How to Construct a Time Machine, MK Gallery, Milton Keynes – Departure of All

23 January – 22 March 2015

Preview 22 January 2015 / 6-10pm

MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free

www.mkgallery.org

January 2015 MK Gallery presents How to Construct a Time Machine (23 January – 22 March 2015), an exhibition of over twenty-five historical and contemporary works that explore how artists play with media in innovative ways to transform our experience of time.

What is time? How do we order the past, the present, and the future? Why are artists interested in time? How is art a machine, vehicle, or device for exploring time? How is art a means by which time ‘travels’, and how does art permit us to travel in time? Consideration of these and other questions has provided the exhibition rationale for guest curator, Dr Marquard Smith, Head of Doctoral Studies/Research Leader in the School of Humanities at the Royal College of Art, London.

The show’s title is taken from an 1899 text by the avant-garde French writer, Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine (1895). Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’.Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.

Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Matt Collishaw, Ruth Ewan, Tehching Hsieh, the Lumière Brothers, Chris Marker, Kris Martin, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, The Otolith Group, Raqs Media Collective, Meekyoung Shin, Sun Ra, Thompson & Craighead, Mark Wallinger and Catherine Yass, amongst others.

Film work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order.

Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), an aluminium version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day.

The exhibition will be accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings.

www.mkgallery.org

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

The Future of Objectivity
Dr Chiara Ambrosio, UCL Department of Science and Technology Studies

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

This volume sheds light on still unexplored issues and raises new questions in the main areas addressed by the philosophy of science. Bringing together selected papers from three main events, the book presents the most advanced scientific results in the field and suggests innovative lines for further investigation. It explores how discussions on several notions of the philosophy of science can help different scientific disciplines in learning from each other. Finally, it focuses on the relationship between Cambridge and Vienna in twentieth century philosophy of science. The areas examined in the book are: formal methods, the philosophy of the natural and life sciences, the cultural and social sciences, the physical sciences and the history of the philosophy of science.

Hardcover: 788 pages
Publisher: Springer; 2014 edition (20 Jun 2014)
Language: English
ISBN-10: 3319043811
ISBN-13: 978-3319043814
Product Dimensions: 23.6 x 15.5 x 4.8 cm

Image Politics of Climate Change: Visualizations, Imaginations, Documentations, Birgit Schneider, Thomas Nocke

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Scientific research on climate change has given rise to a variety of images picturing climate change. These range from colorful expert graphics, model visualizations, photographs of extreme weather events like floods, droughts or melting ice, symbols like polar bears, to animated and interactive visualizations. Climate change graphics have not only increased knowledge about the subject, they have begun to influence popular awareness of global weather events. The status of climate pictures today is particularly crucial, as global climate change as a long-term process cannot be seen. When images are widely distributed, they are able to shape how the world is thought about and seen. It is this implicit basic assumption of the power of images to influence reality that this book addresses: today’s images might become the blueprint for tomorrow’s realities. “Image Politics of Climate Change” combines a wide interdisciplinary range of perspectives and questions, treated here in sixteen interdisciplinary case studies. The author’s specializations include both visual practice and theory: in the fields of climate sciences, computer graphics, art, curating, art history and visual studies, communication and cultural science, environmental and science & technology studies. The close interlinking of these viewpoints promotes in-depth insights into issues of production and analysis of climate visualization.

Birgit Schneider (Editor), Thomas Nocke (Editor)
Paperback: 388 pages
Publisher: Transcript Verlag (15 Mar 2014)
Language: English
ISBN-10: 3837626105
ISBN-13: 978-3837626100
Product Dimensions: 22.6 x 14.8 x 2.8 cm

The New Yorker, The Fifth Season, James Cohan Gallery

The New Yorker

To sum up the latest report from the Intergovernmental Panel on Climate Change: we’re toast. The nearly two dozen participants in this terrific, if depressing, show propose an art for the Anthropocene, in which time has accelerated (Martin John Callanan’s airport departure board cycles eerily fast), the seasons are out of whack (Charles Burchfield’s “Summer” features a tree, December-bare), and no purchase of organic strawberries will outweigh the ten billion metric tons of carbon spewed forth each year. An eighteenth-century theatrical scene, featuring an artificial sun, leads all too inevitably to AlexisRockman’s trash-strewn seascape, featuring a drowning elephant and a capsizing container ship. The ever-sharp Pierre Huyghe and the young filmmaker Erin Shirreff also make strong contributions, but the most haunting work is an anonymous video from the destroyed power plant at Fukushima, in which a single man points his finger in silent accusation at the camera, at the polluters, at us. Through Aug. 8.

Make the Living Look Dead

Book Works
Make the Living Look Dead
June 7 – July 26, 2014

bookworks_cannons

Opening reception Saturday June 7, 3-6pm

For Make the Living Look Dead, Book Works invited a selection of artists it has previously worked with over the last 30 years to make a new work on A4 paper as a contribution, intervention or fictionalization for its archive. Each work plays with notions of time and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fabricated letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work.

