Showing posts with label Manchester. Show all posts
Showing posts with label Manchester. Show all posts
"Office Art" by 12 Rogue artists will be displayed/performed in the space for this one night only exhibition.
Office Party confirmed artists:
Andrew Lim, Ian Hartshorne, Hannah Wiles, Mike Chavez-Dawson & Len Horsey, Daniel Fogarty, Stephanie Graham, Lucy Ridges, Dylan Thomas,Tracey Eastham, Hilary Jack, Ahmed & Carpenter.
Friday 26th Aug @ 18:00
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For the Office Party Lim will create site-within-a-site-specific installations bringing together objects out of their normal context, will the result be an awkward situation or will they get chummy with each other?
Office Party
Exhibition +
Manchester +
UK
"Office Art" by 12 Rogue artists will be displayed/performed in the space for this one night only exhibition.
Office Party confirmed artists:
Andrew Lim, Ian Hartshorne, Hannah Wiles, Mike Chavez-Dawson & Len Horsey, Daniel Fogarty, Stephanie Graham, Lucy Ridges, Dylan Thomas,Tracey Eastham, Hilary Jack, Ahmed & Carpenter.
Friday 26th Aug @ 18:00
**************************************************************
For the Office Party Lim will create site-within-a-site-specific installations bringing together objects out of their normal context, will the result be an awkward situation or will they get chummy with each other?
Originally The Burlington Fine Arts Club was a London gentlemen’s club, established in 1866. The club had its roots in the informal Fine Arts Club, a gathering of amateur art enthusiasts that aimed to combine their specfic interest with the atmosphere of a typical gentlemen’s club. The club also doubled up as a regular exhibition venue, its location having been selected for its proximity to Mayfair art dealers.
The original club sought to “facilitate intercourse between men of art predilections, especially those who were collectors with a view of giving to them convenient opportunities of comparing their acquisitions and of criticising and obtaining information in connection with Art subjects.”
In 2011 the Burlington Fine Arts Club will be resurrected for a limited 4-week period, existing as pop up social space running parallel with the events of the Manchester International Festival. Following the original premise, the Burlington will give local creative’s a space to exhibit, establish networks, discuss ideas and an opportunity to engage in Manchester’s grass routes contemporary art scene.
Like all good gentlemen clubs The Burlington 2011 will also provide a space to relax, meet and have a stiff drink.
The physicality of the space itself will represent this tradition of informal networking. It is formed by a maze like structure comprised of adjustable sections. Each section will be curated by a selected artist, DIY collective or independent gallery.
Aside from a space to socialize the sections can also be used as events space, hired by artists and freelancers for meetings or one of the specially designed tables can be booked during the day to use as a temporary studio space. To represent the expanding cities network each space has the ability to link together merging multiple sections to create a larger area providing the opportunity to either join parties or merge events.
The Burlington is a way for independents in Manchester to be represented in a way that is not cool or contrived. When the sun goes down on MIF and the out of towners turn in The Burlington comes to life as a space with unlimited possibilities. With an out of hours programme of events that will be evolved directly from artists and not institutions, The Burlington will be the place where deals are done and bonds are formed. Art is made, discussed and exchanged.
The Burlington will run a programme of exhibitions, residencies, music events, screenings, talks and podcasts to accompany this reinvention of a classic tradition.
The Burlington 2011 is a project devised and directed by Liz Murphy and Anna Stogdon.
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Andrew Lim
Andrew Lim creates context responsive sculptural installations that rearticulate the use of everyday objects, using a set of rules devised for each installation out of which the artwork grows to its logical conclusion.
For the Burlington Fine Arts Club Lim will create a site-within-a-site-specific installation. Lim’s installation will explore and assert itself on its environment; at the same time the environment will impose itself on the individual objects.
Within in the setting of the Club the constraints within the installation will echo with the strict rules that governed the original club and that dictated the behaviour of its inhabitants.
Burlington Fine Arts Club
Exhibition +
Manchester
Originally The Burlington Fine Arts Club was a London gentlemen’s club, established in 1866. The club had its roots in the informal Fine Arts Club, a gathering of amateur art enthusiasts that aimed to combine their specfic interest with the atmosphere of a typical gentlemen’s club. The club also doubled up as a regular exhibition venue, its location having been selected for its proximity to Mayfair art dealers.
