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.
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.
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.
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).
7.30pm Thursday 24 October 2013 film program starts at 8pm.
“Invited by Daniel Laufer” brings together a greater group of artists, who all contribute to a box of editions. The box is of A4-format (roughly 21 x 31 cm, Edition: 100) and contains contributions by 22 international artists. It comprises drawings, collages, copies, booklets, a DVD along with different printing techniques. The publication is conceived as a “magazine in a box”, yet it contains autonomous and representative artworks of the contributing artists.
Artists: Lutz Braun, Hanna Brandes, Martin John Callanan, Sunah Choi, Raphael Danke, Agathe Fleury, Nina Hoffmann, Adrian Hermanides, Hella Gerlach, Simone Gilges, Atalya Laufer, Daniel Laufer, Kalin Lindena, Alexandra Müller, Toony Navok, Martin Neumaier, Thomas Rentmeister, Annette Ruenzler, Roman Schramm, Gerda Scheepers, Hanna Schwarz, Viola Yesiltaç.
The presentation of the box is accompagnied by a film program with films by selected artists.
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.
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:
Martin John Callanan
Ilaria Puri Purini
Saturday 12 October 2013 – Sunday 23 February 2014
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.
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:
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, The Quays, Trafford Wharf Road, M17 1TZ, 3.15pm, Sunday 13 October, free, suitable for all ages.
Part of the Manchester Weekender
27 September – 26 October 2013, noshowspace, 13 Gibraltar Walk, Bethnal Green, 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 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.
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[vimeo url="https://vimeo.com/75559289" width="900" height="1596" autoplay="yes"]
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.
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.
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.
News is not an absolute. Though we talk about world news, what is news to one person is to necessarily news to another. News is a report of an event of specific interest to a particular audience. So it is that online news services such as Google News or Yahoo News offer means to tailor the world’s news streams to your particular interests. Sign up to the BBC news app, and it will shape the news to your location. Publishers deliver, but it is readers and viewers to ultimately construct the news around what interest them, around their world.
Nevertheless the idea remains of an absolute world of news. It’s more a concept for an artist than a journalist, and I have been fascinated by Martin John Callanan‘s online installation, I Wanted to See All of the News From Today. Created for an exhibition held earlier this year by the Slade Centre for Electronic Media in Fine Art, it persists online. What he has done is generated feeds for all (?) of the world’s newspaper websites where they make their front pages available on a daily basis. This he then ingeniously publishes on a single webpage, allowing you to scroll through hundreds of newspaper pages from every land and language imaginable – and with every concern under the sun. And as a new page is published, so the website changes. The screengrab above is for a small part of the news pages for 30 August 2013, a heady day for news indeed.
Callanan’s artwork makes one ponder the nature of news and community. It shows how we all thirst after news, but how different our concerns are. It shows how news separates us, how different we all are, even if the same kinds of story persist wherever we are (celebrities, murder, scandal, sport, animals). it is the world’s news, but also no one’s news in this form.
There have been other attempts to pull together the world’s news in one place, for journalistic rather than artistic reasons. Mostly based around maps and Google News feeds, these efforts have come and gone. The standout effort, which is superb as a news source quite as much as an ingenious piece of programming, is design engineer Marcos Weskamp‘s site Newsmap.
Newsmap visualises data from the Google News aggregator on a continual basis, displaying the world’s news with headlines taken from news websites (which link to those sites) displayed according to priority, territory, theme and time. So one can see all the world’s news, algorithmnically ordered according to its significance in relation to other news stories. The newsmap can be tailored to different countries or groups of countries, and is classifiable by themes such as Business, Technology and Sport, which are colour-coded for easy reference. The colour then comes in different shades according to how recent the news is. It is a brilliant realisation of a solution to the information problem Weskamp identifies on his personal site:
Currently, the internet presents a highly disorganized collage of information. Many of us are working in an information-soaked world. There is too much of everything. We are subject everywhere to a sensory overload of images, bombarded with information; in magazines and advertisements, on TV, radio, in the cityscape. The internet is a wonderful communication tool, but day after day we find ourselves constantly dealing with information overload. Today, the internet presents a new challenge, the wide and unregulated distribution of information requires new visual paradigms to organize, simplify and analyze large amounts of data. New user interface challenges are arising to deal with all that overwhelming quantity of information.
