Magazine: Issue 17
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Spotlight: NV_Projects
SPOTLIGHT ON: N/V_PROJECTS MAGNUM OPUS: N/V_PROJECTS @ THE DYE HOUSE | 08/01/2013 – 26/01/2013 NUTBROOK STUDIOS, 33 NUTBROOK STREET, LONDON SE15 4JU OPEN LATE FOR SLAM LAST FRIDAYS: 25/01/13 In anticipation of ‘MAGNUM OPUS’, a group exhibition at The Dye House curated by N/V_PROJECTS, opening in early January 2013, SLAM’s Simina Neagu interviews N/V_PROJECTS curator Nigel Dunkley about some of the challenges and benefits of curating shows without a permanent base. SN: How did N/V_PROJECTS start? ND: N/V started as a loosely woven collective of quite a few people. We originally did exhibitions to exhibit our own work and invited others to participate in a site/show specific manner. In October 2011 the two current members of the team, Nigel Dunkley and Roman Liska founded a temporary project space in Peckham that hosted a number of exhibitions. At that point the motive changed and it became a curatorial objective, with the focus solely on facilitating exhibitions of emerging artists other than ourselves. SN: You studied at Goldsmiths and most of your projects were organised in Peckham or Deptford. Does it reflect your intention of supporting the emerging South London scene or are you planning on branching out to different areas as well? ND: South London is something that really occurred by default. I think we would have been equally happy to host exhibitions in East, or West London, yet it seems that opportunities such as those have been beneficial enough to lend themselves to areas that are either in the process of being recognised, or have no recognition whatsoever. This often border-lined a sentiment of gentrification, yet this seems to be an ever-occurring paradigm – where things haven’t yet happened there is the possibility for them to occur. With South, it was also our everyday. Going to university in the area created a spectrum of possibility that wouldn’t have occurred if we were living in East or other parts of London. N/V_Projects former project space, Peckham SN: It seems like all of your exhibitions are based on collaborative practices. Was this a strategic tactic or is there an underlying interest in the notion of collectivity? ND: The birth of N/V was based around the idea of people who were pro-active. I think this proceeded into a curatorial strategy. A definite interest in artists or people we work with in general seems to lie in a respect for a serious practice no matter what it may be. SN: You are working as both artists and curators. Could you say that it is a conscious decision to blur the defined limits between these two often conflicting practices? ND: I wouldn’t say it’s conscious. Its something that seems as if it just occurred. Once again, the response refers to a pro-active nature and the energy to produce. If anything the relationship between the two can be quite conflicting and demand a good amount of compromise. Most importantly the position has always been that we are both artists yet at some point the roads collide. Facilitating/curating can be quite seductive and distractive from one’s personal practice. I think anyone doing both would feel similar. The question seems to be more whether its possible to equally balance both as one inevitably becomes more demanding. Installation View \\\'LOT\\\' @Cul de Sac Gallery, 2012 SN: N/V_PROJECTS has largely been a nomadic organisation, not necessarily connected to a specific institution. Do you wish to continue in this formula? ND: I think once again that this is something that has happened by default. We would be very interested in the possibility of a permanent venue to host exhibitions for a variety of reasons, yet in most cases this comes with a variety of responsibilities and implications. I suppose at the moment this works quite well, albeit energetically demanding on a per exhibition formula. If I think in the future however, I would seek to establish a permanence that allows the viewer to recognise continuity of space. Gesa Troch & Daniel Shanken Selected artists from Magnus Opus, N/V_Projects @ The Dye House 2013 SN: Tell us a bit more about your next exhibition ‘MAGNUM OPUS’ at The Dye House. ‘MAGNUM OPUS’ is an exhitbition that’s been in the making for some time. Our motive behind the general programme we’ve curated is fundamentally about bringing something fresh and unique to the viewer. Seeing many exhibitions with similar names around London, we find it interesting to experiment with people we haven’t necessarily seen or worked with before. This exhibition will be a sculptural response to the immense space that The Dye House offers. We have been lucky to have such a venue and equally generous owners. We are equally fortunate to host a fantastic group of extremely ambitious artists – the show will not disappoint. Darren Banks & Image 6: Matthew Johnstone Selected artists from Magnus Opus, N/V_Projects @ The Dye House 2013 Many Thanks to N/V_Projects Details of MAGNUM OPUS HERE Simina Neagu
