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Wednesday, 27 November 2013

Disappears + Vision Fortune + The Great Electric @ The Lexington on 26 November




Last night = 26 November.
A good 20 minutes wait in Lea Bridge Road, E5, when finally 56 bus turns up. By Lower Clapton Road, someone must have had the good idea to have a heart attack while crossing the road. No move for a further 20 minutes, ambulance bipping.
The Great Electric is on stage at 8.20pm @ The Lexington and it’s now 8.40pm... Ok, I was a little optimistic leaving my castle @ 7.50pm, but no rain and no peak hour = should have been cool!

When I arrive, Vision Fortune is on. Almost total darkness on stage leading to total eclipse... leaving a halo of “sun”light. That’s for the vision!
Their noise has not yet been identified but the South London-based experimental drone trio is clearly creating a hypnotic ambiance = a minimal electro-instrument loop punctuated with percussion and a voice that must come from space. One song ricocheting on various themes. This is how cruel those guys are. Taking you deep somewhere on apnea and leaving you breathless to the last second, eyes wide open! lights back on.

Time to breathe a bit and say hello to Mister Sonic Cathedral.

Chicago-based four-piece takes on stage = Disappears. Cavernous tribal minimalist tunes punch straight into the jaw! Shoegazing on a Wild at Heart lane, they take their spooky and dark sounds into some furious and enigmatic territories.
A je ne sais quoi in the infectious and mesmeric weirdness of Disappears that makes it feels quite all right to be part of this pure insanity!





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Tuesday, 26 November 2013

Lindsay Seers | Entangled2 (Theatre II) | until 1 December 2013 | Free but booking is essential, 2 persons at a time every 15 minutes | Matt’s Gallery, E3


Lindsay Seers
Entanled2 (theatre II)
@ Matt's Gallery

It just didn’t start well. The young woman had to repeat three times what she was saying until I told her I needed to see her lips, “I’m quite deaf” I had to admit. She smiled like hundreds of people do when they have other priorities as they speak. I didn’t smile back. This is an art space and I find some sort of freedom in art spaces. I don’t care if they smile when I go to EDF = they are just natural born dumb-ers.
Eventually, she was quite concerned about me wearing headphones on top of my hearing aids. Head phones and hearing aids are the best hissing enemies.

After a long drive à la Paris Texas, and a walk around Bow/Stepney, I ended up in Matt’s Gallery. I ushered myself into a room for two, headphones on and sat on a photo booth stool in front of one round shop window, ready for my 15 minutes peepshow.
No tissues available, no Nastassja Kinski. A giant pair of balls set up into a hybrid cinema hanging from the ceiling. Two giant screen eyeballs showcasing Lyndsay Seers’s androgynous recurrent themes =self/other, male/female, truth/lies.
Entangled2 presents two contemporary actors performing the roles of Victorian music hall super stars Hetty King and Vesta Tilly.

Seers personal story... but who tells the story? A puppet or its ventriloquist? Herself or her non-identical twin? ... is an ongoing research into how cinematic and photographic technologies manipulates... my experience or my memory? Is my past a myth riddled with truth or a hyper realistic legend scattered with lies?

Is it a crisis?
Is it a crime?
Or is it a fantasy?
Marianne Faithfull

A visual orgasm and a disorientating sense of self mutated my body into a zombie... the cold street reanimated my mind little by little, or did it?

You have until Sunday to be transmogrified...

In 2009 Lindsay Seers won the Derek Jarman Award – an award that recognizes individual artist film-makers.
Derek Jarman, Black Paintings, exhibition extended til 22 December @ Wilkinson, 50 to 58 Vyner Street, London, E2 9DQ, info@wilkinsongallery.com, www.wilkinsongallery.com

Derek Jarman season starts @ BFI Southbank in February until March 2014

Admission free but booking is essential - Call 020 8983 1435 or info@mattsgallery.org to reserve your place. Places are strictly limited to 2 people per screening - The work will be shown on the quarter of every hour from 11am until 6pm, 7 days a week (last screening will be at 5.45pm). Ensure to arrive 10 minutes before your reservation (otherwise your head is on the chopping plank). Late admission will not be permitted.