Participating artists are: An Endless Supply, Steve Beard and Victoria Halford, Pavel Büchler, Martin John Callanan, Brian Catling, Adam Chodzko, Jeremy Deller, Mark Dion, Giles Eldridge, Ruth Ewan, Luca Frei, Dora García, Beatrice Gibson and Will Holder, Liam Gillick, Susan Hiller, Karl Holmqvist, Stewart Home, Hanne Lippard, Jonathan Monk, Bridget Penney, Sarah Pierce, Elizabeth Price, Laure Prouvost, Clunie Reid, John Russell, Slavs and Tatars, NaoKo TakaHashi, Nick Thurston, Lynne Tillman, Mark Titchner, Alison Turnbull, Eva Weinmayr, and Neal White.

This project will be shown alongside recent publications commissioned by Book Works and a series of poster projects by: Fabienne Audéoud and John Russell, Stewart Home, Inventory, Jonathan Monk.

Live Events with HEAD Gallery, Jarett Kobek, Maxi Kim and others to be announced.

2nd Cannons project space
2245 E Washington Blvd. Los Angeles, CA 90021

Distribution as a Process for Online Technology

Pauline de Souza
GSTF Journal on Computing (JoC) Vol.3 No.4, April 2014

This article considers how distribution as a process interacts with technology and how users engage with distribution. It is not the first time that the relationship between distribution and technology has been discussed. It was discussed a curatorial practice for online technologies by CRUMB (Curatorial Resource for Upstart Media Bliss) on its 2012-2013 list. some of the discussions about distribution relate it to the visualisation of data within curatorial practice locating it within social and cultural debates. CRUMBS’s online group discussions looked at how the actions of curators, artists and gamers created social environments for people to interact with. Also Furtherfield art projects looked at the accessibility of online technology for people from low economic backgrounds. While mapping projects relate different data to other sources. However, this is not the only way to consider distribution. To comprehend distribution as a process this article discusses the different levels of distribution.

Departure of All cited as example.

Read full paper [PDF]

The Fifth Season, James Cohan Gallery

the fifth season, james cohan gallery

the fifth season, james cohan gallery

24 June – 8 August 2014
Opening Reception: Thursday, June 26, 6 – 8 PM

James Cohan Gallery is pleased to present The Fifth Season, opening on 24 June until 8 August 2014. An opening reception will be held on Thursday 26 June, 6 – 8 pm. This group exhibition explores the seasonal rhythms of natural systems, the human disruptions of these once-balanced cycles, and the increasing alarms of global climate change.

The theme of the “four seasons” has inspired countless works of art throughout history. As a subject, the seasons are metaphors for life cycles and transitions. The calendar propels our existence on a regular emotional and physiological schedule. The rhythm of life is inextricably connected to the quartered year.

Ecological and technological changes have created a less defined cycle of life, one that is sped up by the velocity of communication and slowed down by unpredictable environmental behavior, calling into question our long-held notions of how time behaves. One is confronted on a daily basis by unprecedented connectivity and growing awareness of irregular natural patterns, and we as a species are struggling to understand this new reality.

Whether addressing the conventional notion of the four seasons or reflecting on today’s intense technological hybridity and climate change, the exhibition presents an opportunity to situate ourselves in this fifth season—a highly nuanced, unfamiliar place.

Participating artists: Matthew Brandt, David Brooks, Charles Burchfield, Martin John Callanan, Claude Louis Châtelet, Jacques de Lajoüe, Mark Dion, Spencer Finch, Finger Pointing Worker, Futurefarmers, Carsten Höller, Pierre Huyghe, Natalie Jeremijenko, Beatriz Milhazes + BUF, Katie Paterson, Alexis Rockman, Erin Shirreff, Kota Takeuchi, Alison Elizabeth Taylor, Fred Tomaselli, and Erik Wysocan.

The exhibition will be accompanied by a free publication and guide containing complementary images and texts.

Press release [PDF]

Exhibition publication [PDF]

Born Digital on Paddle8

Paddle8

Paddle8

15 April – 30 April 2014
http://paddle8.com

Born Digital is a benefit auction and an online exhibition made to support the activities of the Link Art Center on the online auction platform Paddle8. The event – the first with this focus taking place in Europe on this scale – will open on April 15, 2014, and will include more than 50 works kindly provided by 33 artists. For two weeks long, you are invited to bid on the works to support the artists and help us reach our goals. The Link Art Center is the first Italian organization collaborating with Paddle8, a web platform organizing monthly themed and benefit auctions, experimenting with the auction format as a means of self-funding.

