Sunday I went to Bath where Caitlin and I checked out the gallery space that I will be curating Miss Griffith's first solo show "Cuckoo" as part of Fringe Art Bath...
The day was hot and sunny, I bought fudge and cookies, Bath is a beautiful city and the space is perfect!
All in all, a very good day!
lots of love,
your conscience
Sunday 27 April 2008
Sunday 20 April 2008
Regards to Ruth
I have written a review of Ruth Claxton's current show at Ikon, Birmingham, as requested by Matt Roberts for artartart magazine. Have a read and let me know what you think...
Ruth Claxton ‘Land’s End’
Ikon Gallery, Birmingham
2nd April – 18th May 2008
The kitsch space ship has landed at Ikon Gallery, Birmingham, where the first museum exhibition by local artist Ruth Claxton is currently on display. ‘ Land’s End ’ is a complex installation of steel hoops that move organically through the upper floor galleries. These grey rings hold somewhat juxtaposed candy coloured plates or mirrors while others remain empty and hollow. The uncertainty of surfaces, whether real or fake confuses the viewer as they navigate themselves through the towers of spirals and curved edges, difficult to begin with as the first gallery leaves little room for manoeuvre as the immense sculptures dominate the space. A carefully placed mirror adds to the depth and magnitude of the floor to ceiling objects. As you move through the galleries the disc structures dissipate and dissolve into floors and walls. The further through the galleries I went the more I enjoyed the work, the spaces between them allowed me to explore the structures and adornments, which I will mention more of in a moment, and I could enjoy what I was looking at. In particular the fungi like shapes that exit the walls up high, that melt into the vast white expanse that surrounds them; the moments before they melt and disappear through the floor where you can only see the peak of the mountains that possibly once were.
The adornments I mention previously are another fascinating and softer side to the metallic hoop constructions. Porcelain figurines usually found upon your Nan ’s mantelpiece sit shyly and small upon their huge display stands. Found at car-boot sales they apparently lack the nostalgic elements and sentimentality usually associated to these ceramic birds and figures. This is not for me the element that alters my pre-conceived notions of such objects; rather it is what Claxton does to these figures that make them alien and vaguely unrecognisable. Through detaching heads and replacing them with jewellery, modeling clay and sequins for example, or string linked from one figures eyes to another they become something else, something more sinister. There is something grotesque about these figures, something reminiscent of a child pulling the head off her dolly or something about the gaze; about the figures not being able to look at each other due to their genetic modifications, or the secrets they are not allowed to tell. These porcelain pieces for me add an edge of feminist concepts against the hardened, unemotional metal woodlands that engulf them.
What I find difficult about this exhibition are its links to the internet and technological landscapes. This connection seems to lure towards buzzwords and key contemporary ideas whereas I did not think they were clear in any aspect of ‘ Land’s End.’ The female gaze, nods to kitsch/retro ideals, construction of landscapes and an awareness of curatorial techniques were all there, however non are mentioned in the accompanying text. Rather it concentrates upon computer technology and an on-line community called ‘Second Life’ that “provides its users anonymity alongside a platform to participate in a real, financially-driven economy.” This thin association of the internet is not reflected within Claxton’s work, the expanse of the installation echoes something more organic. Even through the metallic grey structures there lies an element of nature rather than the clinically thought connection with technology. The text therefore, for me, is misleading and detracts from the fragility of the sculptures. It is only through ‘blinding’ her figurines that she hints at the passive nature of the current technological consumer who is always dislocated from the fake realities found within our computers.
Overall, however, Claxton has presented a lively and initially provocative show. The steel constructions are attractive and you have the want to explore them, especially in the first room, like a jungle explorer, and as less and less fills the space as you continue you are allowed to engage with the objects, rather than the stands, and you begin to bring your own interpretations to the ceramic models and their locations and amputations. Although the show seems to have a certain ‘one trick pony’ element about it I found it an enjoyable show and a great use of the gallery space.
Saturday 19 April 2008
To Gob-Shite; With Love
Crowd6's night of Gob-shite, Hear Here, was a triumph and something that I hope they repeat in their programme. It was a night of story telling and performance told to a captive audience seated around the gallery in camp chairs and bean bags while they munched on popcorn and took in the words.
