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The show catalogue for MA Fine Art and MA Curating & Collections at Chelsea College of Arts (Part of University of the Arts London). This catalogue contains information about works which will be displayed at the Chelsea MA Summer Show from 4th September - 10th September 2015 The show is open to the public, find out more on our website www.arts.ac.uk/chelsea/events
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CHELSEA COLLEGE OF ARTSPOSTGRADUATE SHOW 2015
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The Kupambana Foundation
The Kupambana Foundation is delighted to sponsor the class of 2015 from Chelsea College of Arts.
Kupambana was founded by LEWIS PR, a global digital communications agency, to connect the creative arts with communications.
The Foundation spans the worlds of the creative arts and the communications industry by sponsoring the most outstanding creative talent through education and career development. It helps train students and professionals and carries out insightful research into the creative industries globally.
To find out more visit www.lewispr.com/kupambana
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DesignSarah Faulkner Ambika Subramaniam
ProofreadingJames PimpertonRachael NeeRegan O’CallaghanRosemary CroninKelise Franclemont
PrintingServicepoint, London
A D A M Z O L T O W S K IA E L E E K OA L E X R O B E R T SA L E X A N D R A E P A M E I N O N D AA L I S H A T H A K U RA M B I K A S U B R A M A N I A MA N A C A R O L I N A R O D R I G U E SA N D R E W R I C K E T TA N G E L O S K A L O G E R I A SA N N A M Y A G K I K H A S M A A A L A N B A R IB I J A N D A N E S H M A N DB I N G Y I F E N GB O W UB O M I N K I MC A R O L I N E B R O S S A R DC H A N G Y A N GC H R I S T O P H E R B A G N A L LC H R I S T O P H E R W A R DC O R I N W H I T E L A W - R E N N O L D S O ND A N I E L G O O D C H I L DD A N Q I Z H A N GD A V I D I C K OD I M O S K I P O U R O SE R I C A K A T S U R A G IF A R Z A D S A D E G H IF R A N C E S H O G GG A B R I E L M O L I N AG E O R G I E
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L I N D A V I G D O R C I K AL O U I S E W H E E L E RL U C A F R E D E R I C IL U N R E NM A R I T A Y A M AM A R I A J O S E C A R V A L L OM A R I LY N C O L L I N SM E I Y A O W A N GM E L I N A A N D R E O UM I C H A E L W I L L I A M SM I L E S C O O T EM I N H A E K I MN A J A T B A S S M AN E I L F A R N A NP A U L A B B O T TP E I - H A N G H U A N GP O O J A A G G A R W A LR A C H A E L N E ER A Y M O N D B R A Z I E RR E G A N O ’ C A L L A G H A NR O S E M A R Y C R O N I NR U O R U W A N GS A R A H F A U L K N E RS A N G J U N GS C A R L E T T B O W M A NS E U L G I K A N GS E U N G W O N Y A N GS H A D I M A H S A
G E O R G I A H O L L A N D SG E O R G I N A H O D G S O NG E R A R D C A R S O NG R I G O R I O S M Y R G I O T I SH A N B A IH A N N A B A EH I L L A R Y S M I T HH U A N G L U S H IH Y E J I N K I MI S H I T AJ A M E S P I M P E R T O NJ H E N I A R B O I N EJ E N N I F E R I P E K E IJ I A W E N L U OJ I Y E O N S H I NJ O A N A C A S I L L A S G R O B AJ O H N T E D D Y C H A NJ O N A T H A N G O R D O NJ O N A T H A N S L A U G H T E RJ O S E P H L I C H YJ U L I A N M C S W E E N E YJ U S T I N R A N GK A I G U OK A V E H O S S I AK E L I S E F R A N C L E M O N TL A U R A S O L O M O N SL I L I M AL I L I T A N G
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S H U W E N W A N GS O D A M C H O IS O M I N K I MS T E P H E N H E N N E S S YS U N - J U N G K I MS U N I N G W A N GT E O D O R A P A S Q U I N E L L IT I A N H A O C H E NW E I - J E N L A IW I L L I A M C O S T E L L O EW I L L I A M L O F T I EW I N N I E C H A NX U E T I N G S H A OY E H E E L E E
A D A M Z O L T O W S K I
Smurfs’ legPolystyrene,
wheelbarrow, polyurethane,
resin, jesmonite.dimensions variable.