The complete list of participants includes: Alterazioni Video, Anthony Antonellis, Aram Bartholl, Erik Berglin, Enrico Boccioletti, Heath Bunting, Marco Cadioli, Martin John Callanan, Gregory Chatonsky, Adam Cruces, Caroline Delieutraz, Harm Van Den Dorpel, Constant Dullaart, Electroboutique, Herbert W. Franke, Elisa Giardina Papa, Matteo Giordano, Emilio Gomariz, IOCOSE, Joan Leandre, Jan Robert Leegte, Jonas Lund, Janez Jansa, Janez Jansa, Janez Jansa, JoDi, Eva and Franco Mattes, Rosa Menkman, Filippo Minelli, Vera Molnar, Jaakko Pallasvuo, Angelo Plessas, Evan Roth, Alexei Shulgin, Carlo Zanni.

All the featured artists are either based or born in Europe. The selection includes different generations of artists working with the digital medium and within the digital environment, from early pioneers such as Vera Molnar and Herbert W. Franke, to net.art classics such as JoDi and Alexei Shulgin, to younger artists still in their twenties. The selected works display a wide range of formats, and respond in different ways – sometimes traditionally, sometimes more radically – to the issue of collecting the digital: prints, installations, drawings and videos are joined by animated gifs, websites, printable 3D files and 3D printed sculptures. Some of them display generative images, some others deal with desktop aesthetics; some refer to online habits, cultures and places, others are strictly related to the living and working conditions introduced by the digital shift. They all inhabit networked spaces; they are Born Digital.

Starting prices vary from the very affordable (around 100 € for a video-in-print by Carlo Zanni or a Certificate of Existence by Martin John Callanan) to the higher prices reached by outstanding installations like Jan Robert Leegte’s Scrollbar Composition 2005/2011. If an artwork is sold, 20% of the final price will be used to support the upcoming activities of the Link Art Center.

The LINK Center for the Arts of the Information Age (Link Art Center) is a multi-functional center promoting artistic research with new technologies and critical reflections on the core issues of the information age. Founded in Brescia, Italy, in 2011, the Link Art Center is active locally, internationally and online: it organizes exhibitions, produces artistic and curatorial projects, publishes books. To check out past activities, visit our website: www.linkartcenter.eu. The funds raised will be used to support our ongoing activities: Link Editions, our publishing initiative; Link Point, our project space; and Link Cabinet, our upcoming online gallery.

Paddle8 is an online auction house, connecting buyers and sellers of fine art and collectibles across the world. They offer two types of auctions: monthly themed auctions, and benefit auctions in collaboration with non-profits. More info: http://paddle8.com

The Link Art Center would like to thank all the artists, XPO Gallery (Paris) and DAM Gallery (Berlin) for their amazing support in this initiative.

http://paddle8.com/auctions/linkart

Download the PDF catalogue

After a War, LIFT Festival 2014, Battersea Arts Center

After a War

A century of conflict

The first world war can seem hopelessly remote to the 21st-century mind. And yet, this war ushered in modernity and set the pace for the most murderous century of human history. It ripped through Europe, dissolved empires, changed the nature of warfare and continues to define global relationships.

For After a War, LIFT, Tim Etchells (Artistic Director, Forced Entertainment) and 14–18 NOW WW1 Centenary Art Commissions, have invited 25 artists and companies from across the world to think about the global impact and legacy of the first world war alongside contemporary issues of war and peace. Our programme culminates in this three-day weekender at Battersea Arts Centre — a potent venue which, from 1916 onwards, housed the trials of many of London’s conscientious objectors.

LIFT website

After A War schedule and info (PDF)

Mapping Spaces: Networks of Knowledge in the Landscape Art of the 17th Century, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

Mapping Space, ZKM Karlsruhe

12 April – 13 July, 2014
An exhibition at the ZKM Museum of Contemporary Art
Opening: Fri, April 11, 2014, 7 p.m.

The ZKM throws new light on 17th century landscape painting. Comparable to modern satellite surveying (GPS), true to scale landscape representation is also indebted to the interdisciplinary exchange of knowledge: the alliance of geodesists, mathematicians, instrument makers and painters. Artists had designed modern surveying systems long before new media drew on images from outer space.

The exhibition Mapping Spaces examines, for the first time ever on this scale, the influence of early modern guide books in geography, the science of surveying and the construction of fortification on Dutch painting around 1650. The prelude to the project, developed at the University of Trier, is Pieter Snayers‘ large-format depiction of historical battle scenes, in which maps and landscape paintings are projected over one another so as to document the most recent developments in modern engineering, ballistics and the fortification construction.

Over 220 exhibits, among them paintings, surveying instruments, graphics devices, books, maps and globes drawn from the most important collections of works, such as from the Prado (Madrid), the Louvre (Paris), the Rijksmuseum (Amsterdam) or the Kunsthistorischen Museum (Vienna) testify to these new theses in pictorial science. The new mapping of an early modern area of knowledge is accompanied by contemporary works of art that thematize the influence of technological developments on our present-day perception of space.

Das ZKM wirft einen neuen Blick auf die Landschaftsmalerei des 17. Jahrhunderts. Vergleichbar der modernen Satellitenvermessung (GPS) verdankt sich auch die maßstäbliche Landschaftsaufnahme einem verzweigten Netzwerk des Wissens: der Allianz von Geodäten, Mathematikern, Instrumentenbauern und Malern. Lange bevor die Neuen Medien sich also digitaler Bilder aus dem All bedienten, entwarfen Künstler moderne Fernerkundungssysteme.

