http://angus-hughes.com www.angus-hughes.com Sun, 07 Apr 2013 10:13:24 +0000 http://angus-hughes.com en http://www.angus-hughes.com/untitled-male-id http://www.angus-hughes.com/following/angus-hughes.com/untitled-male-id Sun, 07 Apr 2013 10:13:24 +0000 www.angus-hughes.com 5325986 Curated by William Angus-Hughes Lisa Ivory | Fred Lindberg | Zachari Logan | Adamo Macri | Lee Maelzer | Jonathan McLeod Melanie Manchot | Minou Norouzi | Robert Siegelman | Matthew Stradling Private View: Friday 12 April, 6-9pm Exhibition Continues: until 12 May Friday to Sunday 12-6pm, or by appointment <img src="http://payload151.cargocollective.com/1/3/116300/5325986/552768_10200939582721670_1832917985_n_560.jpg" width="560" height="550" width_o="720" height_o="708" src_o="http://payload151.cargocollective.com/1/3/116300/5325986/552768_10200939582721670_1832917985_n_o.jpg" data-mid="28801072" border="0" align="left"/> "The point of this show is to speak about the concept, the make-up, the visibility, the internal/external substance that is tied to being male. The male presence is prevalent in the world, but its meaning is not open for discussion, other than on the level of divisions as being chauvinists and war mongers. The language simply does not exist. Too much focus has been made about the differences between the sexes, why not point out our sameness, what we have in common, rather than a boy and girl teenage scenario of who’s better. The dysfunction of the contemporary male seems a universal condemnation, he is bound by his own history. The work presented, stands apart from who has made it, in the sense that the voice of female, male, heterosexual, homosexual, lesbian or trans gender is not a specific issue. All the work is about the acknowledgement of the peripheries that are a part of masculine identity, for no other reason than that it may be of interest and might toy with some other insights. Freedom is about being allowed to be yourself, as whoever you wish to see yourself as. Being male or female should not be a competition, it is about our similarities, and our different needs. We have a lot of common ground, we must stop buying into the games that society and culture have set for us. The show hopefully has a certain understood surface, but has depth if you wish to dig deeper. It is not meant to be conclusive but merely a starting point. I for one am fed up with meeting broken people – and for what - other than bourgeoisie media, stereotype garbage which pushes values of how you are meant to be. This show is about opening up, not closing down conversations – the building of a dialogue, to move forward towards a shared empathy between each other." - William Angus-Hughes Curated by William Angus-Hughes Lisa Ivory | Fred Lindberg | Zachari Logan | Adamo Macri | Lee Maelzer | Jonathan McLeod Melanie Manchot | Minou Norouzi | Robert... http://www.angus-hughes.com/At-the-Edges http://www.angus-hughes.com/following/angus-hughes.com/At-the-Edges Tue, 12 Feb 2013 06:12:27 +0000 www.angus-hughes.com 4960619 Co-curated by the exhibiting artists Hannah Brown | Gary Colclough | Boo Ritson | Jane Ward Private View: Friday 1 March, 6-9pm Exhibition Continues: 2 – 31 March Friday to Sunday 12-6pm, or by appointment <img src="http://payload133.cargocollective.com/1/3/116300/4960619/At The Edges flyer_560.png" width="560" height="426" width_o="567" height_o="432" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/At The Edges flyer_o.png" data-mid="26557089" border="0" align="left"/> At the Edges brings together the work of four artists that explore shifting visions of the landscape and the discourse around how these images are experienced. Taking into consideration the nature of representation as much as the representation of nature, the works investigate the mediated image of the landscape, addressing the relationship between the actual and the imagined across combinations of images and objects. Presented in the exhibition are interconnected depictions of the natural world; a collection of fictions that weave idyllic, familiar and dystopian visions, through models of conscious fabrication, that together inquire into our relationship to our environment. Hannah Brown’s paintings and sculptures draw on the omnipresent legacy of the English landscape tradition. Working within and against this framework she presents carefully edited interpretations of seemingly bucolic scenes. Her oil paintings depict versions of our landscape, emptied of people and obvious signs of life, under a familiar flat grey English light. Her sculptures function as physically present motifs that refer back to the paintings and the tradition of idealized versions of nature manufactured for domestic display. Gary Colclough’s works consider the act of looking, and how looking relates to understanding. His sculptures present hand-drawn images within spatial and temporal arrangements that mediate the viewers’ experience of the image. Drawing on references to the Arts and Craft furniture, esoteric geometry, and optical contraptions, his diagrammatic structures function as both as spatial sculptures and presentation devices for drawings. The images in his work, meticulously rendered in coloured pencil, explore the allure of the depiction of nature, through the evocation of early natural history illustrations. Boo Ritson’s recent sculptural works, explore vistas of romantic American landscapes, filtered through references to constructed environments that draw on photography, collage and landscape painting. Simultaneously functioning as images and object, Ritson’s constructions are collaged from pictures originally taken at her home in Chesham; the American picturesque filtered through a very British lens. Her works often take on the appearance of artificial environments that populate video games and virtual reality. Fabricated landscapes, both familiar and slightly ominous, create settings in which the unknown may manifest. Jane Ward’s images of imaginary and transient landscapes are at once both familiar and disturbing. They are constructed from digital photographs, which have been repeatedly broken down and collaged, printed and then manipulated by hand. The images bear the traces of earlier actions and forms, imbuing the works with a sense of memory and the passage of time. Ward’s working process and the resultant images allude to the cycles of destruction and regeneration witnessed in our everyday surroundings. At the Edges is accompanied by a publication featuring an essay by Graham Crowley. Photographs by Nancy Elser Installation Views <img src="http://payload133.cargocollective.com/1/3/116300/4960619/01 At the Edges- Installation view from front_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/01 At the Edges- Installation view from front_o.jpg" data-mid="27863624" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/02 At the Edges- Installation View from back_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/02 At the Edges- Installation View from back_o.jpg" data-mid="27863630" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/03 At the Edges- Installation view_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/03 At the Edges- Installation view_o.jpg" data-mid="27863632" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/04 At the Edges- Installation view_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/04 At the Edges- Installation view_o.jpg" data-mid="27863636" border="0" align="left"/> Hannah Brown <img src="http://payload133.cargocollective.com/1/3/116300/4960619/07 At the Edges- Hannah Brown- Model for a Mute Triangulation Pillar- 2013- Cement- plaster- sand- wood- glue- paint- 102 x 62 x 62 cm_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/07 At the Edges- Hannah Brown- Model for a Mute Triangulation Pillar- 2013- Cement- plaster- sand- wood- glue- paint- 102 x 62 x 62 cm_o.jpg" data-mid="27863674" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/08 At the Edges- Hannah Brown- Model for a Mute Triangulation Pillar detail_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/08 At the Edges- Hannah Brown- Model for a Mute Triangulation Pillar detail_o.jpg" data-mid="27863677" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/16 At the Edges- Hannah Brown_10_560.jpg" width="560" height="373" width_o="1177" height_o="786" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/16 At the Edges- Hannah Brown_10_o.jpg" data-mid="27863863" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/17 At the Edges- Hannah Brown_11_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/17 At the Edges- Hannah Brown_11_o.jpg" data-mid="27863940" border="0" align="left"/> Gary Colclough <img src="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 060_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 060_o.jpg" data-mid="27863706" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 118_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 118_o.jpg" data-mid="27863711" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/15 At the Edges- Gary Colclough_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/15 At the Edges- Gary Colclough_o.jpg" data-mid="27863715" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/09 At the Edges- Gary Colclough- Spear- 