an Magazine CRITICAL CONTEXTS / TALES OF TWO CITIES / MOTI ROTI PROFILE / OVER 130 ...

64 Pages·2005·7.09 MB·English

a-n Magazine
FEB2005
CRITICAL CONTEXTS / TALES OF TWO CITIES / MOTI ROTI PROFILE / OVER 130 JOBS AND OPPORTUNITIES
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Artists’ events
“This event actively inspired, revealed and rejuvenated threads of solidarity amongst a provocative and resourceful
group of peoples from varied physical and ideological geographies. It also revealed the still formative, transitory,
and potentially transformative nature of artists’networks in local, national and global contexts.”
Sarah Jane Pell, participant in Quo Vadis, Networking artists’ network event, Bristol/Cardiff, November 2004
March 18-20 March 20-21 May
Changing Rooms, Stirling Norwich New Greenham Park, Newbury
Critical space Close Proximity
Look out for details in next month’s issue of
this artists’ event
Residential weekend constructed to create a Organised by Helen Sloan (SCAN) and
challenging yet supportive atmosphere in artist/curator Jonathan Swain, to look at the
ANetworking artists’ networks event
which a team of experienced artists and changing identity of areas that lie in the
organised in partnership with Changing
facilitators led by artist curator John Beagles shadow of the ever-bulging ‘commuter belt’
Rooms, supported by
generate a programme of activities that around London, and the effect this has on
provoke and extend critical interchange artists’ practice. As the boundaries of
amongst twelve artists from Suffolk and London expand further and further, Close
twelve from elsewhere in the UK, giving Proximity explores the role of urban and
participating artists a rare opportunity to economic development in the arts close to
step back from making work and engage in the capital.
Saturday 5 March intensive discussion.
Artists and commentators interested to
City Art Centre Edinburgh Organised as a partnership between Making submit ideas for papers and demonstrations
art work and the Networking artists’ of work relevant to this theme should send
Fast forward
networks initiative. CV and proposal (one side A4) to Helen
Sloan, SCAN, ArtSway, Station Road, Sway
Professional and critical networking event
Supported by SO41 6BA, Deadline 25 February. To discuss
for recent visual art graduates, devised by
the project further, contact
Paul Moss, artist and co-founder of
[email protected] or 01590 682824.
Workplace, Newcastle upon Tyne, including
presentations by artists and curators,
If you participate as a speaker/artist your
discussions and information pack.
FULLYBOOKED BUT ASK FOR DETAILS IF YOU accommodation will be provided free and
WOULD LIKE TO ATTEND A SIMILAR SESSION we will pay a small fee. Others wishing to
Admission free but booking essential,
attend the event can do so for free, but
contact 0131 650 2211
accommodation will not be provided. For
[email protected]
further details or to book a place, contact
Organised as a partnership between a-n The info@ scansite.org
Artists Information Company, Talbot Rice
and Cultural Enterprise Office. April 23/24 ANetworking artists’ network event
supported by
Derby
Fast Forward
Professional and critical networking event
Supported by for new and emerging artists, devised by
If you would be interested to partner on or
Mark Gubb and chaired by Emilia Telese,
host future artists’ events contact
artist and Artists’ Networks Coordinator,a-n
Networking artists’ networks
The Artists Information Company. Artists’
[email protected] /
presentations and discussions information
point to encourage professional exchange [email protected] (Scotland events)
and development of networks.
Fast forward
[email protected]
Supported by
Full details in the next issue of
a-n Magazine.
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22 26 28
a-n Magazine FEBRUARY 2005
Regulars Features
Editorial and subscriber prizes 4 Critical contexts 26
Dominic Thomas on the importance of a critical context for artists’ practice.
Artist’s story 5
Time to travel: Vineta Kaulaca Tales of two cities: Brazil 28
Luiz Camillo Osorio provides an insight into the political and cultural landscape
Reviews 6
of Rio de Janeiro and Ana Paula Cohen unravels a section of the vast megalopo-
What’s on 10
lis of São Paulo in the first of this new series commissioned by Deborah Smith.
