibition
entitled The Chained lady, The Microscope and The Southern Fish. The
show (as you may already be aware) is a retelling of the exhibition
Every Version Belongs to the Myth, to which your work was an integral
part. We hope to produce a publication that builds on the function of
myth investigated in the exhibition. It will be available at the
exhibition opening on May 20 and serve as both a gallery guide and
documentation of the show. Included will be texts and visual material
from the exhibition held in Dublin as well as images of the
installation at SoFA Gallery in Christchurch. One of the strategies we
wish to explore within the document is the history of the artifact. We
are interested in the life of works that exist within a traveling
group show, and hope to trace the residual content of the work
separate to the artists practice. We believe that this will help
explore the myth around individual art pieces as they shift context
from show to show, continent to continent, timezone to timezone. This
information would initially attempt to be an art work’s CV and help
trace the elements of connectivity between the various works in the
exhibition.
We are all incredibly excited about the opportunity to develop these
ideas into printed form and welcome any information you may have that
would be of use in producing this publication. If you were able to
supply us with any information related to past exhibitions of the
artworks you have in the show, or could perhaps point us in a
direction you may think would be helpful, that would be greatly
appreciated.
Thanks for your time. We are again extremely excited about this
project and are looking forward to sending you a printed publication
after its launch May 20, 2010.
Here's the info I've received from Tessa so far. If you already have the email contact for your artist but they're not listed below just go ahead and send them an email. At the very bottom of this long winded post I've attached the initial email I sent through to Tessa to pass on.
------------------------------
amaliapica@gmail.com
Dear Amalia,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Moon Golem' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
(I've also attached the most recent iteration of the (OUR) text - can you make sure you are happy with everything inside? Do you think it's a good way to explain the
All my best, and please find their letter posted underneath.
Tessa
------------------------------
garethamoore@gmail.com
Dear Gareth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'Map (from uncertain pilgrimage)' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
m.barnas@chello.nl
Dear Maria,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Writing Room' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
micfortune@gmail.com
"Aileen Lambert
Dear Mick and Aileen,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
Perhaps you could go through your artists CV, and just highlight the shows in which 'The Banshee Lives in the Handball Alley' was shown and include high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
ep100@btinternet.com
Dear Elizabeth,
Plans are progressing nicely for 'The Chained Lady, the Microscope and the Southern Fish' at SoFA Gallery in Christchurch, New Zealand.
As I may have mentioned to you, there is a particularly good group of Design students working with lecturer Aaron Beehre, who have come up with a plan to make a publication to accompany the exhibition.
They are full of ideas for the content, and will be developing much of it themselves.
One idea which resonates extremely well with the exhibition is to compile images and information about where and when each particular artwork in the exhibition have been shown before. As you can see from their email below, they are asking for information about the past exhibitions.
I have sent them on the great list you made of all the TROPHY exhibitions. They would love to have high res images of any exhibitions, storage, shipping you might have of the piece - any of the different ways in the which this work has been show and articulated. Any Press Releases you have would be super, and otherwise they'll start hunting online I am sure. The students will find it fascinating, and would be great to pull out these multiple lives in the publication. I know it requires some work on your side, but I really think it worth it, and hope you'll help us out with info.
I think also that the students will assign one of themselves to stay in touch with you, and I've asked to be cc'd in as well so I know how and where we are going with it.
I've also attached the most recent iteration of the press release.
All my best, and please find their letter posted underneath.
Tessa
------------------------------
Hi there
We are a group of 10 graphic Design students from New Zealand who feel
incredibly fortunate to be producing a publication for the exhibition
entitled The Chained lady, The Microscope and The Southern Fish. The
show (as you may already be aware) is a retelling of the exhibition
Every Version Belongs to the Myth, to which your work was an integral
part. We hope to produce a publication that builds on the function of
myth investigated in the exhibition. It will be available at the
exhibition opening on May 20 and serve as both a gallery guide and
documentation of the show. Included will be texts and visual material
from the exhibition held in Dublin as well as images of the
installation at SoFA Gallery in Christchurch. One of the strategies we
wish to explore within the document is the history of the artifact. We
are interested in the life of works that exist within a traveling
group show, and hope to trace the residual content of the work
separate to the artists practice. We believe that this will help
explore the myth around individual art pieces as they shift context
from show to show, continent to continent, timezone to timezone. This
information would initially attempt to be an art work’s CV and help
trace the elements of connectivity between the various works in the
exhibition.
