A Foundation

Antti Laitinen - Walk The Line

2011-02-18T04:11:00.000-08:00

A Foundations News

2011-02-15T03:33:00.000-08:00

A Foundation is “not sustainable in either the long or the short term.” This was the judgement made by Arts Council England rejecting an application towards 33% of our costs in Liverpool for 2010 - 2011. Therefore A Foundation is closing.

Some highlights since 2006 have been: Bloomberg New Contemporaries 2010, Liverpool Biennial 2010 Touched - Sachiko Abe and Antti Laitinen, Live in Translation - Tatsumi Orimoto, Following Bauhaus - Artur Zmijewski, Hearts and Minds - Jon Fawcett, The Economy of the Gift - Eric Bainbridge, Brass Art, Geta Bratescu, Elodie Pong, Jacob Dahlgren, Mark Harasimowicz, Rebecca Lennon and Shaun O’ Dell, A Curriculum - Florian Bielefeldt, Noel Clueit, Przemek Dzienis, Myles Painter, Hannah Perry, Philip Root, Elizabeth Skadden, Emily Speed, Wrong Love, Touch Village, A World Rattled of Habit - Ben Rivers, Haroon Mirza, Daniel Pasteiner, Bloomberg New Contemporaries 2008, Communication and Association - Artists Anonymous, Far West Metro, Fantasy Studio - Project, Kyungwoo Chun, Yeondoo Jung, Young In Hong, Yongbaek Lee, Junebum Park, Sookyung Yee and Hyun-Mi Yoo, Encounters - Manuel Vason, Port City - Yto Barrada, Ursula Biemann, Mary Evans, Meschac Gaba, Melanie Jackson, Erik Van Lieshout, William Pope.L, Zineb Sedira, The Only Living (or Your Lonely Saucer Eyes) - Brian Griffiths, Triangle of Need - Catherine Sullivan, Cennet Bahcesi - Mustafa Hulusi, drum n’ basin - SIMPARCH, Sleep of Ulro - Goshka Macuga, Silent Sound - Iain Forsyth and Jane Pollard, Virtual Grizedale - Grizedale Arts and Office for Subversive Architecture

We’d like to thank our staff, audiences and funders for their support of this extraordinary achievement.

Lerato Maduna

2011-01-21T15:01:00.000-08:00

Lerato Maduna, one of a new crop of young documentary photographers, focuses on the similarities and the challenges South Africans face today. With the advent of democracy, rural people left their homes for the cities. Her two compelling essays, Meet O Makhelwane Bam (Meet the neighbours, my neighbours) and Meet the neighbours, are both statements about the need for understanding and bridging the language and historic divisions that Apartheid created among migrant workers.

Sachiko Abe - Evening Performance

2011-01-19T10:53:00.000-08:00

Permanent Gallery Brighton

2011-01-16T07:44:00.000-08:00

www.artinliverpool.com

2010-12-06T05:18:00.000-08:00

"Simon McKeown, one of the UK’s leading digital artists, was named DaDaFest Artist of the Year 2010 for his work ‘Motion Disabled’ which was projected in 17 countries globally yesterday on International Day of Persons with a Disability, including the side of the St Georges Dock ventilation shaft."

artinliverpool.com, is a must see website for everybody interested in the UK art industry.

By the time Art in Liverpool was established, in 2004, by Ian Jackson and Minako Jackson, Liverpool had reached international focus and was now celebrated for it's vibrant and confident art scene. Tate Liverpool was firmly established and the Walker Art Gallery’s exhibitions had become less formulaic and had more popular. Progress had also been made at grass level with the impact of the Liverpool Biennial. Not only did Art in Liverpool have an interesting art scene to talk about, but their potential audience undoubtedly covered a cross-section of society that 10 and certainly 20 years prior would not have been interested and they continue to communicate with a flare and density that few sites deliver.

Michal Chelbin

2010-12-03T03:34:00.000-08:00

www.michalchelbin.com

Minako Jackson

2010-12-03T03:26:00.000-08:00

Mark McNulty Photography
www.mcnulty.co.uk/2010/a-long-night

Shel Silverstein

2010-11-26T09:00:00.000-08:00

There is a place where the sidewalk ends
And before the street begins,
And there the grass grows soft and white,
And there the sun burns crimson bright,
And there the moon-bird rests from his flight
To cool in the peppermint wind.

Let us leave this place where the smoke blows black
And the dark street winds and bends.
Past the pits where the asphalt flowers grow
We shall walk with a walk that is measured and slow,
And watch where the chalk-white arrows go
To the place where the sidewalk ends.

Yes we'll walk with a walk that is measured and slow,
And we'll go where the chalk-white arrows go,
For the children, they mark, and the children, they know
The place where the sidewalk ends.

But soon again the boy came back and he said to the tree,
"I'm now a man and I must have a house that's all my home."
"I can't give you a house" he said, "The forest is my house."
"But you may cut my branches off and build yourself a home"
And so he did.
Oh, the tree was happy.
Oh, the tree was glad.

And time went by and the boy came back with sadness in his eyes.
"My life has turned so cold," he says, "and I need sunny days."
"I've nothing but my trunk," he says, "But you can cut it down
And build yourself a boat and sail away."
And so he did and
Oh, the tree was happy.
Oh, the tree was glad.

Antti Laitinen

2010-11-25T08:16:00.000-08:00

Lars Laumann

2010-11-24T08:54:00.000-08:00

Open Eye Gallery
28-32 Wood Street
Liverpool L1 4AQ
until November 28th 2010

www.openeye.org.uk
maureenpaley.com

Lars Laumann makes video essays about people and their complex interior worlds. He points at their strangeness, separateness and need to connect. He explores collisions of individuals, cultures, ways of life and systems of belief. Combining elements of documentary with fiction, poetry and myth, he creates extraordinary stories that plunge us into the lives of his subjects.

Lars Laumann has been commissioned by Open Eye Gallery and Liverpool Biennial to make a new work - a 45-minute video titled Helen Keller and the great purging bonfire of books and unpublished manuscripts illuminating the dark)'. It uses a range of techniques and approaches to explore filmic and literary adaptation, multiple narratives, censorship and the burning of books. The first part looks at the story of Helen Keller. Born in Alabama in 1880, Keller was an author, lecturer and political activist; she was also blind and deaf.

It uses found footage from an Iranian adaptation of J. D. Salinger's 1963 novelette Franny and Zooey to tell the story of Helen Keller's banned books. The second part looks at a 1960s adaptation of the Swedish author Selma Lagerløf's novel The Wonderful Adventures of Nils. Published early in the 20th century, the novel tells the story of Sweden's history and geography, but excludes an area in the south west called Halland; many believe this was because the author saw it as 'racially impure'. The video's central theme is censorship: Lagerløf 'censored' Halland; Keller was censored for political reasons and accused of plagiarism; Salinger 'censored' himself - he continued to write but did not publish after 1964, and refused all adaptations of his work.

The new commission will be exhibited alongside two existing video works: 'Duett', 2010 and 'Morrissey Foretelling the Death of Diana', 2006

Sachiko Abe

2010-11-23T09:38:00.000-08:00

photo Julia Waugh

Rebecca Lennon

2010-11-23T05:02:00.000-08:00

We Are Stuck Here Together
Ceri hand Gallery
12 Cotton Street
Liverpool
L3 7DY

until November 28th 2010

www.rebeccalennon.co.uk
www.cerihand.co.uk

Rebecca Lennon’s first solo show at Ceri Hand Gallery draws together the found, the stolen, the forged, the made and the re-made in a series of exchanges and situations, nuanced with an often ritual, misplaced and convoluted drive to connect, act or validate.

Old photos bought by weight of the pile in markets and on eBay, art sent to a debt collection agency as an offering for the debt, a film clip of a man acting out a sleep disorder, and a family member who swam across Morcambe bay in exchange for a wooden chest of drawers, are brought together in a show eating its tail, perpetually shifting between the personal and inauthentic, humour and something darker.

"My Dad gave me my Mum's passport recently as a present. It was printed in 1982, contains 32 pages and has the number 312394 on the front. On the second page the description reads Occupation: Computer Clerk, Place of Birth: Manchester, Country of Residence: England, Height: 5ft 2, Colour of Eyes: Blue, Special Peculiarities: Birth Mark on Left Leg. As a sentimental gesture, I decided to have the description tattooed on my right leg. The tattooist wrote: Join us join us join us join us. Method Actors participate in a group relaxation exercise; propped on chairs, legs straight in front of them - they turn their heads and legs in a circular motion, letting out noises - sometimes short and loud and sometimes quiet and constant, occasionally crying. With the goal of accessing truth to authenticate their act, they unlock their 'instruments' (bodies), discard themselves as 'product' and connect with their 'personal objects' (memories). If an actor is distracted at any point, allowing his or her ego to get in the way of the exercise - the teacher shouts 'Live with me!'".

Long Night Light Night

2010-11-22T13:24:00.000-08:00

Light Night back in May saw the city come alive with over 92 events and activities happening all on one night, and we did it all over again for it’s winter counterpart Long Night.

Thursday 18 November 2010 saw over 50 Liverpool venues staying open late into the night, encouraging people of all ages to celebrate the city and it’s culture by seeing it in a different light.

A vast array of venues opened late into the night showcasing a vibrant mix of arts and culture, late night shopping, walking tours and other special events and attractions.

This year, Long Night coincides with the wonderful: Liverpool Biennial

Intimacy

2010-11-20T11:09:00.001-08:00

A FESTIVAL OF LIVE PERFORMANCE, POETRY AND VISUAL ART, SOUND ART, VIDEOS AND MUCH MUCH MUCH MORE.

Left At The Theatre
The Others
Manor road
Stoke Newington
N16 5SA
London
20 November 2010

We all experience intimate situations.
We all feel closer to some people than others.
How is intimacy created, in reality, in performance, and in relation to one another?
Why do we feel closer to some people than others?
How does comfort work?
Sometimes it’s embarrassing, sometimes it’s beautiful, sometimes it’s problematic.
We all divulge secrets, expect trust and allow other people to access our most sentimental thoughts and feelings
We all experience intimate situations.
See the following people at INTIMACY (TBC):

Gareth Llŷr, Joanna Crook, Claire Blundell Jones, Kimbal Bumstead, Hannah Forbes Black,Benjamin Sebastion, Mia A Farrell, Holly Walker, Hardeep Pandhal, Colin Michel, Tim Gee, Russell Callow, Todd Atticus, Left at the Theatre (Rachel McCarter & Andrew Roberts), Richard Makin, Paula Davy, Matthew Lee Knowles, Tiffany Charrington, Antonia Beck and Kim Burnett,Pacer (band), Guy Harries, plus many more suprises.

www.theothers.uk.com/2010/10/31/intimacy

Marlene McCarty

2010-11-20T10:54:00.001-08:00

www.sikkemajenkinsco.com

Do Ho Suh

2010-11-17T04:56:00.000-08:00

Bridging Home is a scale model of the artist's own Korean house from his childhood wedged between two buildings on Duke Street, Liverpool.

More recently, Do Ho Suh has explored the possibility of coming to terms with his divided cultural background through syncretic elements that integrate eastern and western influences. Moving against the notion of cultural clash (that is to say two worlds or civilisations colliding), he is currently envisioning a new cultural and visual domain, which results from the fusion of his diverse and, at times, conflicting experiences. The seeds of the artist’s process of hybridisation now fertilise the British soil with this new commission for Touched, Bridging Home.

Do Ho Suh is part of Touched in the public realm:
Between 84-86 Duke Street

www.lehmannmaupin.com/#/artists/do-ho-suh

An Insightful Look At New Contempories Among Many Other Things

2010-11-17T04:47:00.000-08:00

You might be interested to know that I’m writing this in Afoundation and that, despite it being close to freezing in the New Contemporaries exhibition, I’m sweating. Is it because I’ve just been looking at the Patrick Coyle piece, This Works – which is just graphite pencil on the wall which reads, “This Works is extremely fragile, Please do not touch.” For some reason it put me in mind of my first piano teacher, which is enough to make anyone break out in a cold sweat, but no, that’s not why I’m sweating.

Has everyone here seen Toy Story 3? Remember this? That’s why I’m sweating. Just like Buzz and the gang I got the shock of my life a moment ago and I suppose to explain why we need to talk about this morning.

I spend a lot of time in the public realm, this morning I was in Raymond Pettibons garage on Wood Street. I like it there, its home to My little red flip book and a video piece called Sunday Night and Saturday Morning. The video is from 2005 but the paintings were done specifically for the Biennial, apparently there is quite a good story behind them involving lots of red wine. Funny how all the best stories include red wine. I am clueless about art but I like the animation and some of it is really funny. If you can stand the cold it’s worth sitting through the whole hour. It’s quite cryptic but what art isn’t?