Subscribe or renew 19 Great excursions 32
News 20 Alice Maude-Roxby on photographing Michael Stevenson’s Rakit.
Now & then… 34
Networking artists’ networks 24
Edith-Marie Pasquier and Manick Govinda are engaged by the work of produc-
Opportunities 38
tion company motiroti.
Unique advertising and listings for UK
and beyond New on www.a-n.co.uk
Art vacancies 55
Employment opportunities
Fees & payments
Directory 56 Artists’ rates of pay 1989 – 2004. Susan Jones gives a historical overview of
Listing of specialised services artists’ fees and payments
a-n News 62
Quo vadis
Updates and announcements on
Specially commissioned by Chris Brown from the Quo Vadis NAN event, this new
a-n people, partners and projects
web writing includes introduction giving event background and intentions plus:
Phil Baboton the cross-border and international methods and achievements of
aselection of artist-led initiatives in South Wales.
Carolyn Blackmakes an inquiry into cultural identity and the nomadic artist.
Paul Glinkowskiquestions the circumstances that lead to or explain cultural
barriers, how such barriers can be breached or transformed into inviting thresh-
olds to cross.
Sarah Jane Pell’sAustralian perspective on UK artists “directing their own cul-
tural traffic initiatives’ and charting new territories towards cultural legacy and
Cover: Emma Pratt, When Its Frosty He Likes To Lick sustainability”.
Lamposts,mixed-media installation with lard, 2005.
See ‘News’ page 23. Dominic Thomason the importance of a critical context for artists’ practice.
Editorial Subscriber prizes
Maintaining a critical context is a core ingredient in sus-
taining an artist’s practice, as asserted in Dominic Thomas’
article published this month. He regrets the current culture
of “avoidance of the core subject” in which professional
development programmes are seemingly “unable or unwill-
ing to tackle the issue of the actual products of an artist’s
labours”. He exposes a “kind of unspoken rule… ‘I won’t say
anything difficult about your work if you don’t say any-
thing difficult about mine’” that is prevalent amongst
artists’ groups and networks.
Three copies of Changing States: Five signed copies of Bill
So why is the artist’s product so often overlooked within
Contemporary Art and Ideas in an Era Drummond’s How to be an artist
those events and activities that are created specifically to of Globalisationto be won. to be won.
support artists… and why do artists often suppress an hon-
Featuring the work of over 100 artists “Don’t be fooled by the title of this
est response to the work of their peers? As artists we share and writers, this unique anthology book. There is nothing between its
experience of producing work and the vulnerability of self maps the changing landscape of covers that can, in any way, be
contemporary art and culture over construed as a step-by-step guide to
that can accompany that; so perhaps it is misplaced empa-
the past decade in the context of being an artist of any kind… That
thy for those feelings. But wouldn’t artists rather have criti- global economics and local politics. said, I challenge you to fully consume
Seen through the prism of a decade this work and not realise that you
cal feedback that offers a fresh perspective on new work, a
of artistic programming by the already knew all there was to know
perspective that’s lost in the focused build-up to the com- Institute of International Visual Arts about being an artist.”Bill Drummond
pletion of a work? Artists themselves need to decide (inIVA), the book examines the most
pressing issues that have driven See Andrea Mason’s review of
whether it’s neutral strategic advice or constructive critical
international contemporary art at the Bill Drummond’s performance
feedback that they really need from professional develop- turn of the millennium. How to be an artiston page 9.
ment routes.