Review: Prophetic Diagrams
PROPHETIC DIAGRAMS @ GEORGE & JORGEN 9 MOROCCO STREET, LONDON, SE1 3HB 14/12/12 – 16/02/12 (EXHIBITION EXTENDED) OPEN LATE SLAM LAST FRIDAYS: 25/01/13 Bringing together over 30 artists from the US and UK, Prophetic Diagrams at George and Jørgen Gallery showcases the practice of drawing as a preparatory sketch that precedes an artistic gesture, serving as a blueprint for further actions. The curator of the show, William Corwin, invited several artists to respond to an essay he wrote after accidentally finding an 18th century book of black magic almost twenty years ago. Taking its cue from the crude and unsettling illustrations, meant to guide and represent the summoning of demons, Corwin interprets drawing as a ritualistic activity with the purpose of preparing a magical act. He describes the rituals included in the 18th century volume as being highly reliant on visual imagery: \\\'Specific diagrams needed to be drawn, objects carefully arranged. It was less important to persuade the demon to come to you with words than to call upon them with images he/she recognised—it was all about drawing.\\\' Image: Installation View ‘Prophetic Diagrams’ (2012) Art is here equated with the ability to harness unseen forces, while Corwin specifically understands drawing as an attempt at representing the unseeable or an \\\'\\\'ordering of the universe\\\'\\\'. Thus, in the frame of this exhibition what usually lies at the limits of visibility is brought to light through various techniques associated with drawing. The selected artists, ranging from emerging to established names such as Sarah Lucas or Bob and Roberta Smith, responded to the essay either by producing a new work or choosing something from their collections. The result is an extremely varied, yet coherent exhibition of drawings or explorations of the medium that could suit the most varied tastes: from elegant and stern pieces to the most ostentatious and brightly coloured. Among the personal highlights of the show: Bob and Roberta Smith’s inspirational statements painted on boards, one of Sarah Lucas’s signature cigarette works, the innovative use of metallic ink and sensors in Elise Co and Nik Pashenkov’s objects/drawings or Paddy Gould and Roxy Topia’s bold and humorous illustrations. Installation View ‘Prophetic Diagrams’ (2012) Artists: Chris Baker, Mike Ballou, Chris Bloor and Nathaniel Mellors, William Corwin, Rose Davey, Julius Dörner, Claire Dorsett, Clara Fialho, Paddy Gould and Roxy Topia, Ronnie Landfield, Noah Landfield, Sarah Lucas, Paulina Michnowska, Roxy Paine, Elise Co and Nik Pashenkov, Simon Patterson, Bruce Pearson, Joyce Pensato, Dan Perfect, James Pimperton, Nathlie Provosty, Fiona Rae, Carin Riley, Nick Roberts, Gaetan Sigonney, Lucy Skaer, Sandi Slone, Bob and Roberta Smith, Ellen Stanford, Pinky Tesfay, James Trimmer, Jessica Voorsanger, Tom Webb, Andy Wicks, and Holly Zausner. Catch it before it closes: George & Jorgen will be open late for January’s Last Fridays: 25/01/13 William Corwin’s Essay HERE By Simina Neagu
Preview: Sublet
ALISN PRESENTS: ‘SUBLET’ @ LONDON ART FAIR 2013 – ART PROJECTS P29 WWW.LONDONARTFAIR.CO.UK WWW.ALISN.ORG 16 – 20 JANUARY 2013 London Art Fair 2013 is snapping at our heels and a diverse selection of south London’s spaces will be well represented at the Main Fair & Art Projects this year: With galleries based in Deptford, Peckham and Bankside making their mark. Among them, The Sunday Painter, Hannah Barry, BEARSPACE and ALISN (who, in turn will be presenting a number of South London based artist-run spaces) will be showing at one of the Fair’s main pulls: Art Projects. Having firmly established itself as one of the most exciting sections of the Fair, Art Projects this year is some 30 galleries strong, offering a programme of performances, screenings, large scale installations and talks. Encompassing the increasingly experimental spirit of Art Projects (and indeed south London) with gusto is The Artist-Led Initiatives Support Network (ALISN). Founded in 2007, ALISN was established to support emerging artists, encourage community and foster exchange between artist-run spaces. At London Art Fair ALISN will be presenting ‘SUBLET’ featuring a selection of the most exciting artist-led projects in the UK: The primary aim of the project being to critically examine the role of the art fair in supporting new art. SLAM catches up with Iavor Lubomirov (Director and Curator of ALISN and one half of Deptford based project space Lubomirov-Easton) to get his views on art fairs and artist-led galleries’ place