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#Antipodes

Antipodes, 2013, is an ongoing interactive online and photographic project that pairs webcam images from places at opposite ends of the globe. The four per cent of the earth’s surface in which land is antipodal to land offers rich terrain for interesting parallels and correspondences. As far away from each other as it is possible to be, their day-for-night, summer/winter contrasts palpable, often extreme, these distant ‘twins’ (Spain/New Zealand, Hawaii/ Botswana, Brazil/Japan) frequently possess surprising affinities. Having researched multiple webcam sources from myriad locations, Curtis revels in drawing out these points of connection: finding topographical echoes in the landscape, as well as architectural and cultural similarities. A series of photographic diptychs, distilled from the stream of webcam footage, press the point home: highlighting both the distance and the difference between us, but also how online communications and digital technology bring us closer together.

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Also included in the exhibition is Tong Tana, 2012. In this video work, Curtis explores the elemental desire to understand environments. She spent four weeks in the rainforests of Borneo with the semi-nomadic Penan, one of the last surviving hunter-gatherer tribes in south-east Asia, and known masters of tracking and hunting. By placing a head mounted camera and binaural microphones on one of the hunters, Curtis captures his journey in a way that would otherwise be unachievable. The viewer adopts the position of the hunter, experiencing a heightened sensory adventure. Tong Tana includes maps drawn by the Penan hunter that plot his route through the rainforest.

Antipodes by Layla Curtis is commissioned by Film and Video Umbrella, in association with Spacex. Technical support by Cuttlefish. Supported by Arts Council England.

Tong Tana is supported using public funding by the National Lottery through Arts Council England.

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British artist Katy Dove presents a selection of new and recent animated films alongside print based works. Dove’s work can be interpreted as a kind of aesthetic essentialism, or the distillation of the everyday into fundamental shapes, sounds and colours.

The centrepiece of the exhibition is a new film work entitled Meaning in Action (2013). The film explores ideas relating to inner and outer mental space. Through capturing different actions – repetitive mark making on fabric, the geometry that stems from movement of the hand and the process of ink drying slowly on wet silk; movement, shape, and texture are formed. These are edited with close up footage of bodily movement, the resulting images reflect a psychological state inherent in these actions.

Dove’s work starts with a process of intuitive mark making often in the form of drawings and watercolours. These serve as raw material for animations, watercolour paintings and works on paper. The majority of the sound that accompanies the film works is produced by the artist. Three animations, Luna (2004), Sooner (2007) and October (2011), shown back-to-back on a single screen, offer an insight into the progression of Dove’s film work.

A series of six etchings and paintings from 2009–10 entitled Six Audio Visual Musical Forms will be on display. Dove has used text, pattern and diagrammatic forms to describe music, some of which hint at musical notation, others describing sound in a more textural way.

Two photographic works under the collective title Make a Shape (2007) stem from collaborative work with Edinburgh-based choreographer Sheila Macdougall. These mark the beginning of an interest in choreography, which continues to be explored in Meaning in Action. Copies of Make A Shape will be available to purchase in the gallery.

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In this solo exhibition by the London based artist Laura White, sculptural and photographic works explore and respond to human relationships and negotiation with the ‘stuff’ of the world. White considers value, profile, association and the meaning of individual and collections of objects in specific circumstances. Relationships are created and questions are provoked in relation to these various objects concerning value and taste, and our relationship to consumer culture.

Displayed on bespoke plinths, works sit on the boundaries of ’art objects’. Every item is treated with a regard to its visual aesthetic, production, and authorship. White reduces articles to the same material and level of craftsmanship, thus confusing their status.

New photographic works play with scale and placement, materiality and production. Large scale prints mounted on boards displayed in an unconventional manner invite the viewer to gather their own understanding of the value, status and authorship of the ornate objects being represented.

We Can Have it All offers a timely investigation into pre-conceived ideas and conditions that trigger our understanding of objects we come across in the world, from the everyday to those commonly encountered in a gallery or museum. These ideas and conditions shift and alter through investigation and understanding of the work, be it visual or contextual. Through breaching the boundaries of socially constructed categories, White suggests that it may just be possible to ‘have it all’.

