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Artist and curator Amy Shelton invites audiences to consider the crucial role of bees through an exhibition and education project that creates dialogue and exchange between scientists, artists, writers, beekeepers, school children and the public. The twelve UK artists in this exhibition re-evaluate our ancient relationship to, and reliance upon pollinating insects and reflect on the microcosmic poetics of the bee.

Over four weeks prior to the public exhibition over 400 Exeter primary school children have visited the Princesshay Bee Project and worked with Amy Shelton at Spacex, making artwork of their own and learning about these precious insects. Shelton’s project takes place at Spacex as part of the new Associate Programme.

Artists: Anthony Burrill, Clare Densley, Susan Derges, Tessa Farmer, Alec Finlay, Sarah Gillespie, Zsuzsi Morrison, Peter Randall-Page, Amy Shelton, Jem Southam, Nicky Thompson and Marcus Vergette.

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The Forum Mezzanine, University of Exeter, EX4 4SZ
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An exhibition documenting an art education partnership based in Exeter between Spacex, Ladysmith Junior School, a larger than average school for children aged 7-11; and the Postgraduate Certificate in Education (PGCE) Primary Art Specialism at the Graduate School of Education (within the College of Social Sciences and International Studies).

This exhibition showcases some of the highlights from the story of our work together, united in the common goal of engaging children – along with teachers and parents – with the work of contemporary artists in order to widen their horizons and inspire their own art making and creativity.

Projects over the past five years have been stimulated by diverse art works and provocations: 2011 (artist: Salvatore Arancio), 2012 (artist: John Court), 2013 (artists: Lisa Watts and Lucy May), 2014 (artist: Scott King), and most recently 2015 (artist and independent curator: Trevor Pitt).

A successful approach begins with visits to the gallery, followed by workshops in the school.  The PGCE students collaborate to plan and teach the workshops, integrating ideas from the exhibition – and the gallery-based activities – with various art skills.

The exhibition integrates reflections and documentation from this unique  partnership to date. As funding and curriculum changes impact on the future of the project we invite viewers to take a closer look at what happens when you bring artists, children and teachers together.

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In this solo exhibition at Spacex, Scott King presents a body of recent work that deals almost exclusively with notions of public art and its role within urban regeneration.

Presented as a series of prints, Anish and Antony Take Afghanistan, 2014, employs humour to explore the astonishing power of public art that has long been recognised by both western governments and ‘big business’ alike. With increasingly large public sculptures being commissioned to ‘regenerate’ ailing post-industrial areas, King asks, ‘what if this strategy were employed in an attempt to turn around the fortunes of a whole country?’ This work proposes a scenario in which two giants of British public art are commissioned by the United Nations in a last ditch attempt to solve the social, financial, and political problems of Afghanistan.

Other works included in the exhibition are inspired by government ideologies of regeneration in post-industrial Britain. Long Live Death, 2012, sees the artist place Antony Gormley’s Angel of the North atop Nelson’s Column in Trafalgar Square, London. Totem Motif, 2014, features a ‘found’ photograph from 1964 showing two young women admiring a recently erected Henry Moore public sculpture in the ‘new town’ of Harlow, Essex. In the series of photographs A Balloon for Britain, 2012, King imagined that the current Conservative government had offered him millions of pounds to devise a scheme that would regenerate Britain’s 10 poorest towns and cities. The result, an idea to float 50 metre tall party balloons across each of these 10 poverty stricken areas. King adds, ‘market research shows that of the 100 people asked to express a ‘pro’ or ‘anti’ balloon opinion, 67 people said they welcomed the idea, 29 thought it was potentially hazardous to both motorists and aircraft and 4 people said they did not care either way’.

 

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In this installation, Phil Root references history and memory, producing artworks through a process of intuitive layering and erasure of both physical and historical attributes.

Upon entering the galleries, the viewer is confronted with a number of large plywood boards that act as display structures on which the artist composes arrangements of images, drawings, and objects. Defaced coins, foggy landscapes, and other inclusions of absence and obscurity are layered and tied on with sail rope, offering an allusion to sea crossing and trade, and also to the use and exchange values of art itself.

 

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The installation is hinged around a film which incorporates imagery from the gallery space, revealing the subtleties and intricacies of Root’s artistic process. Within the film Root draws upon the ephemeral nature of currency, focussing on coins he explores the paradox between the visceral corruptibility of the coin and the virtual existence of the monetary system. Here, unbeknown to the viewer, they have the opportunity to locate works that are partially hidden from view.

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In ‘White Male, 36 Years Old, Average Height, No Pets, Out of Shape and Anxious’ artist and musician Mathew Sawyer presents new and existing documentary and conceptual artworks spanning the past fifteen years. Dry humour and perceptive observations link the many mediums used throughout Sawyer’s work, which include drawing, painting, sculpture, photography and music.

Works described by the artist as ‘documentary artworks’ involve making connections with unknowing collaborators. One example is the earliest work in the exhibition ‘Untitled’ (2000). Presented as a short text, Sawyer documents his daily routine of buying a Granny Smith apple from the same market stall on a daily basis for over a month until the vendor remembers the order. Another example is the series ‘Ping Pong Ball’ (ongoing), where, on his birthday each year, the artist lists five words that summarise the year of his life onto a ping pong ball, before posting it through a stranger’s letterbox. Often the artist’s involvement in the story ends here. The involuntary participant is left to unravel the mystery, while Sawyer frames the unending possibilities of these incomplete narratives, making for a poetic reflection on our daily lives.