I particularly like the reference to Dennis “Beach Boys” Wilson, “Dennis you’re the only one who can surf, Dennis you’re the only one who can’t sing.” This is particularly meaningful to the residents of my flat because “Dennis Wilson- Pacific ocean blue” is the equivalent to the Marvin Gaye LP my dad breaks out on special occasions, very special occasions. Yep, when Dennis is rocking, don’t come knocking. In fact, if Dennis is rocking, just stick Born to Run on your head phones and reach for the whiskey.

Anyway, this is meant to be about volunteer experiences not volunteer “experiences”. So as I was saying, I spend a lot of time in the public realm so when Joёl comes over the radio warning “all volunteers, there is a large group moving through the building so be prepared.” I get all smug, sip on my luke warm tea and proclaim to whoever I’m with (this morning it was Craig), “Mugs, listen to them making mountains out of molehills.”

This brings us back to Afoundation, New Contemporaries, Toy Story 3 and me, sweating. I experienced my first large group, they were foundation year art students and they tore through the building like a tornado, I was all “Don’t touch anything!”, “Please don’t run!”, “No horse play!” I sounded like a teenage life guard trying to control Wavertree pool during the inflatable fun afternoon. I now have a sore throat. Luckily nothing has been damaged, which is good, because I’d quite like to come back.

This is another guest blog is written by Doug Herbert, a Liverpool Biennial Volunteer Information Assistant as well as model for Daniel Knorr’s The Naked Corner.These are his personal perspectives on his experiences invigilating the works in Bloomberg New Contemporaries, Afoundation, and the Wood Street garage.

The stuff here is good, I like the Nathan Barlex paintings for no other reason than I like the colours, (how valuable you must find my in-depth analysis of art) and I like Untitled by Daniel Lichtman, it reminds me of The Catcher in the Rye. If you’ve read it you’ll know the books main protagonist, Holden Caulfield has a thing against phonies, well the two artists commissioned by the Biennial here are anything but phonies. Antti Laitinen built a boat out of old tree bark from his native Finland and sailed the thing across the Mersey, having just seen it I’ll tell you I wouldn’t even sit on it. His exhibition is great. There’s a video of Antti building an island out of sand bags, I don’t know why he did it but I’m glad he did.

I also don’t know why Sachiko Abe has decided to dedicate 10 hours of her day everyday for two months to cutting paper into tiny strips, the accompanying sculpture is beautiful and Paper Clouds is amazing. I don’t know why she’s doing it, but again I’m glad she is. It’s my highlight of the biennial so far and I have no idea why. Coming from a man sat sweating in a freezing cold warehouse watching a video of Emma Hart playing Dice with the sea I’m not sure how much weight can be put behind this statement but to paraphrase my friend Joe, artists be crazy.

blogs.biennial.com

Legacy 1

2010-11-10T02:24:00.001-08:00

liu-gallery.com
Salmon Court
Formans Smokehouse Gallery
Stour Road
Hackney Wick
London
E3 2NT
until 5th December

The affective bond between people and place, is the primary theme of LEGACY I. Examining environmental perceptions and values at different levels:

Legacy I will take place within Salmon Court. The court itself offers a foundation to respond to the historical and industrial qualities of the area as well as being in close proximity to the Olympic stadium, the beacon for development and change within Hackney Wick.

The exhibition will respond on many levels to the industrial and temporal characteristics of the area with the artists considering the shifting environments within Hackney Wick from a dialectical perspective, distinguishing different types of environmental experience.

Legacy I offers emerging and mid career artists the opportunity to exhibit large scale and site specific works. It aims to be an annual event in the East London Arts calendar, supporting and encouraging critical debate within the arts and bringing in to focus the effect of regeneration to artistic communities such as Hackney Wick.

Paul Carter ,Alex Chinneck, Nathaniel Rackowe, Thomas Ireland, Tommy Støckel, Oliver Palmer, Molly Smyth, Noel Clueit, Charlotte Becket, Emma Barrow, Gabriele Beveridge, Simon Davenport, Hannah Brown, Sally Wright, Thomas Adank, Robin Shepherd, Craig Barnes, Myles Painter, Ralph Dorey, Daryl brown, Melissa Hinkin, Jamie Partridge, Charlotte Warne Thomas.

Occupant

2010-11-09T06:44:00.000-08:00

Grey Area
Basement
31 Queens Rd
Brighton
East Sussex
BN13XA
8th - 28th November 2010

Grey Area presents Occupant, a series of 3 week long artist residencies within the gallery which will each culminate in the making of new work and a public event.

The residencies will take place during successive weeks in November 2010, providing 3 selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week.

Grey Area will provide each Occupant with the staples of space, tools, a timescale, and a set of keys.

The parameters for what might constitute an outcome for the Occupant residencies are flexible and permeable. As much a process of the studio as of the gallery.

Participants are invited to consider how their project may or may not be constituted as an object, subject, event, or non-event.

Occupant tbc
8th - 14th November 2010

Occupant tbc
15th - 21st November 2010

Occupant Carolyn Arnold
22nd - 28th November 2010

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an Occupant takes shape.

Grey Area was originally founded as a dual studio/gallery, and so Occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

Sacred

2010-11-07T03:22:00.000-08:00

Chelsea Theatre
World's End Place
Kings Road
London
SW10 0DR
Friday 22 October - Saturday 20 November 2010

SACRED: US Radical
A season of contemporary performance.

RISK | TRUTH | FAKERY | BELIEF

Workshop: Manuel Vason - From Image to Presence Postponed until Spring 2011

Young Jean Lee's Theater Company - Pullman, WA Tue 26 & Wed 27 October 8pm

Marisa Carnesky and Rasp Thorne - The Quickening Of The Wax Fri 29 - Sun 31 October 8pm

Late Night Cabaret Fri 29 October 9.45pm til late (in the bar)

Workshop: Julia Bardsley & Andrew Poppy - Nearly Different Sat 30 & Sun 31 October 10am-5pm

Julia Bardsley & Andrew Poppy - Almost the Same (feral rehearsals for violent acts of culture) Tue 2 - Thur 4 November 8pm (limited capacity)

Workshop: Marisa Carnesky- Dystopian Tableaux Vivant Workshop Sat 6 2pm-6pm & Sun 7 November 10am-6pm

Chris Dobrowolski - Antarctica Sat 6 November 5pm (limited capacity)

Robin Deacon - Robin Deacon presents Stuart Sherman's 'Hamlet' (A Portrait) Sat 6 November 8pm

Leibniz - Passion/Flower Sun 7 November 8pm

Natasha Davis - Suspended Mon 8 November 8pm

Stacy Makishi - The Making of Bull: The True Story Wed 10 November 8pm

New York City Players - ADS Fri 12 & Sat 13 November 8pm

David Hoyle's Factory: A Sweat-Shop for The Soul Fri 12 & Sat 13 November 9.45pm til late (in the bar)

One Day Symposium Sat 13 November 9.30am - 9.15pm

Cupola Bobber - Way Out West, The Sea Whispered Me Sun 14 November 6pm

Sara Juli - The Money Conversation Tue 16 & Wed 17 November 8pm

Haranczak/Navarre - So below (working title) a work-in-progress Sat 20 November 3pm

Hung

2010-10-28T04:53:00.000-07:00

The Horse Hospital
Colonnade, Bloomsbury
London WC1N 1JD
until - 30 October 2010

HUNG – an exhibition curated by Stuart Sandford
Bruce LaBruce // Slava Mogutin // Walter Pfeiffer // Conrad Ventur // Paul Mpagi Sepuya // Gio Black Peter // Brian Kenny // Billy Miller // Jan Wandrag // Jesse Finley Reed // Stuart Sandford

HUNG is an exhibition curated by the artist Stuart Sandford featuring photographic, video, installation works and works on paper. The show brings together a group of both emerging and established international artists whose work explores ideas of sex and sexuality and the male form. Taking inspiration from the LA and NYC sex clubs and gay movie theatres of the 70s and 80s, the exhibition space will be transformed into a place where sex, money and the smell of amyl nitrate are the order of the day.

www.thehorsehospital.com
www.stuartsandford.co.uk

Tatsumi Orimoto In Conversation With Mark Waugh

2010-10-21T04:08:00.003-07:00

Saturday 16 October, 2pm
Permanent gallery
20 Bedford Place
Brighton
BN1 2PT
FREE

In this conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi Orimoto’s recent retrospective in the UK which included hundreds of documentary photos and video works of Orimoto’s recorded performances, Orimoto will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

Orimoto lives and works with his mother Odei Orimoto in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

This event accompanies Live in Translation by Tatsumi Orimoto: a single billboard poster, at 30 North Road, Brighton, as part of the Brighton Photo Fringe.

www.permanentgallery.com
www.photofringe.org

–

This event is kindly supported by Moshi Moshi Brighton.
www.moshibrighton.co.uk

Brighton

2010-10-19T10:34:00.000-07:00

Tatsumi Orimoto - Bread Man Talking

2010-10-16T03:55:00.000-07:00

The Japan Foundation, London
Russell Square House
10-12 Russell Square
WC1B 5EH

15 October 2010

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

Together with other works such as the more moving Art Mama, in which his mother who suffers from Alzheimers is the main subject, Orimoto condenses in his work his interpretation of reality and true life by surrounding us with scenes of calculated absurdity and dry humour.

In this illustrated conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi’s recent retrospective in the UK which included hundreds of documentary photos and video works of Tatsumi’s recorded performances, Tatsumi will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

This event offers a very unique recounting of Tatsumi’s highly respected artistic career which spans from the 1970s and has seen him delight and intrigue audiences wherever he goes, from international exhibitions such as Venice Biennale to the streets of London.

www.jpf.org.uk/whatson.php#278

Antti Laitinen - The Mersey

2010-10-13T04:25:00.000-07:00

Touch Village

2010-10-12T08:20:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY
Merseyside

9th October 2010

Visitors to the A Foundation on the 9th October were invited to cruise the alleys and windows of Touch Village – an interactive performance installation that explored the possibilities of documenting intimacy and human contact in performance. The village is a web of interactive situations, which leads visitors on their own journey, through which they can explore themselves and the limits of performer-participant relationships.

Tou...ch Village was a curatorial project by Kimbal Bumstead in collaboration with a group of selected interactive artists, Hedva Eltanani, Jack Ridley, Baptiste Croze, Heather Jones, Matthew Kay, Lynn Lu, Richard Taylor, Alexandra Zierle, Paul Carter and The Mysterious DJ Collective.

Touch Village was a durational work, its individual elements unfolding over the course of the evening. Structured around a central installation, seven separate performances proposed intimate situations. The encounters leave traces and products behind which witnessed these shared moments. Visitors to the village were free to explore and participate in the process of touching and being touched. Like all good villages, there was a friendly bar with live music…

www.kimbalbumstead.com
www.zierlecarterliveart.com
www.lynnlu.info
vs4rslab.wordpress.com
www.matthewjameskay.com
www.rich-taylor.co.uk

drawing-paper

2010-10-07T06:02:00.000-07:00

www.drawing-paper.tumblr.com

Drawing Paper is a not for profit newspaper based publication concerned solely with drawing.

The purpose of this blog is to function as a supplement to the printed edition. We're keen to make it rich in quality drawing based content so if you've got something interesting you'd like to share with us please send it to something@mikesstudio.co.uk (files should be JPEG's at 72dpi upto 2mb).

Please note, all submissions are subject to editorial control – some work is of more interest to us than others. Please refer to previous posts for an indicator of our preferences.

Drawing Paper was conceived and designed by Mike Carney and Jon Barraclough, Liverpool UK.
www.mikesstudio.co.uk // www.jonbarraclough.co.uk

Drawing Paper 2 has recently been published. If you'd like a copy please send an A4 self addressed envelope with £1.20 second class postage (UK addresses only) to Mike Carney, 26 Moss Street, Garston, Liverpool L19 2NA. If you're overseas please email us your address and send £5 via Paypal to mike@mikesstudio.co.uk

Sally O’Reilly - The Body In Contemporary Art

2010-10-07T05:33:00.000-07:00

Although now rather well worn, the phrase ‘the personal is political’ continues to be relevant for contemporary artists, sinse it encapsulates the potential for an individual to represent, by example, such wider issues as cultural difference, historical context, sexual preference, racial differentiation and the transgression of gender roles.p79

Autobiography is a powerful genre for provoking empathy in an audience, and it can provide a direct way of speaking out against objectification and categorization. Autobiography implies an urge to communicate a personal narrative, whose intimacy can at times be shocking, to both productive and damaging ends.p84

The body as a site of common physiological experience makes it an excellent tool for inspiring empathy. While autobiography, as we have seen, can be a way of appealing to our shared biographical or cultural experiences, it is notoriously difficult to pitch: the work must be neither overly didactic or emotive, nor so ambiguous that it is open to misinterpretation.p189-p190

Today[...]this insistence on the artwork as independent and self-contained has been almost entirely replaced by its opposite. Not only is the presence of the audience acknowledged, but the individual’s power to generate meaning is actively encouraged. The image of an impassive audience consuming static art infused with fixed meaning by an authoritative artist has given way to a reciprocal and conditional situation in which ambiguity scuppers meaning, so that the artist, artwork and viewer together negotiate an intellectual and sensory experience.p192,p193

In the West, too, a genre of participatory and socializing art has developed in response to perceived fragmentation within society, as members of communities have withdrawn from one another as a result of complex socio-economic and political factors.p194

Simon Pope holds the view that a person represents an active archive, producing, storing and reproducing information through his or her passage through society and ever-changing relationships with place. A number of his participatory performances recall the ancient connection between walking and remembering.

