Reivindicando intenciones

Georgina Sas Les belles infidèles Galería Horrach Moyà Plaça Drassanes, 15. Palma. Hasta el 1 de junio.

Durante la edad de oro de la literatura francesa traducían à sa manière los textos clásicos, que en muchas ocasiones dejaban irreconocibles los textos originales, de ahí la expresión “la fidelidad sin resolver de toda traducción literaria”. El proceso de traducción pasa por ser una operación de equivalencias, igual que la que puede ofrecer el arte. Cada espectador establece contactos diferentes con la obra que tiene ante él; su grado de cultura, su situación en la sociedad e incluso el pensamiento político, pueden variar la lectura de esa realidad sensible. El autor ha reproducido según su propia visión del mundo, pero el espectador se refleja en su propia realidad. Si para Aristóteles el concepto estético de la Mímesis era la imitación de la naturaleza como fin esencial del arte, para los creadores del siglo XXI les conviene erigir en conciencia y en coherencia. Creaciones que, por su heterogeneidad y diversidad han asumido la vocación de perturbar conscientemente nuestra percepción de lo real; luego la fragilidad y variabilidad de los juicios formulados sobre las obras pueden ser todos distintos y, sin embargo, todos poseer la misma legitimidad. De todo esto trata esta colectiva: once artistas con piezas que van de la escultura, a la pintura, a la fotografía o al vídeo; repartidas por las distintas salas, con un diálogo entrecruzado.

Me siento fascinada ante las obras de Girbent, con sus escenas crípticas, en las que entremezcla el sentimiento y la experiencia. También por Montserrat Soto, con una pieza fotográfica que provoca una percepción en un marco realmente desconcertante. Martin John Callanan, con una propuesta conceptual que investiga al individuo dentro de su propio sistema. Carles Congost con un vídeo de lenguaje depurado y sutil, con una indagación visual, una condición extraña y evanescente que permite ver lo invisible. Vasco Araújo con una alegoría de la infructuosa búsqueda de la humanidad para la comprensión, fruto de su contacto con Samuel Beckett; Susy Gómez, siempre audaz con sus vestidos convertidos en corazas y el simbolismo de cotidianidad; Alejandro Vidal con su fotografía refinada pero a la vez violenta; Joana Vasconcelos con una pieza cerámica enfundada de crochet o Aníbal López con una composición pictórica hecha a partir de su propia sangre.

Una selección reflexiva y gratificante que permite relacionar y seguir un recorrido singular y coherente. El artista no tiene más intención que recoger la realidad, no revelar la verdad, porque nunca lo verdadero se ha convertido en falso.

Diario de Mallorca, Sociedad y Cultura

Les Belles Infidèles, Galeria Horrach Moya, 5 April – 1 June, 2014

Horrach Moya

Horrach Moya

Galeria Horrach Moya, 5 April – 1 June, 2014

Girbent
The poetess or if one prefers… The aroma and the rumor II. 2013
Oil on canvas
235 x 160 cm

Joana Vasconcelos
Concha, 2013
Rafael Bordalo Pinheiro faience painted with ceramic
glaze, handmade cotton crochet
31 x 115 x 90 cm

Susy Gómez
Untitled. 265, 2006
Mixed media on printed image and
photographically enlarged on wood
240 x 180 cm

Montserrat Soto
Invasion-Sucesion 23. 2011
Photograph
220 x 235 cm

Carles Congost
Easy Katz/ Bad Painting Series, 2013
Vídeo HD
6 min 22 sec

Vasco Araújo
Who Where, 2011
Instalation : Digital Photographs
140x140cm; 65x65cm; 20x140cm

A-153167 (Aníbal López)
Fluidos corporales. , 2012
Blood on watercolor paper.
56 x 76 cm

Alejandro Vidal
Tension and Release, 2013
Giclée print
160 x 120 cm

Martin John Callanan
I Wanted To See All The News From Today, 2013
Web based program collecting
front covers of newspapers from around the world. Digital Print.
22 x 220 cm

Susy Gómez
Tu Tienes Prioridad, 2010
Result of the action of melting an original
dress in lost wax technique. Aluminium.
Real dimensions. 150 x 60 x 70 cm

Whitstable Biennale 2014 artists announced

The 7th Whitstable Biennale 31 May to 15 June 2014

Rosa Ainley • The ARKA Group • Bronwen Buckeridge • Martin John Callanan • Collaborative Research Group • Louisa Fairclough • S Mark Gubb • Neil Henderson • Susannah Hewlett • Max Leonard Hitchings • Ben Judd • Fiona James • Una Knox • Hannah Lees • Samuel Levack and Jennifer Lewandowski • Rachel Lichtenstein • Force Majeure • Louisa Martin • Jeremy Millar • Katrina Palmer • Colin Priest • Abigail Reed • Kieren Reed • Rachel Reupke • Margaret Salmon • John Walter • Laura Wilson • Richard Wilson and Zatorski + Zatorski

Wars During My Lifetime, live broadcast

Wars During My Lifetime

whitstable biennale

A new work made for screen, Wars During My Lifetime, will be streamed live online Friday 28 March at 6pm Whitstable time.

