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Title: Stalker
Medium: Digital Photograph
Size: 57 x 38cm
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David
Bate
David Bate will discuss his recent photographic
works in relation to the poetics and politics
of exhibiting images in public. Arguing
that the practice of exhibiting pictures
in public has a specific history, his talk
will suggest that pleasure has a particular
set of roles and functions to play in art
practice and that these need to be negotiated
in a politics of “openness”.
His recent photographic work “Zone”
is based around the theme of the science
fiction story A Roadside Picnic and Andrei
Tarkovsky’s 1979 film Stalker. “Zone”
is currently on show at London West Gallery,
London and has toured in the UK, Ireland,
France and Belgium. A section of his recent
work on Las Vegas called “DeRealization”
is currently on show in the Fantastic Realism
exhibition at the Tallin Art Hall, Estonia.
David Bate is an artist, writer and Course
Leader of the MA Photographic Studies at
the University of Westminster, London. His
visual work has been shown widely in contemporary
galleries and his writings published in
such journals as Afterimage, Creative Camera,
and Third Text. His book Photography and
Surrealism: Sexuality, Colonialism and Social
Dissent was published in February this year
by IB Tauris.
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Title:
Medium:
Size: 57 x 38cm
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Kate
Blacker
Kate Blacker was born in England and currently
lives and works in France. She has exhibited
extensively internationally and realised set
design projects for dance, theatre and opera,
as well as public commissions in France and
England. Her work is included in many public
and private collections; The Arts Council
of Great Britain, Tate Britain, the Centre
National d’Art Contemporain, Paris and
the Chase Manhattan Bank..
Her work has explored the relationship of
sculpture to painting and image, cinematic
and scenographic space and architecture and
urban iconography. Portable Glory (as illustrated)
combines the form of columns no longer supporting
a building but a decorative laurel crown;
the pre-fab character of the corrugated metal
and the transportability of otherwise fixed
architectural structures undermine the guaranteed
status of heroic glory.
Recent works include large scale mixed collaborative
projects such as “Because it is there”
which examines the events and achievements
of the first aerial conquest of Mount Everest
in 1933 and their unlikely correlation to
art. In another work “Framed”
made for the Groeninge Museum, Bruges, Blacker
incorporates all the structures of contemporary
fashion, glamour and marketing to illustrate
her hypothesis that the first fashion images
were made by Flemish Primitive artists in
their paintings of the virgin. Depicted wearing
the lavish and elaborate gowns of 15th century
Flanders, the virgin’s iconic image
gives centre stage to the courtly extravagances
combined with the wealthy cloth trade of the
era.
She is currently working on a proposal for
a public commission in a French Lycée.
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Title: Sorry
Medium: Intaglio etching
Size 57 x 38cm
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Pavel Bücler
Pavel Bücler is a Czech-born artist,
teacher and writer, who has been living in
the UK since 1981. In 1997 he was appointed
Research Professor in Art and Design at Manchester
Metropolitan University where much of his
current research concerns the relationship
between art and political culture.
His work evolves around two fundamental concerns:
time and the manipulation of found materials.
Concerned with the distortions of language,
he gives a critical attention to the gaps
in communication, concerned as he is with
the limits of the communicative properties
of visual language. He often addresses the
question of how to communicate the question
of legibility. His art practice, which includes
book projects, installations and photographic
pieces, is very much embedded in his personal
experience as a migrant.
His recent publications include “Somebody’s
got to do it” (Art: What is It Good
For, ed. Dolan Cummings, Institute of Ideas,
2002) and “Saving the Image: Art after
Film” (CCA Glasgow, 2003, co-edited
with Tanya Leighton). He is working with Charles
Esche and Gertrud Sandqvist on a major exhibition,
“Whatever Happened to Social Democracy”
to be shown at the Rooseum, Malmö in
spring 2004.
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Title: Green Chiffon
Pants
Medium: White Silkscreen on Black 6mm
MDF Pannel
Size 57 x 38cm
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Mikey
Cuddihy
Mikey Cuddihy’s paintings inhabit both
public and personal domains. Telephone jottings
- snippets of messages and conversations subconsciously
scribbled down or arrangements to be made
with friends and family - are photocopied
and pasted onto the canvas. Over this, coloured
cut-out shapes derived from these doodles
become leitmotifs for the work, hovering among
painted calligraphic marks in a field of decorative
activity”...
“... with their autobiographical references
and aesthetic lexicon of decorative forms,
Cuddihy’s paintings speak frankly of
the mundanity of the artist’s life.
Her work restages the theatre of domesticity
as a perpetual struggle for harmony between
internal conflicts and external order, the
romantic vision of the artist and the reality
of the individual.”
