Edith Russ Haus for Media Art
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:
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.
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.
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.
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
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
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.
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
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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