Issue 14 Articles
Magazine: Issue 14
Spotlight: ASC Gallery
SPOTLIGHT: THERE IS NOT AND NEVER HAS BEEN ANYTHING TO UNDERSTAND! ASC GALLERY Featuring artists; Dean Kenning, Suzanne Treister, Simon Davenport, Reza Negarestani, Lawrence Leaman, Joanne Tatham & Tom O’Sullivan, John Gillis & Aline Bouvy, Benedict Drew, Peter Rockmount, Mark Jackson, John Russell, John Cussans & Roberto Peyre,Pil & Galia Kollectiv, Neil Chapman & Ola Stahl, Tom Clark, David Burrows & Simon O’Sullivan. Is a group exhibition devised by David Burrows and Simon O’ Sullivan, who were asked by ASC to produce a show as Plastique Fantastique, of which they replied to ASC, they were not Plastique Fantastique and this was instead the name of a ‘fiction’ and proposed a Plastique Fantastique Communique in the form of a group exhibition. Burrows and Sullivan have stated they are interested in making an exhibition through accretion, a process more akin to the production of a noise or a crystalline object than curation. Is this a refusal of curation? Or a mixing up, a new way of integrating the polymorphic voice? The image conveyed in the press release, adds to the elaborate fabulative narrative that is built around the exhibition. The idea of Sullivan and Burrows not wanting to enter into discussions with ASC or allude too much about the exhibition \\\'preferring to pointing, humming, nodding and talking\\\' is in keeping with the title. The only clue we get to their intentions is a brief statement iterated by the collective communique: Plastique Fantastique is for Skizzcretion… as an interference with the processing of stimuli by the nervous system… as secretion over-load… as semantic under-load… as a burning of the ear and splitting of the eye… as an accretion that is neither transparent nor opaque but a vibration… as dense and crystalline rather than a complex and rich source of information… as a surplus that is a store of energy… as an oscillation rather than a movement from A to B… as disorganisation and disorientation… as noise… as a refrain yet-to-come: http://www.ascstudios.co.uk/ (1)Kollectiv Pil and Galia, Capitalism as Cult, The Institute of Psychoplasmics, London: Pump House Gallery, 2008 (2&3) Sullivan, Simon O, From Stuttering and Stammering to the Diagram: Deleuze, Bacon and Contemporary Art Practice, November 2010, goldsmith University London
Review: V22 Pendulums
Biscuit Factory Pendulum: Conor Kelly V22 Studios | Part of V22 Summer Club I felt that I was one of a select group of people on Saturday June 2nd. Perhaps two dozen of us waited in anticipation in the vast industrial caverns of V22 studios. We were told there would be a 15 minute delay; the anticipation simply grew. Unrecognisable industrial sounds emanated from the space as we waited to enter. There was distraction enough in the antechamber of this echoing industrial cathedral. Josh Baum’s delicate water sculptures seem so very fragile in contrast. They are engrossingly beautiful: drops of water running across sheets of glass and up copper wires before dripping, sometimes even bouncing off at an angle into vintage china tea cups. Like some surreal game of mousetrap the mad hatter might have at his party. And then we began to move through into the main space, it’s ready to begin. A vast echoing expanse of concrete stretches out around us. Huge, brutal pillars reach up to the ceiling 10m above. We wait expectantly. … And it starts. There is a collective, instant transfixion as four enormous pendulums freefall down from the ceiling. Massive rods of steel slice the air in savagely graceful arcs before us. It’s a hypnotic visual spectacle: the sense of raw power is eminently palpable. As well as the sheer physicality of it, there is an evoking of memories of what might once have been here. A harking back to the industry that used to occupy these echoing empty halls. Stripped of that former purpose these spaces are now the preserve of the ‘new economy’: the Biscuit Factory complex in which V22 resides is home to several galleries and exhibition spaces as well as production companies and studios. But we’re in Bermondsey, a place with a proud industrial history built on the now vanished Surrey Docks. These swinging rods of steel seem to speak of this past, if only for a moment. The spectacle is not just visual. What Conor Kelly has in fact created on this massive scale is a restaging of Steve Reich’s 1968 work ‘Pendulum Music’. Each of the four enormous pendulums holds a microphone at the end and swings back and forth in front of the associated speaker. A rhythmic chanting cacophony of feedback is created, reverberating around the room. It morphs and changes as the pendulums swing at fractionally different rates and the rhythms collide and sync as the pendulums slow. The volume is immense and the clashing reverberating sound fills the room. It’s powerful, dark, all-encompassing. I felt very special to be there watching it. The sheer pragmatics of finding such an immense space and being able to set this spectacle up means it will inevitably be rarely repeated. There were only a relatively small number of us there, but not one of us moved for over half an hour as we watched the pendulums gradually slow. We stood transfixed by the beauty and might before us.
Preview: Cultural Highlights during the Games
'South London's Cultural Highlights during the Games' & July's 'Not the Opening Ceremony' Last Fridays: 27/07/2012 (at sites across South London). As far as I can recall art and sport have never been the happiest of bedfellows. If you were terrible at sport as a child you ran into the loving arms of art and vice versa, and if you happened to be gifted at both you were best advised to keep one on these gifts to yourself, as is British custom for non blowing of one’s own trumpet. But London playing host to the Games raises an interesting opportunity for the two to co-inhabit and for artists to take advantage of the many thousands of visitors hurtling through our turnstiles to show the world how our cultural landscape fares. Aside from this, if by some heinous error there is a shortfall in British medals, at least we can distract our very welcome visitors with some of the world class contemporary art we have to offer. Outside of the east end Olympic epicentre, Rachel Price previews some of South London’s cultural highlights during the games: (Unless stated, entrance to all projects is free) Starting from the river and meandering down: In Bankside we wait with baited breath for TATE Modern’s hotly anticipated Art in Action programme in the much talked about Oil Tanks. ‘Art in Action’ opens on 18th July and will run for 15 weeks. With an emphasis on the experimental and with a focus on live performance, installation and film this is a unmissible opportunity to see new work by over 40 international emerging and established artists in a truly unforgettable space. Heading along the river to Tower Bridge The Design Museum reveals every athletes’ best kept secrets with Designed To Win looking at the material innovations that help Olympians go the extra mile: Opening 26th July (entrance fee applies). Heading down to Southwark Park and the ever ambitious Dilston Grove, we look forward to a project of Herculean proportions: Swandown –The Installation. Running from 27th June – 29th July, the show is a documentation of Iain Sinclair & Andrew Kotting’s epic & absurd journey, both a test of endurance and voyage of discovery from Hastings to Hackney via the inland waterways using a Swan pedalo as a vessel. http://www.tate.org.uk/whats-on/tanks-tate-modern/eventseries/tanks-art-action http://www.southlondonartmap.com/events/cafe-gallery-dilston-grove/1237 http://www.deptfordx.co.uk http://www.boldtendencies.com http://www.songallery.co.uk http://www.pami.org.uk http://www.juliavogl.com/news/home-project http://hilleard.com/Stratford/INDEX5.html http://www.tomleighton.co.uk/36-reasons-to-love-camberwell http://www.podia.org.uk http://www.peckhamspace.com/forthcoming/peckham-peace-wall http://www.london2012.com/about-us/cultural-olympiad/ Artists Taking the Lead http://bus-tops.com/