Shades: A Collaborative Exchange March 2012

Opening Night: Friday 22nd March, 6.00pm - 8.00pm
Open: Saturday 23rd - Sunday 24th March, 12.00 noon - 5.00pm

Crate is pleased to support a UCA student curatorial project

What meaning can be assigned to the application of lipstick? Many women leave a visible trace of themselves behind each time they blot their lipstick on a tissue. Do all women perform the action of applying lipstick in the same way? Why do we do it? Who do we do it for? Is the application of lipstick itself a sensual act? The names of lipstick colours themselves can be evocative. What does your choice of lipstick say about you? These are some of the questions that are posed by this project.

Through a variety of media the artists hope to stimulate some interesting conversations among the audience on the subject of lipstick. Therefore this show is seen as the midpoint to establishing a deeper understanding of this beauty ritual.

Shades is a collaborative exchange of artists' research by Eleanore Carlson, Joan Hobson and Sara Kayes. The artists welcome you to the conversation.

2012/13

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In collaboration with the University for the Creative Arts, CRATE placed six Curatorial Interns in arts organisations around the region.
The Interns:
/ Josie Bassett @ Whitstable Biennale, Whitstable
/ Aine Belton @ CRATE Studio and Project Space, Margate
/ Margherita Gregegna @ Turner Contemporary, Margate
/ Alex Parry @ Strange Cargo, Folkestone
/ Marta Patlewicz @ Stour Valley Arts, Ashford
/ Miles Umney @ Dover Arts Development, Dover

Each intern spent time working with their particular organisation, then connected with the School of Fine Art at UCA Canterbury to feedback to students and support professional development, and then initiated their own curatorial projects with the support of the programme coordinator Toby Huddlestone and the supporting organisation.

Through European Inter Reg funding opportunities to collaborate with partners in France was developed throughout the programme.

THE GENERAL MEDIUM opening thurs 22nd nov

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Opening Night - Thursday 22nd November 6pm - 9pm
Open Friday 23rd - Sunday 25th November, 10am - 5pm

'The General Medium' is an experiment between seven artists, all recent UCA graduates. They have been asked by the curator to swap works and 'consider the medium' to make something new. Half instruction, half suggestion, Claire Scott has asked each of the artists to shift their usual way of making and consider using new strategies and media in which to carry out their ideas. Among many combinations and collaborations, a painter will be faced with video work, a video artist faced with sculpture. Could it result in a positive way of making, or is a painting simply a painting?

Charley Vines

Work arrives from a focus on painting and an interest in the developments that occur during the process of production. In producing, I am aiming to contstruct an image, which is not limited by the boundaries of a plane or surface. Often, the image exists across a combination of painted surfaces, objects and domestic materials and the fabric of the site in which it is installed.

Petra Ried

Petra Ried

I am currently working on a project based on burst car tyres I find & collect along the E40 motorway in France and Belgium.

This project is about repetitive journeys and the significance of certain routes I routinely undertake.

The E40 has somehow become part of my makeup, a regular transit route, semi-familiar with its burst tyres, old and new filling stations, selections of cow varieties, post-industrial landmarks, rough tarmac, asylum seekers looking for open lorries, Belgium sausages, good & bad toilets, Calais, Dunkirk, Brugge, Gent, Brussels, Ring Road, Liège, Aachen...

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/ LA PLATE-FORME > CRATE RESIDENCY & EXHIBITION EXCHANGE August 2012

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ARTISTS SELECTED:
CRATE / LA PLATE-FORME RESIDENCY AND EXHIBITION AWARD RECIPIENTS

Crate are pleased to announce Hannah Lees and Neil McNally as the two successful CRATE selected recipients of the CRATE / La Plate-Forme residency and exhibition exchange.
They will both undertake month-long residencies with exhibition at La Plate-Forme in Dunkerque from mid-August through to late September 2012. For progress and more details of their work please refer to CRATE's website and .
During this period, CRATE will host Mehdi A. and Anna Katharina Scheidegger from the Nord Pas de Calais region of France with exhibition in CRATE's Project Spaces planned from 14-30 September. More details will be announced nearer the time.

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Here is more information on all the artists:

[u]Residency and exhibition at La Plate-Forme, Dunkerque[/u]

Hannah Lees is a contemporary artist based in London, whose work investigates ideas of cycles: constancy and mortality; the sense that things come to an end and the potential for new beginnings.
She completed a post-graduate diploma at Chelsea College of Art, (London) in 2010 and this year she completed a foundry residency at the Royal College of Art (London).
Recent exhibitions: The Conch Part V at the South London Gallery and Smoke at the Royal College of Art.
Forthcoming projects include: Nowhere island radio (Plymouth) and an Internet project in collaboration with Michael Pybus, .
For more information please visit

Neil McNally has a practice that encompasses painting, sculpture, film, and more recently writing and curating.