Lindsay Seers | Entangled2 (Theatre II) | until 1 December 2013 | Free but booking is essential, 2 persons at a time every 15 minutes | Matt’s Gallery, 42-44 Copperfield Road, London E3 4RR | www.mattsgallery.org 


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Saturday, 23 November 2013

The Lady From The Sea. Last exhibition @ The Wapping Project, E1. Till 22 Dec. FREE

photo by Thomas Zanon-Larcher


This is the last time I am posting about The Wapping Project. No more! Nunca más. End of December, the whole Hydraulic Power Station is closing down.

As my very (partly imagined) first post mentioned = “My favourite art space in the world”. Strangely enough, the post mentioned LCD SoundSystem and David Bowie. Months later, James Murphy and Bowie met for a remix.

Here I am, sitting by the Thames, in the Prospect Of Whitby’s pub opposite the Wapping Project writing about their last exhibition: The Lady From The Sea!
A north of the Arctic Circle’s love-triangle tale, inspired by Henrik Ibsen through a haunting large scale photographic- film essay, shot entirely on location in and around Longyearbyen, Norway.

As usual, I immerse myself into the belly of an architectural installation. The usual glacial chill is in RDV.
In the “poorly” lit set-up landscape, I walk (plastic boots needed) among the damp semi-débris of deconstructed huts, stones, sand and snow. The soundscape is rather un-reassuring = a mix of dogs barking, little noises here and there as if there were mice surrounded with a music score by mighty Billy Cowie.

In the abandoned hut where I am not invited to sit, a cinematic slide show gives me a contemporary interpretation of a ménage à trois on an isolated seaside = Ellida, her husband Dr Wangel and a mysterious stranger... a metaphor for women trapped in confinement of small town politics. The issue around strong, demanding women who desire freedom is just as relevant today as in 1888.

The Lady from the Sea is the sixth in a series of epic photo-cinematic tales created by Jules Wright creative director and founder of the Wapping Project and her long-time collaborator, the photographer, Thomas Zanon-Larcher.

I shall deeply miss going there, but Jules Wright will now navigate on other projects. And the Ship Sails On...

... Mister David Bowie, if the Wapping Hydraulic Power Station is of interest to you... I can make myself available to continue the good vibe


The Lady from the Sea – 22 December. Wapping Hydraulic Power Station, Wapping Wall, London E1W 3SG. Open noon to 10pm daily. FREE

Friday, 22 November 2013

The Wall (Die Wand) – Julian Roman Pölsler – New Wave DVD release = 25 Nov 13

Courtesy of New Wave Films

 The Wall (Die Wand)
a film by Julian Roman Pölsler
Starring Martina Gedeck 

WINNER OF THE ECUMENICAL PRIZE – Berlin Panorama 2012 

Austria / Germany 2011 / 108 min. / German with English subtitles / Certificate 12A

Crows. The  sound of crows. She writes the last page of her story as paper runs out. She wants to record her story that perhaps nobody will read.
A candle lit the room giving a Rembrandt style ambiance.

Projection back = some years ago. A feel of Gus Van Sant while a car drives through the mountain laces on a sunny warm May, loud rock music. In the car, a couple, a woman, a dog. Arriving at the chalet up high in the Austrian Alps lost in a forest, the couple goes for a hike leaving their German short-haired pointer dog, Luchs (Lynx) with the woman.
For some mysterious reasons, the couple never returns.

From these idyllic knock out forested valley scenery, we enter a bewitched gothic-surrealist tale told à la Béla Tarr. An invisible wall traps the heroine and Luchs. The unexpected arrival of a pregnant cow and a pregnant cat will enlarge the heroine circle.

The Wall is not about escaping it. It’s about surviving in some sort of confinement within the beauty of nature. A minimalist tale with a bundle of philosophical/existential thoughts = is she going to shoot the fox? The symbol and its significance: “the only creature in the forest that can really do right or wrong is me. And I alone can show mercy. Sometimes I wish away the burden of decision making. But I am a human and I can only think and act like a human. Only death will free me from that.”