Die Ausstellung „Mapping Spaces“ untersucht erstmals in diesem Umfang den Einfluss frühneuzeitlicher Handbücher zur Geographie, der Vermessungskunde und dem Festungsbau auf die niederländische Malerei um 1650. Den Auftakt des an der Universität Trier entwickelten Projektes bilden die großformatigen Kriegspanoramen Pieter Snayers, in denen Karten und Landschaftsbilder übereinander projiziert werden, um die neuesten Errungenschaften des modernen Ingenieurwesens, der Ballistik und des Festungsbaus zu dokumentieren.

Mehr als 220 Exponate, darunter Gemälde, Messinstrumente, Zeichengeräte, Bücher, Karten und Globen aus den bedeutendsten Sammlungen der Welt wie dem Prado (Madrid), dem Louvre (Paris), dem Rijksmuseum (Amsterdam) oder dem Kunsthistorischen Museum (Wien) belegen diese neue, bildwissenschaftliche These. Die Neu-Kartierung eines frühneuzeitlichen Wissensraumes wird begleitet von zeitgenössischen Kunstwerken, die den Einfluss technologischer Entwicklungen auf unsere heutige Raumwahrnehmung thematisieren.

Art and the Internet, Joanne McNeill and Domenico Quaranta

art and internet

Location of I and I Wanted to See All the News From Today featured in the forthcoming book Art and the Internet by Joanne McNeill and Domenico Quaranta.

Art and the Internet is a much-needed visual survey of art influenced by, situated on and taking the subject of the internet over the last two and a half decades. From the early 1990s the internet has had multiple roles in art, not least in defining several new genres of practitioners, from early networked art to new forms of interactive and participatory works, but also because it is the great aggregator of all art, past and present. Art and the Internet examines the legacy of the internet on art, and, importantly, illuminates how artists and institutions are using it and why.

Black Dog Publishing, January 2014
Paperback, 240 pages, 300 b/w and colour ills, 280 x 230 mm
ISBN 9781907317989

Philip Leverhulme Prize 2013

the-leverhulme-trust-logo

Leverhulme Awards Recognise Rising Stars of Research

Martin John Callanan has been awarded the triennial Philip Leverhulme Prize in Visual Art 2014-17.

This year, the Leverhulme Trust awarded 29 Philip Leverhulme Prizes to recognise researchers at an early stage of their career, whose work has already had a significant international impact, and whose future research career is exceptionally promising. Prize winners receive an award of £70,000 over three years, which may be used for any research purpose. Nominations are accepted for work across 18 broad disciplines, with prizes in six of these disciplines offered each year.

The prizes recognise the achievements of researchers at an early stage of their career, whose work has already made an international impression, and whose future research holds exceptional promise.

The prizes were established to commemorate the contribution of Philip Leverhulme, the Third Viscount Leverhulme and former trustee, to the work of the Leverhulme Trust.

Twenty-nine prizes have been awarded across six disciplines (Astronomy and Astrophysics, Economics, Engineering, Geography, Modern Languages and Literature and Performing and Visual Arts).

Full list of awards (PDF) or awardee’s biographies (PDF)
Leverhulme Trust website

Slade School of Fine Art

UCL Provost

Certificate of Existence

Certificate of Existence

Certificate of Existence, 2013 is a unique work in series published to coincide with an exhibition of new and ongoing work by Martin John Callanan at noshowspace in October 2013.

Certificate of Existence is a self-portrait by the artist in the form of an original legal document that certifies that Martin John Callanan appeared before a notary on the 16th October 2013, identified himself as Martin John Callanan and was pronounced in existence at this time. The work is a unique legal document in a series of 20, differing by the time each document was witnessed.

http://www.noshowspace.com/editions/certificate-existence

Catalyst: Contemporary Art and War, Imperial War Museum, October 2013 – February 2014

IWM North
Saturday 12 October 2013 – Sunday 23 February 2014

Wars During My Lifetime

How do artists contribute to our perceptions of war and conflict in an age where our understanding is shaped by the media and the internet?

This autumn, in Manchester, IWM presents its first major exhibition of its national collection of contemporary art produced since the First Gulf War.

IWM holds an unrivalled collection of twentieth and twenty-first century British art, including some of the most significant artists exploring war and conflict today.

Explore the ways in which art can prompt us to think more deeply about current events, their immediate impact and their long-term implications. Hear from the artists themselves and discover what motivates people to create art about conflict.

Featuring many new and recent acquisitions, Catalyst features over 70 works from this national collection on public display together for the first time. Explore photography, film, sculpture, oil paintings, prints and book works ranging from the highly moving to the humorous, philosophical or outraged.