Wars During My Lifetime collects together wars that have taken place all over the world during one individual’s lifetime. A fascinating list, the film makes no comment, but quietly brings the list to our attention. Many are wars we hear about on the radio on a daily basis, others are long since finished, or so small or distant they haven’t touched our consciousness.

Wars During My Lifetime will sit permanently on Whitstable’s Biennale’s new website from late April 2014.

Wars During My Lifetime has been commissioned by Whitstable Biennale.
Thanks to Nicola Harrison, Martin Barbour BBC, and BBC Political Programmes.

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.

Full details of the programme will be released soon.

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

Look into the Net

Edith Russ Haus for Media Art
NET.ARTography
7 March – 21 April 2014

Opening: 06 March 2014, 19:00
Presstalk: 05 March 2014, 11:00

0100101110101101.org (Eva & Franco Mattes); Ivan Abreu; Amy Alexander; Marcel·lí Antúnez; Kim Asendorf; Lucas Bambozzi; Ryan Barone; Giselle Beiguelman; Amy Berk; Luther Blissett; Natalie Bookchin; Christophe Bruno; Maite Cajaraville; Martin John Callanan; Azahara Cerezo; Paolo Cirio; Arcángel Constantini; Vuk Cosic; Andy Cox; Critical Art Ensemble; Minerva Cuevas; Young-Hae Chang; Santiago Echeverry; Vadim Epstein; Evru; Fiambrera Obrera; Gonzalo Frasca; Belén Gache; Dora García; Daniel García Andújar; Gazira Babeli; Emilio Gomáriz; Ethan Ham; Luis Hernández Galván; Robin Hewlett; Steev Hise; Ricardo Iglesias; Daniel Jacoby; Sergi Jordá; Scott Kildall; Ben Kinsley; La Société Anonyme (José Luis Brea); Joan Leandre; Les Liens Invisibles; Olia Lialina; Rogelio López Cuenca; Iván Lozano; Alessandro Ludovico; Peter Luining; Fernando Llanos; Brian Mackern; Miltos Manetas; Rafael Marchetti; Iván Marino; Antonio Mendoza; Ricardo Miranda Zúñiga; Antoni Muntadas; Mark Napier; Eduardo Navas; Santiago Ortiz; Christian Oyarzún; Paolo Pedercini (Molleindustria); Raquel Rennó; Ricardo Barreto & Paula Perissinotto; Gustavo Romano; Benjamin Rosenbaum; Mario Santamaría; Santo_File (David Casacuberta & Marco Bellinzoni); Mark Shepard; Alexei Shulgin; Mark Skwarek; Darren Solomon; Stanza; Nathaniel Stern; Igor Stromajer; Taller d’Intangibles (Jaume Ferrer & David Gómez); Philipp W. Teister; The Electronic Disturbance Theater; The Yes Men; Thomson & Craighead; Eugenio Tisselli; Ubermorgen; Sander Veenhof; Elo Vega; Angie Waller.

The works shown in this exhibition of the internationally most relevant net artists belong to the collection of NETescopio, iniciated in 2008 and since then constantly developed by the Spanish Museum of Contemporary Art of Extremadura and Latin America – MEIAC, Badajoz. With NETescopio, the MEIAC is a pioneer in the availability of an Internet accessible art collection beyond the physical presence of the actual Museum. A selection of 120, partly no longer accessible, key works covers the panorama of net art production from the 1990s until today. This exhibition is in this sense a unique opportunity to gain an insight into the net art tendencies and their aesthetics. The main objective of the NETescopio archive, which makes also a historical classification of the collected works, is the preservation of the works, characterized by the incorporation of a large numbers of Spanish and Latin American net artists.

The curator Gustavo Romano has distinguished three strategies of artistic appropriation of the Internet with their various formats:

Disassemblings
During the web´s early years the artists started to experiment with the new medium and dealt with the possibilities of interactivity, the use of interfaces and alternative browsers. It is in the first years of web art, which can be seen in this category, that show a greater radicalism with a stress on experimentation and the deconstruction of the medium.