She develops a strong bond with Luchs and notices that any circumstances are a good pretext for Luchs to be enthusiastic. She thinks human are more pitiable because “they have just enough intelligence to resist the natural course of things”.

On some rare occasions, Bach offers a rest when contemplating nature, the passing seasons, and her life in a cocoon-like “desert island”. Freedom is a journey even when actions are no more determined by a law system.

Late afternoons, she feeds an albino crow that has been ostracised by its clan, prolonging a life that shouldn’t be prolonged...




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Tuesday, 19 November 2013

ISABELLA BLOW: FASHION GALORE! 20 November 2013 – 2 March 2014 @ Somerset House, Strand, WC2R. £12.50, Concessions £10, half price Mondays

Isabella Blow with Horns,
Gloucestershire 1996 © Juergen Teller

His collection was extreme. Flesh and blood! I knew he was different. It was about sabotage and tradition... a combination of beauty and violence... controversy is what the 90’s represented!” Isabella Blow on Alexander McQueen.
Blow notoriously spotted McQueen at his graduate show @ Central Saint Martin and never stopped promoting him.
Mc Queen was an animal totem lover = deer, crocodile, antelope, leopard, horns... “... fragility of animals, the beauty of animals... in a day, you are gone... there is a jungle out there” His words reminds me of a scene in The Devil wears Prada, the photo shoot session. In the Cerulean epic episode, Meryl Streep delivers the most exquisite tirade about the world of fashion = a world rotating around fashion.

Isabella Blow was passionate about fashion. Isabella Blow is... fashion.

Alexander McQueen and Isabella Blow:
Burning Down The House, 1996, London 
© David LaChapelle Studio, Inc.

Born in 1958 into the world of British aristocracy in Marylebone, Isabella was disinherited by her father. In the early 80s, she became Anna Wintour’s assistant at US Vogue and returned to London in 1986 to work for Tatler and then British Vogue. In 1997 she became the Fashion Director of the Sunday Times. Isabella is well known for having spotted new talents and supported them all along their careers. The bond she developed with her “offspring” resulted in a superb vast collection of clothes.
In May 2007, in a final attempt, Isabella poisoned herself with weedkiller.
Three years later, her friend Daphne Guinness bought her wardrobe and declared she would be displaying the wardrobe as well as starting a foundation to help with mental illness = the Isabella Blow Foundation. The exhibition Isabella Blow: Fashion Galore showcases over a hundred pieces from her incredibly rich collection, one of the most important private collections of late 20th Century/early 21st Century British fashion design = hats, shoes - “Tip: Always accentuate the head and the feet” IB - clothes.
Curated by Alistair O’Neill with Shonagh Marshall and designed by award-winning architectural firm Carmody Groarke, with installations by celebrated set designer Shona Heath, the exhibition will display thematically the breadth of Isabella’s collection, a life lived through clothes. This includes many garments from the many designer talents Blow discovered and launched, such as Alexander McQueen, Philip Treacy, but also from Hussein Chalayan and Julien Macdonald. In the round room and catwalk sections where the visitor walks “watched” by dressed mannequins, other designers are in display as well = Manolo Blahnik, Junya Watanabe, Deborah Milner, Prada, Louis Vuitton, Alain Milki, Cesare Paciotti, Antony Price, John Galliano, Teerabul Songvitch, Jeremy Scott, Viktor and Rolf, Benoit Méléard, Comme des Garçons, Erik Halley and more.

The first room is dedicated to family photographs and her aristocratic background whose “eccentric” grandmother Lady Vera Delves Broughton was an avid explorer. She happened to have had an affair with Daphne Guinness’s grandfather, Lord Moyne. They camped out in Indonesian forest, went on safari and visited tribes in the African bush. Isabella spent time in her childhood looking at “wild” photographs.
The vitrine room or Countryside room is a reference to Isabella’s love for the natural world = from the bottom of the ocean to the highest altitude. She wore a spectrum of flora and fauna from diverse regions as a visceral interpretation when the fashion industry uses those elements mainly for decoration.

