Open 28 November - 13 December
Hours Fri-Sun 11am - 5pm
Opening event Saturday 28 November 1-5
Solo shows artists' documentation of their single-installations at Articulate over the last decade. It will be shown in the mezzanine and backroom spaces at the same time as the new single installation, Too bright for our infirm Delight is open in the ground floor project space.
The two exhibitions begin our year of celebration of the ten years of exhibitions since Articulate was set up in December 2010 to focus on spatial and experimental artwork. Articulate plans these exhibitions as the first of several across 12 months. This first exhibition stresses single installations because we think that artworks' connections with their locations are likely to be emphasised when there is one work in one space. Articulate has also supported single installations in particular as they are also often more challenging, at least financially.
Participating artists are Ciaran Begley and Merryn Hull, Elia Bosshard, Jenny Brown, Alison Clouston and Boyd, Beata Geyer, Lesley Giovanelli, Chantal Grech, WeiZen Ho, Laine Hogarty, Wendy Howard, Richard Kean, Perrine Lacroix, Kenneth Lambert, Kathryn Ryan, Alan Schacher, Slowing Down Time, Splinter Orchestra and Helen M Sturgess. Each document past single-installations that are shown via images and text here. What they say about their works and their documentation are given below.
|Jenny Brown Burnt Stars (detail) 2015|
Slow hope: becoming coronavirus
The process of documenting my solo show Burnt Stars (2015) was used as a wayfinding device to this new work Slow Hope, which draws attention to how national cultural policy planners working to polarise communities in conservative revolutions, do not share responsibilities for what may be the unintended consequences for the biosphere or people who follow their advice. As a future map work, Slow Hope does this by extending and updating one of the throughlines of Burnt Stars, whilst nesting it in a way to explore artist responses as resistance to this set space.
Slow Hope incorporates some of the walk-through video documentation of the presentation ofBurnt Stars at Articulate and excerpts from the screen works shown in it, made as part of a DAAD scholarship in 2012. The work brings together two political positions in Beuys’ fictional landing on Heidegger’s hut. The event can be understood as catalysing Beuys’ determination to set about ona lifelong journey to use the art field to reinvigorate a socialist trajectory, by challenging and ‘crashing down on’ what both he and Germany lost to Heideggerian informed Nazism. Beuys’ journey of redemption embraced the importance of linking German political thinker Hannah Arendt’s revolutionary horizon as part of action for the common good.
Slow Hope uses Burnt Stars’ Beuys’ parachute and Nazi fighter plane crash landing footage withthat of Heidegger in his hut who is explaining away his Nazism in the essay he is typing, The Question Concerning Technology.1 The documentation becomes a new platform to branch out and more deeply show how Heidegger’s work has a peculiar intellectual partnership between the German radical right of the 1920s and the post 1968 generation2, which I assert still provides fertile ground for this same post-1968 generation in America now.3 This is indicated in Burnt Stars by the low-hanging red-blood bulb glow that in this new work shines on the dead forest of bombs atop cracked Schwarzvald (Black Forest) mud fields (in conversation with the nationalist slogan Blut und Boden - Blood and Soil, the Chernobyl nuclear disaster and climate change), near Heidegger’s Hut. Read more.
|Beata Geyer OBLIQUE 2014 |
OBLIQUE 16 May – 1 June 2014
obliquExt 28 November – 13 December 2020
(adjective): əˈbliːk/ 1. neither parallel nor at right angles to a specified or implied line; slanting 2. not expressed or done in a direct way.
Site specific installation project based around the concept of form-ation, an idea of an active and mobile form that not just is, but rather does, in the context of architectonics of gallery space. The project is realised through the process of planar, spatial and colour manipulation in various acts of designation, accumulation and negotiation that will continue throughout the duration of exhibition.
For this documentation project I am planning to create a small site - specific response using a residue of objects and materials from OBLIQUE 2014 installation.
I consider this to be a new work, an annexation of a new space with a simultaneous extraction, hence the new title obliquExt.
