Charley Vines - Cheap Thrills - Opening Friday 31st Jan
PREVIEW: FRI 31 JAN. 18:00 – 20:00 There is something rewarding in existing, and producing, cheaply. Everybody loves a bargain. Using site as subject, Cheap Thrills come out of the repetitions, observations and habits of the studio and its locale. Both pedestrian and familiar, a study of these day-to-day rhythms also presents the opportunity to see the minutia, perhaps even the exotic. The paintings show attempts to refine and reduce, refine and expand.They are frustrated and indulgent – a little playful. Experimental objects suggest tongue-in-cheek value. Spinning disco-teeth, dancing boots - they activate the paintings, reminding them to reject the constraints of their medium. Cheap Thrills is an exercise in the processes leading towards an exhibition. The processes of experiencing and deconstructing the subject. The processes of painting towards an end.
Andy Warhol selected by Lenka Clayton selected by Michael Crowe
Andy Warhol selected by Paul Hazelton selected by Matthew de Pulford
Open: Friday 13 - Thursday 19 September, 2013
Opening hours: Friday - Sunday 12-6pm, or by appointment.
Part of The Small, Unusual & Specialist Museums Survey
Micheal Crowe: RAYZON DETRA (ON ROMANCE)
Open 16 November 2013 - 12 January 2014, Friday - Sunday, 12 - 5pm
CRATE is pleased to present Razyon Detra (on romance), an exhibition of new work by Michael Crowe across Crate's project spaces and outdoor sites in Margate.
Romance can be reasonably thought of as unfashionable, twee, clichéd, anti-erotic and unrealistic in today's irony soaked world. Rayzon Detra offers a wealth of alternatives intended to breathe wild-eyed new life into this droopy genre, via texts, video, animation, survey, land art, publications and sculpture. Michael Jackson, distant planets, seeds, delicious litter, lies, unwanted sports gifts, Timmy Mallet and French New Wave all distort and melt in this contemporary swoon.
About the artist:
Michael is a writer and an artist. His large scale project, “Mysterious Letters” involves writing handwritten letters to everyone in the world (including you and everyone you’ll ever meet) with Lenka Clayton. He has exhibited internationally, most recently at FRAC, Paris; Kunst Halle Sankt Gallen, Switzerland; Simultanhalle, Germany. He has given talks at various venues including the BFI and the New Museum, NY and his work has been featured in Time magazine, BBC, the New Yorker, the Smithsonian and Frieze.
For more information contact curator Sacha Waldron firstname.lastname@example.org
Halloween at CRATE 31st Oct 2013
The Birds. Alfred Hitchcock
CRATE/CRG HALLOWEEN 4D CINEMA EXPERIENCE
Join us this Halloween for a cinema experience like no other. We present the best in
SMELL-o-vision, FEEL-o-vision, SMOKE-o-vision, PROJECT-o-vision
Scared of the monsterous murder gulls that stalk the streets of Margate with bloodied beaks and eyes of death? ......after this evening you will be.
Screening: 31st October. 8pm (Free)
Followed by drinks and scary sushi. Fancy dress optional but recommended.
For further information on the programme contact CRATE Curator Sacha Waldron:
CRG is Crate's Collaborative Research Group, an alternative internship programme developed with UCA.
Benedict Drew - THE CONCHA INSTITUTE
Opening hours: Friday - Sunday, 12 - 6pm (or by appointment)
The Concha Institute is a story about a nose that has a museum inside it.
The Small, Unusual and Specialist Museums Survey engages with small, unusual and specialist museums across Europe, and hosted seven miniature exhibitions at CRATE over Aug/Sep/Oct 2013: Open Fri - Sun 12.00 - 6:00pm and by appointment contact email@example.com for further information
Clawson & Ward - OVER DUBBED SCENES
Opening Hours: Friday - Sunday, 12 - 6pm, or by appointment
Part of The Small, Unusual & Specialist Museums Survey
Anna Clawson & Nicole Ward's new exhibition, Overdubbed Scenes opened on Friday at CRATE in Margate. The exhibition is the fifth in a series of week long shows in which CRATE have asked artists to respond to the very particular and miniature exhibition space of the Davis Lisboa Mini Museum of Contemporary Art, Barcelona, which is currently in residence at CRATE for six week. The Davis Museum was created in 2009 by Brazilian artist, Davis Lisboa, as an attempt to provide an alternative environment and structure for artists to exhibit within, an approx 8” by 8” by 8” clear acrylic box as opposed to the monolithic institutions that our art world and market holds as the goal for artists - MOMA, Guggenheim, Tate. The Davis Museum also provides an alternative currency for the exchange of commissions and artworks made for its institution with artworks often donated to the Museum after their exhibition and held in the permanent collection in Barcelona to be take out as and when needed in the various solo and group projects the Museum is invited to participate in. The artworks take the duel role of having the scale and portability of an edition whilst retaining the form of an individual artwork.