Re/appropriations
The reuse of symbolic materials and artistic reactions to existing content play a key role in this work. In digital media information can be reproduced and manipulated, developing constant mutation. This poses in discourses to copy, original and authorship, as well as to owner and collector of net art. The artist’s role on the web is of a “redirector” of information.

Intrusion
These works refer to artistic intervention in a new public space, the “Internet”, which involve commonly used sites such as Wikipedia or Google Maps, which parody or subvert private pages, in order to undermine them through artistic contexts. Stealthily infiltration of the user’s computer or other computer systems is discussed here. The artist slips here into the role of spies, intruders and solitary flaneurs.

Edith Russ Haus

Wie funktioniert Echtzeit, und wie fühlt sie sich an?

Taz.de

Das Irre an der Zeit ist, dass sie trotz eines wissenschaftlichen Einheitssystems eine überaus subjektive, stets changierende Größe ist. Etwa die, auf die Martin John Callanan aufmerksam macht. Sieben Jahre hat er ein Programm entwickelt und es mit Datenleitungen verknüpft, um in Echtzeit weltweit alle abgehenden Flüge komprimiert zu visualisieren. Aber wer mag wohl im Flieger nach Dubai auf Platz E 12 sitzen? Wie schaut er aus? Wie dem Datenmeer Sinnvolles entnehmen? Und was würde es bringen, so lange, wie es vermutlich dauern würde? Überlegungen, die in wenigen Sekunden aufblitzen. Anders Katie Patersons Skulptur nur wenige Meter entfernt: ein Plattenspieler, der in Erdrotationsgeschwindigkeit Vivaldis “Vier Jahreszeiten” abspielt – eine Runde am Tag. Aber Moment: Nach innen verjüngen sich die Kreise. Verlangsamt sich das Gerät? Dehnt sich die Zeit? Zeit ist eben relativ.
Bis 15. Februar, Di-Sa 11-18 Uhr, Friedrichstr. 123

article

A Planetary Order, Galerie Christian Ehrentraut, Berlin

A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin A Planetary Order, Galerie Christian Ehrentraut, Berlin

A Planetary Order
Martin John Callanan, Rebecca Partridge, Katie Paterson
Galerie Christian Ehrentraut, Berlin
10 January – 15 February 2014

Download the exhibition publication (PDF)

A Planetary Order brings together three artists who, though working in very different media, all explore meta-narratives of time, landscape and systematic abstraction with a combination of sincerity and playfulness. The juxtaposition of painting, sculpture and new media works emphasises the conceptual concerns of the artists who also share a meticulous minimalist aesthetic. The works hover between seriousness and humour, the romantic and the rational, reduction and sublime scale, all within a dialogue which encompasses works made both with highly traditional means and the most current new media technology. The exhibition reflects a growing interest in a return to metaphysical themes, which though sincere, is not without critical distance and awareness of the comical.

The exhibition found its name in Martin John Callanan’s A Planetary Order (Terrestrial Cloud Globe) a 3D printed globe which, sitting directly on the gallery floor, on close inspection reveals the cloud cover of one single moment in time. This inconspicuous piece is in fact an ambitious ‘physical visualisation of real-time scientific data’ taken from cloud monitoring satellites overseen by NASA and the European Space Agency. Callanan’s transformation of data into artworks which articulate both the enormity of interconnected global systems and our place within them, continues with his most recent work, Departure of All; a flight departure board displaying the flight information for every international airport around the world. Running in real time, the speed of global transit creates a dizzying account of single moments. Katie Paterson provides a counterpoint to this overwhelm with her imperceptibly slow work, As The World Turns; a record player which, rotating at the speed of the earth, plays Vivaldi’s Four Seasons audible through headphones to only the most attentive listener. As with Callanan, Paterson’s artwork occupies a space far greater than the actual work- activating an imaginative space which is both metaphysical and comic; the record player suggesting the turning earth which we are able to look down upon. Along the long wall of the gallery hangs Notes on The Sea, a (diptych in twelve parts) the series of twelve minimal photorealist paintings calmly depicts fog veiled seascapes as polarities of night and day. In this work the archetypal romantic image enters into a contradiction with itself as it becomes part of a system. Playing with notions of duration, mathematic abstraction, and the possibility of painting a beautiful landscape, Partridge’s attempt to rationalize the epitomised romantic landscape is both meditative and absurd.

