Showing posts with label IMT Gallery. Show all posts
Showing posts with label IMT Gallery. Show all posts
Thursday, 24 September 2015
Friday, 8 May 2015
The Candidate
Friday, 17 October 2014
Gordon Shrigley: Heaven’s Gate
Gordon Shrigley
Heaven’s Gate
IMT Gallery
The Brazilian architect Oscar Niemeyer (1907 – 2012) once said something along these lines: for me beauty is valued more than anything – the beauty that is manifest in a curved line or in an act of creativity. It is on the sensual and liberated curves that we perceive life’s soundscape, not on straight, hard and inflexible lines created by man.
Some time ago in a passionate conversation about religion and deliberate choices, while dinning at a restaurant lost in the midst of the countryside, someone (non-European) expressed that the previous Pope, Benedict XVI, was a Nazi, because he was conscripted into the Hitler Youth. However, this idea clearly aroused the indignation of almost all of the people at the table not for religion’ or political’ reasons, but, instead, for a lack of cultural knowledge and understanding and it was also obnoxious how people from a particular region in the world perceive the history of the world and cultural difference. Most of the people at the table, under 50-years-old, were from European countries that until the 1970s had been under a fascist regime, and perceived that commentary as a rude vision on how other people might perceive world history and bring their local different perceptions of the world.
Life is made of curves, not of straights lines, and when Ratzinger joined the Hitler Youth, in 1941, membership was require by law for all 14-years-old German boys after March 1939. Being part of a nationalist youth organization, until the 1970s, is like, presently, all of us having to have an email account and a mobile phone, even if not required by law, or we like it or wanted it or not! It is demanded by society at large.
The dissemination of totalitarian ideologies, believes and modes of behavior led by the propagation machine in the XX century, is, today, communicated by those informational channels being demanded by society. Non-places where the political corrects breeds! For the matter, it would be useful to think about which images circulate by and in the social sphere! So, my point here is that if what he had seen is that straight line (and imperialist view imposed over the world multitude), what curves given us by is what goes beyond over those fatalistic imagery conditions defining Democracy, State, Freedom, Islam, Terrorism, etc.
It is on those moments that sound start to emerge. I’m thinking about Gordon Shrigley work (presently at IMT Gallery in London) Heaven’s Gate comprising 14 slabs of straight small lines of chalk on painted board as musical compositions. An endless vocabulary of things describing that that was and is around us, with each slab resonating different soundscapes and compositions. It sprouts from the most inconvenient places and moments.
Heaven’s Gate
IMT Gallery
Some time ago in a passionate conversation about religion and deliberate choices, while dinning at a restaurant lost in the midst of the countryside, someone (non-European) expressed that the previous Pope, Benedict XVI, was a Nazi, because he was conscripted into the Hitler Youth. However, this idea clearly aroused the indignation of almost all of the people at the table not for religion’ or political’ reasons, but, instead, for a lack of cultural knowledge and understanding and it was also obnoxious how people from a particular region in the world perceive the history of the world and cultural difference. Most of the people at the table, under 50-years-old, were from European countries that until the 1970s had been under a fascist regime, and perceived that commentary as a rude vision on how other people might perceive world history and bring their local different perceptions of the world.
Life is made of curves, not of straights lines, and when Ratzinger joined the Hitler Youth, in 1941, membership was require by law for all 14-years-old German boys after March 1939. Being part of a nationalist youth organization, until the 1970s, is like, presently, all of us having to have an email account and a mobile phone, even if not required by law, or we like it or wanted it or not! It is demanded by society at large.
The dissemination of totalitarian ideologies, believes and modes of behavior led by the propagation machine in the XX century, is, today, communicated by those informational channels being demanded by society. Non-places where the political corrects breeds! For the matter, it would be useful to think about which images circulate by and in the social sphere! So, my point here is that if what he had seen is that straight line (and imperialist view imposed over the world multitude), what curves given us by is what goes beyond over those fatalistic imagery conditions defining Democracy, State, Freedom, Islam, Terrorism, etc.