The exhibition includes work by Steve McQueen, kennardphillipps, Langlands & Bell, Miroslaw Balka, Willie Doherty, Martin John Callanan, Paul Seawright, Ori Gersht, Jananne Al Ani and Edmund Clark.

Admission free
More info
Download the catalogue (PDF)

Wars During My Lifetime 1982-2012
Callanan is an artist with an ongoing interest in the individual’s place within wider systems. In this newspaper he lists, in order, all the wars that have taken place during his lifetime. Since making this work he has made additional editions of the work with updated lists including subsequent conflicts. Through this simple gesture he reinstates the place of the individual within the broader sweep of history, using his own lifetime as a unit with which to measure historical events. On reading the list, some of the conflicts are immediately recognisable, while others have largely passed under the Western media’s radar.

As part of the exhibition, a Town Crier proclaimed Wars During My Lifetime in and around the Museum on 13 October 2013, here is a full audio recording:

Wars During My Lifetime, Town Crier

Wars During My Lifetime, Imperial War Museum North, 13 October 2013

Wars During My Lifetime, Town Crier

Wars During My Lifetime, Town Crier

Wars During My Lifetime, Town Crier

Wars During My Lifetime, Town Crier

Artist Martin John Callanan, whose work features in IWM North’s latest exhibition, brings a special performance to the museum – featuring a town crier.

Set against the backdrop of Daniel Libeskind’s award-winning building, representing a globe shattered by conflict, expect to be led around the museum while a town crier reads aloud the thought-provoking listings of wars that have occurred during the artist Martin John Callanan’s lifetime. Callanan’s work, Wars During My Lifetime, is a newspaper listing that features in the new exhibition Catalyst: Contemporary Art and War. It is a fascinating – and rapidly expanding – document that makes no comment but brings the list to our attention. This piece is performed live for the first time since its original commission for Whitstable Biennale in 2012.

IWM North, Wars During My Lifetime

IWM North, The Quays, Trafford Wharf Road, M17 1TZ, 3.15pm, Sunday 13 October, free, suitable for all ages.

Part of the Manchester Weekender

Departure of All, noshowspace, Bethnal Green, London

Departure of All, Martin John Callanan, noshowspace

Departure of All, Martin John Callanan, noshowspace

27 September – 26 October 2013, noshowspace, 13 Gibraltar Walk, Bethnal Green, London

noshowspace is pleased to present Departure of All, Martin John Callanan’s first solo exhibition in London.

Callanan is intrigued by systems present in society that shape our lives yet remain largely unobserved. In a process of research he makes simple and direct requests to international organisations and authorities, including open data sources. Through collating and presenting the often excessive results his work becomes an all inclusive, all embracing reflection of our wider world. In Departure of All Callanan will be showing Wars During My Lifetime, Grounds and a new work titled Departure of All.

Departure of All, Martin John Callanan, noshowspace

Departure of All, Martin John Callanan, noshowspace

Departure of All is a flight departure board displaying flight information for every departure happening from all international airports around the world. The familiar wait in front of the departure board is replaced with an accelerated stream of flight departure times, given poignancy by the fact they are real flights that can be mapped to real places in real time. The world as one airport.

In Grounds, a work of long term research started in 2003, Callanan seeks to negotiate permission to take a single photograph in buildings important to society but where photography is not permitted. His ongoing photographic archive currently contains about 2000 locations from across the world, a selection of which are on show.

Departure of All, Martin John Callanan, noshowspace

Departure of All, Martin John Callanan, noshowspace

Wars During My Lifetime is a newspaper, listing every war fought during the course of the artist’s life. It is an evolving work first published in 2012, a third edition is published on the occasion of this exhibition.

Departure of All, Martin John Callanan, noshowspace

A publication accompanies the exhibition with contributions from Pau Waelder and Domenico Quaranta. Visit the show for your free printed copy or a PDF version of the publication can be downloaded.

noshowspace, Departure of All

Part of Art Licks Weekend, and Art Licks event of the week.

Press Release (PDF)
Download the publication (PDF)
Public talk on 22 October

Wars During My Lifetime, Canterbury

wars during my lifetime

wars during my lifetime

Performances: Saturday 21 September 2013
11:00 Dane John Gardens
12:30 Whitefriars
14:00 24 Burgate

In a time when war is still being waged around the world a Peace Pavement in our Cathedral City of Canterbury strikes a note of hope. It is now twenty years since the European Peace Pavement was installed in Dane John Gardens and it continues to be a contemporary cultural focus for international visitors to Canterbury. To mark this anniversary it has been refurbished and will be re-launched on International Peace Day 21 September with a new artist’s commission by Martin John Callanan and related events.

A performance of Callanan’s Wars During my Lifetime will occur at sites throughout the city on Saturday 21, starting in the Peace Pavement at 11am.

