Tuesday, March 23, 2010

Elizabeth Skadden


"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."

Monday, March 22, 2010

Noel Clueit


"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."

Friday, March 19, 2010

Philip Root


"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."

Thursday, March 18, 2010

Hannah Perry


"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."

Wednesday, March 17, 2010

Emily Speed


"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."

Tuesday, March 16, 2010

Florian Bielefeldt

"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."

Monday, March 15, 2010

Myles Painter


"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."

Thursday, March 11, 2010

Przemek Dzienis

A series of photographic portraits.

Wednesday, March 10, 2010


The A Curriculum
A Foundation Liverpool
The Blade Factory
Greenland Street
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.

Thursday, March 4, 2010

Suki Chan - Jerwood Gallery

For the Sake of the Image
Jerwood Space
171 Union St
3 March – 1 April 2010

For the Sake of the Image investigates the reciprocal relationship between moving image and sound, considering sound not merely as an accompaniment to the moving image but exploring how the force of one multiplies the power of the other.

Featuring the work of emerging artists Asnat Austerlitz, Richard Bevan, Juan Fontanive, Paul O’Kane, Mark Raidpere and Dan Walwin as well as exhibition curator, Suki Chan, this exhibition is the next in the Jerwood Visual Arts Encounters series.

‘The use of sound defines space. It constructs places and narratives that are not necessarily seen. Combined with moving images, sound initiates a particular kind of encounter between the audience and the artwork. From the use of emotive sounds that assist to transport the viewer to a personal space, to incidental sounds which grounds the experience, sound exposes the physicality of the medium or the framework in which the artwork is presented’ Suki Chan, Curator, For the Sake of the Image.


Tuesday, March 2, 2010

Jack Hanley Gallery - Is a Rusted Petticoat Enough to Bring it Down to Earth?

Jack Hanley Gallery
136 Watts
New York
NY 10013

February 06 - March 07 2010