The current installation in Margate of the Davis Museum consists of the 'museum' box which sits atop a white plinth, a flag which states the Museum's goal as an 'island of resistance' to the 'tsunami' of the art market (laid out like a Facebook page and status update which alludes to the Museum's origins as a non-physical space), an ipad which displays a looped history of the Davis Museum's exhibitions and a poster. Each artist that has been invited to respond to the Museum in Margate was asked to use the components of the Museum as they saw fit. The exhibitions so far at the Museum at CRATE have included a small paper model by Canadian artist Bill Burns, a television and shirt owned by Andy Warhol, Romanian artist Betts Robinson and an installation based on the subterranean sites of Margate by Bridgette Ashton.
Working mainly with print, sculpure and photography in their practice, Clawson & Ward have chosen to create new work in response to the Davis Museum's format of display in an installation they call Overdubbed Scenes which hints at the malleable nature of museum collections. This malleability refers to the continuous re-contextualisation of an exhibit or archive. During this translation, the archive’s content is susceptible to a range of influences including; public opinion, capital and changes to the political landscape.
The miniature sculptural work that the artists produced takes the form of cut-outs based on architectural forms. Applying the methods used to re-animate and promote a collection by using small plastic suction cups to attach the printed sculptural work to the Davis Museum, Clawson & Ward refer to low-fi products produced solely for disposable merchandising. Using the Davis Museum ipad and incorporating the crop editing tool, the artists use a single photographic snapshot, one of women in red outside the Soviet Commissioned Ninth Fort Memorial to the Holocaust in Kaunas, Lithuania, to provide the backdrop to the exhibition. The women, some in hotpants, were captured on a photo shoot during the artists visit to the memorial site. The incongruous nature of their usage of the memorial site as a fashion location as opposed to a site of reflection or remembrance, make the lack of context to the photograph even more startling. The true meaning, like a lot of Clawson & Ward's work is buried underneath layers of complexity and abstraction and must be carefully unpicked.
The next and last exhibition at the Davis Museum/CRATE will be a video and model installation by Benedict Drew called The Concha Institute. The work tells the, often trippy and dream-like story, of a man who has nasal trouble only to find out he has a museum of contemporary sculpture stuck up his nose.
Bridgette Ashton- MARGATE SUBTERRANEA
Opening hours: Friday- Sunday 12-6, or by appointment
Walk: Saturday 21 September, Midday, led by Bridgette Ashton
Tonight CRATE welcomes a new exhibition, Margate Subterranea, to the Davis Lisboa Mini Museum of Contemporary Art, and invites you to a newly commissioned walk by Bridgette Ashton.
Margate Subterranea focuses on three underground ‘attractions’ in Margate: The Vortigern Caves, the Clifton Baths Estate and the Shell Grotto. Only one of the locations (the Shell Grotto) allow public access, whilst the others are in danger of dereliction.
The project will manifest in the CRATE galleries with a model of the underground Clifton Baths being exhibited in the Davis Lisboa Mini Museum of Contemporary Art (currently being hosted in Margate) and several zine projects and poster works of Ashton's research.
Ashton’s work looks at places and narratives, sometimes real and at other times invented. Her mostly small-scale objects, drawings and photographs are at times flagrantly wistful, celebrating pastiche and melancholy while simultaneously identifying ambiguous networks and relationships. The work retains indications of materiality and process, sometimes alluding to the obsessiveness of the hobbyist.
The works presented at CRATE survey ideas surrounding redundant or overlooked sites, objects and archives. They celebrate the paradox of the replica as visitor attraction and the nostalgia that surrounds it. The scale models and accompanying commemorative guidebooks serve as proposals for unachievable spectaculars.
Saturday 21 Septemberm 12.00: Above-ground walk of the Margate Subterranea sites led by Bridgette Ashton.
Starting from CRATE. FREE. No booking required. Bring a jumper.
Paintings in Conversation - Aug 2013
CRATE studio holder Charley Vines spent a week using the project space to test out ideas and experiment with new ways to show her paintings.
An informal discussion event, Paintings in Conversation, took place on Sunday 18th August at 17.30 and was a continuation of a series of informal conversations between the studio holders and members of CRATE and LIMBO.
For more information: www.charleyvines.com
Come As You Go April 2013
Preview April 26th, 6 – 9pm
Live Skype performance from Dublin at 6.45pm
Open April 27th 12-5pm
Curated by Áine Belton
Conor Mary Foy, Vincci Huang, Louisa Love, Steven Maybury, Emrys Plant,
Holly Skinner, Clare Smith, Charley Vines and Jennifer Wright
Come As You Go is an exhibition about the use of space and materials inspired by geographical and temporal displacement. It is an open dialogue between the curator, artists and most importantly the audience. The title is recognition of how changes can take place, subtly overlapping and blending in with each other. It is about knowing and being able to recognize the many developments that circulate in daily life. At the center of each of these works is a sense of awareness of environment seen through materials and installation. Crate acts as a host site for these works that are comfortably unhinged. Come As You Go is about ideas, spaces and people in flux.