An installation at 24 Burgate from 21st September to 6th October will further extend ‘Wars During my Lifetime’. It will be accompanied by a free newspaper publication, which will be distributed on the day and during the installation at various city sites including: Waterstones, Dane John Gardens Kiosk, the Cathedral Shop, Saffron Cafe, La Trappiste, Cafe St Pierre, Rymans, Browns Coffee House, Tesco, University Creative Arts, University of Kent, Christ Church University, Royal Museum and Art Gallery,

The Peace Pavement is situated at the Bus Station end of Dane John Gardens. This events are free and open to all.

The United Nations International Peace Day is observed around the world on 21st September each year.

The Peace Pavement was a collaborative project led by curator Sandra Drew involving ten European countries whose cities were bombed, like Canterbury, during recent wars. Each artist came to Canterbury and carved a York paving stone donated by Canterbury City Council. It was opened by John Drummond, director of the European Arts Festival on April 13, 1993.

The refurbishment and new artist’s commission has been organised by Sandra Drew and Sandra Pearson and funded by Canterbury City Council, St Mildred’s Area Community Society (SMACS).

Fakturen, Leuphana University of Lüneburg

fakturen, Martin John Callanan

Eine Ausstellung organisiert vom Leuphana Arts Program (LAP)

zu Gast im Kunstraum der Leuphana Universität Lüneburg

Kunst und Wissenschaft stehen in einem komplexen und spannungsreichen Verhältnis. Die Ausstellung des Leuphana Arts Program präsentiert fünf künstlerische Positionen, die mit ihren Methoden und Resultaten nicht wissenschaftliche Projekte oder Forschungsfelder visualisieren wollen, sondern die in ihrem je eigenen ästhetischen Modus über die Möglichkeiten von Wissen und Erkennen reflektieren und Interpretationen wissenschaftlicher Beobachtungen, Datensätze und Szenarien anbieten. Indem sie den Fokus auf Grauzonen wissenschaftlicher Wahrnehmung legen, schärfen die Werke und Projekte der Ausstellung den Blick für die medialen und epistemologischen Bedingungen wissenschaftlicher Praxis.

Mit Arbeiten von Martin John Callanan (UK), Driessens & Verstappen (NL), Sabrina Raaf (US), Jan-Peter E.R. Sonntag (D) und Herwig Turk (A/PT)

Kuratiert von Andreas Broeckmann und Alexandra Waligorski

im Rahmen der GfM Jahrestagung 2013

Ort: Kunstraum der Leuphana Universität Lüneburg, Campus Halle 25
Laufzeit: 3.10. – 9.11.2013
Öffnungszeiten: Mi – Sa 12-16 Uhr (am Do 3.10 und Fr 4.10. bis 22 Uhr)
Eröffnungsempfang: Do 3.10. 19-23 Uhr

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Fundamental Units at White Cube Mason’s Yard, 12 July – 21 September 2013

White Cube Mason's Yard

São Paulo-based curator Adriano Pedrosa curates an attempt to “infiltrate the hierarchies of the gallery system” by inviting any interested artists to submit works through an open submission process involving an interview and selection system that closed in February 2013. Featured artists include Slade graduate Martin John Callanan and Camberwell graduate Venisha Francis-Hickson.

Open Cube, White Cube Mason’s Yard, 12 July – 21 September 2013

Open Cube, White Cube, Mason's Yard alt="Open Cube, White Cube, Mason's Yard"

Download the press release (PDF)
Download gallery information guide (PDF)
Watch Adriano Pedrosa talk about the exhibition
Buy the catalogue

White Cube Mason’s Yard is pleased to present ‘Open Cube’, an international group exhibition organised by São Paulo-based curator Adriano Pedrosa. Invited by the gallery to curate an exhibition, Pedrosa launched a process of open submission via Art Agenda in January 2013, under the title ‘Call for entries: ‘Open Cube’ at White Cube Mason’s Yard’. The only requirement was that the artist needed to be available for an interview in London with the curator, in March 2013. ‘Open Cube’ received over 2,900 applicants, of which Pedrosa interviewed 38 and selected a final group of 17 artists.

Taking his cue from Brian O’Doherty’s seminal book Inside the White Cube, the Ideology of the Gallery Space (1976), Pedrosa’s exhibition challenges the identity of White Cube as an organisation, as a physical space and as a concept, questioning the complex relationships between existent notions of ‘inside’ and ‘outside’, value and economics. By opening up the curatorial selection process beyond his own networks and meeting with artists who were previously unknown to him, Pedrosa confronts what he perceives to be the standard gallery practice of seemingly closed systems that exist in the criteria for staging exhibitions.

The works in the ground-floor gallery are concerned with the concept of the ‘white cube’ and the ‘open cube’ itself, of public and private spaces, as well as value and currency. The works in the lower ground-floor gallery present different forms of abstraction – constructivist and geometric and also organic, amorphous, fluid types – yet many of these run counter to traditional modernist abstract idioms. The 17 artists included in this exhibition, from Bosnia and Herzegovina, Brazil, The Netherlands, Portugal, Ireland, UK and USA, have created work that seeks, as Pedrosa says, ‘to contest these national boundaries as well as the very identity of White Cube itself.’

