Exhibitions

NOTES FOR AN EXHIBITION

Open: 21 October - 6 November 2011, Fri - Sun 12 – 6pm
Endview: Sunday 6 November 2011, from 6pm

Artist: Desmond Church
Curators: Daniela Berger, Sabel Gavaldon, Egle Kulbokaite, Lily Hall, Mette Kjaergaard Praest, Laura Smith.

Co-curated by Toby Huddlestone CRATE presents the third exhibition as part of the current Exhibition as Medium programme, Notes For An Exhibition.

Six curators, one artist, one gallery, three weeks. The focus of Notes For An Exhibition will move away from methods of teleological exhibition-making toward action, response and production, emphasizing collaboration and discussion, association and conversation.

Notes For An Exhibition is an experiment that will deliberately be allowed to evolve and change shape. Over the exhibition’s three-week duration, six curators working in pairs will collaborate with the artist Desmond Church. To begin with the gallery space will be empty; throughout the three weeks to come Church will programmatically send each pair of curators a series of proposals for works, actions or instructions. These proposals will be sent to the curators one at a time and will most likely take the form of a drawing or a line of text, which will be interpreted and produced by the curators and finally be displayed alongside the outcome of their directive. The accumulation of these proposals and their outcomes will grow and exist in the gallery as evidence of the collaboration, building almost toward the final production of a Desmond Church solo show.

Notes For An Exhibition therefore seeks to address questions of duration and presence with regard to content and the development of ideas. It also hopes to investigate, or begin to unravel, contemporary ideas around authorship, object/research dynamics and the outsourcing of artistic production, drawing on alternative exhibition histories as inspiration toward its final outcome.

desmondchurch.co.uk

GROUP SHOW / SOLO SHOW (ROBERT BARRY)

Valentinas Klimašauskas, Raimundas Malašauskas, Jonathan Monk, Museum of American Art, Paul O'Neill

Preview: 26 August 6.30 - 9pm
Open 26 August - 18 September 2011, 12-6pm Sat - Sun
(Or by appointment)

An exhibition centred on the work of conceptual artist Robert Barry. A reinvention of the solo show. Re-workings and re-interpretations of Barry's work will be presented in the only exhibition in the Exhibition As Medium programme that will remain in a static form. A focus here lies more in what a solo show can constitute, in this case focusing on artists and thinkers who have utilised Barry's ideas in order to create new work or re-imagine original works.

This curatorial premise of re-thinking the solo show abolishes the ongoing contentious issue of whether (ordinary) solo shows can ultimately be curated. Through the original curatorial premise, and the process of selecting artists and works, this is much more an experiment in curatorial practice than an invited and 'organised' solo exhibition.

Barry, more than any other artist, lends himself to this kind of reworking of the solo exhibition. Through his early works in the 1960's, he recognised the importance and playfulness of authorship, often claiming where, or how artworks could be experienced, rather than physically showing something. Red Square (1967), a single small canvas, includes the specification that it be installed 'at the centre of the wall'. 

Other paintings from the same period were sent with instructions on where they should be hung in a particular space, 'the background wall in both cases becoming thematically accommodated within the totality of the work.' His Telepathic Piece (1969), leaves nothing more than the artist's intention of how the work will exist, and probably his most well-known work Closed Gallery series (1969), in which was written on the invitation card for an upcoming exhibition, 'During the exhibition the gallery will be closed', he 'shrewdly and clearly played on art's conditions' , leaving nothing but an empty gallery, maintaining complete control over (the non-existent) exhibited product.

Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist. The solo artist is still the solo artist.

The Woodmill - (IN THE DAYS OF THE) ROID

Friday 5 August, 2011.  8pm

For the final part of Solo Show / Group Show, The Woodmill (Alastair Frazer, Naomi Pearce and Richard Sides) present a new play / performance in three parts. 'Roid' is a tragi-com about transformation, epoch, dark psychedelia, death and absurdity. Through a series of monologues, scenarios and prop-based actions this inter-personal edit merges experienced moments and historical events to explore personal dialogue, an idea of coming-of-age, and the 'wrong' psychedelics of Charles Manson.

Feel free to join us from 7pm for a few drinks before the event.

Nearest train - Margate rail from Victoria, St. Pancras and Stratford International. Last trains back to London: 21:53 to St.Pancras 22:16 to Victoria

woodmill.org

SOLO SHOW/GROUP SHOW

Noel Clueit, Bob Levene, David Martin, Dan Meththananda, Woodmill (Alastair Frazer, Naomi Pearce and Richard Sides)

Open: 15 July - 8 August 2011, 12-6pm Friday - Sunday (and whenever an artist is working in the gallery)

A group exhibition presented as a series of cumulative solo exhibitions.

Each artist produces and presents new work in the gallery space at different times during the exhibition, choosing either to use or disregard what has gone before. For the curator, importance is shifted from spatial or thematic concerns towards the exhibition's time frame.

For the artist, this format of group exhibition instigates and supports a much more active decision-making role than usual, asking them to respond physically to others' work in the space, so shifting elements of curatorial (spatial, aesthetic and thematic) control over to the artists. The curator's role becomes insignificant other than setting the initial parameters, passing all control of exhibited product back to the artist. The artist takes on the gallery as a temporary workplace akin to that of a studio, in which they find things already, which they must work with in some way. They do not bring along pre-made works ready to hang on the white walls or place on the floor - instead they become an ongoing work themselves in the space in amongst the visiting public. 