I find that Newsmap is not just an inspired attempt at making the information overload manageable; it makes knowing more about the world desirable. While I Wanted to See All of the News From Today shows how divided we are all, and how mutual understanding is a fantasy, Newsmap demonstrates that our news is anyone’s news. The one cannot contain the world’s news on a screen and can only let us scroll endlessly through page after page. The other distills, condenses, classifies and makes clear. It is news for the world.
Newsmap has been running since 2004, and Weskamp’s last blog entry about the site was in 2010. I do hope it will continue to be supported. It’s one of those key sites that tells you what the Internet is for, and how it has changed us – for the better.
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).
Time Out says 3/5 stars
Aug 22 2013
You can pretty much ignore the curatorial premise here, which is all about opening up the gallery to new artistic networks. All that really means is that Open Cube is an open submission exhibition. But since the 17 artists in this ‘international group exhibition’ are all young, all London-based and all the products of prominent art schools, it’s hardly the most profound overthrow of established art world values.
When it comes to the works themselves, though, there’s a lot that’s intelligent – and intelligently selected. One strand of the show revolves around notions of wealth and status – such as Jacopo Trabona’s sheets of paper slashed with a diamond and Martin John Callanan’s photographs of a penny, a euro and other units of currency, enlarged and illuminated like archeological treasures. Several other works focus on pattern and decoration, from delicate charcoal tracings of ornamental tiles by Rodrigo Garcia Dutra, to Fay Nicolson’s complex, colourful prints of kaleidoscopic rippling effects.
In fact, the show functions best as an overview of what an emerging generation is interested in. It’s smart and enjoyable, if not quite the system-challenging experiment it reckons itself to be.
Open Cube brings together the work of 17 artists selected from an open submission and curated by Adriano Pedrosa, a former co-curator of São Paulo Biennale. Spread across two floors with distinct themes, this could easily be two exhibitions.
4/5 stars, Harriet Dopson, 21st August 2013
White Cube Mason’s Yard, until 21-Sep
The ground floor of Open Cube at White Cube Mason’s Yard addresses the ideas of “inside” and “outside” the gallery space, inspired by Brian O’Doherty’s Inside the White Cube, The Ideology of the Gallery Space. Downstairs, in contrast, is a focus on more formal qualities with geometric abstraction and a recurring theme of the circular.
The ground floor is dominated by Nada Prlja’s floor-to-ceiling Peace Wall. The black, chalk board-like wall is covered with messages in German, kid’s drawings, photocopies and paint. What appears to be the end point of some community project is, however, a reproduction. This wall was created after Prlja’s Peace Wall which was part of the 2012 Berlin Biennale. The project challenged the financial divide between the upper and lower city road Friedrichstrasse (a walk away from the former Berlin wall). Here at Open Cube Pedrosa takes a controversial and originally raw work and brings it into the commercial and isolated space of the White Cube. It is an interesting experiment which really highlights the differences between “inside” and “outside” of the white cube – perhaps it is through this effort that Pedrosa is trying to prise open the corners of the cube?
Having described Prlja’s Peace Wall as dominating the ground floor, you may be surprised to learn that in the middle of the same room is a full-scale crumbling column. Made out of reclaimed construction materials, the column still oddly seems to have some kind of precious heritage sentiment attached to it that I can’t shake, as inside the walls of the White Cube the weight and prestige of the exhibit seems to exaggerate it further – perhaps that’s the point.
The ground floor also deals with another very strong political symbol: currency in Martin John Callanan’s photographic series The Fundamental Units. In contrast, Matt Ager’s delicate work Fine doesn’t quite fit in with the bold works of the of the room and his work is perhaps best appreciated above the stairway, in his work Ish, which seems to question you as you make your journey downstairs. The artists Daniel de Paula reflects Ager’s reflective mood in Toward the Great Labyrinth, a documentation of a walk which the artist took until he completed the same titled book by Hélio Oiticica. Another poetic work is Helen Barff’s display of pockets which have been separated from their cloth and filled with concrete or plaster – one of the few indexical works which feels very suited to the small room of the lower ground floor lobby.
The remainder of the lower ground floor space is a harmony of shapes, material and senses. It is extraordinary to think that the exhibition was formed through open submission with no given theme when experiencing this space. Frank Ammerlaan’s huge treated corrugate-steel disk Day’s End appears to watch over the exhibition, setting the tone of the works; the tone is circular, from the circular hole in the table of Nuno Direitinho’s table in Dialogue on Tides, to the circles of Rowena Harris’s wire mobile of photocopies and the endless loop of Nicky Teegan’s sound work Prayer Battery. There is also a richness of materials such as the thick yellow of Sarah Bernhard’s work with bee pollen and the Amish quilt which is spread over a steel structure in Caitlin Yardley’s Black Refract. The works in this room really bounce off each other and it is impossible to account for them all here. It is really is enjoyable to discover these new works, especially as this platform, White Cube gallery is usually for a select few.