Sociability as a medium has become entrenched in contemporary practice, although its emergence can be traced further back than one might think. Although the last fifteen years have been identified as the period when relational aesthetics have been identified as the period when relational aesthetics became established, artists were orchestrating situations for social engagement in the 1970s, as in Tom Marioni’s FREE BEER (The Act of Drinking Beer with Friends is the Highest Form of Art) (1970-79)p200 – p202

Emily Wardill

2010-10-06T05:31:00.000-07:00

The films of British artist Emily Wardill are brilliant cinematic labyrinths. Visually striking and playfully rigorous, they draw upon an array of sources– underground theater, psychoanalytic case studies, the writings of Friedrich Nietzsche and Jacques Rancière, and even the game logic of Nintendo Wii–to pose fundamental questions about vision, representation, and media and their role in how we come to know ourselves. Wardill has been the recipient of much recent critical acclaim: Tate Modern film curator Stuart Comer rated her film The Diamond (Descartes’ Daughter) (2008) as one of his top ten picks of 2008 and The Guardian newspaper deemed her its “artist of the week.”

Film London and Channel 4 in association with the UK’s Whitechapel Gallery have announced that the winner of this year’s Jarman Award is Emily Wardill.

Wardill was announced as the winner of the award at an event at the Whitechapel on Tuesday, October 5, following screenings of work by Wardill and the other 2010 shortlisted artists Spartacus Chetwynd, Ben Rivers, and Zineb Sedira.

Wardill receives a ash prize and a broadcast commission to make four artworks for Channel 4’s Three Minute Wonder strand. The rest of the shortlist receive $1,600 each. This year’s jury included: John Akomfrah, filmmaker; Iwona Blazwick, director of the Whitechapel Gallery; Avi Grewal of Channel 4 documentaries; Mark Rappolt, editor of ArtReview; artist Gillian Wearing; and Stuart Comer, film curator at Tate Modern.

Ryan Trecartin - Touched The Liverpool Biennial

2010-10-05T11:29:00.001-07:00

P.opular S.ky (section ish) from Ryan Trecartin on Vimeo.

Ryan Trecartin is part of Touched in the public realm at:
52 Renshaw Street, L1 4PN
until November 28th 2010
Open: daily 10.00–18.00
www.elizabethdeegallery.com

Tehching Hsieh - Touched The Liverpool Biennial

2010-10-05T11:20:00.000-07:00

FACT
88 Wood Street
Liverpool
L1 4DQ
Merseyside
until November 28th 2010
www.fact.co.uk

Liverpool Artist's Book Fair 2010

2010-10-01T04:37:00.000-07:00

Saturday 2 October 12-6pm
A Foundation
67 Greenland Street
Liverpool L1 OBY
Merseyside

A Foundation is pleased to host the Liverpool Artist's Book fair for the 2nd year running. The fair will be a vibrant platform for stall-holders to present an extraordinary array of artists' books, zines and other paper-based works, many of which will be for sale.

Antti Laitinen - Sailing The Bark Boat

2010-09-27T03:16:00.001-07:00

photos by julia waugh

Liverpool Biennial 2010: Touched Conference - John Moores University

2010-09-18T03:23:00.000-07:00

Liverpool John Moores University
Art & Design Academy
Duckinfield Street
Liverpool
L3 5YD
Merseyside
18 September 2010

11:00 - 12:30

The conference is part of Touched, the International exhibition for Liverpool Biennial 2010, running from 18 September until 28 November.
www.biennial.com

From the organisers:
As the story of Doubting Thomas tells us, to touch is the mark of truth, the most intimate gesture and the greatest commitment. To touch or to be touched is the performance of truth, when incredulity is displaced and the world condenses into a moment of all enveloping realisation, changing everything. But let us not limit touch to mean touch physically, even that lowliest of senses, smell, can touch us deeply. To be touched arrives unexpectedly though every sense – including thought itself – locating our most intimate moments in space and time. How to live by these moments where strength and vulnerable.

Performing Truths - Moderated by Mark Waugh, Director of Afoundation and Co-director of the International Curators Forum (ICF)

Particpants: Tehching Hsieh (artist), Alfonso Lingis (philosopher and Professor of Philosophy Emeritus of Penn State University), Coco Fusco (artist, writer and Chair of the Fine Art Department at Parsons/The New School for Design), Tania Bruguera (artist)

12.30-13.30: Lunch

13.30- 15:00 : Between the Senses - Moderated by Peter Gorschlueter, Former Head of Exhibitions and Displays Tate Liverpool, now Deputy Director of the Museum of Modern Art Frankfurt.

Participants: Steven Connor (writer, critic, broadcaster and Professor of Modern Literature and Theory, Birkbeck College, London), Tony Chakar (artist, architect and writer), Jamie Isenstein (artist), Danica Dakic (artist)

15.00-15.30 : Tea

15.30-17.00 : The Beauty of Commitment (working title) - Moderated by Lorenzo Fusi, Curator Liverpool Biennial

Participants: Freee (artist), Minerva Cuevas (artist), Alfredo Jaar (artist), Will Kwan (artist)

www.biennial.com/content/LiverpoolBiennial2008/LiverpoolBiennial2010/ProfessionalAccreditation.aspx

Sachiko Abe

2010-09-17T04:17:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool
L1 OBY
Merseyside
18 September - 28 November 2010

Sachiko Abe’s work encompasses, performance, drawing, film and sculptural installations using cut papers accumulated over the last seven years. Her practice explores duration, repetition and constraints. She will be performing at A Foundation for the Touched - The Liverpool Biennial and exhibiting drawings she has completed during her residency in the city. A Foundation has commissioned a film by Ben Rivers that will be shown during each performance.

This is a paradox as she first started creating artworks after leaving the Self Defense Forces in Japan because ‘the life of artists seemed so free.’ Her work since 1997 has explored the regimes of subjectivity which are imposed by society, most explicitly in her series of performance works.

Elevator Girl Friend in which she acted outside of the conventional behaviour of the demure elevator assistants who were a common sight in big department stores.

Abe says of this work, ”While the job sounds boring, it was a “dream job” for young girls because it was believed then that only the most beautiful and elegant person could be assigned to be an elevator girl.”

Her more recent works continue to explore disquieting routines that provoke anxiety and touch us in ways we cannot explain. In Cut Papers Abe invites the audience to experience an intimate space in which the constant snipping of scissor blades is the only measure of time passing. At A Foundation Liverpool Abe will perform for the duration of the Biennial but be warned Abe says. “My work is neither beautiful nor meditational.” Rather it is an aesthetic paradox that locates the artist at the center of a field of reciprocal subjectivity, she is an object of the gaze that returns the subject to themselves by activating a feedback loop.

Cut Papers is a series of works that create a surplus of meaning within an apparently simple aesthetic economy. It is this scenic space of perception and production that is the focus of the work. Abe will present the performance in an environment of large scale sculptural interventions in the Furnace gallery and a new large scale drawing work produced during her 2010 residency with A Foundation funded by the Pola Foundation. An intricate graphic weave produced by intensive durational periods of drawing which might be best apporached through the dimension of the fold as expressed by French Philosopher Gilles Deleuze. Like Cut Papers Abe’s drawings invite us to contemplate the intensity of ideas which accumulate and are disseminated in the transformation of a white sheet of paper into medium of communication.

Antti Laitinen

2010-09-16T05:12:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool
Merseyside
L1 OBY

www.anttilaitinen.com
www.nettiehorn.com

Saturday 25th September 2010
Artist Antti Laitinen invites the public to join him for a launching party to witness the first and possibly final voyage of the vessel he has made in Liverpool from ancient bark collected from the forest floor in Finland. The vessel will be transported from A Foundation to the Canoe Club at 110 Mariners Wharf, Queens Dock, l3 4dg. There it will be launched on the high tide and will endeavour to navigate the River Mersey.

A Voyage across the Mersey.
He will also present a new commission for the Liverpool Biennial. This new work will be the building of a vessel in the gallery of A Foundation Liverpool and an inaugural voyage. The Bark is a boat made from ancient bark collected from the floor of the forest. It has both metaphorical and material qualities. It can transport us from the place of origin to somewhere else far away. In this story the bark will be transported by boat from Finland to England and then made into a vessel that will transport the artist on a voyage across the Mersey.

Antti Laitinen works across idioms of performance, video and photography in a collective mission to stage mythologies and erase the boundary between success and failure through a trajectory of personal endurance and almost delusional imagination. Laitinen takes us beyond the normal realms of the world into a new reality at once both innocent and yet haunted by the knowledge of our contemporary ecological crisis. He encapsulates an artistic vision that explores the imperfect resolution of the world when faced with the sublime limits of our imagination.

He says of his work: “It is more important to struggle for your dreams than succeeding in them.” The crtitic Peter Suchin suggests; “The term “authentic” is so deeply embedded in the ideology of the artist that to suggest Laitinen moves away from the special world that this word implies may seem to some a heretical assertion. It is, rather, a point of criticality to raise questions around received ideas about art and the special status of the artist, and in this respect Laitinin’s work is, surprisingly, a type of realism. The more absurd it looks, the more real, in a certain sense, it is, a man like any other man carrying out in a painstaking fashion extremely demanding tasks.”

For A Foundation Laitinen will present a survey of keys works from the last decade of his performances including, the It’s My Island trilogy, Bare Necessities, Untitled and Walk the Line among others.

Antti Laitinen has exhibited extensively internationally including; NETTIE HORN, London, UK, 2009; Kunsthallen Brandts, Odense, Denmark, 2010; Museum of Contemporary Art Kiasma, Helsinki, Finland, 2010;; Athens Biennial 2009 and most recently in England with a video of his performance work, It’s My Island exhibited in Earth at GSK Contemporary, Royal Academy of Arts.

New Contempories

2010-09-15T04:03:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Merseyside
18 September - 13 November 2010
www.newcontemporaries.org.uk

Selectors: Gabriel Kuri, Mark Leckey and Dawn Mellor.

Featuring: Greta Alfaro, Holly Antrum, Caline Aoun, Johann Arens, Ed Atkins, Nick Bailey, Nathan Barlex, Melis van den Berg, Alice Browne, Amir Chasson, Joe Clark, Matthew Coombes, Patrick Coyle, Keren Dee, Sophie Eagle, Claas Gutsch, Guy Haddon-Grant, Jessica Harris, Rowena Harris, Emma Hart, Darren Harvey-Regan, Raphael Hefti, Ian Homerston, Chris Shaw Hughes, Rowena Hughes, Vasileios Kantas, Krister Klassman, Sam Knowles, Alec Kronacker, Agnieszka Kucharko, Dan Lichtman, Agata Madejska, Russell Maurice, Ella McCartney, Nick Mobbs, Murray O’Grady, Chloë Østmo, Siôn Parkinson, Peles Empire, Laure Prouvost, Kristian de la Riva, Kiwoun Shin, Theodoros Stamatogiannis, Sue Tarbitten, Edward Thomasson, Naomi Uchida, Mark Walker,Pablo Wendel, Joel Wyllie.

New Contemporaries is proud to announce it will return to A Foundation, Liverpool, this autumn. Opening on the 18 September and featuring the work of 49 artists across a range of media, the exhibition provides a unique opportunity to engage with new practice and ideas from across the UK.

Established in 1949, New Contemporaries is an important and highly regarded annual initiative that gives art students and recent graduates essential support and recognition at a crucial stage in their development through a high-profile exhibition.

Participants are selected by a panel comprised of influential arts figures, predominantly artists - often who have themselves previously been a part of New Contemporaries - and through a rigorous process that is open, fair and democratic.

