grey area

VIDEO: (o) occupant - occupant #4 Andy Lacey

2012-01-29T19:41:00.001Z

(o) occupant

January - March 2012
occupant #4 Andy Lacey

'Andy's arse and its constituant parts'

New work by Andy Lacey from his time at Grey Area. Andy's practice is interested in what it means to infesct new space with internal patterns of speech.

Occupant #4: Andy Lacey

2012-01-28T17:23:00.001Z

(o) occupant
January - March 2012

occupant #4 Andy Lacey

'Andy's arse and its constituant parts'

New work by Andy Lacey from his time at Grey Area. Andy's practice is interested in what it means to infesct new space with internal patterns of speech.

Grey Area presents 'occupant', a series of week long artist residencies within the gallery which will each culminate in the making of new work and a public event. Andy is a Brighton boy and currently associate artist at LUX moving image.

The residencies will take place across several weeks in January-March 2012, providing selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week. Grey Area will provide each occupant with the staples of space, tools, a timescale, and a set of keys.

The parameters for what might constitute an outcome for the occupant residencies are flexible and permeable. As much a process of the studio as of the gallery. Participants are invited to consider how their project may or may not be constituted as an object, subject, event, or non-event.

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an occupant takes shape. Grey Area was originally founded as a dual studio/gallery, and so occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

http://www.greyareagallery.org/index.php?%2Fcurrent%2Fo-occupant-2%2F

All photography by (c) Daniel Yanez-Gonzalez

www.danielyanezgonzalez.com

AURAL DETRITUS presents a concert of sound-art with: JASON KAHN PHIL JULIAN/DANIEL JONES PAUL KHIMASIA MORGAN

2012-01-28T14:53:00.000Z

Saturday 4th February from 7pm @ Grey Area Gallery, Basement, 31 Queens Road, Brighton

Jason Kahn was born in New York in 1960 and grew up in Los Angeles. He moved to Europe in 1990, first living in Berlin until 1999 then moving to Switzerland. He is currently based in Zürich.
Kahn came of musical age in the late 1970's, playing drums in punk bands and later making many records for the Los Angeles-based SST label. He turned more to improvised music in the late 1980's, culminating with his move to Berlin where he spent many years playing as a drummer and percussionist in different projects of improvised music, as well as being a member of American composer Arnold Dreyblatt's group “The Orchestra of Excited Strings.”
In Berlin Kahn began working with electronics and composing. He started releasing solo CD's in 1998 on his Cut imprint, which ran from 1997 until 2007. Kahn also began exhibiting sound installations in 2001 and has since shown numerous works in museums, galleries, art spaces and public sites around the world.
Kahn collaborates regularly with many musicians, both in improvised settings and in the context of graphical scores which Kahn composes for specific groupings of players.
This will be his first tour of the UK.
http://jasonkahn.net/

“There is no more protean improvisor in experimental music today than Jason Kahn.”
--The Wire

Occupant #2 Residency

2012-01-28T14:46:00.000Z

(o) occupant #2
January - February 2012

Grey Area presents 'occupant', a series of week long artist residencies within the gallery which will each culminate in the making of new work and a public event.

The residencies will take place across several weeks in January-February 2012, providing selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week. Grey Area will provide each occupant with the staples of space, tools, a timescale, and a set of keys.

The parameters for what might constitute an outcome for the occupant residencies are flexible and permeable. As much a process of the studio as of the gallery. Participants are invited to consider how their project may or may not be constituted as an object, subject, event, or non-event.

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an occupant takes shape. Grey Area was originally founded as a dual studio/gallery, and so occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

------------------------------------------------------------------------

occupant Andy Lacey
23rd - 29th January 2012

GLOSS Exhibition 14-16 December 2011

2012-01-28T14:41:00.000Z

Kate Mahony

Luis Ignacio Rodriguez

Jo Harrison

Daniella Valz Gen

Grey Area Xmas Party

2011-12-21T21:10:00.001Z

"Gloss", Pop-Up Exhibition (16-18 December 2011)

2011-12-19T18:01:00.001Z

www.greyareagallery.org

GLOSS is a pop-up exhibition presenting the work of four emerging artists (Daniella Valz Gen, Jo Harrison, Kate Mahony and Luis Ignacio Rodriguez), combining the disciplines of performance, video, sculpture and installation.

www.luisignaciorodriguez.com
www.daniellavalzgen.net
www.joannakharrison.wordpress.com

SMELL SOUND OF FORENSIC Y'S Crank Sturgeon/id M Theftable/Fritz Welch (PREVIEW, 11.11.11)

2011-11-14T12:20:00.001Z

	Smell Sound of Forensic Y's Crank Sturgeon, id M Theftable and Fritz Welch Exhibition: 12th November - 4th December Open: Friday - Sunday, 1-5pm ... PV: Friday 11th November, 4pm Crank Sturgeon, id M Theftable and Fritz Welch will come together at Grey Area as part of Colour Out of Space festival for a collaborative exhibition reaching towards unprecedented putrefaction and symbiosis. They will utilise strategies borrowed from durational aesthetics and underwater pipefitting to filter through an array of retrofitted haints, popular excrement and shy pollution. They will combine drawing, collage and video into a tumbling multi-dimensional representation of their jet-lagged socks. www.kraag.org/id/ cranksturgeon.com/ humansacrifice.net/ Colour Out of Space is an experimental music festival based in Brighton and run annually in November since 2006. Now in its 5th year, the festival boasts an eclectic mix of some of the most inspirational and innovative musicians, artists and filmmakers who will show their work and perform across Brighton during the three days that Colour Out of Space runs. Lead by Open Music, a not-for-profit Brighton based arts group, and coordinated by Dylan Nyoukis, Karen Constance and Michael Sippings, Colour Out of Space reaches out to the far corners of the experimental music genre. All photography (c) Daniel Yanez-Gonzalez www.danielyanezgonzalez.com www.greyareagallery.org

Smell Sound of Forensic Y's
Crank Sturgeon, id M Theftable and Fritz Welch

Exhibition: 12th November - 4th December
Open: Friday - Sunday, 1-5pm
... PV: Friday 11th November, 4pm

Crank Sturgeon, id M Theftable and Fritz Welch will come together at Grey Area as part of Colour Out of Space festival for a collaborative exhibition reaching towards unprecedented putrefaction and symbiosis. They will utilise strategies borrowed from durational aesthetics and underwater pipefitting to filter through an array of retrofitted haints, popular excrement and shy pollution. They will combine drawing, collage and video into a tumbling multi-dimensional representation of their jet-lagged socks.

www.kraag.org/id/

cranksturgeon.com/

humansacrifice.net/

Colour Out of Space is an experimental music festival based in Brighton and run annually in November since 2006. Now in its 5th year, the festival boasts an eclectic mix of some of the most inspirational and innovative musicians, artists and filmmakers who will show their work and perform across Brighton during the three days that Colour Out of Space runs. Lead by Open Music, a not-for-profit Brighton based arts group, and coordinated by Dylan Nyoukis, Karen Constance and Michael Sippings, Colour Out of Space reaches out to the far corners of the experimental music genre.

All photography (c) Daniel Yanez-Gonzalez

www.danielyanezgonzalez.com

www.greyareagallery.org

Karin Van Pinxteren "I Confess I am an Artist" - Photographs and Feedback (02.11.11)

2011-11-07T11:48:00.001Z

All photographs by (c) Daniel Yanez-Gonzalez

www.danielyanezgonzalez.com

Karin Van Pinxteren "I Confess I am an Artist" Private View Friday 7th October

2011-11-06T18:13:00.000Z

Karin van Pinxteren's Talk (08.10.11)

2011-10-09T17:29:00.001+01:00

I Confess, I Am an Artist
Karin van Pinxteren
www.karinvanpinxteren.com
Grey Area
www.greyareagallery.org

Karin van Pinxteren lives and works in the Netherlands. In her work, van Pinxteren examines the physical contact between closeness and distance, but also the psychological tension between involvement and detachment. (Grey Area)

All photography by (c) Daniel Yanez-Gonzalez
www.danielyanezgonzalez.com

TIMES UP - Stored in a Bank Vault (23 September - 30 September 2011)

2011-09-28T14:06:00.001+01:00

TIMES UP - Stored in a Bank Vault

A physical narrative installation

23 September – 30 September 2011
Brighton

Stored in a Bank Vault has been commissioned by Lighthouse as part of Brighton Digital Festival. It is part of PARN (Physical and Alternate Reality Narratives) – a pan-European project, developed by FoAM, Lighthouse, Blast Theory and Time’s Up. Venue: Grey Area.

All photography (c) Daniel Yanez-Gonzalez 2011

www.danielyanezgonzalez.com

INFLUX Opening Event photographs - 7th July 2011

2011-07-11T15:58:00.000+01:00

Photographs courtesy of Mike Stoakes

PREYING MANTISS (18/06/11 - 03/07/11): Sunday, 19.06.11

2011-06-21T13:11:00.000+01:00

"Saw Preying Mantis today. The story, for me, of fragile sanity being lost to wild tangents seemed particularly relevant, and with such varied themes the film brings up, was held together particularly well by the gently fluctuating synthesizer soundtrack. Very eerie, and honest from the mundane thoughts of everyday to the bigger legends of Jesus and sacrifice. I think I want to come back and see it again - Ocean Zen."

All photography by (c) Daniel Yanez Gonzalez

http://www.danielyanezgonzalez.com/

PREYING MANTISS (18/06/11 - 03/07/11): Opening Event

2011-06-19T21:42:00.001+01:00

Exhibition: 18/06/11 - 03/07/11
Open: Thursday - Sunday, 1-5pm
http://www.john-russell.org/

Some key words: Skin melting, Who am I?, Breakdown, The Mirror, Second-rate modelling, Hippo and the Fairy, "This is your fly", Every brick of the house is paid by one song, 5:29, Lifestyle, 5:30, Not a sacrifice but a prophesy...