“Changing States creates a poignant How to be an artistby
Because a-n represents the diversity and complexity of visu- weave of eclectic and diverse Bill Drummond
al arts practice across the UK, our activities provide a thought, which is easy to navigate ISBN 0-9541656-0-8
through and can be returned to when Distributed by Turnaround
unique platform for artists to discuss, debate and assert
wanting.”Edith-Marie Pasquier Price £15.00
their needs whatever these may be – everything from criti-
See Edith-Marie Pasquier’s review of To enter you must be a subscriber.
cal frameworks to enhanced rates of pay. Our strategic role
Changing States on page 6. For more Send a postcard with your name
as the UK’s representative body for artists and trusted information or to purchase a copy of and address, clearly stating which
advisor to those that work with and for artists provides a the publication visit www.iniva.org or competition you are entering by
telephone [phone] February to a-n Magazine, First
vital interface with wider world to ensure that artists’ cur-
Floor, 7-15 Pink Lane, Newcastle
rent and future needs are positioned at the heart of visual Changing States: Contemporary Art upon Tyne NE1 5DW. Only one
and Ideas in an Era of Globalisation entry per competition. Call
arts policy and cultural development.
ISBN 1-899846-40-9 [phone] to
Published in the UK by inIVA subscribe and enter these
Price £25.00 competitions.
Gillian Nicol
Editor
This issue
Dominic Thomas’ article forms part of a new set of web-based
writing commissioned by Chris Brown for a-n and resulting from
and more at
the Quo vadis NAN event in Bristol and Cardiff in November.
Other contributors include Phil Babot, Carolyn Black, www.a-n.co.uk
Paul Glinkowski and Sarah Jane Pell. Read the full set at
www.a-n.co.uk>About a-n>Networks>Quo vadis A text only version
As the NAN initiative is all about facilitating exchange, dialogue of a-n can also
and collaboration amongst artists, we welcome your responses to
be viewed at
the Quo vadis debate. These and proposals for new contributions
should go to [email protected] www.a-n.co.uk
4Editorial & subscriber prizes a-n MagazineFebruary 2005
Vineta Kaulaca, Painting Installation
(details), oil on canvas, 2004.
Time to travel
Artist’s story: Vineta Kaulaca
My work is mostly about perception: the the world. My work aims to illustrate tion. I view travel as an experience of experience has been richly fermented
way we look at the world, building up the ambiguity and relativity of percep- seeing and expanding knowledge, through studies in the USA and Ger-
an image of the whole from different tion. dependent on individual viewpoint and many. It has helped me to put a per-
fragments. Fragments based on our One of the most important areas cultural context. The distance and the spective on art processes at home.
emotional relationships to, and intellec- for me in painting – a very time-con- time offered by the residencies and Being involved in art projects and
tual experiences of, an image. We rely, suming process in itself – is the simul- workshops that I have recently been forums in the UK has laid new founda-
unawares, on the role of time and taneous presence of reality and involved in are preconditions as well as tions for communicating with art in its
distance in this process of seeing. I am imagination, which allows the paint- key turning points in my practice. Leav- greatest diversity.
particularly interested in applying, to ing to be viewed as record or reposi- ing home, one sets a distance from the
Vineta Kaulaca is an artist based in Riga,
other media, my findings as a painter; tory of time. Painting examines the past, which later contributes to lessons Latvia.
Iam interested in the synergy between ordinary act of looking, extended about gaining freedom, discovering [email protected] [email protected]
drawing, photography, cinematography through close scrutiny and yielding a one’s identity and playing with it in new
She has recently shown Painting
and installation. process somewhere between aligning contexts. Travel has also forged a new Installation at ‘Access’, Aspex Gallery,
Taking photos is a way of taking memory and evoking presence. Time perspective on my experiences and Portsmouth as a result of a residency host-
ed by ARC and Art Space Portsmouth organ-
notes; it marks a point of reference for acts differently in photography, every helped to evaluate the knowledge I’ve ised in association with Braziers
further exploration by other means. I photograph contains information of gained, contributing to my growth as a International Artists Workshop. She has
taken part in Braziers International Artists
use photos – capturing the elusive- that-which-has-been. person. Workshop, Triangle Artists Workshop New
ness of a look and indicating pauses – Anew constituent of my work is My personal artistic background has York and completed a residency at the Irish
Museum of Modern Art in Dublin.
to document the trajectory of the travel. Looking, as the first step of com- been shaped by the travel of my coun-
Her work will be showing in Raid Projects,
observing eye, cast around, meeting munication, helps to define one’s loca- try through major historical stages. My Los Angeles in March 2005.
