tangent 06

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an independent art zine - by the ariists, for the artists.

Text of tangent 06

  • Issue.06 April / May 2006



  • Shes gone off on another tangentcreating a small, independent art zine.

    tangent is a bi-monthly publication produced with the intention of informing and amusing in bite-size chunks. Quick n Dirty, Black n White, each issue

    contains contributions by and features on artists as well as arts listings in the South London area and beyond.

    To get the skinny on how to submit writing and/or artwork check out the website or contact:

    Karen DAmicovia email: tangent.mail@mac.com

    StockistsIn London:

    Clapham Art GalleryICA Bookshop

    Studio VoltaireThe Residence

    The Flea PitTransition Gallery

    In Nottingham:Moot Gallery

    Further Afield:FluxFactory, New York

    Sticky, Melbourne Zekes Gallery, Montreal

    Events News etc., etc. available on the website:


    all content karen damico 2006 unless otherwise noted. all contributing artists work in the form of text and /or images is used by permission and is copyright by the artist.

    no stealing allowed; hey, make up your own ideas FFS! after all, we have.

  • inside (in no particular order)

    [contributors] Thurle Wright www.thurle.com Mapping Nunhead London (UK)

    The Dear You Project anonymous Melbourne (AU)

    Samuel Roy-Bois www.macm.org/en/expositions/23.html Shallow Island New York City (USA)

    Ettie Spencer www.crossingtheline.org.uk disPLACE East Lothian (UK)

    Russell Herron www.russellherron.com tangent, Issue 6, April 2006, Page 4 London (UK)

    Lars Vilhelmsen www.larsvilhelmsen.org Hiding Place Vodskov (DK)

    Karen DAmico www.karendamico.com Then and Now London (UK)


    Thoughts on a Grey Day.

    [inform] Arts Listings

    Cover image:Samuel Roy-Bois; Ghetto 2006Wood, Fiber glass, plexiglass and objects; 80 x 58 x 56

    PlaceIndependence is my happiness, and I view things as they are, without regard to place or person; my country is the world, and my religion is to do good.- Thomas Paine, The Rights of Man (1791)

  • The oldest word in the English language is town

    A hamlet is a village without a church and a town is not a city until it has a cathedral.

    The only word in the English language with all five vowels in reverse order is subcontinental.

    Canada is an Indian word meaning Big Village.

    There is a city called Rome on every continent.

    The names of all the continents end with the same letter that they start with, e.g. Asia, Europe, etc.

    If the worlds total land area was divided equally among the worlds people, each person would get 8.5 acres.

    Fun Facts to know and tell

  • Above and right: Ettie Spencer disPLACEInstallation, Edinburgh, March 2005

    ettie spencer www.crossingtheline.org.uk

  • out the aeroplane window

    A Place Both Real and ImaginedMount Shasta at 30,000 feet (two points of view)

    on the aeroplane map

  • Hiding Strategies

    1. the annoying git 2. the tactical one 3. the coward

    Above: Hiding Place - strategies on a psychology matter The Psychology Behind Being a Hidden Child, 2006; c-print,100 x 70

    lars vilhelmsen www.larsvilhelmsen.org

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    asked & answeredSamuel Roy-Boiswww.macm.org/en/expositions/23.html

    when did you first know you wanted to be an artist?I expressed the wish to be an artist at a very young age. Something like 5 years old. I would

    say to my mother that I would like to become a painturer. The thought of being something

    else always freaked me out. I did study to become an anthropologist for a while, just to be-

    come absolutely conscious of what I really wanted to do later.

    favourite material or medium?I would say the right one. My ideas and projects dictate my choice of materials. As I build a

    lot of rooms I end up using a lot of wood and drywall. I like drywall quite a bit. Its such an

    arid material. I learned to love it.

    favourite place?Where Im going next.

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    Any heroes or villains?Hero: Joseph Beuys. Vilain: Joseph Beuys

    Can you remember your first piece of work?I was probably 5 or 6. It was actually a small wooden box that I secretly made out of left-overs

    found in my basement. I remember the love and care that I put in the work. I remember

    using pieces of paper attached to a stick to paint it because I did not wanted to soil my dad

    paint brushes.

