11 August - 12 September 2010

 

An exhibition of three new commissions that respond to the concept of 'site'.
Featuring the work of artists Mel Brimfield, Sarah Pickering and Aura Satz.

 

Each of the artists was asked to propose ideas for new works that responded to the idea of 'site', be it a geographical location, institution, collection, a fictional or conceptual space. The selected artists then undertook a five month research project to develop their ideas and the resulting works will be exhibited at Jerwood Space in August.

 

Mel Brimfield has produced a film that seeks to reconstruct a fictional lost performance artwork. She has worked extensively on a new script which was developed with a group of actors. A series of four characters provide contradictory eyewitness accounts of a live art event bringing into question whether it is possible to locate a transient performance after its completion.

 

Sarah Pickering has created a new body of photographs in response to a museum exhibition on Fakes and Forgeries organised by the Art and Antiquities Unit of the Metropolitan Police. She has accessed the Fakes and Forgeries archive at Scotland Yard allowing her to further research one of the most notorious art forgers in history, Sean Greenhalgh. The aim has been to deepen her ongoing exploration of the photograph's relationship to the real, and the notion of authenticity in the subject; is it possible to locate reality through photography?

 

Aura Satz has explored the notion of how we locate sound. Working as artist-in-residence at the Ear Institute, UCL London, she has developed a new intimate, immersive sound sculpture that creates a physical and psychoacoustic sonic experience. A large brass horn, appears like a giant hearing trumpet suspended in the gallery space. Visitors will be encouraged to place their head inside the sculpture which plays a sounds piece written and recorded by the artist and played on a multi channel soundtrack which outputs in a spiral sequence.

Jerwood Encounters provide emerging artists with new exhibition opportunities and the chance to explore issues and ideas across disciplines and art forms. For Locate each of the artists was awarded a £2000 commissioning fee to support them to develop their practice in new areas.

 

Locate is the third in a series of experimental exhibitions curated by Sarah Williams which have supported collaborative and experimental new commissions within the Jerwood Visual Arts programme. Previous Jerwood Encounters exhibitions curated by Sarah Williams include: An Experiment in Collaboration (2008) and Laboratory (2009).

The exhibition will be accompanied by a publication designed by The Partners(1) with text by Cecilia Wee(2).

 

1) The Partners are the UK's most consistently awarded design agency over the last 25 years. The Partners have created innovative catalogues for previous Jerwood Encounters shows curated by Sarah Williams; Experiment in Collaboration 2008, which won Best in Show at the 2009 Mobius Awards and Laboratory 2009, which won a D&AD Award in 2010.

 

2) Cecilia Wee is a London-based curator, writer and broadcaster produces art projects that challenge existing models of audience engagement, in the fields of experimental sound, performance and visual art practices, in the UK and internationally.

 

 

Image:
Mel Brimfield

Production still

2010

courtesy the artist and Ceri Hand Gallery

 

 

171 Union Street

London SE1 OLN

T + 44 (0) 20 7654 0171

E jva @ jerwoodspace.co.uk

 

 

 

 

 

 

 

 

BAD INDUSTRY

 

 

 

 

"DREAMS" 

 

with works by

 

25th July - 31 August 2010

 

Opening hours during the Salzburg festival: Mo-Sa: 11:00 - 18:00 and Su 11:00 - 15:00

 

Since antiquity, dreams and their interpretation have played an important role, also well established are the creative impulses, especially for painting, which come from dreamt experiences.

 

According to recent studies, nightmares have the strongest effect on moods and emotions of the next day: the Portuguese artist Balthazar TORRES engages in his work these small, but nonetheless seemingly insuperable day to day disasters, which haunt our dreams. Bruno PEINADO takes a similar approach in "Dream catcher": a life-size amulet, which - in African Tradition - is meant to advert all evil.

 

Barthélémy TOGUO also entices us back to the roots of his native Africa with his series "Night flights", where they leave behind their traces and mystic inspiration in his graphic series "Wild Cats Diner" and "Purification", from which we have chosen some works and a new installation of small and erotic objects; also Joana VASCONCELOS's large scale installation "Ilha dos Amors", interprets a classic dream sequence, the "Verdict of Paris", showing her signature use of form and material.

 

Furthermore, there are also Madeleine BERKHEMER's sculptures and mirror objects, which lure us into a sphere of erotic daydreams. Finally, Belgium's enfant terrible, Jan FABRE's, night blue and golden "Thinking Models" - some of which were just dreamt of, but some also realized, as well as other works, reflecting his legendary "Tivoli Castle" performance, will complement our presentation.

 

 

 

 

 

 

30 July - 28 August 2010

 

 

Gertrude Contemporary presents Stage Two of the international exchange exhibition Still Vast Reserves. Stage One of Still Vast Reserves was presented at Magazzino D'Arte Moderna, Rome, Italy in September 2009, where Gertrude Contemporary took participating artists to Rome as part of a reciprocal exchange exhibition. Stage One of this project was curated in collaboration with Roman Curator Francesco Stocchi, and Stage Two has been developed in collaboration with Paris-based Curator Chris Sharp.

 

Initially Still Vast Reserves explored ideas of the kinetics of compression, encouraging a sculptural interpretation of the body and the self in relation to architecture. This second exhibition extends and skews these ideas foregrounding interpersonal encounters through the psychosexual and socio-sexual aspects of the body, particularly in relation to urban or civic spaces. The works in this exhibition employ a range of materials and tactics to investigate ideas of the uneasy body, exploring its possibilities for immateriality and metaphor.

 

Still Vast Reserves II features new work by all of the artists in the original exhibition, along with a selection of work by international artists who explore and expand on these ideas. The works span a range of disciplines and feature new works by Alicia Frankovich, Benjamin Armstrong, Laresa Kosloff and Lou Hubbard. This exhibition also showcases a large-scale work by Christian Capurro, a performance-installation event by Marco Fusinato, video and photographic work by Stuart Ringholt and a new photographic work by Tom Nicholson. Complmenting these works are sculptural installation works by Brazilian artist Fernanda Gomes, photographs by Mexican artist Martin Soto Climent and French artist Jean-Luc Moulène. Japanese artist Shimabuku will also be presenting a poetic sculptural installation that invites viewer participation. Conceptually Still Vast Reserves explores the highly-charged intersections between the body and civic or social contexts. Through focusing on the interplay between the intimate/ domestic and the public/structural this exhibition reminds the viewer of their own physicality, referring to the dynamics of compression, intimacy and release.

 

This exhibition is a reciprocal project, stemming from GCAS's International Curatorial Residency Programme undertaken by both Francesco Stocchi (2008) and Chris Sharp (2009). This revolving exhibition concept ensures that artists, curators, patrons and writers from each country establish firm and ongoing relationships with new networks and audiences, further extending their creative communities. In conjunction with the exhibition GCAS has produced a second volume to the 100 page publication designed by Australia's leading Graphic Design Studio, Fabio Ongarato Design, with images and essays. Still Vast Reserves II is made possible with support from the Australia Council for the Arts. Phase One of Still Vast Reserves was made possible through assistance from Arts Victoria.

 

 

Image:
Jean-Luc Moulène
Régulier, Barneville, 2008
Black and white photograph on aluminium, 78 x 78, 5 x 3cm (framed).
Image courtesy of the artist and Galerie Chantel Crousel

 

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