It is on those moments that sound start to emerge. I’m thinking about Gordon Shrigley work (presently at IMT Gallery in London) Heaven’s Gate comprising 14 slabs of straight small lines of chalk on painted board as musical compositions. An endless vocabulary of things describing that that was and is around us, with each slab resonating different soundscapes and compositions. It sprouts from the most inconvenient places and moments.
Thursday, 19 June 2014
A day at the... tracks
Urs Fisher
Sadie Coles HQ
69 South Audley Street
London W1K 2QZ
Ice Fishing: McArthur Binion, Bill Bollinger, Charles Harlan, Virginia Overton, Michael E. Smith (curated by Darren Flook)
Max Wigram Gallery
106 New Bond Street
London W1S 1DN
Elisa Sighicelli
MOTINTERNATIONAL London
72 New Bond St. 1st Fl.
London W1S 1RR
Adriana Varejão:
Carnivorous
Victoria Miro Mayfair
14 St George Street
London W1S 1FE
Richard Jackson
New Paintings
Hauser & Wirth
23 Savile Row
London W1S 2ET
Phyllida Barlow
Fifty Years of Drawings
Hauser & Wirth
23 Saville Row
London W1S 2ET
Eva Nielsen
The Road
Selma Feriani Gallery
23 Maddox Street, Mayfair
London W1S 2QN
Mario Dellavedova
Still Lifes Off
Sprovieri
23 Heddon Street
London W1B 4BQ
Jim Lambie
Answer Machine
Sadie Coles HQ
62 Kingly Street
London W1B 5QN
Obliteration Device: Jakup Auce | Aline Bouvy | David Burrows | John Cussans | Benedict Drew | Ryan Jordan | Simon O'Sullivan | Roberto Peyre | Hannah Sawtell | Tai Shani
IMT Gallery
Unit 2/210 Cambridge Heath Road
London E2 9NQ UK
Sadie Coles HQ
69 South Audley Street
London W1K 2QZ
Max Wigram Gallery
106 New Bond Street
London W1S 1DN
 |
| Michael E. Smith, Sleep (exhaust pipe, taxidermied chicken), 2013 |
MOTINTERNATIONAL London
72 New Bond St. 1st Fl.
London W1S 1RR
Adriana Varejão:
Carnivorous
Victoria Miro Mayfair
14 St George Street
London W1S 1FE
New Paintings
Hauser & Wirth
23 Savile Row
London W1S 2ET
Fifty Years of Drawings
Hauser & Wirth
23 Saville Row
London W1S 2ET
The Road
Selma Feriani Gallery
23 Maddox Street, Mayfair
London W1S 2QN
Mario Dellavedova
Still Lifes Off
Sprovieri
23 Heddon Street
London W1B 4BQ
Answer Machine
Sadie Coles HQ
62 Kingly Street
London W1B 5QN
IMT Gallery
Unit 2/210 Cambridge Heath Road
London E2 9NQ UK
Thursday, 8 May 2014
Filmarmalade presents ...
One off publication @imt gallery
My brown eyes met with the most bluest-greyish eyes for some minutes and had an inorganic thing, while on the underground today, and before a one off publication @imt gallery, as well as a Vampire metaphor conversation.
Thursday, 6 March 2014
Filmarmalade Presents, Beth Fox: My First Retrospective (one day only…)
Filmarmalade Presents
Beth Fox: My First Retrospective (one day only…)
IMT Gallery
Beth Fox: My First Retrospective (one day only…)
IMT Gallery
"I love his use of light"
[BF, 2014]
[BF, 2014]
Filmarmalade are proud to present the first major retrospective of the self-seminized conceptual sculptor, film maker and general l’enfant terrible Beth Fox.
“Beth Fox’s work espouses a complex form of reflexive post-modern humour with influences as diverse as Kierkegaard and Woody Allen. Through the medium of sculpture and text, new variations are synthesised from both opaque and transparent meanings and what starts out as contemplation soon becomes manipulated into a hegemony of defeat, leaving only a sense of unreality and the unlikelihood of a new order.”