All photography by (c) Daniel Yanez Gonzalez
http://www.danielyanezgonzalez.com/

Drinky Arty Clubby (11.06.11 - 13.06.11)

2011-06-13T23:11:00.002+01:00

Some key words, ideas and physical elements: Bruce, Durationalism, behavioural patterns, Bergson, time use, Archive the Monster, how does a Durationalist read?, the marking of time as a philosophy of time, coffee with brandy, GAZPACHO, Skips, Wittgenstein vs. Popper, The New St. George Scaffolding League, the passing of time following Durationalist methods, external agents´ interference, The Trap and Adam Curtis, Mike´s Lunar Mission, Light Is Waiting, Ben Robinson, Badlands, Malobi, The Mirror, artificial genitalia, chess, canine love, the Cambridge left wing scene, Ballard, The Velvet Underground, Leadbelly...

Central stage

... And some final key words, ideas and physical elements: Free writing with the Velvet Underground, THIS IS MY FACE!, how do you know that´s your face?, black coffee, Wittgenstein´s private language and form of life, free will, on trusting your own conscience, pencils, feeding competitions, i.e. Oxfam vs. Domino, Bill Hicks: "If you ever work in marketing or advertising just consider yourself dead", "I am a private man"...

Improvising a Bruce Forsyth plastic tribute

Huw's first notes of the Durationalist Manifesto

DRINKY ARTY CLUBBY please Come Thank you

2011-06-07T15:43:00.001+01:00

Dear All,

We will operate a blackboard system whereby events can and will changes throughout the day.

PLEASE NOTE IMPORTANT DATA CHANGE and extras

Bowen % Bartlett’s

Drinky Arty Clubby

Saturday 111^th June 2011

10.00 – 22.00

We say featuring…

From 10 in the morning on Saturday (11TH), Grey Area will become ‘drinky arty clubby’.

This is an attempt to present a working idea of how an Art Club could function in Brighton%hoge. Do we need or want it or not necassarily (I am busy on 'otter things')

This is an attempt to reach out to artists of all persuasions to attend and participate. We will have eating food provided by

Restaurant Tautologique – Early Breakfast, mid lunch and Evening Dinner.

CONFIRMED DISH - WET SOUP -

50p (Free Bread but TOAST is 20p or two toasts is 40p)

Free Butter

Tucky Shoppy (Exclusive kit Kat Kombo available, 20p) – Whisky Shoppy (Probably Scottish and as old as the hillses)– Beer and biscuits (digestive special) – Wine and Skips (luxury item) – TOAST – Fresh Papers -SEATS!!!

This is an attempt to reach out to artists of all persuasions to attend and participate.

We will have sparkly…

Chessy (winner stays on) – Conversations (small prior preparation necessary) – Cards for playing (many games available including rummy and shupsi) – Backgammony - Possible sax-o-phone EMERGING DJ plus music – Open Mike (music - talk - funny -etc) – "Talk about an introduction to the philosophy of durationalism by H.B" (members and dissidents welcome) “What’s in the box? (Small Charge - 50p, or ask for kit kat kombo plus box bonus at checkout)” – Bartlett's Books for reading (Zero Blyton) – Musical instruments - Shupsi

Participants – TBC - please amen and email and forward if wanting to yes

E. Kalpadaki (Photo – graphs) J. Eagle (Sculpture) M.Gimson (Painting?) M.O’Connell (Jokes and serious) J.Gilhooly (Diogenes club and presentation entitled "Self Help, Self healing and ethical fortune telling in an age of economic uncertainty") K.Lyddon (Painting but probably a drawing actually) “Daniella Norton” (Rocket) W.Lewis (Drwaing) M.Cope (Painting) J.H.Fragonard (Painting) M.Stoakes (Ciné - http://www.facebook.com/event.php?eid=190973390952825 for more information.) T.Myers, C.Sheppeard,(Pop up Crit 3 and discussion. - working title "Ambition is critical. Discus (D.T)

We just want people to do and be

LATE NIGHT MUSIC IS POSSIBLE

£2 For coming after eights

Special Guest:

Shupsi

With Kind support from National Esteem Gallery, London, WC1N 3AX

ARES VEE PEA- CE VOUS PLATE

MEMBRES - SIGN UP AT ww.wglangough.com

Do you really need to print this? Before you print, think about the environment.PLEASE PRINT FOR THE SAVING OF THE PAPER. TOUCH IT. IT IS REAL, NOT LIKE THE KINDLETHING

PIGEON LAUNCH EVENT // SATURDAY 4TH JUNE (Grey Area)

2011-06-06T13:49:00.001+01:00

www.pigeononline.co.uk

PIGEON LAUNCH EVENT // SATURDAY 4TH JUNE

Pigeon - Dynamic Independent arts publication providing platform to expose and discuss creativity and innovation.

All photography (c) Daniel Yanez Gonzalez 2011

www.danielyanezgonzalez.com

Impossible Diagrams, Artists Talk (21.05.11)

2011-05-22T21:25:00.001+01:00

KEY WORDS: Performing Fiction, Diagrams as Powerful Metaphors, Non-Signified Objects, Singularities and Experiences Fragmenting Time, Moving Outside the Comfort Zone..

Impossible Diagrams,
David Burrows and Simon O'Sullivan, and others
http://www.plastiquefantastique.org/

All photography by © Daniel Yanez Gonzalez 2011
http://www.danielyanezgonzalez.com/

Impossible Diagrams, Plastique Fantastique: Installation Photographs, 15.05.11

2011-05-18T09:49:00.001+01:00

Impossible Diagrams, Plastique Fantastique: Installation Photographs, 15.05.11

Impossible Diagrams,
David Burrows and Simon O'Sullivan, and others
http://www.plastiquefantastique.org/

All photography by © Daniel Yanez Gonzalez 2011
http://www.danielyanezgonzalez.com/

Impossible Diagrams, Plastique Fantastique: Installation, Day II

2011-05-08T14:10:00.005+01:00

Impossible Diagrams,

David Burrows and Simon O'Sullivan, and others

http://www.plastiquefantastique.org/

All photography by © Daniel Yanez Gonzalez 2011

http://www.danielyanezgonzalez.com/

Impossible Diagrams, Plastique Fantastique: Installation, Day I

2011-05-06T22:13:00.020+01:00

Plastique Fantastique
David Burrows & Simon O'Sullivan & others
http://www.plastiquefantastique.org/

All photography by © Daniel Yanez Gonzalez 2011

http://www.danielyanezgonzalez.com/

Seven Photographs in Seven Days

2011-04-18T20:02:00.011+01:00

Saturday 16th April, 7pm. In a unique illustrated talk, Stephen Bull discussed seven photographs (from works of art to photojournalism, paprarazzi pictures to Facebook snaps) that had been in the public eye in the week before the talk. Stephen Bull is a writer, artist and lecturer. He is the author of Photography (Routledge, 2010) and writes for magazines including Source: The Photographic Review. His work has been exhibited at Tate Britain and The Photographers' Gallery, London. He is Course Leader for Photography at the University for the Creative Arts, Farnham. The book is available from Amazon and Waterstones.com http://stephenbull.wordpress.com/ First Photograph Third Photograph Fourth Photograph Fifth Photograph Sixth Photograph Seventh Photograph

All photographs courtesy of Daniel Yanez Gonzalez

http://www.danielyanezgonzalez.com/

POP UP CRIT #2 (10/04/11): Eva Kalpadaki, Talulah Miers and Ocean Zen

2011-04-18T18:37:00.018+01:00

Presenting works: Eva Kalpadaki, Talulah Miers and Ocean Zen

All photographs courtesy of Daniel Yanez Gonzalez

http://www.danielyanezgonzalez.com/

Seven Photographs in Seven Days

2011-04-07T23:15:00.002+01:00

Saturday 16th April, 7pm

Seven Photographs in Seven Days

In a unique illustrated talk, Stephen Bull will discuss seven photographs (from works of art to photojournalism, paprarazzi pictures to Facebook snaps) that have been in the public eye in the week before the talk.

Stephen Bull is a writer, artist and lecturer. He is the author of Photography (Routledge, 2010) and writes for magazines including Source: The Photographic Review. His work has been exhibited at Tate Britain and The Photographers' Gallery, London. He is Course Leader for Photography at the University for the Creative Arts, Farnham.

The book is available from Amazon and Waterstones.com

http://stephenbull.wordpress.com/

Demonstration

2011-03-26T00:23:00.001Z

Grey Area will be on strike on Saturday 26th March in support of March for the Alternative

http://www.ucu.org.uk/index.cfm?articleid=5186

VOODOO CHANEL POP UP CRIT

2011-03-21T19:39:00.001Z

VOODOO CHANEL IS FOR PEOPLE WHO ARE CONNECTED WITH THEIR OWN FATE.
VOODOO CHANEL SHOWS YOU THAT JUST PAYING FOR A BRAND AND WEARING IT LOOKS LIKE A SOCIAL FAILURE YOU'RE TRYING TO COVER UP.

IN VOODOO, A PWEN IS AN ITEM FILLED WITH PARTICUALR COMPONENTS MEANT TO ATTRACT A PARTICULAR LWA (SPIRIT) AND GAIN ITS INFLUENCES FOR A PERSON OR PLACE.

GREY AREA INVITES YOU TO BRING YOUR ART TO A POP UP CRIT WITH NO RULES.

SEIZE THE OPPORTUNITY TO EXPLORE THE USES OF YOUR POWER OBJECT.

UPGRADE YOURSELF AND RECLAIM THE POWER.

