Friday, September 19, 2014

Mike Pratt: 'Zamboni for the Moose' Gastatelier Leo XIII, Tilburg, NL

Image: Mike Pratt Folded Napkin, 2014, Styrofoam and enamel paint 33 x 28 x 6 cm. (MP0268) Courtesy of the artist and Workplace Gallery

Zamboni for the Moose

Gastatelier Leo XIII

18 September untill 21st of September from 16.00 untill 20.00
Concert by Nancy Acid on Sunday 16.00 as part of the Incubate Festival

Who are the Manitoba Moose? These words might conjure prosaic scenes of a ponderous two-meter elk traversing the Canadian tundra while pummeled by icy arctic winds, but this is not the case. The Moose were a defunct third-rate ice hockey team. Who would mount the hockey ring day in and day out, etching their dreams of Turner Cup glory into a seemingly static two-dimensional crystalloid plane. As they skate to and fro, the heat and friction created by foot-mounted steel blades branded conscious intentions of victory into a slick watery canvas whose superficial banality exhibits the Moose' daily rituals of affirmation and comradery, despite the overwhelming likelihood of defeat. As these ice bound pugilists glide with the serene grace of a Russian ballet company, they begin to zig-zag in a closed practiced formations resembling a Big Moose as the offensive tactics of the coach ask for a wider field. Looking closer at each player's swollen face reveals mouths agape with condescending piano key grins and vacant eyes screwed towards the fabled Dirac sea materializing below their tired feet.

Press Release for Zamboni for the Moose by Laurence Henriquez:

As the debauched screeches of revelry, the modern notions of positivism and empirical reality begin to fade away, the etchings emanate fiery amber and resemble the edges of long forgotten occult geometries, hermetic prostrations that strive to illuminate transcendental truths that exist beyond the material cosmos. The ritual only becomes complete upon the entrance of a peculiar and indelible contraption known simply as the Zamboni, whose job it is to clean and resurface the ice anew. The Zamboni is our Hermes, on a quest of transmuting perpetual loss into victory, nigredo to albedo.

With the Moose as their Virgil, this summer Juliette Jongma gallery presents Zamboni for the Moose, curated by Juliaan Andeweg. With participation by the artists: Thomas Raat (NL), Florian & Michael Quistrebert (FR), Gareth Nyandoro (ZW), Tamy Ben Tor (IL), Miki Carmi (IL), Mike Pratt (UK), Anne de Vries (NL), Kareem Lotfy (EG), Paul Geelen (NL), Anders Nordby (NO), Timmy van Zoelen (NL), Nancy Acid (AW), Julian Sirre (NL).

Gastatelier Leo XIII
Leo XIII Straat 90H
5046 KK Tilburg
Nederland

Tuesday, September 16, 2014

Eric Bainbridge / Sophie Lisa Beresford - Preview: Friday 19th September 2014 6pm - 8pm at Workplace Gallery Gateshead

Workplace Gallery is delighted to invite you to the opening of two parallel solo exhibitions

Eric Bainbridge / Sophie Lisa Beresford

Preview: Friday 19th September 2014, 6 - 8pm

 

Workplace Gallery

The Old Post Office

19 - 21 West Street

Gateshead

NE8 1AD, UK

 

Exhibitions continue: 20th September - 25th October 2014

Tuesday - Saturday 11am - 5pm or by appointment

http://www.workplacegallery.co.uk

 

Kindly supported by:

 

 

Thursday, September 04, 2014

Matt Stokes: "Metarave I – « it’s only a fantasy »" WallRiss, Fribourg, Switzerland

Image: Matt Stokes (conversation texts - Banner No.1) 2006, printed silk-screen inks and acrylic on canvas tarpaulin 300 x 400 cms. Courtesy of the artist and Workplace Gallery

 

METARAVE I - « it's only a fantasy »

WallRiss
Varis 10, Fribourg
www.wallriss.ch
Preview 5th September 18:00

Mathis Altmann
HR Giger Mia Goyette
Tillman Kaiser
Emanuele Marcuccio
Frédéric Post
Pamela Rosenkranz
Lorenzo Senni
Timur Si-Qin
Matt Stokes
Anne de Vries

Performance 20h : Tinguely Sound (live)
Metarave I - Collective Transcendence Party
05.09.2014, 21h30, Bad Bonn Club

IVVVO (live)
Throne (live)
Grey Chalk
DJ Danse Noire
DJs

It is twenty years since the great days of the Gugelmann megaraves in Roggwil, near Langenthal. It was also in 1994 that Netscape Navigator 1.0 came on the market and what was then the new World Wide Web began to become popular. Taking this look back as its starting point, "Megarave-Metarave" deals with artistic responses to the aesthetic, social, eco¬nomic and political questions thrown up by digital life and considers the historical traces of the futuristic promises of rave culture and the early web. The exhibition is part of the cooperation project Megarave-Metarave by Kunsthaus Langenthal and WallRiss Fribourg and includes exhibitions and events in both institutions and a publication. With the kind support of Pro Helvetia.