August DeWitt (writer, intellectual, art critic, feminist, political activist and gender theorist)
Fox recently exhibited work at Divus Gallery, London, Sluice, London, Angus-Hughes Gallery, London, the Horse Hospital, London and the Bunkhouse Gallery, Madrid. She was born in Ireland and lives and works in London.
Filmarmalade is a publisher and DVD label specialising in contemporary artistsʼ film and video works. Every year Filmarmalade publish a series of works, selected through both invited and open submission, with the aim of encouraging wider access to the moving image. Filmarmalade also specially commission interviews to accompany each publication to provide a greater understanding of how video and film artists situate their work in relation to the history of art and contemporary fine art practice. Filmarmalade is a project by the artist Gordon Shrigley. The entire Filmarmalade collection is held at the British Artistsʼ Film & Video Study Collection.
Friday, 7 February 2014
Lotte Rose Kjær Skau: United We/I Stand Etc.
Lotte Rose Kjær Skau
United We/I Stand Etc.
IMT Gallery
United We/I Stand Etc.
IMT Gallery
PRESS RELEASE:
United We/I Stand Etc. is the first solo exhibition of work by Danish sound artist and musician Lotte Rose Kjær Skau. Using video, installation and sound Kjær Skau produces replications of the instances of vanity, fragility and serendipitous beauty found amongst user-generated content on the World Wide Web.
At the centre of the exhibition are an on-going series of GIFs and video works, which Kjær Skau began in 2012: “The series came about, in part, in response to high-volume, raw or rough-hewn releases of some American Hip Hop Producers: They are putting out several tracks a month,” she says, “creating ripples, that later on became major waves in the heavy pop music industry. Likewise I wanted to produce a crowd of works with more concern for process than outcome. I am accumulating multiple self-portraits that become a crowd supporting each other, artificially enhancing the justification of their existence.”
The works form an archive in which the camera and monitor serve as a space where simple displays of identity take place between the private comfort of home and the public environment of the gallery or Web. Kjær Skau describes it as “a practice of enjoying one’s own movements in a performance space switching from the feel of a mirror to a window to the world.” Through replicating the accumulation of media found in creative technocultural modes of production made possible by access to contemporary technologies, Kjær Skau produces works that function as a crowd of simple gestures in which there may appear moments of connection: “It is a multitude of cultural debris, beautified by gems within that multitude, like home studio projects sent out into the world and occasionally becoming threads setting off stronger currents in modern culture.”
Lotte Rose Kjær Skau (born 1984, Jutland, Denmark). She recently graduated in 2012 with an MA in Sound Art at the London College of Communication and previously studied Audiologopedics (speech therapy studies) at the University of Copenhagen. She has exhibited and performed in the UK and Denmark, most recently creating an installation for the Århus Lydfestival 2013. She has released two EP’s on Sound Esc as well as releasing several remixes on different labels. She was the recipient of a grant for the production of new work from the Danish Arts Council in 2010. Kjær Skau lives and works in Copenhagen. [...]
United We/I Stand Etc. is the first solo exhibition of work by Danish sound artist and musician Lotte Rose Kjær Skau. Using video, installation and sound Kjær Skau produces replications of the instances of vanity, fragility and serendipitous beauty found amongst user-generated content on the World Wide Web.
At the centre of the exhibition are an on-going series of GIFs and video works, which Kjær Skau began in 2012: “The series came about, in part, in response to high-volume, raw or rough-hewn releases of some American Hip Hop Producers: They are putting out several tracks a month,” she says, “creating ripples, that later on became major waves in the heavy pop music industry. Likewise I wanted to produce a crowd of works with more concern for process than outcome. I am accumulating multiple self-portraits that become a crowd supporting each other, artificially enhancing the justification of their existence.”
The works form an archive in which the camera and monitor serve as a space where simple displays of identity take place between the private comfort of home and the public environment of the gallery or Web. Kjær Skau describes it as “a practice of enjoying one’s own movements in a performance space switching from the feel of a mirror to a window to the world.” Through replicating the accumulation of media found in creative technocultural modes of production made possible by access to contemporary technologies, Kjær Skau produces works that function as a crowd of simple gestures in which there may appear moments of connection: “It is a multitude of cultural debris, beautified by gems within that multitude, like home studio projects sent out into the world and occasionally becoming threads setting off stronger currents in modern culture.”