Hat — Philip Treacy, A/W 1999. Mesh
sculpted hat, net. Bolero — Alexander
McQueen, S/S 2004. Peach feather bolero,
feather and silk. Dress — Alexander
McQueen, S/S 2003. Black bustier dress,
polyamide. Worn to the launch party for
‘Bergdorf Blondes’ by Plum Sykes,
Annabel’s, London, 4 May 2004. Model:
Kirsi Pyrhonen at Viva London. 
© Nick Knight

When Isabella aka Issie started her career as a fashion “convict”, she was quickly known as “truffling for talents” = she was instrumental in the early careers of Hussein Chalayan & Julien Macdonald. She liked unconventional clothes in their construction, often made from inexpensive materials but which excelled in their craftsmanshift and conceptual qualities. Issie had declared “This is the new British order in fashion”. The fine knitting of Macdonald garments? It can bring tears!

All rooms contain Alexander McQueen and Philip Treacy clothes and hats. Downstairs, we are introduced with McQueen = photos by Nick Knight for The Face magazine and a fashion catwalk film whose collection is dedicated to Don McCullin soundtracked by Rolling Stone’s Paint it Black. One woman applauds on many occasions and bears a contagious smile as the collection is absolutely fabulous. Upstairs are the hats. Here, I have to suggest that you go to the BFI Mediatheque (free) before going to the exhibition (see details below on two doc @ BFI) and watch the conception of those hats in the documentary by Sarah Wason – Philip Treacy with McQueen, Isabella Blow and Boy George (25 mins)... if you really want to appreciate the magnificence and hard work of the craft. Pure madness. “McQueen is cutting up the body, Treacy is the master of the face” says Issie.

Burka — Undercover by Jun
Takahashi, S/S 2003. Shocking pink
sheer burka with printed teddy bear
detail, tulle. Worn to Christian Dior,
Haute Couture S/S 2003, Paris,
January 2003. Model: Alexia Wight. 
© Nick Knight

Over your catwalk, you will notice some scars on Isabella’s clothes or shoes because she wore them with fanciful disregard, with an irreverent approach to getting dressed. Scars of a busy social life “I need a silhouette that won’t catch in a car door” Isabella Blow said once.

The final room – La Dame Bleue (based on Elisabeth How, executed in 1692 for being a witch) - the S/S 2008 Alexander McQueen collection that Alexander McQueen and Philip Treacy collaborated on and dedicated to Isabella soundtracked by Jon Gosling. The collection was inspired by Isabella and to end on this note evokes both her legacy and her importance. Les enfants terribles of fashion reunited for one last time à la Picasso.

Hat — Philip Treacy and Simon
Periton, A/W 1999. Cut out anarchy
symbol hat, foam. Dress — Tristan
Webber, S/S 2000. Red silk dress
with blue appliquéd leather detailing,
silk and leather. Shoes — Manolo
Blahnik. Model: Xiao Wen Ju at IMG. 
© Nick Knight

There is so much beauty in this exhibition that it is hard to find the right qualifying term... perhaps it would be fair to say that Isabella Blow is... to fashion what Davis Bowie is... to music.

 “This exhibition is, to me, a bittersweet event. Isabella Blow made our world more vivid, trailing colour with every pace she took. It is a sorrier place for her absence. When I visited her beloved clothes in a storage room in South Kensington, it seemed quite clear the collection would be of immense value to a great many people. I do believe that in choosing to exhibit them we’ve done the right thing – and that it is what she would have wanted. I am doing this in memory of a dear friend, in the hope that her legacy may continue to aid and inspire generations of designers to come”. Daphne Guinness

Coat — Alexander McQueen, S/S
2003. Black frock coat with feather
stand up collar and embroidery
detailing, silk and feather. Model: Alexia
Wight. © Nick Knight

ISABELLA BLOW: FASHION GALORE! @ Somerset House - 20 November 2013 – 2 March 2014 - (25 & 26 December-closed, 1 January 12.00-18.00)
Opening Hours: 10am – 6pm Daily. Late night openings on Thursdays until 9pm
Address: Embankment Galleries, Somerset House, Strand, London, WC2R 1LA
Admission: £12.50, Concessions £10, half price Mondays
Somerset House Facebook: www.facebook.com/SomersetHouse
Somerset House Twitter: @SomersetHouse (https://twitter.com/SomersetHouse)
Exhibition hashtag: #blowexhibition
Related Events to the exhibition (films, masterclass, etc) = http://www.somersethouse.org.uk/learning/isabella-blow-fashion-galore-events

