the ships are always there image

Laura Fitzgerald, Phil Illingworth, Jay Rechsteiner, ​Kyung Hwa Shon: THE SHIPS ARE ALWAYS THERE

Laura Fitzgerald, Phil Illingworth, Jay Rechsteiner, ​Kyung Hwa Shon
Curated by Chiara Williams

Open: Saturday 19th – Monday 28th August
Preview: Friday 18th August 6 - 9pm
 
Opening times: 11am - 5pm Friday, Saturday & Sunday

New works by four international artists are brought together in an exhibition that allows for a contemplative convergence of perspectives; trajectories and courses overlap, brief encounters are made, vanishing points are vague, horizons are hazy, but, the ships are always there...

Chiara Williams is pleased to curate her second exhibition in Margate, at Crate Project Space. Chiara has worked for some years with each of the four artists in this exhibition, and was keen to draw their disparate practices together under a common theme whilst uncompromisingly showcasing their newest works.

The title of the show arose from an exclamation made on a daily dog walk along Margate’s beaches, ‘the ships are always there!?’, an incredulous response to the seemingly static horizon line of ships, day in, day out; an observation that gave pause for reflection on ideas of quiet permanence versus irrefutable transience, of constancy versus change.

The works in this exhibition invite us to consider the common anchor points in our lives, who are those people, places or objects that unite us, where do our perspectives converge, our trajectories overlap, and to what extend do we take comfort in repeating, meditating upon or ritualising those blips on our radar.

www.chiarawilliams.com/projects

Katie Hare, Edge of the Frame (still) 2016

TOUCHING THE VOID: WHEN THE PHYSICAL COLLIDES WITH THE VIRTUAL

John Butler, Clay Gold, Katie Hare, Matthew Humphreys, Claire Manning, Nicholas Mortimer, Liv Pennington, Mildred Rambaud

Open : Saturday 8th July - Sunday 6th August 2017
Private View: Friday 7th July 6pm - onwards
Opening Times: Friday, Saturday, and Sunday 11am-5pm

You wake up and music fills the room.
Your PC has identified your brain signals and coffee is brewing to your specifications.
Later you put on your VR headset and leave the house.
Amidst your view of the real world, avatars approach you.
They greet you, meet you, inform you, warn you, and sell to you.
Are you ready?
Are you ready for your future?

We are creating a discourse for people to reflect on our digital future and the ways in which that could potentially impact on our everyday lives.

How do you think the rise in virtual reality and technological advancements will effect our physical, functional, and emotional routines? How would you wish to see it advance?

About the artists:
John Butler's films recount the daily routine of children being raised in a secure compound to meet the challenges of a financialised world. His work is about human utility in an age of artificial indifference. He works with 3D animation, motion capture, digital audio and text to speech applications.

Clay Gold's “Between the Attic and the Basement” is a sound installation which addresses the space between the conscious mind and the subconscious archive.

Katie Hare's films are looking at the effects of the rise of rapid digital communication, specifically in respect to memory, both shared and personal. Katie works in video, but also across performance, sound and text.

Matthew Humphreys explores the human condition, highlighting the role of sight and sound as a component for discourse and wellbeing. His film and collages are personal recollections of his family life. His documentary video background informs his artistic practice. His camera catches the most intimate moments and transforms them into universally engaging themes.

Claire Manning's film is an investigation into edgelands and non-places. Her film technique uses distortion and collaging to emphasis the emotional potential of these ‘non-utopias’. She uses non-traditional approaches and construction methods to create her films, installations, assemblages, montages, and prints.

Nicholas Mortimer's installation creates a conversation between an avatar of justice and a vision of future man. The characters meet in a mythological ruin, and discuss how technology could make meaningful change to social, cultural and political issues. Nicholas' work explores transfictional methodologies and mythological possibilities focussed on cybernetic futures that become meshed with ancient symbolism.

Liv Pennington's films and prints examine the impact of digital forms of communication, on the social management of the likable female image. What happens when you perform, adjust and filter your appearance and behaviour for views and for likes?

Mildred Rambaud's sculptures highlight the physical, through delineating space, while reimagining a new sculptural language. She embraces a range of methods and approaches including painting and performance. Her work explores archetypal imagery, fragility and the impossible.

Touching the Void is Crate's contribution to the Margate Festival.

mildredrambaud.co.uk
john-butler.co.uk
claygoldrecording
katiehare.com
mjhumphreys.co.uk
clairemanning.co.uk
nicholasmortimer.net
livpennington.com

Image: Katie Hare, Edge of the Frame (still), 2016

COME ON, CRAIG, GET UP / … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE

Saturday April 8, 2017, 2-6pm 

A collaboration between Jack Lavender and Matthew de Pulford.
With works, performances and instructions from:
Catriona Clayson, Helena de Pulford, James Howard, Nicholas Mortimer, Trish Scott,  

With thanks to Scott King and Jeremy Deller

 

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Mirror Performance with Gherkins , Jack Lavender and Matthew de Pulford. 2017

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COME ON, CRAIG, GET UP … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE, installation shot, 2017

