THE GENERAL MEDIUM opening thurs 22nd nov

crate

Opening Night - Thursday 22nd November 6pm - 9pm
Open Friday 23rd - Sunday 25th November, 10am - 5pm

'The General Medium' is an experiment between seven artists, all recent UCA graduates. They have been asked by the curator to swap works and 'consider the medium' to make something new. Half instruction, half suggestion, Claire Scott has asked each of the artists to shift their usual way of making and consider using new strategies and media in which to carry out their ideas. Among many combinations and collaborations, a painter will be faced with video work, a video artist faced with sculpture. Could it result in a positive way of making, or is a painting simply a painting?

Charley Vines

Work arrives from a focus on painting and an interest in the developments that occur during the process of production. In producing, I am aiming to contstruct an image, which is not limited by the boundaries of a plane or surface. Often, the image exists across a combination of painted surfaces, objects and domestic materials and the fabric of the site in which it is installed.

Petra Ried

Petra Ried

I am currently working on a project based on burst car tyres I find & collect along the E40 motorway in France and Belgium.

This project is about repetitive journeys and the significance of certain routes I routinely undertake.

The E40 has somehow become part of my makeup, a regular transit route, semi-familiar with its burst tyres, old and new filling stations, selections of cow varieties, post-industrial landmarks, rough tarmac, asylum seekers looking for open lorries, Belgium sausages, good & bad toilets, Calais, Dunkirk, Brugge, Gent, Brussels, Ring Road, Liège, Aachen...

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/ LA PLATE-FORME > CRATE RESIDENCY & EXHIBITION EXCHANGE August 2012

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ARTISTS SELECTED:
CRATE / LA PLATE-FORME RESIDENCY AND EXHIBITION AWARD RECIPIENTS

Crate are pleased to announce Hannah Lees and Neil McNally as the two successful CRATE selected recipients of the CRATE / La Plate-Forme residency and exhibition exchange.
They will both undertake month-long residencies with exhibition at La Plate-Forme in Dunkerque from mid-August through to late September 2012. For progress and more details of their work please refer to CRATE's website and .
During this period, CRATE will host Mehdi A. and Anna Katharina Scheidegger from the Nord Pas de Calais region of France with exhibition in CRATE's Project Spaces planned from 14-30 September. More details will be announced nearer the time.

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Here is more information on all the artists:

[u]Residency and exhibition at La Plate-Forme, Dunkerque[/u]

Hannah Lees is a contemporary artist based in London, whose work investigates ideas of cycles: constancy and mortality; the sense that things come to an end and the potential for new beginnings.
She completed a post-graduate diploma at Chelsea College of Art, (London) in 2010 and this year she completed a foundry residency at the Royal College of Art (London).
Recent exhibitions: The Conch Part V at the South London Gallery and Smoke at the Royal College of Art.
Forthcoming projects include: Nowhere island radio (Plymouth) and an Internet project in collaboration with Michael Pybus, .
For more information please visit

Neil McNally has a practice that encompasses painting, sculpture, film, and more recently writing and curating.

For more information please visit

[u]Residency and exhibition at CRATE, Margate[/u]

Mehdi A. -

Anna Katharina Scheidegger -

Funded on the Kent side by Arts Council South East and Kent County Council.

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EXHIBITION AS MEDIUM: END SYMPOSIUM

Ruth Beale, Dave Beech, Desmond Church, Noel Cluet, Andrew Cross, Karen Di Franco, Janna Graham, Lily Hall, Toby Huddlestone, Sue Jones, Bob Levine, David Martin, Paul O'Neill, No Fixed Abode, Mette Kjaergaard Praest, Matthew de Pulford, Neal White
 
24 June 2012 at , London

This was the final element of the programme. Beginning with Start Symposium in early 2011, the programme and organisation was always perceived as an ongoing active conversation delving into alternate exhibition formats, thinking about the exhibition as one co-authored artwork rather than a space in which to show separately authored works. The programme has attempted to bridge the chasm between the discussion generated through research and process, and the 'final' exhibited product. 

This symposium presented two keynote presentations on possibility and spectatorship by Janna Graham and Dave Beech respectively. Each project as part of the Exhibition as Medium programme was reviewed and discussed by those involved, including Andrew Cross, Bob Levene, Paul O'Neill and Neal White..The symposium ended with a discussion chaired by Paul O'Neill, leading to an open dialogue inviting questions and thoughts from all attendees.

The symposium focused on the research undertaken through the programme via the following questions:

/ How can we breakdown existing hierarchies between organisations, curators and artists, instead finding some commonality of practice and expression?
/ Can we mould collective ideas together in order to co-author and co-produce exhibitions, events and artworks?
/ How can we explore a shift in authorship and control between curators and artists?
/ How can we express artistic practice, rather than just artistic product?
/ Is it more interesting and freeing to ignore ideas around the catagorisation of rigid art practices?
/ Is it more interesting to say 'I am the artist, curator, exhibition, programme and organisation' rather than 'I am the artist'?
/ What is the role of our public(s) when working on conversation-driven programmes? Can we become our own public(s)?
/ What kind of impact do programmes such as Exhibition as Medium have on audience, the art world and culture?

Over 80 thinkers including artists, curators and writers have contributed to the seven separate projects making up Exhibition as Medium, unearthing research and adopting new processes in order to investigate shifts in what the exhibition can be.

