/ LA PLATE-FORME > CRATE RESIDENCY & EXHIBITION EXCHANGE August 2012
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 http://www.laplateforme1.com/?lang=en.
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.
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) www.nowhereislandradio.com and an Internet project in collaboration with Michael Pybus, www.busysleep.com.
For more information please visit www.hannahlees.com
Neil McNally has a practice that encompasses painting, sculpture, film, and more recently writing and curating.
For more information please visit http://www.neilmcnally.com/
[u]Residency and exhibition at CRATE, Margate[/u]
Mehdi A. - http://www.mehdi-a.com/
Anna Katharina Scheidegger - http://www.annakatharina.fr/
Funded on the Kent side by Arts Council South East and Kent County Council.
EXHIBITION AS MEDIUM: END SYMPOSIUM
This was the final element of the Exhibition as Medium 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
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
Open: Sunday 3 June, 2012, 3 - 6pm
CRATE presents the last event in the project spaces as part of the Exhibition as Medium 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' The Way Things Go. 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.
Fischli & Weiss - THE WAY THINGS GO
Open: 6 April 2012, 7:30pm
As part of Event Show, Fischli & Weiss' The Way Things Go will be screened at CRATE, with an introduction by Jeremy Millar, CRATE studio artist and author of The Way Things Go, published by Afterall Books.
Event Show / The Way Things Go / A Way Of Doing Things is the final exhibition as part of the Exhibition as Medium programme. It 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.
TO PAY RESPECT TO THE GENEROSITY OF THE THREE-MINUTE PUNK-ROCK SONG
Exhibition curated by Toby Huddlestone, curator at CRATE
Events curated by Jim Lockey, curator at LIMBO
18 November - 18 December, 2011. Open Fri-Sun 12-6pm
8 November 6pm - late: Opening party & T-shirt sale
29 November 6.30pm: Andrea Schlieker talk
2 December 8pm: Magnets gig
10 December - Screening of Ensemble, Andrew Cross
The three-minute punk-rock song is one of the most generous forms of artistic expression ever created. Lasting just three minutes, it allows us plenty of time both before and after the event to carry on with the rest of what we have to be getting on with.
The punk song is a conceptually tight machine partly formulated by its duration and dedication to punch hard and fast, but therein lays a beautiful contradiction. Within the body of the song are strewn errors, spasms, glorious hic-ups and splutters, reminiscent of our everyday stumblings. The world is becoming increasingly fast-paced and precarious - we know that, but rather than translating this as having detrimental impact on the human race, and foreseeing some kind of neurotic and psychologically broken utopian reality, instead let us embrace this urgency, and the interruptions and blurring that formulate through it.
Let us find the strategies, lines and modes we are most capable of using in order to continue to be culturally inspired and exist. Referring to Agamben's commentary on the absurd notion of 'the holiday', which as a society, we have created as a rewarding break from our everyday working life, we now require shorter bursts of 'away-time', often removing ourselves from daily patterns of life psychologically whilst our bodies remain planted. Many of the artists in this exhibition recognise the poignancy of a wanting for cultural quickness, and the importance of (the word that defines what they do) practice as we continue to re-interpret and re-invent artistic methods to create new associations and commentaries of our present reality. Error making, failure and lapses are crucial to (artistic) practices that are investigative; generous through their efforts to get to grips with something. The works are not one-hit wonders, far from it; like the punk song, they arrest us and reverberate a political stance through us, shuddering us into an altered state forcing recognition and ambition.
NOTES FOR AN EXHIBITION
Endview: Sunday 6 November 2011, from 6pm
Artist: Desmond Church
Curators: Daniela Berger, Sabel Gavaldon, Egle Kulbokaite, Lily Hall, Mette Kjaergaard Praest, Laura Smith.
Co-curated by Toby Huddlestone CRATE presents the third exhibition as part of the current Exhibition as Medium programme, Notes For An Exhibition.
Six curators, one artist, one gallery, three weeks. The focus of Notes For An Exhibition will move away from methods of teleological exhibition-making toward action, response and production, emphasizing collaboration and discussion, association and conversation.
Notes For An Exhibition is an experiment that will deliberately be allowed to evolve and change shape. Over the exhibition’s three-week duration, six curators working in pairs will collaborate with the artist Desmond Church. To begin with the gallery space will be empty; throughout the three weeks to come Church will programmatically send each pair of curators a series of proposals for works, actions or instructions. These proposals will be sent to the curators one at a time and will most likely take the form of a drawing or a line of text, which will be interpreted and produced by the curators and finally be displayed alongside the outcome of their directive. The accumulation of these proposals and their outcomes will grow and exist in the gallery as evidence of the collaboration, building almost toward the final production of a Desmond Church solo show.
Notes For An Exhibition therefore seeks to address questions of duration and presence with regard to content and the development of ideas. It also hopes to investigate, or begin to unravel, contemporary ideas around authorship, object/research dynamics and the outsourcing of artistic production, drawing on alternative exhibition histories as inspiration toward its final outcome.
GROUP SHOW / SOLO SHOW (ROBERT BARRY)
Preview: 26 August 6.30 - 9pm
Open 26 August - 18 September 2011, 12-6pm Sat - Sun
(Or by appointment)
An exhibition centred on the work of conceptual artist Robert Barry. A reinvention of the solo show. Re-workings and re-interpretations of Barry's work will be presented in the only exhibition in the Exhibition As Medium programme that will remain in a static form. A focus here lies more in what a solo show can constitute, in this case focusing on artists and thinkers who have utilised Barry's ideas in order to create new work or re-imagine original works.
This curatorial premise of re-thinking the solo show abolishes the ongoing contentious issue of whether (ordinary) solo shows can ultimately be curated. Through the original curatorial premise, and the process of selecting artists and works, this is much more an experiment in curatorial practice than an invited and 'organised' solo exhibition.
Barry, more than any other artist, lends himself to this kind of reworking of the solo exhibition. Through his early works in the 1960's, he recognised the importance and playfulness of authorship, often claiming where, or how artworks could be experienced, rather than physically showing something. Red Square (1967), a single small canvas, includes the specification that it be installed 'at the centre of the wall'.
Other paintings from the same period were sent with instructions on where they should be hung in a particular space, 'the background wall in both cases becoming thematically accommodated within the totality of the work.' His Telepathic Piece (1969), leaves nothing more than the artist's intention of how the work will exist, and probably his most well-known work Closed Gallery series (1969), in which was written on the invitation card for an upcoming exhibition, 'During the exhibition the gallery will be closed', he 'shrewdly and clearly played on art's conditions' , leaving nothing but an empty gallery, maintaining complete control over (the non-existent) exhibited product.
Through not showing any Robert Barry works in a Robert Barry solo show, authorship and control, the things so avidly investigated and so articulated expressed originally by Barry, pass back onto the curator. The curator pretends to be the solo artist, alongside the group of participating artists pretending to be the solo artist. The solo artist is still the solo artist.
Margate Photo Festival 13th - 14th August 2011
Claire Scott and Hannah Weatherhead were CRATE / UCA curatorial interns during 20111/12. Working alongside the CRATE curator Toby Huddlestone, they gained hands on experience supporting invited artists and the implementation of individual projects, participated in critical discussions, and helped to develop an audience for CRATE and increase access to the activities it supports. In addition Claire and Hannah each developed their own curated project for the project spaces with support from CRATE and UCA.
Using their experience at CRATE the interns fed back into the School of Fine Art at UCA Canterbury through talks and workshops during the academic year.