Archive for category Architecure
©Huw Bartlett 2014
For the final week I invited Actor/Artist/Bodybuilder/Documentary Filmmaker Arnold Pollock to exhibit. His was a unique situation in that he is from Manchester so would be making work from scratch or using whatever he could bring down with him. But this gave Arnold the chance to truly create something in response to the gallery space as initially the space was all he had.
Using his current interest in acting (he’s been on Corrie don’t you know!) and previous experience in documentary film making Arnold created a film that combines his interaction with Brighton and its inhabitants. He accurately describes the film as ‘… the result of pursuing every meaningful coincidence during my stay.’ Most of these coincidences revolved around, and occurred due, to his incredible charm. This charm made it possible for Arnold to swipe personal text messages off of strangers phones which are then used as scripts, acted out with new strangers.
The film also depicts local scenes which perhaps locals would normally overlook, and all pretence is somehow stripped away from whimsical beach scenes such as in the clip below and replaced with an endearing honesty.
It was the perfect way to end the residency. The film left me with a new love for my hometown and showed the true potential of CAC when someone enters it with a blank slate and only their interests as a starting point.
Also screened during the exhibition was Arnold’s documentary of him and friend James walking the Trans Pennine Trail:
© Huw Bartlett 2014
For the second week I invited Spanish photography and moving image artist Nazare Soares to exhibit as I had previously seen examples of her work and loved the experimental realness to her films. I also envisaged that the closeness of the gallery space would compliment moving image work.
Nazare revisited her existing moving image work Hic Non Est, created during a residency in Palestine last year, and reconstructed the work in response to the space. The rooms were set up as a visual diary of her Palestinian memories and experiences and the theme of the tree of life was repeatedly visually present, even in the form of an actual olive tree which transformed the space into an organic part of the show. This is one of the best things about CAC that it has the ability to shape shift with each show, if you brought a tree in to a conventional white cube type gallery it would very much be apparent that it had been deliberately brought in an artwork. At CAC the tree looked as if it could’ve grown out of the ground and perhaps the whole exhibition had come about around the tree.
Image © Jennifer Milarski 2014
” Language has unmistakably made plain that memory is not an instrument for exploring the past,
but rather a medium. It is the medium of that which is experienced, just as the earth is the
medium in which ancient cities lie buried. He who seeks to approach his own buried past must
conduct himself like a man digging. Above all, he must not be afraid to return again and again to
the same matter; to scatter it as one scatters earth, to turn it over as one turns over soil. For the
”matter itself” is no more than the strata which yield their long-sought secrets only to the most
meticulous investigation. That is to say, they yield those images that, severed from all earlier
associations, reside as treasures in the sober rooms of our later insights”
Walter Benjamin: Excavation and Memory
The above Walter Benjamin quote which Nazare cites as inspiration for this piece is particularly poignant when seeing Hic Non Est shown in the CAC setting. Specifically the idea of the earth being the medium in which ancient cities lie buried, CAC is the medium in which Nazare’s show, along with each weekly Work Programme is buried and each artist is an excavator of that which already exists within the layers of the gallery.
© Huw Bartlett 2014
I have just finished an intense 3 weeks as Curator in Residence at the Community Arts Centre, Brighton. Despite a few suggestions against it I decided to start off the 3 weeks myself and invited two artists, whose work I admired and felt could benefit from the space and bring something different, to each have their own week. As I may have previously explained, the Work Programmes at CAC begin on the Monday with the ceremonious handing over of the keys to the artist and finish with an exhibition on the following Saturday.
I am particularly in love with the space and the freedom and inspiration that it provides and enjoy the thrill on a Saturday night of wondering just how differently people will interpret it. As I had already done a work programme last year (click here to see images from the previous year) I was quite apprehensive about how I would interact with the space this time, I was concerned that I would end up repeating things from last year and that it would pale in comparison. In actual fact I did end up mirroring (literally) certain things from the previous year as it felt like a progression of ideas in each room.
Whereas last year I had a physique bodybuilder performing, this year I performed myself. Following on from the confidence I had gained during the LADA workshop the previous week I knew that it had to be me and although this proved to be an extremely daunting experience, and in the week leading up to the exhibition and I constantly questioned if I was making massive mistake, but no matter how nervous I got I knew that there was no way that I wasn’t going to do it. Painting my nails pink, getting a spray tan, putting on the wig and then finally the bikini I covered up the ‘me’ aspects so that all that was left was my physical form, which could be any successful white body in terms that it is healthy, physically able, well nourished, not obese etc.
