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7 October – 2 December 2006
Liverpool Biennial: 16 September – 26 November 2006
Spacex: 7 October – 2 December 2006
Performance: September 2006 – January 2007

The first solo exhibition in the UK by He Yun Chang takes place at Spacex and in the Liverpool Biennial at 2 Jordan Street. Over the last eleven years He Yun Chang has created solo performances in which he places exceptional physical demands upon himself.

The exhibitions showcase different works in each venue comprising large scale photographs and a series of films documenting He Yun Chang’s extreme performances. It includes Casting, for which the artist embedded himself in a concrete block for 24 hours; and Eyesight Test where he stared directly at 10,000 Watts of electric light for 60 minutes.

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Touring Round Great Britain With A Rock is He Yun Chang’s most challenging and ambitious performance to date and it is set to become a landmark project in the history of durational performance art. Starting at a point on the Northumberland coast, He Yun Chang has casually selected a rock and set off to carry it around the island of Great Britain in a counter clockwise direction, eventually to return the rock to the exact location from where it was taken. The route is a rough circumnavigation of Great Britain, rather than following the precise coastline, a distance of about 2000 miles. He Yun Chang: Works is co-produced by Spacex and amino and funded by Arts Council England. Touring Round Great Britain with a Rock is commissioned by amino.

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Related Events

18 October 2006, 6.30pm
Booking essential. Free
Curator Nicola Hood leads a guided tour of the exhibition, followed by questions and discussion over drinks.

18 November 2006, 2.00pm
£3 (£2) Booking essential
What is Performance Art?
Find out more about performance art by attending this performance lecture conceived and created by Joshua Sofaer in association with Tate Modern and the Live Art Development Agency.

23 November 2006, 6.30pm
30 November 2006, 6.30pm
View the exhibition and enjoy free refreshments and activities

25 November 2006, 2.00pm
Booking essential. Free. Interpreted talk
He Yun Chang stops off at Spacex having completed around half of his 3000 mile walk around Great Britain.

14 October 2006, 2.00pm
Free drop-in event for families
Families are invited to come and create some great action-portraits.

24 October 2006, 10.30am
For under 5 yr olds
Booking essential. Free
Join artist Kathy Norris for activities relating to the exhibition.

25 October 2006, 10.00am
10am–12pm: 6–8 yr olds
1–4pm: 9–13 yr olds, £5 (£4)
The Double Elephant Print Workshop’s mobile studio comes to Spacex for this workshop. Work with printmaker Emma Molony to devise a poster inspired by an iconic image from one of He Yun Chang’s performances.

26 October 2006, 10.00am
For 9–13 yr olds, £6 (£5)
Create a piece of live art inspired by He Yun Chang’s amazing physical performance works.

26 October 2006, 10.00am
For 9–13 yr olds, £6 (£5)
Artist Vicky Smith leads this workshop for budding young photographers. Learn about time-lapse photography, framing and taking action-shots.

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Jordan McKenzie’s work explores drawing and other processes of mark making in relation to the human body.

On the opening night, Jordan McKenzie will set out on a 4-hour performance, At Arms Length. Taking place across Exeter, it involves the artist manoeuvring a cube the length of his arm and drawing upon the surfaces with graphite. It starts from Exeter Cathedral Yard and the audience can follow the artist on his route to reach the final destination at Spacex and attend the preview of his exhibition. The cube will reside at Spacex for the duration of the exhibition as a trace of the action that took place.

The exhibition showcases newly commissioned work for Spacex, alongside existing pieces exploring drawing, performance and the process of mapping the body within an architectural space.

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Jordan McKenzie’s work is not concerned with presenting drawings as finished works of art but rather as processes, bodily acts exploring the sensuous language of gesture. The artist will create the works at Spacex the week before the exhibition opens, drawing directly on to the walls and floor and temporarily altering the physical space of the gallery. The title of the exhibition makes reference to Leonardo Da Vinci’s Vitruvian man: an image of man whereby the body is reduced to a set of ‘universal’ and ‘perfect’ measured dimensions. All the works in the exhibition use the measurement of the artist’s own body to create a group of drawings that explore the notion of drawing as a performative act. Jordan McKenzie has exhibited nationally and internationally for over twelve years, presenting work at BALTIC, Ikon Gallery, Arnolfini and ICA. The exhibition showcases new commissioned work for Spacex. Supported by Mackenzie Glass.

Related Events

Artist’s Talk
17 August 2006, 6.30pm
Join Jordan McKenzie for an informal talk & tour of the exhibition.

Gallery Breakfast
8 September 2006, 8.00am
Drop by for an early art-fix and some breakfast.