 

Laura White Studio Visit & Interview

 

Laura White We Can Have it All Exhibition Opening

Laura White ‘We Can Have it All’ Interactive Exhibition Tour


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Spacex presents the first UK solo exhibition by Finland based artist John Court. New works will be shown alongside drawings and performance produced over the last fifteen years. His output includes performance, sculpture and video, but he considers all his work to be fundamentally concerned with drawing, in that drawing connects the elements of line, movement, space and time.

Court is severely dyslexic. He began drawing at the age of nineteen, using it as a means to comprehend and come to terms with the difficulties and negative experiences he had gone through at school. During this process he gained self-confidence through learning to read and write in his own way. The theme of control interests him, where the act of writing becomes an encounter with (dis)empowerment.

In Court’s drawings it is difficult to decipher the hand of the artist, his involvement is almost devoid and hidden from view. In some instances his works look as if they have been made by a machine, possessing a reductivist quality and a sense of purity. However, in reality as with all his works, they explore time, slowness, attention to detail and precision. The exploration of time is employed in the process, the drawings take months to create.

Alongside the varied drawings, the exhibition will also include a series of films and documentary, trace material from earlier performance works and a selection of sculptural (three dimensional) drawing works, some of which gallery visitors will be able to interact with and engage with their tactile nature. In Court’s work we will witness the parallels between drawing/sketching and text/language. His work investigates the ways in which language intersects with drawing.

Spacex has commissioned a new performance by Court that will mark the closing of the exhibition. Viewers will witness Court pushing his body beyond technique and exhaustion. The performance will last for eight hours, this duration is based on the time of an average working day. The piece will take place in the gallery space and could be read quite literally as marking time.

A recent work which took place north of the Arctic Circle involved walking 200 metres in a straight line over 8 hours. Court’s performances are not preparatory works for another stage, they are an ephemeral act. We experience his body in motion; there is a silence and grace to the act, which plays against the pure physicality of the action.

 

John Court Interview Part One

 

John Court Interview Part Two

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In This Was Tomorrow, Michael Samuels continues to investigate sculptural structures, addressing formal, material and spatial qualities. He continues to utilise Modernist furniture, most commonly G-plan, which he breaks down to a point where it can no longer be identified for its intended use. Once deconstructed, he rebuilds the furniture in a spontaneous manner and through doing so, heightens the tension between the intended function of the objects and their immaterial value.

Samuel’s most ambitious work to date, Tragedy of the Commons, dominates the main gallery space. Slight in width compared to its height, functional elements of a number of the parts are more intelligible. The interior of drawers are used and unpolished, chipboard is visible as opposed to the veneer previously encountered. Functional G-clams and ratchet straps reveal the works construction, angelpoise lamps and LED’s are used to highlight the forms, exaggerate the voids and extend the structure beyond its physical presence.

New works which have never been shown further manifest the adhocism and spontaneity of his practice. Floor standing sculptures convey a sense of performative energy, standing at precarious angles that evoke a feeling that collapse is imminent. New wall based structures have been created that are both abstract and dynamic, paying reference to modernist and abstract painting. The formal lines of these wall hung pieces offers up the opportunity to engage with the work both as a three dimensional experience and as the flat plane of a painting. This push towards abstraction maintains the notion that abstraction is only ever possible in relation to function.

Michael Samuels Tragedy of the Commons installation

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Fear of place is the focus of this exhibition. As an anxiety disorder, topophobia is an irrational dread of certain places or situations. However, considered as a cultural manifestation, the condition connects us to existential human questions of how we find our place in the world. The exhibition explores the representation of place and space as both threatened and threatening.

This group show features the work of ten artists; Anne Eggebert, Matthias Einhoff, David Ferrando Giraut, Polly Gould, Marja Helander, Uta Kogelsberger, Abigail Reynolds, Almut Rink, Emily Speed and Louise K Wilson.

Louise K Wilson has been invited to produce a new work in parallel to the exhibition. This work, Missing Scenes – An Evening at Hanging Rock, is based on Peter Weir’s iconic film Picnic at Hanging Rock. The work will be presented at Exeter Phoenix on 5 July. It will consist of a screening of Weir’s original 1975 feature film with video and sound interventions by the artist.

Topophobia is a touring show curated by Eggebert-and-Gould, previous venues include Danielle Arnaud, London 14 January–19 February 2012 and Bluecoat, Liverpool 3 March–22 April 2012.