We are all incredibly excited about the opportunity to develop these
ideas into printed form and welcome any information you may have that
would be of use in producing this publication. If you were able to
supply us with any information related to past exhibitions of the
artworks you have in the show, or could perhaps point us in a
direction you may think would be helpful, that would be greatly
appreciated.
Thanks for your time. We are again extremely excited about this
project and are looking forward to sending you a printed publication
after its launch May 20, 2010.
Friday, April 23, 2010
Thursday, April 22, 2010
Map
>>> On 22/04/2010 at 12:31, in message
Hi Tessa,
Super, looking forward to hearing from the student(s).
The map has only been shown twice, once with you and another time at Catriona's - actually at Catriona's it was the blue map.I have shown another couple maps that are something similar - found maps with marked routes which I then painted out the rest of the map aside from the marked route.
if Higher res images are needed then someone can contact the gallery. the last image is of my friend David who visited the show in Dublin and sent me the picture. It's especially nice.
best wishes,
gareth
Wednesday, April 21, 2010
Elizabeth Price and 'Trophy' - history of exhibitions
Got this from Tessa this morning regarding the Trophy work...
Hello Tessa,
Sorry not to get back sooner - yes this seems a good idea. I don't have all the press releases, but they shouldn't be too tricky to track down. I'll try to remember the show titles or any other info:
The engravings on the trophy are below - for each of them I've added what I know/have/remember
4 May - 4 June 2000 Anthony Wilkinson Gallery, London
3 Rooms, Other artists Matthew Higgs Angela de la Cruz
22 June - 3 Sep 2002 Lenbachhaus Museum, Munich
AM ANFANG DER BEWEGUNG STAND EIN SKANDAL Lenbachaus Museum, Munich.
Other artists: Mark Titchner, ArtLab, Volker Eichelmann, Jonathan Faiers, Roland Rust, Kaye Donachie, Szuper Gallery, Salon de Fleurus, Liam Gillick, Pavlo Kerestey, Alun Rowlands, Alexander Brener & Barbara Schurz, Markus Vater, Chris Warmingtom, Inventory, Tilo Schulz, Mark Dickenson & Martin Clark, Flatpack 001. Reviewed by Peter Suchin in Frieze.
3 May - 8 June 2003 Mobile Home Gallery London
DENNESS One Person Show. Mobile Home, London. Reviewed by Jessica Lack in The Guardian, Sally O Reilly in Time Out, John Michie in the Independant
17 July - 8 August 2003 Houldsworth, London
Imaging London
11 October - 2 November 2003 1000000mph London
Taking Speed
14 January - 15 February 2004 Jerwood Space London
JERWOOD ARTISTS PLATFORM Solo Show, Jerwood Gallery. National competition to select 4 emerging artists for solo show at Jerwood. Catalogue essay written by Sally O’Reilly.
Reviews by Jessica Lack in The Guardian; Sarah Kent in Time Out; Peter Suchin in Artists Newsletter
18 January - 18 February 2006 Gimpel fils, London
WANDERING ROCKS Group Show Gimpel Fils Gallery, London.
Curated by David Waterworth. Other artists: Mike Nelson, Marc Chaimowicz & Nadia Wallis, Simon Faithfull, Adam Gillam, Renata Hegyi, John Kindness, Graeme Miller, Lindsay Seer
17 August - 27 August 2006 The Spiral House, Tensta Konsthalle, Stockholm
12 - 15 October 2007 The Royal Academy of Arts, London
Zoo Art Fair
17 May - 24 June 2008 Dispari e Dispari, Reggio Emilia
http://www.dispariedispari.org/
THE SOCIETY OF LONDON LADIES.
