Nov 30, 2009
Nov 20, 2009
Cinders
Cinders
(Now Off You Go But Remember, You Must Not Turn Back Into Rags)
Andrea Slater
Cine City 2009
An installation work in three rooms
Exhibition:Saturday 5th and Sunday 6th December 1-5pm
Saturday 12th and Sunday 13th December 1-5pm
Private View:Friday 4th December 7-9pm
The life of a story: fairytale, pantomime, film.
Everything had turned to dust and ashes and out of this there came a shoe.
A shoe that, all at once, was a test (of truth, beauty or identity), the key to success and a ticket out of despair. A shoe of transformation. A shoe that glittered more brightly than it ever could in the physical world of things that clumsily come into being, fashioned by mortal hands from mere stuff.
The most important thing about the shoe is that it didn’t exist.
Nuts and bolts, timbers and floors fall away leaving fragments in the salvage yard of your mind. As time goes on the pieces mix and meld with others to form a mutant concoction of a story that starts a life all of its own.
As part of the Cine City Festival, Grey Area presents Andrea Slater’s moving image installation based on the film ‘The Slipper and the Rose’ (Paradine Co Productions 1976).
Borrowing clips from the original movie combined with the artist’s own material, 'Cinders' is an exploration of the blurring of our memory of cinema and one’s own past.
als@andreaslater.freeserve.co.uk
ACKNOWLEDGEMENTS
Film montage:
8 seconds of ‘The Slipper and the Rose’ (Paradine Co Productions, 1976)
With thanks to David Frost, Naim Attallah and Tim Cochrane for their kind permission to use this material. For the content in the clips used in this installation, please acknowledge the following credits:
Director: Bryan Forbes
Producers: David Frost, Stuart Lyons
Music: Richard M. Sherman & Robert B. Sherman
Special effects: Ray Caple
Costume Design: Julie Harris
all other credits for cast and crew of ‘The Slipper and the Rose’ can be found on www.imdb.com
Moon Projection & Text: Artist’s own material
Framed Picture: Print of ‘Sophia Charlotte, Lady Sheffield’ 1785-1786 by Thomas Gainsborough
Exhibition & Installation:
Curation: Huw Bartlett
Construction & Technical Assistance: John Mildoon
Thanks to Daniella Norton & Clare Shepheard at The Grey Area, Miriam Randall at Lighthouse and Stephen Avis
(Now Off You Go But Remember, You Must Not Turn Back Into Rags)
Andrea Slater
Cine City 2009
An installation work in three rooms
Exhibition:Saturday 5th and Sunday 6th December 1-5pm
Saturday 12th and Sunday 13th December 1-5pm
Private View:Friday 4th December 7-9pm
The life of a story: fairytale, pantomime, film.
Everything had turned to dust and ashes and out of this there came a shoe.
A shoe that, all at once, was a test (of truth, beauty or identity), the key to success and a ticket out of despair. A shoe of transformation. A shoe that glittered more brightly than it ever could in the physical world of things that clumsily come into being, fashioned by mortal hands from mere stuff.
The most important thing about the shoe is that it didn’t exist.
Nuts and bolts, timbers and floors fall away leaving fragments in the salvage yard of your mind. As time goes on the pieces mix and meld with others to form a mutant concoction of a story that starts a life all of its own.
As part of the Cine City Festival, Grey Area presents Andrea Slater’s moving image installation based on the film ‘The Slipper and the Rose’ (Paradine Co Productions 1976).
Borrowing clips from the original movie combined with the artist’s own material, 'Cinders' is an exploration of the blurring of our memory of cinema and one’s own past.
als@andreaslater.freeserve.co.uk
ACKNOWLEDGEMENTS
Film montage:
8 seconds of ‘The Slipper and the Rose’ (Paradine Co Productions, 1976)
With thanks to David Frost, Naim Attallah and Tim Cochrane for their kind permission to use this material. For the content in the clips used in this installation, please acknowledge the following credits:
Director: Bryan Forbes
Producers: David Frost, Stuart Lyons
Music: Richard M. Sherman & Robert B. Sherman
Special effects: Ray Caple
Costume Design: Julie Harris
all other credits for cast and crew of ‘The Slipper and the Rose’ can be found on www.imdb.com
Moon Projection & Text: Artist’s own material
Framed Picture: Print of ‘Sophia Charlotte, Lady Sheffield’ 1785-1786 by Thomas Gainsborough
Exhibition & Installation:
Curation: Huw Bartlett
Construction & Technical Assistance: John Mildoon
Thanks to Daniella Norton & Clare Shepheard at The Grey Area, Miriam Randall at Lighthouse and Stephen Avis
Nov 15, 2009
Nov 8, 2009
Nov 6, 2009
1-2-3-4
1-2-3-4
Artists
Martin Creed
The Apathy Band (Bob & Roberta Smith, George Barker, Victor Mount, Leonardo Ulian)
The Barefoot Lone Pilgrim aka David Blandy
The Coolness
Plastique Fantastique
Martin Creed
The Apathy Band (Bob & Roberta Smith, George Barker, Victor Mount, Leonardo Ulian)
The Barefoot Lone Pilgrim aka David Blandy
The Coolness
Plastique Fantastique
Date: Friday 18th December 2009
Time: 7.00pm-11.00pm
Location: Fabrica, 40 Duke St, Brighton, BN11AG
Tickets: £6.50 in advance
available from Grey Area, Fabrica, Rounder Records, Resident Music, and online at www.amiando.com/1234artgig
Grey Area presents a one-off art-gig bringing together five artists who use music performance as an integral component of their practice. Staged in front of the altar of a deconsecrated Church, now Fabrica gallery, 1-2-3-4 features a diverse billing of inter-disciplinarians who both play and display.