It is perhaps here that I should pause on Pedrosa’s concept of an open and transparent cube, which was the purpose of the open submission. It undoubtedly is a triumph to see so many artists have the chance to exhibit together, although I do question how far the boundaries are really being pushed as out of the 2,900 applicants (the only requirement was to be available for an interview in March) over half of the artists who exhibited have studied or are currently studying at RCA or a UAL college. This does feel disappointing if Adriano Pedrosa really was aiming to challenge the “inside” and “outside” of the gallery world. Regardless, the exhibition is an ambitious summer show which really is worth seeing for the strength of both themes and the thoughtful curation of each room – especially in the lower ground floor gallery.
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)
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
For Art Fetch, Charlie Levine goes inside the White Cube for a review of the current exhibition at Mason’s Yard.
Like many curators, I have been hugely influenced by Brian O’Doherty’s wonderful and seminal book, Inside the White Cube, the Ideology of the gallery Space (1976). The book, which began life as a series of Artforum essays, defined new ways of thinking about exhibitions and the contemporary white walled art gallery. So, when I heard that the latest Mason’s Yard White Cube gallery exhibition, Open Cube, guest curated by Adriano Pedrosa, was inspired directly by O’Doherty’s book, I had to go and see it.
I wasn’t disappointed. Not only is it a fascinating exhibition, but also reflects a great deal of what Artfetch believes in, and is working to achieve. The 17 artists in the exhibition were selected from an open call out for proposals – a brave thing for a gallery with the branded reputation of White Cube – as an open call invites a deluge. The gallery received over 2,900 applications, from which the curator interviewed 38 to select the final group.
This process of deliberately working with artists new to the curator breaks down the idea of curator/artists networks, drawing its concepts from O’Doherty’s ideas about the ‘inside’ and ‘outside’ relationships of a gallery. The idea of opening up the application process and allowing audiences, the gallery and the curator to push themselves in terms of looking for, working with and presenting a new stock of artists is incredible, though only in terms of how top level galleries usually work. By this I mean, it shouldn’t be so unusual, and as I considered this, I began to wonder at how difficult it is for new artists to break into these ‘inside’ relationships.
This relates directly to what we are doing at Artfetch, as we believe it is vital to open the processes of becoming an art world insider, so that talented artists can come to the publics who would otherwise not have a chance to see their work. And although internet–based, face to face meetings are a vital part of our commissioning process. If the relationship and quality of work is there, we invite the artist to work with us.
Open Cube itself is broken down into two parts: on the ground floor the exhibition concerns itself with commerce, value and currency; meanwhile, the lower floor of the Mason’s Yard building looks at different forms of abstraction: including constructivist and geometric, as well as organic, amorphous, and fluid types.
Particular stand out works were by Fay Nicholson’s A is for Albers, a small stack of photocopied postcards, sliced in two by a sheet of Perspex; a series of large photographs of foreign coins by Martin John Callanan; and Jacopo Trabona’s Untitled, which was a simple few cuts on a sheet of paper made by slicing a diamond across it. But my particular favourite was Nicky Teegan’s Void a flat circle of woven VHS tape over a bent steel ring. It summed up the show for me: defunct material (the VHS tape) re–used to create a typical fine art image – the circle. It was creating something new and conceptual from the old and familiar.
This exhibition is excellent, from its concept to realisation. It is a must see show that I hope is the start of a new way of thinking about artist/gallery networks, and about how we produce exhibitions and create new associations. The process itself also questions the role of the physical gallery space, as the open method of calling for, and selecting works, echoes the opportunities offered by the internet – something Pedrosa realises, as he notes his ambition for the show: to break down the “seemingly closed systems that exist in the criteria for staging exhibitions”. About time too.
Open Cube, is at White Cube Mason’s Yard, London, until 21 September 2013
Artists: Matt Ager, Frank Ammerlaan, Adriano Amaral, Helen Barff, Sarah Bernhardt, Martin John Callanan, Nuno Direitinho, Venisha Francis–Hinkson, Rodrigo Garcia Dutra, Rowena Harris, Alan Magee, Fay Nicolson, Daniel de Paula, Nada Prlja, Nicky Teegan, Jacopo Trabona and Caitlin Yardley.