WallRiss also wants to thank Pro Helvetia, Roth Echafaudages, Anyma Fribourg, Belluard Bollwerk International, Vitromusée Romont, Frank R Communication, Lowrider, Danse Noire, Bad Bonn, Jean Tinguely.

STATEMENT

Metarave takes the multiple imaginaries of rave culture and the utopias of the early internet emancipatory public sphere as the fertile ground out of which emerges a contemporary art exhibition. The exhibition is thought as a tactic to produce a specific hallucinated history of the present. It projects itself as if it was a body found in state of shock, discovered in a epistemic state of confusion, not knowing exactly when and where it is. Here, rave and early web occupy the place of mnemonic objects that can never fully be grasped. The body of the exhibition acts as if being in touch with them, without being able to define them as something experienced or only a dream vision of a now distant past. Colliding past and present the idea of rave/web and that of a contemporary art exhibition also aims at opening a future beyond any sense of justification.

This gesture defines itself as stupid: acting "as if" knowing to be wrong but not being able to act differently. But acting stupid is here a reaction to a "stupor". This strategy aims at diversion: only once the common sense history suspended can one approach the actual domestication of the senses, the current disorienting tension between the past the actual and the future, the now invisible that so vividly shapes our vanishing bodies and souls; a sense of acceleration and the vertigo we experience mixed with a feeling of despair concerning what one should do (disappear or mutate).

Something has played a trick on us, or are we just fooling ourselves: the nineties come to us as the new "when it all began", a date in the pop simulator with 2001, 1984, 1969 or 72, 1949, the nineties: all strangely mixed up with a relation to seventies flair of pastness, to neo-conceptualism flirting in a love-hate affair with neo-media art, to cyber/eco materialism, to the mourning nostalgia of the end, or nihilist impulses. The nineties are not a past that we can think in a linear term. The nineties aren't the nineties' seventies, nor the sixties' twenties, etc

If the nineties are a place in time, they are more a contemporary multitude made out of nostalgia, futurity, origine, the absence of present, our goal; images and sensations of all kind, a site that allows us to fool ourselves in the historical sublime.
Oscillating in one's performances of the self, one wants to win or to die. Self-historicisation and lies: be it the 90s internet or the emergence of the rave phenomena, both act as new sites of techno-sociality we fantasize, a dialectical image, including things some have missed, some others miss: raves, global techno-tribalism, communion, speed and futurity, aliens encounters, l'"enfance de l'art". Here, nostalgia is not only romantic, but always already a site of capital investment of the affect, a systemic weakness thought a traumatic site where a body can emerge.

More rationally, can one consider that the movements that shaped the 90's are kind of avant-garde esthetic position to what is now in form with a new generation of artists, or that rave prescient of certain forms of socialisation now installed critically in the young contemporary art scene. If so, is this of any interest? Rather, what if the future preceded the past. To know we might have to forget about what we think it is to know, but we might also do "as if "we were in the nineties so to trick the melancholic regime of esthetics: when today was the dream of tomorrow. The moment of this generation we invoque is unspecific. Not defined by its age, it rather recognizes itself in the destructive character of an always already broken narrative of history, lost between the too early and to late. May this help us to understand the absurd behavior of the child of Megarave: Metarave.

For full program of Megarave-Metarave see:

http://kunsthauslangenthal.ch/tl_files/download_dokumente/Megarave-Metarave-Flyer_def.pdf

Sophie Lisa Beresford: "Dreamworld" NewBridge Project Space, Newcastle (curated by Cecilia Stenbom)

Dreamworld

Helen Carmel Benigson
Sophie Lisa Beresford
Jenni Hiltunen
Ninja Thyberg

Saturday 6 September - Saturday 11 October

Preview: Friday 5 September 6-9pm
(live performance by Sophie Lisa Beresford at 8pm)

NewBridge Project Space

6 Newbridge St West, Newcastle upon Tyne, NE1 8AW

Opening Times:  Tuesday - Saturday, 12pm-6pm

http://thenewbridgeproject.com/

 

The NewBridge Project presents Dreamworld, a provocative group exhibition that will explore the use of sex as a motivator for consumerist desire.