We heard anecdotes from several people namely dude with little white guitar and man with laptop. Sadly at present I don't know their names though will find out, but they were brilliant, they had the natural story telling ability. Man with guitar told a tale mighty similar to Caitlin Griffiths' heart aching short prose about meeting the devil and asking for the gift of music. Griffiths' devil aiding the young boy/grandfather however in Man with guitars tale it was somewhat different. Part told like any other story with the odd musical sound to echo parts of the plot, the other part played out and read in rhythm with the guitar. His tale told with wit included Delia Smith, Audrey Hepburn and Little Richard, each playing their own kind of devil. Man with guitar and his story were sharp, witty, attention grabbing and charming.
As for Man with laptop he read a haunting poem about Italy and a spellbinding young lady. This was my favorite reading of the evening, apart from a rude interruption mid-poem, he was eloquent and charismatic, as was the tale he so fluently told. (I will find out these gentleman's names and let you know!)
Other performances worth mentioning were Stuart Tait's short and very sweet story from his childhood, presented with such genuine emotion like that of a child it was evocative, sweet and compelling. Mr Miller and Mr Wakefield's readings too were impeccable as per, humorous and compelling, am looking forward to the next installment of this tale and gob-shit at Crowd6.
And finally - Mike Hesp you are a c**t and deserved those cans in your face!
lots of love,
your conscience
Thursday 17 April 2008
to Crit; love to laugh
Last night was the critique that accompanied the Wunderkammer show...
...crit's are important for me as an early career curator as it makes me answer questions about my practice that I would not have necessarily asked myself. For Wunderkammer it seemed an even more obvious thing to do as there were students involved and being able to critique your work when taken out of its usual context is a great experience and opportunity to continue the growth of your practice...
...or so I would have thought...
There was a distinct lack of students at the crit, other than a few of the ones involved (even not all of them turned up!) there was one student present! However, there was sufficient representation from Birmingham Art Peeps that meant there was a constant debate and points were continually being raised.
What was said was insightful, Kate and I held a united front even though there were various points we disagreed on, our points were raised though not argued out in front of the crowd.
The performances caused most debate and discussion between Kate and I and the people at the crit, David and Ed both being vocal in how they felt and reacted to the situation, being objectified to such an extent.
Thank you to Harminder Judge for contributing massively to the discussion, raising several good points about the performances, especially how and when the performances stopped and how the characters exited the space and their persona's; he was very much on the side of the Lace Gimp and his restrained and intuitive exit. He also vocalised the question of why there were so few students at the crit, especially as the exhibition is in their foyer space, as was the crit!
Also Emma Bowen, always someone you want to have at discussions as she will keep the ball rolling. Emma was not at the launch of the show so her opinions were based more around the central Wunderkammer and what was left in the other two cabinets - the remains of cheeseface discarded around the case and the lace suits laid to rest empty of body. The linear qualities that she picked up on that ran through all three cabinets were central to the curation of the space. She also brought various thoughts into discussion surrounding labelling and the relationships between objects, performers and cabinets.
Liz Short from Crowd6 also had issues with the labelling, however for her there was too little information.
For me the crit went very well and some very useful points were raised. Thank you to all for coming along, except for two tutors who were there and didn't contribute a thing until the very end to just Kate and I. Think we would have all appreciated their input rather than just their eerie silent presence.
lots of love,
your conscience
...crit's are important for me as an early career curator as it makes me answer questions about my practice that I would not have necessarily asked myself. For Wunderkammer it seemed an even more obvious thing to do as there were students involved and being able to critique your work when taken out of its usual context is a great experience and opportunity to continue the growth of your practice...
...or so I would have thought...
There was a distinct lack of students at the crit, other than a few of the ones involved (even not all of them turned up!) there was one student present! However, there was sufficient representation from Birmingham Art Peeps that meant there was a constant debate and points were continually being raised.
What was said was insightful, Kate and I held a united front even though there were various points we disagreed on, our points were raised though not argued out in front of the crowd.
The performances caused most debate and discussion between Kate and I and the people at the crit, David and Ed both being vocal in how they felt and reacted to the situation, being objectified to such an extent.