2012- Coloured pencil- paper- wood- 98 x 150 x 150 cm_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/09 At the Edges- Gary Colclough- Spear- 2012- Coloured pencil- paper- wood- 98 x 150 x 150 cm_o.jpg" data-mid="27863713" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 114_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/At the Edges 114_o.jpg" data-mid="27863707" border="0" align="left"/> Boo Ritson <img src="http://payload133.cargocollective.com/1/3/116300/4960619/14 At the Edges- Boo Ritson_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/14 At the Edges- Boo Ritson_o.jpg" data-mid="27863728" border="0" align="left"/> Jane Ward <img src="http://payload133.cargocollective.com/1/3/116300/4960619/05 Jane Ward- Impact Scars- 2009- Digital print on canvas with dissolved ink- 125 x 95 cm_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/05 Jane Ward- Impact Scars- 2009- Digital print on canvas with dissolved ink- 125 x 95 cm_o.jpg" data-mid="27863654" border="0" align="left"/><img src="http://payload133.cargocollective.com/1/3/116300/4960619/06 At the Edges- Jane Ward- This Horizontal Landscape- 2010- Digital print on canvas with dissolved ink- 95 x 125 cm_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload133.cargocollective.com/1/3/116300/4960619/06 At the Edges- Jane Ward- This Horizontal Landscape- 2010- Digital print on canvas with dissolved ink- 95 x 125 cm_o.jpg" data-mid="27863658" border="0" align="left"/> All rights reserved. Please contact nancy@alisn.org for premission if you intend to use any of these images Co-curated by the exhibiting artists Hannah Brown | Gary Colclough | Boo Ritson | Jane Ward Private View: Friday 1 March, 6-9pm Exhibition Continues: 2 – 31... http://www.angus-hughes.com/Determinant http://www.angus-hughes.com/following/angus-hughes.com/Determinant Mon, 21 Jan 2013 13:46:55 +0000 www.angus-hughes.com 4803021 Curated by William Angus-Hughes Hanz Hancock | Sayshun Jay | Patrick Morrissey Private View: Friday 25 January 6-9pm Exhibition Continues: 26 January - 17 February Friday to Sunday 12-6pm, or by appointment <img src="http://payload125.cargocollective.com/1/3/116300/4803021/Thumb_560.jpg" width="560" height="164" width_o="636" height_o="187" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/Thumb_o.jpg" data-mid="25719168" border="0" align="left"/> New works by Hanz Hancock, Sayshun Jay and Patrick Morrissey Hanz Hancock has worked recently in close proximity to Morrissey on a number of projects. Hancocks work is preoccupied by experimentation with multiples within a grid. The works, which are seemingly 2D,ultimately register their subtle three dimensionality in the form of kinetic exchange which occurs with the viewer. Both artists work may be said to have many concerns, notwithstanding the physiological aspects of perception, and are intensely wrought to induce meditative contemplation/ physiological response Sayshun Jay makes constrained videos. His sculpture combines experimental videos placing chaos and noise into a relationship with tone and emptiness. Patrick Morrissey is a multi-disciplinary artist who works from a filmic aesthetic. His practice moves between painting and installation via film, and for this show, he presents a series of paintings whose formal abstraction provides a vehicle for the exploration of numeric/ geometric systems which aggregate to form kinetic mass in a series of statements . Morrissey’ practice, demonstrates some of the concomitant attributes of international Reductivism. The use of systems , geometric composition/elements, repetition, random intervention and elimination, are all utilised. Photographs by Sayshun Jay and Patrick Morrissey. <img src="http://payload125.cargocollective.com/1/3/116300/4803021/01_560.jpg" width="560" height="427" width_o="1200" height_o="916" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/01_o.jpg" data-mid="27723870" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/02_560.jpg" width="560" height="352" width_o="1200" height_o="756" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/02_o.jpg" data-mid="27723874" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/03_560.JPG" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/03_o.JPG" data-mid="27723880" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/04_560.JPG" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/04_o.JPG" data-mid="27723882" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/05_560.JPG" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/05_o.JPG" data-mid="27723885" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/06_560.JPG" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/06_o.JPG" data-mid="27723888" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/09_560.JPG" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/09_o.JPG" data-mid="27723902" border="0" align="left"/><img src="http://payload125.cargocollective.com/1/3/116300/4803021/10_560.jpg" width="560" height="420" width_o="1200" height_o="900" src_o="http://payload125.cargocollective.com/1/3/116300/4803021/10_o.jpg" data-mid="27723905" border="0" align="left"/> All rights reserved. Please contact mail@angus-hughes.com if you intend to use any of these images. Curated by William Angus-Hughes Hanz Hancock | Sayshun Jay | Patrick Morrissey Private View: Friday 25 January 6-9pm Exhibition Continues: 26 January - 17... http://www.angus-hughes.com/Urban-Observations-Los-Angeles http://www.angus-hughes.com/following/angus-hughes.com/Urban-Observations-Los-Angeles Wed, 12 Dec 2012 17:44:05 +0000 www.angus-hughes.com 4602158 Selected by Adam Hyman for Sheffield Fringe Friday 11 January 7pm <img src="http://payload115.cargocollective.com/1/3/116300/4602158/Gary Beydler - VenicePier03 smaller_560.jpg" width="560" height="417" width_o="2048" height_o="1525" src_o="http://payload115.cargocollective.com/1/3/116300/4602158/Gary Beydler - VenicePier03 smaller_o.jpg" data-mid="24528270" border="0" align="left"/> Gary Beydler, "Venice Pier", 1976 Sheffield Fringe and Angus-Hughes Gallery are pleased to present an evening of films selected by Los Angeles Filmforum's Adam Hyman. The programme includes recently rediscovered films previously unseen in the UK alongside contemporary works that reframe the recent past and explore the kaleidoscopic expanse of Los Angeles’ geography. Urban Observations – Los Angeles uncovers how alternate visions of Los Angeles were forged by multiple generations of experimental filmmakers. All these works are non-fiction, but none fit common documentary modes. How does one see the many facets of any city, and what are some of the possibilities of conveying those observations through film? Two portraits of markets in different parts of the city have different objectives. Grand Central Market, directed by William Hale and photographed by Haskell Wexler for the US Information Agency in 1963 propagates without commentary the harmonious mingling of races in downtown Los Angeles. Shoppers Market - a recently rediscovered masterpiece made in the same year by John Vicario whilst he was still a student at UCLA - casts a playfully critical glance at supermarket shopping. As Ken Eisenstein points out, Vicario’s sound design gives pleasure to our ears; by far the more sensitive in the cinematic experience. The diversity of different visions of the LA cityscape is further revealed via a meditation on the last drive-in movie theatre in Los Angeles in Laura Kraning’s film Vineland (2009), “serving as an emblematic space, where a collision of realities takes place”. Glimpses of the city from buses and their denizens create the backdrop to isolation, routine and everyday splendor as described by Alexandra Cuesta in her film Piensa En Mi (2009). And a latent history of the birth of the Jet Propulsion Laboratory and the occult is explored in Devil’s Gate (2011), again by Laura Kraning. Finally Venice Pier, Gary Beydler’s film from 1976, is a conceptual masterpiece and a ‘cinematic walk’ on Venice Pier, majestically documenting the course of a whole year. Adam Hyman is a documentary filmmaker and executive Director for Los Angeles Filmforum, the longest-running showcase for independent, experimental and progressive moving-image art in Southern California. lafilmforum.org. This programme was first screened on 15 June 2012 at the Void Cinema, Sheffield Hallam University as part of Sheffield Fringe. Supported by Los Angeles Filmforum, Canyon Cinema and Goldsmiths College. Sheffield Fringe is an artist-led curatorial project exploring the intersection of art & documentary practices, through screenings, talks, exhibitions and research, presented in partnership with Openvizor. Openvizor is a UK based non-profit arts and cultural organisation fostering collaborations through projects with individual artists, local communities, activists, and institutions around the world. For further information and artist biographies please visit sheffieldfringe.com Selected by Adam Hyman for Sheffield Fringe Friday 11 January 7pm Gary Beydler, "Venice Pier", 1976 Sheffield Fringe and Angus-Hughes Gallery are pleased to... http://www.angus-hughes.com/Sudo-Document http://www.angus-hughes.com/following/angus-hughes.com/Sudo-Document Sun, 02 Dec 2012 17:15:25 +0000 www.angus-hughes.com 4538359 