The exhibition features performance and moving image work by international and UK based artists who present a confrontational, poignant and witty take on sex and body image. Dreamworld offers an antidote against the overflow of highly-sexualised commercial messages in Newcastle's city centre.

The show includes internationally acclaimed moving image works by Ninja Thyberg, Jenni Hiltunen and Helen Carmel Benigson. Also on Friday 5 September at 8pm, North East based artist Sophie Lisa Beresford will premiere a new performance, All I Want Is You at the preview event. A spiritual, shamanic rite to north-east style Mákina (a sub genre of hardcore techno, originating in Spain). The music will act as a shamanic tool, to focus and expand energy, leading to an intense knowing of the purity of human experience, in this case sexuality.

Ninja Thyberg presents Pleasure, a short film shot in the green room of a porn film telling the story of Marie who agrees to perform a double anal sex scene so she does not lose her job.

Jenni Hiltunen's Grind is a playful take on 'Dancehall Queen Style', a Jamaican dance fashion which became popular in the 1990s and more recently through 'twerking'. Grind uses provocative costumes, suggestive poses, roles and blatant sexuality.

Helen Carmel Benigson allows us to traverse across Los Angeles in Plastic City, Plasticity, exploring dystopian and utopian relationships between fantasy city and the plasticity of the the perfect body.

From the moment you leave the house, log on to the web or open a magazine, you are bombarded with airbrushed images of men and women posing languidly or suggestively draped over rocks. Dreamworld will examine issues surrounding image, gender politics and sexual orientation. We are all exposed to contradictory notions of 'appropriateness', what is sexy and what is seedy.

Audiences are presented with a choice; come in and see the show or surmise it's totally unsuitable and stay away.

Dreamworld is kindly supported by Arts Council England and was developed with NewBridge Programme Committee Member, Cecilia Stenbom.

Wednesday, August 06, 2014

Cecilia Stenbom: 'The List' BALTIC 39, Newcastle, UK

 

Cecilia Stenbom

 

The List

 

Wednesday 6 August - Sunday 10 August 2014

 

BALTIC 39

1-39 High Bridge, Newcastle upon-Tyne NE1 1EW

FREE ADMISSION

Opening hours: Wed-Sun 12.00-18.00 except Thu 12.00-20.00

https://www.balticmill.com/whats-on/baltic-39/baltics-project-space/detail/baltic-39-figure-two

 

PUBLIC PERFORMANCE

Thursday 7 August 12.00

Friday 8 August 12.00

Saturday 9 August 12.00

Sunday 10 August 17.30

 

Cecilia Stenbom works across disciplines and is best known for her video installation and film works that explore our media saturated, consumer driven reality. Using feature films, advertising, 24 hour news, information films and the internet as source material, Stenbom's recent works examine how we are affected, controlled and driven by the information around us. The artist is particularly interested in what triggers fear in contemporary life and examines how this is used to capture our attention in order to stimulate and manipulate an emotional response.

 

Previous works include the infomercial How to Choose, 2012, which is set in a overly sanitised town house and features a spotless presenter who informs us that 'with careful planning and strategy, your life should run smoothly, avoiding all major disasters.' While System 2013, shot in a shopping centre location in typical filmic style, portrays the individual anxieties of two sisters and their uneasy interactions with the world.

 

Consisting of performance, installation and video work, Stenbom's project for FIGURE TWO, The List, as the title suggests, begins with a list. At the beginning of the exhibition week the list will consist of 117 items that the artist wants or needs. During the course of the exhibition, the list will be expanded upon and added to by gallery visitors and the wider public to create an evolving analysis of consumer desires.

 

Each day there will be a performance in which an actor enters the gallery, stands on a mark in front of a camera, and delivers the list with the aid of a teleprompter. Once the actor is finished, the footage will be captured and projected back into the space, representing the list as an endless audio visual loop that surrounds the scrolling teleprompter and the actor's mark.

 

To gather more items for the list, a data collector is sent out into the city each day with a brief to approach people on the street and ask them to name two products: one they want and one they need. They will be asked to be as specific as possible with their choices focusing on type, colour, make and brand. The collector will return intermittently to the gallery to hand over

 

'I am interested in creating a state of never ending consumer desire, where economic growth is the answer to everything, by making a list that can be ticked off but never completed. By placing this in a public gallery, one of the few non-domestic places left free from most commercial messages, I hope to create a poignant moment for reflection on the compulsive nature of spending in the pursuit of the good life through consumerism.'