New works produced for the exhibition chronicle the larger sentiments and smaller details of the artist’s life. ‘Self- Portrait in Pennies’ (2014), a stack of pennies from each year of the artist’s life, graduates in colour from oldest to newest and teeters on the brink of imminent collapse. New paintings and drawings included in the exhibition contain recurring figures and are a continuation of Sawyer’s image making practice based on familiar, existential themes.

 

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The exhibition ‘Soft Estate’, the title of which derives from the Highways Agency term used to describe the natural habitats that have evolved along motorways and trunk roads, looks at how green borders offer a refuge for wildlife and a modern form of wilderness in the midst of intense urbanisation and agrochemical farming.

Artist and academic Edward Chell investigates these contemporary motorway landscapes, linking them to 18th century ideas of the picturesque to explore the interface between history, ecology, roads and travel through a series of new works.

 

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Invited artists – Tim Bowditch and Nick Rochowski, Day Bowman, Jan Williams and Chris Teasdale (The Caravan Gallery), John Darwell, Laura Oldfield Ford, George Shaw, Robert Soden, and Simon Woolham – interrogate themes of ‘edgelands’, those familiar yet ignored spaces that are neither city nor countryside. Their works present juxtapositions commonly experienced in these minor landscapes, such as beauty and pollution, wilderness and human agency.

This exhibition has been organised in collaboration with The Bluecoat, Liverpool.

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The exhibition – MOTOR: Bettina Buck invites Marie Lund, marks the fourth and last in a series of exhibitions where artist Bettina Buck has invited a particular artist and practice into a close dialogue to explore common or shared interests. In different ways the exhibitions circle around notions of duration and change, the fragility and de- familiarisation of materials, and narrative structures.

Previous invite exhibitions include Bettina Buck invites Peggy Frank, 2012; All my mistakes I made for you: Bettina Buck invites Laure Prouvost, 2011; Solid Objects: Bettina Buck invites Sara Barker, 2009

Bettina Buck and Marie Lund share an interest in objects material properties – weight, texture and how the material develops, decomposes and performs over time. For the exhibition at Spacex the two artists present an installation of new work and site- specific interventions. The works are in different ways engaged with the surface of the object, and the surfaces of the space itself – just inside of the material and just outside.

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Live artist Lisa Watts invites visual artist Lucy May to join her in this presentation of Skittish. Watts will visit Spacex on a regular basis during the exhibition where she will perform and develop new work in the galleries inspired by Lucy May’s art. The result will evidence the relationship that exists between live and visual art.

The aesthetic of May’s art has a sense of movement, as if still in development. This relates to Watts’ performance work that will be developed during the exhibition. Although from different disciplines, both artists experiment with familiar, everyday objects, pushing materials to their utmost capabilities.

Skittish will also include a number of Watts’ existing works. Bad Luck (2006), a film made with Alice Maude-Roxby and Ron Wright utilises bodily contraptions to create a mysterious narrative, Snowgum (2013), an hour long performance of magical actions using chewing gum, and Naturel (2004), a humorous 20 minute performance that takes place in a dark space with conjoined cloth legs.

Lisa Watts will be at Spacex developing new work on the following days.

October

Wednesday 2nd, 2–5pm
Thursday 3rd, 10–5pm
Friday 4th, 10–4pm
Wednesday 9th, 2–5pm
Thursday 10th, 10–5pm
Friday 11th, 10–4pm
Wednesday 16th, 2–5pm
Thursday 17th, 10–5pm
Friday 18th, 10–4pm
Thursday 24th, 10–5pm

Friday 25th, 10–4pm

November

Wednesday 20th, 2–5pm
Thursday 21st, 10–5pm
Friday 22nd, 10–4pm
Saturday 23rd – Snowgum Performance, 10am–5pm

This exhibition is the first of three presentations of Skittish which form an overall project of the same name. In each of the three exhibitions, a different sculptor will be selected to exhibit alongside Watts. Following Spacex, the exhibition will tour to Vane, Newcastle (31 October–14 December 2013) and The Tetley, Leeds (2014). The tour will culminate with a symposium at The Tetley. A publication will accompany the project.

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Pick up a guide during Unexpected festival and visit Lesser Known Architecture, an ongoing nationwide research project that celebrates overlooked or forgotten architectural forms. The project documents buildings, structures and concepts that defined their time, inspiring future architectural visions and technologies, and yet remain unknown to the general public. Started by photographer Theo Simpson, Lesser Known Architecture remembers the existence of such works as well as the architects and engineers who developed them.

New photographs commissioned for this presentation are exhibited alongside original works at locations across Exeter city centre commonly used for advertising, such as bus shelters and free standing advertising boards. These site-specific installations allow the public open access to the project, encouraging wider engagement with our built environment.

Printed guides containing information about the artworks, and suggested routes to visit all six locations are available during the festival from partner venues, tourist information centres, Unexpected festival locations and artwork locations.

Artwork locations:

Cowick Street, outside St. Thomas Rail Station
South Street, near Western Way
Fore Street, junction of South Street
Queen Street, opposite Central Rail Station
Sidwell Street, corner of Cheeke Street
Sidwell Street, outside Odeon Cinema


Win a Print on Twitter

@theo_simpson

Tweet an image of your favourite artwork along with six words that you feel best describe the exhibition to @theo_simpson. Once you’ve done this, you will be in with a chance to win one of a number of limited edition prints of the images in the exhibition. Theo Simpson will choose the winners after the exhibition has finished on 22 September 2013.

Will you find them all?

 

The project takes place as part of Ampicillin iv doses, 15–22 September 2013, a new festival for Exeter that takes performance and art out of venues and into unexpected locations across Exeter.

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