within them: SLAM: ALISN are providing a number of artist run spaces with an opportunity that may normally be out of their reach, to present work at London Art Fair this year through ‘Sublet’. Why is it important for you to provide this opportunity? IL: First of all not all the spaces are new to art fairs, but most are. Different spaces are getting different things out of sublet. Some an entry into a market place (a commercial opportunity), some a chance to perform critically within this environment. For some it\\\'s exposure to a wider audience. What is important for us is the idea of cooperation. Small organisations coming together can be as viable as a large entity, while retaining their individual, independent, and often not commercially focused natures. Details from artist\\\'s work presented by \\\'SUBLET\\\' galleries - Jacob\\\'s Island; MOCA; LUBOMIROV-EASTON and Occupy My Time Gallery: Courtesy of A.L.I.S.N. SLAM: With very few exceptions, art fairs are unapologetically sales driven, what does this mean for a non-profit, less commercially minded space showing in this environment? IL: Again, it can mean different things. Many spaces want to sell work - it\\\'s not all evil. Selling work helps to fund the space and puts much needed money in the pockets of the kind of emerging artists they represent and who often sell very little or not at all. Others are using it as an opportunity to critique the structure of the fair from within. ]performance s p a c e [ are doing a durational piece from 9am to 5pm (office hours) commenting on the business like nature of the fair. For us, alisn, it\\\'s also about disseminating information about artist-led spaces, which are very much out of the public\\\'s eye. Alisn is also artist-led (by me and Bella), so we too are taking part. We are showing a series of 38 documentary interviews of UK artist-led spaces created by Tether in 2009. These are being interspersed amongst the other video works in the art fair\\\'s screening program in room P28 opposite our stand. SLAM: You have highlighted the boom in artist run spaces over the past decade (Today’s 300+ UK based artist run galleries compared to a handful just 20 years ago). Without wild overgeneralisation, would it be true to speculate that fewer artists are approaching commercial galleries in the formative years of their careers? Why do you think this may be? IL: I don\\\'t think fewer artists are approaching commercial galleries. I think there are just a huge number of artists out there and commercial galleries generally find it more profitable to sell secondary market work, or support their own overstretched stables, then to speculate in new talent. More artists are therefore initially building their careers at their own and their friends\\\' temporary spaces. SLAM: Would you view artist run spaces as an antidote to the art establishment or do they simply provide exposure and the first step on the ladder for artists approximating a place within the commercial art sphere? What is really important and different about artist-run spaces, is that the work they show is being chosen by artists, not dealers or curators. That\\\'s incredibly important. These are places that actively seek to experiment and develop and their sensibilities are driven by art first and foremost. This is why they are great breeding grounds for new art. In short, I don\\\'t think they are an antidote, they are more of an essential complement. I think there is great scope for collaboration between the commercial and independent sectors they are not in competition. They just seem to inhabit different spheres. Thanks to Iavor & ALISN ALISN presents ‘SUBLET’ London Art Fair 2013 The following South London galleries will be presenting work at ‘SUBLET’: SUBLET, BOOTH P29 | ART PROJECTS 2013 ATOI & CULL presents: Amy Thomas and Oliver Irvine, Doorspace presents: Kristina Clackson Bonnington, Adrian Gibb, Jolyon Dupuy, Jane Gallant, Rebecca Glover, Sarah Hervey, Colin Humphries, Dani Tagen, Clare Stanhope, Jacob’s Island presents: Vasilis Avramidis, LUBOMIROV-EASTON presents: Iavor Lubomirov and Bella Easton, OCCUPY MY TIME GALLERY presents: Shona Davies and David Monaghan. MOVING IMAGE, BOOTH P28: Alma Enterprises presents: Thomas Altheimer, A.L.I.S.N presents: Tether, MOCA London presents: David Blandy SLAM & LONDON ART FAIR TICKET OFFER | LAST CHANCE! The Fair keeps its doors open late on Thursday 17 January, providing you with the opportunity review work by over 1,000 artists after work, whilst enjoying complimentary drinks, talks and performances. You can purchase 241 advanced tickets for this evening; just enter code LAF442 when booking to activate your discount. Hurry offer valid until midnight 11 Jan. REDEEM TICKET OFFER & BOOK HERE
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