Mikey Cuddihy has exhibited widely since the
mid 80s. Her work is in a number of collections
including the Arts Council of England, the
Contemporary Art Society and Deutsche Bank.
In 2001 she showed in “East International”,
the “Jerwood Drawing Prize” and
“Abstraction 2001” at Flowers
East, London. She exhibited in “Girl”,
New Art Gallery, Walsall; “Flowers West”,
Los Angeles. She had a solo exhibition “Mikey
Cuddihy New Paintings” at Beaconsfield,
London in 1998.
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Title: Untitled
Medium: Screen print
Size 57 x 38cm
Title: Untitled
Medium: Screen print
Size: 57 x 38cm
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Anne
Eggebert and Polly Gould
Anne Eggebert and Polly Gould make site-specific
installations using photography, video, performance,
sound, and drawing. They explore the history
and architecture of a site, engaging the audience
in a critical appreciation of what may be
forgotten stories. They work with collections,
museums and archives, botanic gardens and
landscapes (both real and imagined).
They began their collaboration in 1999 at
the British Library. Their work In the Botanic
Garden, developed during their 2001 residency
at Cambridge University Botanic Garden, included
video works installed amongst the plant collection
in the glass houses, while Transplantation
took transformed images of the Cambridge garden
to the Royal Botanic Gardens in Sydney, Australia.
In August 2002 they were awarded Arts Council
National Touring Programme funding for Nature
and Nation: Vaster then Empires. Curated by
Eggebert-and-Gould, this is an exhibition,
publication and schools internet project exploring
contested territories - geographical and symbolic;
place and landscape; garden and wilderness;
culture and horticulture.
They have previously shown work in the UK,
Europe and USA, including the Pitt Rivers
Museum, Oxford; the Towner Gallery and Museum;
The Tate St Ives; the Maastricht Natural History
Museum, Holland; and Jacksonville Museum of
Contemporary Art, Florida.
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Title: Sunrise over the Gore Range, Colorado
Medium: Lithography
Size 57 x 38cm
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Dan
Hays
With the paintings of cages in the late nineties,
through to the forest imagery of the last
few years, Dan Hays has been concerned with
the opposition between painted surface and
illusion of depth; abstract play and optical
truth. The futile hope of his paintings has
been to unite a cool systematic technique
with the iconic or atmospheric imagery he
employs.
His painting methods enhance and deconstruct
the patterns and colour screens used by mechanical,
electronic and digital reproduction. Recent
work has been increasingly focussed on landscape
imagery found on an internet site in Colorado,
USA, set up by another Dan Hays.
Dan Hays graduated from Goldsmiths BA in 1990.
He has since had solo exhibitions at Entwistle,
London; Verein Junger Kunst, Germany; Gallery
Zurcher, Paris; Underwood Street, London;
and Laure Genillard, London. He has shown
in numerous international group exhibitions,
and is in several collections including the
Saatchi Collection. He is represented by Entwistle
in London.
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Title: Sounds of War
2003
Medium: Audio CD ROM One track 13.38mins
Size: 14 x 12.5cm
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Jananne
Al-Ani
Born to an Iraqi father and Irish mother,
Jananne Al-Ani moved to Britain at the age
of 13. Her early work explored the construction
of beauty and the representation of the body
in Western Art and much of her work continues
to be influenced in the fetishised female
in Orientalist painting and photography.
Though she has worked extensively as a photographer,
her recent work is primarily in video. Her
videos and installations explore such subjects
as her family’s experience of war, their
feeling of loss and seperation from their
absent father (who remained in Iraq), and
the conventions of Orientalist representations.
Memory and word games act as a starting point
for many of Al-Ani’s recent video works.
Al-Ani has exhibited widely in Britain and
abroad and has had solo shows at Dryphoto
Art Contemporanea, Prato (2002) and the Recontres
Internationales de la Photographie, Arles
(2002).
Recent group exhibitions Beyond East and West:
Seven Transnational Artists at the Krannert
Art Museum, Champaign (2004); Love Affairs
at IFA-Galerie, Stuttgart, touring to Bonn
and Berlin; Alethia: the Real of Concealment
at Goeteborgs Konstmuseum; And the One doesn’t
stir without the Other, Ormeau baths Gallery,
Belfast; Disorientation, Haus Der Kulturen
Der Welt, Berlin and The New Schehrazades,
Centre de Cultura Contemporania de Barcelona
(all 2003).
Al-Ani has also co-curated a number of exhibitions,
most notably, Veil at The New Art Gallery
Walsall which toured nationally.