SUNDAY 27TH MARCH 2011
11AM - 1PM

PLACES ARE LIMITED SO EMAIL TO BOOK YOURS
THEGREYAREA@HOTMAIL.CO.UK

VOODOO CHANEL - PART 2 - A CONVERSATION

2011-03-21T19:24:00.001Z

VOODOO CHANEL
PART 2. A CONVERSATION

Fashion: Ho, Madam Death, Madam Death!

Death: Wait till your hour comes, and I’ll come to you without your calling me.

Fashion: But, Madam Death ——

Death: Go to Beelzebub with you! I’ll come, sure enough, when you don’t want me.

Fashion: Come to me, indeed! As if I were not immortal!

Death: Immortal, quotha! No, no — as the poet says, “ A thousand years and more have passed since the times of the immortals ceased.”

Fashion: Madam seems to spout her Petrarch as if she were an Italian lyric poet of the fifteenth or eighteenth century.

Death: Aye, I love the sonnets of Petrarch, for in them I find ample record of my triumphs, and they abound in mention of me. But again I say, be so good as to be off.

Fashion: Oh come! By the love you cherish for the seven cardinal sins, stop a moment and look at me!

Death: I am looking at you.

Fashion: And do you mean to say you don’t know me?

Death: You should know that my sight is bad, and that I can’t use spectacles, since the English now make none that suit me; and if they did, I have no nose to stick them on.

Fashion: Why, I am Fashion, your own sister.

Death: My sister!

Fashion: Aye; don’t you remember that we are both the children of Frailty?

Death: What have I to do with remembering — I, who am the sworn enemy of memory?

Fashion: But I remember the circumstance well; and I also know that both of us are alike employed continually in the destruction and change of all things here below, although you take one way of doing so, and I another.

Death: Unless you are talking to yourself, or with some person you have there inside you, I beg you will raise your voice a little and articulate your words better, for if you go on muttering to me between your teeth like that with that voice like a spider’s, I’ll never hear you, since, as you know, my hearing is as bad as my sight.

Fashion: Well, although it is not good manners to speak plainly, and though in France nobody speaks so as to be heard, yet, since we are sisters, and need not stand on ceremony with each other, I’ll speak as you wish. I say, then, that the tendency and operation common to us both is to be continually renewing the world. But whereas you have from the beginning aimed your efforts directly against the bodily constitutions and the lives of men, I am content to limit my operations to such things as their beards, their hair, their clothing, their furniture, their dwellings, and the like. Nevertheless, it is a fact that I have not failed at times to play men certain tricks not altogether unworthy to be compared 80 to your own work; as, for example, boring men’s ears, or lips, or noses, and lacerating them with trinkets which I place therein; or scorching their bodies with hot irons, which I persuade them to apply to their persons by way of improving their beauty. Then again, I sometimes squeeze the heads of their children with ligatures and other appliances, rendering it obligatory that all the inhabitants of a country should have heads of the same shape, as I have ere now accomplished in America and Asia. I also cripple mankind with shoes too small for their feet, and stifle their respiration, and make their eyes nearly start out of their heads with tightly laced corsets, and many more follies of this kind. In short, I contrive to persuade the more ambitious of mortals daily to endure countless inconveniences, sometimes torture and mutilation, aye, and even death itself, for the love they bear toward me. I say nothing of the headaches, and colds, and catarrhs, and fevers of alls sorts, quotidian, tertian, and quartan, which men contract through their worship of me, inasmuch as they are willing to shiver with cold or stifle with heat at my command, adopting the most preposterous kinds of clothing to please me, and perpetrating a thousand follies in my name, regardless of the consequences to themselves.

Death: By my faith, I begin to believe that your are my sister after all. Nay, it is as sure as Death, and you have no need to produce the birth certificate of the parish priest in order to prove it. But standing still exhausts me, so if you’ve no objection, I wish you would run on alongside of me; but see you don’t break down, for I run at a great pace. As we run, you can tell me what it is you want of me; and even if you would rather not keep me company, still, in consideration of your relationship to me, I promise you that when I 81 die I’ll leave you all my effects and residuary estate, and much good may it do you.

Fashion: If we had to run a race together I don’t know which of us would win, for if you run fast, I positively gallop; and as for standing still in one place, if it exhausts you, it is bane to me. So let us be off, and as we run we’ll talk over our affairs.

Death: All right, then; and since you are my own mother’s child, I hope it will suit you to assist me in my business.

Fashion: I’ve already told you that I have heretofore done so more than you would suppose. First of all, though it is my nature forever to annul and upset all other customs and usages, I have never and nowhere done anything calculated to put an end to the custom of dying; and thus, as you see, it has prevailed universally from the beginning of time till now.

Death: A precious marvel, forsooth, that you have abstained from doing that which it was not in your power to do!

Fashion: Not in my power, quotha! It is very evident that you have no idea of the power of Fashion.

Death: Well, well, it’ll be time enough to discuss this point when the custom of dying comes to an end. But in the meantime I want you, as a good and affectionate sister, to help me to prevent such a result, and to attain its very opposite, even more effectually and more expeditiously than I have yet done.

Voodoo Chanel Launch, 04/03/11

2011-03-11T12:13:00.001Z

Rework: Oddity and commodity

2011-02-26T13:28:00.000Z

Rework: Oddity and commodity

Grey Area, Sat 26^th Feb 4-6:30pm, Sun 12-5pm

The second Rework residency at Grey Area will culminate in an event over the weekend of 26^th Feb that will include painting installation and performance. Anybody attending is invited to bring work or contribute to the zine which will be produced after two weeks from work and ideas emerging from meetings and discussions (email below). You might also wish to consider recent submissions on the Rework blog site: http://reworklive.wordpress.com/.

As with the last Rework project discussions about painting have taken place concurrent with producing new work. One idea explored was how the interior relationships of a painting read either aesthetically or metaphysically may survive commodification.

Another subject for debate is how the institutional critique undertaken in art since the sixties may develop into an art of connectivity and becoming without “becoming fascist” or “becoming McGreenberger”.

VOODOOFESTO

2011-01-30T16:06:00.001Z

VOODOO CHANEL IS POST POST COLONIAL.

VOODOO CHANEL TAKES AWAY THE FALSE PROMISE OF EQUALITY AND HUMANISM. THE VALUESYSTEM IS A LADDER TO POWER BRANDS AND CONSUMERISM ARE STEPS ON THIS LADDER TO STEP UP TO A MORE POWERFUL POSITION. VOODOO CHANEL IS THIS LADDER.

MODIFYING THE ACTUAL BRAND AND CHANGING THE BRAND CONTENT MAKES THIS LADDER LEAD TO A DIFFERENT DESTINATION. TO A DIFFERENT PLATEAU THAN WHAT CHANEL HAS TO OFFER, IT`S CHANGING THE MOUNTAIN YOU ARE CLIMBING UP. THE POWER OF THE BRAND IS SUBVERSIVE BECAUSE IT IS ACTUALLY CHANGING THE VISION OF WHAT THE TOP IS - AND WHERE THE GOAL IS. VOODOO CHANEL IS OPTIMIZING THE ORIGINAL BRAND BY CLIMBING THE SOCIAL UPGRADE WITH SELF-MADE STRATEGIES. VOODOO CHANEL ADAPTS FASTER THE HIPSTER STREET STYLES. VOODOO CHANEL = 180 % EMANCIPATION. VOODOO CHANEL IS FREEING YOU FINANCIALLY FROM THEIR PRICING SYSTEM. THE QUALITY IS YOUR RESPONSIBILITY. VOODOO CHANEL IS STEALING MARKET POWER THAT HAS BURNED MILLIONS OF DOLLARS TO CREATE. VOODOO CHANEL SMELLS OF ANARCHY.

VOODOO CHANEL IS THE NEW STRATEGY OF SELF REPRESENTATION NOT BY A GIVEN BRAND; IT IS THE SYMBOLIC GESTURE OF RECLAIMING POWER. VOODOO CHANEL IS THERE FOR YOU IN TIMES OF ECONOMIC DEPRIVATION TO SOCIALLY AND POLITICALLY STEP UP. VOODOO CHANEL IS FOR PEOPLE WHO ARE IN CONNECTION WITH THEIR OWN FATE. VOODOO CHANEL SHOWS YOU THAT JUST PAYING FOR A BRAND AND WEARING IT LOOKS LIKE A SOCIAL FAILURE YOU´RE COVERING UP. VOODOO CHANEL TAKING THE GLAM OF A BRAND AND THE MARKET POWER THAT ALREADY EXISTS AROUND IT ADDING THE PERSONAL AND SUBERSIVE ENERGY CONNECTED MORE TO THE ACTUAL PRODUCERS OF THE PRODUCT. VOODOO CHANEL IS STEALING CHANEL FROM THE CORPORATE OFFICES IN PARIS, LONDON, NEW YORK.

VOODOO CHANEL - INTELLIGENT PEOPLE CAN FEEL GOOD ABOUT BUYING VOODOO CHANEL: YOU´RE NOT PART OF WHAT IS MAKING THE WORLD THE SAME EVERYWHERE. VOODOO CHANEL DID A BIG FAVOUR TO CHANEL BY ADDING LIFE TO THE DUSTY FLAVOUR OF DECADENCE. VOODOO CHANEL IS NOT A COUNTERFEIT, IT´S BENEFIT. VOODOO CHANEL DISCREDITS OTHER WAYS OF STEPPING UP THE LADDER OF IMPORTANCE AND POWER BY PAYING LOW PRICES FOR THE COUNTERFEIT MADE-IN-CHINA-LUIS-VUITTON-HERMÉ-BAGS, BECAUSE BY THIS YOU ARE SUPPORTING THE SYSTEM OF KEEPING THE POOR POOR AND THE RICH RICH.

VOODOO CHANEL IS A COLLECTIVE WORK, THE SHIPPING IS A JPEG. FROM INTERNET CAFE TO OFFICES TO INTERNET CAFES, PEOPLE ARE JOINING THE GROWING NETWORK.