www.flickr.com/photos/[email protected]
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A E L E E K O
MurmurMixed Media2015
A L E X R O B E R T S
Oil Fabric dye, acrylic, oil and pastel pencils
on silk organza, 120x 140cm2015
alexroberts9.blogspot.co.uk / [email protected]
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A L I S H A T H A K U RA L E X A N D R A E P A M E I N O N D A
https://www.facebook.com/alisha.thakur.37www.aepameinonda.com
UntitledPen on paper
2015
Vogue meets the Society of the SpectacleOne A0 poster One A4 magazine Issue
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A M B I K A S U B R A M A N I A M A N A C A R O L I N A R O D R I G U E S
Being ThereWood and blue pigment
280x1x3cm2015
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A N D R E W R I C K E T T A N G E L O S K A L O G E R I A S
dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dysdys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dysdys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dysdys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dysdys dys dys dys dys dys dys dys dys dys dys dys dys dys dys dys function
rdc-brc-fc-mci-fbf’15Bioplastic, Found Dust/Detritus, Found Metal Structure (recom-posed), Paper, Pigment, Plaster, PVA, 120 x 100 x 60 cm 2015
cargocollective.com/[email protected]
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A N N A M Y A G K I K H
A S M A A A L A N B A R I
Cigarette installationWooden step ladder & 100painted cigarettes100cm x 60cmJune 2015
Fant-asmaaPhotographic print limited edition
2015
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B I J A N D A N E S H M A N D
B I N G Y I F E N G
Stories of your life and othersMixed media
Variable dimensions2015
Untitled 40 x 40 cm Oil on canvas 2015
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B O W U
B O M I N K I M
Group PhotoCollage594 x 841mm2015
B326-1Acrylic on canvas
61 x 61xm2015
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C A R O L I N E B R O S S A R D
www.flickr.com/photos/caroline_brossard/
C H A N G Y A N G
Watching Me Watching YouFilm still2015
FamilyCollage and painting
2015
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C H R I S T O P H E R B A G N A L L
www.facebook.com/Christopher-Ward-Artist [email protected]
C H R I S T O P H E R W A R D
This is not about you, you egomaniacDestructive performance as Mud2015 First Communion (Mode Direct)
Steel Rod, Textiles, Wool and Spray Paint76 x 93cm
2015
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C O R I N W H I T E L A W - R E N N O L D S D A N I E L G O O D C H I L D
cargocollective.com/corinwhitelaw-rennoldson [email protected]
Deconstructing Construction Vauxhall220cm x 180cm
Oil on Canvas2015Baltimore
Mild steel, iodine magnets250 x 130 x 120 cm
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D A N Q I Z H A N G
D A V I D I C K O
Overwhelm Detector13x23x23cmmixed media
Repeating pathink painting 2mx2m three pieces 30cmx1.5m material
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D I M O S K I P O U R O S
E R I C A K A T S U R A G I
ShockwaveDigital Image / Audiovisual installation
Chaosmosis III180 cm x 150 cm, oil on canvas
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F A R Z A D S A D E G H I
F R A N C E S H O G G
Green BlobAcrylic and spray paint on canvas
200cm x 165cm
20 panels of 70x50cm, ink and acrylic on digital print
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G A B R I E L M O L I N A
G E O R G I A H O L L A N D S
www.grghllnds.tumblr.com
Chromolith Idigital print on polypropylene vinyl61cm x 91xcm
Digital Filmlength unknown
2015
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G E R A R D C A R S O N
www.gerardcarson.tumblr.com [email protected]
MISS --- HITMixed media, VHS player, VHS cassette, 16’ flatscreen television, audio cassette player, water bottle, cardboard tube, scrap wood2015
Flowerbeds16.5x24cm2015
G R I G O R I O S M Y R G I O T I S
www.grsgmgsrt.tumblr.com [email protected]
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H A N B A I