Website : www.beatageyer.com
|Chantal Grech Points of departure 2012|
Residues 2020; reflections on Points of departure 2012
The installation, Points of departure, begins with a reading to the empty space. Various aspects of the architecture, a door, a window, a wall, become sites for a reading from El Iskandariya — Alexandria, a story about the search for home and the nature of belonging. This is done knowing that those who will hear this reading will be some distance away, in another city, another country (a video and other material is being sent to the Documentation Festival in Lodz). It then becomes a kind of displaced reading - so the emptiness of the space isn't emptiness, it contains a voice that seeks to connect to the space around it and there is a listener, but the listener is distanced, just as we are when we leave home or are dispersed, then the voices that we carry within us seem themselves far away. This is the first gesture, a way of breaking the anonymity of place, and so a relationship begins.
Each point where a reading occurs is then marked with a white square, which in turn signals a site for a work to be installed. The installation occupies the whole space from the front to the back window. At the end of the exhibition the tiles are the last remaining pieces and are collected in reverse order to the initial laying out.
In Solo a marking of the space is repeated using the same white tiles. They each signal a residual fragment. Two fragments– one (used in the 2012 work), names the city of Alexandria in four different languages, the other, a sign, is composed of the colours of the Egyptian flag (prominent in the Arab Spring) –are placed at opposite ends of the upstairs space separated by a void but in direct line of sight of one another repeating the metaphorical use of the downstairs space in the original work. A third residue is a line of text from an Arabic poem that speaks to a particular place.
I think that space is organic, a living entity of its own, critically dependent on how it is treated. The residues in this show are displaced both in time and space. A new element, colour that reference another land, has entered – colour that is dependent on context for its perception. Another juxtaposition, another way of looking.
Solo: Installed text: from a poem; I remember having loved' by Hasan Abdullah;
materials; perspex, gouache on board, vinyl
Chantal M Grech 2020 http://chantalmgrech.com/
The Bronze Age Part 1: Travels 2014
The original installation consisted of 7 “ships” approximately 6x3x4 feet, sailing in a line from the door of the gallery to the back. The end walls were covered with a mural on paper in black ink.
Out of an interest in archaeology and the speculation about objects whose purpose and meaning have been lost, I focused on ship imagery in rock carvings from the Bronze Age. Ships provided a starting point but my concern is not with representation.
My interest is in the basics of sculpture, how to make a plane into a 3D object. What happens when 2 edges meet? How does this meeting distort/shape/move the plane? What is the minimum action or force necessary to effect this change? And once this is done, how does gravity act upon it and how does the resultant object want to rest on the ground?
Here I have reproduced the 7 ships – 2 copper, 3 brass and 2 bronze – in paper and thread, and the mural is reproduced in miniature in a small book I made at the time.
Wendy Howard 2020
|Richard Kean Aural Labyrinth 2013 Photo: Jo Rankine|
see other images here
Richard Kean Aural Solo 2020
Leather Bag, wooden fixtures, steel wire. 400x1800
The work I installed within Articulate in 2012 was titled Aural Labyrinth and I felt quite honored to do so. The idea for this project was to create an aural string installation that used the gallery space as a resonator. To do this, wooden fixtures were built which were placed strategically in prime resonant areas of the full length of the walls, rafters and the stair but also by intuitive reaction to the relationship of silver wires that were forming in the space. This so called labyrinth became a navigation of visual and aural potential within the architectural structures of Articulate.
One outcome of the work was to invite the audience to participate in playing the aural strings. A collaboration with the artist Weizen Ho was performed integrating the movement and aurality of the human body with the space and installation. After, the entire audience of all ages played the strings and explored and shared the constellations of different aural potentials that the strings formed in their relationships to each other and the space.
Another outcome was the quiet realisation that each aural string inherently has its own nuanced and highly complex identity that is understood through its sound, its timbre, as it is know. This individual quality of each string is because or many elements such as variations in material, length, and tension but also where the string engages with the architectural elements of the space. In effect the string is inflected with both the materiality and spatial dimension of the space. This will inherently change with the amount and movement of people in the space that changes the character of the sound of the strings as heard through the atmospheric volume of the space. But what is more, each hand that plucks the strings does so with their own nuanced character, no matter how subtle. The installation thereby allowed a fluent translation between the solid and void, material and spatial, aspects of the architecture but also the audience as individuals and it represented this fluency in the sound the string makes when plucked.
This work for Solo presents the bag that all the fixtures from the show have been stored in since the deinstallation of Aural Labyrinth in 2012. The work has not changed but is rather an iteration of the process on a smaller scale.
Richard Kean, 2020
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