“Since the Liverpool Biennial began in the year 2000, New Contemporaries has always launched at the A Foundation. This year, 2010, we are delighted to be continuing this tradition with such a vibrant and vital selection of artists who all remind us how visual art can be.” — Rebecca Heald, Director, New Contemporaries

Exhibition continues its tour to the ICA, Institute of Contemporary Arts, London, 26 November 2010 – 16 January 2011: www.ica.org.uk

Wrong Love

2010-09-13T04:23:00.001-07:00

Photos by Minako Jackson

"We had a good time at the Wrong Love alternative Valentine happening last Saturday night at the A Foundation, the only problem being as we left before midnight and it went on until 3am we obviously missed a lot of the live action.

I liked what we saw though including the big cardboard tent that seemed to be a sort of homage to Cowboys and Indians, a tunnel of love with messages on heart-shaped stickers. Liverpool artist, Jayne Lawless (http://www.jaynelawless.co.uk) created an interesting installation using 86 pairs of tights, adding femininity to this masculine building".

Minako Jackson & Ian Jackson
www.artinliverpool.com/blog/2010/02/wrong-love-at-the-a-foundation

Julia Waugh - Lemon

2010-09-11T05:50:00.000-07:00

www.juliawaugh.com

Marcus Coates - Questions & Answers

2010-09-10T01:49:00.000-07:00

Kate MacGarry
7a Vyner Street
London E2 9DG
until - 10 October 2010
www.katemacgarry.com

Marcus Coates is renowned for his shamanic performances, where a community or an individual is invited to ask difficult questions pertaining to their own predicament, from the deeply personal to the broadly political. Coates summons answers by communing with an animal kingdom that is part imagined, part scientifically observed. In costume and literally entranced, he relates the nature of this host of species and their attendant attributes; and from these narratives he extracts analogies, identifies thought patterns and discerns clues to a wider understanding.

For his first exhibition at the gallery, Coates has absented himself from the gallery, displaying only the material peripherals of these performances. We are presented with the questions asked and answers offered, as well as the costumes and objects used to facilitate the exchange, displayed like anthropological artefacts of a strangely familiar culture. The questions and answers are translated and transcribed during each performance, the handwriting indicating a sense of urgency behind each social, political or personal problem addressed. The objects have been collected, adapted and reused over years, bridging the utilitarian and the symbolic, the everyday and the mythical. Several pairs of glasses bound together become a mask and a mode of seeing beyond the immediate; lemon juice produces a soured, contorted face, which, in some shamanic traditions, increases the chance of admittance to the grotesque realm of the spirits.

Curious

2010-09-08T15:19:00.000-07:00

www.placelessness.com
Essences of London

Essences of London was a year-long project involving the London Boroughs of Brent, Hackney, Lambeth, Newham and Tower Hamlets. The aim was to create a composite portrait of London by capturing essences of city life through the sense of smell. Hundreds of Londoners were interviewed about their personal smell associations, including workers in 'aromatic trades' such as cobblers, fishmongers, florists, bakers and refuse collectors.

Like a road trip into the atriums of the heart, or a song whose first chords fill you with sweet despair... the quiet power of Leslie Hill and Helen Paris's performance lies in its low-key directness, its quirky juxtapositions and its understanding of the geography of loneliness and the myth of return.

Helen Paris and Leslie Hill have been working together as Curious for the past twelve years. In that time, they have made over forty projects in a range of disciplines including performance, installation, publication and film. The work is global and domestic: sometimes large, sometimes small in scale. Intimacy and a shared sense of encounter with an audience is always an important element.

Helen and Leslie called their company Curious because what drives them as artists is an intense curiosity about the world in which they live. Each of the projects starts with a question; What is the relationship between smell and memory? What do you long for and where do you belong? What is lost and what is found in places undergoing rapid regeneration and change? What are gut feelings?

Fluxus Now?

2010-09-06T05:15:00.000-07:00

3 - 4 September 2010
The Exchange
Penzance
Princess Street
Cornwall
TR18 2NL

www.newlynartgallery.co.uk
www.artsurgery.org

A two day event of live art performances with speakers and discussion, looking at the legacy and ongoing influence of the international Fluxus art movement.

Participants included: anti-cool, Pete Davies, Bryony Gillard, Roddy Hunter, Tim Knowles, Mark Waugh, Rebecca Weeks, Ian Whitford, Kath Wynne, Zierle & Carter.

Curated by Art Surgery and The Exchange as part of the Tatsumi Orimoto exhibition, in collaboration with A Foundation, Liverpool.

photos by Graham Gaunt and Julia Waugh

Sachiko Abe - Cut Paper

2010-09-01T06:21:00.000-07:00

photos by Julia Waugh

Corinne Day

2010-08-31T03:51:00.000-07:00

www.corinneday.co.uk

Coco Fusco - The Liverpool Biennial

2010-08-26T07:47:00.000-07:00

Touched Talks: Coco Fusco from Liverpool Biennial on Vimeo.

Stewart Home - Blood Rites of the Bourgeoisie

2010-08-24T05:18:00.001-07:00

'An exhausted sun compacted into itself. The slow but painless death of literature…Syllables should be moved around the page like clouds passing across the moon. Dense thickets of rhetoric must grow inexorably into an impenetrable jungle of words that overrun any and all attempts to extract a coherent meaning from them.'

You've ended up mirroring the slow drift of an ice floe, the imperceptible passage of distant galaxies through hyper-space. At this point your words in their opaque nothingness literally become 'the ill-will of the people', the spongy referent that animates all post-democratic societies. The cold of interstellar space thousands of degrees below freezing. Abstract Literature: A New Movement in the Visual Arts!

Non-Euclidean geometries. Voices green, purple and red. Strange folds in the fabric of time and space. The universe buckled, bent and sent into reverse. Apocalypse postponed, time running backwards and in slow-mo.Your words have developed an intolerance to alcohol. They are overwhelmed by feelings of existential dread and can't bear to be separated from each other. They've arranged themselves into a single extended sentence from some eldritch dimension unknown to man, a slow stuttering echo of Molly Bloom's soliloquy at the end of Ulysses.

"Written in the second person and in part generated from spam emails, Blood Rites of the Bourgeoisie is a shot in the arm for prose fiction; and a kick up the backside for the male dominated London art world. More shocking than 5000 volts of unadulterated electricity! Or, as Malcolm McLaren put it after reading the manuscript on his death bed: "FEMINISM WITH BALLS.""

www.stewarthomesociety.org

The Semina series
Blood Rites Of The Bourgeoisie is Semina No. 7. Semina is where the novel has a nervous breakdown. Taking inspiration from the series of nine loose-leaf magazines issued by Californian beat artist Wallace Berman in the 1950s and 1960s, Semina will publish a series of nine books, selected from a combination of open submission and direct commissions, by artists and writers willing to take risks with their prose and who demonstrate total disregard for the conventions that structure received ideas about fiction.

www.bookworks.org.uk

Antti Laitinen - The Bark Boat

2010-08-20T06:23:00.001-07:00

00capsula00.wordpress.com/2010/05/07/curated-expedition-to-the-baltic-sea

Antti Laitinen

2010-08-20T05:26:00.000-07:00

www.anttilaitinen.com
www.nettiehorn.com

Antti Laitinen’s work stems from performances which are documented through photographs, videos or objects – the records of these performances are therefore processed to create new works in entirely different contexts and thus incorporating several temporal stages. By way of documentation and the switch between media and presence – that quintessential ingredient of performance, the becoming of the work – becomes independent object.

Combining a search for identity and a poetry of the absurd, the artist pushes his limits (both physical and mental) in quest of the discovery of the wild Nordic landscape, often devoid of any human trace. Led by an undeniable humor and irony, Laitinen’s work immerses us into a world in which heroism meets simplicity through captivating images, recalling the relationship between humanity and nature.

Tomoko Takahashi - Anti-Cool

2010-08-16T04:19:00.000-07:00

Video for DARE DARE -- anticool from Nika Khanjani on Vimeo.

Working in collaboration with Montreal band Duchess Says, Anti-Cool creates an auto-didactic remix of their song Ccut up. One after another the band's members, A-Claude, Ismael, Phil and Simon Says, are all replaced by Anti-Cool whose power-suited rendition of the song proves no less mesmerizing than the original. Taking over on guitar, drums, keyboards and vocals, she infuses the song with a frantic enthusiasm that makes it entirely her own.

Lone Orchestra is a record, not only a song as it appears in alternate universes, but also of the kind of apprenticeship that can evolve within musical communities where imitation and appropriation are part of the DNA of friendship. For Anti-Cool, the blurring of boundaries between individuals through sweet imitation and mirror image offers a chance to learn, understand and grow close. Through a series of such substitution projects she has become a newspaper salesman, waitress, wormer, language teacher and 'ladyfisherman'.

Ideal Foreigner Living In England
Anti-Cool intended to experience up to seven different kinds of jobs that are mostly undertaken by migrant workers coming into the U.K.

"My theme is how to conquer the boundaries or rules with which people surround themselves. Through communication with those present, I try to find solutions in order to break through people’s self-imposed limits. By performing various different situations, I try to highlight the issues surrounding contemporary lifestyles. Communicating with various communities and creatures are one of the most important elements of my work. I point out situations which are not accessible to everyone."

www.artgene.co.uk/artist.php?i=15

Artur Żmijewski - Our Game. Our Party. Our Work.

2010-08-13T04:33:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY
Merseyside

Polish artist Artur Żmijewski spent some of last Winter and Spring in Liverpool, seeing for himself if the city resembled the sketch offered by those who had invited him to work there and who were keen to see how his process of production would translate to Britain in his first major UK commission.

The central tenet of Artur Żmijewski’s project was an exploration of social stratification of art and after initially holding a set of meetings with the various groups that make up the city's art community, he set up a 'pop-up art school' that attempted to explore and reconfigure art's relationship to wider society. Hosted by the existing School Of Art And Design at Liverpool John Moores University, the pop.up school was modeled on the Bauhaus established in Weimar by Walter Gropius in 1919. At the beginning of the project Żmijewski started "Ninety years ago the Bauhaus school invented a new visual reality - I would like to re-attempt this today. It is probably an impossible task, but that is why it is so interesting."

Żmijewski's practice has, on occasion, registered as extreme. For example, the works '80064', in which he persuaded a 92 year old an Auschwitz survivor, Josef Tarnawa, to have his prison camp tattoo re-inked. Another, 'Them', brought together member of different political and religious groups active in Poland to make visual representations of their beliefs. Both contain scenes that provoke outrage and abhorrence, but Żmijewski steady production since the mid 1990s also concludes films made with the deaf an, amputees, the chronically sick and old and ongoing series of film portraits semi skilled workers around the world. These aspects of his production grab fewer headlines but are equally tough.

Taken together they form a practice that insists that artists must operate in the real world and address real problems. Żmijewski has said that by achieving a connection with reality art can again learn how to be socially useful - with the implication that along the way it's lost that function. So children unable to hear or control their voice sing the cantata 'Herz Und Mund Und Tat Und Leben', in St Tomas' church in Leipzig, the space for which J S Bach composed it, the disabled borrow the limbs of the able bodied to temporarily conform to societies norms. Individuals whose daily existence has been sidelined by contemporary media who prefer their 'ordinary people' to be in the thrall of celebrity rather than show the reality of everyday.

Żmijewski work stretches and tests the idea of art as a tool of engagement. but his is not work that invites participation to blindly build a community or distract people from the issues affecting their lives - his is work that gives people a space in which to voice and test their opinions, whether banal, insightful or extreme. As a consequence, Żmijewski is always prepared that the result of his experiments may be unpalatable or messy. His working process is the antithesis of much participatory art, which can have the tendency to identify a problem and devise a solution. Conversely,
Żmijewski locates an area for exploration, with the analysis of the problem and the signpost to a possible solution generated by those involved. Sincerely believing that what some may describe as a risky strategy is the way to 'create new realities' for the good of society, he does not prejudge or second guess the conclusion but responds to each scenario he encounters anew, while building upon his experiments that have gone gone before.

©Lesley Young

This article can be read in Issue Six of A Bulletin.

Emily Speed - PSL

2010-08-11T01:44:00.000-07:00

Project Space Leeds
Whitehall Waterfront
2 Riverside Way
Leeds LS1 4EH
UK
August 11th - 12th

www.emilyspeed.co.uk
www.projectspaceleeds.org.uk

Emily Speed will create a cyclic drawing on the exterior of the shed over 4 days. Starting with proposals/sketches for structures – reminiscent of buildings – which are prevalent in her work, Speed will then explore the physical impossibilities of these structures and the drawing will change to show construction, collapse and repair before perhaps collapsing again.