Curated by The Modern Language Experiment Cathy Lomax | Colin Perry | Jon Cairns 8th December - Cathy Lomax 3 - 4.30pm 9th December - Colin Perry 1 - 2.30pm 9th December - Jon Cairns 3 - 4.30pm The Modern Language Experiment will hold the second part of their lecture programme 'sudo document' at Angus-Hughes Gallery. Cathy Lomax, Colin Perry & Jon Cairns will each give a lecture about their current research. SATURDAY 8TH DECEMBER 2012, 3 - 4.30pm CATHY LOMAX Is an artist and Director of Transition Gallery based in east London. Transition is an independent and innovative gallery/publisher founded in October 2002. The gallery shows work by both emerging and established contemporary artists as well as producing publications and periodicals. Cathy's lecture will be about: The traditional gallery system is distasteful – gentleman gallerists carousing with oligarchs to flog overpriced artworks by artists who often profess to have a social conscience. The alternative is working within the subsidised arts where securing funding is a prize only awarded to those who know how to play the game. The whole system is full of contradictions and being an artist is as hard as it always has been. Artists need to take control and devise new models – stop the researching and the empty words and start doing. The way forward is not to compartmentalise but to integrate the making, showing, working and watching. SUNDAY 9TH DECEMBER 1 - 2.30PM COLIN PERRY Is a freelance art writer based in London, UK. Colin writes reviews and profiles for Art Monthly, Frieze, ArtReview, Art in America, Modern Painters, Catalogue magazine, MAP, and catalogue texts. Currently he is working part-time as an editor at Phaidon and has presented talks with artists and academics, organised film screenings, and collaborated with artists on texts and performances. For his lecture Colin will be discussing: Into the mainstream: Experimental film and video on TV In recent years, there has been a growing interest in artistic strategies for intervening in broadcast television. At the same time, there has also been a expanding fascination with typologies of documentary film and video, with essay-film formats appearing in galleries across the global art network. These forms have an entwined history that is rarely discussed; their existence has important implications for how we produce and consume artistic forms and for how artistic production is funded. There is a long history of experimental documentary in Britain, from the GPO to Channel Four’s investment in experimental film and video. But these changes have not taken place ‘top-down’. Rather, artists to have been able to win funding by forming pressure groups and collectives and combining across sectarian divides. This history shows that – even in a recession – the power of combination and collectivity can create opportunities for art beyond the commercial sphere. The talk will explore these concerns, using the works of Stuart Marshall and Marc Karlin as an example. SUNDAY 9TH DECEMBER 3 - 4.30PM JON CAIRNS Is Co-ordinator of Critical Studies for BA Fine Art at Central St. Martins. Jon's work in the last few years has engaged with queer historiography and the ambivalence of interpretation, hinging on the mobile relationships between photography and performance, and between ‘fact’ and ‘fiction’. For his lecture Jon will be discussing: Feeling Your Way: art, affect and value in times of recession There has been a renewed urgency to questions of value in the context of cultural retrenchment (brought on by cuts to arts funding, education spending etc) and the consequent threat of a return to old hierarchies of class and access when it comes to the production of fine art. In the course of my research for a special issue of Visual Culture in Britain, I have come into contact with numerous small and independent artist-run initiatives, who have repeatedly stressed the value and importance of collaboration, informality and surprise. I note a frequent prioritisation of ‘content’ and the critical encounter with art over the usual exigencies of commerce and funding. The significance of the intuitive, the experiential, the quality and range of audience response may be perennial concerns, but I wonder whether this emphasis on the ‘affective’ structures of art – its display, how we interact with it and come to understand it – has a particular resonance right now. What kind of affective communities does art solicit and construct today? What might affect’s political value be in a moment of cultural crisis? This weekend will be the final series in the programme and we would like to thank all the contributers in giving over their time to the project and allowing us an insight into their important research. We would also like to warmly thank Goldsmiths, Univeristy of London's Annual Fund for their kind support for 'sudo document'. For more information contact@modernlanguageexperiment.org www.modernlanguageexperiment.org Sudo document Sudo, in its purest form, evokes ownership ‘su’ and action ‘do’. As the education sector in the UK moves into a new unprecedented period of change we feel that it is important to take ownership of our own educational paths and evoke action. We are pleased to present “sudo document”, an educational programme consisting of a series of lectures and talks that will allow accessibility to the thoughts, ideologies and pedagogical studies of important Curators, Artists and Gallerists throughout the UK working both independently or through institutions. These lectures, once presented, will be edited and broadcast immediately online serving as both a ‘sudo document’ and a reference video to be viewed at all times. These lectures and talks will then form a publication that will be launched after the educational programme is completed; this will feature an over view of the programme as well as artworks and writings from all the contributors. This will be made available for reference at insitutional libraries (Goldsmiths College, Central St.Martins) and also for sale in bookshops. Lecture programme for December 2012 at Angus-Hughes Gallery 8th December - Cathy Lomax 3 - 4.30pm 9th December - Colin Perry 1 - 2.30 pm 9th December - Jon Cairns 3 - 4.30pm Past lecture programme for August - September 2012 at Lubomirov-Easton 31st August - Mark Jackson 6.30 – 8pm 8th September – Cedar Lewisohn 3 – 4pm 15th September – Carlos Noronha Feio 3 – 4.30pm Carlos Noronha Feio - Has a diverse practice that includes actions, performance, video, drawing, painting, photography and installation as research into cultural, local and global identity. He frequently adopts culturally significant images, locations and symbols as a form of creative interference with meaning, and demonstrates the almost arbitrary nature in which cultural significance is adopted or interpreted. Noronha Feio runs The Mews Project Space, an artist run project in an out building located in an alley at the back of the newly refurbished Whitechapel Art Gallery. He is currently doing a PhD at the Royal College of Art where he is researching dispositifs that artists and non artists alike can assimilate and disseminate. Enabling them to employ in a non abstract manner, strategies that empower the individual in relation to the modern state, to the Sovereign. For this talk, Noronha Feio will be speaking about his Art4Debt project, and the way that utilising the language of finance a sense of true Global citizenry, of borderlesness and real accountability can be reached. Cathy Lomax - Is an artist and Director of Transition Gallery. Transition is an independent and innovative gallery and publisher founded in October 2002. The gallery shows work by both emerging and established contemporary artists as well as producing publications and periodicals. Cathy's lecture will be about: The traditional gallery system is distasteful – gentleman gallerists carousing with oligarchs to flog overpriced artworks by artists who often profess to have a social conscience. The alternative is working within the subsidised arts where securing funding is a prize only awarded to those who know how to play the game. The whole system is full of contradictions and being an artist is as hard as it always has been. Artists need to take control and devise new models – stop the researching and the empty words and start doing. The way forward is not to compartmentalise but to integrate the making, showing, working and watching. Cedar Lewisohn – Is an artist and curator based in London. He curated the exhibition Street Art at Tate Modern in 2008 and co-curated the exhibition Rude Britannia at Tate Britain in 2010. In 2010 he co-curated the UK touring exhibition Orbitecture and in 2012 he curated the exhibition Les Flaur de Mal at the BWA Gallery, Wrocław , Poland. In 2008 he wrote the book, Street Art: The Graffiti Revolution (Tate), and in 2011 his book Abstract Graffiti was published by Merell. Cedar will be speaking about his art practice and how this informs his curatorial practice. Colin Perry - Is a freelance art writer based in London, UK. Colin writes reviews and profiles for Art Monthly, Frieze, ArtReview, Art in America, Modern Painters, Catalogue magazine, MAP, and catalogue texts. Currently he is working part-time as an