A publication including colour plates of the artists’ works with texts by Polly Gould, a short fiction by Leslie Forbes, essays by Dr Caterina Albano, Thomas D Trummer and Eggebert-and-Gould, accompanies the exhibition. The book is distributed by John Rule (Over the counter viagra brisbane).

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Topophobia: An insight

Topophobia: An overview

Related Events

Eerie Landscape

Wednesday 6th June

2–4pm, free, ages 5+, booking essential

Create an eerie landscape with moving parts to reveal what’s hidden behind trees or in doorways.

The Wood Between the Worlds

Thursday 14th June

9pm-12am, free, ages 16 + at Haldon Forest, booking essential

Artist Tony Whitehead will lead a nighttime stroll across the heaths and into the woods in search of night creatures, real and imaginary. Explore the forest, described as a portal where travel between waking and dream is possible.

Gallery Breakfast

28 June 2012, 8.00am
8–9am, free, all ages, no need to book

Join us for breakfast and take the opportunity to see Topophobia.

Saturday Art Club Worshops 

11am-1pm, ages 6-11 (under 8’s must be accompanied by an adult). £5 per session or 3 for £12

19 May – My amazing Journey 
Construct a tabletop scene to represent the best (or worst) journey of your life.

26 May — Bigger Picture
Help create a huge drawing inspired by a bird’s-eye view of the earth.

16 June — New World
Re-arrange maps and add your own features to create a new world.

23 June — Gallery Wanderers
Find out about different sorts of temporary shelter, then set up and decorate your own encampment in the gallery.

30 June — Art in Your Pocket
Make a portable artwork inspired by traditional arts and crafts of worldwide nomadic cultures.

Family Sunday

Sunday 24 June

2–4pm, free, all ages, no need to book

An afternoon of creative activities to engage, challenge and inspire. Join us as we explore the exhibition and make original artworks. Hot drinks, juice and biscuits will be available.

Please note that an adult should accompany children at all times.

Contact Microphone Making

Saturday 30th June

2–5pm, £8, ages 16+, booking essential

Topophobia artist Louise K Wilson will demonstrate some of the unusual microphones she uses to make her work. Participants will make a simple contact microphone and use it to listen in on and record some of the hidden and underwater spaces in the city.

Missing Scenes – An Evening at Hanging Rock

Thursday 5th July 2012

6.15pm, free, at Exeter Phoenix, booking essential via Exeter Phoenix Box Office 01392 667 080

Peter Weir’s Picnic at Hanging Rock, will be screened with sound and video interventions by Louise K Wilson. She will explore the film’s multiple interpretations and resistance to resolution. The work has been commissioned as part of Topophobia.

 

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Blast Theory is internationally renowned as one of the most adventurous artist groups using interactive media. This survey exhibition, marking their 20 year anniversary, delves into their archives to reveal details of works never before presented in a gallery environment. The exhibition features video footage, photo documentation and design from early performance pieces through to current work, often focusing on aspects of identity, trust and espionage with strong political undertones and social commentary.

Five key pieces form the focus of the exhibition, the earliest of which is Stampede (1994). Presented through photo stills, footage of the performance and cue cards, Stampede is a promenade piece exploring crowds and rioting. The work posed pertinent questions; At what point are you prepared to declare yourself publicly? What would make you take to the streets? Originally performed in theatres and nightclubs, Stampede includes excerpts from a secret police manual about riot control and features interviews with the six performers about loss of control. The performance itself -lasting 60 minutes – is fast and furious: a constant barrage of leaps, skids and falls interwoven with moments of quiet isolation and exhaustion.

Kidnap (1998), is presented through documentary footage, publicity materials and participant application forms. The work saw Blast Theory launch a lottery in which the winners had the chance to be abducted. Finalists were chosen at random and put under surveillance with the two winners being snatched in broad daylight and taken to a secret location where they were held for 48 hours.

The experience was broadcast live on the internet. Online visitors controlled the video camera inside the safe house and communicated live with the kidnappers. In the run up to Kidnap, a 45 second video – The Kidnap Blipvert – was shown at cinemas around the UK containing a number allowing people to register their interest; this will also form part of the exhibition.

