Claire Scott and Hannah Weatherhead were CRATE / UCA curatorial interns during 20111/12. Working alongside the CRATE curator Toby Huddlestone, they gained hands on experience supporting invited artists and the implementation of individual projects, participated in critical discussions, and helped to develop an audience for CRATE and increase access to the activities it supports. In addition Claire and Hannah each developed their own curated project for the project spaces with support from CRATE and UCA.
Using their experience at CRATE the interns fed back into the School of Fine Art at UCA Canterbury through talks and workshops during the academic year.
The Woodmill - (IN THE DAYS OF THE) ROID
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
SOLO SHOW/GROUP SHOW
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.
Solo Show/Group Show - Essay
“One shudders at the thought of increasingly 'professional' artists, curators, directors, critics, etc' whose schooling is aimed at producing prescribed museum quality final exhibitions, performances, exquisitely professionalised displays of cultural resistance, perfectly honed critically positioned texts which are publication worthy. One shudders not because this is dull, though it certainly is that, but because the idea of being able to foresee the expected outcome of an investigative process, is completely alien to the very notion of what [art] is about.”#1.">1
Artists are people first - let us destroy the (Kantian) notion of the 'artist as genius' locked away in a separate world of myth and fantasy (more often than not their studio). For over fifty years now, artistic practice has shifted far away from this notion insofar as practice could easily replaced with the word living. Through the happenings and situations originating in the sixties through Allan Kaprow and fluxus, through to today's (quotidian) relational artists of which there are too many to name, artists have and are working with everyday realities far outside the concerns of narrow artistic trends and styles. How different really is On Kawara's I AM STILL ALIVE series made where the artist sent these telegrams to his friends throughout the seventies, to the regular 'updates' we currently post on Facebook and Twitter? “Today, more people are interested in image production than image contemplation.”#2.">2 Art and life = the same.
Artists are of course, people, yet through what Jurgen Habermas coined the 'bourgeois public sphere', of which the art-world is a component, we have created a few other preconceptions of what artists are. Through the galleries and museums that constitute the art-world, we have placed the artist on a pedestal as a great thinker or communicator of our times. In the world probably much closer to our actual realities, the artist is conversely known as a scrounger or lay-about, sponging off the state to do what they like to pass the time of day.
Both of these are untrue. Artists are the same as other people - they are interested in things. What makes them artists' is that they make things out of their interests. The problem with viewing the things they make (in Habermas' bourgeois public sphere) is that we rarely meet or speak with them.
Again to Habermas. In his text, The Structural Transformation of the Public Sphere, he identifies that between the middle ages and the 18th Century, the public sphere was almost non-existent, due to the feudal system (of course). The King, or Lord, represented himself before the audience, making the King/Lord the only public person, all the others being (inactive) spectators.
He continues, and interestingly concludes that a ‘public sphere’ of opinion and voice, evolving through bourgeois reading groups in salons and coffee houses, to a ‘self-interpretation’ of the public sphere through the ideas of Kant, Marx and Hegel has been and gone, and what we are left with is that politicians, mass media and organisations (companies) represent themselves before the voters, in a similar structure to the King and the audience of the first instance.
Whether you go along or not with Habermas’ claims that we have gone full circle to a space where we have no (or little) public voice, in it there lays a striking resemblance to our experience of viewing art.
Replace ‘King’ or ‘Lord’ with ‘artist’ and/or ‘curator’, and keep audience as ‘audience’, and you have the current structure of how we interpret artworks. We visit an exhibition and are given a selection of artworks to contemplate and possibly interpret. Then we leave.
"Art institutions are indeed the in-between, the mediator, interlocutor, translator and meeting place between art production and the conception of its ‘public’’… ‘I would suggest that we take our point of departure in precisely the unhinging of stable categories and subject positions, in the interdisciplinary and the intermediary, the conflictual and dividing, in the fragmented and the permissive – in different spaces of experience, as it were. We should begin to think of this contradictory and non-unitary notion of a public sphere, and of the art institution as the embodiment of the this sphere."#3.">3
So what of a space where the audience witnesses an ongoing production of art, the artist and curator present as living people?
1. Irit Rogoff, Academy as Potentiality, A.C.A.D.E.M.Y (eds Angelika Nollert & Irit Rogoff) Revolver, 2006
2. Boris Groys, Going Public, Sternberg Press/ e-flux 2010
3. Simon Sheikh, Public Spheres and the Functions of Progressive Art Institutions, 2004. http://www.republicart.net/disc/institution/sheikh01_en.htm
START SYMPOSIUM - audio files
START SYMPOSIUM - Images
Toby Huddlestone introducing the START Symposium.
EXHIBITION AS MEDIUM - START SYMPOSIUM
Presentations from Toby Huddlestone, Paul O'Neill, Binna Choi, Valentinas Klimasauskas, Anthony Gross
As a starting point for the Exhibition as Medium programme curated by Toby Huddlestone, speakers were invited to present ideas on alternate models of exhibition format, and to comment on a shift from the more traditional spatial 'static' show to something more active, temporal and engaging.
The project poster, biographies, and a recording of Paul O'Neill's presentation are available to download below.
Exhibition as Medium and the Start Symposium are supported by KCC and Arts Council England.
10.00am - Live music: Two Wounded Birds at the Harbour Arm (Turner Contemporary)
10.30am - Toby Huddlestone, curator at CRATE
Introduction to Crate and Exhibition as Medium programme.
11.00am - Paul O'Neill
The Exhibition as an Emergent, Co-Productive Medium and Three Principles of Organisation: The Background, the Middle-Ground and the Foreground
12.00 Binna Choi
Art Institution as Generous Structure (Against the grain of neo-liberal ideologies of ‘lifelong learning’ and ‘work as play’, how can we dream of an institution as a generous structure?)