    Smartest thing you ever did in terms of your art practice?Stopping making art for a while when finished grad school.

    Worst mistake in terms of your art practice?Grad school

    Best / worst bit about being an artist?The best thing for me is to have complete authority over what is happening, over what I do.

    The worst thing is definitly having to deal alone with the consequences of all the decisions

    Im making.

    What inspires? Looking at people enjoying what they do.

    What shows have you seen recently?I just saw Wolfgang Tilmans two hours ago at PS1 in New York City. Quite a good show. Its

    so enjoyable to see an artist taking advantage of art, going where he feels like going with

    genuine freedom. It felt like art belonged to him. Its the same attitude Thelenious Monk had

    towards Jazz. He made what he wanted out of it.

    Any words of wisdom for emerging artists?Dont forget where you are coming from. Dont forget where you are going to. Wash hands


    Left: I heard a noise, I ran away 2003Drywall, plaster, wood paint, lighting system; 16 x 12 x 8

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    everything in its place

    first place

    last place

    take place

    my placeyour place

    put them in their place

    know your place


    THE place


    a sense of place



    going places

    place value



    imaginary place

    hiding place


    out of place


    final resting place

    well placed

    a clean, well lighted place

    favourite place

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    Then and NowWe are here and it is now. Further to that, all human knowledge is moonshine.- H L Mencken

    Seeking a sense of place, a sense of the familiar, of belonging

    and connection is often wrapped up in that deep, melancholic

    yearning to excavate ones heritage and somehow connect it with

    life the present. Then and Now is a photographic installation that was spawned out of that desire.

    The idea began to emerge when I received a box of slides from my

    Father, some of which had been shot in the 1960s on a visit to his

    hometown of Stavanger, Norway. Though I was a small child at the

    time, I have lingering, though fragmented, memories of that trip

    and to this day can conjur smells, sounds and visual snapshots in

    my minds eye: the whiff of bread baking in Tananger - then a tiny

    fishing village, now a bustling, prosperous community, my cousin humming a song, the spider in my grandfathers loo and so on. Its

    funny what you remember as well as how memories awaken the

    senses, forging immediate connections with a forgotten sense of


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    In viewing the slides in my studio, I was immediately drawn to

    the marks and stains on them. Little traces of age in the form of

    dust and fading colour, their residue felt like a form of evidence,

    bearing witness to the passage of time.

    In 2005 I re-visited Stavanger in order to re-photograph the

    locations from these slides and juxtapose them in an attempt to

    somehow collapse the distance between time and memory, as well

    as apprehend and understand what is still, to me, a somewhat

    unknowable, unreachable piece of my heritage: my sense of place

    in terms of my Norwegian-ness.

    Though I had been there since that first trip, it was an interesting exercise to look at the landscape through the eyes of these old

    slides and really comprehend just how much the landscape had

    changed over a 40 year timespan. Most places were immediately

    recognisable to me though the passage of time was of course

    unmistakable. Setting up the shots was challenging and there

    were instances when it was physically impossible to recapture a

    location. At one point we were trying in vain to match the angle

    of the slide with what we were actually looking at. My uncle

    suddenly said in his matter-of-fact Scandinavian way, Oh, yes, its

    because they moved the statue.

    In re-tracing my fathers footsteps, and to some extent, my

    own, I was cognizant of the fact that my own sense of place with

    regard to where I belong in this landscape of my Norwegian-ness

    is elusive, impossible to capture, just as the time thats elapsed

    between the two images is. As imaginary as it is real, my heritage

    is infused by my own perceptions, memories and the histories I

    am told. It resides somewhere between memory and imagination

    and yet it exists, like so many places.

    Opposite and following two pages: Karen DAmico Then and Now (two from a series)Re - printed slide and c-type photograph, size variable

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    samuel roy-bois www.macm.org/en/expositions/23.html

    Architecture is a terrifying thing. Its all about shaping peoples life and directing ones behaviour. Architects are fancy dictators. What makes the whole thing bearable is the fact that there are as many dictatorships as there are buildings. One gets to choose.

    Above and rightShallow Island 2005