Showing posts with label Exhibitions. Show all posts
Showing posts with label Exhibitions. Show all posts

Saturday, August 31, 2013

Unknown Quantity - with extract from text by Claudia Capocci


They’re placed on top of each other in the same way you made a cage of pencils. The colours are gorgeous. Like they were singled out of the colour palette of the room. ---‘I’ve applied to work in a castle’ he’s wearing a bright red shirt, and one of the yellow Frieze bags you got at the art fair. –-and positioned together like a muted rainbow. That closes into each other, and placed in a space that’s the opposite to where the rainbow would usually be. It looks like a part of the—‘is that double socket a part of the work?’

I was wondering this, I could see the orange On light shining through the back

Could I charge my phone for five minutes? It had speakers plugged in it for the last show.—architecture. 
Claudia Capocci
The space has a mugginess to it that could make those bridles come in handy--


Dahhhh bah dahhhh, this young girl sure knows how to make an entrance.

‘I really really like the artwork here, I’m going upstairs now’

She bounds away. And skips back, and trots away, and walks out.


And quickly tiptoes back in.


The bridles—‘don’t run so close to the artwork darling, you might fall over’ she has some lovely pink strappy sandles, with pink socks. My favourite thing, seeing children in galleries. We’re looking at her amongst the art works. And she thinks we’re just looking at her so she performs for us.

CC

Communist protest architecture

Blocks of flats

Lived in one of them.

What I thought were bridles, are in fact skeletons of clothes,  most of the material cut away from the seams, leaving the core and the most useful part of the clothes left. If you did wear them, I guess it would look like bridles on humans. But serve no purpose. I like the point of realisation when you realise that something is in fact something else. She manipulates her materials very well in order to create this—How do flies feel when they’re blown away from your face? One step forward, two steps back.

I think I thought they were bridles because of the way theyre hung. Coupled with the impression the space gives.
CC




The architectural relationships between Will and Anja’s work. Both from different countries, both with the same idea of analyzing the living situations below the poverty line. Funnily enough, both with the same kind of colours.



-----Leak in the ceiling. Now theres a tiny puddle. DON’T PANIC NOTHINGS RUINED.

Speaking of, five minutes ago I noticed these gaping holes in the floor.
When you look inside them,
-One looks like a miniature well that a character from a film like Spartacus could get stuck in, I also want to say that’s a part of Rumplestiltskin but I’m not sure there’s a well in that at all.
-the other has water at the bottom and therefore a tiny dot of reflected light is on it. Which can either look like the most dilated pupil I’ve ever seen. Or an infinitesimal star, that this cellar floor has somehow managed to contain.
 

CC 

Friday, August 30, 2013

Unknown Quantity @ The Looking Glass


Anja Borowicz, Agnese Matteini & Will Thompson - From about the country these artists have been brought together because of their use of materials and intertwining narratives that are prevalent in each their work. Claudia Capocci will be unraveling the works in a text piece, that will unfold over the subsequent weeks, to make more sense (or less) of the works and their relationships.

With a fresh and innovative approach to the arts and events scene, The Looking Glass is an ambitious new venue. Presenting and producing cutting edge works covering Live Music, DJs, Performance Art, Theatre, Installation and Visual Art. 

Sunday, June 30, 2013

Slade Graduate Show 2013

Seams (Contractible Body)

Exploring the notion of a shy body enabled to expand in space, the structure takes its reference points from the measurements of artist body. Made from cut and stained recycled wood, the monetary value exists in the accessory of brass fittings. Collapsed dimensions 205 x 165 x 45 cm, expanded dimensions changeable.



Box Patterns (Wearables)

Shown here as a sculptural piece in an installation, this work is also offered up for a performance. Made from recycled boxes and underlined with with fabric, the pieces become wearable spatial units exchanged between contracted performers and public. The aesthetic value of the work is used up with each wear whilst the cost of it grows for each contracted performance. Dimensions app. 130x130x70cm

Box Patterns (Wearables)

Performative Exchange

Box Patterns (Nets & Layouts)

Recycled packaging from consumables purchased over a 1-year period, photographed in stacks of different net designs. Duratrans print, lightbox. 


Seams (Wearables)

Full set of clothes, steel hook


Stacks (Unwanted Heritage)

Stackable and reconfigurable units refer to architectural design developed during communist regime in Poland. Concrete, fibreglass, pigment. Unit dimension 45 x 55 x 5cm

Labour (Cleaned)

Bleached organic matter in plastic sleeves


Thursday, November 8, 2012

Slade MA/MFA Interim Show Pics


There is an inherent promise in a box, concealed but ready for consumption. So obvious that unnoticed. Designed, marketed and produced… by someone… for everyone... Domesticating our needs. Then discarded and forgotten. 

Emptiness offers itself up as the box opens its folds. The surprise of the flat pattern, the icon both familiar and unidentifiable. Then the folds collapse back and carve out a bit of space. Walls are formed around a promise of home. For a short while the structure lies to us of its solidity until it dissolves again.