The BAFTA nominated Desert Rain (1999) has become a significant work in the world of performance and new media. It is a game, an installation and a performance placing participants in a collaborative virtual environment and sending them on a mission into a virtual world. In a world where Gulf War images echo Hollywood, Desert Rain explores the feint line between the real and fictional. It attempts to bring visitors to a new understanding of the role of mass media in distorting our appraisal of the world beyond our own personal experience. This work is presented through video documentation in the form of interviews and supporting texts.

Also BAFTA nominated, Can You See Me Now? (2003) is a game. Players participate online from anywhere in the world in a virtual city against members of Blast Theory who take to the streets of the chosen location. Tracked by satellites, Blast Theory’s runners appear online next to your player on a map of the city. With up to 20 people taking part online at a time, players send messages to the runners. An audio stream from Blast Theory’s walkie-talkies allow you to eavesdrop on your pursuers. A three screen projection in the main gallery space will present footage from the game being played in Oldenburg, Germany. You will be able to explore and interact with this virtual recording in real time.

Documentation of A Machine To See With (2010) gets its premiere in a gallery environment. The video begins with a participant receiving an automated call on a street corner in Minneapolis. The subject then has to deal with a bank robbery and it’s aftermath. Though not offered as a participatory work in this case, the tension and suspense of the experience is still apparent. A series of drawings of banks will accompany the film.

Blast Theory create groundbreaking new forms of performance and interactive art that mixes audiences across the internet, live performance and digital broadcasting. Led by Matt Adams, Ju Row Farr and Nick Tandavanitj, the group’s work explores interactivity and the social and political aspects of technology. It confronts a media saturated world in which popular culture rules, using performance, installation, video, mobile and online technologies to ask questions about the ideologies present in the information that envelops us. Blast Theory is based in based in Brighton, UK.

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A newly commissioned installation titled Everything Keeps Dissolving, stages a large drawing combined with a sculptural sound piece. The drawing is inspired by the geological phenomenon called Folded Strata whilst the sound piece was created by manipulating a drone from a seminal 1990s record by the experimental electronic band Coil. The manipulated sound, originally created to represent a certain hallucinogenic chemical, together with the visual element of the installation aims to create a sense of displacement in the viewer a kind of temporal slip or disruption.

A selection of drawings and etchings focus on imagery recurrent in 19th century geological illustrations. These take found images and use their literal meaning as a point of departure, transforming into poetic and visionary interpretations of nature. A new series of monotype prints and a sculptural piece depict images of mandrake roots. The root’s lysergic powers and uncanny man-like shape have been the source for the creation of many myths through the ages. Arancio juxtaposes images that are at once disquieting, yet seductive.

The split screen video installation Shasta (2011), originally shot on Super 8 film, takes inspiration from a Native American tribe’s account of the creation of Mount Shasta in California. The timeless visual and sound elements of the work stimulate ideas of narrative and storytelling in order to create a sense of awe seen as a metaphor for human inefficacy against the forces of nature.

Arancio has produced new work for the exhibition that creates a connection between Spacex and its natural surroundings. One example, the large print Bowerman’s Nose depicts a rock formation composed of stacks of weathered granite found on Dartmoor. Fascinated by the popular myths attached to the stone and its alleged past as a place of veneration, Arancio’s manipulation takes it out of context. Here it is presented as a mysterious monolith, a sculptural form both impenetrable and remote.

An Arrangement of the Materials Ejected is Arancio’s first UK solo show. It develops his interest and ongoing investigation into ideas of nature and it’s merging with science, myths and legends along with its relationship to the mystical.

Related Events

Salvatore Arancio Talk
1 October 2011, 3.00pm
Free, all welcome

Join us for the opening of Salvatore Arancio’s solo exhibition, with a talk by the artist at 4pm.

Review Group
1 October 2011, 5.00pm
5-6pm, free, all welcome

Following Salvatore Arancio’s talk, Review Group will meet for an informal discussion.

Gallery Breakfast
14 October 2011, 8.00am
8-10am, free, all welcome

Start your day with a viewing of Salvatore Arancio’s exhibition, light breakfast included.

The Big Draw
16 October 2011, 11.00am
11am–4pm, free, Embercombe Farm (entrance charge to Embercombe Farm)

Join us for a workshop at Embercombe’s annual Apple, Pumkin and Pizza Day. See www.embercombe.co.uk for details.

Root and Tree People
27 October 2011, 11.00am
11am–4pm, free, children must be accompanied

Work with artist Michelle Moss to make fantastic tree people sculptures. Part of the Family Learning Festival.