editor at Phaidon and has presented talks with artists and academics, organised film screenings, and collaborated with artists on texts and performances. For his lecture Colin will be discussing: Into the mainstream: Experimental film and video on TV In recent years, there has been a growing interest in artistic strategies for intervening in broadcast television. At the same time, there has also been a expanding fascination with typologies of documentary film and video, with essay-film formats appearing in galleries across the global art network. These forms have an entwined history that is rarely discussed; their existence has important implications for how we produce and consume artistic forms and for how artistic production is funded. There is a long history of experimental documentary in Britain, from the GPO to Channel Four’s investment in experimental film and video. But these changes have not taken place ‘top-down’. Rather, artists to have been able to win funding by forming pressure groups and collectives and combining across sectarian divides. This history shows that – even in a recession – the power of combination and collectivity can create opportunities for art beyond the commercial sphere. The talk will explore these concerns, using the works of Stuart Marshall and Marc Karlin as an example. Jon Cairns - Is Co-ordinator of Critical Studies for BA Fine Art at Central St. Martins. Jon's work in the last few years has engaged with queer historiography and the ambivalence of interpretation, hinging on the mobile relationships between photography and performance, and between ‘fact’ and ‘fiction’. For his lecture Jon will be disscussing: Feeling Your Way: art, affect and value in times of recession There has been a renewed urgency to questions of value in the context of cultural retrenchment (brought on by cuts to arts funding, education spending etc) and the consequent threat of a return to old hierarchies of class and access when it comes to the production of fine art. In the course of my research for a special issue of Visual Culture in Britain, I have come into contact with numerous small and independent artist-run initiatives, who have repeatedly stressed the value and importance of collaboration, informality and surprise. I note a frequent prioritisation of ‘content’ and the critical encounter with art over the usual exigencies of commerce and funding. The significance of the intuitive, the experiential, the quality and range of audience response may be perennial concerns, but I wonder whether this emphasis on the ‘affective’ structures of art – its display, how we interact with it and come to understand it – has a particular resonance right now. What kind of affective communities does art solicit and construct today? What might affect’s political value be in a moment of cultural crisis? Mark Jackson – Is a curator both at IMT Gallery, which he co-founded in 2005, and independently. After receiving a First in Fine Art Painting at the University of East London he studied an MA in Fine Art Media at the Slade School of Fine Art, specialising in sound and audiovisual practice. He has a particular interest in inter-disciplinary practice and is also an associate lecturer at London College of Communication where he is currently writing up his PhD. His research considers the experiments with sound and concepts of space of William S. Burroughs in the '60s and '70s as the basis for a curatorial strategy for sound art. His research has led to him curating exhibitions around previously unexhibited work by William Burroughs: Dead Fingers Talk at IMT Gallery in 2010, which toured to Galleri Box, Gothenburg, in 2012, Silencer at Payne Shurvell, London, in 2010 and the recent Swarms of Black Flies Make the Roses Purple at IMT Gallery in 2012. Mark is a frequent guest speaker and lecturer in a broad range of fields including fine art, arts funding, music and curating, and was visiting professor at Trinity College of Music in 2004. He is currently working on the forthcoming programme of exhibitions at IMT Gallery alongside projects at Angus-Hughes Gallery and the London College of Communication. For his lecture he will be discussing the relationship between his role as curator at IMT Gallery and his PhD research. We would like to thank Goldsmiths, University of London's annual fund for their kind support. Curated by The Modern Language Experiment Cathy Lomax | Colin Perry | Jon Cairns 8th December - Cathy Lomax 3 - 4.30pm 9th December - Colin Perry 1 - 2.30pm 9th... http://www.angus-hughes.com/3954607 http://www.angus-hughes.com/following/angus-hughes.com/3954607 Mon, 01 Oct 2012 03:30:54 +0000 www.angus-hughes.com 3954607 Curated by Mark Jackson, Curator at IMT Gallery Carlos Noronha Feio | Flore Nové-Josserand | Alejandro Ospina | NaoKo TakaHashi Private View: Friday 5 October, 6-9pm Exhibition Continues: 6 October – 4 November Friday to Sunday 12-6pm, or by appointment <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand image_560.jpg" width="560" height="346" width_o="1581" height_o="978" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand image_o.jpg" data-mid="20666516" border="0" align="left"/> Like the climax of Shinya Tsukamoto’s 1989 film Tetsuo, from which the exhibition gets its name, 俺たちの愛情で世界中を燃えあがらせてやるぜ。やりまくるぞ。is about merger. In the case of Tetsuo it is between a salaryman and a fetishist; one tied into commerce and corporations, the other a shamanistic punk capable of extraordinary powers of transformation. Perhaps art is locked in a similar conflict between commodity and fetish, a composition of money and magic. Perhaps that's the deal. Or perhaps these forces combine to let an uncanny state of amity emerge from impossible conflicts, a state from which to take apart the world. That was the curatorial proposition. The work in the exhibition may be something different. I am writing this in the summer. It is hot and the Olympics have just come to an end. It is autumn at the exhibition, and the Frieze Art Fair is opening in Regent's Park. Carlos Noronha Feio (born 1981, in Portugal) completed an MRes (Masters of Research) Arts Practice at the University of the Arts London, an M.A Fine Art at Middlesex University, London and is currently undertaking a PhD at the Royal College of Art, London. He has exhibited and performed widely in the UK and abroad including the Whitechapel Gallery, London; the National Centre for Contemporary Art, Moscow; Navicula Artis, Saint Petersburg; Milton Keynes Gallery, Milton Keynes; Colchester Art Centre, Colchester; Abrons Art Centre, New York; Museu Nogueira da Silva, Braga; Fundação Calouste Gulbenkian and Fundação EDP in Lisbon and Centro cultural Helio Oiticica in Rio de Janeiro. Flore Nove-Josserand (born 1980, in France) studied at the Slade School of Fine Art and at Ecole Nationale Supérieure d’Art de Paris-Cergy, Cergy, France. She has exhibited in the UK and abroad including at the Siobhan Davies Studio, London; Bischoff/Weiss, London; V22, London; Analix Forever, Geneva and Geflitter+Partner Architecten, Munich. She has undertaken residencies at the Academy of Fine Art of Poznan, Skoki, Poland; Triangle France Residency, La Friche Belle de Mai, Marseille, France; Space, Malinalco, Mexico and most recently at The New Art Gallery Walsall in partnership with Eastside Projects. Alejandro Ospina (born, 1970 in Colombia) studied at the Slade School of Fine Art, the New York Studio School and Duke University. He has exhibited widely in the UK and the Americas including The Creekside Open selected by Victoria Miro; Paradise Row, London; Witzenhausen Gallery, New York; Nuevos Nombres (Luis Angel Arango), Centro Cultural Salamanca and Christopher Paschall XX21 Gallery, Bogota. NaoKo TakaHashi (born 1973 in Japan) studied at the Slade School of Fine Art and Chelsea College of Art and Design, London. She has exhibited and performed widely in the UK, Europe and the Middle East including Tate Modern, London; the Palais de Tokyo, Paris; the Whitechapel Gallery, London; the Centre for Contemporary Art, Glasgow; Riso Museo d’arte Contemporanea Della Sicilia, Palermo; Nikolaj Copenhagen Contemporary Art Centre, Copenhagen; Bozar, Brussels; Darat Al Funun, The Khalid Showman Foundation, Amman, Jordan; Al Ma’mal Foundation for contemporary Art, Jerusalem; the 3rd Thessaloniki Biennale of Contemporary Art, Greece, and in the first major trilingual biennale in North Africa, the 3rd AiM International Biennale, Marrakesh. mail@imagemusictext.com www.imagemusictext.com/ Photographs by Iavor Lubomirov Alejandro Ospina The Brazilian Golddiggers and the American One-legged Sportsman 2012 Oil on Canvas <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Alejandro Ospina- The Brazilian Golddiggers and the American One-legged Sportsman- 2012- Oil on Canvas_560.jpg" width="560" height="377" width_o="1003" height_o="676" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Alejandro Ospina- The Brazilian Golddiggers and the American One-legged Sportsman- 2012- Oil on Canvas_o.jpg" data-mid="22743366" border="0" align="left"/> Alejandro Ospina The Flood and the Magic Wand 2012 Oil on Canvas <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Alejandro Ospina- The Flood and the Magic Wand- 2012- Oil on