The original club sought to “facilitate intercourse between men of art predilections, especially those who were collectors with a view of giving to them convenient opportunities of comparing their acquisitions and of criticising and obtaining information in connection with Art subjects.”
In 2011 the Burlington Fine Arts Club will be resurrected for a limited 4-week period, existing as pop up social space running parallel with the events of the Manchester International Festival. Following the original premise, the Burlington will give local creative’s a space to exhibit, establish networks, discuss ideas and an opportunity to engage in Manchester’s grass routes contemporary art scene.
Like all good gentlemen clubs The Burlington 2011 will also provide a space to relax, meet and have a stiff drink.
The physicality of the space itself will represent this tradition of informal networking. It is formed by a maze like structure comprised of adjustable sections. Each section will be curated by a selected artist, DIY collective or independent gallery.
Aside from a space to socialize the sections can also be used as events space, hired by artists and freelancers for meetings or one of the specially designed tables can be booked during the day to use as a temporary studio space. To represent the expanding cities network each space has the ability to link together merging multiple sections to create a larger area providing the opportunity to either join parties or merge events.
The Burlington is a way for independents in Manchester to be represented in a way that is not cool or contrived. When the sun goes down on MIF and the out of towners turn in The Burlington comes to life as a space with unlimited possibilities. With an out of hours programme of events that will be evolved directly from artists and not institutions, The Burlington will be the place where deals are done and bonds are formed. Art is made, discussed and exchanged.
The Burlington will run a programme of exhibitions, residencies, music events, screenings, talks and podcasts to accompany this reinvention of a classic tradition.
The Burlington 2011 is a project devised and directed by Liz Murphy and Anna Stogdon.
***************************************************************************
Andrew Lim
Andrew Lim creates context responsive sculptural installations that rearticulate the use of everyday objects, using a set of rules devised for each installation out of which the artwork grows to its logical conclusion.
For the Burlington Fine Arts Club Lim will create a site-within-a-site-specific installation. Lim’s installation will explore and assert itself on its environment; at the same time the environment will impose itself on the individual objects.
Within in the setting of the Club the constraints within the installation will echo with the strict rules that governed the original club and that dictated the behaviour of its inhabitants.
A curatorial experiment… A gallery gamble… An exhibition determined by you, the artist, and the public… Without agenda or bias, refuting government and funding criteria, and not driven by the market, current taste or trend in contemporary art. Open to all UK artists.
We Are All In This Together is a celebration of both Bureau’s fifth birthday and the current contemporary scene across the UK. It appears prescient in the face of the recent arts cuts, as Bureau extends an invitation to UK based artists to exhibit work at their Manchester gallery. The exhibition aims to feature new and existing works by as many artists as possible, as in a challenging curatorial exercise, Bureau relinquishes control of their curated gallery programme and issues a call out to artists to provide the exhibition content.
We Are All In This Together pays tribute to preeminent curator Walter Hopps’ seminal 36 Hours project at MOTA (The Museum of Temporary Art), Washington, USA in 1978. The concept for 36 Hours was for any artist to take a single work to the gallery, without any chance of rejection or censorship, and Hopps would personally hang the works as they arrived. The show was inclusive, making no distinction between artists or selection of works, the only limitation being a size restriction. Bureau will adhere to this framework in an attempt to explore curatorial models and boundaries, and experiment with exhibition formats, extending the timeframe from 36 hours to 36 days.
Hopps linked his curatorial practice to his earlier studies in natural sciences and bacteriology, making reference to 36 Hours as an innocent response to natural phenomena: “It’s a perception of all the sorts of things one studies in the natural sciences, where you immediately get a vast realm of phenomena thrown out in front of you. I remember when I studied bacteriology, I had a good professor who went out of his way to talk about both bacteriophages and viruses so we might get a better sense of the whole category. Somehow, early on I got used to the idea that these people who were exploring any given subject were constantly pushing out beyond the boundaries, in order to understand what the boundaries were in the first place.” 1 In a similar way Bureau hope to test curatorial practice, gain a wider perception of the current working practices of artists in the UK and identify emergent trends across works.