[email protected]@hanmail.net
61 x 61 cmacrylic on canvas
2015
H A N N A B A E
Look at mewater color on canvas
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H I L L A R Y S M I T H
H U A N G L U S H I
PissedDimensions variable, ceramic and mixed media
Made In China 5 minutes
VideoJune 2015
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H Y E J I N K I M
[email protected] [email protected]
I S H I T A
Letting it go.....Still picture from video
June 2015
UntitledMixed material on pigment print2015
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J A M E S P I M P E R T O N
J H E N I A B O I N E
3 UnitsOil on Linen12.5x15cm2015
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J E N N I F E R I P E K E L
J I A W E N L U O
www.jiawenluo.tumblr.com
Unicorncement, plaster, ceramic
Goodnight Tobacco Mixed media 130x150cmApril 2015
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J I Y E O N S H I N
J O A N A C A S I L L A S G R O B A
Still in Life #1112 x 127cmOil on wood
AsymmetryVideo-performance
June 2015
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J O H N T E D D Y C H A N
J O H N N Y G O R D O N
www.johnnygordon.comcontact@johnnygordon
You are the real MVP (Most Valuable Plinth) Henry Moore courtyard plinth, Replica of Henry Moore courtyard plinth, Painted Wood Project Proposal
Uncle Bill Fun HouseStill from Video Installation
2015
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J O N A T H A N S L A U G H T E R
J O S E P H L I C H Ywww.josephlichy.com
PAZ Fanzine | A myblog.arts [email protected]
Scenes from the life of Kenneth AngerGraphite on paper
29.7 x 42 cm
EnvironPolyvinyl chloride PVC400cm x 300cm x 200cmApril 2015
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J U L I A N M C S W E E N E Y
J U S T I N R A N G
Bathersdigital film, 4 second continuous loop
The essay film. Collection of our memory. In the French tradition25 minutes (approx)
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K A V E H O S S I A
K E L I S E F R A N C L E M O N T
installation of wood and paintdimensions vary
A walk through Palestine (collectable, artefact, relic, souvenir)installation of printed posters, sound, digital film, and found objects
duration varies
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L A U R A S O L O M O N S
L I L I M A
cargocollective.com/[email protected]
Another UniverseMarker pens, pencil, glue
Hold MeVideo Still2015
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L I L I T A N G L I N D A V I G D O R C I K A
WildWood, metal, lacquer
300x500x400 cm
Trace 200cm x 150cmAcrylic on cavas
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L O U I S E W H E E L E R
L U C A F R E D E R I C I
The Absent VoiceVideo still
I am (not) hereOil on canvas
170 X 140
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L U N R E N
M A R I T A Y A M A
4 DimensionsVideo
ChaseColoured tape
3.5 x 4m
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M A R I A J O S E C A R V A L L O
cargocollective.com/[email protected]
M A R I L Y N C O L L I N S
The GardenInstallation of paper, plastic, wood and a tree Lost Rivers Project
plaster polymer, plaster, polyester foam, lavender stems, beech masts, electric cable, projected image, wood
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M E I Y A O W A N G
M E L I N A A N D R E O U
Untitled LandscapeOil on board20.5x25.5cm
The Secret IDigital Video Still
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M I C H A E L W I L L I A M S
www.mrmwilliams.co.uk [email protected]
M I L E S C O O T E
www.barebackmuseum.ning.com
Bareback the PrecariatLive Performance at Hashtag, Bethnal Green Working Men’s Club
Mike Brown ObamaConcrete/acetate8’X4’2015
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M I N H A E K I M
N A J A T B A S S M A
I don’t speak EnglishInstallation of business cardseach 6x9cm
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Do You Remember Our First Kiss?(video still) 2 channel video/sound installation, dimensions variable