Canvas_560.jpg" width="560" height="373" width_o="1057" height_o="705" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Alejandro Ospina- The Flood and the Magic Wand- 2012- Oil on Canvas_o.jpg" data-mid="22743368" border="0" align="left"/> Flore Nove-Josserand Reclining Bird 2012 Mixed media <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Reclining Bird- 2012- Mixed media_560.jpg" width="560" height="373" width_o="1103" height_o="735" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Reclining Bird- 2012- Mixed media_o.jpg" data-mid="22743385" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Reclining Bird- 2012- Mixed media Detail_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Reclining Bird- 2012- Mixed media Detail_o.jpg" data-mid="22743386" border="0" align="left"/> Alejandro Ospina The Flood and the Magic Wand Carlos Noronha Feio There Are Always More Worlds Beyond the New Ones (Birth and Fertility; Wheel of Desitny; Power; Good News) 2010 Arraiolos rug <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 1_560.jpg" width="560" height="373" width_o="1146" height_o="764" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 1_o.jpg" data-mid="22743389" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Carlos Noronha Feio- There Are Always More Worlds Beyond the New Ones Birth and Fertility- Wheel of Desitny- Power- Good News- 2010- Arraiolos rug Detail_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Carlos Noronha Feio- There Are Always More Worlds Beyond the New Ones Birth and Fertility- Wheel of Desitny- Power- Good News- 2010- Arraiolos rug Detail_o.jpg" data-mid="22743372" border="0" align="left"/> Flore Nove-Josserand Plateau 2012 Mixed media Flore Nove-Josserand Creamy Dawn 2012 Wallpaper Alejandro Ospina The Brazilian Golddiggers and the American One-legged Sportsman Flore Nove-Josserand B.I.S. 2012 Mixed media <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 2_560.jpg" width="560" height="373" width_o="1088" height_o="725" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 2_o.jpg" data-mid="22743391" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- B.I.S.- 2012- Mixed media detail 1_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- B.I.S.- 2012- Mixed media detail 1_o.jpg" data-mid="22743375" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- B.I.S.- 2012- Mixed media detail 2_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- B.I.S.- 2012- Mixed media detail 2_o.jpg" data-mid="22743378" border="0" align="left"/> Alejandro Ospina Barrio Motin / Yeime's Sky 2012 Oil on canvas Flore Nove-Josserand Plateau 2012 Mixed media <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 4_560.jpg" width="560" height="373" width_o="1058" height_o="705" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 4_o.jpg" data-mid="22743394" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Plateau- 2012 Detail 2_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Plateau- 2012 Detail 2_o.jpg" data-mid="22743381" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Plateau- 2012 Detail_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Flore Nove-Josserand- Plateau- 2012 Detail_o.jpg" data-mid="22743382" border="0" align="left"/> Flore Nove-Josserand Creamy Dawn 2012 Wallpaper Alejandro Ospina The Brazilian Golddiggers and the American One-legged Sportsman Flore Nove-Josserand Reclining Bird 2012 Mixed media <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 8_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 8_o.jpg" data-mid="22743405" border="0" align="left"/> Naoko TakaHashi Repetition of Uncoded 2012 Mixed media installation with video Video commissioned for POLYply, London P.O.A <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Naoko TakaHashi- Repetition of Uncoded- 2012- Mixed media installation with video- Video commissioned for POLYply- London P.O.A_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Naoko TakaHashi- Repetition of Uncoded- 2012- Mixed media installation with video- Video commissioned for POLYply- London P.O.A_o.jpg" data-mid="22743406" border="0" align="left"/> Naoko TakaHashi False Awakening of the Alienation 2012 Mixed media with fabric, wristbands, stepladder and drawing <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 6_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 6_o.jpg" data-mid="22743399" border="0" align="left"/> Installation Views <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 5_560.jpg" width="560" height="375" width_o="1149" height_o="771" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 5_o.jpg" data-mid="22743397" border="0" align="left"/> <img src="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 3_560.jpg" width="560" height="384" width_o="1052" height_o="722" src_o="http://payload82.cargocollective.com/1/3/116300/3954607/Installation 3_o.jpg" data-mid="22743393" border="0" align="left"/> Curated by Mark Jackson, Curator at IMT Gallery Carlos Noronha Feio | Flore Nové-Josserand | Alejandro Ospina | NaoKo TakaHashi Private View: Friday 5 October,... http://www.angus-hughes.com/Product-Placement http://www.angus-hughes.com/following/angus-hughes.com/Product-Placement Wed, 01 Aug 2012 11:09:36 +0000 www.angus-hughes.com 3815472 Curated by Mark Selby Irene Alvarez + Rafel Oliva | Gordon Cheung + James Cadogan | Alex Chinneck + Kim Thome | Richard Cramp + Luke Smith-Wightman | Corinne Felgate & Ludovica Gioscia (Factice) + Oscar Wanless & Attua Aparicio (Silo Studio) | Harry Meadows + Max Frommeld Plus William Smith & Rachael Davies Private View: Friday 7 September, 6-9pm Exhibition Continues: 8 September - 30 September Friday to Sunday 12-6pm, or by appointment <img src="http://payload75.cargocollective.com/1/3/116300/3815472/PR Image.jpg" width="560" height="294" width_o="560" height_o="294" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/PR Image_o.jpg" data-mid="19866706" border="0" align="left"/> Product Placement brings together a range of artists and product designers who share an interest in how objects are made, displayed and sold in contemporary culture. The exhibition explores the processes of production and marketing commodities, but on a wider scale, how (and by whom) participation in consumer activity is structured or framed. Each artist and product designer has been ‘paired’ in order to produce a new object, multiple or edition for the exhibition. Via their cross-disciplinary collaboration, new and combined working processes will be found and explored. The resulting objects (perhaps neither product or artwork) are placed in a specifically constructed installation for the exhibition. Through an architectural re-working of the gallery, the space will become a parody of 'catalogue' stores - mimicking their structure of experience with catalogue kiosks, service point (with uniformed assistant) and market hall/storage space. Merging this structure into the space intends to amplify and question the functional similarities and behavioral prompts of gallery, retail and warehouse spaces. An accompanying publication will be launched on the opening night. Further information on the collaborators and the project can be found on the Product Placement Website: www.productandplacement.com/ Supported by <img src="http://payload75.cargocollective.com/1/3/116300/3815472/support logos small.jpg" width="545" height="64" width_o="545" height_o="64" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/support logos small_o.jpg" data-mid="20438056" border="0" align="left"/> <img src="http://payload75.cargocollective.com/1/3/116300/3815472/Design Trail.jpg" width="142" height="204" width_o="142" height_o="204" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/Design Trail_o.jpg" data-mid="20748230" border="0" align="left"/> Photographs by Mark Selby and Iavor Lubomirov Shop front William Smith Catalogue Kiosks (2012) <img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement1_560.jpg" width="560" height="420" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement1_o.jpg" data-mid="21519192" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement2_560.jpg" width="560" height="420" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement2_o.jpg" data-mid="21519196" border="0" align="left"/> Shop counter Rachael Davies Uniform Allowance (2012) Felt, thread, tissue and double sided tape <img src="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement3_560.jpg" width="560" height="420" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/1200px- ProductPlacement3_o.jpg" data-mid="21519199" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/04_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/04_o.jpg" data-mid="21801408" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/05_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/05_o.jpg" data-mid="21801411" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/06_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/06_o.jpg" data-mid="21801416" border="0" align="left"/> Store room Installation views <img