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COME ON, CRAIG, GET UP … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE, installation shot, 2017

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Image Caption: 

COME ON, CRAIG, GET UP … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE, installation shot, 2017

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COME ON, CRAIG, GET UP … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE, installation shot, 2017

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Billy 3, Jesmonite and pigment, Helena de Pulford, 2017

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Billy 3, Performance documentation, Helena de Pulford, 2017

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COME ON, CRAIG, GET UP … IT DOESN'T MOVE AT ALL, IT'S FROZEN IN SPACE, installation shot, 2017

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Jemima Brown FIGURES IN A POLITICAL LANDSCAPE image

Jemima Brown - FIGURES IN A POLITICAL LANDSCAPE

Open: 19 May - 4 June, 2017
Opening times - Friday, Saturday, Sunday 1 - 6pm (or by appointment)

Artist discussion: Thursday 25 May, 6:30 - 8:30pm
Closing party: Friday 2 June 6 - 9pm

Artist Jemima Brown has approached CRATE with the intention of testing new work outside of the solitary world of the home studio. By working on this project in a public space she is inviting audiences to consider the processes involved in the making of the work as much as the work itself.

From recurring archetypes to fleeting memes she often explores the feedback loop between representations of women constructed within various cultural narratives and women's own self-images expressed through consumer choices and lifestyles.

Taking as a starting point the idea of ‘figures in a political landscape’, her new work involves the construction of abstract sculptural assemblages alongside figurative drawings.

By observing the tropes and visual signifiers of political affiliation this new work aims to spark broader discussion about how the construction and form of an object might relate to its initial starting point, and discuss levels of representation in the objects and images that make up the project.

About the artist:

After receiving an MA in Fine Art from Chelsea College of Art in 1995 Jemima Brown has established a career as an artist practicing in a variety of media, including sculpture, installation, drawing and moving image. In 2010/11 she was the recipient of the Mark Tanner Sculpture Award at Standpoint in London. Past awards have included a Fulbright Scholarship as a guest of the Graduate Program at University of California Los Angeles, and the Cocheme Fellowship residency at University of the Arts, as a resident artist at Central Saint Martins Byam Shaw School of Art.

Since moving to Thanet in 2014 she has been developing new work as well as continuing to exhibit ongoing bodies of work.

This project has been facilitated with generous support from Arts Council England and will include 3 days of sculpture workshops in June with Year 3 and Year 5 pupils at St Peter in Thanet Junior School.

www.jemimabrown.com

Image courtesy of the artist, 2017

 

Jeremy Deller - YACHT IDENTIFICATION GUIDE & ENGLISH MAGIC CIRCA 1990 prints

Jeremy Deller & Fraser Muggeridge designed these two prints as part of the '' exhibition, and we still have some for sale!

Choose one, or both (for a discounted price) using the PayPal button below.

Please allow 10 days for postage.

Jeremy Deller Yacht Identification Guide

Yacht Identification Guide
1 colour lithographic print 59 x 42cm £20
(£17.50 if bought with English Magic circa 1990)
plus postage (£5.50 UK)

English Magic circa 1990
4 colour lithographic print on paper
59 x 84cm
£20 (£17.50 if bought with Yacht Idenfification Guide) plus postage (£5.50 UK)

 

Product Selection

East Anglia Records: ON TOUR

Sunday 18 December, 2016, 4 - 7pm

East Anglia Records on tour begins with a set at CRATE.

Six East Anglia Records in-house label artists will perform their latest compositions on the evening of Sunday 18th December.

Harry Chapman: DOUBLE PARALLEL

Wednesday 23 November 2016, 5-9pm

CRATE is pleased to present a new work by artist Harry Chapman to kick-off a series of related events that fall somewhere between offering a methodology and means to re-think the positivised 'full-presence' of the performing body, especially when our current social life is being put to work constantly without value.

Double Parallel is a looped projection work predicated on the axiomatic function of moving-image – being both recorded and played back at the same speed. The material of the work is therefore its composition, rather than the time and space which passes for its content.

As a principle or score, Double Parallel maintains a paradoxical relation to the site at CRATE - in which it is both autonomous and contingent on any given future realisation.

To the extent that this work is concerned with an immediate relation between its realisation and its exhibition, its material is synonymous with that of performance; with the difference that it consists entirely of its own documentation.

About the artist:
Since graduating in July 2012 Harry Chapman (b. 1988, graduated Central Saint Martins (BA Fine Art, 4D)) has worked on an independent basis between London and Europe. Whilst studying, the principal form of his work was performance - concerned in particular with non-mediated processes and simultaneity. During the time since graduating Chapman has realised a number of pieces of work on digital video, recorded directly to tape and played back from tape - as well as exhibiting some of his work at an independent space in central London (a.m., 10 Copperfield St.l, SE1 0EL). There is a direct (as opposed to implicit or biographical) relation between Chapman's earlier work in performance, the work on digital video tape, and more recent work made in relation to a score – as at CRATE.