Strongly recommended before or after the exhibition
Philip Treacy on Isabella Blow = http://www.youtube.com/watch?v=C-NzB-rt2Qg#t=712
Nick Knight on Isabella Blow = http://www.youtube.com/watch?v=GbVr3DmUuqk
Harriet Verney, Niece of Isabella = http://www.youtube.com/watch?v=LfEybr9gHDI
Jeremy Langmead on Isabella Blow = http://www.youtube.com/watch?v=7P6Hzz6VfeA


                    
Two documentaries strongly recommended to watch before the show - @ BFI = FREE to watch
Philipe Treacy @ BFI mediateque - 25 minutes = http://explore.bfi.org.uk/4ce2b8015de1a
Cutting Up Rough – Alexander McQueen feat Isabella Blow – Dir Theresa Smith – 30 mins

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Scout Niblett @ St John Bethnal Green, E2 // 21 Nov 13 = £12.50


Scout Niblett

If Michael Clark was in need of a scary rage track for a new choreography, he will find in Gun (the opening song for Scout Niblett Up To Emma’s latest album on Drag City Rec) a source of comfort to get human bodies storm into trance!

For 46 minutes and nine songs, Scout Niblett takes us on a cool bad trip all tongue-in-cheek-teeth-at-your-throat with her “little girl” incisive vocal palabre. Lullabies-not-for-children delivering some domestic emotional crises while the guitar growls and yells on a moody freakout journey. Thelma and Louise embark two other women on the hitch-hike = at the back singing is Heather Nova while PJ Harvey plays the guitar! There is trouble on the way...

The dark news that the record brings is good news if you need some furies fur under your skin crossing a hellish desert.

Before you know it, Scout would have given you the kiss of the dragon... 21 nov 13 will be your chance to be kissed in the back of your neck @ St John Bethnal Green, 200 Cambridge Heath Rd, E2 9PA - £12.50 doors open @ 7.30pm


Monday, 18 November 2013

Wajid Yaseen – Sound and noise art maker - @ DYAD, 21 nov 13 // E1 = £5/£8 + Gvart exhibition till 14 Dec 13 // W1 = free

DYAD
Directed and performed by: Alice Tatge & Therese Steele
Soundscape: Wajid Yaseen & Alice Tatge


... the “problem” is that chatting with Wajid never ends... there is always something to say, no matter how long we left it. The other problem is that he changes his versions and lacks of consistency nowadays!

Over a decade ago, when meeting British-Asian musicians / label owners, their main concern was racism! Vinita Joshi of Rocket Girl or Wajid of 2nd Gen were more concerned with music, sound and Krautrock. Wajid didn’t want to have anything to do with the British-Asian scene. He didn’t have time to fight against racism or sexism, but most certainly, he was angry at organised religion!

Eventually, he explained that the dots on the picture relate to number-form synaesthesia, and are the centre of leaves from a tree he photographed as part of a series of photo-scores. He took away the concrete image and gave the dots to music creators without giving them any information on those dots. Each music creator was free to interpret / translate musically their thoughts towards these dots. Dots have sounds, sounds have colours or taste. This is Wajid Yaseen’s evolution in the art world... in the world. A science and psychological art assemblage.

We met again last week in Springfield Cafe. He just dropped his son to a nursery nearby and we have orange juice and coffee before Waj picks his son up.
He wants to clarify that at the time we first met, his opinion on racism and sexism (see post 4 November 13) was not about “denying or ignoring those issues, but I couldn’t, and still can’t, understand why racism is given a priority over any other form of prejudice. Sexism is far more distasteful, unsettling and far more insidiously violent. Sexual orientation,ageism, physical or mental ‘disability’ - a loaded term in itself, plenty of other types of discriminations too. These issues are equally worth addressing”.