In the accompanying catalogue, which includes transcripts of the interviews Pedrosa conducted with the 17 selected artists, he suggests that the ‘Open Cube’ is a transparent cube and sets out to reveal what goes on behind the gallery doors. Pedrosa is himself interviewed by Pablo Leon de la Barra, in order to expose his own methods and the motivations behind this exhibition. The publication is fully illustrated and will be available in September 2013.

Open Cube Catalogue

Artists:

Matt Ager was born in 1985 in England and lives and works in London. He recently completed a residency at Skowhegan School in Maine, USA and is currently part of the postgraduate programme at the Royal Academy Schools in London. Recent exhibitions include ‘Classic Poncho’, The China Shop, Oxford (2013); ‘A Nod’, Space in Between, London (2012); ‘OVERTHIN’, Gallery Primo Alonso, London (2011) and ‘DUMBO Arts Festival’, Brooklyn, USA (2010).

Adriano Amaral was born in 1982 in Brazil and lives and works in London. He is currently studying for an MA in Sculpture at the Royal College of Art, London. Recent exhibitions include ‘WIP Show’, Royal College of Art, London (2013); ‘Embaixo da Terra o Cèu de Novo’, Transversal Gallery, São Paulo (2012); ‘Solo Objects’, Arco Madrid (2012) and ‘Nova Escultura Brasileira’, Caixa Cultural, Rio de Janeiro (2011).

Frank Ammerlaan was born in 1979 in Sassenheim, The Netherlands and lives and works in London. He holds a BA in Fine Art from Gerrit Rietveld Art Academy, Amsterdam and an MFA in Painting from the Royal College of Art, London (2012). Awards include the Land Securities studio award, Degree Show, Royal College of Art (2012), a residency at the Museum of Contemporary Art, Calasetta, Italy (2013) and the Royal Award of Painting, The Netherlands (2012). Recent exhibitions include ‘Painting without Paint’, David Risley Gallery, Copenhagen (2012); ‘Day’s End’, Upstream Gallery, Amsterdam and ‘Stereopsis’, The Drawing Room, London (2012).

Helen Barff was born in 1974 in England and lives and works in London. She holds a BA (Hons) in Fine Art and Art History from Goldsmiths College, London (1999) and an MA in Drawing from Camberwell College of Arts, London. Residencies include Greatmore Studios, Cape Town and Gasworks Gallery/The Triangle Arts Trust, London (2008).Recent exhibitions include ‘Brood’, Bend in the River, Gainsborough (2011); ‘Things from the Thames’, Bearspace, London (2005); ‘Trident Way’, Departure Gallery, London (2010). Site-specific projects include ‘Route 12:36′, South London Gallery: Artwork on bus routes 12 and 36, London (2000).

Sarah Bernhardt was born in 1989 in Canterbury, UK and lives and works in London. She received a BA in Fine Art at Central Saint Martins. Recent exhibitions include ‘Co-Respondent’, Transition Gallery, London (2013) and ‘The Sand Between God’s Toes’, Pie Factory, Margate (2012).

Martin John Callanan was born in 1982 in the UK and lives and works in London. He holds an MFA from The Slade School of Fine Art, University College London (2005) and is currently a Teaching Fellow in Fine Art Media at the Slade School of Fine Art, University College London. Recent exhibitions include ‘Along Some Sympathetic Lines’, Or Gallery, Berlin (2013); Whitstable Biennale (2012); Horrach Moya Gallery, Palma (2012) and ‘Deed Poll’, a performance at Whitechapel Gallery, London (2012).

Nuno Direitinho was born in 1981 in Portugal and lives and works in London. He holds a BA in Fine Art Photography from the Glasgow School of Art (2011) and is currently doing his MFA in Fine Art Media at the Slade School of Fine Art, University College London. Recent exhibitions include ‘Voies Off’, La Galerie a Ciel Ouvert, Arles, France (2012); ‘Emergents DST’, Teatro Circo de Braga, Portugal (2011) and ‘3+1′, Assembly Gallery, Glasgow (2011).

Venisha Francis-Hinkson was born in 1989 in England and lives and works in London. She holds a BTEC National Diploma in Art and Design from St. Francis Xavier College (2009) and a BA (Hons) in Drawing from Camberwell College of Arts (2012). Recent exhibitions include ‘Future Map 12′, CSM Lethaby & Window Galleries, London (2013); The Learning Resource Centre, Camberwell College of Arts (2012) and ‘Peek Show’, The Biscuit Factory, London (2011).

Rodrigo Garcia Dutra was born in 1981 in Rio de Janeiro, Brazil and lives and works in London. He holds an MA Fine Art from Central Saint Martin’s School of Art and Design, London (2009) and is currently studying for an MA in Sculpture from the Royal College of Art, London (2014). Awards include Fundacão Bienal de São Paulo, Programa Brasil Arte Contemporanea. Recent exhibitions include ‘Notes to Self’, Royal College of Art, London (2013); ‘Outras Coisas Visiveis Sobre Papel’, Galerie Leme, São Paulo (2012); ‘Theory of a City or the Possibilities of an A4′, ISCP, New York City (2011) and ’17 Ingredients: Measures of Autonomy’, BASH Studios, London (2009).