12.45pm - Live music: Bloco Fogo at the Harbour Arm
1.00pm - Lunch at LIMBO
2.00pm - Valentinas Klimisauskas
It Starts Here: An Invitation to an Imaginary Exhibition
3.00pm - Anthony Gross
Structures for Enabling (A survey of the curatorial projects by temporarycontemporary and Anthony Gross including modular structures, social clubs and entrepreneurial 'do-it-yourself art centres')
4.00pm - Bodies in Urban Spaces, Old Town (Turner Contemporary)
5.00pm - Chaired Discussion and Open Dialogue
6.00pm - END
All presentations will be followed by a short Q&A session
EXHIBITION AS MEDIUM - Introduction
Starting with a symposium on April 16th 2011, it will examine alternate models of exhibition format.
The Exhibition as Medium programme concentrates attention on alternate models of exhibition format through the presentation of research through production - exhibitions, screenings, events, talks, symposia, papers and publications will be produced alongside social events, informal discussion and electronic dialogue.
The focus of the exhibition will shift from the more traditional spatial 'static' show, where artwork remains in the space to be consumed, to something more active, temporal and engaging. Consumption and viewing will make way for a more fluid site of action, response and production.
Five major projects are planned through twelve months along with two symposiums book-ending the programme.
SOLO SHOW / GROUP SHOW
15 July - 7 August 2011
A group exhibition presented more in-accordance as a series of solo shows. Each artist is invited to take on the exhibition space, utilising or dismissing previous incarnations by artists before them.
Curatorially, the importance is shifted towards the exhibition's time frame rather than use of space. This group show format places artists in a much more active decision-making role than usual, asking them to respond physically to others' work in the space, so shifting the curator's role of placement to the artists.
Artists include Bestue and Vives, Garrett Phelan, The Woodmill and Noel Clueit.
GROUP SHOW / SOLO SHOW (Robert Barry)
26 August - 18 September 2011
An exhibition centred on the work of sixties and seventies conceptual artist Robert Barry. A solo show you might say, except that none of his actual work will be displayed.
Instead, a reinvention of the solo show. Here, re-workings and re-interpretations of Barry's work will be presented in the only exhibition in the 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 solo shows can ultimately be curated; this is much more a curatorial project than an invited and organised solo exhibition.
Artists include Jonathan Monk, Paul O'Neill, Mario Garcia Torres and Goran Djordjevic/Museum of American Art.
I'M SO BORED OF VIEWING...(WORKING TITLE)
14-30 October 2011 (opening 13 October)
Co-curated by selected students on the MA Curating course at RCA.
Artistic production is shifted from artist to curator in this evolving exhibition.
An artist, selected by the RCA students, will electronically send their daily research to the curatorial group. The process between research in a raw form and exhibited artwork will then be carried out by the curators, who will create the artworks from this research for the exhibition space.
I'm so bored of viewing investigates power relations and authorship around artistic product. The artist to a point is giving up artistic and curatorial control over their work; the curators having to work quickly and intuitively with raw research rather than finalised works; the friction ensuing through this process hopefully fueling both verbal and material discussion and debate.
TO PAY RESPECT TO THE GENEROSITY OF THE THREE-MINUTE PUNK-ROCK SONG
18 November - 11 December 2011
The three-minute punk-rock song is one of the most generous forms of artistic expression ever created. Lasting around 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 works and artists in this exhibition recognise the poignancy of a wanting for cultural quickness, and the importance of (the word that defines what we do) practice as we continue to re-interpret and re-invent artistic methods to create new associations and commentaries of our qoutidian reality.
The works are not one-hit wonders, far from it; like the punk-rock song, they arrest us and reverberate a political stance through us, shuddering us into an altered state forcing recognition and ambition, and like the punk-rock song there are also strewn errors, spasms, glorious hic-cups and splutters, reminiscent of our everyday stumblings. These are left exposed, as a reminder that practice is still practice.
Artists include John Latham, Rose Kallal and Mark Beasley, Kim Noble, Sue Tompkins, Vito Acconci and Daria Martin.
EVENT SHOW: THE WAY THINGS GO
This project will begin with a screening of Fischli and Weiss' The Way Things Go, and takes on John Latham's theory of any object or thing being the result of a time-based event.
One thing sparks another, and each artist will invite another into the process of working on an event that is sparked by the previous event to have taken place. This will continue until the date-end of the project.
Artists include Neal White, Karen Di Franco, Filipe Glissen, Ryan Gander and Freee.
At the Showroom, London (date and place tbc).
Participants form the start symposium and more picked up along the way regroup to publically discuss the Exhibition as Medium programme and new thinking into alternative exhibition strategies.
A publication of the programme will launch at an event planned for the evening.
Image: Event Show 2012
JEMT May 2011
An exhibition of contemporary art
presented by JEMT:NEW ARTS GROUP
21st - 27th May 2011
Opened at CRATE PROJECT SPACE on the 21st of MAY from 6-9pm
Jim Heeley, Edward Blain, Mark John Smith, Thomas Langley
Toby Huddlestone - new curator for CRATE.
Toby is currently developing a programme tilted 'Exhibition as Medium', which primarily aims to concentrate attention on alternate models of exhibition format through the presentation of research through production. Exhibitions, screenings, events, talks, symposia, papers and publications will be produced alongside social events, informal discussion and electronic dialogue. The programme began with a 'closed' symposium on 16 April, now archived on the CRATE website.
The main programme will commence in July 2011 and run until April 2012.