Reviews
Providing a critical response to a diverse selection of artists’ activity across the UK. Chosen from
press release material you send us, and links with artists’ networks, a-n commissions writers to
sample and report back on what they thought. To find out more see ‘Join in’ on www.a-n.co.uk
CHANGING STATES:
CONTEMPORARY ART AND
IDEAS IN AND ERA OF
GLOBALISATION
Published by inIVA
“inIVA is interested in a notion of a
culture that goes beyond art and the
limitations of race and at the same
times addresses the difficulties for
people who make work who are not
from the dominant ideology.”
Gilane Tawadros, editor Changing
States.
In the preface to Changing States,Stu-
art Hall observes that inIVA’s driving
principle has been to create a site of
exchange, ‘a sense of place’ for artists
and critics alike whose works holds to
an ethos of ‘vigorous dialogue and
debate’. Hall alludes, also, to the ‘con-
scripts of modernity’ and inIVA’s history
within the fault line of ‘that deeply con-
tradictory process of ‘globalisation’,
which is transforming the world – and
thus, inevitably, also the artwork and
the art world’. Yinka Shonibare,Diary of a Victorian Dandy, 21.00
Hours,1998. Courtesy: Stephen Friedman Gallery.
Hall’s comments delineate the
frame and context of this ambitious, charts multiple journeys: the program- ects and artists’ pages by leading cul- inhabit and redrawing the relationship
intense and diversely satisfying publica- ming of exhibitions, discussions, publi- tural theorists and writers such as Jean of power and culture. Perhaps,
tion. Given the ongoing debates around cations, education, multi-media, Fisher, Cocu Fosco, Deborah Levy, Stuart Tawadros’ underlying success with
postmodernism as witnessed in theoret- performance, architecture, research and Hall, Eddie Chambers, David A Bailey, Changing Statesis allowing the reader
ical reviews of political and economic debate. Changing Statesprovides a cre- Hans Ulrich Obrist, Gavin Jantjes. Inci- to let art offer an adventure into the
power structures, from global capital to ative and critical insight to the increas- dentally, the writing here is good: unknown, or an engagement with the
east-west dynamics, as well as aestheti- ing volatile and pressing field of Fisher’s sardonic, incisive ‘Vampire in unfamiliar, in order to discover and dis-
cal stock-taking of the euphoria that globalisation – as a locus for the inter- the Text’, and Levy’s witty fictional text seminate the different and the new.
laced postmodern descriptions, it seems section of art, media, architecture, lan- are two of the many inclusions that Edith-Marie Pasquier is an artist and writer.
the twenty-first century heralds its own guage and critical discourse. open rather than close debate. Artists For a chance to win a copy of Changing
States: Contemporary Art and Ideas in and
perspective by either fulfilling or skirt- To forefront the artists, critics and hold pages of their own including,
Era of Globalisation, published by inIVA see
ing the eradication of all the forms of themes that have animated the last ten amongst others, Yinka Shonibare, Alia Subscriber prizes on page 4.
what used to be called idealism. years from Britain and across the world, Syed, Johannes Phokela, Simon Tegala,
Regardless of whether postmodernism without forgetting the key legacy of ear- Chris Ofili, Sonia Boyce, David Medalla,
has lived up to such pronouncements, lier cultural theorists and artists who and Shen Yuan. It begins to read like a
some mark needs to be made to define have informed current contemporary Who’s Who and let’s not forget the
the new century. arts practice, adds a rewarding depth to artists who are presented by work and
InIVA’s anthology Changing States, reading. Tawadros has deftly presented written texts such as Keith Piper, Zineb
published to mark ten years of inIVA’s the radical upheaval of global capitals Sedira and Nasreen Mohamedi.