Lotte Rose Kjær Skau (born 1984, Jutland, Denmark). She recently graduated in 2012 with an MA in Sound Art at the London College of Communication and previously studied Audiologopedics (speech therapy studies) at the University of Copenhagen. She has exhibited and performed in the UK and Denmark, most recently creating an installation for the Århus Lydfestival 2013. She has released two EP’s on Sound Esc as well as releasing several remixes on different labels. She was the recipient of a grant for the production of new work from the Danish Arts Council in 2010. Kjær Skau lives and works in Copenhagen. [...]
Friday, 8 November 2013
Flore Nové-Josserand: The Scream of the Commode
Flore Nové-Josserand
The Scream of the Commode
IMT Gallery
The Scream of the Commode
IMT Gallery
As I walk through London cityscape, and think of myself as totally caught up in the city, I navigate through a painting with my eyes or stroll through a bigger than human size sculpture, while being embodied by an plethora of emotions and feelings. I can rest my eyes while indeterminate going from layer to layer, from colour to colour, perceiving textures and forms; walking along walls of wood, glass, mirrors or empty space. So, how about murals? Like a mural, photograph's force, and related imagery, derives from the displaced possibilities brought in to the conditional conscious space by a performative recreation of endless moments, movements, and objective spaces: a chair hanging by a string, a table, a vase on the wall.
We embody ourselves in it. My body, which through my habits endures my insertions into the human world, does so by projecting me into a natural world. Which can be discerned underlying the other, as the canvas underline the picture and makes it appear unsubstantial. In a cityscape I fluctuate from a square to the nearby street, full of shops or stalls, advertising and outdoors. Phallic symbols! That make me think of Rauschenberg, Klein, or the earlier work, from the 1970s, by Bill Woodrow RA - in particular those that he uses photographs and everyday found objects, like wood sticks or bricks; or, even, the simplicity of the dual relationship between the 'cut-out' host object, in bronze, from the 1980s, which developed into a more complex installation; and recorded people in the sand, or that real starky little boy hidden in the snow from his father; but, it is not like, when an eight years old is telling, to a twenty years old, what and how to do - the twentieth had already been there, experienced it, felt it, gain emotions and memories and moved on. The telling is simultaneously obnoxiously nonexistent and annoying.
The streaming of images is so overwhelming that we're jumping from one mnemonic space to another. On a stroboscopic movement, going from position A to position B, without doing the going. Through painting, sculpture, photography, and any other art form we try to hide our footsteps. Flore Nové-Josserand (Born 1980, Paris, France) uses photography to understand how information is lost or gained in the process of documenting art. Subverted images on ideas of use and beauty, real physical ideas, sculpture for the matter, photos that betray the principals of the disciplines themselves and that are familiar in our life, but she also places in a way that we see them as they are. A real physical space. She goes out on the streets, physically involved with forms, colours - the live green's are richly present, however, felt that was missing some bloody red - forcing us to really physically engage with the world great disciplinary systems.
It has the inspiring presence of representing together the totality of human opposites on society. Make contact with music: Wagner and a little of M.I.A. Her work's nature is something that is not that we can do without; it's our own life adventure. It is almost a policing, a control of the controlling systems to see if we are working or being subversive. It looks like all the exchange of ideas taken place in the dinning room while savouring a tasting meal accompanied by an exquisite wine. A different table, with different people, in different days. The images, shown at IMT gallery, in Bethnal Green, London, play like an interaction between people.
The photos allow to see how far we can push the imagery. How can photography be? They are hopeful! in the sense of me not being able to resolve the multitude of images out of my sense of identity. Nové-Josserand has done a lot of photos: one, two, three, ... ten, eleven; it is a rich exchange of physical impossibility on pieces of paper. 'Levitation' (2013) - it can be the first surface with each we can work on at the 'The Scream of the Commode'. It is simple marvellous, it make us think about common objects that we can see in the street, at home, in a park. That are there, occupying their space. If those portrayed/sculptured objects can have their own space why can't we? Do they came out of a false phantasy! We do really have to change the scene, the mnemonic landscape and our physical involvement with it. In particularly movement and depth. Space seems to be only one, of many possibilities.