N E I L F A R N A N
P A U L A B B O T T
Looking Back to Utopiapainted steel85x160x50cm
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P E I H A N G H U A N G
www.peihanghuang.com [email protected]
P O O J A A G G A R W A L
The Vesselceramic vase, hair, sound
Apocalypse 2 76x60cm Oil on Canvas 2015
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R A C H A E L N E E
www.rachaelnee.com [email protected]
Party Girl (detail)2.5m x 2m x 1m, clay, balloons, elastic, water
R A Y B R A Z I E R
R.A.Y.Promotional flyer for video installation
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R E G A N O ’ C A L L A G H A N
Anchorage IISite-specific installation and performance
R O S E M A R Y C R O N I N
www.rosemarycronin.co.uk [email protected]
After Ladies’ ParadisePerformance at
The Wallace Collection, London
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R U O R U W A N G
Lunar marePhotograph2015
InvocationString Installation
2015
S A R A H F A U L K N E R
www.sarahfaulknerstudio.com [email protected]
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S A N G S U B J U N G
http://cargocollective.com/[email protected]
S C A R L E T T B O W M A N
UntitledLatex, pigment, wool
130cm x 230cm
Flexible Banner36 x 150 x 38 cm
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S E U L G I K A N G
cargocollective.com/[email protected]
S E U N G W O N Y A N G
Act 3 Scene 2 Robin-Hood GardenC-print mounted on plexiglass
120x180cm
Welcome70x300cm Mixed media 2015
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S H A D I M A H S A
A Woman with a Thousand Faces, 2013- 2015,A series of 50 photographs, 20x30 cm and film of 20 min.
Miss YouPerformance
40 minutes
S H U W E N W A N G
[email protected]/channel/UCERxmyM6HO4kPLHw7Kuu7Sw
94 95
S O D A M C H O I
Roving the dream worldPencil on paper
Evening Standard4m x 3m
Newspaper & paint2015
S O M I N K I M
96 97
S T E P H E N H E N N E S E Y
One or Two of An Evening160x120cm, oil on canvas2015
S U N - J U N G K I M
Twinkle297 x 420mmMixed Media2015
98 99
S U N I N G W A N G
The TangoVideo
T E O D O R A P A S Q U I N E L L I
Giordano for Goldsmiths84.1 x 118.9cm
digital print on paper
100 101
W E I - J E N L A I
laiweijen.wix.com
WindInstallation 80x40x170cmMix-mediaMay 2015
W I L L I A M C O S T E L L O E
williamcostelloeartist.weebly.com [email protected]
102 103
W I L L I A M L O F T I E
Intermittent42x59cm, poly film photographic print
W I N N I E C H A N
www.chanwinnie.com [email protected]
104 105
X U E T I N G S H A O
Nobody’s home Various sizes Mixed media 2015
The Intangible #4, #4-2] oil on canvas
132 x 82 cm x each2015
Y E H E E L E E
106 107
A N A S T A S I A P A P A O N I S I F O R O U A S H L E Y F E R N A N D E Z B I N N A Z G Ü L Y E T E RB R Y O N Y W R I G H TC H E R I E S I L V E R C H I A L I N G C H UD A E U N B A C KF A B I A N S T R O B E L G A B R I E L L O Y G I U L I A P O N Z A N O G R A C E A C T O N R O B E R T SH E D I A S O N G H U I T I N G L I (李慧婷)J I A Y I L UK I T T I M A C H A R E E P R A S I T K Y L E C H U N G M O N I K A N O R S E ( A N T O N O V A )N A V Y C H U N G H . T .O X A N A S M I R N O V AR O B E R T A V A C C AS A R A E L M A S R IS O P H I E P R A D E R EW O Z H A N GY A N G C H E NY A N G Y A N GY U A N C H A O
CURA
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Re-exhibiting Gary Woodley’s site specific and site responsive mural drawing is an attempt to account for art history’s relation to time, through the discourse of re-enactment. This exhibit within LIVE evokes CHELSEA space’s first exhibition, Gary Woodley: Impingement no.47, curated by Donald Smith in 2005. It is a representation of time, memory and openness.
The curatorial outline examines the ephemerality of exhibitions, while enhancing the artist’s methodology of ‘imposing one situation onto another’. The recreated Ellipsoid (2005) reveals the complexity of the relationship between exhibition making and the history of Chelsea space, creating a dialogue that addresses the relation between present and past.
