CRATE SPRING PROGRAMME 2018
Three new projects and collaborations with UCA Canterbury Kent, the independent artist group 'The Waste Land Salon' from South East Kent and The Waste Land Research Group with Turner Contemporary.
CRATE are delighted to announce our spring 2018 projects, part of a bigger programme of events responding to T.S.Eliot's poem The Waste Land, running in parallel with the Journeys with 'The Waste Land' exhibition at Turner Contemporary from 3rd February - 7th May 2018.
Journeys with 'The Waste Land' explores the significance of The Waste Land through the visual arts; it is an innovative three-year project, bringing members of the community (The Waste Land Research Group) and Turner Contemporary together to develop and create the exhibition. The project came about because parts of the poem were written whilst Eliot was convalescing in Margate. He arrived in a fragile state, physically and mentally, and worked on The Waste Land sitting in the Nayland Rock shelter on Margate sands looking out to sea. The poem was published the following year, and proved to be a pivotal and influential modernist work, reflecting on the fractured world in the aftermath of the First World War as well as Eliot's own personal crisis.
Saturday 3rd February - Sunday 4th March 2018:
Different Voices: UCA Canterbury Artist Book Project
Staff and students using the artist book to explore themes located within The Waste Land.
Friday 9th March - Monday 2nd April 2018
The Waste Land Salon
Artists from South East Kent meet to explore The Waste Land.
20th April - 7th May 2018
Journeys with 'The Waste Land' at CRATE
Crate will be a fluid space where you can select artworks and create an alternative exhibition.
Kieran Rook: T E M P O R A R I L Y S I M U L A T E D
Friday 1 – Sunday 3 December 2017
Preview: Saturday 2nd December 6-9pm 2017
Open: Friday 12-9pm, Saturday 12-9pm and Sunday 12-6pm 2017
Temporarily Simulated, the new work by artist Kieran Rook exists somewhere between a disturbing truth and a restless dream; an investigation into the distortion of human experience created vicariously through different platforms of engagement. This piece acts as a visual and audible metaphor tracing a course through turbulent, virtual and perhaps ideological times. The nature of this project also lends itself to the ongoing dichotomy between the mediums of painting and sculpture, as well as being a mechanism of reflection – visual and cognitive – particularly the various displays of geometric forms that are activated and experienced by the viewer in situ.
Kieran Rook is a UK based multidisciplinary artist who specialises in large scale installations, sculpture, painting, and sound art. Recently exhibited at Turner Contemporary, Margate for the Platform Award 2017 and also taking part in Optic Illusions at Brewery Tap UCA project space alongside the Folkestone Triennial 2017.
Temporarily Simulated is the solo exhibition by the winner of the UCA Crate graduate award 2017, Kieran Rook. Crate, in partnership with UCA Canterbury, offers fine art graduates a place of research, production and display with mentoring sessions to realise a public outcome. This award provides time, space and support to develop new work, seen as a bridge between education and self-directed practice.
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.
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.
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
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.
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 'English Magic Re-Mix' exhibition, and we still have some for sale!
Choose one, or both (for a discounted price) using the PayPal button below.
(After entering your preferred payment method, you will be asked for your billing and delivery preferences)
Please allow 10 days for postage.
Yacht Identification Guide
1 colour lithographic print 59 x 42cm £20
(£17.50 if bought with English Magic circa 1990)
plus postage (£6.30 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 (£6.30 UK)
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.