20 September 2006, 7.00pm
With Tracey Warr, Editor of The Artist’s Body: Themes and Movements

CHILDREN & FAMILIES – Drawing in Time
10 August 2006, 10.30am
10.30am–1pm: Have fun exploring drawing & performance
2–4.30pm: Try out some traditional drawing techniques

Take Over Tuesdays – How to Draw Like a Spider
15 August 2006, 10.30am
Pre-schoolers and their adults are invited to the gallery to have fun trying out unusual drawing techniques with artist Kathy Norris.

Experimental Mark Making
17 August 2006, 10.30am
Experiment with strange drawing and mark-making techniques, from 10-pin bowling to stilt walking. Then measure your features, and create abstract images unique to the proportions of your own face.

Drawing Jamboree
28 July 2006, 12.00am
Drop in & take part in the fun packed art-making activities in the atrium. A family friendly event.


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This exhibition premiers a new film called The Forest and a series of photographs by Israeli-born British based artist Ori Gersht. In his work Ori Gersht explores landscapes embedded with both personal and historic resonance.

The forest in question surrounds Kolomyia, in the Ukraine, a remaining fragment of the once vast primeval forest that covered much of continental Europe. Although the forest was much mythologised and idealised in paintings by the German Romantic artist Caspar David Friedrich, the area was to bear witness to appalling atrocities during World War II. Ori Gersht’s connection to the region is that his relatives were to find brief and harsh haven here from Nazi persecution.

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The film is made deep in the forest, in what initially appears to be a sylvan idyll bathed in dappled pools of light. However, as the pace of the film increases, a number of trees start to fall mysteriously in front of the camera, crashing down to earth.

Many of the new photographs are taken primarily of the landscape around the forest. They have an almost fluid and bleached out appearance, through long exposures, and capturing images whilst moving. These are contrasted to very dark photographs of the trees and forest. As with the film, the work grapples with the pictorial and superficial beauty of this area and the darker horrors of its past that reside in this part of Eastern Europe.

The Forest was co-commissioned by Film and Video Umbrella in association with The Photographers’ Gallery.

Related Events

10 March 2006, 12.00am

19 April 2006, 10.30am

22 April 2006, 12.00am
Workshop in Haldon Forest with artist Martin Prothero. In association with CCANW.

18 April 2006, 10.30am

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Juneau Projects (Philip Duckworth, Ben Sadler), Makers of the Multiverse, concept image for the pavilion, 2016 © courtesy of the artists

Juneau Projects (Philip Duckworth, Ben Sadler), Makers of the Multiverse, concept image for the pavilion, 2016 © courtesy of the artists

Spacex is pleased to present Makers of the Multiverse, a sculptural pavilion by Juneau Projects (Philip Duckworth and Ben Sadler), located for four weeks at Exeter Quay. The pavilion will function as a shop and event venue, stocked with multiples by artists and makers and hosting live events.

Makers of the Multiverse has been developed with Spacex as a project that aims to expand the way artists and makers can show and sell affordable multiples. It proposes alternatives to more traditional art world structures and hierarchies by considering artists’ engagement with the role of distribution, pricing and accessibility of artwork.

“We are really interested in looking at affordable and sustainable ways that makers can promote and sell the things they produce and do. We have always had a D.I.Y. spirit and approach in our work and, increasingly, it feels like this is a useful quality to have in terms of maintaining an artistic practice. Online methods of marketing have opened wide the possibilities for people to promote and sell their work. We’re really excited to look at how this spirit can work offline too.” – Juneau Projects

The artists will source artworks for the exhibition through an open call, inviting participants from a wide range of backgrounds and levels of experience to contribute multiples. The project has been developed from the artists’ long-standing interest in the creative impulse that makes people want to make things. Whether this is labeled arts practice, a hobby or a even a survival practice, Juneau Projects see a creative practice as an area of contention, with new systems, structures and value systems required to meet contemporary and future conditions.

In previous projects such as ‘Gleaners of the Infocalypse’, ‘Welcome to Happy Redoubt’ and ‘Animal Spirits’, Juneau Projects have attempted to consider why the urge to create and make things is a fundamental part of the human spirit, how it is inextricably tied to the evolution of society, culture and technology, and how this urge might develop and shift in response to environmental changes and the rapid acceleration of technology.

For this project they offer a pragmatic and generous invitation to artists and makers. As well as inviting makers to produce affordable editions in the form of physical objects for the exhibition, Juneau Projects will be asking contributors to consider how they could extend their creative practice to include live events and experiences, reaching audiences and customers via new platforms. In this way Makers of the Multiverse acts as a developmental resource for artists and makers as well as a public artwork.

