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 firstname.lastname@example.org 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.
Petra Ried From A to B Feb 2013
Crate presents Petra Ried's From A to B Exhibition
Saturday 16th February 2013
6pm - 8pm
La Plate-forme Exchange - Sept 2012
14 - 30 SEPTEMBER 2012
Open Fri - Sun 12-6pm
Crate Studio and Project Space presents Mehdi A and Anna Katharina Scheidegger's exhibition which culminates their joint residency in the project spaces at CRATE as part of a residency exchange programme with La Plate-Forme in Dunkerque, northern France.
Mehdi and Anna both worked in the project spaces for 4 weeks developing new ideas specifically for CRATE and Margate.
This is a residency and exhibition exchange project between CRATE and La Plate-Forme (Dunkerque). Simultaneously, Kent-based Hannah Lees and Neil McNally produced new work at La Plate-Forme with exhibition opening Wed 12 Sept and running until 29 September. This project is kindly funded by Arts Council England, Kent County Council and La Plate-Forme.
Betts Robinson - MAGICAL CRYSTAL GARDEN
Open: 6 - 12 September, 2013
Opening hours: Fri - Sun, 12 - 6pm
Part of The Small, Unusual & Specialist Museums Survey
Betts Robinson (born in Romania, lives in Mexico) weaves obscure personal narratives with a Fluxus playfulness. Her practice, which normally takes the form of prints and
posters, has for the Davis Museum taken the form of a series of instructions and directions that were sent via email to CRATE.
Robinson's instructions all relate to the particulars of CRATE that were noticed and noted by Robinson during a visit to the space and to Margate in November 2012. For example, the proximity to Kentucky Fried Chicken and the ubiquitous smell of Colonel Sander's favourite led Robinson to the idea of making the smell of CRATE more homely, more Sunday lunch than late night shame-snack.
Robinson's instruction “make CRATE smell like a roast dinner”. With no direct indication of how to do this, many experiments have been carried out over the last few weeks using perfumed oil diffusers, Bisto, burning Sage stuffing over candles, constructing makeshift candles of our own using chicken skin and long consultations with the butchers of Margate. The resulting work, has, in the end, had to be realised through the most obvious answer. CRATE is still not sure this will work but, using the gallery's micro-oven, we will try to roast a chicken during the days of the exhibition.
Robinson often appeals to the physical senses with her work, her most recent body of work was a series of images with complex scratch & sniff elements. For Robinson's preview at CRATE she sent the instruction “Limoncello. Hard Boiled Sweets” which references how hard some products are to find in Margate town centre and how easy others. To assault our ears, the videos on the Davis Museum ipad reference her parents obsession with the Irish singer Enya and their constant infliction of the music on their children during long car journeys “Enya videos, but only unofficial ones set to landscapes, tourism video's or dolphins”. Other instructions sent were numerous and often, not possible to complete.
Robinson's response to the Davis Mini Museum environment and to CRATE's ongoing Small, Unusual and Specialist Museums Survey project (which you can see growing in the corridors of CRATE) has been to use the slot at the top of the ballot box (the core of the Davis Museum exhibition space) which is sometimes used to invite the audience to vote on the exhibitions – good or bad, yes or no. Here, Robinson sent a specially printed Cactus toilet-paper to CRATE alongside the direction “Put the paper into the Museum, now find the Magical Crystal Garden”. Accompanying this was an address in London which, when CRATE followed Robinson's instructions, turned out to lead them to Pollocks Toy Museum near Warren Street and in the gift shop, on sale for £7.50, the 'Magical Crystal Garden'. The garden, Alpine chemical wonderland, takes up to two days to fully grow, emerging over Robinson's exhibition.
Bill Burns - HOU HANRU HEAR US
Open: Friday 23 August - Thursday 1 September, 2013
Opening hours: Friday - Sunday, 12 - 6pm or by appointment
Part of The Small, Unusual & Specialist Museums Survey
Text by Bill Burns:
Hou Hanru Hear Us and Beatrix Ruf Protect Us deploy a strategy of playing possum, known in animal behaviour as thanatosis. Thanatosis is a form of self-mimicry whereby the animal mimic imitates itself in a dead state.
Here I am asking for deliverance and intercession. The expressions "priez pour nous", "protect us", "delivrez-nous", "hear us" come from a prayer form known as a litany. Litanies are call and response prayers. The names on these signs and the other signs in this series such as Hou Hanru Hear Us or Hans Ulrich Obrist Priez Pour Nous are those of internationally recognized critics, curators and directors. I don't consider my stories, drawings or art world celebrity signs to be so much laments about lack of fairness or injustice as they are cyphers of a bigger picture -- of the world we long for.