Any space can be different from out what it is and it does not have any difference at all. Let's try something different, from pre-conceptions and predictability. From all the experience I have, I have to trust my intuition. Be one step beyond while reaching for sensation contacts. At this time we will see it - the space - for the first time.
Flore Nové-Josserand (Born 1980, Paris, France) studied a Diplôme National Supérieur d’Art Plastique (DNAP) with Félicitations (First degree) at the Ecole Nationale Supérieure d’Art de Paris-Cergy, Cergy, France and a Masters of Fine Art (MFA) at the Slade School of Fine Art, London. She has recently exhibited at The Royal Standard, Liverpool (2013); Eastside Projects, Birmingham (2012) and The New Art Gallery Walsall, Walsall (2012). She has participated in residencies at the Academy of Fine Art of Poznań, Skoki, Poland (2007), La Friche Belle de Mai, Marseille, France (2010) and recently took part in the Master Class – Testing Ground at the Zabludowicz Collection.
We embody ourselves in it. My body, which through my habits endures my insertions into the human world, does so by projecting me into a natural world. Which can be discerned underlying the other, as the canvas underline the picture and makes it appear unsubstantial. In a cityscape I fluctuate from a square to the nearby street, full of shops or stalls, advertising and outdoors. Phallic symbols! That make me think of Rauschenberg, Klein, or the earlier work, from the 1970s, by Bill Woodrow RA - in particular those that he uses photographs and everyday found objects, like wood sticks or bricks; or, even, the simplicity of the dual relationship between the 'cut-out' host object, in bronze, from the 1980s, which developed into a more complex installation; and recorded people in the sand, or that real starky little boy hidden in the snow from his father; but, it is not like, when an eight years old is telling, to a twenty years old, what and how to do - the twentieth had already been there, experienced it, felt it, gain emotions and memories and moved on. The telling is simultaneously obnoxiously nonexistent and annoying.
The streaming of images is so overwhelming that we're jumping from one mnemonic space to another. On a stroboscopic movement, going from position A to position B, without doing the going. Through painting, sculpture, photography, and any other art form we try to hide our footsteps. Flore Nové-Josserand (Born 1980, Paris, France) uses photography to understand how information is lost or gained in the process of documenting art. Subverted images on ideas of use and beauty, real physical ideas, sculpture for the matter, photos that betray the principals of the disciplines themselves and that are familiar in our life, but she also places in a way that we see them as they are. A real physical space. She goes out on the streets, physically involved with forms, colours - the live green's are richly present, however, felt that was missing some bloody red - forcing us to really physically engage with the world great disciplinary systems.
It has the inspiring presence of representing together the totality of human opposites on society. Make contact with music: Wagner and a little of M.I.A. Her work's nature is something that is not that we can do without; it's our own life adventure. It is almost a policing, a control of the controlling systems to see if we are working or being subversive. It looks like all the exchange of ideas taken place in the dinning room while savouring a tasting meal accompanied by an exquisite wine. A different table, with different people, in different days. The images, shown at IMT gallery, in Bethnal Green, London, play like an interaction between people.
The photos allow to see how far we can push the imagery. How can photography be? They are hopeful! in the sense of me not being able to resolve the multitude of images out of my sense of identity. Nové-Josserand has done a lot of photos: one, two, three, ... ten, eleven; it is a rich exchange of physical impossibility on pieces of paper. 'Levitation' (2013) - it can be the first surface with each we can work on at the 'The Scream of the Commode'. It is simple marvellous, it make us think about common objects that we can see in the street, at home, in a park. That are there, occupying their space. If those portrayed/sculptured objects can have their own space why can't we? Do they came out of a false phantasy! We do really have to change the scene, the mnemonic landscape and our physical involvement with it. In particularly movement and depth. Space seems to be only one, of many possibilities.