Biographies

Martin John Callanan
1982, UK. Lives and works in Berlin and London

Martin John Callanan’s artwork has been exhibited and published internationally, he has recently been awarded the prestigious Philip Leverhulme Prize for outstanding research within visual arts. Recent solo exhibiitons include Departure of All, Noshowspace (UK) and Martin John Callanan, Horrach Moya (Spain). His work has been shown as part of Open Cube White Cube, (UK), Along Some Sympathetic Lines, Or Gallery (Germany), Es Baluard Modern and Contemporary Art Museum (Mallorca), Whitechapel Gallery (UK), Ars Electronic Centre (Austria), ISEA, Future,Everything, Riga Centre for New Media Culture (Latvia), Whitstable Biennale (UK),, and Imperial War Museum North (UK). Callanan graduated with an MFA from the Slade School of Fine Art, London in 2005, where he is currently Teaching Fellow in Fine Art Media.

Rebecca Partridge
1976, UK. Lives and works in Berlin and London

Rebecca Partridge gained an MA in Fine Art from the Royal Academy Schools, London in 2007, since which time she has been exhibiting internationally. Recent solo exhibitions include In The Daytime at Kunsthalle CCA Andratx (Spain), Cabinet Paintings at Newcastle University, (UK), as well as numerous international group exhibitions most recently Verstand und Gefühl, Landscape und der Zeitgenössiche Romantik at Springhornhof Neuenkirchen. In 2008 she was awarded a fellowship from Terra Foundation of American Art in Giverny (France). Other awarded residencies include the Sanskriti Foundation (New Dehli, India); Kunsthalle CCA (Spain); Nes residency (Iceland) and the TIPP Program for Contemporary Art (Hungary). She is currently working on several curatorial projects and is a Lecturer on both BA and MA Fine Art at West Dean College, UK.

Katie Paterson
1981, UK Lives and works in Berlin

Katie Paterson graduated from the Slade School of Fine Art, London in 2007. Paterson’s work is known internationally, recent solo exhibitions include In Another Time, Mead Gallery (University of Warwick, UK) Katie Paterson, Kettle’s Yard (Cambridge, UK) Inside This Desert, BAWAG Contemporary (Vienna) and 100 Billion Suns at Haunch of Venison (London). Her works have been exhibited in major exhibitions such as the Light Show at the Hayward Gallery (London); Dissident Futures, Yerba Buena Centre for the Arts (San Francisco); Light and Landscape at Storm King Art Centre (Hudson Valley, USA); Marking Time at MCA (Sydney) Continuum at James Cohan Gallery (New York) and Altermodern at Tate Britain (UK). She is represented in collections including the Guggenheim (New York) and Scottish National Gallery of Modern Art (Edinburgh).

Gallery info and plan PDF
Exhibition dossier
Download the exhibition publication (PDF)

Philip Leverhulme Prize 2013

the-leverhulme-trust-logo

Leverhulme Awards Recognise Rising Stars of Research

Martin John Callanan has been awarded a Philip Leverhulme Prize in Visual Art.

This year, the Leverhulme Trust awarded up to 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 two or 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.

Prize winners receive £70,000 which they can use to assist them in further advancing their research — for example, by enabling them to appoint a post-doctoral research assistant, or to meet the cost of international travel to undertake research, meet collaborators or disseminate their work, or to cover the cost of teaching replacement.

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

Noshowspace at Multiplied Art Fair 2013

Martin John Callanan new edition at Multiplied Art Fair 2013

noshowspace was at Multiplied Contemporary Art in Editions Fair 2013 with a presentation of new editions and unique work in series by Martin John Callanan, Nicholas Muellner, Daniel Jackson and Caline Aoun, as well as exhibiting work by Alistair McClymont, Eddie Peake, Stefan Gec and Jamie Robinson.

 NEW EDITION by Martin John Callanan launched at Multiplied 2013

Martin John Callanan, Certificate of Existence, 2013
Martin John Callanan, Certificate of Existence, 2013. Unique in series of 20. Legal document with embossed stamp. Digital print 297 x 210 mm

Total passengers at the world’s 50 busiest airports in 2012, Art Licks magazine issue 13

Art Licks

Art Licks 13

For Issue 13 of Art Licks, alongside our regular writers, we have invited a selection of artists taking part in the Art Licks Weekend festival to contribute.

Includes writing and work from:
Mark Barker
Lucy Beech
Martin John Callanan
Erchen Chang
Patrick Coyle
Ben Eastham
Camilla Emson
Ian Giles
Ted Klonz
Lawrence Lek
Naomi Pearce
Ilaria Puri Purini
Tom Railton
Sophie Risner
Katie Schwab
Jack Strange
Liam Wright-Higgins

Buy the magazine online

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

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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