Through Bureau’s extended duration of the period for submissions from 36 hours to 36 days, it allows for the possibility of a number of different exhibitions to take place and for visitors to make return visits to view the altering dynamics of the gallery space. The exhibition will be documented on a dedicated website, evolving on a daily basis as and when works are delivered to the gallery. This will create shifting dialogues, relationships and tensions between the works as the exhibition expands. As works are added the show will be re-assessed and re-hung, based on both spatial and curatorial decisions and potential emergent themes.
Operating in reverse from the standard exhibition format of fixed works and a preview,We Are All In This Together will open with an empty gallery space. Almost construed as a series of exhibitions, it will culminate in one conclusive hang and exhibition presentation at the ‘final viewing’ and closing party.
We Are All In This Together questions curatorial strategy and whether a cohesive, or series of cohesive exhibitions can be created through an open call for submissions, with no prior knowledge of the works and no selection criteria, and where no work is turned away.
We Are All In This Together
Bureau Gallery +
Exhibition +
Manchester
A curatorial experiment… A gallery gamble… An exhibition determined by you, the artist, and the public… Without agenda or bias, refuting government and funding criteria, and not driven by the market, current taste or trend in contemporary art. Open to all UK artists.
We Are All In This Together is a celebration of both Bureau’s fifth birthday and the current contemporary scene across the UK. It appears prescient in the face of the recent arts cuts, as Bureau extends an invitation to UK based artists to exhibit work at their Manchester gallery. The exhibition aims to feature new and existing works by as many artists as possible, as in a challenging curatorial exercise, Bureau relinquishes control of their curated gallery programme and issues a call out to artists to provide the exhibition content.
We Are All In This Together pays tribute to preeminent curator Walter Hopps’ seminal 36 Hours project at MOTA (The Museum of Temporary Art), Washington, USA in 1978. The concept for 36 Hours was for any artist to take a single work to the gallery, without any chance of rejection or censorship, and Hopps would personally hang the works as they arrived. The show was inclusive, making no distinction between artists or selection of works, the only limitation being a size restriction. Bureau will adhere to this framework in an attempt to explore curatorial models and boundaries, and experiment with exhibition formats, extending the timeframe from 36 hours to 36 days.
Hopps linked his curatorial practice to his earlier studies in natural sciences and bacteriology, making reference to 36 Hours as an innocent response to natural phenomena: “It’s a perception of all the sorts of things one studies in the natural sciences, where you immediately get a vast realm of phenomena thrown out in front of you. I remember when I studied bacteriology, I had a good professor who went out of his way to talk about both bacteriophages and viruses so we might get a better sense of the whole category. Somehow, early on I got used to the idea that these people who were exploring any given subject were constantly pushing out beyond the boundaries, in order to understand what the boundaries were in the first place.” 1 In a similar way Bureau hope to test curatorial practice, gain a wider perception of the current working practices of artists in the UK and identify emergent trends across works.
Through Bureau’s extended duration of the period for submissions from 36 hours to 36 days, it allows for the possibility of a number of different exhibitions to take place and for visitors to make return visits to view the altering dynamics of the gallery space. The exhibition will be documented on a dedicated website, evolving on a daily basis as and when works are delivered to the gallery. This will create shifting dialogues, relationships and tensions between the works as the exhibition expands. As works are added the show will be re-assessed and re-hung, based on both spatial and curatorial decisions and potential emergent themes.
Operating in reverse from the standard exhibition format of fixed works and a preview,We Are All In This Together will open with an empty gallery space. Almost construed as a series of exhibitions, it will culminate in one conclusive hang and exhibition presentation at the ‘final viewing’ and closing party.
We Are All In This Together questions curatorial strategy and whether a cohesive, or series of cohesive exhibitions can be created through an open call for submissions, with no prior knowledge of the works and no selection criteria, and where no work is turned away.
Castlefield Gallery is pleased to present On Measuring Uncertainty, consisting of new sculptural work by Kit Craig and Andrew Lim. The works use references that range from early computer programmers flow charts and a 16th Century hermits dwelling to a cryptic interpretation of Rembrandts Self Portrait With Two Circles. In part reliant on the laws of physics and mathematics, the works combine both a sense of geometry and natural form, deciphering the vernacular of traditional gallery display or rearticulating the use of materials that are indigenous to the gallery space. .