VOODOO CHANEL SAYS: UPGRADE YOURSELF TO FIRST CLASS AND DONT FORGET THE MAGIC POWDER.

5-27^th MARCH, THURS-SUN, 1-5PM

Voodoo Chanel coming soon...

2011-01-28T20:08:00.002Z

Voodoo Chanel

Coco Cartier and Ezili Lagerfeld

Exhibition: 5th - 27th March 2011
Open: Thursday – Sunday, 1 - 5pm
Opening event: Friday 4th March 2011
Discussion event: Saturday 19th March 2011

More info coming soon...

Their Wonderlands, Curators' Talk and Stone Spells, 22/01/11

2011-01-28T20:03:00.002Z

Their Wonderlands, Private View, 05/12/10

2010-12-16T22:49:00.003Z

Michael Allen & Daniel Schwitzer, Cyborgs, 2009 (Installation view), Laserprint, flyposted

Courtesy of the artists & Hannah Barry Gallery, London

Mathew Sawyer, Someone Else’s House (I) & (II), 2010 (Installation view)

Clay sculpture on porcelain figurine, Courtesy of the artist

Ayo & Oni Oshodi, Brown Eyed Girl, 2010

Found painting and frame with eye holes (Installation view), courtesy of the artists

Corinne Felgate, Toothbrush (set), 2010

Perspex, plastic and shark’s fossil teeth (Installation view), courtesy of the artist

All photographs by James Allan

Their Wonderlands, Eloise Fornieles performance

2010-12-16T22:40:00.004Z

Their Wonderlands, Opening event

The Body is an Ocean, Eloise Fornieles, 05/12/10

All photographs by James Allan

occupant Carolyn Arnold

2010-11-28T00:09:00.003Z

Their Wonderlands

2010-11-27T22:47:00.002Z

Their Wonderlands curated by They Are Here

Featuring works by:

Alice Anderson, Ayo & Oni Oshodi, Caleb Morrison, Cécile Azoulay, Corinne Felgate, Eloise Fornieles, Emma Hart, Kate Rowles, Mathew Sawyer, Michael Allen & Daniel Schwitzer, Reka Reisinger, Rostan Tavasiev, Susanne Ludwig and They Are Here

Exhibition: 5^th – 19^th December 2010

Continues 6th - 22nd January 2011

Open: Thursday – Sunday, 1 – 5 pm

Opening event: Sunday 5^th December, 1 – 6pm

(with live performance by Eloise Fornieles)

The Grey Area is a gallery.
The gallery is a basement.
The basement is a chamber.
The chamber is a forgotten room in a castle.
There are portraits on the walls.
The eyes of the portraits flicker.
The castle is floating above the wood.
The woman floats above the desert.
The daughter has grown taller than the house.
The hairs of the brush grow.
The woman plays with the sea.
The toys are alive.
The pirates and cyborgs are welcomed.
The figures are trapped.
The figures are wrapped.
The warning is ignored.
They descend the stairs.
Time is lost.
They enter the basement.
The basement is a gallery.
The gallery is the Grey Area.

Their Wonderlands is an international group exhibition curated by multi-disciplinary practice They Are Here. Works by a formally and conceptually diverse set of contemporary artists have been drawn together to explore the space afforded the imaginary and folkloric in the post-industrial mindset and landscape of 21st century European society. The works have been curated to emphasize the multiple positions and relationships that we might have with the imaginary today. Although the strategies that have led to the creation of these works are especially personal or autobiographical in tone, they often evoke fairytales, children’s literature and even the phantastic animation of Miyazaki, if only to subvert these collective associations.

Their Wonderlands has been conceived as an exhibition of works but also an evolving body of research, as such the works and discourse around the show are expected to alter significantly with each iteration of the project. Accompanying the exhibition is an ongoing series of texts edited by Lily Hall, from writers with backgrounds as diverse as children’s publishing and cognitive psychology.

Grey Area, Basement, 31 Queens Rd, Brighton, East Sussex, BN1 3XA

www.greyareagallery.org/Theirwonderlandsaudioinvite.mp3

www.theyarehere.net

(o) occupant

2010-11-11T18:23:00.006Z

Grey Area presents 'occupant', a series of 3 week long artist residencies within the gallery which will each culminate in the making of new work and a public event.

The residencies will take place during successive weeks in November 2010, providing 3 selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week. Grey Area will provide each occupant with the staples of space, tools, a timescale, and a set of keys.

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an Occupant takes shape. Grey Area was originally founded as a dual studio/gallery, and so Occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

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occupant Joseph Long

8th - 14th November 2010

Opening event: Saturday 13th November, 6-8pm

A process-based series of drawings using sheets of paper to collect the dust that falls within the gallery during the week long residency. Once the dust has settled, its location will be marked in pencil creating a map of the performance which has taken place. With this series of drawings I hope to create a material trace to document Grey Area as a result of the movements/performances that occurred whilst an occupant.

http://www.joseph-long.co.uk/about.html

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occupant Rework painting zine

15th - 21st November 2010

Launch event: 20th November, 7-9pm

The Rework residency will culminate with a one-off exhibition/event to coincide with the launch of the first Rework zine, which will be created collaboratively and focus on the practice of painting and the constraints of the residency itself.

The first issue will be titled ‘Concrete Ephemera’ and respond to the idea of the veil in nocturnal phenomena as well as Magrette’s ‘ L'Empire des lumières’ (1949-64) – a series of paintings which blur the boundaries between day and night.

http://www.josh-uvie.co.uk/

-----------------------------------------------------------------------
occupant Carolyn Arnold

22nd - 28th November 2010

Opening event: Saturday 27th November, 6-9pm

The last few years has seen an increase in blockbuster films based on post-apocalyptic events over dystopian themes. Both involve social degradation but the former is the result of environmental changes. This is most interesting to me, as a visual/installation artist I am interested by space and surroundings, and effects on mood.

Within these films, essentially based on trauma, beauty is found, for example the desolate, pallid sweeping landscapes of The Road (2009). In The Book of Eli (2010) we find a shallower, trendier beauty as the stars strut in good sunglasses and big boots. Indeed in popular culture we find mirrored musings, in Vogue Dec-2010, milliner Nasir Mazhar imagines ‘the end of the world, and this girl happens to have a sexy space helmet’. A ludicrous vanity, but perhaps this is our humanity – our commitment to decorate and imagine.

But I wonder if we’re really getting the message. We consume at a terrific rate and we don’t really take personal responsibility for our collective damage.

Through my clothing I try to create an impression of my personality, but I get unstuck trying to represent the various sides: the tomboy, grafter, bohemian, career woman, girlfriend… all this before even the practicalities. My wardrobe heaves with clothes as I covet the designer labels and luxurious fabrics. But where am ‘I’ in these imagery?

This work is a reflection of modern living, routine and consumption through waste products, with inevitable doom that the planet doesn’t look and feel quite how we’d like it to, and societies don’t function quite how we’d like them to. As in the blockbusters, my mission is to find a hint of humanity, the individual, a sublime landscape, and yes, the ludicrous vanity of compulsive decoration.

http://www.carolynarnold.co.uk/index.html

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Grey Area, Basement, 31 Queens Rd, Brighton, BN13XA

Occupant

2010-10-25T15:43:00.004+01:00

Grey Area presents Occupant, a series of 3 week long artist residencies within the gallery which will each culminate in the making of new work and a public event.

The residencies will take place during successive weeks in November 2010, providing 3 selected artists/groups with the opportunity to occupy the gallery from Monday-Sunday of that same week.

Grey Area will provide each Occupant with the staples of space, tools, a timescale, and a set of keys.

The parameters for what might constitute an outcome for the Occupant residencies are flexible and permeable. As much a process of the studio as of the gallery.

Participants are invited to consider how their project may or may not be constituted as an object, subject, event, or non-event.

Occupant tbc
8th - 14th November 2010

Occupant tbc
15th - 21st November 2010

Occupant Carolyn Arnold
22nd - 28th November 2010

As each residency will have different times and degrees of public engagement, additional information on residency events will follow with little warning as the week of an Occupant takes shape.

Grey Area was originally founded as a dual studio/gallery, and so Occupant marks a return of sorts – to concurrent processes of making and display. To occupy is to seize - a week, a residency, an exhibition. Or all 3.

Grey Area
Basement, 31 Queens Rd
Brighton, East Sussex, BN13XA

thegreyarea@hotmail.co.uk
www.greyareagallery.org
www.thegrey-area.blogspot.com

Shaping Silence, Discussion event, 16/10/10

2010-10-22T00:35:00.001+01:00

Shaping Silence, PV 02/10/10

2010-10-06T02:42:00.002+01:00

Shaping Silence

2010-10-04T02:07:00.000+01:00

‘Shaping Silence’ @ Grey Area

Artists

Jürgen Albrecht / Erieta Attali / Russell Chater / Marie Docher / Roy Exley / Anisa Sarah Hawes

Renata Hegyi / Andy Lock / Eamonn McCabe / Dylan Thomas

Curated by Roy Exley

‘The gratifying aspect of the image is that it constitutes a limit at the edge of the indefinite.’ - Maurice Blanchot

In contemplating the works in ‘Shaping Silence’, viewers are invited to allow themselves to swing between the poles of cosy and sinister, of comfort and unease, of certainty and of doubt, as they look at and explore variants of the idea of interior, and their infinitely diverse connotations, through the eyes of these artists. Of course we know that interiors can be homely, comforting, cosy and inviting, but can equally be perceived as hostile, sinister, oppressive or repulsive, but what about those spaces whose demeanour hovers in between these two extremes, to be found somewhere - exactly where we are not quite sure - along the spectrum that divides these two polar opposites, the ones that we can’t immediately make up our minds about, the ones that hold different associations, trigger different memories, stir different emotions, for different viewers?