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Title: After
Morris and Stepanova
Medium: Silk Screen William Morris
emulsion on William Morris hand
printed Wallpaper
Size 57 x 38cm
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David Mabb
David Mabb’s work uses appropriated
images, fabric, wallpaper, photographs or
paintings as his starting point. Fabrics have
been used for their cultural and political
signification. He uses commercially reproduced
copies of William Morris original textiles
and wallpaper and over paints sections of
them, selecting and (re)presenting them like
flowers laid out on a collector’s/botanist’s
specimen tray. These works allude to both
the utopian projects of Modernism and William
Morris’ Arts and Crafts movement. Mabb’s
video work, such as ‘A Closer look at
the life and work of William Morris’
parodies the documentary, in particular, the
use of the rostrum camera image of the ‘artwork’
and the close-up.
David Mabb is currently researching and curating
an exhibition of William Morris “ministering
to the swinish luxury of the rich” at
the Whitworth Art Gallery Manchester, opening
in April 2004. He has curated several exhibitions,
as well as having exhibited his paintings,
videos and photographs both nationally and
internationally. He is currently Course Leader
of Postgraduate Studies in Fine Art at Goldsmiths
College.
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Title: IBSEN at Schauspiel Stage #3
Medium: Photograph mounted on aluminium
Size 57 x 38cm
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Monika
Oeschler
The main concerns of Monika Oeschler’s
video work lie with social role-play, social
behaviour and interactive group dynamics.
Oeschler uses specific contexts and locations
to create improvised situations, which go
beyond the perception of a given reality and
involve the viewer on a subjective level through
the physical experience of the actual installation.
The new video installation ‘Schauspiel’,
or drama, concerns itself with thoughts on
the ‘magic’ or ‘empty space’
of the theatre. The installation positions
the viewer in the centre of the production
process which takes place prior to the actual
performance of the a play. Thus, the absence
of familiar dramatic content draws attention
to the ‘space of performance’
and to the processes involved in the staging
of the experience of affect.
‘Solar Plexus’, a new sound installation
creates an audio-spatial experience of parallel
fictional realities as played out in the minds
of several voice protagonists. This work extends
her interest in the staging of the ‘affect
of reality’ and narrative content beyond
visual representation.
Monika Oeschler was born in Munich, Germany,
studied at Goldsmiths in 1996 and lives and
works in London. She has recently exhibited
at Tate Liverpool, the Finnish Museum of Photography,
and Ormeau Bath Gallery, Belfast and will
be premiering a new commission at Site 18
October - 22 November.
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Title: Scarcrow
Medium: Cyanotype
Size 57 x 38cm
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Simon
Periton
Simon Periton makes highly unique types of
collage/cut-paper “doilies” of
intricate detail that reproduce symbols and
images from contemporary culture. The confrontational
nature of his subject matter provides an interesting
contrast to the work’s delicately lacy
Victorian form.
Periton’s work is, literally, as thin
as it can be; so thin it almost isn’t
there. A series of surfaces, cut or intersected,
formed or carefully twisted, delineates shapes,
edges, and outlines. The pieces reference
paintings, but resemble line drawings. They
look like hard work but speak of fun. They
like to take up wall space but revel in their
own insubstantiality, flirting with being
nothing and insisting on being two-dimensional.
Cut-outs and paper silhouettes result from
a process of subtraction, of stenciling away
what isn’t to leave and what remains--what
is barely a micron thick, not artificial so
much as gleefully superficial.
Simon Periton shows in London with Sadie Coles
HQ, London. He has also recently shown at
the ICA, the South London Gallery, Camden
Arts Centre and the Karyn Lovegrove Gallery
in Los Angeles. His solo exhibitions this
year include: Simon Periton, Modern Institure,
Glasgow; Flag, Henry Moore Institute: Premonitions,
Gorney Bravin + Lee, New York; Virginia Creeper,
Paris.
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Title: Psalm
Medium: Silkscreen print
Size: 57 x 38cm
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Paul
Rooney
Paul Rooney primarily works with text, video,
sound and performance. He is interested in
the social and personal aspects of popular
entertainment, such as music, comedy and storytelling.
He often collaborates with people to engage
with their working or leisure experiences,
highlighting everyday practices, and peripheral
positions, as potential sites for resistance
to wider social structures.
Our need to structure experience as narrative
in order to gain understanding, and the exemplary
myth like narratives that emerge from popular
music and entertainment, are important aspects
of some of the works.Paul Rooney has received
much national & international acclaim.
He has had residencies at The British School
at Rome, Dundee Contemporary Arts/University
of Dundee VRC, Projecto Batiscafo, Cuba, and
was the Tate Liverpool MOMART Fellow for 2002-2003.
He is a founder member of Common Culture,
who have shown at EAST and had solo shows
at the Cornerhouse, Manchester and Gasworks,
London.
Rooney’s individual practice focussed
from 1998 to 2000 on the music of the ‘Rooney’
CD’s and performances, and a Radio 1FM
Peel session was broadcast in October 1999.