programme from 1994 to 2004, seems and artistic and cultural practice across Changing Statescreates a poignant
to point in this direction. This sample wider terrains of political economic weave of eclectic and diverse thought,
retrospective alludes to the vision of an space, repositioning the individual and which is easy to navigate through and
organisation geared towards defining the artist within ever-shifting localities, can be returned to when wanting. As a
and dissecting the dominant ideologies and made explicit in a publication that publication it responds to the uncertain
that can be transgressed and crossed allows for new intersections or interven- dynamic of global movements and local
within an era of globalisation. The pub- tions to occur. identities by setting aside a space for
lication is ambitious primarily as it It includes articles, interviews, proj- rethinking the cultural practices we
6Reviews a-n MagazineFebruary 2005
HENNA NADEEM: TREES, mixing it deftly but sometimes awk-
wardly, with tradition and history. Here
WATER, ROCKS
Nadeem combines Japanese, Moorish
and Islamic motifs, together with natu-
Piccadilly Circus Underground Station
ral landscapes and wilderness from
11 October – 17 January
around the world, with great success.
Her work looks digitally produced,
Returning from a research trip to India, but the collage is cut by hand. The
Ivisited the Platform for Art exhibition handcrafted process of making these
by Henna Nadeem at Piccadilly Circus works is revealed for the first time due
Underground in the ticket hall and sta- tothe scale of the works in this exhibi-
tion. Nadeem designs swirling, stylised tion, some as long as six metres. Viewers
stencil designs overlaid on vast photo- can see Nadeem’s careful scalpel cut-
graphic images of landscapes. I saw her outs of the overlaid patterns. The land-
work in the ‘Pattern Crazy’ show at the scapes have been enlarged to several
Crafts Council in 2002, where it was times their original size making the
smaller scale and influenced by Islamic viewer feel like stepping into some of
designs and motifs collaged on top of the landscapes, such as her scene of
various landscape and travel scenes. looking through a forest, part of a series
‘Trees, Water, Rocks’ is somewhat differ- in the ticket hall. This is one of the few
ent. The title, playfully referring to the photographs that is not an aerial view
game Rock Paper Scissors has varied and the result is a more intimate con-
cultural references and iconography. In nection between viewer and landscape.
these new works, the origin of these The floral cut-out collage superimposed
designs are less clear, more muddied onto the scene seems to be a veil or cur-
but rich with multicultural motifs and tain that could be brushed away to
patterns. Nadeem explains she is allow a way in. This unconventional
expanding her references to include location is a fitting place to exhibit
images that she finds formally pleas- Nadeem’s work, in a place parallel to
ing, with less emphasis on their geo- the ‘real’ streetscape above. Her work is
graphic and cultural origin. In my surreal and multilayered, showing an
studies and travels in modern India, I alternate yet inviting reality.
find the culture embracing modern Terri Whitehead is a designer and writer
design, technology and lifestyle and based in London. Henna Nadeem, Trees, Water, Rocks(installation view), 2004.
CLAIRE CURNEEN: more a commentary upon the futility
of relinquishing a life for a cause, than
SUCCOUR
homage – a concern with both histori-
cal and contemporary resonance.
Mission Gallery, Swansea
The figures bleed, their bodily fluid
13November – 15 January
inextricably bound by symbol and
properties to the preciousness of gold,
The Mission Gallery provides an evoca- seeping through the fine membrane of
tive venue for Curneen’s ceramic fig- their skin. This equation of material to
ures. Once a chapel for local subject matter is a significant aspect of
fisherman, it still retains the curve of Curneen’s work. That the figures are
the apse at the far end of the exhibi- constructed from porcelain also sug-
tion space and reflects light through gests that they are too delicate, too
the distinctive lancet arcs of the win- frail to be of mortal flesh, but rather
dows onto interior walls. Against this ethereal, celestial beings. The only hint
backdrop, Curneen’s series of martyred at any self-determination is given on
saints enact their tragedies. occasions where the tips of their fin-
The architectural features of the gers have been dipped in gold, demon-
building, in serving to remind us of the strating that they have touched their
figures’ iconography, draw attention to wounds, responded to their fate, and
their physical, bodily predicament. where tears of transparent glaze have
They are caught between life and made their painted eyes run a little
death. Though fatally wounded – St down their cheeks. Curneen has
Sebastian by arrows and St Catherine achieved a fusion rare in figurative
by the wheel – they remain standing, sculpture, that of technical skill, aes-
pious, staring ahead in calm resigna- thetic sensibility and humanity.
