Lubomirov / Angus-Hughes, London
Georgie Grace / Reece Jones / CJ Mahony / Solveig Settemsdal
“Images have become a new form of light.”
Shadow Optics brings together four artists who deal in layers, atmospheres, and speculative or virtual spaces. Each has an interest in light – whether using reflective surfaces, photographic processes, backlit screens, or manipulating or fabricating lighting effects. Their work is characterised by slippages and uncertainty – inviting the viewer into the gap between a thing and its shadow, reflection, or representation.
A selection of works from the Kettle’s Yard Collection, curated by Georgie Grace.
Barbara Hepworth, Group of Three Magic Stones, 1973
Gregorio Vardanega, Disc, circa 1960
Italo Valenti, Nr. 81; Pierres de Lune, 1960-69
Tony Giles, Trevaunance Cove, n.d
Eric Moody, Marking Time, 1975
Alfred Wallis, Dark Trees, n.d
Georgie Grace, This Time of Day Can Be Dangerous, 2015
Georgie Grace, This Outside is Already Inside, 2015
The machine is almost pure magic (2015)
Commissioned through Jerwood Encounters: 3-Phase, a new artist development collaboration between two artist-led organisations Eastside Projects (Birmingham) and g39 (Cardiff), and Jerwood Charitable Foundation, through its London based gallery programme Jerwood Visual Arts.
1. Reality does not run along the neat straight lines of the printed page wrote Sadie Plant in Zeros and Ones, aligning the infinitely tangled webs of the internet with the infinitely tangled webs of language. In the liquid flow of the data stream, words become isolated fragments estranged from an organizing central narrative. The channels of the computerized network are a-temporal. Against time (as we know it), not in any way with it. To read on and with the screen is to trust your body, and all of its unpredictable eruptions, over the packaged and bound linear narrative. When the machine hums, your body hums too, and so does language. Brains… are not unified entities but hives or swarms of elements, interconnected multiplicities, packet-switching systems of enormous complexity, which have no centralized government (Plant, 1997). [continue reading]
recognise predators, recognise prey (2015)
Solo presentation, five channel video installation
From the catalogue essay by Lizzie Homersham:
Recognise predators, recognise prey reminds us of our dual status as observers always potentially subject to observation. There are moments in the video loops where a pupil appears small-scale in the centre of the screen, before dilating to solar, screen-filling proportions, looming large and eventually setting on the horizon – the eye of all pervasive surveillance. In another instant, the small rounded pupil gains angles and dents and transforms into a kite-like form in the sky. [continue reading]
Upstream Gallery, Amsterdam
Curated by Frank Ammerlaan, Elsa Coustou and Ned McConnell
Salvatore Arancio, Michael Fullerton, Georgie Grace, Fabienne Hess, Lloyd Corporation, Kentaro Yamada.
“a series of bizarre images of the inner landscapes of time.”
– La Jetée: Academy One by J.G. Ballard
Inner Landscapes of Time is a group exhibition that brings together new and existing works by artists based in the UK. Through a particular focus on time and imagination the works in the exhibition remediate found material and imagery, creating new narratives that slip between temporalities.
The works in the exhibition address this through a process of collapsing or stretching time to reframe old and new narratives, re-appropriating collected data, individual stories and collective memories. Reflecting on the construction of reality, through ways in which information is circulated and disseminated, the works expose the intricate layers of temporality behind natural and found material.
The exhibition takes its title from J.G. Ballard’s quote on Chris Marker’s famous film La Jetée (1962) and has been convened in response to the continued construction of an imagined future.
Jerwood Encounters: 3-Phase is an artist development collaboration between two artist-led organisations Eastside Projects (Birmingham) and g39 (Cardiff), and Jerwood Charitable Foundation, through its London based gallery programme Jerwood Visual Arts. 3-Phase offers two early career artists the opportunity to make new work which will be exhibited through five new exhibitions across the collaborating galleries. Across the year-long programme, each artist will access ongoing curatorial and practical support from the partners.
Download the catalogue here
24th october 2014
Bruno Carnide, Luke Burton, Inez de Coo, Sandra Fruebing, Georgie Grace, Rob Kennedy, Nikolai Nekh, Steven Ounanian, Rachel Roberts, Tom Varley, Alice May Williams
Tenderflix is an international film and video competition open to all moving image works. In 2014 the Tenderflix jury members included artist Omer Fast; artist and no.w.here co-founder Karen Mirza; producer and managing director of Soda Pictures Eve Gabereau; director of Film and Video Umbrella Steven Bode and Etan Ilfeld, founder of Tenderpixel.