Craig uses drawing as a central part of his practice, pushing our understanding of it, not only as a mere recording of thoughts or as an observational tool, but as extensions of the picture frame; viewing devices that attempt to articulate the process in which they were conceived, made and viewed. Often using everyday objects such as shelves, chairs or scaffolding, Lims approach is more extemporary in nature yet is carried out within a premeditated modus operandi governed by the space in which he works and contingent upon its materials and its dimensions. On Measuring Uncertainty will investigate broad philosophical themes of human knowledge and understanding, science versus religion or meaning in a contemporary context.
On Measuring Uncertainty
Exhibition +
Manchester +
UK
Castlefield Gallery is pleased to present On Measuring Uncertainty, consisting of new sculptural work by Kit Craig and Andrew Lim. The works use references that range from early computer programmers flow charts and a 16th Century hermits dwelling to a cryptic interpretation of Rembrandts Self Portrait With Two Circles. In part reliant on the laws of physics and mathematics, the works combine both a sense of geometry and natural form, deciphering the vernacular of traditional gallery display or rearticulating the use of materials that are indigenous to the gallery space. .
Craig uses drawing as a central part of his practice, pushing our understanding of it, not only as a mere recording of thoughts or as an observational tool, but as extensions of the picture frame; viewing devices that attempt to articulate the process in which they were conceived, made and viewed. Often using everyday objects such as shelves, chairs or scaffolding, Lims approach is more extemporary in nature yet is carried out within a premeditated modus operandi governed by the space in which he works and contingent upon its materials and its dimensions. On Measuring Uncertainty will investigate broad philosophical themes of human knowledge and understanding, science versus religion or meaning in a contemporary context.
Contemporary Art Manchester (CAM) presents its inaugural project Trade City; a dynamic, international exhibition in Will Alsop's iconic CHIPS building, supported by Arts Council England and Urban Splash, and in conjunction with Manchester International Festival 2009. Introducing a number of Manchester and UK premieres and new commissions, Trade City has generated new forms of exchange across the city's art scene.
Contemporary Art Manchester is a new, not-for-profit consortium of visual arts organisations, representing the breadth of the current contemporary arts infrastructure in Manchester. In bringing together the art production of thirteen diverse organisations, Trade City reflects the trading and exchange that has taken place between the artists and curators partnering in CAM.
Each participating organisation has selected artists to work with that are representative of their curatorial approach or position, alongside exploring multi-faceted interpretations of ‘trade’. As a result, the presented works of twenty-six emergent to established international artists trade off each other in one space, creating aesthetic and spatial interplays, whilst addressing ideas of cultural, economic, geographical and political exchange.
In collectively working on exhibition and presentation formats CAM explores the ways in which contradictions or tensions and harmonies can co-exist within such frameworks, and in the case of Trade City, under one roof.
Trade Off
Exhibition +
Manchester +
UK
Contemporary Art Manchester (CAM) presents its inaugural project Trade City; a dynamic, international exhibition in Will Alsop's iconic CHIPS building, supported by Arts Council England and Urban Splash, and in conjunction with Manchester International Festival 2009. Introducing a number of Manchester and UK premieres and new commissions, Trade City has generated new forms of exchange across the city's art scene.
Contemporary Art Manchester is a new, not-for-profit consortium of visual arts organisations, representing the breadth of the current contemporary arts infrastructure in Manchester. In bringing together the art production of thirteen diverse organisations, Trade City reflects the trading and exchange that has taken place between the artists and curators partnering in CAM.
Each participating organisation has selected artists to work with that are representative of their curatorial approach or position, alongside exploring multi-faceted interpretations of ‘trade’. As a result, the presented works of twenty-six emergent to established international artists trade off each other in one space, creating aesthetic and spatial interplays, whilst addressing ideas of cultural, economic, geographical and political exchange.
In collectively working on exhibition and presentation formats CAM explores the ways in which contradictions or tensions and harmonies can co-exist within such frameworks, and in the case of Trade City, under one roof.