Rowena Harris was born in 1985 in Norfolk and lives and works in London. She holds an MFA in Art Practice from Goldsmiths College, London (2010) and a BA in Fine Art from University College Falmouth, UK (2008). She is the founder and editor of a bi-annual art publication called ‘Misery Connoisseur Magazine’. Recent exhibitions include ‘Cold Compress’, Drei Gallery, Cologne (2012); ‘No More Icons’, Rod Barton Gallery, London (2012); ‘Believing in Things’, Van Horbourg Gallery, Basel (2011); ‘New Contemporaries’, ICA, London and The A Foundation, Liverpool (2010).

Alan Magee was born in 1979 in Ireland and lives and works in London. He holds an MA in Fine Art from Central Saint Martin’s College of Art and Design. Awards include Florence Trust Studio Residency, Arts Council of Ireland and Travel and Mobility Award. Recent exhibitions include ‘Endogenous’, Maria Stenfors Gallery, London (2012); ‘Agents of change’, Studio 1.1, London (2012) and ‘Our Lives as Things’, Occupy Space, Limerick, Ireland (2011).

Fay Nicolson was born in 1984 in Derby, UK and lives and works in London. She holds a BA in Fine Art from Central Saint Martin’s College of Art and Design, London (2006) and an MFA in Fine Art from the Royal College of Art, London (2011). Recent solo exhibitions include ‘Work with Material’, Künstlerhaus Wien, Vienna (2013) and ‘Bad Signs’, PLAZAPLAZA, London (2012). Group exhibitions include ‘A Small Hiccup’, Grand Union, Birmingham (2013); ‘Take Me Out’, Limoncello Art Projects, The London Art Fair (2013) and ‘Manifesta 8′, Murcia, Spain (2010).

Daniel de Paula was born in 1987 in Boston, USA and lives and works between Itapevi, São Paulo and Paris. Recent exhibitions and residencies include ‘Espaáos Independents ñ a alma è o segredo do Ègocioí’, Galerias Funarte de Artes Visuais, São Paulo (2013), Citè Internationale des Arts Residency, Paris (2013) and ‘Da prûxima vez eu fazia tudo diferenteí’, Pivù, São Paulo (2012).

Nada Prlja was born in Sarajevo, Bosnia and Herzegovina and lives and works in London. She holds a degree from the Academy of Fine Arts in Skopje, Macedonia and an MPhil research degree from the Royal College of Art, London. Recent exhibitions include the ‘7th Berlin Biennale’ (2012); Manifesta 8, Murcia, Spain (2010) and International Biennial of Graphic Arts, Ljubljana (2009). Recent public presentations include Nottingham Contemporary, UK (2013); ICA, London (2011) and Tate Britain (2009).

Nicky Teegan was born in 1987 in Ireland and lives and works in London. She holds a BA in Visual Arts Practice from IADT, Dublin (2009) and an MA in Fine art from Chelsea College of Art and Design, London (2012). She is a founding member of Ormond Studios, Dublin. Recent exhibitions include ‘MA Fine Art Show 2012′, Chelsea College of Art and Design, London (2012); ‘SWITCH/OVER’, Wimbledon Space, Wimbledon College of Art, London (2012) and ‘Invite or Reject’, Chicago Loop Alliance, Chicago, USA (2011).

Jacopo Trabona was born in 1989 in Italy and lives and works in London. He graduates this year with an MA from Chelsea College of Art, London. Recent exhibitions include RIVAlutACTION, Riva Lofts, Florence (2012); ‘B x H x Me’, A + A Gallery, Venice (2012); ’95 Young Talents Collective’, Bevilacqua La Masa Foundation, Venice (2011) and Cava delle Rosselle, Grosseto, Italy (2011).

Caitlin Yardley was born in 1984 in Australia and lives and works in London. She received an MA from Edith Cowan University, Perth, Australia (2007) and an MFA from Goldsmiths, University London (2012). Recent exhibitions include ‘Changing direction after entering at an angle’, Goldsmiths, University of London (2012); ‘Peripheral Orbit’, Acme, International Residency Studio, London and ‘An Intimate Distance’, Venn Gallery Project Space, Perth, Australia (2011).

Curator:

Adriano Pedrosa is an independent curator, editor and writer currently based in São Paulo. He has curated numerous international exhibitions and was adjunct curator of the 24th Bienal de São Paulo (1998) with chief curator Paulo Herkenhoff, co-curator of the 27th Bienal de São Paulo (2006) with chief curator Lisette Lagnado and co-curator of the 12th Istanbul Biennial (2011) with Jens Hoffmann. He has published extensively on contemporary art in numerous catalogues and magazines and is the founding director of PIESP-Programa Independente da Escola São Paulo.

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