The performance itself took place over two hours and the audience where invited in for a one-on-one experience. My boyfriend was the bouncer on the door making sure that people waited their turn and I quite like the connotations that go alongside him being the one who allows others to look at me, there’s a kind of pimp dynamic and once inside the room has red lighting and a golden throne chair for the viewer to sit on, making it almost a peep show or lap dance type environment. The emphasis wasn’t on the sexual however, with farcical exaggerations of grandeur such as the ‘gold’ jewellery I was wearing, the clearly not my own hair blonde bombshell wig, the idea was more towards the failure of sexiness. I don’t have abs, so I had drawn them on with eyebrow pencil, I don’t have large bicep muscles so the bodybuilding poses that I was mimicking were exactly that, a mimicry, a parody or poor copy. The fake smile (which I almost lost quite near to the start due a twitching cheek muscle!) and everything about the performance was essentially fake.
Images © Alice Tenquist
For this years Brighton Digital Festival I took part in Bring Your Own Beamer at The Corn Exchange. I was one of about 20 artists who were selected to have fixed installations at the show whilst in the middle of the venue the usual brining of your own beamer took place.
I exhibited my M E N projection mapped project, initially created for my MA show and shown also at my first solo show at Community Arts Centre. I particularly enjoyed displaying this piece in the Regency surroundings of the corn exchange and opted to display the work under the watchful eye of a giant ornate mirror. Mirroring (ha!) the reflective plinths that I used in my first showing of this piece.
Bloody fantastic exhibition! Heavy Weight History consists of Polish power lifters attempting, and sometimes succeeding, to lift politically rife monuments around Warsaw. Documented in the form of a reality TV show, much like World’s Strongest Man (one of my favourite TV programmes!) the work questions the continuing relevance of public statues, and uses the rich historical backdrop of Poland as the stage to do so. Being of Polish heritage myself I have often visited Warsaw and have specifically visited a lot of the statues in the work.
It is interesting to think about these large symbols of communist oppression, such as statues and buildings that are left behind and forced on the locals and the meaning that they now signify. I’m thinking specifically about The Palace of Culture in Warsaw, the so called ‘gift of the Soviet nations to the Polish people’, which is still widely despised by the Polish and yet is a massive tourist attraction and landmark to outsiders.
From the 2nd of February until the 14th of April, the Towner Gallery in Eastbourne was host to the magical film works of Kelly Richardson.
Each room on the top floor of the gallery was dedicated to a different mythical landscape, with the large initial room showing Leviathon, 2011 introduced a sci-fi like lagoon scene, looking like something out of Avatar and Predator combined.
The epic scale of the works provided an intensely immersive experience and films became portals to these unknown lands. This cinematic transportation of the viewer perfectly captured the feeling I get when standing on a mountain top or when exploring a dense forest, the feeling that no one else exists. The double sided hanging forest projections, The Great Destroyer, and The Erudtition, shown below were my favourite pieces.
On a separate, later trip to the Towner I had the good fortune of seeing film-maker John Skoog’s first UK solo show. I was particularly struck by his film Reduit (Redoubt) which takes the form of dark, brooding slow shots of the home of Swedish farmer Karl Goran Persson. Persson built the house by hand and fuelled by his intense fear of impending Soviet invasion continuously fortified his home with junk and found objects. The voice over provides an insight into the character of this farmer, who was so mightily strong he would carry large girders back from town on his bike to add to his fortress like home.
As the days scarily pass by, with now only two weeks to go till my MA show, Sequenced (Private View on the 28th of June at Brighton University) I am naturally procrastinating (I call it research) by means of the internet.
My project consists of projection mapping on to 3 plaster torsos and as nothing is original anymore I wanted to see if there were any examples of this sort of thing already out there.
Robert Seidel is a Berlin based artist who works with experimental film and is bloody brilliant! The work pictured above is entitled folds and uses projections to highlight the history of plaster casts and to bring them alive. The piece was created for the Lindenau Museum in Altenburg, Germany. The continuous replication of these Grecian statues lends to the fact that even when they are missing limbs and broken, they are still completely recognisable. Seidel talks about the way in which moving image can make a static object come alive. These are all things I am working towards in my own practice.