Speed’s work is about aspects of shelter and the vulnerability and temporary nature of things. She often uses architectural forms in her work and is interested in the way that architecture can act as a metaphor for our internal selves (the body as a building that houses the mind) and with the enduring sense of memory and/or personal identity that is often embedded in or linked with particular sites. Her work incorporates discarded items, shifting scale and a precariousness.

Come along and participate in a collaborative drawingwith Emily Speed to accompany her work on the shed. Tea and biscuits provided!

Exposing Contemporary Visual Art Practice
Getting paid
By: Emily Speed "Rather than talk about my work on here (I have tried it and it seems to make me quite despondent) I have decided it will be far more helpful for me to explore some of the issues facing artists trying to make a living out of this business..."

210 [7 August 2010]
"Today has been a little bit blissful. I woke up at 9, put my head down again and somehow it was midday. It the best and first sleep I have had at home, at the weekend for about 6 weeks. WONDERFUL.

Anyway, I am in pyjamas, eating toast, posting nonsense on twitter et al and reading my way round the confusing myriad of articles and comments on the current state of the arts cuts and funding. Also into that goes the SAU and Scottish highlands research into loans for artists (not sure if that's a good idea or not, but thanks to Susan Jones for highlighting some important points). Lastly I signed up to be an AIR activist and am looking forward to seeing what that involves. After I have made some sense of it all - hopefully - I will have some writing to do!

Over the next three weeks I also plan to get a group of creative types together at Royal Standard to draft a submission to the DCMS inquiry on arts and heritage funding. Was very glad to hear my posting of this on facebook prompted Anna Francis to organise similar with artists in Stoke-on-Trent. Anyone can contribute, so do if you can..."

Continuing Reading at:

a-n.co.uk/artists_talking/projects/single/497389

Jon Fawcett interviewed by Tom Morton

2010-08-06T04:32:00.001-07:00

TM: "Imagine - every paranoid fantasy, every conspiracy theory, every alleged cover-up and government deception, every crank story you've ever heard... it's all true. This is a short description of the central premise of Grant Morrison's epic comic book series "The Invisibles" (1994-2000), but it might also go some way in some way to describing one of the central concerns of your work, is that fair?"

JF: "Let's just say I believe that an open door is much better than a closed one. In fact I think it's important - someone who door is closed can be described as someone who is socially controlled if reality is small and simple, then the powerful are all powerful and satisfaction is gained from a limited spectrum of socially and politically important activities and if you look, there definitely a lot of very disturbing and weird material out there. I am interested in reality - as opposed to the comedy - of this stuff. But, I am also fairly rational about it - I have definitely come across a few people who have strayed quite clearly into delusional, I think even they have a relevance - at least they show an attempt at exploratory thinking. Overall if someone thinks or writes convincingly and their evidence appears sound, I opt to believe them. I also know how much can be fabricated - the next level is to look at motivations behind various fictions woven around us - are the conspiracy theorists' fictions more believable, or those of the anti-conspiracy theorists/conspiracists."

TM: "The reality as opposed to the comedy of things - that's an interesting opposition. I'm not sure whether you mean comedy in the Classical Greek sense, or the 'Terry and June' sense, or something else entirely."

JF: "Just the 'Terry and June' sense! There have been a number of artists who engaged with conspiracy theory material in a light hearted critical way. My own engagement with this material as part of a broader research agenda. If one were to expand notions of context to the point where one was making art in terms of the world, one first has to answer the question 'What is the world?'. I began by looking at buisness, politics and law and before I knew it was swept away with the huge amount of conspiracy related material out there. But I am not seeking to lay down an agenda, rather to acknowledge a broader, non-institutional 'wiki-reality' - know of us really know much, a lot of our knowledge is constructed and much of this construction has substantial institutional influence. The question then is why and more importantly where to now?"

TM: "In your 2007 video work 'Wheel' three men carry, assemble and operate a mysterious device in a number of locations in the Ecuadorian Andes. This object (which you have displayed in gallery spaces, along with it's flight case) resembles a cross between a Philip King sculture and one of the robots overlords in the BBC's dystopian children's drama 'The Tripods' (1984-85) The Wheel's function is never disclosed, rather like a dangling plot device in 'Lost' (2004-2010). How central is this non-disclosure to the piece?"

JF: "Fundamental. Although I propose it is not as obtuse as it appears. There are avenues, directions to travel down. There is information, it's just not the kind which offers instantaneous satisfaction. It is important that my work takes someone somewhere and then leaves them there. Then anything they discover on their way Home is theirs, not mine."

www.jonfawcett.com
This interview continues in the A Bulletin-Issue Six.

VBS.TV

2010-08-04T03:56:00.000-07:00

Pszemek Dzienis

2010-08-03T04:53:00.000-07:00

pszemekdzienis.com

To-Be // Tokyo + Berlin - Communication Art 2010

2010-07-30T12:11:00.000-07:00

Potsdamer Straße 91
10785 Berlin
7th 29 August 2010
www.freies-museum.com

Curated by Tatsumi Orimoto and Thomas von Arx.

Tomohiro Hatori, Tamaki Kawaguchi, Susumu Kinoshita, Tomoko Kofuneko, Masami Kondo, Midori Mitamura, Noritoshi Motoda, Izumi Ooshi, Tatsumi Orimoto, Chieo Senzaki, Tadayuki Shimada, Mio Shirai, Hiroshi Suzuki, Nobuki Yamamoto, Thomas von Arx, Anna Barth, Thomas Dzieran, Kai-Olaf Hesse, Frank Benno Junghanns, Stefan Kreide, Stefan Rueff, Antonio Santin, Ulrike Solbrig, Caro Suerkemper, Peter Unsicker, Juan Varela, Dana Widawski, Regula Zink

The multidisciplinary exhibition To–Be highlights works by 28 artists from Japan and Germany, who research spheres of common ground in the „Being and Becoming“ in both cultures. To–Be is a joint venture based on an open-minded concept by the artists Tatsumi Orimoto and Thomas von Arx. The exhibition is a collective working process between the artists without any instructions from a curator, to create space for developments and conversations reaching beyond the scope of an exhibition. Starting point of this project was a gathering of 19 younger and more experienced artists in the summer of 2009 in Tokyo, who portrayed renowned and emerging positions. The project gains a remarkable dynamic through the conjunction of very differently inspired societies and their individual perceptions of art.

Art as a communication-engine is in this sense connecting and moving independent strategies of exchange and relations. This activating process is an essential aspect of the exhibition: creating an artist-driven „open stage“, that allows and develops inspiring collaborations between cultures, the arts, the artists and the audience. For this project the artists from Japan and Germany will get together in Berlin for two weeks in August. Among them internationally established Japanese artists such as Susumu Kinoshita, Masami Kondo, Tatsumi Orimoto, Chieo Senzaki, Tadayuki Shimada, and Mio Shirai

Meschac Gaba interviewed by Lorenzo Fusi.

2010-07-28T07:04:00.000-07:00

Touched 2010: Lorenzo Fusi Interviews Meschac Gaba from Liverpool Biennial on Vimeo.

Florian Bielefeldt

2010-07-26T04:21:00.000-07:00

In the hopelessness of this crumbling to ashes golden age of confusion, despite all adversities places of love and happiness. This to avoid it is worthwhile to take the road to Arsenal and there these days, the ongoing Bruce LaBruce retrospective look. If you, gentle reader, following my advice you gather in the arsenal - although you must you tap on the shoulder, as you now, at least once in your life what have you done right - then you not afraid and I keep this moment and let you stand before the photographs in the foyer. By Susanne on Sachsse on one and the same image may be consolation and courage creates in the same breath. Then you still call to mind that I have made this stand, and my blessing will not miss you. So on to the Arsenal! And if you do not believe it but then peep here:

www.florianbielefeldt.de

Tatsumi Orimoto - BBC Cornwall

2010-07-23T04:47:00.001-07:00

Japanese artist Tatsumi Orimoto surprised shoppers in Penzance when he made one of his famous Breadman performances in the town. Central to this performance is his use of bread, as Orimoto and other participants become living sculptures. Their heads and faces are covered with bundles of baguettes which are then tied with string. Onlookers stopped and stared as Orimoto led his band of assistants through the town centre.

Starting at The Exchange Gallery, the Breadman will led a tour of tourist sites through the centre of Penzance, stopping for photo opportunities and offering bread to the public. The use of bread is multi-layered, with associations ranging from its function as a staple of the western diet, to connotations of consumerism and poverty, or its meaning in Christian iconography as an emblem of sharing on the one hand and sacrifice on the other.

The focus of his exhibition at the Newlyn Exchange Gallery, Penzance 'Live in Translation' is the work made in partnership with his mother, Art Mama, who he has nursed full-time since she developed Alzheimer's. The exhibition features video, performance and photographic works from his archive such as, Bread Man with Mama, Art Mama: Big Shoes, and Mama in the Box, which span from the 1980s to the present.

The Art Mama series documents the physical and mental decline of his mother, Odei.
The artist lives and works with his mother in Kawasaki City, Japan.

photos by Julia Waugh.

news.bbc.co.uk/local/cornwall/hi/people_and_places/arts_and_culture/newsid_8821000/8821883.stm

Tatsumi Orimoto - Breadman Performance Liverpool.

2010-07-23T04:43:00.000-07:00

photos by Julia Waugh.

More images at:
www.artinliverpool.com/blog/2010/07/photoblog-tatsumi-orimoto-bread-man-performance/#respond

Tatsumi Orimoto - 30 Grandmas Performance

2010-07-22T08:38:00.000-07:00

photos by Julia Waugh.

Artur Żmijewski - Artist's Workshop

2010-07-21T03:19:00.000-07:00

photos by Julia Waugh.

Tatsumi Orimoto - An Interview

2010-07-20T06:55:00.000-07:00

The exhibition at A Foundation Liverpool celebrates the unique relationship Tatsumi Orimoto has developed with the mediums of translation which allow audiences to become participants in his artworks. An early pioneer of what was to become known as "relational aesthetics', he used the camera as a way of taking art into the public realm and inviting the people to become essential actors in new artworks. In the era of flashmobs and instant imaging his strategy of taking art to the people seems like a prophetic paradigm. Also significant is that they show the importance of pictures in the construction of the memory of events. In order to hold onto our experiences we have to become producers of our own mythology. Through his legendary Bread Man persona Orimoto has traveled the world and featured in numerous biennials from Sydney to Venice. His motto might be: "All you need is Bread", but A Foundation asked him about his life and work:

AF: You have exhibited at the most prestiguous Museums and international biennials and triennials including Venice, Sharjah, São Paulo and Sydney. Some people might let this go to their heads, but you keep the Fluxus ideals of simplicity and playfulness in your work and use cheap materials like bread and discarded dolls, are you not tempted to make the Big Shoes your mother wore on brass or gold?

TO: I always use cheap materials especially in sculptural works - disposed cardboard boxes, newspaper that have been read, the cheapest bread, letter boxes from demolished houses. I have heard a story: the manager of a team collected players who were fired due to their age. He gave them "one more chance", the players were revived by acknowledgment of their "last chance" and they produced great results. I would like to give "the last chance" to these materials that are left as useless and waiting to be burnt. They can be useful "one more time" in my work.

My mother is 91 years old and has become unable to work by herself. Perhaps, the worldview may be tougher on her existence, but she looks glorious in my work! I never considered making the Big Shoes in gold.

AF: Before it became fashionable to talk about relational aesthetics and audience engagement with artworks, you were a pioneer of this style of making art with your series, Event Communication. It seems that you wanted to offer the public the surprise of artwork outside of museum. Why did you take your art to the public?

TO: Shortly after I came back from New York in 1991, there was a rent based gallery called Gallery K who invited me to do a performance. The genre was hardly known by Japanese audiences at the time. Bread Man was organised with another person, but only 3 visitors came. Then, I thought, there is no point in waiting for the audience to understand. So, I brought 2 Bread Man out of the city on the next day and this was the very beginning of Bread Man series outdoors.

Ever since, I realised that the artworks do not have to be presented inside the white cube of museums or galleries. Instead I can spread out into public space, train stations, streets, cafes, restaurants, hospitals, markets etc. This is also developed my thinking why don't I make artworks through communication and documenting audience reactions who are not only Japanese or wealthy, but reaching our to the poor all over the world.

AF: You studied at the Institute Of Art in California in 1969, which must have been fun, but what did you think of the West Coast Art scene, were there artists who you thought inspirational?

TO: I failed the entrance exam of Tokyo University Of Arts 7 times and there was nowhere to go. So I went across to the US and luckily I got in to the Institute Of Art. But LA in the 60s had such nice weather, warm, hardly raining and I only wore one t-shirt with a pair of trousers. people drank beer from lunchtime with no sign of motivation in the university. Now we can tell famous people graduated such as Paul McCarthy and Mike Kelly, but I felt somewhere with nice weather without much energy in life cannot produce art any art. There was nobody inspirational at the time and my teacher told me why don't I move to an exciting city like New York, so I left LA to New York after over 1 year.