There are spaces, whose emptiness invokes a sense of absence, the sense of abandonment, or even of dereliction, we might wonder about their occupants, through whose absence we might feel moved to create a palimpsest of presence, through considered figments of our imagination. There are others where the occupant might have just slipped out to the corner shop, or might simply be waiting, out of shot, for the photo session to finish, where material traces offer the viewer clues as to their daily lives. Quite other images depict neutral spaces, those ‘Non-places’, places of transit, of mass anonymity, so called public spaces, that actually seem to belong to no one, so eloquently surveyed by the French theorist Marc Augé in his book of the same name. There are partial views of rooms that have been abstracted from the totality of those rooms what brand of reality do they represent, actual locations or film or stage sets? Cast adrift from their contexts, they seem to have become elaborate visual exercises in the study of random and diverse geometrical forms. Other rooms, whose sheer ordinariness casts them in the mould of the banal, might be juxtaposed against sinister, ill-lit, stygian spaces whose auspices are distinctly ominous and anything but ordinary. While some images ask questions of their provenance, others of their reality, and yet others of their purpose, ultimately they ask what is real in the contemporary photograph and what is not? As a consequence of the nature of the photograph, we experience these spaces as still, frozen in time, mute, totally silent. Although we can rationalise about their two-dimensional, illusory nature, our experience of this soundless stasis does in fact influence the way that we perceive these images. It is with this knowledge that some of these photographers capitalise on those qualities of the photograph that tempt us to suspend our disbelief, in order to emphasise a particular message that they are trying to get across to the viewer.

It goes without saying that our mood can vividly colour our perception of a particular space, just as, conversely the nature of that space can affect our mood, another French writer, George Spyridake, wrote in his book, Morte Lucide, “My house is diaphanous, but it is not glass. It is more of the nature of vapour, its walls contract and expand as I desire, at times I draw them close about me like protective armour. But at others I let the walls of the house blossom out in their own space which is infinitely extensible”. This distorted, fantasised view of the spaces that surround us, is the result of the intertwining of perception, cognition and emotion, in the same way, the intentionality - and its attendant emotions - of the photographer can radically shape the morphology and consequently the ambience of a particular image. In his book Labyrinths, Jorge Luis Borges wrote “On the second floor, on the top storey, the house seemed to be infinite and growing. The house is not this large, he thought, it is only made larger by the penumbra, the symmetry, the mirrors, the years, my ignorance, the solitude”. Perceptions become mutable and distorted by shifts in emotion, as the subject of this story lurches along the constantly receding tracks of memory. Some photographers are experts at seamlessly weaving a sense of ambivalence into their images, generating an enigma that puts the onus fairly and squarely on the viewer to forge his or her closest approximation to the truth whatever that might be, this might be a futile task but we feel bound to go there.

Since Nietzsche declared God to be dead, of course, we no longer give much credence to the idea of ultimate truth, we like to think that we can each formulate our own personal sets of truths – we can’t rely on science, theories come and go, at first confidently expounded and ratified by current expediencies only to be later refuted through new, more fashionable sets of parameters. Likewise the photographic image, once thought to be indexical – the camera incapable of lying – is now known to be a tool for the creation of credible artifice. This artifice of the photograph is discredited in different ways and in variable increments by different viewers and, in this exhibition, each of the spaces depicted in the images, will be experienced in a different way by each viewer, the mutability of their ‘truths’ making for a rich and varied visual tapestry. Your truth is bound by a different set of permutations to your neighbour’s truth – we all have our different motives for our suspensions of disbelief. Whether emotively charged or neutrally banal the interiors represented in those works shown in Shaping Silence, move the viewer in particular ways, the ways in which the viewer is so moved deserves considered analysis and hopefully this analysis will be imparted by the variety of questions that are triggered in you, the viewer, by these images.

Silence can also lead to feelings of claustrophobia, indeed, it was used as a punitive tool, along with confined space, in the regime of solitary confinement, as a last resort for difficult or intransigent prisoners. At the inception of solitary confinement in Auburn Prison, New York State in 1821, the prison authorities issued the following statement … “Let the most obdurate and guilty felons be immured in solitary cells and dungeons … cut them off from all intercourse with men let not the voice or a face of a friend ever cheer them; let them walk their gloomy abodes and commune with their corrupt hearts and guilty consciences in silence”. The idea of a gloomy abode, whether it be to do with incarceration, or the Gothic intimations of some ‘film noir’ or ‘horror flick’ scenario is inevitably wrapped in silence. Meditative silence might be a salve for stress and anxiety but mandatory silence is it’s total antithesis. Whatever the case, silence is almost always a strongly emotive mood trigger whichever end of the mood spectrum might be activated.

The installation artist Mike Nelson, short-listed several years ago for the Turner Prize, fabricates complex and confusing interiors whose references, while somewhat off the wall, are nevertheless based in reality and despite being unable to suspend our disbelief, we are able to be carried along by the illusion as we respect and submit to the richness of Nelson’s imagination. How much more then are we able to suspend our disbelief if we see a photographic image of such a scene? – we are so accustomed to treating photography as a documentary tool, that despite our rationalising about photographic trickery we instinctively believe the photograph, so where is the threshold in this exhibition between reality and artifice, between document and fantasy? The viewer should feel constantly challenged here – nothing should be taken for granted. We might be perceiving snatches of reality that have the demeanour of artifice, or artifice that convinces of its reality, after all silence can be shaped in a plethora of ways. Silence, absence, stasis all provide fodder for the imagination, offering a void that we reflexively, intuitively and imaginatively need to fill out. Silence, as an acoustic void, is like a vacuum that we strive to fill, our subconscious ushering in all manner of imagined or randomly recalled sounds. Our awareness of something’s absence, is a summoning of its presence through a recall of its past presences through an amalgam of recollections, reconstructions and imaginary fabrications. It is notoriously difficult to discern where is the interface between what we perceive as reality and what our imaginations conceive to supplement that reality, to fill in perceived gaps, to shore-up shortcomings or nullify possible threats.

Marc Augé offers an interesting insight in his most recent book, Oblivion, where he states, “We define ourselves as objective observers, at the very most, careful not to let ourselves be carried off into the stories of others, not to let a role be imposed upon us; in doing so we do not think of the fictions we ourselves are living.” Our lives are lived out as unsung, hardly recorded, narratives, each a unique and fascinating journey whose accumulations express who we are. The ten artists in this exhibition each brings his, or her, own unique vision of widely differing interiors, and sometimes their facsimiles, each has their own agenda. In their different ways - predicated on the unique source materials of their differing biographical journeys - they have variously weighted the power of those subtle hints, clues, traces and visual innuendoes proffered by both the general mien and those minutiae of the tiniest details in those deserted interior spaces, that goad and coerce us to arrive at conclusions that ultimately can and must only be our own. We are assailed daily by differing degrees and modes of noise, that add to our experiences of life, hopefully this exhibition will show that we can also experience differing degrees and modes of silence, absences of sounds whose imaginary presences colour the way we perceive our environment. The subliminal sources of silence, might offer a soothing, comforting experience, conducive to meditation, or an uncanny or even sinister experience, that might leave us craving for sound. Silence, when it reigns in our lives is, undoubtedly, a powerful and often ineffable presence.

‘And these – the dreams – writhed in and about, taking hue from the rooms’ - Edgar Allan Poe.

Roy Exley

The Butler's Cough, Installation images

2010-09-27T02:40:00.004+01:00

http://www.simonmorse.co.uk/

Forthcoming Spoken Word Event - October

2010-09-22T22:57:00.001+01:00

Songs of my Lap, Milly and Mid-West Blues

2010-09-22T22:53:00.002+01:00

Forthcoming gig at Grey Area

Wednesday, September 29, 8:00pm - 10:00pm

Songs of my lap - Prolific songwriter of stark, untapped realist drama. releases available through Unlabel

Milly - She who plays and sings in countryish stylings, may bring fiddle player and additional guitarist?!

Mid-West Blues - New songs possibly about cinema and dirt. Solo slot.

http://www.last.fm/event/1684064+Songs+of+my+lap+at+The+Grey+Area+on+29+September+2010

Simon Morse

2010-09-20T23:47:00.001+01:00

An Artist’s Talk for The Butler’s Cough at Grey Area, Brighton

As I’m sure you’re all aware, normally in an artist’s talk the artist takes an easily bored audience on a long-winded and quite unintelligible – and certainly un-illuminating – wander, through the less interesting parts of his or her practice…

[We say ‘practice’ now, don’t we, because it sounds more professional than ‘work’… ‘my work’, ‘my practice’… sounds cleaner, less dirty … it’s the rush away from manual labour, you see]

…and to put it into some kind of historical context

[It’s a tricky balancing act because they have to provide this historical context while avoiding as far as possible mentioning any of their contemporaries – or ‘rivals’ as they’re known in all other fields – because the one thing they don’t want is the audience going home thinking ‘Jesus Christ, that guy was lame – but who’s the other guy he mentioned, the one who did that project with the poodles in the Atacama Desert – he sounds great, I must Google him].

Well tonight I’m going to do exactly that. But I’m not going to do that exactly. Because I’m going to put this show into the context not of the history that it sits in, that has come before it, but in the history that it will become part of, the future.

How will I do this? It’s quite simple. Technology.

You can see from several of the works in this show I’ve dabbled in electronics. Dabbled is maybe crediting me with more expertise than is strictly the case because basically I’ve read one and a half chapters of Electronics for Dummies. And not even the most up-to-date edition either, this was the very first edition, from 1991, it was the second book in the immensely popular For Dummies line after DOS for Dummies.