src="http://payload75.cargocollective.com/1/3/116300/3815472/07_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/07_o.jpg" data-mid="21801427" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/08_560.jpg" width="560" height="373" width_o="932" height_o="621" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/08_o.jpg" data-mid="21801428" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/09_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/09_o.jpg" data-mid="21801431" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/10_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/10_o.jpg" data-mid="21801432" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/11_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/11_o.jpg" data-mid="21801436" border="0" align="left"/> Products Gordon Cheung + James Cadogan Sundial (2012) Laser cut sheets of glued newspaper (Financial Times) <img src="http://payload75.cargocollective.com/1/3/116300/3815472/12_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/12_o.jpg" data-mid="21801573" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/13_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/13_o.jpg" data-mid="21801577" border="0" align="left"/> Irene Alvarez How To Sculpt an A4 in 67 Pages (2012) Animated GIF (DVD transfer) <img src="http://payload75.cargocollective.com/1/3/116300/3815472/14_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/14_o.jpg" data-mid="21801584" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/15_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/15_o.jpg" data-mid="21801591" border="0" align="left"/> Rafel Oliva Sculpting the Landscape (2012) Tripods, fishing rod, binoculars, sunglasses and Polaroid <img src="http://payload75.cargocollective.com/1/3/116300/3815472/17_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/17_o.jpg" data-mid="21801602" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/16_560.jpg" width="560" height="379" width_o="1052" height_o="712" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/16_o.jpg" data-mid="21801592" border="0" align="left"/> Silo Studio (Oscar Wanless & Attua Aparicio) Mary and Eliza (2012) NSEPS polystyrene and polyethylene with disperse heat transfer dye <img src="http://payload75.cargocollective.com/1/3/116300/3815472/18_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/18_o.jpg" data-mid="21801606" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/19_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/19_o.jpg" data-mid="21801609" border="0" align="left"/> Corinne Felgate (Factice) Tenskwatawa, Osceola, Wovoka (2012) Flocked ceramics and human hair <img src="http://payload75.cargocollective.com/1/3/116300/3815472/20_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/20_o.jpg" data-mid="21801613" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/21_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/21_o.jpg" data-mid="21801618" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/22_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/22_o.jpg" data-mid="21801620" border="0" align="left"/> Kim Thome + Alex Chinneck Wax Tiles (2012) Melted wax crayons and board <img src="http://payload75.cargocollective.com/1/3/116300/3815472/23_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/23_o.jpg" data-mid="21801621" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/24_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/24_o.jpg" data-mid="21801622" border="0" align="left"/> Ludovica Gioscia (Factice) Pan-Stäck (2012) Screenprinted cardboard <img src="http://payload75.cargocollective.com/1/3/116300/3815472/26_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/26_o.jpg" data-mid="21801623" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/27_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/27_o.jpg" data-mid="21801625" border="0" align="left"/> Harry Meadows + Max Frommeld Pop-Pop Boats (2012) Boats produced by students from Bow School Die-cut cardboard and plastic (Packaging) <img src="http://payload75.cargocollective.com/1/3/116300/3815472/28_560.jpg" width="560" height="420" width_o="1200" height_o="900" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/28_o.jpg" data-mid="21801627" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/29_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/29_o.jpg" data-mid="21801629" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/30_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/30_o.jpg" data-mid="21801631" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/31_560.jpg" width="560" height="388" width_o="1340" height_o="930" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/31_o.jpg" data-mid="21801632" border="0" align="left"/> Richard Cramp + Luke Smith-Wightman Products 1-5 (2012) <img src="http://payload75.cargocollective.com/1/3/116300/3815472/32_560.jpg" width="560" height="373" width_o="1029" height_o="686" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/32_o.jpg" data-mid="21801635" border="0" align="left"/><img src="http://payload75.cargocollective.com/1/3/116300/3815472/33_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload75.cargocollective.com/1/3/116300/3815472/33_o.jpg" data-mid="21801638" border="0" align="left"/> Curated by Mark Selby Irene Alvarez + Rafel Oliva | Gordon Cheung + James Cadogan | Alex Chinneck + Kim Thome | Richard Cramp + Luke Smith-Wightman | Corinne... http://www.angus-hughes.com/There-will-be-others http://www.angus-hughes.com/following/angus-hughes.com/There-will-be-others Tue, 10 Jul 2012 03:53:20 +0000 www.angus-hughes.com 3283889 Curated by The Modern Language Experiment Jeremy Akerman | Paul O’Kane | Tina Hage | Thorsten Schneider | Magda Stanova | Karl Larsson Private View: Friday 20 July, 6-9pm Talk: Monday 30 July, from 7pm Exhibition Continues: 21 July - 30 July Friday to Sunday 12-6pm, or by appointment <img src="http://payload49.cargocollective.com/1/3/116300/3283889/TWBO-flyer small_560.jpg" width="560" height="373" width_o="670" height_o="447" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/TWBO-flyer small_o.jpg" data-mid="16838888" border="0" align="left"/> “There Will Be Others” is one of three shows that the Modern Language Experiment will be hosting at Angus Hughes Gallery. The show will be on from the 20th to 30th July 2012. The private view is on the 20th from 6pm to 9pm. The below is part of a conversation that Matt and Keh had when discussing the concept of the show. M In considering the title for this show “There Will Be Others” I am conscious not to take the angle of there will be others to mean there will be other artists in the show, but rather there will always be photography and that photography will always want to replicate it self or be taken to be a medium that refuses to go away; I don’t think photography suffers in the same way as say painting; it has different conversations as regards to its position but not whether its valid or not. K What’s different about photography and painting is that painting is always seen as an original. With regards to the title there will be others and what you said before about repetition holds true to photography rather then any other medium. I think photography and painting both suffer from an idea of deadness especially today, if they are not dead in some peoples eyes they are definitely half dead. Because they both come from a time of pre-modernity, pre-conceptual thinking in art so there is always skill level and aesthetic questions that deaden the work. M In the way that you don’t get that with new technologies or even sculpture K No because these operate in a post-modernity era. M That isn’t to say that photography is not capable of operating like that I think photography can relinquish its history easier then painting. K I think in terms of the title there will be others, its not necessarily about having other artists but other positions. What is interesting for me is how the concept for this was initially born from the discussion we had with Jeremy, Paul and Tina at Lo and Behold Gallery; it brought into focus not only important differing positions for the photographic image but also entry points for Magda, Karl and Thorsten to now contribute to this conversation. M But what does it (the title) conjure up I felt that it is quite open ended, and yet its suggestive and I like that and it does not necessarily pin itself down to photography. K So what we can say is that the way we process imagery today has changed. The frequency of image making (through the digital darkroom) has allowed for a vast freedom with printing, multiples. montage and retouching; the possibilities are now much freer. M But then you have the problem of quality; there are a lot of bad images out there. There is greater access to bad images (internet, iPhone). Photography is very happy to sit anywhere, its a bit of a whore really, its happy to sit with art and also happy to sit with bad documentation photography K but then in another context that same image could be a wonderful piece of art... M Yeah that is placement and context K I think photography suffers more then others. Which is why I think that Paul’s suggestion that the title (there will be others) incorporating an idea of the afterlife is actually very interesting. The afterlife is referencing a time outside of now, outside of the deadness of photography. M Your quite keen on the word afterlife, because you used it in your text before (aversion before this one) K I think its a good way of displacing the here and now M