'When I'm doing music work I want to do visual work, and when I'm doing visual work I want to do music work. For me they are more or less the same, in both being things I try to do. I like them both. I like listening to music when I'm making things, and I like looking at things when I'm playing music.' - Martin Creed
Turner Prize winner Martin Creed's songwriting runs parallel to his visual work, and has been a major aspect of his creative output since the beginning of his career in the late 1980's. Creed's minimal music often has a self-referential simplicity, which is typied by the song 1-2-3-4; the title of which incorporates the song's entire lyrical content. Creed's visual work comes from the objects and words of everyday life, and in much the same way his music uses basic building blocks to form stripped-down compositions that are both playful and immediate.
Throughout his career Bob & Roberta Smith has written music and played in bands, frequently blending live performance with sculptures and painted text pieces. Smith's past bands have included the Ken Ardley Playboys, who had their first 45 released on Billy Childish's Hangman Records label. Smith also hosts his own weekly radio show called MAKE YOUR OWN DAMN MUSIC on Resonance FM. The Apathy Band was formed to explore ideas about artist/audience engagement and the expectations of live performance. The band's attempts to avoid captivating an audience with its 'apathetic' manner, revives a spirit of post-punk shoe-gazing in rambling sets of inescapably self-conscious entertainment.
David Blandy will embody the musical spirit of The Barefoot Lone Pilgrim; a persona famed for his journeys of self discovery and pilgrimage to sites featured in various soul, rap, and hip-hop songs. The Five Boroughs of the Soul (2004) documents Blandy in moments of homage, spinning records at the locations featured in those songs. This work expresses the need to physically and psychologically place shared experiences in music. The Barefoot Lone Pilgrim will DJ through his well-traveled legendary sound system and will be joined by a team of very special guest performers.
The Coolness are a London based rock/electro band with a fast growing reputation for their lively sonic concoctions, DIY aesthetic, and shameless burlesquery.
Plastique Fantastique - avatars from the extreme future and the past - is a fiction produced by David Burrows and Simon O'Sullivan and others. The fiction is created through the production and performance of objects, protocols and avatars first presented in writing, manifestos and comics. Plastique Fantastique is an exploration of the different temporalities and durations produced by art, popular and mass culture and sacred practices.
Plastique Fantastique - avatars from the extreme future and the past - is a fiction produced by David Burrows and Simon O'Sullivan and others. The fiction is created through the production and performance of objects, protocols and avatars first presented in writing, manifestos and comics. Plastique Fantastique is an exploration of the different temporalities and durations produced by art, popular and mass culture and sacred practices.
Plastique Fantastique are mummers, a band of masked performers who wander through a town or village and ‘gate-crash’ gatherings or events to perform a play. Plastique Fantastique combine the folk tradition of mumming - often banned for providing ‘cover’ for individuals to settle scores with their ’betters’ or commit criminal acts - and the rituals of apocalyptic cultures from the future to produce disorientating encounters and new myths, so as to call forth a people-yet-to-come.
A neon text piece by Darren Edwards entitled HIC MANEBIMVS OPTIME (2008) will be suspended above the audience to signal the Off-site residency of the Grey Area gallery within Fabrica for one night only. Loosely translated as WE WILL BE HAPPY HERE, these words (attributed to Aeneas upon finding Italy) have previously been sited in a wood on a remote Canadian island, and form part of a body of work entitled Our Infinite Day-trip. The function of the work's nomadic search for a place to be, shifts again when temporarily 'pitched' within a space that becomes its host.
1-2-3-4 has been curated by Daniel Pryde-Jarman
Discussion
A free discussion event featuring selected artists from 1-2-3-4 will take place at the University of Brighton's Sallis Benney Theatre, Grand Parade, on Thursday 28th January 2010 at 7pm. The themes of the discussion will focus on the event's interdisciplinary performances and their relation to spaces with 'altered' functions.