Group Show, Dispari e Dispari Project, Reggio Amelia . Curated by Arnaud Desjardins. Other artists: Fiona Banner, Lolly Batty, Ellen Cantor, Charlotte Cullinan and Jeanine Richards, Sarah Dobai, Alison Gill, Margarita Gluzberg, Sarah Jones, Lucy Reynolds, Bridget Smith. With accompanying publication.
29 June - 5 October - Basel Kunsthalle
Word Event
André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill
extended until October 5, 2008
Can a gesture be a word?
Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude.
Word Event is a multi-level cross-sectioned exhibition of contemporary works, events, performances and informances, scores, printed matter and film. Taking George Brecht’s “Word Event” (1961), a handwritten Event Card, as its starting point, the exhibition attempts to displace itself by purposely seeking out confrontation and synchronization thus landing in the exhibition space as an active dialogue. Word Event points to a possible return of a fluxus sensibility via a new, contemporary, proverbial linguistic turn.
Artists today – or more precisely, ‘cultural producers’ – are reactivating a language based and, specifically, narrative based practice. Creating room for conversation and leveling the hierarchy of production between sketch, thought and product, this linguistic turn approaches the surface of the metaphorical page as an ‘exchange surface’, ‘as a space of shift between different mediums, in which, as Rancière puts it, “signs become forms and forms become acts.”’ [1]
Works by the artists in Word Event contain an active ‘displacement’ (or exchange) between word and image, the narrative and the picture, which occurs on many levels, in different media – from the more ephemeral to the concrete, as rumours, scripts, instructions, lectures, posters, objects and a seance. A sculpture turns into a conversation, a lecture into a series of posters, the unassuming viewer into a story; he receives directives by photograph, listens to a score purposefully mirrored while gambling to new rules under the watchful eyes of the Jack of Spades. Word Event is the happy hijacking of space by language where installations, film, the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt
28 June - 20 August Stephen Lawrence Gallery London
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
The exhibition considers the place of the collection in contemporary society and reinvents the collection in a new and imaginative form. ‘The New Collection of Enumerated Things’ is neither static nor institutional, but exists as a creative interplay between artists, artworks, and situation. ‘The New Collection’ presents a group of artists whose sensibility and mode of production is concerned with aesthetic reception as a shared social activity. ‘The New Collection’ does not prioritise art objects but instead creates rhizomatic relationships between ‘Enumerated Things’ (works in progress, research material, found and ready-made objects, props, contextual material, scientific models, interventions and ideas for future situations). Hence, “The New Collection” consists of an assemblage of visual markers of creative research and production, which invites the viewer to engage in the imaginary act of editing and re-assembling the items in collection. In this sense, “The New Collection” considers the spectator as a social agent, embedded in the wider cultural network, and as an active participant in the creation of new ideas, thoughts, and associations. Thus, ‘The New Collection’ exhibition creates a performative and dialogic situation between viewer and art works, which does away with passive spectatorship. “The New Collection” challenges the notion of the ‘art object in collection’ and instead configures the collection as a contextual and relational situation.
“The Eagle Document: The New Collection of Enumerated Things” will be certified as an art collection and will be bequeathed to the Stephen Lawrence Gallery, University of Greenwich, which will become its honorary custodian. However, the individual items of the collection will remain with and in the ownership of the individual artists/creators. The New Collection can be hired and toured for exhibition and will expand in time through new contributions.
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
Elizabeth Price
Senior Tutor in Research, Painting
Tutor in Research, Sculpture
020 75904404
Painting School
Royal College of Art
Kensington Gore
London SW7 2EU
Hello Tessa,
Sorry not to get back sooner - yes this seems a good idea. I don't have all the press releases, but they shouldn't be too tricky to track down. I'll try to remember the show titles or any other info:
The engravings on the trophy are below - for each of them I've added what I know/have/remember
4 May - 4 June 2000 Anthony Wilkinson Gallery, London
3 Rooms, Other artists Matthew Higgs Angela de la Cruz
22 June - 3 Sep 2002 Lenbachhaus Museum, Munich
AM ANFANG DER BEWEGUNG STAND EIN SKANDAL Lenbachaus Museum, Munich.