AF: After you graduated you were an assistant to Nam June Paik which introduced you to the art scene in New York, but also gave you experience of using new materials such as video, which was hot new technology at the time. Was his experimental and humorous approach contagious for you as a young artist?

TO: When I moved to New York, Nam June Paik was selling the studio, so I bought it off him even though it was a dark and dingy place. My studio was on the third floor, but the second floor was the exhibition space for Fluxus group. Paik had just started his video art, he was learning as the worked in the educational programme department in TV broadcast company, he produced his works there. So I would say I learned performance art from Nam June Paik, as well as taking his old studio space - I would say it taught me a lot by seeing performance by Fluxus artists, Arman, George and Gilbert and Joseph Beuys and thought, "right this is what the performance art is".

www.dna-galerie.de

This interview continues in the A Bulletin-Issue Six.

Tatsumi Orimoto - Live In Translation

2010-07-03T09:57:00.000-07:00

Tatsumi Orimoto
A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY
3 July - 14 August 2010

Showing in partnership with:
The Exchange
Princes Street
Penzance
Cornwall
TR18 2NL
10 July – 18 September 2010
www.newlynartgallery.co.uk

50 Grandmamas Performance 5pm, 3 July 2010 at A Foundation Liverpool

This exhibition, split across two sites, brings into focus the artistic metamorphosis of works made by Japanese artist Tatsumi Orimoto. The exhibitions feature video, performance and photographic works from his archive such as, Pull to Ear, Bread Man and Walking in a Street while Wearing a Carton Box on my Feet and span from 1972 to the present. In Liverpool Orimoto will stage the performance 50 Grandmamas. He will also make Bread Man performances in Liverpool & Penzance.

Live In Translation celebrates the unique relationship Orimoto has developed to the mediums of translation which allow audiences to become participants in his artworks. An early pioneer of what was to become known as relational aesthetics, he used the camera as a way of taking art into the public realm and invite the public to become essential actors in new artworks. In the era of flashmobs and instant imaging his strategy of taking art to the people seems like a prophetic paradigm. Also significant is that they show the importance of images in the construction of the memory of events. In order to hold onto our experiences we have to become producers of our own mythology. Through his legendary Breadman persona Orimoto has traveled the world and featured in numerous biennials from Sydney to Venice.

However this relationship between performance, memory and image is most moving in his later series of works that feature his mother. The Art Mama series has captured the imagination as it provides an insight into ways in which the artist has taken a universal issue that affects society and turned it into inspiration for an ongoing portrait of our relationship to self-image and aging. With works such as, Mama in the Box and Art Mama: Big Shoes by Art Mama, Orimoto has ensured art is not allowed to drift far from the lived reality of most people.

At A Foundation Liverpool for the first time in the UK we will also show Tatsumi Orimoto's drawings. These are a series of radical animations of his imaginings, and of the narratives of his creative process. These sketches are full of wild energy, exuberant sexuality and ludicrous incongruity. But look closer and you can also see the design and emergence of key new performances such as Punishment.

The Exchange, Penzance 10 July – 18 September 2010, Open Monday to Saturday 10am – 5pm. Please visit The Exchange website for further info.

Jon Fawcett - Hearts and Minds

2010-07-01T04:29:00.000-07:00

A Foundation
67 Greenland Street
Liverpool L1 OBY
2 July - 14 August 2010

At 5pm on 3rd July 2010, there will be an action with Blessor, a specially designed unmanned arial vehicle.

The works of artist Jon Fawcett exhibited in the Blade Galleries are a series that test the interfaces between the boundaries of artistic production, dissemination and reception. The inventory of materials used in his works reads like a crossword puzzle made from the remains of the remixed narratives of JG Ballard and Philip K Dick. In a near future moment; an artist wakes in a lucid dream. His ideas have become avatars in a work of art sponsored by the CIA. The viewer is invited into this liminal space to unravel the threads and read blogs posted by others who have had supernatural experiences.

Fawcett’s use of extensive research into tropes of conspiracy and media cults have allowed him to bring into focus the fuzzy logic of new age mysticism that is proliferating in the era of networked consciousness. His sculptures, video and performances exude a menacing technical precision and seduce with a spectrum of alluring colours but these are aesthetic camouflage to cloak ideas that question the nature of the mediated reality or as the artist says, ‘a fabric of contemporary mythologies.’ In this delicate weave in which ephemeral ideas become locked into the history of material technologies from surveillance drones to kevlar weave, the artist uses strategies that simulate those which have become common in the uncanny world in which we live, paralleling activities such as business, politics and war, and operating on a dispersed, global scale.

Visit www.jonfawcett.com for further information

Exhibition supported by: Cut Laser Cut, Metropolitan Works and Nextgen

Artur Żmijewski - Following Bauhaus

2010-06-28T05:58:00.000-07:00

Following Bauhaus
A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY

2 July - 14 August 2010

A Foundation presents Artur Żmijewski’s first new work produced in the UK, Following Bauhaus, created during a residency within the culturally and politically resonant city of Liverpool.

A Foundation invited Zmijewski to explore the social stratification of ‘art’, and after a series of initial meetings with the various groups of people that make up the city’s art community he set up a ‘pop-up art school’ that would attempt to explore this ‘something’ called art and to reconfigure art’s relationship to the wider society. Hosted by the existing School of Fine Art and Design at Liverpool John Moores University, the pop-up school was modelled on the Bauhaus, established in Weimar by Walter Gropius in 1919. The Bauhaus explored a total meltdown of aesthetics and function, revolutionising art training through the notion that design should not merely reflect society but positively influence it. Żmijewski states “Eighty years ago the Bauhaus school invented a new visual reality – I would like to re-attempt this today. It is probably an impossible task, but that is why it is interesting.”

Żmijewski is well known for his use of the workshop as a site to explore social and political stratification. Solutions are never guaranteed, but the journeys are both compelling and revealing. In Liverpool, techniques frequently utilised at the Bauhaus such as drawing using both hands, presenting colour by the posture of the body and collective building became the conduit through which participants were encouraged to analyse their relationship to art, and to each other. Zmijewski and other visiting artists, including Pawel Althamer took the roles of ‘masters’ and ‘journeymen’ for the pop-up school while conscripts from the Art School became ‘apprentices’ - who probably got more than they bargained for but doubtless had an experience that will transform their perspective on the place of art in society.

The final installation in the Furnace at A Foundation will combine a new video work documenting the project along with materials produced during its production.

Workshops
Students of the temporary art school set up as part of Żmijewski’s Liverpool Commission, ‘Following Bauhaus’, will be holding a series of workshops at A Foundation Liverpool to complete the circle of their Bauhaus experience. Żmijewski’s apprentices will become ‘master’s’ leading workshops in movement and dance; architectural modeling; stone carving and graphic design. Places are free but numbers will be limited so contact the gallery to book a place.

Artist Workshops 3 July 2010, 1-5pm, Booking essential. Please email info@afoundation.org.uk or call 0151 706 0600.

Persistence of Vision - FACT

2010-06-25T05:21:00.000-07:00

Exploring the nature of vision and memory
FACT
88 Wood Street
Liverpool
L14DQ
until – 30 August
www.fact.co.uk

Informed by scientific research and inspired by historical developments in media technology, Persistence of Vision explores the interplay of vision, memory and media. The exhibition presents contemporary artists’ works that repurpose current image technologies, as well as those of our recent past, to playfully review and re-imagine the devices through which our memories are stored and revived. A family friendly drop in space in FACT’s Media Lounge will provide hands-on activities where visitors can experience how seeing is shaped by memory, and how memory is inﬂuenced by how and what we see.

Curated by Karen Newman (FACT) and Andreas Brøgger (Nikolaj Copenhagen Contemporary Art Center, Denmark).

Exhibition delivered in partnership with Nikolaj Copenhagen Contemporary Art Center, Denmark.

Studio East Dining by Bistrotheque

2010-06-24T05:24:00.000-07:00

Studio East Dining by Bistrotheque
Architecture by Carmody Groarke

until - 4 JULY 2010
Dinner 7 for 7.30pm Wednesday to Saturday
Lunch 12 for 12.30pm Friday and Sunday*

London's most amazing rooftop dining experience; Bistrotheque opens a 3 week temporary dining room, and pavilion designed by Carmody Groarke, perched 35m atop Westfield Stratford City's 1.9 million sq ft site, overlooking the Olympic Stadium and Zaha Hadid's 2012 Aquatics Center.

A fast build with a life span of just 3 weeks, weighing 70 tons, it is constructed from hired materials borrowed from the existing construction site, including: 2000 scaffolding boards, 3500 scaffolding poles, and reclaimed timber, used to create the walls and floors of the 800 square metre dining space. The cladding material which encases the roof, is a semi-translucent membrane, using industrial grade heat retractable polyethylene, all returned to the site afterwards and recycled without any waste.

Luke Jerram - Infectious Beauty

2010-06-22T04:24:00.000-07:00

Heller Gallery
420 West 14th St.
New York
NY 10014
until – July 31 2010

www.hellergallery.com

Designed in consultation with virologist Dr. Andrew Davidson from the University of Bristol in England, using a combination of different scientific photographs and models, the sculptures were made in collaboration with a team of specialized scientific glassblowers. Through them the artist reveals the fascinating tension between something that is unusually beautiful but which is also extremely dangerous and plaguing humanity.

Luke Jerram is an inventor, a researcher, an amateur scientist and a multidisciplinary artist. Currently he is a Research Fellow at the University of Southampton, England.

Jerram is the recipient of numerous awards and grants and his extraordinary projects and installations have won acclaim in cities around the world.

Switzerland: Design For Life

2010-06-17T05:15:00.001-07:00

A Celebration of Swiss design culture
A Foundation London
Rochelle School
Arnold Circus
London E2 7ES

19 June - 1 July,
Monday - Saturday 11am - 5pm,
Sunday 12pm - 5pm.
Admission Free

Showcasing 22 young designers and design studios presenting cutting edge aesthetic innovation from Switzerland.

The exhibition features the work of twelve of Switzerland’s most talented young designers: Laurent Benner, Alexandre Bettler, Kueng Caputo, Zak Kyes, Jurg Lehni, Urs Lehni & Lex Trub, Loris & Livia, Elena Rendina and Regis Tosetti. In a continuation of an exceptional heritage, these forward thinking designers produce innovative, fresh ways of working, creating projects that move across disciplines; by making furniture, designing books and organizing events.

The exhibition will also explore how Switzerland‘s identity has changed through the decades, concentrating on the key design periods that were pivotal in Swiss poster art. For decades, the Swiss created beautiful illustrated posters, the exhibition will display 10 of these most influential and striking Vintage posters alongside 10 newly created works by contemporary designers.

Cian O’Neill and Bethan McFadden

2010-06-15T02:26:00.001-07:00

In The Between
12 JUNE - 3 JULY 2010

The Horse Hospital
Colonnade
Bloomsbury
London WC1N 1JD
ARTIST RECEPTION: FRIDAY 11TH JUNE FROM 7:30PM
EXHIBITION: MON – SAT, 12 – 6PM

www.thehorsehospital.com

With a mutual interest in the study of physical architecture and the aesthetics of anatomical form, Cian O’Neill and Bethan McFadden present a series of works exploring the interplay of death with birth upon the boundaries of the beautiful and the macabre. Employing elements of portraiture and fluidity of movement, these works in pencil and oil on canvas invite the viewer to enter into a space where light rises from darkness and form from distortion, to participate in a conjoining of opposites that is both playful and challenging.

Central St Martins MA Communication Design Degree Show

2010-06-09T08:06:00.000-07:00

9-12 June, 12-8pm
(6pm on 12 June)
A Foundation London
Rochelle School
Arnold Circus
London E2 7ES

www.csm.arts.ac.uk

Michael Raedecker

2010-06-07T06:04:00.000-07:00

Galerie Max Hetzler
Oudenarder Straße 16-20
D-13347 Berlin

June 11 - July 17, 2010

www.maxhetzler.com

Since the 90s, Michael Raedecker deals primarily with traditional genres such as landscape, still life, architecture and interiors. His painting combines an extraordinary way with the art of embroidery, sewing and Special Sensors, brings thoughtful and contrasting works. In our increasingly dominated by electronic media time Raedecker work lives something deeply melancholic held.

The starting point is apparently known sites: Deserted Landscapes, lonely or abandoned houses interiors that help, because all of them coming from our collective memory, recognition and access to Michael Raedecker work.