A free discussion event featuring selected artists from 1-2-3-4 will take place at the University of Brighton's Sallis Benney Theatre, Grand Parade, on Thursday 28th January 2010 at 7pm. The themes of the discussion will focus on the event's interdisciplinary performances and their relation to spaces with 'altered' functions.
Grey Area, Lower Ground Floor, 31 Queens Rd, Brighton, BN13XA
Fabrica, 40 Duke St, Brighton, BN11AG
Rounder Records, 19 Brighton Square, BN1 1HD
Resident Music, 28 Kensington Gardens, Brighton, BN1 4AL
Fabrica, 40 Duke St, Brighton, BN11AG
Rounder Records, 19 Brighton Square, BN1 1HD
Resident Music, 28 Kensington Gardens, Brighton, BN1 4AL
If you would like any additional information about this event please contact the Grey Area
Address: Lower Ground Floor, 31 Queens Rd, Brighton, BN13XA
Mobile: 07735037945
Email: thegreyarea@hotmail.co.uk
Website: www.greyareagallery.org
Address: Lower Ground Floor, 31 Queens Rd, Brighton, BN13XA
Mobile: 07735037945
Email: thegreyarea@hotmail.co.uk
Website: www.greyareagallery.org
1-2-3-4 is sponsored by...
University of Brighton, CRD, Grand Parade
Pussy Home Boutique, 3a Kensington Gardens
Hotel Pelirocco, 9-10 Regency Square, Hove
The Guitar, Amp, & Keyboard Centre, 76-81 North Rd, Brighton
Adult & Community Learning, Connaught Centre, City College Brighton & Hove
Lighthouse, 28 Kensington St, Brighton
Same Sky, 1 College Rd, Brighton
University of Brighton, CRD, Grand Parade
Pussy Home Boutique, 3a Kensington Gardens
Hotel Pelirocco, 9-10 Regency Square, Hove
The Guitar, Amp, & Keyboard Centre, 76-81 North Rd, Brighton
Adult & Community Learning, Connaught Centre, City College Brighton & Hove
Lighthouse, 28 Kensington St, Brighton
Same Sky, 1 College Rd, Brighton
Nov 5, 2009
The Days Before, opens 7/11/09
The Days Before
Mike Bartlett
Marcus Cope
Patrick Galway
Cathy Lomax
Exhibition: 7/11/09–29/11/09
Open: Thurs – Sunday, 1-5pm
Artist Talk: Saturday 14th November 2009, 7.30pm
PV: Friday 6th November 2009, 7-9pm
Four painters examine the forgotten, the mundane and the everyday.
Mike Bartlett
A continuing layer of the past weeks memories rendered ordered and prioritised as the work evolves. Thoughts about today, yesterday, last week… The Galleries, the visitors, what happened at the Tesco checkout, the mundane event that has resonated and stayed in my consciousness and helped my need to paint and make images, a schema that feeds me and inspires.
Each time I return to my work I try to begin again layering and experiencing.
I feel liberated, I can include what I like, the wrapper, the rapper, the chair, the animal, the journey, the film, the book and myself……
Marcus Cope
I believe it to be a common consensus that all contemporary painting shares as its subject contemporary painting, that is to say that today’s pictures represent a standpoint from artists as to why, how and what of painting in the 21st century.
The paintings in this show offer a diversion from this or perhaps an alternative way in, by presenting images of the everyday, mundane references that may or may not bare any relevance to the viewer.
My paintings feature representations of objects, chairs and tennis balls for the most part, but those objects which may and do bare relevance to me are intended as mere starting points for me to make the picture, and perhaps for the viewer to receive it. I am keen for the pictures to move beyond mere representation, in the way that these objects do. A picture of a chair is a useless chair of course, but a real tennis ball can feed a whole family fun day out. I may have forgotten that day, as I am sure I will forget these paintings, but that is how I like to work.
I make a lot of work in order to try to forget what I have made. I do this because I don’t want to be bound to a particular subject or way of working, so that the rules are always changing and the barriers of what I can do remain in flux. My attempt is to let the picture appear, almost as if I don’t care about the result, so that I can forget it and start all over again tomorrow.
Patrick Galway
My work for this show concentrates on the memories of others, interpreted to create a shared story. The five paintings for The Days Before are attempts at translating a past in order to make something new. The sequence of paintings show happy children looking for brightly coloured rubbish on a beach, a warped white plastic chair, a blue Woman with wet hair, a graphical image located inside the large intestines, and a close-up of a Virgin Mary statue. The translation of memory and its randomness into a pictorial form gives rise to a skewed visual idiom. These images aim to be inclusive, looking for elements of the profound and individualistic in the concept of the everyday.