He now primarily works with text and video
but performances and events continue to be
part of his practice. Other recent work has
been shown in Melbourne, Stockholm, Toronto,
Sienna, New York, Washington, St. Petersburg
and Utrecht. He is currently showing at Site
Gallery.
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Title:
Medium:
Size: 57 x 38cm
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Conroy/Sanderson
Neil Conroy and Lesley Sanderson use drawing,
photography and mixed media to explore subjectivity
and the anxiety of how one is placed within
society, a persistent and pertinent cultural
issue. Playing with the conventions of portraiture,
they use absence and presence to indicate
states of unease and displacement. This suggests
the complexity and breadth inherent in any
reading of, and construction of our identities.
Originally interested in questions of gender
and cultural oppositions, Conroy/Sanderson
now look at how theirs and others mixed backgrounds
can be looked at not as separate entities
but possibly as a whole. The necessary subordination
of the ego for collaboration to be successful
is doubly interesting when the context for
the work is identity. This also leads into
an interest in how the status of the so-called
“ordinary” individual is negotiated
in a culture that promotes the extraordinary
and over-privileges the Western.
They have shown at Tate Liverpool, The Hayward,
Bronx Museum, New York and recently in ‘East
International’ and ‘Strangers
to Ourselves’.
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Title: The Origin of the World
Medium: Photograph on Aluminium (Signed on
Reverse)
Size: 57 x 38cm
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George Shaw
George Shaw’s paintings are rich evocations
of place and memory. Depicting the council
housing estate in Tile Hill, Coventry where
he grew up, the paintings, both romantic and
oppressive, incorporate empty playing fields,
derelict shop fronts, football pitches, pubs,
community halls, box-like buildings of comprehensive
schools and run-down housing estates. Loaded
with atmosphere, these strangely compelling
images are devoid of people and any clues
as to a particular time and place, such as
cars and posters, engendering a mood rather
than a narrative.
Generic and yet highly personal, each painting
is meticulously rendered in Humbrol enamel
paint, a medium reminiscent of boyhood Airfix
kits, compounding the obsessional nature of
Shaw’s life-long project. These mental
landscapes, unashamedly nostalgic in their
outlook, operate between subjective memory
and contemporary document and are as much
about what has been forgotten as they are
about what has been remembered.
George Shaw was an ex-graduate from Sheffield
Hallam University before doing his MA at the
Royal College of Art. He has received much
national and international acclaim, recently
showing in “Days Like These”,
Tate Britain. “What I did this Summer”,
his solo exhibition at the Ikon, Birmingham
is currently touring to Newlyn Art Gallery.
He is represented by the Anthony Wilkinson
Gallery.
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Title: Grids
Medium: 11 Page silk screened book with alternating
metric and imperial grids. Each page is signed
by the artist
Size 57 x 38cm
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Sarah
Staton
Sarah Staton’s work is a multidisciplinary
investigation of 3D cultural production and
the values it embodies. For her recent exhibition
“Green, or how we missed Modernism”,
at Milton Keynes Gallery she deployed an encyclopaedic
collection of objects and 20th century manners
of presentation - painting and sculpture,
mural painting and scatter art, plinths and
wall hangings, found objects, borrowed objects,
self created objects - in an installation
that both embraces and disrupts the conventions
of visual grammar.
Besides such gallery based works she has also
been the author of a number of projects examining,
through a practical intervention, the machinery
of creating and marketing the objects of desire.
The best known of these interventions was
the peripatetic multiples shop called SupaStore.
In other projects she has worked with fashion
designers, furniture designers, architects
and cultural critics.
Sarah has exhibited widely in Europe, North
America, Russia and Japan. She has worked
with the British Council on the exhibition
design and curation of “Multiplication”,
which can be seen at the Centre d’Arte
Contemporain, Vigo, Spain and at the site:
www.multiplication.
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Title: Studio-Mirror
Medium: Photograph mounted on aluminium,
Size: 57 x 38cm
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Jemima Stehli
The photographs of Jemima Stehli explore the
relationships between aesthetics, gender and
desire. Using her own nude body, Stehli re-stages
iconic images from recent moments of art history
and popular culture in order to draw attention
to relationships of power, where objectification,
opency and pleasure co-mingle.
In recent work Stehli is an identifiable presence,
but far from creating self-portraiture, we
see her engaging in a series of “performances”
in which she uses her naked body to challenge
notions of desire, narcissism and sexuality.
Whether or nor she is enjoying using her body
in this way is provocatively ambivalent.
Jemima Stehli’s recent solo exhibitions:
Lisson Gallery (2003); ARTRA, Milan (2001);
Chisenhale Gallery (2000); Artlab, Imperial
College, London (2000). She is represented
by Lisson Gallery.
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Currated By Andrew Sneddon
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