14th – 22nd Feb 2014
Aid & Abet
Demolition was a set of responses by the ten Associate artists to the imminent redevelopment of the site. Working across a range of disciplines they reflected on the legacy of the building and its histories, and considered the wider themes of destruction and renewal, utility and progress.
Robert Good / Susie Olczak / Craig Need / Marina Velez / Georgie Grace / Patsy Rathbone / Lawrence Epps / Lisa Wilkens / Chloe Leaper / Erica Bohr
Ride the Judd
27 February – 2 March 2014
Hardy Tree Gallery, London
Art and language may not be identical but they are deeply entangled. The language of criticism, the demand to see one thing as another thing, the tyranny of structured representation, the creation and bleaching-out of subjective experience, all of these dynamics feed and delineate the realisation of the two forms. The discourses generated by that inexhaustible engine of reinterpretation, image proliferation, re/decontextualisation, and infinite comment threads known as the Internet only adds further cacaphonics to the general din.
In Act III of Ride the Judd, these interchanges become subject matter for a group of artists who examine the properties of language which illuminate and obnubliate the conceptual and physical terrain of contemporary existence. Language is more than object and more than metaphor, it is more than structure and more than medium, it is a window into consciousness but, with the passing of George Formby, who can be counted upon to scrub that window clean? Here comes Ride the Judd, for when the window of language is cleansed, humanity may see the world as it truly is: beyond copyright protection.
“Under the Tongue” includes work by Eloise Fornieles, Georgie Grace, Holly McLean, Jammie Nicholas, Ross Taylor and Claire Zakiewicz
Curated by Forest Fringe in partnership with Edinburgh Festival, Live Art Development Agency, National Theatre Wales, and Northern Stage.
Battersea Arts Centre, London
Paper Stages is a festival of performance contained within the pages of a beautifully designed book, with each page containing a completely new work by a different artist. Collectively these artists invite you to perform their creations in various locations around the city, from side streets and parks to your own home.
Review by Maddy Costa
3 – 22 June 2013
Talbot Rice Gallery
Modern Edinburgh Film School
Rachel Cattle & Steve Richards
Go Around the Board Once More
22 June 2013
Talbot Rice Gallery
This special one-off screening features a contrasting array of works from senior figures in experimental filmmaking, established practitioners in contemporary art alongside highly regarded emerging voices in moving image practice. This screening presents work that looks at the overlaps or boundaries of natural and artificial systems, where science and art, or documentary and politics meet and converge, observations, often slight, unseen and poetic, on beauty and the sublime. In turn it explores the voice and artist as narrator in film alongside the use of sound to explore and change behaviour, thought and emotions.
A collaborative video essay program conceived by MFI Group as part of PAMI
20 – 23 September 2012
Minits 4 is a collaborative video essay program that will be streamed online for the duration of PAMI (Peckham Artist Moving Image). Each day’s content will also be presented at Flat Time House, The John Latham Foundation and Archive, Peckham. Conceived by MFI group with contributions by OUTPOST Members and Eastside Projects’ Associates. The project mirrors MFI group’s approach to conversation as exploratory, meandering and non-hierarchical, valuing the process of discussion as much as any of the conclusions drawn.
Can nostalgia be considered in relation to arrangement and form? Drawing from nostalgia’s original meaning as a physical, rather than temporal, displacement, nostalgia can be approached as an emptiness, an impulse towards narrative and a longing for a subjective relationship with things and their place.
Whether employed by artists as a deliberate strategy to engage a viewer, emerging as an indication of failure in a work, or experienced as a painful but possibly valuable aspect of the making process, frustration is often something to be cultivated as much to be escaped.
If a vast, never appeased emptiness hid behind everything, what would life be then but despair?…If an eternal oblivion, perpetually hungry, lurked for its prey and there were no power strong enough to wrench that away from it- how empty and devoid of consolation life would be! But precisely for that reason it is not so…
Just like pot plants before, the journey of cats from domestic creature to art medium has been challenging. Fortunately, cats are now, finally, classed as their own medium along the likes of painting, sculpture and moving-image. The final act of this ascendance is a Whitechapel ‘documents of contemporary art’ publication dedicated to cats.
Outpost Open: Film 2012
Selected by Stuart Croft
This year’s OUTPOST Open Film features twelve artist members based in the UK and internationally, each of whom submitted one moving image work that would function in an end-to-end screening format.