For more information please visit

[u]Residency and exhibition at CRATE, Margate[/u]

Mehdi A. -

Anna Katharina Scheidegger -

Funded on the Kent side by Arts Council South East and Kent County Council.

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EXHIBITION AS MEDIUM: END SYMPOSIUM

Ruth Beale, Dave Beech, Desmond Church, Noel Cluet, Andrew Cross, Karen Di Franco, Janna Graham, Lily Hall, Toby Huddlestone, Sue Jones, Bob Levine, David Martin, Paul O'Neill, No Fixed Abode, Mette Kjaergaard Praest, Matthew de Pulford, Neal White
 
24 June 2012 at , London

This was the final element of the programme. Beginning with Start Symposium in early 2011, the programme and organisation was always perceived as an ongoing active conversation delving into alternate exhibition formats, thinking about the exhibition as one co-authored artwork rather than a space in which to show separately authored works. The programme has attempted to bridge the chasm between the discussion generated through research and process, and the 'final' exhibited product. 

This symposium presented two keynote presentations on possibility and spectatorship by Janna Graham and Dave Beech respectively. Each project as part of the Exhibition as Medium programme was reviewed and discussed by those involved, including Andrew Cross, Bob Levene, Paul O'Neill and Neal White..The symposium ended with a discussion chaired by Paul O'Neill, leading to an open dialogue inviting questions and thoughts from all attendees.

The symposium focused on the research undertaken through the programme via the following questions:

/ How can we breakdown existing hierarchies between organisations, curators and artists, instead finding some commonality of practice and expression?
/ Can we mould collective ideas together in order to co-author and co-produce exhibitions, events and artworks?
/ How can we explore a shift in authorship and control between curators and artists?
/ How can we express artistic practice, rather than just artistic product?
/ Is it more interesting and freeing to ignore ideas around the catagorisation of rigid art practices?
/ Is it more interesting to say 'I am the artist, curator, exhibition, programme and organisation' rather than 'I am the artist'?
/ What is the role of our public(s) when working on conversation-driven programmes? Can we become our own public(s)?
/ What kind of impact do programmes such as Exhibition as Medium have on audience, the art world and culture?

Over 80 thinkers including artists, curators and writers have contributed to the seven separate projects making up Exhibition as Medium, unearthing research and adopting new processes in order to investigate shifts in what the exhibition can be.

CRATE CURATORIAL BURSARY

Fischli&Weiss_The WayThingsGo

CRATE offers an opportunity to develop an 18-month programme for its project spaces. The most recent recipient was Sacha Waldron and her programme, The Survey. The Curatorial Bursary is aimed at artists and curators who have previous experience of curating and coordinating projects and who are happy to self direct a programme and work independently. Crate is a small and ambitious organisation and the bursary recipients are asked to be aware of building's context, maintaining the infrastructure around the organisation and Crate's future sustainability.

EVENT SHOW / THE WAY THINGS GO / A WAY OF DOING THINGS

Ruth Beale, Karen Di Franco, No Fixed Abode, Neal White

Open: Sunday 3 June, 2012, 3 - 6pm

CRATE presents the last event in the project spaces as part of the programme. You are invited to join us for a series of interconnected events on Sunday 3 June starting at 3pm. Artists Ruth Beale, Karen Di Franco, No Fixed Abode and Neal White present events devised over the last few months via a forecasting technique used during the Cold War called The Delphi Method. These events form the culmination of an anonymous collaborative discussion between the artists, with the curator acting as facilitator through the entire process. The process of using The Delphi Method has allowed the artists involved to incrementally refine their ideas for Event Show, with the suggestion of five separate actions as part of one larger event. They have FORMED A COMMITTEE and issue a summons to attend a WAKE between 3 - 6pm during which time there will be RITUALISED REFRESHMENTS, DIAGRAMMATIC ACTION, PERPETUAL REMEMBERANCE and the UNVEILING OF THE FOUNDATION STONE.

Event Show / The Way Things Go / A Way Of Doing Things is a project that concentrates on collaborative working processes, focusing on research and discussion as major factors in the art-making process, rather than making and showing. It attempts to unravel working and thinking and push these often hidden processes public. Event Show began with a screening of Fischli and Weiss' . This had lead to A Way of Doing Things, where notions of the natural evolution of ideas and things have become secondary to pragmatism and a sense of wanting to get things done.

The Way Things Go still exists - it was the beginning of A Way of Doing Things - a reference point for discussion and thinking, which has moved on to form something else. We can refer back to The Way Things Were and point towards The Way Things Will Be, choosing to shift philosophical position within the time-frame of Event Show

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