tion. This contradiction is so often Dr Natasha Mayo is a practitioner, free-
depicted in religious imagery and yet lance writer and lecturer in ceramics at
University of Wales Institute, Cardiff.
the title of the exhibition, ‘Succour’,
appears to question their surrender, its
meaning: [n] assistance in time of diffi- Claire Curneen, Catherine and her
Wheel(detail), height 69cm, 2003.
culty,[v] help in a difficult situation, Photo: Dewi Tannatt Lloyd
Above: Below:
Lois Wallace, Academy (Aston Villa),acrylic on Isabel Cuadrado, Afavor de la corriente,acrylic
board, 20x15cm. and light on canvas, 114x146cm, 2003.
SPACE boxes, and depth is created through
the physicality of the illuminated light
MAC Gallery, Birmingham and its placement between the canvas
13 November – 2 January and wood structures.
In Ruth Spencer’s paintings, which
‘Space’, previously hosted at Museo are devoid of human presence, we are
Barjola in Gijon, is now sited in most of presented with the issue of public envi-
MAC’s exhibition and public interior. ronment as anonymous space, while
Comprising of six female artists, this Gema Ramos’ representational draw-
exhibition examines their varying inter- ings of shoes portray the possibility of
pretations of, and responses to, the physical space, making us conscious of
notion of space. the very gap in which our bodies, and
Lois Wallace explores atmospheric particularly our feet, inhabit.
space through her photographic paint- Throughout this exhibition ‘space’
ings. With ambient lighting as a as a ubiquitous theme is presented for
source, she displays small canvases the most part as physical and illusory
with titles such as Rest, Silence, Filter representations. At moments there
and Home.These titles imply how we does emerge some direct engagement
should engage with these paintings, or cross-over between the work and the
although we are presented with environment, as in Maria G Gwynne’s
generic settings, which could be any- sculptural installation Language and
where. For Isabel Cuadrado the space space: on the shelfwhere cut-outs,
created through the deliberate action lighting and reflection are employed to
of perforated canvases is evocative of create a new architectural imperma-
cosmological space and night skies. nence on the gallery wall. Overall,
Her use of canvas, paint and fluores- however, this is a safe exhibition, pre-
cent tubing is reminiscent of Lucio sented in a traditional hang, which
Fontana’s ‘spatialisms’ of the 1940s could have gone further in critically
and 1950s. Unlike Fontana’s quest to examining the issues and possibilities
delve through the exterior of the pic- of this particular gallery space.
ture plane to the surface of the gallery Mona Casey is an artist and co-director of
wall, Cuadrado’s pieces are contained Colony in Birmingham.
8Reviews a-n MagazineFebruary 2005
Bill Drummond, images from How to be an artist,published by The Penkiln Burn, 2002.
BILL DRUMMOND:
second canvas, ‘To A Smell Of Money reactive moment to another and culmi- the room and give your dollar to Drum-
HOW TO BE AN ARTIST Underground’, on an easel to our right. nated in Drummond drawing a grid mond. He cuts out the relevant rectan-
He then took us on a journey, explain- across his Richard Long photograph, gle. A third canvas is gridded to match
ing how he’d arrived at the statement From A Smell Of Sulphur In The Wind, the Richard Long photograph. Helper
Outpost, Norwich
on the right from the statement on the cutting out the first rectangle with a two finds your co-ordinates and offers
1-2, 7-8 December
left. This involved fish suppers, Iceland, Stanley knife blade and eating it. apaintbrush with black or yellow
At 3.10 this morning the revelation his sister, failure, Richard Long, pride, The piece is a sales pitch: Drum- paint. Eventually this canvas will read
came, fully formed, that what was miss- revenge, the replacement of a Long mond wants to sell each rectangle to ‘SOLD’. There was a queue, I only had
ing from Bill Drummond’s performance stone, thoughts of suicide, pacing, 20,000 people for a dollar each (it achequebook, I had to get back to my
‘How To Be An Artist’ was a sense of joy. sheep, a beautiful view (a glimmer of cost him $20,000). Helper one babysitter.