During the months leading up to the opening of the pavilion, Juneau Projects are working with local community groups, schools, colleges, and artists to create the pavilion, fill it with artworks, and programme a four week series of public events.

Makers of the Multiverse is funded by Arts Council England, Exeter City Council, Outset South West, Exeter Canal and Quay Trust and The Farringdon House Trust. It is supported by Exeter College and The University of Exeter.

For press images, and interview requests please contact

Notes to Editors
Makers of the Multiverse
Dates: 13 May – 10 June 2017
Pavilion Opening Hours: Monday-Friday 11.30am – 2pm, Saturday & Sunday: 11am-4pm
Location: Piazza Terracina, Haven Road, EX2 4AR
Free admission (some ticketed events)

Opening Reception: Saturday 13 May 3-5pm, all welcome

Juneau Projects
Juneau Projects are Philip Duckworth, born in Iserlohn, Germany, 1976 and Ben Sadler, born in Birmingham, UK, 1977. Both live and work in Birmingham, UK. Solo exhibitions include Trappenkamp, Tate Britain, 2008; I Went to Woods, New Art Gallery Walsall, 2008; Aggressive Localism, MIMA, Middlesbrough, 2007 and Black Moss, 2006, Ikon Gallery, Birmingham, Wysing Arts Centre, Cambridgeshire, The Model, Sligo, FACT, Liverpool and Glynn Vivian Art Gallery, Swansea, John Hansard Gallery 2013. Group exhibitions include The Witching Hour, Birmingham Art Gallery, 2010, Experimenta Folklore, Frankfurter Kunsterein, Frankfurt, Germany, 2008 and the British Art Show 6, Hayward Touring: Baltic, Gateshead, International 3, Manchester, Bonnington, Nottingham, BCMA, Bristol, 2005. Philip Duckworth and Ben Sadler formed Juneau Projects in 2001. The majority of their work includes participatory elements and involves projection, sound, music, animation and installation. They are particularly interested in the rapidly increasing speed of technological development, and its associated obsolescence. Recent work has examined the overlap between performance as musicians, sculpture and installation.

Spacex is a contemporary art commissioning organisation. It was set up by an artist collective in 1974 in a 19th Century warehouse, between the High Street and the quayside. The original purpose was to offer affordable studio space to artists and a venue in which they could exhibit their work. In the early 1990s Spacex became a registered charity and a publicly funded contemporary gallery. Our pioneering programme has received ongoing critical acclaim. In 2016 Spacex moved from 45 Preston Street to a new project base at the Exeter Phoenix in central Exeter.

Multiples and Editions
Source: Wikipedia
In printmaking, an edition is a number of prints struck from one plate. This may be a limited edition, with a fixed number of impressions produced on the understanding that no further impressions (copies) will be produced later, or an open edition limited only by the number that can be sold or produced before the plate wears. An Artist’s multiple is similar to an edition – a series of identical art objects produced by an artist. These could be multiples of a 2D print, 3D sculpture, or installation piece. The multiple offers artists a way of selling work without compromising their artistic integrity and makes their work accessible to a wider market.

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With much regret this event has had to be cancelled. Animated Exeter continues to 22 February 2014.

Tal Rosner, BAFTA-winning artist and filmmaker, is the lead artist on Animated Exeter’s feature event,Wellbutrin sr 150 mg tablet , taking place on Exeter’s Fore Street on 14 and 15 February from 7pm to 9pm. He will talk with Karen Alexander, senior tutor in the Royal College of Art’s Curating Contemporary Art course, about this project and his work in the field of contemporary video art.

Tal Rosner
Tal Rosner is BAFTA-winning artist and filmmaker. His work on multi-disciplinary collaborations, from orchestral music and contemporary dance to television graphics, has been described as ‘most astounding’ (The Times) ‘ingenious’ (Variety) and ‘heralding a new genre’ (The New Yorker). With a unique style of digital craftsmanship, he stands out at the forefront of international moving image practice, both on screen and on stage.

Karen Alexander
Karen Alexander is currently a senior tutor in the Royal College of Art’s Curating Contemporary Art department with responsibility for the work-based pathway (Inspire). Prior to that she worked as a film curator and freelance consultant on film exhibition and distribution. She has contributed to several books on film including British Cinema of the 90s (1997), Women and Film: Sight & Sound Reader (1999), and If Looks Could Kill (2008). From 1998 until 2006 she worked at the British Film Institute, with responsibility for the strategic marketing of BFI Distribution and Archive cinema releases.