A N A S T A S I A P A P A O N I S I F O R O U
‘I’m noticing a new approach to art making in recent museum and gallery shows […]. It’s an attitude that says, I know that the art I’m creating may seem silly, even stupid, or that it might have been done before, but that doesn’t mean this isn’t serious.’
Jerry Saltz, ‘Sincerity and Irony Hug It Out: At P.S. 1’s “Greater New York,” a new union of opposing attitudes’ New York Magazine (27 May 2010).
Inspired by Timotheus Vermeulen’s and Robin van den Akker’s artistic/cultural theory of Metamodernism, the display intends to explore the construction of artistic value. The two works of Camberwell Alumnus Harry Hurlock (BA Hons Fine Art 2014), King Charles II (2015) and Gold Bars (2015) intend to start a satirical dialogue with the viewer which questions the concept of canons in art.
A S H L E Y F E R N A N D E Z
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Ayşegül TuranLIVE is an exhibition, including an artwork of a young Turkish artist to promote her creative potential in contemporary art and its connection to London. Turan mainly uses iron and magnets for her metal sculptures. Being interested in magnetism as a natural phenomena she is intrigued by its presence in different layers of existence and its sensory expe-
riences. The combination of Turan, Lyndall Phelps and Sachiko Kodama in this exhibition is a mixture of cultural-identity, materialism and space-relation.
B I N N A Z G Ü L Y E T E R
Along the wall of the ramp in CHELSEA space is a kimono. The kimono is green and purple with a traditional Indian paisley print. The kimono is 100% silk created from recycled Indian saris. The designer of this garment is Lucy Brickwood. Brickwood studied fashion design leading her to train in tailoring on London’s Saville Row. Brickwood created her own brand ‘Violet Elizabeth’, in which she creates unique handmade kimonos and loungewear from
recycled sari silk. The money used to purchase the sari silks is contributed to community projects in India. Displaying this kimono, the audience is able to see the construction and appreciate the time and effort that has gone into making this garment and that the fabric has a chance for another life. You can see that it’s had a life of its own, and then you’re letting it do something now.’ (Lucy Brickwood)
B R Y O N Y W R I G H T [email protected]
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Perceptible Invisibility I & II (2015) by Lyndall Phelps, encourages repetitive interaction with the installation, creating a unique environment in the LIVE exhibition. The work investigates the force of magnets and is an example of Lyndall Phelps’ artistic practice based on research, experimentation, and a playful relationship between aesthetic and concept. The collaboration between Cherie and
Binnaz Gül Yeter for the LIVE exhibition resulted in further research into artists who have worked with magnets. Japanese artist Sachiko Kodama has worked with ferrofluid for over ten years, and her video work, Breathing Chaos (2005), alongside the works of Lyndall Phelps, Turkish artist Ayşegül Turan, and Gary Woodley creates movement and tension within CHELSEA space.
C H E R I E S I L V E R [email protected]
Curator Chialing Chu and artist Linda Vigdorcika have collaborated with the aim of exhibiting the unexhibitable. Based on a performance made by artist Vigdorcika in Richmond Park in December 2014, the display invites discourse on the possibility of reviving artwork that can only be presented in a specific environment and occasion. By recreating the natural environment in
the gallery space, this exhibition aims to provide visitors with different readings of the artwork created in a different media. The concept of exhibiting the unexhibitable is strengthened by the six-metre tall reconstructed tree installation that can barely fit in the gallery space, alongside the documentary video of the performance.
C H I A L I N G C H U [email protected]
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Living CreatureThe d isp lay L iv ing Creature shows David Batchelor’s (b.1955) Electric Colour Picture (2002) in CHELSEA space. This is the first time that this piece will be loaned from the Chelsea Special Collections and displayed in CHELSEA space. In this exhibition, DaEun is showing how industrial debris can live in the exhibition space as seen in the exhibited work,
Electric Colour Picture. In his work Batchelor uses salvaged debris, such as trolleys, shelving units and factory scraps. He transforms them into artworks and gives them new l i fe. The artwork is presented as a living creature; electricity feeds it from the plug in the wall and is live when switched on.