DELUXE FUN LOUNGE: PARADISE 2016

Clarissa Beveridge, Melisa Erol, Ryan Miles & Sophie Taylor

Open Evening: Friday 11 November, 2016. 6–9pm
Open Studio: Saturday 12 - Sunday 13 November. 12-4pm

Deluxe Fun Lounge: Paradise 2016 is opening to the public, presenting both complete and in-progress work.
Taking place at the end of Crate's Graduate Platform Award, the Lounge seeks to develop conversations and discussions concerning each of the graduate’s practices, and is an exciting opportunity for the viewer to participate in their work. The Lounge is a communal space that embraces collaboration, engagement and participation.

For the Open Studio, visitors are invited to engage with the artist’s practices and processes. Having formed a relaxed and informal environment to aid the generation of their work, the artists have considered how the viewer engages with the space. With no blank white walls, the lounge is a working space crammed with tables, sculptures, films, lamps paintings, desks, drawings, rugs, music and chairs.


Machine Room: STRETCHING THE SURFACE

10 - 25 September 2016
Open: Friday - Sunday 12 - 4pm

Machine Room is the research term used in 2006 by artists Mick Finch, Beth Harland, Louisa Minkin and Claude Temin-Vergez. The artists were invited by CRATE to take residence in Margate, and employ the landscapes that they encountered as bases for research. This led to a public display at CRATE, Machine Room: A Blueprint for Painting, and it is this body of research, which is now being responded to for this exhibition. 

This response to that resulting display comes from a group of recent Fine Art graduates, who, for Machine Room: Stretching the Surface, have also considered the dérive, a form of Psychogeography that celebrates the abandonment of intention whilst moving throughout a landscape. 

Clarissa Beveridge, Melissa Erol, Ryan Miles and Sophie Taylor have practices that meet over shared interests in framings, the everyday, material and process, and the viewer’s physical interaction with their work.This exhibition seeks to place the mechanisms and notions of Psychogeography into a contemporary context, placing it within a cultural and technological history of visuality. Utilising their movement throughout Margate and the wider area, the artists have collected pictorial devices embedded in the landscape; look-outs, viewpoints and frameworks.Reading the cultural and architectural ‘eye-catchers’ around the area and building upon their previous experiences and investigations as artists, the four artists are contributing to a broader discussion concerning image seeking and image making.

Clarissa Beveridge defines her practice through attention to material, touch, tone and surface. Seeking to embrace a moment and preserve an action, her work is constantly in process, embracing a visibility of the human hand and forcing the viewer to encounter her decisions in the making.

Melissa Erol employs motifs and gestures that puncture an otherwise colliding combination of ground, colour and form. Working with an archive of objects, images, sketches and collages her work is excited by experience and provoked by the relationship between the frame and the surrounding space.

Ryan Miles explores abandonment and cites this as being key in the beginnings of his work. Responding to the architecture he encounters, works arrive through photography, manipulation and then physical realisation. Using materials such as Perspex and mirrors, there is an allowance for the incorporation of the viewer and the surroundings within the work.

Sophie Taylor responds to everyday visual happenings, approaching an understanding of locations through the patterns and forms that she experiences within them.

Engaging with mundane activities, such as walking or boarding a bus, her work looks to transform these into physical spaces in which the viewer can dwell.
Having employed physical movement to aid the generation of their work, the artists have also considered the way in which we interact with information available to us.
The unending surge of data that we receive, willingly or unwillingly, has formed a new kind of digital landscape throughout which we all pass through.This line of enquiry runs alongisde the original Machine Room research, leading to the development of new works that respond to the physical and the technological world that we inhabit.

Presented as part of the Margate Festival “Sightseeking” 2016



Wearing Trousers

Catriona Clayson, Kim Conway, Lucy Crispin, Kat Cutler-McKenzie, Moyra Derby, Eloise Edwards, Emma Gibson, Kate Harrison, Sadie Hennessy, Kellie Hogben, Elizabeth Loughran, Atabey (Carlos) Maria, Nova Marshall, Siobhan McGhee, Jemma Morgan, Jo Murray, Annie Nichols, Lucy Petet, Heidi Plant, Cathy Rodgers, Julia Riddiough, Lizzy Rose, Trish Scott, Heather Tait, Rebecca Taylor, Twinkle Troughton, Charley Vines, Hannah Weatherhead, Newton Whitelaw, Chris Yates

Saturday 12th - Sunday 20th March, 2016 
Open:
 Weekends 12 - 4pm 

POW!Thanet is Thanet's very own festival of celebrations for International Women's Day. Between 8 - 13 March a wide-ranging programme of exhibitions, workshops, parties, film nights, well being events and much more has been put together by a team of dedicated women to bring much needed attention to the cause.

The global focus for this year's International Women's Day is PLEDGE FOR PARITY, so by providing a platform for the female movers, shakers, creatives and voices of Thanet, POW!Thanet is highlighting the very pressing issue of women deserving equal opportunities and earnings to our male counterparts.

Wearing Trousers collects together emerging and established female artists based in Thanet. Remembering the prohibitions that have been imposed upon women in their everyday pursuits to stand as equals alongside men, the works within the show contribute to a wider conversation around the conditions for female artists today.

powthanet.com

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