Not infrequently, there is the sense of an unfulfilled, utopian promises. In other images, in turn, the material on the subject: clothes, towels, linen and lace are presented simultaneously and in real terms used in the factory. The titles of the works are usually very cautious and point to common memories and experiences.

The images often seem reduced and sketchy, much of the surface seem scratched, faded or erased like. Color, types of yarn and other materials to counteract each other. Embroidered lines serve the accentuation of "bleeding drops or splashes of color and keep the picture in balance between chance and design.

The different realities that Raedecker designs in his works unfold a compelling interplay of closeness and distance. Nor can the artist's preferred medium, the embroidery, reading as a commentary on much more conceptual positions and also proving to be interesting links between High and Low Art generosity and freedom mark the oeuvre of Michael Raedecker.

Ming Wong - Life of Imitation

2010-06-03T09:15:00.000-07:00

In Life of Imitation
Singapore Art Museum
71 Bras Basah Road
Singapore
22 April 2010 to 22 August 2010
www.singaporeartmuseum.sg/exhibitions/details.php?id=45

www.mingwong.org

Life of Imitation:, Ming Wong re-visits the context of the Golden Age of Singapore cinema in the 1950s and 60s; an era of nation building, economic struggle and rapid modernisation.

Inspired by the rich legacy, Wong re-reads “national cinema” constructed through language, role-playing and identity, by re-interpreting films that are familiar to audiences spanning two generations, and which engage with performative notions of mis-casting and parroting. The first is a compendium of works by P. Ramlee, the wunderkind of Malay cinema. The second is the Hollywood melodrama Imitation of Life (1959) by Douglas Sirk about a black mother and her “white” daughter. The third is Wong Kar Wai’s In the Mood for Love (2000) with actress Maggie Cheung rehearsing a scene where she confronts her spouse‘s infidelity.

Through these video interventions, the viewer is presented with questions relating to roots, hybrid and the politics of becoming. The exhibition also unveils cinema posters by Singapore’s last surviving billboard painter; rare screen memorabilia of a private collector; and documentaries by film-maker Sherman Ong. The Singapore Art Museum re-stages this award-winning exhibition with a new design and additional exhibits.

This exhibition was first presented at the Singapore Pavilion, 53rd Venice Biennale 2009. It won the Biennale’s Special Jury Mention award. Tang Fu Kuen is the guest curator of this exhibition.

Sachiko Abe

2010-06-01T04:06:00.000-07:00

photos by Julia Waugh.

Terrance Houle interviewed by Travis Lee Street

2010-05-28T02:46:00.000-07:00

Terrance Houle interviewed by Travis Lee Street for Land Magazine.

www.comeintoland.com/interviews/terrancehoule

Terrance Houle is a contemporary aboriginal artist of Blackfoot and Ojibway descent whose interdisciplinary techniques call attention to the traditional cultures of his heritage in an informative, intelligent and in many instances, humorous way. A superbly talented artist in his own right, Terrance just saw the end of Givn’r, a five year retrospective at the Plug In Institute of Contemporary Art in Winnipeg, Canada which showcased over 70 of his pieces.

As there are already quite a few great articles about him, which I loathe to regurgitate here (like this one for example in Canadian Art or this one in Absolute arts), I thought a nice, informal Bookface chat would be more appropriate... which in itself would be a way to further draw out the juxtaposition of opening a dialogue with an artist whose work centers on age-old traditions, but finds it necessary to utilize the verymost modern technical devices to do so. So, without further ado, my Bookface chat with Terrance Houle.Travis
hey Terrance, you got ten minutes for an interview?
Terrance18:43
hey Travis I do have 15 minutes

Travis 18:43
hey now
what's been happening since the last time we spoke?
that was about four months ago now, im ashamed to say

Terrance 18:44
mm well I went to Thunder Bay for my Givn'r show and did 7 artist talks/tours
lol
just been getting back in the saddle with work starting new series'
currently have work up in fort Simpson NWT at the OPEN SKY Gallery

Travis 18:46
what new ideas are you working on?

Terrance 18:46
well I have a video series I am working on right now that Involves Video Portraits of Residential school attendee's in their favorite place or space

Travis 18:47
what ages?

Terrance 18:48
the ages are from about 50+
so its a feature length video work that I am in the process of right now.
as well I am starting the national Indian Leg Wrestling League
I have an upcoming show with Rebecca Belmore at the OR Gallery in Vancouver opens end of April

Travis 18:49
so... not much going on then...

Terrance 18:50
hahaha
no not really

Travis 18:50
ha! tell me about leg wrestling and this upcoming exhibition
both sound pretty exciting

Terrance 18:51
The show with Rebecca is a two person show curated by Darrin Martin from Vancouver
The works are still kind of in Development for that show
The National Indian Leg Wrestling League is a series of Photo/performance/installation and film works based on Wrestling and Leg Wrestling
I've asked several First Nations Artists to create their Leg Wrestling Identity and I will be creating wrestling costumes
then do portraits of them in classic wrestling Posters of the 50s, 60s, 70s

Travis 18:53
that sounds incredible
we've got to get you over to Liverpool

Terrance 18:53
yea man its pretty amazing stuff
ive been basing them off old wrestlers like

Read the rest of the interview at:
www.comeintoland.com/interviews/terrancehoule/

Land Magazine

2010-05-28T02:24:00.000-07:00

www.comeintoland.com

Come Into Land is an online magazine, content rich and regularly updated with reviews, pictures of the month, interviews and tune selections.

"^]LAND is in the planning stages for a variety of events in the UK and across the mighty seas in Asia."

A Foundationliverpool's Channel

2010-05-26T01:42:00.000-07:00

www.youtube.com/user/afoundationliverpool

Sydney Biennial: THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age

2010-05-24T01:15:00.001-07:00

Momentum/Forum
International Forum For Contemporary Video Art
New Media and Performance
Adjacent to Carriageworks
231 Wilson Street
Eveleigh
Sydney
NSW

12th - 15th May 2010

Momentum/Forum is a program of talks around the dissemination and circulation of non-object based practices that also re-thinks the art fair as a whole.

Collectors Panel: Tony Bond, Geoffrey Cassidy, Rhanna Devenport, Stuart Evans, Dick Quan, Johnnie Walker and Mark Waugh

photo by Julia Waugh.

The Red Mansion Art Prize

2010-05-21T04:10:00.000-07:00

A Foundation London
Rochelle School & Club Row
Arnold Circus
London E2 7ES

13 – 23 May 2010
Exhibition of winners’ works.

The Red Mansion Art Prize was established to promote artistic exchange between China and the UK.

The 2009 panel of Judges was composed of Iwona Blaswick (Director of Whitechapel Gallery), Patricia Bickers (Editor of Art Monthly magazine), Katie Patterson (Artist and recent graduate of the Slade School of Fine Art) and Nicolette Kwok (Director of The Red Mansion Foundation).

The Winners of the 2009 prize are: Saad Ahmed Qureshi, Elizabeth Porter, Esmerelda Valencia, Una Knox, Keh Ng, Pippa Gatty and Sabina Donnelly.

Open Daily, 12-6pm, Free Admission

www.redmansion.co.uk/artprize/artprize.htm

Light Night LIverpool.

2010-05-13T17:45:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool L1 0BY

Friday 14 May 2010
Until 2am
Admission Free

During Liverpool's Light Night, A Foundation's galleries will be open until 10pm giving visitors an extended opportunity to enjoy The Economy of the Gift, Saatchi Online: Northern Stars and the exhibition of work produced by A Curriculum's artists in residence.

As if this wasn't enough, from 10pm until 2am we will continue our after hours entertainment with live music and performances in our café bar. Acts include:

David Hoyle: David is a performance artist whose career has included stage, television, radio and film. In 2000 David killed off his alter ego, The Divine David, at an ice pageant at Streatham International Ice Rink. Since then he has continued to perform under his own name as a self-appointed Patron Saint to paranoid schizophrenics, aesthetes and the disenfranchised. David will be coming to Liverpool in the middle of a busy schedule to entertain the crowd throughout the night as MC and to conduct his Healing Seminar, spreading the gospel of equality and love. In his own words "in a world of artifice, at last some authenticity".

Acoustic set from Liverpool-based musician Simon Knighton.

Music from Liverpool's self-proclaimed 'pseudo hardcore band that wear hotpants', We Came Out Like Tigers.

And DJ sets from Elome & Trace Element

Exhibitions open:
Tuesday to Saturday 12pm to 6pm, Admission free

A Foundation
67 Greenland Street
Liverpool L1 0BY

Florian Bielefeldt - An Interview

2010-05-05T10:12:00.002-07:00

What is the medium you work in and how are you developing this?: Let me answer through the mouth of Sarah Connor "Everything on this wall stands for something. It is all blood." My way of approaching everyday life is based on the idea that you can not understand reality only by looking at the facts, but by making aware the phantasmatic dimensions or to transit these phantasmatic dimensions. For that I am using a comic based style and create imaginary figures and settings that spread out of the drawing into the room.

Have your ideas around sustainable practice moved in any particular direction over the last year?: Not massively. The engine runs smooth although it went out of fuel before I came to participate in the A Curriculum. Now it is filled again and some applications were installed. Thanks to the talks and presentations during the residency.

How has sharing a studio with 7 other artists informed the work you would show?: Well, I am not sure if you can see that in my work. But sharing the studio was a difficult experience. I enjoyed it much because I got an idea of different work styles. And that helped me to reconsider my own strategies. On the other hand I had the feeling that everybody is watching me all the time - which was obviously not true - but I just had this feeling and that disturbed me a little bit. But I think that was also a worthwhile experience.

Have you ever considered collaboration to produce work ?: I did not collaborate so far. I would like to, but until now it just did not happen. I think if I bump into somebody who shares my ideas it would be great to collaborate.

What is the gift within your work?: I think that it does not rebuff the viewer at first sight.

Who are your audience? :One is called Hans Gruber but I have forgotten the names of the other three, but I wrote it down somewhere. They are friendly and cuddly guys from an NHS-office who I met in the janitors room in the Nakatomi Plaza building.

Have you ever purchased the work of another artist?: I swapped some works with other artists, but I did not buy something so far. It did not really come to my mind. I guess, it is because I see myself more as a producer than a consumer. But to be honest, I never thought it through.

Where do you see yourself in 10 years time?: On a chair still reading "infinite jest" of David Foster Wallace

,

2010-05-05T10:12:00.001-07:00

Katy

2010-05-02T10:06:00.000-07:00

A Curriculum: The Exhibition

2010-04-30T09:54:00.000-07:00

A FOUNDATION LIVERPOOL
67 Greenland Street
Liverpool L1 OBY

Saturday 1 May 2010, 12-6pm
Preview: Friday 30 April, 6-9pm

Florian Bielefeldt, Noel Clueit, Przemek Dzienis, Myles Painter, Hannah Perry, Phil Root, Elizabeth Skadden, Emily Speed.

The A Curriculum artists-in-residence will hold a one-day exhibition to present work made in the two months spent at A Foundation, Liverpool.

During their time on the residency the artists have attended a programme of talks, and received studio visits, by a number of artists and art professionals.
To mark the end of the residency the studios will be returned to their former state as a gallery for a final exhibition.

acurriculum.blogspot.com

photos by Julia Waugh.

Simon Faithfull - Liverpool To Liverpool: Chronicles of an Aimless Journey

2010-04-28T15:09:00.000-07:00

‘Liverpool to Liverpool: Chronicles of an Aimless Journey’ by Simon Faithfull. permanent public artwork at Lime Street Station.

Commissioned with the support of Liverpool Biennial, the 181 drawings are etched into the york stone paving and the glass panels that form the new frontage to Lime Street station. Most of the pieces were unveiled last week and we attended the launch event at St George’s Hall where the artist gave an entertaining and interesting talk about the project.

He started by relating the tale of one of the world’s top singer / songwriters who grew up in Liverpool on the river Mersey, who had a troubled childhood but bought a guitar when he was young and went onto stardom. This of course was Hank Snow the top Country & Western singer who grew up in Liverpool, Nova Scotia the destination for Simon Faithfull who traveled there as a passenger on a container ship from Liverpool, England in 2008.

The new ‘Gateway’ to the station is looking good, much better than the old one and this artwork adds extra interest as you make your way up the steps or ramps.

Traveling by container ship, train and bus, 181 digital drawings record the daily details of a journey from Liverpool (UK) to Liverpool (Nova Scotia). Making an average of six drawings a day, the minutia and randomness of travel is described in a way that builds to become an elliptic graphic essay – describing the dislocation of one person along the historic paths of trade and exodus.