Most days art Critic Paul Carey-Kent spends hours on the train, traveling between his home in Southampton and his day job in Surrey. Could he, we asked, jot down whatever came into his head?
White Cube’s Masons Yard summer show includes six of Martin John Callanan’s striking series ‘The Fundamental Units’. Callanan uses thousands of exposures via a 3D optical microscope at the National Physical Laboratory to achieve intensely detailed (400 million pixels) images of the lowest denomination coins, here printed at over 50 times life-size. This elevation of the near-worthless reveals the construction and traces of circulation invisible to the naked eye. It also has a mournful aspect, as many of lowest value coins (Callanan has captured 16 of the 166 currently in use) will doubtless be withdrawn from circulation soon enough. As you can see at www.greyisgood.eu, Callanan has good form for obsessive projects, such as taking 2,000 photographs of floors in important buildings with restricted public access .
‘The Fundamental Units’ reminded me of a similarly-sourced but psychologically contrasting series : Moyra Davey’s late 80s series of 100 ‘Copperheads’, which concentrate on one coin – the US one cent – to show the range of scratching, rusting and tarnishing inflicted on the most famous American. These, focusing on one national economy at a time of recession – and currently on display at Tate Liverpool during the next recession – become harder to read as the damage tends towards abstraction. But then, isn’t the whole convention of money an abstraction of sorts?
Photos for Katie Paterson in Wired
Published by Book Works (2007)
48 Pages, 24 x 17.5 cm, Paperback, Edition of 1000
The publication collects a selection of responses to a series of letters mailed by Martin John Callanan between 2004–06, ranging from the bemused response of the Secretary to the Archbishop of Canterbury to the question When will it end? to appreciative letters from the offices of President Mubarak of Egypt in response to the declaration I respect your authority.
NEURAL 44, POST DIGITAL PRINT (POSTSCRIPT)
ISSUE #44, WINTER 2013
The new Neural issue is hot from the press.
You can also subscribe to the magazine Digital Edition accessing all issues since #29. Or you can buy the magazine from the closest of the almost 200 stores stocking it.
Curator Adriano Pedrosa pulls off a neat balance with this open submission show: the works feel raw but undaunted in these august surroundings.
Critic Rating 4 star.
Open submission shows can be sprawling affairs, so Open Cube is a rarity: Brazilian curator Adriano Pedrosa has culled 17 artists from 2,900 applications to create an enjoyable and coherent show. Part of its novelty lies in subverting its setting. White Cube is usually an elite stage where works fetch thousands of pounds. But Pedrosa has invited gatecrashers, most young and based in London, to take over.
Building site detritus: Adriano Amaral’s untitled column (2013)
This mischievous frisson would count for little if the work didn’t stand up to the grand galleries but it does. Upstairs there’s a sense of protest and of economic and cultural decay through Adriano Amaral’s classical column made from building-site detritus, and Nada Prlja’s reconstruction of a graffitied edifice she created in Berlin last year. Downstairs, abstraction reigns, with beautiful echoes between the works’ geometric forms and a homespun modesty in their materials. Caitlin Yardley combines textiles like an Amish quilt with rigid metal frames, while Nuno Dereitinho’s humble table and mirror are transformed into a playful illusion, seeming to hover over the floor.
Pedrosa pulls off a neat balance: the works feel raw but undaunted in these august surroundings.
Ben Luke, London Evening Standard 24 July 2013
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
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.
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).
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.
Martin John Callanan’s work engages most directly with scientific methods: his A Planetary Order (Terrestrial Cloud Globe) utilizes the complex apparatus of state-backed meteorological data collection to model a single moment in the atmospheric history of the planet. The cloud cover as recorded by six cloud-monitoring satellites is mapped on to a globe, a physical (rather than virtual) object created by means of cutting-edge digital manufacturing technology. It is the counterpart to Constable’s cloud studies for the age of IT, but whereas for Constable clouds were ‘the chief organ of sentiment’ in a picture, they can now be visualised as forming an entire global regime. The piece gains a touching, almost absurd, quality of understatement through the disparity of its unassuming physical presence and the prodigious depth and scope of the knowledge it encapsulates.
Extract from the essay Night on the Brocken, Nicholas Alfrey, to accompany the exhibition Reason and Emotion Landscape and the Contemporary Romantic, Springhornhof.