This was a programme of informal professional development events, designed to provide insight into working in the arts, for graduates and anyone curious to know more about the sector. Some core professional practices were explored including curating, gallery education and marketing.
The series was led by arts professionals from across the South West representing Arnolfini, Spacex, Projectbase, RAMM, Exeter Pheonix and Plymouth Arts Centre. Spacex is committed to providing opportunities for early career arts professionals to access support and will be running similar projects in the coming year.

 

Working with Contemporary Art – Galleries and Museums

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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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Thursday 20 October, 5.30pm
£4* Ventolin where to buyor £6 on the door (limited)
*free for Exeter College and University of Exeter staff and students. Please bring ID.
Room C0.09, Exeter College, Centre for the Creative Industries Victoria Yard, Off Queen Street, Exeter, Devon EX4 3SR

Marvin Gaye Chetwynd (b. 1973, London, UK) studied anthropology at UCL before studying Fine Art at the Slade School of Art and Royal College of Art in London. Chetwynd’s work spans performance, sculpture, painting, installation and video, each of which the artist infuses with elements of folk plays, street spectacles, popular culture and Surrealist cinema. Her performances are characterised by the use of large groups of performers – many of them friends and relatives – and – typically feature handmade costumes, props and collaged environments. She has performed and exhibited internationally, and was shortlisted for the Turner Prize in 2012.

Chetwynd is currently in the midst of a year-long series of performances and exhibitions in Bergen, hosted by Bergen Assembly 2016 and curated by PRAXES. Solo exhibitions and performances include those at Bonner Kunstverein, Bonn, Germany (2016); Nottingham Contemporary, Nottingham, UK (2014); Studio Voltaire, London, UK (2014); and The New Museum, New York, USA (2011-12). She has been involved in numerous group exhibitions such as ‘20 – An Exhibition in Three Acts’, Migros Museum, Zürich, Switzerland (2016); ‘Bergen Assembly’, Bergen, Norway, (2016); the Edinburgh Art Festival, Edinburgh, UK (2015); the Göteborg International Biennial for Contemporary Art, Göteborg, Sweden (2013); and ‘Performance Now: The First Decade of the New Century’, various venues, USA (2012-14). Her most recent projects  include performances at Glasgow International, Glasgow, UK in 2016, and her acclaimed film ‘Dogsy Ma Bone’, commissioned for the 2016 Liverpool Biennial, developed in partnership with METAL.

  • Organised in partnership with Exeter College
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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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10am–4pm, free, booking is essential via Eventbrite, Dutasteride online buy

Venue: Exploration Lab 1, The Forum, University of Exeter, Stocker Rd, Exeter, Devon EX4 4SZ

This interdisciplinary symposium will consider the significance of ‘edgelands’ and other marginal spaces, neither urban nor rural, as sites for artistic inquiry, and as cultural spaces. Spacex’s current exhibition ‘Soft Estate’ (open until Saturday 3 May 2014) features artworks exploring the marginal spaces of contemporary motorway landscapes.

Defined as a type of terrain ‘apparently unplanned, certainly uncelebrated and largely incomprehensible’ by environmentalist Marion Shoard, ‘edgelands’ have frequently been a source of inspiration for artists and writers.

Symposium speakers include Edward Chell, academic and lead artist of Spacex’s current exhibition ‘Soft Estate’; Dr. Caitlan DeSilvey, geographer and senior lecturer in Environmental Social Science, University of Exeter; Laura Oldfield Ford, artist and psycho-geographer; Joanne Lee, artist, writer, publisher and senior lecturer in Fine Art, Nottingham Trent University; Dr Jos Smith, associate research fellow, University of Exeter.

A light lunch can be pre-booked via Eventbrite for £4.89.

Art of the Edgelands Speaker Biographies

Edward Chell, artist and senior lecturer in Fine Art, UCA Canterbury, was awarded an AHRC Research Fellowship for the development of the ‘Soft Estate’ project. His work is rooted in painting although working across media in exploring the site specific. His work foregrounds conflicting storylines within the spatial environment, aiming to capture the collisions between values and meaning we bring to our experience of place, with a particular focus on borders and peripheral places that present a form of ‘Terrain Vague’.

Caitlin DeSilvey is a geographer and senior lecturer in Environmental Social Science, University of Exeter. Her research explores the cultural significance of material change. She uses visual imagery and story-telling to engage people in imagining changing environments and places, and looks to patterns from the past to try to understand what the future might bring. She is also interested in how things age over time, and in the value of repair and mending skills to extend the lives of worn objects and encourage more sustainable use of resources.