My intent is to question what constitutes art and how it functions. My project casts a critical eye on the catalogue of art history as well as past and present hagiography. Beatrix Ruf Protect Us asks us to take a critical look at the our situations and our institutions. It asks a question that cannot be answered: "What do we long for?". This brief is mostly about the idea of the project. The exhibition includes a series of watercolours, a large chalk board, a large sign on a trestle, a pile of carved logs, a machine for testing art world celebrity work gloves, a series of scale model museums with signs on top of them and some sheep shearing and milking. A related book with stories and essays by Bill Burns, Jennifer Allen, Dan Adler and Dannys Montes de Oca Moreda will be published by YYZ Books, Toronto. It is a project about longing.
Sacha Waldren interviews Bill Burns:
Sacha Waldron: Bill, why do you think its important that Hou Hanru Hears Us?
Bill Burns: Well I’m not so sure if I want Hou Hanru to hear us so much as to say that I want him to hear us.
Part of it for me is a voice, the artist as unreliable narrator if you will. The project uses names from published
lists such as Art News’ Power 100. So here Hou stands in for fame, market fetishisation and power. Its not personal - I happen to like him – but it could be someone I don’t know or don’t like. Also its about a kind of celebrity – a very specialised celebrity - most people don’t know who Hou Hanru or Massimiliano Gioni are but they are powerful people whether they like it or not.
SW: This work is part of a series, can you say a little bit about the other works/models?
BB: Yes I’m working on a series. The phrases on the signs come from a prayer known as a litany. They often take the form of entreaties. The scale model in this show, Hou Hanru Hears Us, is a model of the Gallery of Modern Art (GOMA) in Brisbane Australia, I’m working on one for the Poumpidou Centre (Iwona Blazwich Priez Pour Nous) and one of Guggenheim New York (Adam Weinberg Protect Us). There’s also the SF MoMA, and Guggenheim Bilbao in production. The models are detailed and flimsy at 1:500 scale.
SW: You combine the models of the institutions with the, almost institutions in themselves, names of these curatorial or directorial power houses...are the litanies, prayers or entreaties also to these major institutions? I also wonder what you are entreating them to do? I suppose what I’m trying to get at is what questions are the most important, do you think, to be asking of these people/institutions?
BB: Its a mug’s game isn’t it. Yes these are entreaties. On one hand I’m asking these institutions to help me rise in the ranks; this is how artists make a living. On the other I’m commenting on the lack of space to question the relationships of power and how it turns; its not so much against the rules to ask, many artists and curators do, but making the apparatus visible is nearly impossible. These people, and these institutions are subject to power as much as I am.
SW: Can you talk about scale a little bit in relation to this work and your work in general?
BB: Scale in this project has a number of entries for me. First there is the scale of systems such as the artist’s relationship to curators, collectors and other power brokers. And then there is the scale of celebrity and self-aggrandisement. These can be funny or tragic. I work in scale models for a number of other reasons. The ability to see everything from above, the panoptics appeal to me and the delicacy of using the wrong materials at the right time.
SW: For the installation at the Davis Lisboa Museum at CRATE, Hou Hanru Hear Us sits on a specially cut rock, can you say a little about this?
BB: I wanted to play with scale a little bit with the model building and the big rock. Also certain tropes such as Saint Peter who built the Church or Muhammad who went the Mountain come to mind.
SW: The idea of religion and the fact that art institutions, galleries, museums often seem to be the 'churches' of this religion called art seems to be a key factor. How do you think smaller galleries and art spaces fit in relation to these ideas?
BB: That’s an interesting question. I like small spaces as they can make my work bigger – and of course this appeals to the ego of the unreliable narrator/artist in me. But your question goes deeper I think. It does seem that art museums and whatnot bear more than a passing resemblance to the institutions of the Abrahamic religions. I think it’s worth reflecting on.
SW: You would, I suppose, assume that the art world would more than any other industry would have a more plural outlook in terms of hierarchy, power structures and who we 'worship'. But then art world/art industry it means the same and it is a business so of course it operates on those terms.
BB: It is curious in some ways but then again advance industrialism owes a lot to Abrahamic discourse and of course the art world is an important part of that too. But to quote John Baldessari: “the most important thing about a work of art is usually the most obvious”. And the connection between art and money and power is hard to ignore. For me the job is to try to make these relations visible but also to have fun doing it.
SW: You donated Hou Hanru Hear Us to the Davis Lisboa mini museum, how did your involvement with the Davis Museum begin?
BB: I met Davis at the Arnolfini, in Bristol, a couple of years ago. We were both part of an exhibition called the Museum Show curated by Nav Haq. Davis’ project stuck with me.
SW: Whats next, what are you working on now?
BB: I’ve just finished editing a new book – its a memoir about my life in the art world. Its called Hans Ulrich Obrist Hear Us. Its a story of ups and downs and my quest to be part of international art biennials and the like. It will be published by YYZ Books in Toronto this fall.
SW: Thanks Bill!