Review Group
10 November 2011, 6.00pm
6–8pm, free, all welcome

Share reviews of Salvatore Arancio’s exhibition and hear from Arts PR and writer Hannah Prothero.

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The Paper Cooperative is an exhibition of participatory works that explore the ongoing use of paper in art, design and publishing. Presented through signage, art works, books and events. Visitors of all ages are welcome to take part in creative exploration, production and experimentation.

Paper Labour is a newly commissioned work by London based design collective Household. It develops their ongoing investigation into the relationship between objects and their users.

A collection of artists’ books, selected primarily from the University of West of England’s Centre for Fine Print Research archive and Permanent Gallery, Brighton, explore the variety of techniques employed in artist book making today. Displayed in a manner that invites varying degrees of interaction, some are to be observed while others are to be handled. The contributions come from a number of artists including Tom Sowden, Emily Speed and Georgia Russell.

Daily workshops offer visitors the opportunity to try their hand at a range of paper based activities run by artists and designers. Employing a DIY approach, these aim to encourage resourcefulness to creatives of all ages. A temporary café will also offer space to participate in an informal selection of activities.

The Paper Cooperative provokes creative responses, relating to ideas surrounding cooperation, social interaction, sharing and play.

Related Events

Monster Mash Up
9 August 2011, 11.00am
ages up to 8, £5, adults free when assisting a child, booking advised

Transform our stock of papers into monsters. Led by artist Michelle Moss.

Paper Play
10 August 2011, 11.00am
ages up to 8, £5, adults free when assisting a child, booking advised

Join Eleanor Duckworth to make colour 
paper decorations or an LED lantern.

Flower Boxes
11 August 2011, 11.00am
ages 7+, £5, adults free when assisting a child, booking advised

Work with ‘The Paper Florist’, Katherine Thomas, to craft a keepsake box.

Zines
12 August 2011, 11.00am
ages 8+, £5, adults free when assisting a child, booking advised

Make a mini magazine with artist David Chatton-Barker.

Paper Animation
13 August 2011, 11.00am
ages 7+, £5, adults free when assisting a child, booking advised

Contribute to an animated film and 
bring paper to life. Led by Clannamation.

Costume Making
16 August 2011, 11.00am
ages up to 5, £5, adults free when assisting a child, booking advised

Play with paper to make a mask, costume or disguise with Michelle Moss.

Paper Jungle
17 August 2011, 11.00am
ages 8+, £5, adults free when assisting a child, booking advised

Build a paper jungle and watch it come alive. Led by artist Jenny Mellings.

Message Kites
18 August 2011, 11.00am
ages 8+ with assisting adult, £5, adults free when assisting a child, booking advised

Print patterns then make a kite from your 
design. Led by Catherine Cartwright.

Paper Panarama
19 August 2011, 11.00am
ages 8+, £5, adults free when assisting a child, booking advised

Create a 3D landscape using speciality white papers. Led by Jenny Mellings.

Paper Animation
20 August 2011, 11.00am
ages 7+, £5, adults free when assisting a child, booking advised

Contribute to an animated film and 
bring paper to life. Led by Clannamation.

Paper Making
23 August 2011, 11.00am
ages 8+ with assisting adult, £5, adults free when assisting a child, booking advised

Transform waste paper into new sheets. Led by Louise King.

Crowns, Tiaras & Hats
24 August 2011, 11.00am
ages 7+
, £5, adults free when assisting a child, booking advised

Create a unique piece of party headwear with milliner Rivka Jacobs.

Pop Out Cards
25 August 2011, 11.00am
ages 8+
, £5, adults free when assisting a child, booking advised

Design and produce a pop out animal 
card with paper engineer Ruth Wickings.

Old Books into Art
26 August 2011, 11.00am
ages 8+, £5, adults free when assisting a child, booking advised

Form something new from an old book. Led by David Chatton-Barker.

Paper Animation
27 August 2011, 11.00am
ages 7+, £5, adults free when assisting a child, booking advised

Contribute to an animated film and 
bring paper to life. Led by Clannamation.

Scissors & Paper Rock!
31 August 2011, 6.00pm
ages 16+
, £5, adults free when assisting a child, booking advised

An evening with a stock of covetable paper and like minded paper-crafters.

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