Thank you to Harminder Judge for contributing massively to the discussion, raising several good points about the performances, especially how and when the performances stopped and how the characters exited the space and their persona's; he was very much on the side of the Lace Gimp and his restrained and intuitive exit. He also vocalised the question of why there were so few students at the crit, especially as the exhibition is in their foyer space, as was the crit!
Also Emma Bowen, always someone you want to have at discussions as she will keep the ball rolling. Emma was not at the launch of the show so her opinions were based more around the central Wunderkammer and what was left in the other two cabinets - the remains of cheeseface discarded around the case and the lace suits laid to rest empty of body. The linear qualities that she picked up on that ran through all three cabinets were central to the curation of the space. She also brought various thoughts into discussion surrounding labelling and the relationships between objects, performers and cabinets.
Liz Short from Crowd6 also had issues with the labelling, however for her there was too little information.
For me the crit went very well and some very useful points were raised. Thank you to all for coming along, except for two tutors who were there and didn't contribute a thing until the very end to just Kate and I. Think we would have all appreciated their input rather than just their eerie silent presence.
lots of love,
your conscience
Friday 11 April 2008
Edward Wakefield - Cheeseface
D. R. Miller - Lace Gimp
Wunderkammer Preview 
Thursday 10 April 2008
Wunderkammer = Wunderful
Am pleased to write...
... that last night’s preview went very well indeed! The crowd was plentiful, the performers dramatic, the cabinet curious, my co-curator sparkling and the photos…I am yet to look at.
Thank you to all involved, particularly a couple of Crowd6-ers who helped with cabinet lifting/moving throughout the evening.
The central cabinet looked amazing and I would like to take it and everything in it home with me. The archival pieces were beautiful especially the three medals and two trophies. Also, the part of a painting frame seemed to optimise the oddities that are to be found within BIAD’s archives, as the painting and the other three sides of the frame are no where to be found…anywhere!
As for the current students Claudia Simm’s “Consuming Sartre” works, Tim Robottom’s “Cascade Series” and Ana Benlloch’s clock were all particular favourites.
As for the performance, former students Ed Wakefield AKA Cheeseface and David Miller AKA The Lace Gimp went down a storm. The restrained Lace Gimp causing a stir with its uncomfortable movements and Cheeseface with his total stillness. These performances becoming more extravagant as the evening went on, an hour and twenty into the show The Lace Gimp, inside a very steamy cabinet, was let out; the top of the case removed and a white sheet then covered him. After a perfect amount of time he arose and was guided away out of the entrance hall of Margaret Street. Cheeseface was soon to follow, less steamy but more irritated by people tapping the glass, leaning onto the tops of the case and putting their glasses on top (behaviour the art going audience should have known better not to do!). His exit more spontaneous, quick, he ripped off his mask and stood staring at his remains, the utensils etc he had been buried with in state.
Though both of their exits unplanned they were perfect!
I am really happy with the responses so far from this project and have loved every minute of putting this together with Miss Pennington-Wilson and Minda - our cleaning saviour and my hero!
Onto the next one!
Lots of love,
Your conscience
Onto the next one!
Lots of love,
Your conscience
Sunday 6 April 2008
to morrow, love install
saw cabinets today...
...they're ace!
tomorrow we install, i am all excited however concerned we will not be able to get the damn cabinets into the building. I have faith in minda and david...
...not so much faith in kate and i....
...opinions - beer or wine at the preview?
lots of love,
your conscience
Friday 4 April 2008
WUNDERKAMMER
Foyer space, Margaret Street, Birmingham Institute of Art and Design, B3 3BX
10th - 16th April 2008
Curated by Kate Pennington-Wilson and Charlie Levine
Wunderkammer steals its mode of display directly from the past in the form of museum display and the renaissance cabinet of curiosity, however it looks, imminently, towards the future; the uncertain future of contemporary curatorial practice, contemporary art forms as well as the school itself.
Birmingham School of Art is an untapped visual resource within the Midlands. Its corridors, staircases, archive and studios are laced with activity, excitement and intrigue. It is little wonder then that current and former curatorial students there have decided to expose this. Kate Pennington-Wilson and Charlie Levine, in collaboration with Birmingham Institute of Art and Design Archive, are presenting three cabinets of curiosity, housing previous and current students work.