But why did I get the impression at the time that you were not affected by racism? I was, but I didn’t understand why it was a major issue prioritised out of all other issues and I really didn’t want to be caught up in a dialogue the entire British-Asian scene seems to be going on about at the time - there was plenty of the types of discrimination i’ve just mentioned coming from that scene. At the time, and to this day, I’m not really interested in directly addressing issues of discrimination. I still don’t find the subject particularly interesting as a source or springboard for creative actions
On a personal level, as a woman, I found really weird that on the FDM’s Erotic Terrorism album, only my name appears, not my surname + I would have appreciated to get some money too... 
Wajid continues “When I worked for the record label Beggars Banquet (BB), I never got the impression that anybody was directly or indirectly racist towards me, and when Mute Records called me to meet me because they liked my music, they signed me on sonic grounds, not racial. They couldn’t care less about my skin colour. They wanted to get behind me as an artist because they believed in the tonality of my sound and the rage and energy behind it all

I remember Wajid talking vehemently against political Islam, him being super tensed...I’ve made a direct stance against political Islam. There still is an anger in me at how organised religion has hijacked our moral compass and professes to direct our decency. I am an atheist! I’m less in interested in fighting battles specifically against Islam but more interested in supporting secular values separating all religious influence in public life. People can and should be free to believe in any creation myth what they want - but keep it the hell away away from the political body.
My father was a priest. After school, 20 kids would come to our home because it was an Islamic school. Out of my seven brothers and sisters, I was the most vocal against Islam. I’ve always felt slightly resentful that as an ideology it got through to my parents and directed so much of their thinking, but given that it’s such a difficult system to ostracise yourself from it’s easy to understand why they stuck with it. However, they let me listen to electronic music or Sonic Youth when I was a teenager. Thankfully though my father practiced a mystic, more gentler poetic version of Islam, known as Sufism, and as a result there was more tolerance to having things like music in the home
Today Wajid is part of CEMBCouncil of Ex Muslim of Britain. “Under sharia law, if you become an apostate - in other words if you renounce your religion, you are considered a legitimate target for being executed by the state. CEMB act as a good platform for people to come together and share their experiences in ‘coming out’. I’ve been thinking more and more about making an album which addresses the crimes of religion - not just by Islam, but the whole fucking lot of them - the abrahamic ones in particular"
The way Wajid had some intense rage, I was wondering if that tension transmitted into distortions of sounds helped him to remain sane... as opposed to “could you have killed?” he smiles and admits that music has been a  good catalyst / catharsis.

Now he is a dad and has been with Jenny for 17 years how “difficult” is it to bring up his child? “We both agree on letting him experiment with tools. I gave him recently a record player cos I thought it would be good for him to experience and engage with music in a rather old school analogue kind of way - with rotating bits of black vinyl. I gave him access to my various collection and in a ‘proud-dad-moment’ he chose Fight the Power by Public Enemy

Being brought up in an environment where traditional gender roles were in play, I asked Wajid what was the déclic into his concern towards women “I went to Sweden when I was 19. Once, we were going clubbing with my girlfriend at the time and a couple of her friends were in the same room.They got undressed and at one point were entirely naked and seemed to be utterly unfazed by their nakedness in front me. I can still remember that uncomfortable feeling of my own gaze in a situation that didn’t warrant it. On a personal level it was an important realisation and awareness of my own prejudices, and how easy it is to carry them unwittingly. It created, in me at least, a new perspective. An epiphany!”

Wajid is the composer for a live-art / dance project titled DYAD = Directed by Alice Tatge and Therese Steele, DYAD is a dance/live art performance. DYAD is a work on Duality observed from the perspective of two women representing diametrically opposed female experiences and sexual lifestyles: an exploration into the elasticity of boundaries and the overlapping of identities.

DYAD is also an investigation into the micro/macro struggles on sexuality, violence and power. This project was largely developed in Istanbul, Turkey, during a residency that coincided with the outbreak of the city’s large-scale socio-political unrest during May and June 2013.
The external conflict becomes internal when the inevitable and unavoidable question arises of where an individual should place oneself within a collective movement. In this sense DYAD strives to become an active site for the manifestation of social and political activism as well as the physical domain for the production of the relation between subject and object, observer and observed, individual and collective.