You used the term ‘in the afterlife of photography’, does that need more explanation than that, because thats assuming that we agree that photography is dead and we are only talking about its birth beyond that, if that is the case we need to make a position for why we think its dead. I don’t think I agree that photography is dead at all. K Well maybe its ‘in the afterlife of the original conversation’. M Well I am much more in to that. What is interesting for me is that as this stems from a conversation and we see this exhibition as a continuation of that, especially the panel discussion at the end, then it makes sense to allow the process to run and evolve and not suppress this process by stating a completeness. Of course this is still a position but one that i think is very exciting; this is an extreme model for a curatorial idea. K The interesting thing about photography today is that it can act as a catalyst rather then the final medium. Artists using photography without producing a photo is quite interesting to me. M Photography has always been used as a way to produce something else, artists have always used photography as a starting point to move into video, painting, sculpture. K But eventually they will all come to ask the same question if you have a photograph thats working on its own why would you need another medium to do it. M Because its the transformation, the photo is not the end point, the photo is just a part of the process towards the end point. K I agree i think its interesting when the photograph is the vehicle. K In terms of what we want for this show I would like a show where all the different artists bump into each other, reflect off each other causing friction and antagonism so that there is an uncomfortable harmony; any other artists that we bring in would add to that, they would cause another angle, deflection and worry. M I totally agree with that, for me what holds this show together is not curatorial or aesthetic ideology but for this show to have a conversation in another way, visual and verbal, and that it will not be complete it will be fractious and disjointed and will not easily come together. M So we want other artists in this show to.. K …..deflect, antagonise and disrupt the conversation M I agree, chaos and disharmony. contact@modernlanguageexperiment.org www.modernlanguageexperiment.org Talk, Monday 30 July, 7pm &#9835; there_will_be_others_talk.mp3 &nbsp;Play Exhibition Photographs by Keh Ng Tina Hage <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Tina Hage_560.jpg" width="560" height="373" width_o="720" height_o="480" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Tina Hage_o.jpg" data-mid="21361045" border="0" align="left"/> Tina Hage and Karl Larrsson <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Karl Larrsson and Tina Hage_560.jpg" width="560" height="376" width_o="720" height_o="484" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Karl Larrsson and Tina Hage_o.jpg" data-mid="21361087" border="0" align="left"/> Karl Larrsson <img src="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5262 colour corr_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5262 colour corr_o.jpg" data-mid="21361408" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5267 rotated cropped colour corr_560.jpg" width="560" height="361" width_o="617" height_o="398" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5267 rotated cropped colour corr_o.jpg" data-mid="21361480" border="0" align="left"/> Magda Stanova <img src="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5252_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5252_o.jpg" data-mid="21361134" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5258_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5258_o.jpg" data-mid="21361136" border="0" align="left"/> Magda Stanova and Jeremy Akerman <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Jeremy Akerman and Magda Stanova_560.jpg" width="560" height="351" width_o="720" height_o="452" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Jeremy Akerman and Magda Stanova_o.jpg" data-mid="21361171" border="0" align="left"/> Jeremy Akerman <img src="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5269_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/IMG_5269_o.jpg" data-mid="20668536" border="0" align="left"/> Magda Stanova and Paul O'Kane <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Paul O-Kane_560.jpg" width="560" height="373" width_o="720" height_o="480" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Paul O-Kane_o.jpg" data-mid="21361190" border="0" align="left"/> Paul O'Kane <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Paul O-Kane 2_560.jpg" width="560" height="420" width_o="2048" height_o="1536" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Paul O-Kane 2_o.jpg" data-mid="21361199" border="0" align="left"/> Thorsten Schneider <img src="http://payload49.cargocollective.com/1/3/116300/3283889/Thorsten Schneider_560.jpg" width="560" height="425" width_o="720" height_o="547" src_o="http://payload49.cargocollective.com/1/3/116300/3283889/Thorsten Schneider_o.jpg" data-mid="21361203" border="0" align="left"/> Curated by The Modern Language Experiment Jeremy Akerman | Paul O’Kane | Tina Hage | Thorsten Schneider | Magda Stanova | Karl Larsson Private View: Friday 20... http://www.angus-hughes.com/The-Bastard-Children-of-Pop http://www.angus-hughes.com/following/angus-hughes.com/The-Bastard-Children-of-Pop Fri, 22 Jun 2012 14:55:59 +0000 www.angus-hughes.com 3283842 Curated by The Modern Language Experiment Doug Fishbone | Ed Templeton | Horn Head | Jesse Darling | Keh Ng | Pure Evil | Warren Garland Private View: Friday 29 June, 6-9pm Screening of “Elmina”: Sunday 8 July, from 8pm Exhibition Continues: 30 June - 9 July Friday to Sunday 12-6pm, or by appointment <img src="http://payload49.cargocollective.com/1/3/116300/3283842/bcop copy small_560.jpg" width="560" height="400" width_o="600" height_o="429" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/bcop copy small_o.jpg" data-mid="16838622" border="0" align="left"/> “The artists’ job is to be witness to his time in history” Robert Rauschenberg Loser Art. Counter Culture. Subculture. Arte Povera. Street Art. DIY Art. Youth Art. Crap Art. Graffiti? Subversion... Interruption... Disruption.... The Bastard Children of Pop. Illegitimate. Below the radar. A bad taste in the mouth. The cracked mirror image of Pop, Neo Pop. All that is shiny and bright. And hollow. The witnesses. As Neo Pop emerged as the direct descendent of Pop Art, the proliferation of larger than life celebrity bling, wanton consumerism and hollow gesture filled galleries, magazines and festivals around the world. Golden statues of Michael Jackson and Bubbles, Tiger sharks frozen in formaldehyde or life size manga cartoon statues with lasso like semen reflected the decade of excess that was being referenced and reflected upon. Popular culture had never seemed more perverse. Money was no object in the creation of these idols. But there was an alternative faction forming within the Pop family. Subcultures had begun to emerge almost as soon as the term 'popular culture' had been termed. A desire to act in a contrary fashion to popular culture fuelled a growing group of artists who acted outside of and apparently against Pop. The slickness of Neo Pop was indeed a sickening sight to these artists and they began to use the leftovers and the discarded materials of their wealthier relatives. Where Neo Pop Artists revere Marvel comics, the Bastard children might reference internet pornography. Where Neo Pop artists might use diamonds, the Bastard Children used bathroom tiles. In our Age of Austerity, it seems apt to begin to collect some of the artists who are representative of this movement. And it is a large movement even if they have yet to recognise it themselves. This show is a dispirate, desperate collection of detritus that demands to be acknowledged as a record of our times. contact@modernlanguageexperiment.org www.modernlanguageexperiment.org Accompanying publication Photographs of the exhibition by Keh Ng Installation View <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4712_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4712_o.jpg" data-mid="19696362" border="0" align="left"/> Doug Fishbone <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4775 rotated_560.jpg" width="560" height="375" width_o="625" height_o="419" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4775 rotated_o.jpg" data-mid="19696722" border="0" align="left"/> Ed Templeton <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4745 cropped.jpg" width="559" height="507" width_o="559" height_o="507" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4745 cropped_o.jpg" data-mid="19696652" border="0" align="left"/> Horn Head <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4844_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4844_o.jpg" data-mid="19696375" border="0" align="left"/> Jesse Darling <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4757_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4757_o.jpg" data-mid="19696510" border="0" align="left"/> Keh Ng <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4907_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4907_o.jpg" data-mid="19696527" border="0" align="left"/> Pure Evil <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4744_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4744_o.jpg" data-mid="19696386" border="0" align="left"/> Warren Garland <img src="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4735_560.jpg" width="560" height="373" width_o="640" height_o="427" src_o="http://payload49.cargocollective.com/1/3/116300/3283842/IMG_4735_o.jpg" data-mid="19696404" border="0" align="left"/> Curated by The Modern Language Experiment Doug Fishbone | Ed Templeton | Horn Head | Jesse Darling | Keh Ng | Pure Evil | Warren Garland Private View: Friday 29... http://www.angus-hughes.com/illusion-of-the-spectator http://www.angus-hughes.com/following/angus-hughes.com/illusion-of-the-spectator Mon, 04 Jun 2012 06:36:23 +0000 www.angus-hughes.com 3283003 Curated by The Modern Language Experiment Beth Fox | Craig Cooper | Charlotte Norwood Kate Janes | Maite Zabala | Matthew Stock | Patrick Coyle Private View: Friday 8 June, 6-9pm Talk: Monday 18 June, from 7pm Exhibition Continues: 9 June - 18 June Friday to Sunday 12-6pm, or by appointment <img src="http://payload49.cargocollective.com/1/3/116300/3283003/iots flyer copy small_560.jpg" width="560" height="373" width_o="670" height_o="447" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/iots flyer copy small_o.jpg" data-mid="16838328" border="0" align="left"/> “The contemporary art space is a space in which multitudes can view themselves and celebrate themselves… in a way that assists them in reflecting upon their own condition, offering them an opportunity to exhibit themselves to themselves.” Groys, B, Going Public 2010 p.63 Are we as readers and visitors to arts contemporary spaces aware of ourselves? The spectator’s experience of a work of art is, in the most part, dependent on what they bring with them and what they understand about the work but the spectator is much more then a member of a momentary group that go to see this thing, then move over there and observe that thing; they are a community. The position and power of the spectator as implied by the work of art has been a central question from the time of Denis Diderot, and has been regularly contested from Roland Barthes essay The Death of the Author to Michael Fried’s call for the passivity of the audience. As the art world moves in to a new stage of social and political change this exhibition will once again pull focus on the spectator that Boris Groys describes as a self-aware community that has already been conditioned by the art world’s numerous emancipatory and participatory projects. This community has already accepted its participatory role, actively welcomed its new authorities, and is ready to reject or accept any denigration offered. This exhibition then will re-examine the position and power of the spectator by looking at what has caused this preoccupation with the spectator, the work of art and the artist; and ask whether these new forms of encounter empower or denigrates the audience. The artists selected for this exhibition create artworks, interventions and projects that use, as a fundamental part, the spectator in three distinct categories, the spectator as a participant, the spectator as a community, and the spectator as subject matter. These will serve as active interlocutors to continue this discussion through the duration of the exhibition. contact@modernlanguageexperiment.org www.modernlanguageexperiment.org Talk: Monday 18 June, from 7pm Accompanying Publication Video Works Patrick Coyle - illusion of the spectator, Friday 8th June 2012 Beth Fox - 'A marvellous negative capability', 2012 Exhibition photographs by Matthew Stock Beth Fox - 'A marvellous negative capability', 2012 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox 2_560.jpg" width="560" height="351" width_o="1200" height_o="754" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox 2_o.jpg" data-mid="19635894" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox_o.jpg" data-mid="19635888" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox 3_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 02 Beth Fox 3_o.jpg" data-mid="19635898" border="0" align="left"/> Craig Cooper - 'Spatial Territory', 2012 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper_o.jpg" data-mid="19635282" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 2_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 2_o.jpg" data-mid="19635290" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 3_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 3_o.jpg" data-mid="19635297" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 4_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 4_o.jpg" data-mid="19635308" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 7_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 7_o.jpg" data-mid="19635332" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 8_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 8_o.jpg" data-mid="19635338" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 9_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 01 Craig Cooper 9_o.jpg" data-mid="19635342" border="0" align="left"/> Charlotte Norwood - 'But that's just the point, someone might object (Balls and Strkes of ‘96)', 2012 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood_o.jpg" data-mid="19636102" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood 2_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood 2_o.jpg" data-mid="19636107" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood 3_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 03 Charlotte Norwood 3_o.jpg" data-mid="19636112" border="0" align="left"/> Kate Janes - 'yellow hats and hammers', 2012 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 04 Kate Janes_560.jpg" width="560" height="384" width_o="799" height_o="549" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 04 Kate Janes_o.jpg" data-mid="19636235" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7626_560.jpg" width="560" height="342" width_o="1200" height_o="734" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7626_o.jpg" data-mid="19636394" border="0" align="left"/> Maite Zabala - 'Gemini', 2011 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7665_560.jpg" width="560" height="372" width_o="1200" height_o="799" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7665_o.jpg" data-mid="19636322" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 5. Maite Zabala - Gemini 2011_560.jpg" width="560" height="391" width_o="1200" height_o="838" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 5. Maite Zabala - Gemini 2011_o.jpg" data-mid="19636406" border="0" align="left"/> Matthew Stock - 'Perplications', 2012 <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7502_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7502_o.jpg" data-mid="19636377" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7618_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7618_o.jpg" data-mid="19636388" border="0" align="left"/> Patrick Coyle - ' 'Illusion of the spectator Friday 8th June 2012' ' <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 7. Patrick Coyle - Illusion of the spectator Friday 8th June 2012_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 7. Patrick Coyle - Illusion of the spectator Friday 8th June 2012_o.jpg" data-mid="19636428" border="0" align="left"/> <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7634_560.jpg" width="560" height="687" width_o="977" height_o="1200" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7634_o.jpg" data-mid="19636915" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7635_560.jpg" width="560" height="714" width_o="941" height_o="1200" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7635_o.jpg" data-mid="19636926" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7636_560.jpg" width="560" height="840" width_o="800" height_o="1200" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7636_o.jpg" data-mid="19636942" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7637_560.jpg" width="560" height="774" width_o="868" height_o="1200" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7637_o.jpg" data-mid="19636952" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7638_560.jpg" width="560" height="786" width_o="854" height_o="1200" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7638_o.jpg" data-mid="19636956" border="0" align="left"/> Installation Views <img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 00 Installation View_560.jpg" width="560" height="371" width_o="1200" height_o="795" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- 00 Installation View_o.jpg" data-mid="19636541" border="0" align="left"/><img src="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7579_560.jpg" width="560" height="373" width_o="1200" height_o="800" src_o="http://payload49.cargocollective.com/1/3/116300/3283003/1200px- IMG_7579_o.jpg" data-mid="19636544" border="0" align="left"/> Curated by The Modern Language Experiment Beth Fox | Craig Cooper | Charlotte Norwood Kate Janes | Maite Zabala | Matthew Stock | Patrick Coyle Private View:...