CRATE CURATORIAL BURSARY

Fischli&Weiss_The WayThingsGo

CRATE offers an opportunity to develop an 18-month programme for its project spaces. The most recent recipient was Sacha Waldron and her programme, The Survey. The Curatorial Bursary is aimed at artists and curators who have previous experience of curating and coordinating projects and who are happy to self direct a programme and work independently. Crate is a small and ambitious organisation and the bursary recipients are asked to be aware of building's context, maintaining the infrastructure around the organisation and Crate's future sustainability.

EVENT SHOW / THE WAY THINGS GO / A WAY OF DOING THINGS

Ruth Beale, Karen Di Franco, No Fixed Abode, Neal White

Open: Sunday 3 June, 2012, 3 - 6pm

CRATE presents the last event in the project spaces as part of the programme. You are invited to join us for a series of interconnected events on Sunday 3 June starting at 3pm. Artists Ruth Beale, Karen Di Franco, No Fixed Abode and Neal White present events devised over the last few months via a forecasting technique used during the Cold War called The Delphi Method. These events form the culmination of an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process. The process of using The Delphi Method has allowed the artists involved to incrementally refine their ideas for Event Show, with the suggestion of five separate actions as part of one larger event. They have FORMED A COMMITTEE and issue a summons to attend a WAKE between 3 - 6pm during which time there will be RITUALISED REFRESHMENTS, DIAGRAMMATIC ACTION, PERPETUAL REMEMBERANCE and the UNVEILING OF THE FOUNDATION STONE.

Event Show / The Way Things Go / A Way Of Doing Things is a project that concentrates on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing. It attempts to unravel working and thinking and push these often hidden processes public. Event Show began with a screening of Fischli and Weiss' . This had lead to A Way of Doing Things, where notions of the natural evolution of ideas and things have become secondary to pragmatism and a sense of wanting to get things done.

The Way Things Go still exists - it was the beginning of A Way of Doing Things - a reference point for discussion and thinking, which has moved on to form something else. We can refer back to The Way Things Were and point towards The Way Things Will Be, choosing to shift philosophical position within the time-frame of Event Show

Fischli & Weiss - THE WAY THINGS GO

Introduced by Jeremy Millar
Open: 6 April 2012, 7:30pm

As part of Event Show, Fischli & Weiss' The Way Things Go will be screened at CRATE, with an introduction by , CRATE studio artist and author of The Way Things Go, published by Afterall Books.

Event Show / The Way Things Go / A Way Of Doing Things is the final exhibition as part of the  programme. It is a project that concentrates on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing. It attempts to unravel working and thinking and push these often hidden processes public. 

TO PAY RESPECT TO THE GENEROSITY OF THE THREE-MINUTE PUNK-ROCK SONG

Vito Acconci, Black Argos, David Blamey, José Arnaud-Bello, Sovay Berriman, Don Celender, Loz Chalk, Rob Chavasse, Adam Chodzko, Desmond Church (with Egle Kulbokaite and Sabel Gavaldon), Patrick Coyle, Andrew Cross, David Cross, Iain Forsyth and Jane Pollard, Anthony Gross, S Mark Gubb, David Hall, Rose Kallal, Adam Knight, Frank Koolen, John Latham, Jamie Bracken Lobb, Elizabeth McAlpine, Julie McCalden, Ronan McCrea, Magnets, David Martin, Nelson Melo and Carolina Rito, Suzanne Mooney, Lawrence Norfolk and Neal White, Graham Parker, Kelvin Pawsey, Laurence Payot, Pedro Diniz Reis, Andrea Schlieker, Anthony Shapland, Gregg Stobbs, Barry Sykes, Aron Taylor, Sue Tompkins, Gavin Turk, Mark Aerial Waller, Neal White, Carey Young + more.

Exhibition curated by Toby Huddlestone, curator at CRATE 
Events curated by Jim Lockey, curator at LIMBO

18 November - 18 December, 2011. Open Fri-Sun 12-6pm

Special Events:
8 November 6pm - late: Opening party & T-shirt sale
29 November 6.30pm: Andrea Schlieker talk
2 December 8pm: Magnets gig
10 December - Screening of Ensemble, Andrew Cross

The three-minute punk-rock song is one of the most generous forms of artistic expression ever created. Lasting just three minutes, it allows us plenty of time both before and after the event to carry on with the rest of what we have to be getting on with.

The punk song is a conceptually tight machine partly formulated by its duration and dedication to punch hard and fast, but therein lays a beautiful contradiction. Within the body of the song are strewn errors, spasms, glorious hic-ups and splutters, reminiscent of our everyday stumblings. The world is becoming increasingly fast-paced and precarious - we know that, but rather than translating this as having detrimental impact on the human race, and foreseeing some kind of neurotic and psychologically broken utopian reality, instead let us embrace this urgency, and the interruptions and blurring that formulate through it.

Let us find the strategies, lines and modes we are most capable of using in order to continue to be culturally inspired and exist. Referring to Agamben's commentary on the absurd notion of 'the holiday', which as a society, we have created as a rewarding break from our everyday working life, we now require shorter bursts of 'away-time', often removing ourselves from daily patterns of life psychologically whilst our bodies remain planted. Many of the artists in this exhibition recognise the poignancy of a wanting for cultural quickness, and the importance of (the word that defines what they do) practice as we continue to re-interpret and re-invent artistic methods to create new associations and commentaries of our present reality. Error making, failure and lapses are crucial to (artistic) practices that are investigative; generous through their efforts to get to grips with something. The works are not one-hit wonders, far from it; like the punk song, they arrest us and reverberate a political stance through us, shuddering us into an altered state forcing recognition and ambition.

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