So I wanted to put some lights that actually lit up on these pieces because, you know, you come to a point in your work and you go ‘this work is perfect, but how can I make it even perfecter?’ I know, I’ll put some real lights on them. So I go to the local library, which has only about 10 books left in it – because who needs a physical book when you can just sit at one of their 300 aged PCs and Google some illiterate American’s snarky opinion on the book you’re after instead?

[We are of course transitioning from a work-based economy, through an ideas-based economy, to an opinion-based economy. At least that’s what I think. LOL.]

I got Electronics for Dummies out and I said to myself, ‘Okay, I’m going to be professional about this because my knowledge of electronics is somewhere between zero and 0.5. I’m going to read the whole book, and by the end of it I’ll know what the hell I’m doing… more. Chapter 1, basic concepts, the project at the end of the chapter is to wire up a bulb with a switch to demonstrate the flow of electricity round a circuit. Perfect, that’s exactly what I want. So I go through, follow the instructions and in an hour or so I’m wiring up the little LEDs I bought from Maplin and suddenly my practice has expanded. Amazing. And then the boredom set in.

I thought, I don’t need this book any more, I’ve got what I wanted out of it… okay maybe just the next chapter, or part of the next chapter, in case it tells me how to make sounds, or laser display boards, or a 64-inch flatscreen TV for under £10. Well, it didn’t. But chapter 2 of the 1991 edition of Electronics for Dummies (I think they’ve changed it since) is all about time travel.

Now, like I say, I didn’t read the whole chapter because I’m a busy man and time is money. But I did read enough to be able to build my own mini time machine – crucially for under £10. It’s only a partial time machine, it’s one-way, receive-only, and it only has one possible destination – ‘henceforth’. I had options of course, but I thought if I just make a send-only time machine, I’m going to send myself, and if it’s henceforth-only, and the future sucks, I’m going to be stuck there. As it turns out, that was a wise move, because the future does suck. Badly. I mean, really badly.

Anyway, what I’ve done is the equivalent of a Google ego-search. We all do it. I’ve had sent back from the future reviews, write-ups, news snippets and other mentions of this show – because I was curious to see how it would go down, obviously. I mean, you don’t put all this effort into a show and not want a substantial return on your investment. I’m very pleased to say that it turns out that you should all pat yourselves on the back because you will be able to say you were here, at the most important exhibition in the history of the human race. So, you know [clap]… congratulations.

That said, it all turns out very bad for you, so… best not get too cocky about it.

Anyway, it will all start at the end of this year, when Charlotte Higgins in The Guardian lists the show as one of her highlights of 2010 – confusing, because I though they had a strict nepotism-based positive-review policy there. That said, Higgins does write the name of the gallery as ‘Gary Area’, so… maintaining the usual high standards. Stranger still is that just over a year later, Christmas 2012, The Guardian’s chief art blogger Jonathan Jones makes the exhibition one of his top 10 shows of the year. Two years too late, but that’s normal for him. I did actually have a feeling that he might have just been championing the show – which is by, I guess, a relatively unknown artist – to be controversial, because more controversy on his blog means more comments from swivel-eyed readers, more readers means more online ad revenue, and more online ad revenue means more reasons to keep Jonathan Jones in a job at The Guardian instead of sweeping the streets which is where he should be. So you can see we really are transitioning into a comment-based economy.

Anyway Jones, in his 2012 list, says:

Morse’s show at Gary Area is a real one-in-the-eye for those who think that art cannot be intelligent, spectacular and challenge the very basis of our contemporary society without being Arts Council funded. To all those who opposed the Arts Council’s abolition in 2011, I say – where’s your argument now? Ha ha, ha ha, ha ha ha … ha.

Now, even though the Arts Council is abolished next year the British Council isn’t – because it’s a non-departmental public body with, crucially, a royal charter, and the Conservatives and Lib Dems can’t be seen to abolish anything to do with the monarchy. The head of the British Council, who in 2012 will be Sally Gunnell – because in the lead-up to the London Olympics the government sacks all the heads of every public body and replace them with Conservative-supporting former Olympians – Sally Gunnell misreads Jonathan Jones’ mad chunter as an attack on the British Council, and promptly buys all of the work in this exhibition for the Council’s collection (so if nothing sells here it’s going to work out all right for me in a couple of years time).

Where things start to go very badly is 20January 2013. Inauguration Day of the new US president, the Republican Tea Party candidate Sarah Palin. Palin gets in, her loony-right people, all of whom have as much political experience as her or even less, to the extent that they make the 22 year olds that George W Bush sent out to run Iraq look like JK Galbraith – Palin’s people take over the government and abolish it within the week. No more US government, no more taxes, no more anything. The takeover of America is complete by the end of January 2013 and the Tea Party succeeds in turning the whole country into a big chimp’s tea party, with barely literate idiots screeching and running riot, throwing their faeces at each other. And shooting each other, of course, because it’s their inalienable right. There’s a report I read from the BBC News website in February 2013 (actually by that time the BBC has been entirely rebranded BBC Three and the news website is called Two Pints of Lager And A Packet of News)… a report of a BA pilot landing at Dulles Airport in Washington, taking the plane up to the terminal building, seeing the madness going on inside, the piles of dead French… and just turning the plane around and heading straight back to Heathrow. He says ‘It was chaos, it was worse than Croydon on a Saturday night’. From which we can conclude that by about 3 years time Croydon will have improved significantly.

Summer 2013, and the world economy is about to finally give up the ghost. There’s no more money to give to the banks, who every few months since the end of 2010 have been holding their fingers over the self-destruct button, saying ‘bail us out again or the puppy gets it’. But now there’s no more money, everyone with an income of £150,000 a year and below has been forced to sell everything they have to raise the necessary funds. It used to be that 7% of the population owned 83% of the wealth. How quaint. Now it’s 70 people owning 99%. In a desperate attempt to kickstart the economy yet again, countries around the world send cultural delegations to the cultural ground zero that is now America, because a cultural delegation is really a trade delegation, and idiots will buy anything, right? The Spanish send them paella-burgers and treasures from the Prado, Goya’s finest works, in the hope of selling t-shirts and fridge magnets. The Tea Partiers eat the burgers, shit them out, throw the shit at the Goyas and then shoot the Goyas. The Italians send them scooters and Silvio Berlusconi. The scooters they throw into the water at the docks because they’re the vehicle of choice for the preppie, Vampire Weekend-style little mini-old-guard-Republican kids, and they’re having a Pol Pot style Year Zero where anyone who can even pronounce the words Vampire Weekend are shot. So they dump the intellectual-mobiles. And as for Berlusconi – if anyone can speak the language of idiots, he can – Berlusconi they worship as some kind of god. For a couple of weeks. Then they shoot him.

Sally Gunnell, back at the British Council, sees how badly this is going down, sees this could be the only chance to kick-start the world economy, it’s her shot, it’s all or nothing, do or die. She puts together a cultural package of the absolute best that Britain has to offer. Jedward, Kate Moss, and the works in this show.

Kate Moss is sent over. We never see her again, but apparently she’s happy about that. Jedward, because inexplicably they’re still around even in 2013, are sent over. We never see them again. We’re happy about that.

These works arrive at JFK, they’re taken off the plane ready to be transported around he country on their tour… New York, San Francisco, Badiddlyboingdilly Idaho … They unpack them to make sure the packages don’t contain turrrists. Or tourists. They look at the works, and they see they have words on them. Lots of words. And even though they’re the kind of made-up, nonsense words the artist intended as a satirical joke about the way that language can get mangled, overwrought, rendered virtually meaningless by people who only really want to speak to themselves because the world is too big and the problems they really should solve are too enormous and scary to solve … and you’d think the Tea Partiers would find an echo in that of their own predicament … it sends the monkeys into a rage, a serious, full-on shit-fight. They throw the works back onto the plane, the pilot takes off in fear for his life and leaves behind him a place convulsing in crazed, omni-directional, stupidity-fuelled anger, and his is the last plane out of America before the place explodes in a gigantic nuclear fireball, obliterating the country, causing instant and cataclysmic environmental change for the rest of the planet. Ash rains down everywhere, it’s a nuclear winter, populations perish by the millions, civilisations descend into anarchy. It’s just like Cormac McCarthy’s book ‘The Road’, except in Britain without the cannibalism because… eat you? I can’t even stand the sight of you.

Now, reports vary, but one snippet I read, taken from Wikipedia, added in 2015 by a journalist from The Independent (because they’d merged with Wikipedia a few years earlier to give their stories more credibility), said that along the lines of an infinite number of monkeys eventually coming up with the works of Shakespeare, an almost infinite number of Tea Partiers had eventually come up with the launch codes for America’s nuclear missiles. But the one who’d typed it in thought he was ordering lunch, not launch, and when the next question came up ‘Please select your target’ he chose ‘Well, here of course, I want my lunch here. Now.’ And thus, as if to shit on their fellow countryman and intellectual TS Eliot, the world ends not with a whimper but a bang.

It sort of ends there, anyway. I searched for mentions of my work as far in the future as I could get. And furthest I could find was from Modern Painters, a post from July 2017. It was difficult to find because I didn’t realise that Modern Painters had actually itself merged with The Sun’s online presence, in order to give its criticism more integrity. And The Sun in the future is still doggedly behind Rupert Murdoch’s shitty paywall, despite nobody having bought a subscription since 2010. But eventually I found it. And it appears that this post is the last of any made anywhere in the world. So, pretty much the end of civilisation. It says this:

Yo. Morse works good. Best. Start Brighton, few see, Gary Area, now ash. LOL. Confusing. Boxes. What for? Is art? Who say? Question correct. Much asking, Morse works, status of art work in society – but status of society in art work too. Clever. Is Morse say same thing? Art work ultimately merely decorative, surely? No say Morse. Art work entirely functional. Prove same by causing end of world with art work. Morse now famous. Old time say ‘infamous’, but mean same. Morse like old master. Like Goya. Since end of world Morse become most famous artist in Britain. Amass vast wealth through sale of t-shirts and fridge magnets. Except, no more fridges, and t-shirts not come in ‘emaciated’ size, so not vast wealth, but huge relatively. Now ash-based economy. Morse have lot of ash. Morse have piles. Interview Morse at pile:

MP: Yo Morse.