D A E U N B A C K [email protected]
Photo courtesy of the artist
C u r a t o r s a re c o n f ro n t e d w i t h t h e challenge of how to exhibit ephemeral, conceptual practice in an institutional context. Core concepts including liveness, the artist’s presence and the requisite for an audience are not to be neglected. The display Le Recrace Tel Quell creates an aftermath of the performance of Iranian artist Shadi Mahsa (MA FA) and her piece A Woman With Thousand Faces rather than
showcasing the actual performance. The display title refers to Jean Baudrillard’s term ‘le recrace tel quell’ – spit it out as it is – to describe the effects of simulation in Simulacra & Simulation (1981). The exhibit features a dress worn by the artist during the performance and transcripts. These objects simulate the performance, conveying the liveness of the interaction forming a new platform for performativity.
F A B I A N S T R O B E L [email protected]
Le Recrace Tel Quell
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The Blues to the Bush (1999) by graphic designer Richard Evans was first exhibited in Red White and Blue (2012) at CHELSEA space.
The piece has an aesthetic connection with the term LIVE and it was designed as the album cover for British rock band The Who’s Live album, The Blues to the Bush. This display brings together imagery
derived from music, design and British Pop Art, with artists such as David Batchelor, Lawrence Weiner and Josef Albers.
Gabriel Loy’s academic research focuses on the materiality of archived ephemera within the field of modern and contempo-rary British art and galleries.
G A B R I E L L O Y [email protected] [email protected] I U L I A P O N Z A N O
‘LIVE is a circle. Live, die, then reborn.’For LIVE Giulia Ponzano has collaborated with the Berlin-based visual artist Marcel Schwittlick, whose work incorporates programming, art and technology.Propeller II is an endless generative drawing, recalling the eternal cycle of life. This infinite series of pulsating patterns and colourful contrasts are conceived in real time from a computer software.This generative approach gives the
computer a degree of freedom in the creation of the piece. Set within the boundaries laid down by the software code, generative refers to the visual output being different every time the application is run.Propeller’s visual loudness is counter balanced by the absence of sound: the encounter with this digital work is an immersive contemplation that is rhythmic, bright and alive.
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MilkMilk is a mixed media display showing archival material from artist Nicola Canavan’s performance Milk. Conceived as a political intervention, the performance has taken place in a range of public environments across the UK. Canavan describes her work as a response “to the fear of the functioning body and the othering of mothers, in particular the milking mother.” For the performance
Canavan is seated in a shop window, veiled with flowers, using a breast pump to express milk. Surrounded by symbolic objects resembling a vanitas still life painting, Canavan ritualises the act of breastfeeding.
Grace Acton Roberts’ research interests centre on feminist maternal art practice and curating the personal.
G R A C E A C T O N R O B E R T S
www.graceacton.com [email protected]
Photos courtesy of Juli Watson
[email protected] E D I A S O N G
When we talk about films, we always use the present tense; they could be ‘live’ anywhere at anytime as long as there is a spectator - and this is also true for life. Among film directors of the 20th century, Kubrick particularly urged spectatorship; his early career as a photojournalist had had a fundamental influence on his perspective on film.
The photographs chosen for this exhibition were selected as they present and relive the ordinary life scenes in the past. They were taken by Stanley Kubrick during 1947-50 for the Look magazine.
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[email protected] U I T I N G L I ( 李慧婷 )
In the LIVE exhibition, Huiting Li curated two paper artworks by the artist Claire Brewster, It’s Up To You (2013) and Goodbye Paris (2013), as well as the book collection from the same artist, which originates from The Oxford Atlas (1940). Brewster’s inspiration comes from nature and she crafts paper sculptures by cutting up out-of-date maps and atlases. The map cut-outs are pinned to create
light and shadow that reflect a feeling of movement. Some pages of the book collection on display are missing because the artist has removed them in order to make her map sculptures.