The perception of social and personal entropy generates psychological disruption and turns the everyday into a frustrating sequence of black letter days. Desperate fools looking for a shaky redemption, garnered from any significant moments, can only conjure up congealed anger at the socially ubiquitous disregard for the present. Despite the collective sense of doubt and all-round unease with modern life, these paintings are still optimistic candidates in the endeavour to find parallels between personally significant conditions and those of others. Some say nature, nostalgia and exercise are good for malady. Let’s all miserably remain hopeful.
Cathy Lomax
Everyday life is boring. This mind numbing drudgery needs to be punctured and deflated. A relief that can be provided by episodes of escapism – events and situations encountered not in actuality but as an observer and then lived out within our heads. The most powerful and easily accessible escapist experience for most people is provided by film – 90 min slices of someone else’s life. I decided to keep a diary that listed all the films that I watched (I had to see the beginning and end for them to register).
This could be seen as one of those hugely un-scientific arbitrary exercises that artists indulge in. But as with any other recording of everyday events the choices that I make in watching one film rather than another says something about me and probably defines me at this moment as much as anything could. I selected one image from each of these films. This provided a further indication of what it was that drew me in and kept me rapt. These images then became small-scale paintings that make up the series Film Diary.
Mike Bartlett
Marcus Cope
Patrick Galway
Cathy Lomax
Exhibition: 7/11/09–29/11/09
Open: Thurs – Sunday, 1-5pm
Artist Talk: Saturday 14th November 2009, 7.30pm
PV: Friday 6th November 2009, 7-9pm
Four painters examine the forgotten, the mundane and the everyday.
Mike Bartlett
A continuing layer of the past weeks memories rendered ordered and prioritised as the work evolves. Thoughts about today, yesterday, last week… The Galleries, the visitors, what happened at the Tesco checkout, the mundane event that has resonated and stayed in my consciousness and helped my need to paint and make images, a schema that feeds me and inspires.
Each time I return to my work I try to begin again layering and experiencing.
I feel liberated, I can include what I like, the wrapper, the rapper, the chair, the animal, the journey, the film, the book and myself……
Marcus Cope
I believe it to be a common consensus that all contemporary painting shares as its subject contemporary painting, that is to say that today’s pictures represent a standpoint from artists as to why, how and what of painting in the 21st century.
The paintings in this show offer a diversion from this or perhaps an alternative way in, by presenting images of the everyday, mundane references that may or may not bare any relevance to the viewer.
My paintings feature representations of objects, chairs and tennis balls for the most part, but those objects which may and do bare relevance to me are intended as mere starting points for me to make the picture, and perhaps for the viewer to receive it. I am keen for the pictures to move beyond mere representation, in the way that these objects do. A picture of a chair is a useless chair of course, but a real tennis ball can feed a whole family fun day out. I may have forgotten that day, as I am sure I will forget these paintings, but that is how I like to work.
I make a lot of work in order to try to forget what I have made. I do this because I don’t want to be bound to a particular subject or way of working, so that the rules are always changing and the barriers of what I can do remain in flux. My attempt is to let the picture appear, almost as if I don’t care about the result, so that I can forget it and start all over again tomorrow.
Patrick Galway
My work for this show concentrates on the memories of others, interpreted to create a shared story. The five paintings for The Days Before are attempts at translating a past in order to make something new. The sequence of paintings show happy children looking for brightly coloured rubbish on a beach, a warped white plastic chair, a blue Woman with wet hair, a graphical image located inside the large intestines, and a close-up of a Virgin Mary statue. The translation of memory and its randomness into a pictorial form gives rise to a skewed visual idiom. These images aim to be inclusive, looking for elements of the profound and individualistic in the concept of the everyday.
The perception of social and personal entropy generates psychological disruption and turns the everyday into a frustrating sequence of black letter days. Desperate fools looking for a shaky redemption, garnered from any significant moments, can only conjure up congealed anger at the socially ubiquitous disregard for the present. Despite the collective sense of doubt and all-round unease with modern life, these paintings are still optimistic candidates in the endeavour to find parallels between personally significant conditions and those of others. Some say nature, nostalgia and exercise are good for malady. Let’s all miserably remain hopeful.
Cathy Lomax
Everyday life is boring. This mind numbing drudgery needs to be punctured and deflated. A relief that can be provided by episodes of escapism – events and situations encountered not in actuality but as an observer and then lived out within our heads. The most powerful and easily accessible escapist experience for most people is provided by film – 90 min slices of someone else’s life. I decided to keep a diary that listed all the films that I watched (I had to see the beginning and end for them to register).
This could be seen as one of those hugely un-scientific arbitrary exercises that artists indulge in. But as with any other recording of everyday events the choices that I make in watching one film rather than another says something about me and probably defines me at this moment as much as anything could. I selected one image from each of these films. This provided a further indication of what it was that drew me in and kept me rapt. These images then became small-scale paintings that make up the series Film Diary.
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