DYAD // 21 NOVEMBER 2013 // Toynbee Studios, 28 Commercial Street E1 6AB // T = 020 7650 2350 // E =  admin@artsadmin.co.uk
Performance: 6.30pm. £5 // Workshop: 3.30-5.30pm. £5. (to book please call box office on 020 7650 2350) // Workshop & performance: £8.

GV ART, 49 Chiltern Street, London W1U 6LY. Tuesday to Friday from 11am – 6pm, Saturdays 11am – 4pm - nearest tube Baker Street. Admission Free. www.gvart.co.uk


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Friday, 15 November 2013

The Moving Museum // Open Heart Surgery // until 15 December 2013 – Free = The Strand WC2R


James Balmforth
The Beauty Yet To Come
2010
Stainless and mild steel, motor, cerium oxide, 
water, granite and semi precious rocks
105 x 63 x 154 cm (41 x 24 3⁄4 x 60 3⁄4 ins)

13 nov 13 = after the Punk exhibition in Knightsbridge (see previous post), I carried on my journey on the 9 bus to the Strand. The artist I met in Hakney Wicked (see post 17 Aug) Jim Woodall - and who introduced me to BRiAN WHAR (see post 16 Sept ) - told me to go, so I went. 180 The Strand is an immense space with uneven floor that never seems to end. Out of the 31 artists represented, I have picked up three who particularly impressed me amongst others = Hanna Perry’s multi-media part-sculpture, part-intervention - found materials such as film footage, audio clips, images and objects... references in our hyper technological society; Broomberg & Chanarin’s photography focusing on the ways in which the media disseminates images of war and the relationship between documentary and constructed images; James Balmforth’s sculptures as self-defeating monuments, icons of failure - an exploration of dynamic instabilities and vulnerabilities in a material’s life...
But there are thousands of sq/mt to “tourist” around and it’s definitely worth taking a few hours off work = http://www.themovingmuseum.com/index.php/artists/

Below is the MM manifesto with ICA involvement =

THE MOVING MUSEUM HAS ARRIVED IN LONDON SINCE OCTOBER

Fresh from its acclaimed launch in Dubai, The Moving Musuem arrives in London this October during Frieze Art Fair with a brand new exhibition exploring London’s most urgent voices, bringing together solo presentations from 31 artists and more than 200 multi media artworks. The Moving Museum will be working in collaboration with The Vinyl Factory @ 180 The Strand, a new Media Complex in a recently unveiled 40,000 sq ft space within the sprawling Brutalist building, 180 The Strand.

The exhibition is accompanied by a full two-month long programme of events in partnership with local
not-for-profits including the ICA, artist led workshops and performances. Open Heart Surgery offers international and local audiences a sweeping snapshot of art in London now, featuring important emerging and established artists. Artists participating = Sam Austen, James Balmforth, Charlie Billingham, James Bridle, Broomberg and Chanarin, Stefan Bruggemann, James Capper, Shezad Dawood, Tomas Downes, Cecile B Evans, Adham Faramawy, Jess Flood-Paddock, Joe Frazer, Alistair Frost, Nicholas Hatfull, Gabriel Hartley, Celia Hempton, Marco Palmieri, Lucky PDF, Peles Empire, Florence Peake, Hannah Perry, Mohammed Qasim Ashfaq, Mary Ramsden, Samara Scott, Tai Shani, Matthew Smith, Soheila Sokhanvari, Marianne Spurr, Clunie Reid, Jesse Wine

Drawing inspiration from one of the most diverse and provocative centres of cultural activity in the world, Open Heart Surgery features a full range of artistic practices and media, most of which have been specially commissioned by The Moving Museum, including painting, sculpture, multimedia, large scale installation, video, performance, and interactive audience based artworks.

Co-Founder Simon Sakhai explains; “Using a unique collaborative curatorial model, we conducted intensive research over the last year to develop a list of artists alongside local artists, curators, and independent spaces. With an initial list of approximately 250 artists and six months of in-depth studio visits, we uncovered a distinct community of artistic voices that are developing the city’s cultural landscape and laying the groundwork for its future. Working with the artists one on one, we’ve produced 31 separate solo presentations without ever suggesting a theme or direction.

