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.
|Ciaran Begley & Merryn Hull Still Morphing 2020 (3D render, right side view)|
|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
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