Exhibitions

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

Lucy Harrison: THE ABSENT COLLECTOR

Preview: Friday 12 March 2010, 6-9pm
Open: 13 - 14 March 2010, 12-5pm & 19 - 21 March 2010, 12-5pm (Or by appointment)

For the fifth exhibition in CRATE's Bad Translation programme, Lucy Harrison explores interpretation and coincidence through the stories of two people – one from 20th Century Italy, the other from 19th Century Margate.

In the first part of the show, which takes place in CRATE’s Project Space 1, she attempts to piece together the biography of the owner of a collection of letters and postcards found on a roadside in Sicily.

The London-based artist was visiting Palermo last year when she discovered a carrier bag full of correspondence spanning 20 years. She returned home with the letters, intrigued by what they might reveal of their owner – and what they might withhold. With the help of an Italian speaking friend, she found parallels between the found collection and other ephemera belonging to absent family members which she herself owns. Following this, she asked various Italian speakers in Italy and the UK, including in Margate, to translate more of the letters into English, and also to interpret and speculate on what the letters might have meant and what they reveal about the correspondents’ lives and relationships. Her search for Italian connections in the area led her to a local story that casts a different light on what happens to somebody’s possessions when they die.

In Project Space 2, Harrison investigates a pamphlet found in the Margate Local History Archive. ‘A Plain Statement of a Late Base Conspiracy’ is the confusing story of a man in Margate in 1837 who felt persecuted by gossip in the town about why his uncle cut him out of his will. The gossip was literally spread around the streets by graffiti and ‘printed placards’.

The Absent Collector is Harrison’s investigation into the process by which the belongings of one who is no longer there have new value judgments placed on them and are often disseminated to various locations and read without the previous owner’s knowledge of why they were kept, or of the specific relationships between the objects that determined their meaning. By focusing on the idea of an unknown collector, the project considers how others may find or interpret items that were given away, and the way in which those that were kept now signify a void; the writer or receiver of letters no longer being present to clarify points or retell stories.

Harrison’s dissemination of the Sicilian collection is in part an attempt to explore how personal connections and family histories make objects meaningful: that when her collaborators’ input is gathered to form a new collection, it might create a portrait of the vacuum that is created when someone dies. The exhibition also examines the act of ‘reading’ a collection of objects – whether they be letters, objects, photographs - highlighting the role of guesswork in the absence of the original collector, and the extent to which one’s understanding of collections is guided by one’s own desires rather than curatorial or objective agendas. Furthermore, it considers the impact that this act of reinterpretation can have in the real world.

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

About the artist:

Lucy Harrison is based in London and graduated from the Royal College of Art in 1999. Her recent work investigates the subjective nature of the experience of place and connections between memory, location and architecture. It takes the form of photographs, book works, video and various forms of printed and published material. Her projects often engage with the public realm through collaboration, encounter and exchange, and involve residents of a place in the work, such as Canvey Guides, a project on Canvey Island in 2007, for which she formed the Rendezvous Walking Club and worked with people on the island to produce an alternative guidebook and audio guide. Recent projects include Fourteen Interventions (2010) at Swedenborg House, Poetry Machines (2009) at the Saison Poetry Library, London, The Stratford Grapevine (2008) for Art on the Underground at Stratford station and a residency at Lokaal 01, Antwerp in 2008. She was artist in residence at the Institute for Contemporary Interdisciplinary Arts at the University of Bath last year, and is developing a new project for SPACE working with residents of an estate in Hackney Wick, London.

Lucy Harrison is Senior Lecturer in Fine Art at University for the Creative Arts, Canterbury.

lucy-harrison.co.uk

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