[email protected] I A Y I L U
The objects curated in this exhibition are an enlarged puzzle and Chinese calligraphy in ancient characters. These objects form the artwork Burr Puzzle (2015), by contemporary Chinese artist Kaiyan Yu, displayed in the entrance of the Cookhouse Gallery.
Burr Puzzle is an interlocking puzzle, consisting of 6 pieces of pinewood with
mortise-and-tenon joints. This interlocking structure was widely used in the ancient Chinese furniture and architecture. The content of the calligraphy is the description of burr puzzles and how to solve it. It has been quoted from the first Chinese magic book printed in 1889.
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The Book of Live is an artists’ books that intends to explore the term, definition and meaning of the word ‘live’. Seven artists were selected and given 8 pages within an A5 size book, and one artist is commissioned to design the cover.
This book was published by CHELSEA space in an edition of 150 copies. The work will be on sale for £10 per copy
at CHELSEA space and alternative art book shops. The Book of Live is a part of Kittima’s critical research on the utilisation of artists’ books in contemporary art curating: artwork turns exhibition.
K I T T I M A C H A R E E P R A S I T [email protected]
When A Circle Meets The Sky (2012) by Carla Chan and Occupied (2000) by Peter Downsbrough fully embody two different approaches towards the form of moving image. The former delivers an immersive experience of a natural desert landscape, with the extended vision outside the four-edged screen. The latter makes efficient use of the conventional cinematic features, such as the screen and manually
directed camera movement, in order to deliver an urban visual of modernity, the aesthetics of geometry and single/two-point perspective. Both video pieces provide a distinct contrast that ref lects on the relat ionship between nature, technology and human agency.
K Y L E C H U N G [email protected]
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[email protected] O N I K A N O R S E ( A N T O N O V A )
The Skoghall KonsthallSkoghall is a small town in Sweden, without any exhibitions of art and a lack of cultural institutions, where everything was built by the paper mill. Alfredo Jaar designed and built a new Konsthall, and within it curated an inaugural exhibition that included the works of 15 Swedish artists. Konsthall was opened by the mayor and burnt to the ground 24 hours later.
Three photographs of the installation show a life circle of the “public gallery” and are illustrated by the initial story of Jaar’s project.
Alfredo JaarSkoghall Kunsthall (2000)
Public intervention
Photo courtesy of the artist, New York
[email protected] A V Y C H U N G H . T .
Within the main concept of the exhibition LIVE, Navy uses still life and interaction with the audience to show live in both humanity and in the natural world. This idea is expressed through the project Architecture of Digestion, which multidisciplinary artist Yussef Agbo-Ola has been developing. To engage the audience and reflect on the metabolic process, Yussef proposes to transform food into an architectural
material taking form and structure in the viewer’s digestive system. The context is about food and the way people relate to it as a way of understanding environmental perception; he has made a cellulose based dehydrated bio skin from the juice of food waste, their urine, and Algae as a way of imagining the tension between internal disposal and environmental conditions.
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The Triptych Photobody:Vova (2012) by Fyodor Pavlov-Andreevich is a performative photo-installation, consisting of one central image and two mirrored side-images of the character, whose name is Vova (Vladimir). The central image shows Vova full size lying in a pose of crucified Christ. On the side-images we can see in details the expression of his face. The work is constructed as a Russian
Orthodox icon. The audience is allowed to keep the side-doors of the icon open or closed, therefore, being responsible for the work’s presentation and perception of it by the next viewer. The visitors step up on the podium activating the work, which underlines a performative aspect of the art piece.
O X A N A S M I R N O V A [email protected] [email protected] O B E R T A V A C C A
Perpetual Motion is a collage of photo-graphs, shown with the accompaniment of the soothing voice of the artist, taking his audience through a stream of conscious-ness, to bring them to the realisation that the only thing that matters is the here and now, as the perfect time to start our lives.
Roberta’s personal journey ends in the Cookhouse with this artwork, which has
been an inspiration to her curatorial ideas and practice, focusing on audience expe-rience of artworks and often connected to live art.