The resulting exhibition features projects as diverse as James Bridle’s Render Ghost squatter flags installed along the exterior of the building overlooking The Strand, Matthew Smith’s platform shoe making and cat walking classes in his Glam Rock Bog (a repurposed toilet within the exhibition space) and LuckyPDF’s interactive history of the South London art scene that includes interviews with key figures within the community, collaborative architectural models approximating a 3D memory map, a library and lounge within the exhibition space, and an open Wiki for the public to contribute.

Co-Founder Aya Mousawi continues; “As a non-collecting organization, our resources are dedicated to our dynamic exhibitions, public programme, and special commissions. Alongside this and as part of our roving outreach strategy, we have scheduled separate talks, workshops, performances, and a series of Moving Museum Salons in partnership with the Institute of Contemporary Arts, London (ICA), most of which are artist led and an extension of the exhibitions programme itself. In this way, the exhibition will not just be a repository of objects, but a laboratory for active experimentation where artworks and ideas are constantly produced.

The Moving Museum has also produced a comprehensive 300 page publication with newly commissioned essays, a chapter on each artist, and a series of interviews between all participating artists with each other.

EVENTS PROGRAMME/

The Moving Museum will run a full programme of talks, salons, performances, workshops and interventions alongside the exhibition, providing a space for mediating a deeper knowledge and understanding of the artists’ work. In partnership with the Institute of Contemporary Arts (ICA), The Moving Museum will run four Friday Salons at both the ICA and The Moving Museum’s Strand venue. The artist-led salons include discussions on technological performance, production methods, funding strategies for artists and aftermath of the 2011 student protests.
Until 15 December 2013 – Free - General enquiries: info@themovingmuseum.com www.themovingmuseum.com - facebook.com/themovingmuseum - @themovingmuseum


The Moving Museum runs a travelling programme of contemporary art exhibitions in different cities across the world. The programme aims to support and present a selection of the most innovative artistic voices whose works are shaping contemporary art and developing its future, taking knowledge and new ideas on a travel itinerary that follows significant art world events. This approach responds directly to the global nature of the contemporary art world today; its museum standard production, educational programming, in depth publications, and network of international curatorial advisors takes the defining elements of the museum on the road and into the 21st century.

The Moving Museum’s launched in Dubai March-May 2013 with a show titled Tectonic, which featured over 300 works and 24 International artists including Jeremy Deller, Michael Rakowitz, Tom Sachs, Bruce High Quality Foundation, Haroon Mirza. The exhibition also hosted a comprehensive education programme partnering with Dubai’s primary non-profit spaces as well as The British Council. Tectonic also commissioned a work by Michael Rakowitz, Dar Al Sulh, which became the first Iraqi-Jewish restaurant in the Arab world in over half a century.

180 The Strand will be a new platform to house all creative industries. Representing a new wave of creative collaboration, it will provide space for the most exciting, innovative brands and visionary talents to co-exist and harness inspiration.

180 The Strand is modern, dynamic and stands at the crossroads of Art, Fashion, Film & TV, Food, Music, New Media, Publishing and Design. It also works as an incubator that nurtures emerging talents from the next generation. The Vinyl Factory will be working alongside 180 The Strand to offer cutting edge facilities and state of the art technologies for all major and pioneering creative fields. It is a dynamic environment with impressive exhibition and catwalk spaces, photographic, recording, and film studios with revolutionary broadcast and editing facilities, and luxurious screening and cinema theatres.

The ICA The ICA supports radical art and culture. Through a vibrant programme of exhibitions, films, events, talks and debates, the ICA challenges perceived notions and stimulates debate, experimentation, creativity and exchange with visitors.

Founded in 1946 by a group of artists and critics including Roland Penrose, Peter Watson and Herbert Read, the ICA continues to support artists in showing and exploring their work, often as it emerges and before others. The ICA welcomes over 400,000 visitors a year to its home on The Mall in the heart of London. The Director of the ICA is writer and curator Gregor Muir, author of Lucky Kunst. www.ica.org.uk

The London Moving Museum – free – till 15 Decembre – Tuesday to Sunday – 11am-6pm. 180 The Strand, London WC2R 1EA


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