 

Actor: Arabella Arnott

Data collector: Gina-Maria McCarthy

 

 

BALTIC 39 FIGURE TWO: 6 AUGUST 2014 - 7 SEPTEMBER 2014

 

Sarah Bayliss, Amelia Bywater & Rebecca Wilcox, Rachel Gay, Maria Angelica Madero, Ninna Bohn Pedersen, Nicola Singh / Samuel Blackwood / Hazel Brill / Jude Crilly, Natalie Price Hafslund, Laura O'Neill / Charlie Godet Thomas / Katrin Hanusch / Laura Harrington / Russell Hill / Peter Merrington & Tijana Stevanovic / Cecilia Stenbom


BALTIC 39 I FIGURE TWO, an open submission exhibitionwhich allows artists working across all media to test works and ideas, or to develop works in progress within a public context. The exhibition will last for 5 weeks and will be made up of 10 projects by 10 artists, each lasting 5 days.

 

Thursday, July 31, 2014

Eric Bainbridge 'Late 90's Constructions' Workplace London

Image: Eric Bainbridge, Untitled, 1997, Melamine faced chipboard, plastic, gloss paint, nails, screws, dental floss, 28 x 26 x 25 cm, 11 1/8 x 10 1/4 x 9 7/8 in (EB0439)



Eric Bainbridge

Late 90's Constructions

 

8th August - 20th September 2014

 

Workplace London

61 Conduit Street

London

W1S 2GB

Friday and Saturday, 10am - 6pm

(and by appointment)

contact: karen@workplacegallery.co.uk

tel: 44 (0)207 434 1985 

 

 

Workplace Gallery is pleased to announce the first solo exhibition of Eric Bainbridge at Workplace London.

 

'Late 90's Constructions' brings together a body of works made by Bainbridge in 1997 that specifically address the history of Modernism and the traditional material hierarchies of Modernist Sculpture. In these works Bainbridge employs ubiquitous 'low - grade' materials such as melamine faced chipboard and dental floss to reappraise a Formalist vocabulary. That a material can be 'second - hand' and in some way dirtied and devalued by its former use - yet be explored for its aesthetic potential nevertheless, sits at odds with the Modernist ideal of 'truth to materials' and the inevitable distillation of form and material towards a refined 'pure' essence. In contrast to this reductivist impetus Bainbridge emphasises the 'subordinate' conditions of temporal normality, liberating the autonomous Art object via the absurd patina of everyday life.

 

'...the small scale of these sculptures allows for various references - constructivism, architecture, the amateur 'string picture', the still life etc. Although I don't consider them as maquettes, the size of the work enables an active imaginative relationship to the object, i.e. it is easy to fantasize about their potential large scale and environmental potential. I wanted to continue exploring the aesthetic, status, and value of the material by using a language that was recognizably modernist. It seemed important that the works 'belonged' to something historical. I like the idea* that if all things were destroyed and we had to remake the contents of museums without "special" materials maybe we would use melamine and dental floss...'

Eric Bainbridge, 2014

 

Eric Bainbridge was born in Consett, County Durham, UK in 1955. He completed a Masters in Sculpture at the Royal College of Art, London in 1981. Frequently cited as one of the most influential British artists working in contemporary sculpture Bainbridge has exhibited in important group exhibitions throughout his career such as "Material Culture" at the Hayward Gallery, London, and "British Art of the 80's and 90's" at IMMA in Dublin, he was recently included in "Modern British Sculpture" at the Royal Academy, London. Solo exhibitions include "View Points" The Walker Art Centre, Minneapolis, "Eric Bainbridge" at The ICA Boston, "Style, Space, Elegance" at The Stedelijk Museum, Amsterdam and recently 'Forward Thinking' at MIMA, Middlesbrough and 'Steel Sculptures' at Camden Art Centre. Bainbridge's work is in significant international collections including the Stedelijk Collection, Arts Council England Collection and the Tate Collection. Bainbridge lives and works in Sunderland, Hartlepool and London.

 

from 'Mastering The Art of Ventriloquism' an essay by Penelope Curtis in 'Eric Bainbridge: Works 1991 - 1997, Cornerhouse - Delfina' published by Cornerhouse Press, ISBN 0 948797 48 7

 

Forthcoming exhibitions include Eric Bainbridge, Workplace Gateshead, 20th September - 25th October 2014.

Workplace will be presenting a solo booth of Eric Bainbridge at Frieze Art Fair, Regent's Park, London, 15th - 18th October 2014 (Booth H10) http://friezelondon.com