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[email protected] A R A E L M A S R I
This display features the fashion film Black: 2015 created by British fashion photographer and film director Nick Knight, produced by SHOWstudio. In London in 2004, British fashion designer Alexander McQueen (1969-2010) presented Black, a show re-staging some of the defining moments in his catwalk presentations. Knight photographed backstage. Although collaboration between McQueen and
Knight was intended, the photographs remain archived. To celebrate Savage Beauty, SHOWstudio created an image comprised of these never-before-seen photographs. The image is brought to life in this 2min 22sec fashion film. Exhibiting Black: 2015 conveys fashion in its most ‘live’ form: in motion.
Film courtesy of SHOWstudio
Sophie Pradere’s curatorial practice is based on new media art and art practice in the digital age. For this exhibition Sophie has chosen a digital work by Peter Saville, a pivotal figure in graphic design and style culture. This digital work, After Closer, was originally conceived as a limited screen print edition for the Postmodernism exhibition held at the Victoria & Albert Museum. It directly references Closer, the
last album recorded by the iconic English rock band Joy Division, (1980, Factory), following the death of lead singer Ian Curtis. After Closer is exhibited in dialogue with artworks by David Batchelor (Electric Colour), Richard Evans (The Blues to the Bush) and Joseph Albers (Homage to the Square).
S O P H I E P R A D E R E [email protected]
Courtesy of www.seditionart.com
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[email protected] A N G C H E N
The Reborn: Experiencing Ancient Chinese Commercial Signets exhibition reproduces the signet stamps from the original scroll, which provides the opportunity for visitors to stamp every signet.
The ancient Chinese commercial signet is a type of seal which is usually stamped on the receipts or contracts of commercial premises or banks as an anti-fraud device.
Some of the patterns on the signets have developed into contemporary trademarks. Due to the fragile wooden materials, the only extant signets were mainly made between the 16th and 19th centuries. Their pattern design contains the cultural values of ‘integrity’ and ‘originality’, which should be noticed by the public.
[email protected] O Z H A N G
The Dream Mark of the Mountain —New Chinese Porcelain Art by Guojun Zhang Under the smooth and cold surface of porcelain, the energy of brushstrokes flow. Guojun Zhang has this kind of power in his porcelain painting works, which com-bine traditional Chinese ‘山水 shan shui’ (mountain and water landscape) painting techniques with Western abstract art and surrealism. In traditional Chinese philoso-
phy, ‘live’ is the strong spirit that one holds inside. The artistic style of Guojun Zhang is like water, the softest medium as well as the strongest. The artwork shows the flowing vitality of abstract brushstrokes and the raw energy of nature through the interaction and unity of dynamic and stat-ic. It also demonstrates how ancient Chi-nese painting techniques have evolved in contemporary art.
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[email protected] U A N C H A O
Fashion in the WoodsWithin the LIVE exhibition in the Cookhouse Fashion in the Woods is an artistic fashion exhibition. It displays works by textile designer Zimeng Zhu and MA Textile Design student Hyemi Ku. This display highlights the skill of the designers and raises the question of what can be defined as artistic fashion.
The velvet top and organza skirt are both from Zimeng Zhu’s Wonderland Collection (2015), which is about the origin of life. Hyemi Ku’s two embroidered works and four knitting samples are inspired by visual features of ‘phobia’, creating a juxtaposition between the unconscious and conscious, cause and consequencnces, psychological and physical.
[email protected] A N G Y A N G
Yang Yang’s research is about percep-tions of text-based conceptual art. The aim of this exhibition is to confront the viewer with varied attempts to challenge or reinterpret the tradition of art through manipulating language. It will discuss Chinese “pseudo-calligraphy” made by conceptual artist Xu Bing in the 1980s, which was a very important period of time for the emergence of Chinese contempo-
rary art. In terms of showing the Law-rence Weiner text-based conceptual art along with Chinese contemporary cal-ligraphy, a question of how to approach these texts with a conceptual perspec-tive will be open to exploration.
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CHELSEA COLLEGE OF ARTSUniversity of the Arts London16 John Islip St, London, SW1P 4JU
020 7514 7751www.arts.ac.uk/chelsea
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