Here’s what happened. The artist put joy?), an idea to bury a lot of money, un- exchanges 75p with you for a dollar. Andrea Mason is an artist and writer based
on a single record, placed a canvas kept promises, For Sale signs, a carpet, a You choose co-ordinates painted on in Norwich.
For a chance to win a copy of How to be an
which read ‘From A Smell Of Sulphur In drive from Southampton to Scotland. tiny oak blocks from gym bag Upand
artistby BillDrummond see Subscriber
The Wind’ on an easel to our left, then a These activities ricocheted from one gym bag Down.You then move across prizes on page 4.
SEEMA RAO: STOP
number of people, sometimes inadver-
tently, have a good view of the exhibi-
Spital Square, London tion.
3December – 30 January Rao has almost single-handedly
climbed round the large space and cov-
This site-specific installation is Seema ered the windows, walls, floors and pil-
Rao’s response to how we receive lars with yards and yards of neon
instruction from public signs in an yellow tape. This is the neon of con-
urban environment. It is set in a con- struction workers’ jackets, cyclists’ coats,
crete space in Spitalfields, an area police tape, and other urgent safety
between the busy financial district and signs. It really shines in the winter light.
the busy ‘historical’ East End. The space The tape seems like a trail of map con-
itself has windows for walls, floor to tour lines, a made-up map directed by
ceiling that look out onto Elders Fields, the physicality of the building. The
asmall city garden sanctuary and foot- overall mass and execution of these
path surrounded by swish apartments handmade trails are a playful depar-
and office blocks. When illuminated by ture from a force of official control. If
the afternoon’s electric lights, a large close up, you can read a selection of
black stencilled instructions, from ‘Do
Not Stand’ to ‘Do Not Cry’, the latter
intriguingly suggesting emotional
restraint. However these words become
somewhat overwhelmed by physical
display as a whole.
This installation speaks of conflict
with authority. The site itself, its hectic
surroundings, the human thoroughfare,
and implications of the word ‘STOP’ vis-
ible to eyes close up, denote ‘stop and
think’. And for each passer-by that will
be a very personal address. Here and
why?
Lisa Wigham is an artist based in London. Seema Rao, STOP,installation, 2004.
What’s on
To advertise in What’s on
Contact the Communications
and Sales team on
[phone]
Apaid-for listing of exhibitions and events across the UK with
F:[phone]
previews interspersed throughout giving a taster of what’s on.
[email protected]
To find out more see ‘Join in’ on www.a-n.co.uk
Deadline: 7 Feb for listings
8Feb for display ads
Aberdeen Birmingham
Peacock Visual Arts
21 Castle Street, AB11 5BQ. 01224
639539 www.peacockvisualarts.co.uk
Tues-Sat 9.30-5.30
5Feb - 12 Mar: ‘Stop, Look, Listen - An
Evolving Exhibition’, Ziggy Campbell, Kev PUBLIC ART – REGENERATION,
Sim, Tommy Perman are Found, DIVERSITY & ENGAGEMENT
developing their work in relation to local Think Tank,Millennium Point,
Birmingham 15th March 2005
environments. 23 Feb, 7.30pm: Bill Aone day event for those engaged in the
Thompson vs Found - live electronics. commissioning,production and mediation of
public art and the built environment,in order
to explore current practice in the context of
Abergavenny
regeneration,engagement and diversity.