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Support from Sketchy, 7.00pm to 10.00pm, £6, at Spacex

Booking essential via Exeter Phoenix Box Office on 01392 667 080 or you can Cost of metformin in uk

‘Sleaford Mods deal in grotty, cheap, abrasive, two-bit punk ferocity.’ NME, November 2013

Sleaford Mods play the first Infinity Social Club at Spacex. The group started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he that he met Andrew Fearn and the Sleaford Mods became a duo.

‘The filth and the fury are clad in righteous wit, and there isn’t a weak track among the dozen here.’ The Wire on ‘Austerity Dogs’, June 2013

Infinity Social Club is Spacex’s new alliance for those interested in live music and performance.

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Students from the A2 Film and Video course at Exeter College are working with the Skittish exhibition this Autumn, getting to grips with some different aspects of performance art. In this exhibition we see how performance artist, Lisa Watts is influenced by sculptor, Lucy May.  The students are also being invited to creatively respond  – by producing their own piece of video work.

Skittish includes a number of Watts’ existing works on film, including Bad Luck(2006), a film made with Alice Maude-Roxby and Ron Wright utilises bodily contraptions to create a mysterious narrative.

The group have taken part in a workshop with Lisa Watts, observing some of her performance in the gallery and hearing first hand about the artist’s practice and the concept for this touring exhibition. The video work they produce during October will be screened at an event at Spacex at the end of the month and will also be made available online.

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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.


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


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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As part of our ongoing research into social practice, Spacex held a series of peer-to-peer workshops in Autumn /Winter 2012 to address some of the inherent challenges within this expanding field. The workshops opened up a space to share experience, engage in peer critique and reflect critically on where theory meets practice when artists develop collaborative or participatory projects. Each session was led by a UK based practitioner with extensive experience of working with social practice; Emma Smith, Lotte Juul Petersen, Nuno Sacramento, Sophie Hope and Emily Druiff.

In order to disseminate the discussions, a small publication is planned for 2013. For further information, or if you are interested in receiving a copy please contact Doxycycline hyclate tablets spc

Collective Praxis is funded by Esmee Fairbairn, with additional support for participant travel bursaries from Visual Arts South West and engage.

Associated Reading 

Billing, J., Lind, M., Nilsson, L., (eds.): Taking the matter into common hands: On Contemporary Art and Collaborative Practices, Black Dog Publishing, London, 2007

Bishop, Claire, Artificial Hells: Participatory Art and the Politics of Spectatorship, Verso, London, 2012

Bishop, Claire, Participation: Documents of Contemporary Art, Massachusetts Institute of Technology Press, Cambridge Massachusetts & Whitechapel Gallery Ventures Ltd., London, 2006

Bourriaud, Nicolas, Relational Aesthetics, Les presses du reel, 1998

Freire, Paulo, Pedagogy of the Oppressed, Penguin Books, London, 1970

Helguera, Pablo, Education for  Socially Engaged Art: A Materials and Techniques Handbook, Jorge Pinto Books, Mexico City, 2011

Hope, Sophie Participating in the wrong way: Four Experiments, Cultural Democracy Editions, London, 2011*

Jackson, Shannon, Social Works: Performing Art, Supporting Public, Routeledge, London, 2011

Jahn, Marisa (ed.): ByProduct: On the Excess of Embedded Art Practices, YYZ Books, Canada, 2010

Kester, Grant, H., The One Contemporary Collaborative Art and the Many in a Global Context, Duke University Press, Durham and London, 2011

Kester, Grant, H. Conversation Pieces: Community & Conversation in Modern Art, University of California Press, Berkeley and Los Angeles, 2004

Lacy, Suzanne, Leaving Art: Writings on Performance, Politics and Public,  Duke University Press, 2010

Massumi, Brian, Semblance and Event: Activist Philosophy and the Occurrent Arts, Massachusetts Institute of Technology Press, Cambridge Massachusetts, 2011

O’Neil, Paul & Wilson, Nick, Curating and the Educational Turn, 2010

Sacramento, Nuno & Zeiske, Claudia, ARTocracy: Art Informal Space, and Social Consequence: A Curatorial Handbook in Collaborative Practice, Jovis Verlag, Berlin , 2010*

Schon, Donald, A., The Reflective Practitioner: How Professionals Think in Action, Basic Books Inc., United States, 1983

Steedman, Marijke (ed), Gallery as Community : Art, Education and Politics, Whitechapel Gallery Ventures Ltd., London, 2012*

The film ‘The Five Obstructions’ by Jorgen Leth and Lars Von Trier

* These books are available to purchase through Spacex. For further information please contact Cost of neurontin with insurance

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