M: Yo.

MP: How Morse?

M: Dying.

MP: Me too! Morse, your work, Gary Area, seem both symptom and agent of existential collapse in culture and civilisation – agree?

M: Agree.

MP: Thanks!

Interview end. Article end. Follow me on Twitter, Friend me on Facebook, now Ashbook.

And there, accompanying the interview, is a small jpeg photograph, possibly the last photograph ever taken, very pixellated, but I could just make out what it was. Against the greyest of grey skies, in an endless, virtually featureless landscape, there I was, me, in 2017, trousers made out of rags, an oversized t-shirt that I couldn’t sell hanging from my bones, sitting on a small pile of ash that has been swept neatly together for me by former Guardian arts blogger Jonathan Jones, who has finally found his calling.

Thank you for your time.

Review for 'The Butler's Cough'

2010-09-17T02:55:00.001+01:00

Current exhibition:

http://www.criticismism.com/2010/09/12/simon-morse-the-butlers-cough-grey-area/

MEANING DECORATION MASS, Installation images

2010-09-08T00:34:00.002+01:00

The Butler's Cough

2010-09-01T23:25:00.002+01:00

MEANING DECORATION MASS Discussion

2010-08-22T20:20:00.001+01:00

Photo Fringe Exhibition - October 2010

2010-08-22T20:01:00.005+01:00

Shaping Silence

Jürgen Albrecht / Erieta Attali / Russell Chater / Marie Docher / Roy Exley

Anisa Sarah Hawes /Renata Hegyi / Andy Lock / Eamonn McCabe / Dylan Thomas

Curated by Roy Exley

Exhibition: 2/10/10 - 24/10/10

Open: Thursday - Sunday, 1-6pm

Discussion Event: Saturday 16th October, 7.30pm

PV: Saturday 2nd October, 7-9pm

An exhibition of photographic and video work that focuses on a range of silent interiors, and the connotations of absence that they carry. The work, as a response to those spaces, is both eclectic and varied, deploying a wide range of photographic strategies. With their different qualities of silence and their various subliminal messages and subtle allusions to the implications of those silences, these images openly invite viewers to excavate their particular and uniquely specific messages.

Grey Area, Lower Ground Floor, 31 Queens Rd, Brighton, BN13XA

www.greyareagallery.org

In association with Brighton Photo Fringe: http://www.photofringe.org/

MEANING DECORATION MASS, PV 13/8/10

2010-08-15T19:37:00.001+01:00

Future exhibition: The Butler's Cough

2010-08-12T00:11:00.003+01:00

The Butler's Cough

Simon Morse

Exhibition: 11^th September - 26th September

Open: Thursday – Sunday, 1-5pm

Artist Talk: Saturday 18th September

Private View: Friday 10^th September, 7pm

Simon Morse's low-tech devices hang quietly against walls, their lights flickering dimly, presumably maintaining some aspect of something. As long as they blend in and get on with their job the rest of us are free to get on with our lives. But go up to them in their darkened corners, on their dusty corridor walls, and see how their politely incomprehensible surfaces are constructed from a multitude of conceptual rough edges, papered-over logic, and smeared semantics.

Morse suggests the world functions the way it does not because of what people get right but because of what they get wrong, and that the functionaries whose task it is to mediate this wrongness are where true knowledge resides.

The exhibition enters the room, clears its throat quietly but insistently, and says 'Pardon me sir, madam. I have some news... '

Grey Area, Lower Ground Floor, 31 Queens Rd, Brighton, BN13XA

thegreyarea@hotmail.co.uk

www.greyareagallery.org

www.thegrey-area.blogspot.com

MEANING DECORATION MASS

2010-08-07T22:17:00.002+01:00

MEANING DECORATION MASS

MEANING MASS DECORATION

DECORATION MEANING MASS

DECORATION MASS MEANING

MASS DECORATION MEANING

MASS MEANING DECORATION

Three artists have been invited to spend a day on site
armed with as many free newspapers as their arms can carry
and a pair of scissors behind the ear.

Lulu Allison
Huw Bartlett
Chris Smith

Exhibition: Saturday 14th August - Sunday 29th August
Open: Thursday - Sunday, 1-5pm
Discussion Event: Saturday 21st August, 7.30pm
Opening Event: Friday 13th August 7pm

Grey Area
Lower Ground Floor
31 Queens Rd, Brighton
BN13XA

thegreyarea@hotmail.co.uk
www.greyareagallery.org

One can not renew Art. Art is an invention of the Renaissance which has today refined itself to the utmost degree possible. An enormous concentration was needed to make good works of Art. One could only develop this concentration by neglecting life (as in religion) or to lose life entirely. That is today impossible for we are only interested in life. The whole life of today is in contradiction to the religious anaesthetic concentration of the past. It is quite out of fashion to devote ourselves only to one thing. New life is based upon construction, that is to say: the distribution of strain, the neutralisation of pull and pressure. We too distribute our forces upon all of life. That is real progress. This progress negates exclusive concentration. It can only give instantaneous snap-shots of life. That is the first reason why Art is impossible. Second reason: just as scientific progress, for instance, was suppressed in the Middle Ages by religion and its official today through Art. Instead of religion we have Art. Therewith is all of life poisoned. Aestheticism has infected ans diseased us all. (Yes, us.). One can not touch an article which isn't filthy. If one wants to put a pail upon the ground: immediately the high priest of Art comes to us and says, that disturb the harmony of the street ,or the harmony of the city, or landscape. If one wants to put a typewriter or sewing-machine into the room, then one hears directly from the landlady who insists that one, take this thing away, it disturbs the harmony of the room: Postcards, stamps, pipe tobacco, tickets, pot de nuit, umbrella, towel, pyjamas, chairs bed covers, handkerchief, lamps, stoves, neck-tie... everything is Arty. Let us recheck ourselves with things that are not Art: the bathroom, the W. C. the bathtub, thee telescope, the bicycle, the auto, the subways, the flat-iron. There are many people know how to make such good unartistic things. But they are hindered, and their movements are dictated by the priest of Art. Art, who function nobody knows, hinders the function of life. For the sake of progress we must destroy Art. Because the function of modern life is stronger than art, every attempt to renew Art, (Futurism, Cubism, Expressionism) failed. They are all bankrupt. Let us not waste our time with them. Let us rather create a new life-form which is adequate to the functioning of modern life.

Theo van Doesburg (30 August 1883 – 7 March 1931)

begin again, brace, breathe new life into, bring up to date, continue, exhilarate, extend, fix up, freshen, gentrify, go over, mend, modernize, overhaul, prolong, reaffirm, reawaken, recommence, recondition, recreate, reestablish, refit, refresh, regenerate, rehabilitate, reinvigorate, rejuvenate, remodel, renovate, reopen, repair, repeat, replace, replenish, restate, restock, restore, resume, resuscitate, retread, revitalize, revive, spruce, stimulate, transform

Bunker beautiful installation

2010-07-25T23:59:00.004+01:00

Bunker beautiful PV, 23/07/10, 7-9pm

2010-07-25T22:44:00.003+01:00

Bunker beautiful

2010-07-14T00:20:00.002+01:00

Bunker beautiful

Mike Stoakes

Exhibition: 24/07/10 – 08/08/10

Open: Thursday – Sunday, 1-5pm

Artist Talk: Saturday 31^st July, 7.30pm

PV: Friday 23^rd July, 7-9pm

Featuring a performance of 'Bunker Application Suite' by ModeX

“Designing spaces involves not only dealing with materials on a physical level; it is a process of redefining personal boundaries and examining the aspirations of the inhabitants. Our aim is to create for you an emotionally secure and aesthetically pleasing environment, to express and project your personality into the space via texture, colour and light.” JAG Design

Bunker beautiful is a makeover show in an underground shelter suggested by Grey Area’s location in a basement. The gallery and its previous function as residence are displaced by a space that privelages and protects the observer and their lines of sight. The distinction between the gallery and the house as spaces to view art blur and recombine under the sign of protective décor, the works being chosen to complement the bunker’s function as store and mirror.

Grey Area, Lower Ground Floor, 31, Queens Rd, Brighton

Swamp Salon, Paige Perkins

2010-07-14T00:17:00.005+01:00

Swamp Salon

Paige Perkins

Exhibition: 19th June - 11th July
Open: Thursday - Sunday, 1-5pm
Artist Talk: Saturday 3rd June, 7pm
Opening event: Saturday 19th June, 7-9pm

'Silk on silk is lovely…despite the danger.'

Tennessee Williams, Vieux Carre

Swamp Salon is constructed from a series of new sculpture and video works that combine to create an indistinct meeting place for separate elements, linked by shared narrative fragments.

The scene is set by Charles Laughton's 'The Night of the Hunter'(1955) and the motif of 'Leda and the Swan' in Greek mythology, in which Zeus transformed into a swan and seduced Leda.

Swamp Salon is Paige Perkins' second solo show, following her 2008 installation at Grey Area entitled 'The Elect, Soft Restriction'. She lives and works in London.