Patterns for Living (no 7-11, Mixed media, 160 x 55 x 75-85 cm, 2012


Patterns for Living (no 7-11), detail


Patterns for Living (Box Occupied), 13 second looped animation, 2012

Patterns for Living (Box Occupied), still

Tuesday, September 18, 2012

SUBJECT TO CHANGE


Subject to Change was a group exhibition that presented recent work by eleven UK based, Polish-born contemporary visual artists. The concept for the show revolved around the fluid nature of modern spaces and objects. Subject to Change explored the role and impact of the factors of constant transformation and upgrading, not only in the domestic and intimate but also in the public/social and celebratory contexts. Devised and organised by Deconstruction Project this show was part of the programme of the Polish Arts Festival produced by Hungry Arts.


The publication was printed to accompany the exhibition Subject to Change at the Kursaal Space. It contains profiles on all participating artists. Texts by Douglas Hunter, Artistic Director of Hungry Arts, Agnieszka Kucharko, Visual Arts Director of Deconstruction Project and a critical essay by Zbigniew Kotkiewicz, Deconstruction Project Associate Curator.
 

softback
84 pages
edition 250


Room 2 Images by Zbigniew Kotkiewicz







Monday, August 20, 2012

Tuesday, May 29, 2012

Exhibition MIS-IN-FORMATION, Fringe Art Bath, 2012


Works in a show ‘Mis-IN-Formation’ What you see isn’t what you get.
Curated by Diana Ali in conjunction with FAB. 

Transcriptions / Patterns for Living / Value of Labour. Mixed media installation, May 2012

Transcriptions. Mixed media installation, May 2012

Sunday, March 20, 2011

These Words I Seek Are Not My Own

These Words I Seek Are Not My Own: presents new work by eight artists whose practices are imbued by a specific interest in extended painting. The exhibition attempts to address the continually evolving collective understanding of painting through a diverse range of outcomes and installational elements.

"All painting is (at the same time) material, space and activity. It may or may not have a singular (sur)face and it may not hug the wall. It may appear as a projection across the space of architecture, as multiple surfaces separated from a fractured support, or as a collection of playful but useless objects. These 'paintings' are not mere images of things, but inhabit space as things in their own right, sometimes functioning as props and triggers, working to invoke faint memories of other things - almost but not quite abstract, and almost but not quite painting."  

From 'The Spaces of Painting' by Linda Khatir which accompanied the exhibition




The title of the show was a text by one of the participating artists created in response to an intimate unravelling of the artists’ practices, a piece of work alone, layered and acting as catalyst, enveloping the practices and sparking and extending new responses.

An essay
on the practice of extended painting written by an artist and writer Linda Khatir gratefully accompanied the exhibition .






Organising the details of the show - proposals, communication and marketing - was pretty time consuming but a good learning curve. During the exhibition week, I had to divide my time between Bristol, Bath and London so my set-up time was effectively limited to one day. I was moderately pleased with the work I put in given the time constraints, though one of the pieces has since evolved in the studio into a more intriguing proposition (I will post the image later).

Overall it was a strong show, holding a variety of artistic responses, with a respectable turn out including general public.


There is a really good summary of the exhibition posted by a fellow artist Natalia Komis:
Natalia's Blog Entry for These Words I Seek.




My work in the show:
 






Monday, January 24, 2011

Migration

I took part in an outdoor exhibition Migration at the Newton Park campus of Bath Spa Uni. The artworks address the theme of ‘Human Interaction with the Environment’ and aim to to encourage students, staff and the wider community to take advantage of the beautiful natural
landscape.

The concept for my work was inspired by non-spaces, where the outside is borrowed like in shakkei lit. 'borrowed landscape' to draw the outer landscape into the immediate space by 'capturing it alive'. This collapses the view into a space that is in constant flux changing with the position of the viewer and “natural” elements.

And this is the structure in situ:




I enjoyed its simplicity which correlated with the simplicity of the concept, and a rather fragile appearance. I wish however I have designed the structure to be more mobile so it travelled to different locations throughout the duration of the show. This is something to keep in mind...

 

Monday, November 22, 2010

No Working Title II

No Working Title is a collaboration between Bath School of Art and Design, Norwich University College of the Arts, Winchester School of Art, and Tate Modern. Selected students from each university were partnered up and using instructions that we sent to each other, each of us created a piece of work. This project explores and debates themes of ownership and authorship and instrcution based art practice.

After a number of steps including creating and sending instructions, making work and participating a critical debate at Tate Modern, the project's final stage is touring exhibition. 

The curation was democratic which meant the process was somehow more involved but the outcome I believe is exceptional. Our objective was not so much to present the works but rather to explore the process we were involved in, feelings such as confusion over ownership, links between the works and instructions or physical aspects of communications (email/post).