The show is comprised of a combination of works from current students; the result of exploring the studios within Margaret Street, and pieces chosen from the archives which date back to the mid 1800s. This cabinet displays a collection of old and new curiosities, which directly examine how the school has grown and how the practice of ‘art’ and curation has progressed since its establishment over 100 years ago. This juxtaposition of objects suggests a rough time line and highlights certain patches of intrigue within Margaret Streets extraordinary history. Due to the works being mixed together the links and connections become abstract and entwined, it is not a chronology of Birmingham School of Art students, but rather a Wunderkammer; a cabinet of curiosity.
On the opening night two former students of Margaret Street, David Miller and Edward Wakefield, will be placed inside cabinets as if scientific specimens on display, reminiscent of the earliest forms of museum display. Both becoming characters inspired by their time at Margaret Street, they hint at immortality through two very different approaches but at the same time contradict this notion by ‘lying in state’ reaffirming the traditional view of the museum as housing ‘dead artefacts.’ Miller’s performance appears quiet, reflective, restrictive and intimate against Wakefield’s manic and loud self-installation. After the preview evening Miller and Wakefield’s empty clothes will be all that remains; an eerie echo of what once was.
By singling out specific works and allowing a viewer to examine the objects through a self-composed narrative Wunderkammer extends as a work of fiction; a tale that was once told and will be re-told for generations yet to come.
Foyer space, Margaret Street, Birmingham Institute of Art and Design, B3 3BX
10th - 16th April 2008
Curated by Kate Pennington-Wilson and Charlie Levine
Wunderkammer steals its mode of display directly from the past in the form of museum display and the renaissance cabinet of curiosity, however it looks, imminently, towards the future; the uncertain future of contemporary curatorial practice, contemporary art forms as well as the school itself.
Birmingham School of Art is an untapped visual resource within the Midlands. Its corridors, staircases, archive and studios are laced with activity, excitement and intrigue. It is little wonder then that current and former curatorial students there have decided to expose this. Kate Pennington-Wilson and Charlie Levine, in collaboration with Birmingham Institute of Art and Design Archive, are presenting three cabinets of curiosity, housing previous and current students work.
The show is comprised of a combination of works from current students; the result of exploring the studios within Margaret Street, and pieces chosen from the archives which date back to the mid 1800s. This cabinet displays a collection of old and new curiosities, which directly examine how the school has grown and how the practice of ‘art’ and curation has progressed since its establishment over 100 years ago. This juxtaposition of objects suggests a rough time line and highlights certain patches of intrigue within Margaret Streets extraordinary history. Due to the works being mixed together the links and connections become abstract and entwined, it is not a chronology of Birmingham School of Art students, but rather a Wunderkammer; a cabinet of curiosity.
On the opening night two former students of Margaret Street, David Miller and Edward Wakefield, will be placed inside cabinets as if scientific specimens on display, reminiscent of the earliest forms of museum display. Both becoming characters inspired by their time at Margaret Street, they hint at immortality through two very different approaches but at the same time contradict this notion by ‘lying in state’ reaffirming the traditional view of the museum as housing ‘dead artefacts.’ Miller’s performance appears quiet, reflective, restrictive and intimate against Wakefield’s manic and loud self-installation. After the preview evening Miller and Wakefield’s empty clothes will be all that remains; an eerie echo of what once was.
By singling out specific works and allowing a viewer to examine the objects through a self-composed narrative Wunderkammer extends as a work of fiction; a tale that was once told and will be re-told for generations yet to come.
Contemporary artists include: Ana Benlloch, Bethany Giles, Chiara Gill, Rachel Mary Haines, David Miller, Karen Moore, Kieran Palmer, Claudia Simm, Matt Steele, Stuart Tait, Edward Wakefield and Mike Wheeley.
Wunderkammer: 10th - 16th April 2008* 10am till 5pm
Preview: 9th April 6-8 pm Critique: 16th April 6pm
*Not open on weekends
Thursday 3 April 2008
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