Any space can be different from out what it is and it does not have any difference at all. Let's try something different, from pre-conceptions and predictability. From all the experience I have, I have to trust my intuition. Be one step beyond while reaching for sensation contacts. At this time we will see it - the space - for the first time.
Flore Nové-Josserand (Born 1980, Paris, France) studied a Diplôme National Supérieur d’Art Plastique (DNAP) with Félicitations (First degree) at the Ecole Nationale Supérieure d’Art de Paris-Cergy, Cergy, France and a Masters of Fine Art (MFA) at the Slade School of Fine Art, London. She has recently exhibited at The Royal Standard, Liverpool (2013); Eastside Projects, Birmingham (2012) and The New Art Gallery Walsall, Walsall (2012). She has participated in residencies at the Academy of Fine Art of Poznań, Skoki, Poland (2007), La Friche Belle de Mai, Marseille, France (2010) and recently took part in the Master Class – Testing Ground at the Zabludowicz Collection.
Thursday, 12 September 2013
NaoKo TakaHashi: Stubbornly Persistent Illusion Chapter 1: Red Planet
NaoKo TakaHashi
Stubbornly Persistent Illusion Chapter 1: Red Planet
IMT Gallery
Each time that I'm going to the East of East London, it feels like to participate in a safari. Where the fauna is quite diverse and ambivalent, living in communion with and in Nature. While, instead, us, humans, we destroy our environment, practice criminal acts against ourselves and against nature; we create a mess wherever we are! Nonetheless, we're also able of the most extraordinary things, one of them, is to be at the top of the food chain. Whereas, those live a bare life, we, in their place, live a life surrounded by gadgets and trinkets.
Cary a camera with me; have a notebook on the side; someone who knows the area and I'm ready for adventure. The exploration of Nature in its wilderness, the contact with the indigenous to perceive sociocultural identity, document their habitat, habits, costumes, ways of living and doing. Travel for hours through inhospitable paths and sceneries to capture on camera the shacks where they live, the rags they use, tools to kill, cook and eat, the sounds made to communicate between each other, within the tribe and beyond. And, afterwards, return home; to civilisation; to safety, away from that uninhabitable and hostile place.
Do not take me wrong, please! I do know quite interesting people who live, have been living and will live there, (maybe) forever. I do appreciate their company, their ideas and overwhelming knowledge and humour. Sincerely! That is one of the reasons why I go on those expeditions. I even dated a woman that lived there – you know, there are some moments in our life when we pretend that we are radical, open minded, engage the exotic, fortunately, that fever, passed after a few months.
However, the reason why these, now, has to do with NaoKo TakaHashi's exhibition at IMT Gallery, in Cambridge Heat Rd. 'Stubbornly Persistent Illusion Chapter 1: Red Planet'!
Nowadays, the fauna that we can find East of East London reflect a gentrification of local population and hipster-led wannabes, pseudo-something. In ten years time, the environment it would reflect might be like Shoreditch or Hoxton – which, presently, marks the point where the city succumbs to the hipster-led gentrification that flattens the local largely population out on that way. Now, it bares resemblance to what those places looked like ten years ago; presently, it is just a place that is.
These people reluctantly want to come out of the closet concerning their real opinion, in relation to the reason why the interpretations regarding a particular possibility are altered to the conditions that define that same reluctance. Particularly, the fauna that lives and wants to live in this new environment, due to a trendy idea, reveals the ambiguities and inconsistencies of cultural representations, which I’m referring too, and the interplay of communication.
So, idiosyncratically, we can find in this environment those types of people that suffer from particular conditions, such as high levels of discursive inconsistencies and contradictory ideas, and conventional life disturbances and mental structural incongruence. For instance, are against major cooperation’s and labels, but buy Alexander McQueen's clothes; despise social institutionalisation and classification, but attend private Colleges and, the first thing they show you, is the family royal's heritage; those who proclaim that we should all live in an egalitarian community, but, only, if they are the those who will lead and decide. Really, it is like thinking that Hitler was high, on MDMA, when he decided to do whatever he decided to do; or, it is like on a Zoo, a contradictory assemblage of animals, an entertaining lie. Which, “in the end, isn’t that the real truth? …”. Where the environment has the capacity to create something that is self-transcendent, beyond the stubbornly persistent illusion.