The Art Shop Further information and booking form:
8Cross Street, NP7 5EH. 01873 852690 www.ixia-info.com
Tues-Sat 9.15-5.30
Contact gallery for details
Accrington Ikon Gallery
1Oozells Square, Brindleyplace, B1 2HS.
0121 248 0708. www.ikon-gallery.co.uk
Haworth Art Gallery
Tues-Sun 11-6; Open BH Mons
Haworth Park, Manchester Road, BB5
1Feb - 28 Mar: ‘Where the stars are
2JS: 01254 233782.
coming one span closer’, Giovanni
www.hyndburnbc.gov.uk
Anselmo, including a new installation.
Wed-Fri 2-5; Sat & Sun 12-4.30 ‘The Nightingale’, Grace Ndiritu, video
Until 6 Feb: ‘Big Shimmer Thrust’, Lisa piece exploring issues of racial
Ashcroft. Until 13 Feb: ‘Alphabet’, Peter stereotyping.
Blakewithfree guided tours and art
activities. RBSA Gallery
4Brook Street, St Paul’s, B3 1SA. 0121
236 4353. www.rbsa.org.uk
Basingstoke
Mon-Wed, Fri 10.30-5.30; Thurs 10.30-7;
Sat 10.30-5
Fairfields Arts Centre 2-12 Feb: ‘RBSA Friends’, work by Friends
Council Road, RG21 3DH. 01256
of the RBSA. 4-28 Feb: ‘Freeze’, studio
321621 www.fairfields.org
ceramics, glass and jewellery featuring
Mon-Wed 9.30-5.30; Thurs 9.30-3.30; Fri work by Ashi Marwaha’s and Bill and
by appointment; Sat 10-1 Elizabeth Wright, Norwich Jackie McNeill. 14 Feb - 12 Mar: ‘New
Until 12 Feb: Brenda Perkins, retrospective Lido,photograph, 2004. Horizons’, fine art students from Midlands
exhibition of landscape paintings. universities.
Bath Elizabeth Wright: Norwich Lido The Window
Arcade, off the High Street, City Centre
B1. 0121 643 6040.
Hotbath Gallery
Wysing Arts, Bourn, Cambridgeshire [email protected]
City of Bath College, Hotbath
12 February – 24 March Daily 9-6
Street/Beau Street, BA1 1UP. 01225
’The Window’ is a Birmingham Artists
328673. www.hotbathgallery.co.uk
Adiving board from a 1930s designed lido is proudly preserved for pos- project. Curated by Ian Skoyles and
Mon-Fri 9-4.45; Sat 10-4
terity in the Wyvale Garden Centre, Croydon, and another Lido has Pamina Stewart.
Contact gallery for details
become a magistrates court. Elizabeth Wright has a one-year residency
Bradford
partly based with Wysing but also in partnership with the Tyndall Centre
Bedford
for Climate Change Research and the Norwich Gallery, where she links
Gallery II
BCA Gallery architectural change, global warming and social behaviour. Redundant University of Bradford, Chesham
33 Castle Lane, MK40 3XD. 01234 open-air lidos of the 1950s and 60s are re-designed as architectural site Building, Great Horton Road, BD7 1DP.
273580. www.bedfordcreativearts.com plans at Wysing Gallery (perfect for a signage swimming pool metamor- 01274 235495.
www.bradford.ac.uk/gallery
Tues-Sat 11-5 phosis) with nine signage pools planned in open-air venues around the
Mon-Wed 11-5; Thurs 11-6
Until 19 Feb: ‘Rush Hour’, Martin Newth, city of Norwich in the summer. Wysing accommodates over twenty artists
Until 25 Feb: ‘Exploration of Watercolour’,
extraordinary series of images taken with studio spaces and has plans for development in the near future. Ron Sims Deborah Lawson, inspired by forms
hour-long exposure times reducing the For more information see advert on page 11 or visit www.wysingarts.org created by nature, constructed by people
relentless movement of thousands of cars or purely by the properties of watercolour
and people to a faint blur. on paper.
10What’s on a-n MagazineFebruary 2005