Laura Oldfield Ford is a London-based artist, writer and psychogeographer concerned with issues surrounding contemporary political protest, urbanism, architecture and memory. She works in ballpoint pen, acrylic, and spray paint. Between 2005-2009 she published a zine, Savage Messiah, which has been reproduced in book form by Verso Books, and was listed by Hari Kunzru of his ‘book of the year’ in 2011. Laura Oldfeild Ford continues to publish Savage Messiah in the form of a blog, confronting the polite veneer of redevelopment spectacle.

Joanne Lee is a Brighton-based artist, writer and publisher and senior lecturer in Fine Art, Nottingham Trent University. Her work uses words and pictures to explore a curiosity about everyday life and the ordinary places in which she lives and works. Much of her activity emerges through a series of publications under the imprint of the Pam Flett Press, where she explores the visual, verbal and temporal possibilities of the ‘essay’: the 4th issue investigates ideas of the ‘Vague terrain’.

Jos Smith is a British Academy post doctoral research fellow in the English Department, University of Exeter. His project explores the history of the literary and visual arts communities connected with the arts and environmental charity Common Ground. He works within the environmental humanities with a focused interest in landscape and place in contemporary fiction, literary non-fiction and poetry. He is co-director of Exeter’s Centre for Literatures of Identity, Place and Sustainability and an active member of the Atlantic Archipelagos Research Project.

Phil Smith (the Crab Man) is a performer, writer, teacher and researcher, specialising in making performances based on walking and in heritage sites. Author of ‘Mythogeography’ (Triarchy Press, 2010) and ‘Counter-Tourism: The Handbook’ (Triarchy Press, 2012) and co-author of ‘Walking, Writing and Performance’ – (Intellect, 2009).He is the company dramaturg and a founding member (1981) of TNT Theatre (Munich) and is a core member of site-based artists group Wrights & Sites (Exeter, UK). He is Reader in Theatre and Performance at the Plymouth University and a visiting lecturer at the University of Exeter.

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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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Zach Price got involved at Spacex through a graduate internship offered by Spacex in partnership with The University of Exeter. The opportunity allowed an arts graduate to join us for three months to gain experience working in a gallery, predominantly on learning projects.

Now that Zach has completed his tenure, we decided to ask him some questions about his time spent at Spacex

So tell us a bit about yourself…

Well, my name is Zach Price and I graduated from The University of Exeter in 2012 having studied drama, so I guess my artistic expertise is really in performance and theatre.

How did you find out about the Internship?

I heard about the internship through a website aimed at performance in The south-west called Theatre Devon and I applied for the role as soon as I saw the listing. I adore visual contemporary art but I didn’t know much about it or about working in a gallery space, so I thought that the role would be great experience and very educational for me. Thankfully I was offered it and three months later, here we are!

What have you been working on whilst at Spacex?

The project that’s had most of my attention is The Travelling Text Kiosk. For those of you that missed it, the kiosk was a stall that travelled around different cultural venues in Exeter as part of the children’s literary festival exetreme imagination 2013. The idea was to sell art-work, textiles, badges, mugs etc. that had been developed with different youth groups across Exeter. The money that we raised would then be used to fund further projects with those groups.

My job was to look after the logistics of the stall, liaising with officials from venues across the city and deciding on where the kiosk was going to visit. I helped out with the marketing and I was with the stall during its journey, promoting Spacex and talking to customers. All in all it was a really nice little project to be involved with alongside Kathy, who is part of the learning team here at Spacex.

In addition to that I’ve been involved in the marketing campaigns for the up and coming exhibitions, I’ve helped out with workshops at the gallery and I’ve been working on the social media sites trying to drum up support for Spacex.

What have you most enjoyed about being part of the Spacex team?

I think exactly that. I have been part of the gallery team. One of the first things I received when I got here was a key to the front door of the building and some of my own stationary. Now I know that that doesn’t sound like much but it just made me feel like I was part of it all. I have been respected and thanked for all of the work I have done and the team here have always answered any questions that I have had about my future or work that I have been struggling with.

I’ve also learnt a lot of new skills and renewed some old ones. I was talking to a friend the other day about looking for jobs and I noticed how much more diverse my skill set has become after this internship.

Lastly Zach, what advice would you give people thinking about undertaking an internship?

Well firstly on that note I’d like to address the funders of my internship and say a massive thank you to the arts and culture team at Exeter Uni, The Esmée Fairbairn Foundation, and Spacex themselves who have all put money and time into this internship.

If you can find the right internship for you then definitely go for it. But don’t just take one on for the sake of it, choose your path carefully. However, there should be more of these opportunities for graduates and even non-graduates looking to hone their skills and find out a bit more about their chosen careers. I think that that is especially true within Exeter where a lot of graduates utilise the wonderful facilities that are provided at the University to get their degree and then move away from the city taking their skills and ability elsewhere.

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