Issue 9 Articles
Magazine: Issue 9
Preview: Mother Nature B.D.S.M
MOTHER NATURE B.D.S.M @ BERMONDSEY PROJECT SPACE An exhibition by Hugo Dalton, curated by Edward Lucie-Smith 27 January – 19 February 2012, 1–6pm Private view 26 January, 6–9pm Open Thursdays to Sundays, 1–6pm (or by appointment call 020 7036 2417) Visual artist Hugo Dalton contends that Mother Nature is a Dominatrix, not a benevolent figure, through an exhibition of sculptural installations and wall drawings based on frescoes at Pompeii. Dalton’s site-specific drawings at Crisis’ Bermondsey Project Space will use imagery associated with Bondage, Domination, Sadism and Masochism to evoke humankind’s ancient, complex and increasingly fetishised relationship with Mother Nature—source of shelter, sustenance, pleasure and pain.
Review: Other Surfaces
OTHER SURFACES @ POPPY SEBIRE 13 JAN – 11 FEB 2012 SCREENING EVENT: WED 1 FEB | 7.30PM www.poppysebire.com Vanessa Billy | Lloyd Corporation | David Cotterrell | Tom Dale | Clare Goodwin/Paul Harper | Lee Maelzer | Sam Porritt | Magali Reus | John Strotton. Curated by Rebecca Geldard ‘Other Surfaces’ offers the audience a refreshing jolt from the increasing tedium of group show conventions. With a frank declaration that ‘it is unlikely this set of artists would ever be shown together as a group of object or mark makers’ curator Rebecca Geldard delves a little further back, taking the artists’ choice of video research processes, rather than the final object as her point of departure. Fittingly, the show’s concept was conjured by the curator during a visit to Lee Maelzer’s studio where she was shown unedited footage by the artist of Ridley Road recorded from a skateboard. Maelzer’s striking ability in paint to capture fleeting moments, snapshots, as if recorded by the memory in a moment of urgency are also communicated in Maelzer’s video ‘Ground’: The camera fleets from object to object then object to pigeon, as if urgently trying to derive some significance from the litter strewn surrounds whilst coming round from a drink induced night in the gutter. A similar materiality manages to ooze through the confines of the lens in Vanessa Billy’s ‘Learning Body’. An artist whose sculptural installations manage a simultaneous weighty tension and lightness of touch echo the confines of the human body. In ‘Learning Body’ a fixed camera reveals snippets of gymnasts in training on a bar. We see the preparation and trepidation of the athletes, and in the same frame their tension not qualified by their evident skill is revealed through the contact between flesh and bar. The bar buckles and strains under the weight of the eventually fearless athlete, the tension shifts from the body to the bar in one fell swoop, a moment ceased by the artist. We gain an insight into Billy’s preoccupation with the physical limits of materials and material pairings in this split second.
Venue Spotlight: Public House Projects
PUBLIC HOUSE PROJECTS Chantelle Purcell welcomes new addition 'Public House Projects' to the South London Art Map. Purcell talks to Neil Drabble to find out more about how the gallery was initiated, its inaugural exhibition by Josie Cockram, and what we can expect this year? Q–Can you tell us more about Public House Projects and how the space was conceived? A–I have known Jonny the owner of the Gowlett pub for nearly ten years, and when he first took over the pub, I thought even then that the first floor room above would make a great exhibition space. About two years ago, I floated the idea past him about turning the upstairs into a Gallery/Project space, and last week Public House Projects had the opening of our inaugural show featuring new work by recent Camberwell graduate Josie Cockram. I'm an Associate Lecturer at Camberwell College, teaching primarily on the BA Photography course, but for the past couple of years, I've also run an external exhibition Unit, for the whole of the 2nd year fine art cohort. The exhibitions have been at the Biscuit Factory in Bermondsey, and the show last year attracted well over a thousand people on the opening night of the private view. It was during the first of these external shows that I came across Josie's work, and I have seen it develop since then. Q–You launched recently with the exhibition: "Josie Cockram two works: Looped", can you tell us more about this exhibition? A–In Two works: Looped materials in the studio are documented in moving images that together reveal details of their creation. Both mundane and absurd, familiar characteristics of knowable objects are undisguised, whilst also appearing as alien organic forms. The work mixes references to modern digital techniques with a somewhat nostalgic nod to more traditional analogue methods of capturing images. Projections are looped and extended as they reflect onto glass screens, recalling the black mirror through which we see so much of our world. Incorporating sound, text and light, the installation is a deep collage of audio-visual information. These additional layers simultaneously confirm and deny the image, creating an intentionally unsettling outcome that both challenges and recalls the studio space. In these work, the images extend beyond being a mere representation of source material, and the reflections in the room, further question whether it is possible to pin down the identity of an image when the installation is just one place in which it can exist and just one version of how it might appear. Q–Can you tell us more about your art practice? And do you think your concerns as an artist inform how you approach curating? A–My artistic practice encompasses a wide range of disciplines, strategies and approaches, and curation plays a large part in what I do. In some ways I see it as a natural extension of my teaching practice, but it's also an opportunity to make things happen, provide a space and an opportunity for other people to try things out. Public House Projects is there to support the work of emerging and established artists, and also host a series of talks and lectures, on a wide range of topics to be interspersed between the shows. I think that as an artist, I'm aware of the trials and tribulations faced when showing work, and how sometimes things need room to develop and evolve from proposal to final stage, and one aspect of curating for me is about supporting that. Because of the numerous things I'm involved with, and the limited amounts of 'free' time I have, the only way I could consider running a project space such as this, was to have a place that by its very nature allowed for a certain amount of autonomy. I spend time looking for potential people to show, programming and working with artists towards their shows, but the majority of the day to day things like opening and closing, drink, & food, which all play a part in running a venue, are all covered by the fact the gallery is situated above a pub.