Other artists: Mark Titchner, ArtLab, Volker Eichelmann, Jonathan Faiers, Roland Rust, Kaye Donachie, Szuper Gallery, Salon de Fleurus, Liam Gillick, Pavlo Kerestey, Alun Rowlands, Alexander Brener & Barbara Schurz, Markus Vater, Chris Warmingtom, Inventory, Tilo Schulz, Mark Dickenson & Martin Clark, Flatpack 001. Reviewed by Peter Suchin in Frieze.
3 May - 8 June 2003 Mobile Home Gallery London
DENNESS One Person Show. Mobile Home, London. Reviewed by Jessica Lack in The Guardian, Sally O Reilly in Time Out, John Michie in the Independant
17 July - 8 August 2003 Houldsworth, London
Imaging London
11 October - 2 November 2003 1000000mph London
Taking Speed
14 January - 15 February 2004 Jerwood Space London
JERWOOD ARTISTS PLATFORM Solo Show, Jerwood Gallery. National competition to select 4 emerging artists for solo show at Jerwood. Catalogue essay written by Sally O’Reilly.
Reviews by Jessica Lack in The Guardian; Sarah Kent in Time Out; Peter Suchin in Artists Newsletter
18 January - 18 February 2006 Gimpel fils, London
WANDERING ROCKS Group Show Gimpel Fils Gallery, London.
Curated by David Waterworth. Other artists: Mike Nelson, Marc Chaimowicz & Nadia Wallis, Simon Faithfull, Adam Gillam, Renata Hegyi, John Kindness, Graeme Miller, Lindsay Seer
17 August - 27 August 2006 The Spiral House, Tensta Konsthalle, Stockholm
12 - 15 October 2007 The Royal Academy of Arts, London
Zoo Art Fair
17 May - 24 June 2008 Dispari e Dispari, Reggio Emilia
http://www.dispariedispari.org/
THE SOCIETY OF LONDON LADIES.
Group Show, Dispari e Dispari Project, Reggio Amelia . Curated by Arnaud Desjardins. Other artists: Fiona Banner, Lolly Batty, Ellen Cantor, Charlotte Cullinan and Jeanine Richards, Sarah Dobai, Alison Gill, Margarita Gluzberg, Sarah Jones, Lucy Reynolds, Bridget Smith. With accompanying publication.
29 June - 5 October - Basel Kunsthalle
Word Event
André Avelãs, Stuart Bailey & Frances Stark, Becky Beasley, Walead Beshty, Julia Born & Alexandra Bachzetsis, George Brecht, James Lee Byars, Paul Elliman, Aurélien Froment, Dora Garcia, Will Holder, Alon Levin, Amalia Pica, Falke Pisano, Michael Portnoy, Elizabeth Price, Mandla Reuter, Dexter Sinister, Sue Tompkins, Edward Underwood, Emily Wardill
extended until October 5, 2008
Can a gesture be a word?
Word Event looks at a select group of makers who carry on a tradition of subversive methodology in their practice and attitude.
Word Event is a multi-level cross-sectioned exhibition of contemporary works, events, performances and informances, scores, printed matter and film. Taking George Brecht’s “Word Event” (1961), a handwritten Event Card, as its starting point, the exhibition attempts to displace itself by purposely seeking out confrontation and synchronization thus landing in the exhibition space as an active dialogue. Word Event points to a possible return of a fluxus sensibility via a new, contemporary, proverbial linguistic turn.
Artists today – or more precisely, ‘cultural producers’ – are reactivating a language based and, specifically, narrative based practice. Creating room for conversation and leveling the hierarchy of production between sketch, thought and product, this linguistic turn approaches the surface of the metaphorical page as an ‘exchange surface’, ‘as a space of shift between different mediums, in which, as Rancière puts it, “signs become forms and forms become acts.”’ [1]
Works by the artists in Word Event contain an active ‘displacement’ (or exchange) between word and image, the narrative and the picture, which occurs on many levels, in different media – from the more ephemeral to the concrete, as rumours, scripts, instructions, lectures, posters, objects and a seance. A sculpture turns into a conversation, a lecture into a series of posters, the unassuming viewer into a story; he receives directives by photograph, listens to a score purposefully mirrored while gambling to new rules under the watchful eyes of the Jack of Spades. Word Event is the happy hijacking of space by language where installations, film, the stage, the book and sound live together in one converged setting.