Stubbornly Persistent Illusion Chapter 1: Red Planet
IMT Gallery
Cary a camera with me; have a notebook on the side; someone who knows the area and I'm ready for adventure. The exploration of Nature in its wilderness, the contact with the indigenous to perceive sociocultural identity, document their habitat, habits, costumes, ways of living and doing. Travel for hours through inhospitable paths and sceneries to capture on camera the shacks where they live, the rags they use, tools to kill, cook and eat, the sounds made to communicate between each other, within the tribe and beyond. And, afterwards, return home; to civilisation; to safety, away from that uninhabitable and hostile place.
Do not take me wrong, please! I do know quite interesting people who live, have been living and will live there, (maybe) forever. I do appreciate their company, their ideas and overwhelming knowledge and humour. Sincerely! That is one of the reasons why I go on those expeditions. I even dated a woman that lived there – you know, there are some moments in our life when we pretend that we are radical, open minded, engage the exotic, fortunately, that fever, passed after a few months.
However, the reason why these, now, has to do with NaoKo TakaHashi's exhibition at IMT Gallery, in Cambridge Heat Rd. 'Stubbornly Persistent Illusion Chapter 1: Red Planet'!
Nowadays, the fauna that we can find East of East London reflect a gentrification of local population and hipster-led wannabes, pseudo-something. In ten years time, the environment it would reflect might be like Shoreditch or Hoxton – which, presently, marks the point where the city succumbs to the hipster-led gentrification that flattens the local largely population out on that way. Now, it bares resemblance to what those places looked like ten years ago; presently, it is just a place that is.
These people reluctantly want to come out of the closet concerning their real opinion, in relation to the reason why the interpretations regarding a particular possibility are altered to the conditions that define that same reluctance. Particularly, the fauna that lives and wants to live in this new environment, due to a trendy idea, reveals the ambiguities and inconsistencies of cultural representations, which I’m referring too, and the interplay of communication.
So, idiosyncratically, we can find in this environment those types of people that suffer from particular conditions, such as high levels of discursive inconsistencies and contradictory ideas, and conventional life disturbances and mental structural incongruence. For instance, are against major cooperation’s and labels, but buy Alexander McQueen's clothes; despise social institutionalisation and classification, but attend private Colleges and, the first thing they show you, is the family royal's heritage; those who proclaim that we should all live in an egalitarian community, but, only, if they are the those who will lead and decide. Really, it is like thinking that Hitler was high, on MDMA, when he decided to do whatever he decided to do; or, it is like on a Zoo, a contradictory assemblage of animals, an entertaining lie. Which, “in the end, isn’t that the real truth? …”. Where the environment has the capacity to create something that is self-transcendent, beyond the stubbornly persistent illusion.
«NaoKo TakaHashi (born 1973, Nigata, 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. NaoKo TakaHashi is represented by IMT Gallery.» [PR]
Saturday, 27 July 2013
Plastique Fantastique: All the Fantasies of the People
Plastique Fantastique
All the Fantasies of the People
IMT Gallery
All the Fantasies of the People
IMT Gallery
«Plastique Fantastique is a group that investigates aesthetics, the sacred, politics and popular and mass culture through comics, performances, texts, assemblages and installations. It is envisaged as a group of human and inhuman avatars delivering communiqués from the extreme past and the future. Its works are baroque, transformative, express a subversive urgency and are frequently site-specific and participatory.»
«The list of individuals that make up Plastique Fantastique change dependent upon the circumstances. As a group it was originally conceived of by Simon O’Sullivan as the architects of the exhibition New Life at Chisenhale, London, a 2004 exhibition by the artist David Burrows. In Plastique Fantastique’s manifesto O’Sullivan proposed a group whose intentions are to shift potential participants “from work time (utility) into sacred time (play)” by executing practice as ritual. Since the appearance of the manifesto, the story of Plastique Fantastique has been narrated through their comics.» [...]
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