Spacex is pleased to announce a solo exhibition of work by German artist Christiane Baumgartner. Baumgartner lives and works in Leipzig, a German city famous for printmaking. She is well known for her monumental monochrome woodcuts taken from her own film and video stills.

The exhibition will comprise of a new body of work which includes Solaris I, Solaris III, Solaris IV, 2008, Deutscher Wald, 2007 and Final Cut, 2006. The images demonstrate Baumgartner’s fascination with speed and the passage of time, a recurring theme throughout the work. This notion of ‘time’ is also embodied in her artistic process, which involves the lengthy and painstaking medium of woodcut.

The imagery portrayed is often referred to as banal and mundane, and focuses on the everyday world in motion. We are presented with cars on a motorway, aeroplanes on a runway and passages through forests. The starkly lit road tunnels in Solaris are familiar yet appear strangely empty and static, and have the grainy quality of cctv footage or black and white television. In contrast, Final Cut combines attractive images of the sky and clouds reminiscent of holiday photographs with woodcuts of vapour trails taken from wartime footage. A sense of unease permeates the work as a military presence punctures the picturesque qualities of the sunsets.

Central to her vision is the drawing together of various visual media, both old and new. Video, photography, computers, television and printing techniques are all used to convey her themes in an entirely original manner.

This exhibition has been organised with Johan Deumens Gallery, The Netherlands and in association with Alan Cristea Gallery, London.

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Spacex Gallery, Exeter has teamed up with the RSPB and First Great Western to celebrate our feathered friends in a new exhibition of children’s artwork to be displayed in nine poster cases at Exeter Central Station.

The work created by the children between 8 and 11 years old has been inspired by excursions to the Exe Estuary, the Natural History Museum and the Victoria and Albert Museum and has taken months to complete. As well as looking at our local birdlife, children taking part in the project have been researching birds from around the world, including Mexico, India and Iran. Led by artist Jenny Mellings, they have used a wide variety of techniques and materials ranging from Mexican oil cloth to pale clay to create this vibrant display.

Sponsored by First Great Western Trains and supported by Exeter City Council.

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Born in Belfast, Northern Ireland, André Stitt is considered one of Europe’s foremost performance and interdisciplinary artists. He has worked as an experimental artist since 1976 creating hundreds of unique works at major galleries, festivals, alternative venues and specific sites throughout the world. His work has been presented at the Venice Biennial, 2005; The Drawing Centre, New York, 2006; and Artspace, Sydney, 2007.

This solo exhibition will explore the hidden narratives that inform the artist’s public demonstrations through the reconstitution and recontextualisation of artworks including prints, drawings, objects and materials processed and running parallel with his public presence as a performance artist. These artworks are stocked with the stained, battered souvenirs of encounter, redolent of bodily contact and involvement, and they represent an insight into the artist’s process. These works question and reveal concerns that delight and celebrate a symbiotic relationship between the private and public.

A new publication will accompany the exhibition.

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Hidden
An exhibition of photographs by students from St Peters Church of England Aided School. The group were invited by Spacex to work with artist Maddy Pethick as artists in residence. Together they explored fine art photography and themes of absence and presence.

Hidden: Celebration Event
Wednesday 17 September, 4-6pm. Free, no need to book.
To celebrate the end of this photographic exhibition by students of St Peters Church of England Aided School join us in the gallery and have your portrait taken in the mobile studio run by the young artists and find out more about Spacex’s education programme. All welcome.

26 July 2008

This solo exhibition consists of a new body of work including film, large scale drawings and a series of photographs taken in the harsh and vast Catalan Pyrenees. These pieces are shown alongside a selection of earlier works from Antas’ ‘Intervention’ series.

The ‘Intervention’ series feature photographs of low lying mist and clouds hovering in park landscapes. On first viewing the images appear absurd and make believe which, in many ways they are. Antas explains that the clouds were artificially created, mimicking nature and momentarily changing the landscape which he captures in a single frame.

During a residency in the Catalan Pyrenees, Antas created numerous fragile bird boxes and placed them amongst the landscape or stand alone on a mountain top. These structures were photographed in situ, the lack of inhabitants and poetic stillness emphasising the gap between the surroundings and ourselves, representing man’s failed attempt to converge with the landscape.

In a new video work Antas recorded the morning mist gently dispersing over a forest landscape in the Pyrenees. Ethereal loneliness echoes throughout this piece, which is only punctuated by a couple of birds flying over the tree tops. A selection of drawings is also included, and whilst these are monumental in scale they possess an ephemeral quality.

This exhibition has a sublime quality and romantic undercurrent, harking back to Romanticism. The works appear to be suspended in a moment that is devoid of life and action whilst a melancholic and poetic beauty resonates throughout.

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For the past ten years, Dawn Mellor has been painting portraits of celebrities, consciously misrepresenting, sexualising and violating imagery culled from photographic portraits, gossip magazines, film stills and the internet. The combination of imaginative sadistic cruelty, satire and empathy could be seen as communicating something about the use of both individuals and groups as scapegoats onto which unwanted fears and anxieties are projected.

Vile Affections has been influenced by Dante’s Divine
Comedy, the exhibition is an investigation of ‘high society’ in the form of a portrait gallery, where various ambassadors from the worlds of fashion, politics, music, film, art and literature suffer with varying degrees of dignity and respect.

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a couple thousand short films about Glenn Gould

New York based artist Cory Arcangel is an artist, musician, DJ and computer geek, well known for his approach to ‘creative hacking’ and subversive use of technology.

Arcangel’s work represents a shift in how artists and consumers alike are interacting with the world around them. By utilising the Internet as a vehicle for the proliferation of his mutations, Arcangel’s ideas can make the rounds in a fraction of the time as would have been possible years ago. Arcangel brings the viewer into his familiar world and exposes the ease to which that world can be compromised.

The main focus of the show is a major new piece of work titled, ‘a couple thousand short films about Glenn Gould’. For this two screen video installation Cory Arcangel has arranged selections of Johann Sebastian Bach’s 1741 composition The Goldberg Variations (BWV 988) for the massed ranks of hundreds of online amateur instrumentalists.

To produce this new work, Arcangel has taken numerous examples of home made videos from popular video sharing websites and re-edited them note by note into sections from Bach’s composition, each screen carrying a melodic line.

The exhibition also includes Arcangel’s work titled, I Shot Andy Warhol an 8-bit game hack, a modified version of the interactive light gun game, Hogan’s Alley. In I Shot Andy Warhol, players are asked to shoot various versions of Andy Warhol, with the player putting themselves in the role of Valerie Solanis who in 1968 attempted to gun down Andy Warhol.

‘a couple thousand short films about Glenn Gould’ is commissioned by Film and Video Umbrella in collaboration with Northern Gallery for Contemporary Art, Sunderland, Spacex, Exeter and Castlefield Gallery, Manchester. Supported by Arts Council England.

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Cory Arcangel graduated from the Oberlin Conservatory of Music with a degree in Technology in Music and the Related Arts, came to the art world through a number of internet based activities. These in turn, lead to invitations from institutions for lectures and demonstrations, a performative aspect which naturally called for the creation of digital environments. These latter pieces evolved into stand-alone art works, frequently exhibited with soundtracks created by Arcangel in collaboration with others, such as Paul B. Davis, a London based DJ.

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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 martyn@spacex.org.uk

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. www.spacex.org.uk

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,Cetirizine hydrochloride tablets for , 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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