Curated by Maxine Kopsa and Roos Gortzak
[1] Quoted from ‘The Space of Words’ by Christophe Gallois, Metropolis M, nr 2 2008, who cites Rancière’s L’Espace des mots, Musée des Beaux-Arts de Nantes, 2005, p. 13, translation by Christophe Gallois.
Online review and video of the opening at Vernissage-TV
A series of performances took place on the opening night, Saturday, June 28, 2008:
7 – 9pm Abstract gambling at the solid felt table with Dir. of Behavior, Michael Portnoy (video of the performance at Vernissage-TV)
7.30pm Performance by André Avelãs (video of the performance at Vernissage-TV)
8pm John Cage: Indeterminacy*, recited by Will Holder and accompanied by Falke Pisano’s A Sculpture Turning Into a Conversation
This exhibition has been generously supported by:
Annemarie Burckhardt
28 June - 20 August Stephen Lawrence Gallery London
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
The exhibition considers the place of the collection in contemporary society and reinvents the collection in a new and imaginative form. ‘The New Collection of Enumerated Things’ is neither static nor institutional, but exists as a creative interplay between artists, artworks, and situation. ‘The New Collection’ presents a group of artists whose sensibility and mode of production is concerned with aesthetic reception as a shared social activity. ‘The New Collection’ does not prioritise art objects but instead creates rhizomatic relationships between ‘Enumerated Things’ (works in progress, research material, found and ready-made objects, props, contextual material, scientific models, interventions and ideas for future situations). Hence, “The New Collection” consists of an assemblage of visual markers of creative research and production, which invites the viewer to engage in the imaginary act of editing and re-assembling the items in collection. In this sense, “The New Collection” considers the spectator as a social agent, embedded in the wider cultural network, and as an active participant in the creation of new ideas, thoughts, and associations. Thus, ‘The New Collection’ exhibition creates a performative and dialogic situation between viewer and art works, which does away with passive spectatorship. “The New Collection” challenges the notion of the ‘art object in collection’ and instead configures the collection as a contextual and relational situation.
“The Eagle Document: The New Collection of Enumerated Things” will be certified as an art collection and will be bequeathed to the Stephen Lawrence Gallery, University of Greenwich, which will become its honorary custodian. However, the individual items of the collection will remain with and in the ownership of the individual artists/creators. The New Collection can be hired and toured for exhibition and will expand in time through new contributions.
“The Eagle Document: The New Collection of Enumerated Things” is curated by Monika Oechsler.
Elizabeth Price
Senior Tutor in Research, Painting
Tutor in Research, Sculpture
020 75904404
Painting School
Royal College of Art
Kensington Gore
London SW7 2EU
Tuesday, April 20, 2010
Gareth Moore - Paper Map - Uncertain Pilgrimage
Catriona Jeffries Gallery, (Uncertain Pilgrimage)
Vancouver, British Columbia
15 January - 19 February 2009
www.catrionajeffries.com
+2+-+2006:2009.jpg)
National Gallery of Canada, (Nomads)
Ottawa, Ontario
17 April - 30 August 2009
www.gallery.ca/nomads
+2009+in+the+exhibition+%E2%80%9CNomads%E2%80%9D+Courtesy+Catriona+Jeffries+Gallery+:+Photo+%C2%A9+NGC.jpg)
Uncertain Pilgrimage or works from the project/exhibition I found to date appear in four other exhibitions of Gareth Moore's.
1 - Street: Behind the Cliche - 2006
2 - Street Scene - 2007
3 - Gareth Moore: As a Wild Boar Passes Water - 2008
4 - Gareth Moore: Passengers 1.9 - 2008
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