As well as the public artwork there is an accompanying book that collects drawings and writing from the journey together. Liverpool to Liverpool: Chronicles of an Aimless Journey

www.simonfaithfull.org

Berlin and That : An exhibition by Oliver East - The International 3

2010-04-27T04:32:00.000-07:00

The International 3
8 Fairfield st
Manchester
UK
M1 3GF

Exhibition Dates: Sat 1st May – Sat 5th June 2010
Exhibition Opening Times: Wednesday – Saturday 12pm – 5pm

Contributing Artists: Scott Alexander, Gareth Brookes, Chris Butler, Stanley Chow, David Cochrane, Rachael Davies, Joe Devlin, Jenny Discombe, Malcy Duff, Nick Dunn, Clare East, Stuart Edmundson, Dave Garner, Andrew Gannon, Guy Garvey, Annie Gibson, Pete Gilfellon, Tony Gilfellon, Andy Glynn, Liam Guy, Andy Hargreaves, Matthew Houlding, Dean Hughes, Steve Hunt, Emma Jay, Pete Jobson, Karen Jupp, Mia Kiuru, Stuart Kolakovic, Laurence Lane, Gavin Macdonald, David Mackintosh, Steve Manford, Jim Medway, Miquel Navarro, Darren Newman, James O'Hara, Natalie O'Hara,
Lee Patterson, Katie Popperwell, David Price, Magnus Quaife, Maeve Rendle, Jarek Salata, Katel Sevellec, Richard Shields, Sarah Thompson, Chris Thorpe, Steven Tillotson, Daniella Watson, Graham Watson, Jo-anne Wright, Emma Unsworth.

Berlin and That is the second exhibition at The International 3 to feature the work of Manchester based artist Oliver East.

East has made the act of walking the starting point for a practice that ends as a comic book.

Berlin and That is his third book in the series Trains Are…Mint, it sees the artist walking from Berlin’s Alexanderplatz to Frankfurt (Oder) on the Polish border, keeping as close to the train line as he can without trespassing. From memory the journey is then documented with each A3 page being exquisitely rendered in ink and watercolour, recording the mundane and ordinary, the beautiful and extraordinary. For this project Oliver then gave one page each to his friends, artists and non-artists, musicians and pro-drinkers alike, to alter as they please. 52 people collaborated on the book and these 52 pages (a third of the finished book) will be on show.

Each book starts with psychogeography, attempts some social commentary before the inevitable autobiographical elements creep in.

Oliver East started self publishing in 2004 with Looking For Kinder Scout, a guide book, before making his first comic in ’05, The House Of Fire To Black Hill. This was distributed informally, giving them to friends for free in pubs ‘’and such like’’. In ’06 with added colour, the first publication in the Trains Are…Mint Series was born.

Berlin and That is published by Blank Slate Books and will be available form The International 3 at a special exhibition price.

For further information and images please contact Laurence Lane on 07960 038 063.
www.international3.com

Saatchi Online: Northern Stars

2010-04-20T06:52:00.000-07:00

until - 22 May 2010

A Foundation Liverpool
67 Greenland Street
Liverpool
Merseyside
L1 OBY

Northern Stars features the work of 8 artists from the North of Englnad chosen from the 100,000 artists registered on Saatchi Online.

Saatchi Online, the Saatchi Gallery's website founded in 2006 to provide artists with a free platform to show their work to a global audience, will be exhibiting a selection of artists from the north of England. Entitled Northern Stars, the exhibition will present an outstanding range of work, including painting, photography and sculpture.

In keeping with Saatchi Online's mission to democratise the traditional hierarchies of the art world and give artists access to collectors for their work, Northern Stars features the work of 8 artists chosen from the 100,000 artists registered on Saatchi Online. All the works in Northern Stars will be for sale.

They are: Michael Branthwaite, Fiona Curran, Aidan Doherty, Jonathan Legge, Amy Moffat, Ruth Murray, Karl de Vroomen and Simon Withers.

www.saatchi-gallery.co.uk/saatchi_online_index.htm

The Economy of the Gift

2010-04-14T08:20:00.000-07:00

A Foundation Liverpool
67 Greenland Street
Liverpool L1 OBY
until 22 May 2010

Exhibiting artists:   Eric Bainbridge,  Brass Art, Geta Bratescu,  Elodie Pong , Jacob Dahlgren,  Mark Harasimowicz,  Rebecca Lennon and  Shaun O’ Dell.

The Economy of the Gift offers a unique experience for contemporary collectors in search of a boutique scaled art fair. It will present eight artists and eight galleries curated by Ticiana Correa and explore the idea of value in a time of market crisis.

The Economy of the Gift has been designed to build on the cultural legacy of Liverpool’s role as European Capital of Culture in 2008 and will be an annual affair.

Four English galleries from outside the London Orbital were asked to select four international partners. Participants then select an artist represented by their partner. In this process a discourse is created at which the concept of the gift is at the heart of the exchange.

Participating galleries are:
Andréhn-Schiptjenko, Stockholm
Bureau, Manchester
Ceri Hand Gallery, Liverpool
Freymond-Guth & Co Fine Arts, Zurich
The International 3, Manchester
Ivan Gallery, Bucharest
Jack Hanley Gallery, San Francisco, New York
Workplace Gallery, Gateshead

The Collectors Salon at The Economy of the Gift

2010-04-14T08:17:00.000-07:00

Part 1 – Collecting across a new Europe.

Salon participants:
Johann Novack, DNA Galerie, Berlin
Anna-Catherine Gebbers, free-lance curator, Berlin
Mariana Vassileva, artist living in Berlin
Magda Radu curator at The National Museum of Contemporary Art, Bucharest
Marian Ivan, Director, Ivan Gallery, Bucharest

Part 2 – Collecting, a passionate commitment?

Salon Participants:
Paul Hobson, Contemporary Art Society, London
Tim Eastop, The Collective, London
Eric Bainbridge, artist, London and Sunderland
Leila Aitken, Ceri Hand, Liverpool

The Collectors Salon is an opportunity to explore issues that seem to define the current markets in contemporary art in the aftermath of the economic crisis but perhaps more significantly in a world still bound to complex ideological spectres and confused about who should collect art. Mark Waugh, Executive Director A Foundation, will chair the panels.

The Economy series is supported by: Arts Council England, Liverpool City Council, North West Development Agency, Romanian Cultural Institute, Embassy of Sweden, Swiss Cultural Institute and Saatchi Online.

photos by Julia Waugh.

Birch bark biting

2010-04-01T06:45:00.001-07:00

Elizabeth Skadden

2010-03-23T11:40:00.000-07:00

www.elizabethskadden.com

"What can we learn in documenting the passing of the present? My work resurrects forgotten cultures and hidden spaces in the form of installation, film, and GPS projects. This interest has compelled me to explore abandoned buildings, all formats of analog media, and the corner lot. These spaces and mediums unintentionally hold imprints of our culture. The first-hand works of the Greek poetess Sappho are largely destroyed. yet citations in other ancient writers have brought her works to modernity. Likewise, my work rescues a scrap of a dead medium or preserves a lost space by engaging it again with the present."

Noel Clueit

2010-03-22T02:14:00.000-07:00

ncncncinc.blogspot.com

"Recent work has begun to look towards our cultural attachment to modern symbols / icons / monuments, the function of objects and the way in which we perceive signs . I am also interested in the point where art meets with commodity, operating within the skewed value systems of modern culture where art comes to exist as a commodity itself - that art itself must offer answers. For everything. Popular culture is constructed on hopeless ideals, the utopian ideals of modernism have become scratched, glitched, forever repeating... Through the careful choice and manipulation of materials I seek to explore the shift and erosion of taste and value within contemporary culture – this manifests in work that exists as a reference to it's own supposed existence - sculptures that are proposals for themselves, hand drawn neon lights and hand made design objects. They are studies for a proper version – sampled, ready made, remixed, left open ended and exposed."

Philip Root

2010-03-19T03:35:00.000-07:00

www.philiproot.co.uk

"The installations and happenings I create give form to an event where the paintings become objects, creating a structure which holds itself together through composition and colour. Landscapes form themselves out of still lives, the edge of the table becomes a horizon, an orange the sun. The canvas is divided into halves, thirds, the painting is always fluid and ever changing, through deconstruction and erasure the painting constantly remains in a state of flux. The subject of the work revolves around my own fascinations with human nature, we put faith into objects and then imbue them with a different sense of purpose or meaning, they change from something ordinary to something significant. This recently bought me onto the idea of clairvoyance and the Victorian invention of the séance and tarot, stemming from earlier works exploring pagan worship."

Hannah Perry

2010-03-18T03:15:00.000-07:00

www.hannahperry.com

"Ritualistic aspects of society are presented through connotation, looking at things like anthems, attitude and fashion. Such predispositions of modern culture serve as a visual communication. The naturalized and seemingly predetermined meanings of signs, symbols and objects are understood as nuanced and subjective, allowing my work to provoke an ambiguous sentiment rather than a direct opinion. I unapologetically draw heavily from popular culture, using juxtaposition, collage and montage to synthesize a variety of inspirations from some unlikely places. Personal clips and images are mixed with found footage from popular culture leading to a strong trashy aesthetic that is an often crude but somehow romantic take on British culture."

Emily Speed

2010-03-17T03:07:00.000-07:00

www.emilyspeed.co.uk

"My work, which comprises installations, drawings, artists’ books and sculptures, often seems to exist in an in-between state where it can be difficult to ascertain whether works are in a half-built or half-derelict state. These are often lonely, isolated structures, with a seemingly short life; shelters offering the briefest respite, and storage that can hold only the smallest, lightest items. The dependency of the work on the environment in which it is built and shown is also something that interests me greatly; my work is often balanced, propped, wedged or held together through tension and I often work site-specifically."

Florian Bielefeldt

2010-03-16T03:28:00.001-07:00

"Stylistically I am orientated at the asthetics of comics. This circumstance represents a meaningful - if not even the only meaningful - contemporary offer on the field of drawings. In my opinion the drastic exaggeration in represantation and narration is characteristic for comics. Something which is still laughed at as "trash" though meanwhile having already received the honours of art is the over-affirmation of symbolic order of the outer powers through the individual inner with the unarticulated wish to nectarize this traumatic relationship, ergo to make it enjoyable. That is why the aesthetic of comics may well fit in our present."

Myles Painter

2010-03-15T02:48:00.000-07:00

www.mylespainter.com

"The architecture with which I am concerned is the kind of architecture that offers up stories of its history and present incarnation through its inhabitation and social relevance. From this I aim to re-represent and transform the information discovered by research into suggestions of alternate spatial narratives through means of any medium that I feel is relevant. My practice employs the role of a conversation or story, whether imagined, fictional or genuine, between the inhabitant and their space."

Przemek Dzienis

2010-03-11T03:40:00.000-08:00

A series of photographic portraits.

A CURRICULUM: A FOUNDATION ARTIST RESIDENCY

2010-03-10T02:22:00.000-08:00

A CURRICULUM: A FOUNDATION ARTIST RESIDENCY
The A Curriculum
A Foundation Liverpool
The Blade Factory
Greenland Street
Liverpool
Merseyside
www.saatchi-gallery.co.uk/acurriculum
Start: 8th March 2010.

Selected Artists:
Florian Bielefeldt, Noel Clueit, Przemek Dzienis, Myles Painter, Hannah Perry, Philip Root, Elizabeth Skadden, Emily Speed.

A Curriculum is an exciting new artists residency programme based at A Foundation in Liverpool. The programme will be scheduled over two months and will include input from visiting artists, curators, gallerists, collectors and commissioners. A Curriculum will give participants the chance to explore a broad range of perspectives which build a picture of the artist within the wider professional context. A Curriculum will shed light on the often under discussed but integral mechanisms of the art world while simultaneously providing a space for dynamic production of new work.

Month 1
Participants have studio time to make work, research and use the A Curriculum Library, which will be stocked with visitor and participant recommended reading/listening/watching material. There will be a dinner for all participating artists on Friday 12th March. There will also be structured sessions introducing the participants' current work. Week three will include an introduction to the curatorial approaches of the key Liverpool Biennial venues.

In the fourth week the first scheduled visits by visiting advisors will be made.

Month 2
During the second month studio time will be interspersed by a series of discussions led by visiting professionals from different areas of the art world (artists, gallerists, collectors, critics, curators and organisers). This will give participating artists the opportunity to gain insight into the different ways of engaging with the art world mechanisms which sustain artists' practice. The discussions will present practical examples of a range of topics including: navigating the art market; public/private collections; teaching and artistic practice; positioning and mediating your work; and public fundraising. The A Curriculum visitors will then carry out one-on-one sessions with each of the residents in their studios about their work.

To conclude the residency there will be one studio open day when A Foundation Greenland Street visitors will have access to the studios.