A Love and Hate Lullaby where natural forces tangle with machines and desire.

http://www.axisweb.org/seCVWK.aspx?ARTISTID=13174

Swamp Salon

2010-06-13T02:27:00.001+01:00

Swamp Salon
New work by Paige Perkins

Exhibition: 19th June - 11th July
Open: Thursday - Sunday, 1-5pm
Artist Talk: Saturday 3rd June, 7pm
Opening event: Saturday 19th June, 7-9pm

Where natural forces tangle with machines and desire

Grey Area

Lower Ground Floor

31 Queens Rd

Brighton, BN1 3XA

www.greyareagallery.org

www.thegrey-area.blogspot.com

thegreyarea@hotmal.co.uk

http://www.axisweb.org/seCVPG.aspx?ARTISTID=13174

Territories – Grace Siregar performance

2010-06-12T01:03:00.001+01:00

Mini Works, 4/6/10

2010-06-06T22:14:00.006+01:00

Foundation PT, 1 day show,

City College Brighton and Hove

Third Floor Right, 3 - 14/5/10

2010-05-17T23:39:00.003+01:00

Third Floor Right, 3 - Floor Plan

2010-05-17T23:37:00.000+01:00

Third Floor Right, 3

2010-05-17T23:34:00.000+01:00

Third Floor Right, 3

Exhibition: 15^th - 30^th May 2010

Open: Thursday – Sunday, 1-5pm

PV: Friday 14^th May

Spoken word event: Saturday 29^th May

Third Floor Right, 3 uses the biographical trace of Grey Area to articulate its space as the product of social relations – a space that is constantly changing. Boundaries of place are undetermined as public and private remain in perpetual conversation – fragments of story and evidence trespass, overlap, intersect, displace – destabilising normative architectural discourses.

collapse is Rowena Easton, Mark Hewitt and Daniel Pryde-Jarman: a group of artists and writers who share an interest in speculating upon space and place.

Grey Area

Lower Ground Floor

31 Queens Rd

Brighton BN1 3XA

www.greyareagallery.org

thegreyarea@hotmail.co.uk

Third Floor Right, 3 is in association with the HOUSE festival: http://www.aoh.org.uk/house-festival

Martha Rosler reads Vogue, Artist talk, 20/3/10

2010-03-25T23:32:00.003Z

Alison Jones and Milly Thompson in-conversation at the Grey Area

Bob & Roberta Smith in Conversation

2010-03-25T01:17:00.003Z

Bob and Roberta Smith in Conversation

19th Mar 2010 6:00pm

Bob and Roberta Smith (aka Patrick Brill) has collaborated twice with Brighton-based curator Daniel Pryde Jarman. He exhibited a 'Floating Studio' at the Grey Area Gallery in 2007, and recently performed at Fabrica Gallery together with Martin Creed in December 2009. Smith/Brill studied at the University of Reading and Goldsmiths, and is perhaps best known for his painted slogans and text pieces. His practice, however, is extremely varied and includes performing music with the group 'The Ken Ardley Playboys' and hosting a radio show on Resonance FM called Make Your Own Damn Music. His work will be familiar to many in the faculty who will have seen examples of it, most recently in 'Altermodern' at Tate Britain in 2009.

He will engage in conversation with Daniel Pryde Jarman about his work, practice and politics.

The conversation will be chaired by Peter Seddon and last approximately one hour followed by a pay bar finishing at 8.30pm.

Martha Rosler reads Vogue, PV, 12/3/10, 7pm

2010-03-25T00:55:00.006Z

Martha Rosler reads Vogue, Installation images

2010-03-22T01:04:00.002Z

Territories – Grace Siregar

2010-03-22T01:03:00.001Z

Territories – Grace Siregar

10th April – 25th April 2010

Open: Thursday – Sunday, 1-5pm

PV: Friday 9th April, 7 - 9pm

The idea of territory can be seen as a space shaping us as persons and reflected in what we do and create. Beyond this geographical sense of the term, various other aspects can be explored such as the concept of nation, history, politics, domestic space and childhood.

Territories address the construction of identity, investigating the shifting relationship between others and oneself. The construction of identity can be seen as state of flux through exchanging with others, whether with individuals, groups or communities.

‘There are two kinds of identity, identity as being (which offers a sense of unity and commonality) and identity as becoming (or a process of identification, which shows the discontinuity in our identity formation).1

Grace Siregar has developed her own means of reaction and response both individually and collectively through using performance, photography, installation and video to explore issues of identity, reflecting on and investigating differences and possible points in common. The works in the exhibition take global politics, personal themes, conflict and peace as their subjects. They are social observations and commentaries drawn upon experiences from living in Indonesia and the UK, which observe, document, and intervene meanings both historically and contemporarily.

Born in Sumatra, Indonesia, Siregar has lived in Bangka Island, East Timor, Amsterdam and Jakarta she moved to Hove in 2009. Previous exhibitions include, The National Gallery, Jakarta, Dutch Cultural Centre, Jakarta, Yogyakarta Arts Festival and Monas Park, Jakarta. She ran her own art space, Tondi Gallery in Medan, North Sumatra and hosted an arts radio show in Eastern Indonesia.

1, Hall, S. in Rutherford, Johnathan, ed. Identity: Community, Culture, Difference (London: Lawrence & Wishart, 1990, 223-237, Chapter Titled ‘Cultural Identity and Diaspora’)

Curator: Clare Sheppeard

Events: Grace Siregar in conversation - 17th April at 7.30pm

So It Comes And Goes

2010-03-06T21:48:00.001Z

So It Comes And Goes

An evening of Spoken Word performances hosted by the subterranean Grey Area gallery.

The event will feature readings by

Gary Goodman

Rowena Easton

Mark Hewitt

Alan Hay

Anthony Murphy

Friday 5th March 2010, 7pm

Doors open at 7pm

Refreshments available

£3 entry on the door

thegreyarea@hotmail.co.uk

www.greyareagallery.org

Active Crossover, Closing Performances, 28.02.10, 7.30pm

2010-03-01T22:19:00.005Z

Review

2010-02-28T01:48:00.000Z

Transmission exhibition review on jotta.com

http://www.jotta.com/magazine/events-other/578/transmission-brighton

grey area

VIDEO: (o) occupant - occupant #4 Andy Lacey

Occupant #4: Andy Lacey

AURAL DETRITUS presents a concert of sound-art with: JASON KAHN PHIL JULIAN/DANIEL JONES PAUL KHIMASIA MORGAN

Occupant #2 Residency

GLOSS Exhibition 14-16 December 2011

Grey Area Xmas Party

"Gloss", Pop-Up Exhibition (16-18 December 2011)

SMELL SOUND OF FORENSIC Y'S Crank Sturgeon/id M Theftable/Fritz Welch (PREVIEW, 11.11.11)

Karin Van Pinxteren "I Confess I am an Artist" - Photographs and Feedback (02.11.11)

Karin Van Pinxteren "I Confess I am an Artist" Private View Friday 7th October

Karin van Pinxteren's Talk (08.10.11)

TIMES UP - Stored in a Bank Vault (23 September - 30 September 2011)

A physical narrative installation

23 September – 30 September 2011Brighton

Stored in a Bank Vault has been commissioned by Lighthouse as part of Brighton Digital Festival. It is part of PARN (Physical and Alternate Reality Narratives) – a pan-European project, developed by FoAM, Lighthouse, Blast Theory and Time’s Up. Venue: Grey Area.

INFLUX Opening Event photographs - 7th July 2011

PREYING MANTISS (18/06/11 - 03/07/11): Sunday, 19.06.11

PREYING MANTISS (18/06/11 - 03/07/11): Opening Event

Drinky Arty Clubby (11.06.11 - 13.06.11)

DRINKY ARTY CLUBBY please Come Thank you

PIGEON LAUNCH EVENT // SATURDAY 4TH JUNE (Grey Area)

Impossible Diagrams, Artists Talk (21.05.11)

Impossible Diagrams, Plastique Fantastique: Installation Photographs, 15.05.11

Impossible Diagrams, Plastique Fantastique: Installation, Day II

Impossible Diagrams, Plastique Fantastique: Installation, Day I

Seven Photographs in Seven Days

POP UP CRIT #2 (10/04/11): Eva Kalpadaki, Talulah Miers and Ocean Zen

Seven Photographs in Seven Days

Demonstration

Grey Area will be on strike on Saturday 26th March in support of March for the Alternative

VOODOO CHANEL POP UP CRIT

VOODOO CHANEL - PART 2 - A CONVERSATION

Voodoo Chanel Launch, 04/03/11

Rework: Oddity and commodity

VOODOOFESTO

Voodoo Chanel coming soon...

Their Wonderlands, Curators' Talk and Stone Spells, 22/01/11

Their Wonderlands, Private View, 05/12/10

Their Wonderlands, Eloise Fornieles performance

occupant Carolyn Arnold

Their Wonderlands

(o) occupant

Occupant

Shaping Silence, Discussion event, 16/10/10

Shaping Silence, PV 02/10/10

Shaping Silence

The Butler's Cough, Installation images

Forthcoming Spoken Word Event - October

Songs of my Lap, Milly and Mid-West Blues

Simon Morse

Review for 'The Butler's Cough'

MEANING DECORATION MASS, Installation images

The Butler's Cough

MEANING DECORATION MASS Discussion

Photo Fringe Exhibition - October 2010

MEANING DECORATION MASS, PV 13/8/10

Future exhibition: The Butler's Cough

MEANING DECORATION MASS

Bunker beautiful installation

Bunker beautiful PV, 23/07/10, 7-9pm

Bunker beautiful

Swamp Salon, Paige Perkins

Swamp Salon

Territories – Grace Siregar performance

Mini Works, 4/6/10

Third Floor Right, 3 - 14/5/10

Third Floor Right, 3 - Floor Plan

Third Floor Right, 3

Martha Rosler reads Vogue, Artist talk, 20/3/10

Bob & Roberta Smith in Conversation

Martha Rosler reads Vogue, PV, 12/3/10, 7pm

Martha Rosler reads Vogue, Installation images

Territories – Grace Siregar

So It Comes And Goes

Active Crossover, Closing Performances, 28.02.10, 7.30pm

Review

23 September – 30 September 2011
Brighton