About the artists:

Noel Clueit is based in Manchester, UK. Sampling ready-made or reproduced objects, Clueit utilises shop bought objects, photocopied areas of art history books and appropriated record sleeves - commercial objects that riff between post-painterly abstraction and the purely decorative - altered in order to show their dumbed down 'modernish' appeal. Recent work explores authorship, reproduction and the relationship between reference material and the representation of objects. These materials are sourced in order to explore our unaware attachment to icons, compositions and the shifts of value and taste within contemporary culture. Recent exhibitions include: Burlington Fine Arts Club, Piccadilly Place, Manchester; We Are All In This Together, Bureau, Manchester; Painting Show, Supercollider, Blackpool; DEADPAN, Royal Standard, Liverpool; Legacy 1, Forman's Sculpture Yard / LIU Gallery, London; From This Filthy Sewer Pure Gold Flows, Rogue Project Space, Manchester, A Curriculum, A Foundation, Liverpool; Supercollider Embassy, Grundy Art Gallery, Blackpool; Sunflowers Satellite Gallery, Newcastle upon Tyne. 

Bob Levene, based in Sheffield, UK, “is an artist who embraces the conclusive, ongoing and unpredictable. Her work resounds with a poetic sensibility that defies categorisation, but with a focus on the nature of perception and sound. Adopting pseudo scientific strategies and anthropological methods of recording to analyse the 'nature' of things, she investigates time, distance and communication. In her efforts with limited resources and limited tools, she uncovers with wit and guilefree sincerity a finely balanced poetics of perception that takes us beyond the 'truth' of things into the realm of the absurd” Roger McKinley, Corridor8 Magazine, 2009

David Martin is currently based in Bristol, UK. After graduating from Manchester Metropolitan University in 2004, he has exhibited in the UK, Spain, Scotland and Germany. Recent projects include We Are All in It Together (Bureau, Manchester), Rascals in Paradise (WSM) and Smokescreen (Galerie Art Report and Weltraum Project Space, Munich). David is a Co-Director of Exocet, an arts organisation which focuses its activity outside traditional art venues, and an independent curator, currently organising an exchange project between Cork and Bristol. 

Dan Meththananda was born in Margate in 1985 and currently lives and works in Paris. He studied mathematics at University College London, social sciences at Columbia University and worked in media research for a major American television network before attempting to become an artist in a French business school, HEC, in 2009. He has brown eyes.

The Woodmill was formed in 2009 by a group of artists and curators to establish a dynamic environment for exhibitions and events combined with experimental and communal artists' production space.

nfclueit.com
boblevene.co.uk
dmartin.org.uk
woodmill.org

Tom Duggan: LACUNA

Preview: Saturday 17 April 2010, 6-9pm | CRATE Project Space, Bilton Square, Margate CT9 1DX
Exhibition opening dates and times:
18, 23-25, 30 April 2010 and 1 May, 12-5pm |
CRATE
Project Space
19-23 April 2010, 9am-5pm | Herbert Read Gallery, UCA Canterbury, New Dover Road, Canterbury CT1 3AN

Wherever art appears, life disappears. " Francis Picabia

CRATE presents Lacuna, which documents the actions of a series of personas inhabited by the artist Tom Duggan.

The exhibition, which will take place at CRATE Project Space in Margate and at the Herbert Read Gallery at UCA in Canterbury, comprises performance, installation, found objects and text works.

Lacuna portrays ‘an artist who isolates himself for our spectacle’, regarding the tradition of disappearing artists like Bas Jan Ader and Lee Lozano, while considering, perhaps ironically, how such artists have entered into art history.

In some instances we see Duggan proposing fantasies; in others he seems to be preparing to disappear from the world. Seeming to exist both in fiction and in reality, these works reflect Duggan’s apparently simultaneous desires to be known and to be invisible.

Several of the works make attempts at declaring something. In one instance, Duggan claims to have put everything he owns into cardboard boxes. In another work, that the object exhibited is an item stolen from an undisclosed location somewhere in the UK. These claims are either supported with some kind of proof (if the action took place in the past), or presented as a promise (if it is yet to take place); with each, some aspect of the work is either unseen or unspecified.

In contrast to these declarations and promises are the suggestions of imagined exhibitions curated by the artist, for which he has created a series of press releases and floor plans.

Lacuna considers the presentation of the Tom Duggan artist-persona through this institutional framework and its capacity for revealing truths. It asks whether the viewer will accept the disparity between the Tom Duggan who speaks through the institution and the Tom Duggan who, we are told, carries out the series of secretive, isolated and contemplative acts documented in the work.

Lacuna is part of Bad Translation, CRATE’s programme for 2009/10.  It is supported by Arts Council England and Kent County Council.

About the artist:

Tom Duggan graduated from Nottingham Trent University in 2009.

He once arranged for a follower to follow viewers upon their departure from an exhibition space. Elsewhere, he arranged for actors to visit an exhibition only to pretend to be genuine viewers of the exhibition. Partially in an attempt to question the authority of the artist, these potentially invisible gestures play with the notions of consent inherent to gallery dynamics and etiquette.

Recent exhibitions have included Project Biennale (2009), Nottingham Trent University Fine Art Degree Show (2009) and Defunct (2008), which he co-curated at Backlit Studios in Nottingham.

tomduggan.org.uk

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