Beagles and Ramsay, Hans Tanza, The Confraternity of Neoflagellants, Lewis Den Hertog, Tex Royale, James Clegg, Neil Bickerton, Paul Rooney, Fintan Ryan, Dennis J. Reinmueller, Estaitis
BAUT HAUS, 42 SCIENNES, EDINBURGH EH9 1NL
28th June 7pm
It will be available to purchase for £30 as a USB device designed by Plastique Fantastique, or as a free digital download from the Collective and Punctum Records websites, as well as exploitzzxjoanwgen.tumblr.com
The rubbled architecture of the semantic apocalypse is a jambient meshwork of infectious crypto-fictions, arche-hymns, cargo-cult objectiles and the untethered futurities of permanent collapse. A tentacular-empire-machine.
Swarming visions, speculations and transmissions are hereby retro-clothed in vaporware, to be neurocast for further maladaptation by the following memechanics of the salvaged future:
AAS, The Confraternity of Neoflagellants, Plastique Fantastique, Head Gallery, Jillian Mayer, WE, English Heretic, Michelle Hannah, Benedict Drew, POLLYFIBRE, The Cult of RAMM:ΣLL:ZΣΣ, Xempeer and Kornelia Remø Klokk.
Dane Sutherland has worked in partnership with Punctum Records to publish and distribute this project.
Exploit.zzxjoanw.Gen | Launch Event
Friday 30 May 2014 | 7-10pm
Exploit.zzxjoanw.Gen is a project by Satellites Programme Intern and curator, Dane Sutherland. He has worked with a number of leading artists to create new music, sound artworks and texts which will be available to purchase as a limited edition USB stick designed by Plastique Fantastique for £30. It will also be available from 31 May as a free digital download from the Collective and Punctum Records websites.
Performances on the night by: Plastique Fantastique, The Cult of RAMM:ΣLL:ZΣΣ and Kornelia Remø Klokk. Doors open at 7pm, performances from 8pm.
City Observatory |
38 Calton Hill, Edinburgh
EH7 5AA @1984_collective
+44 (0)131 556 1264
Curated by Ross Downes
Private View – Friday 25th April – 18.00 – Late
The phenomena of détournement retains an everyday presence, from underground advertisements of perfume models, their teeth crudely blackened with a sharpie, to the organised propaganda of both protest movements and governmental PR. From anonymous scrawls offering puerile affronts, to the considered contesting of the omnipresent economy of visual culture and the effects it has upon us.
Borne of the Letterist International (and later fully established in the Situationist’s manifesto of 1958), détournement refers to the distortion, misuse, misappropriation, hijacking or subversion of an image or object’s intended purpose. Whether this takes the form of irreverent nonsense or a considered opposition, a destruction or subversion of the image or object is key. Having much in common with satirical parody, détournement uses a direct sarcastic mimicry of the original imagery to turn a mythologised expression against itself.
Using these techniques as a starting point, Detours: After Détournement brings together a group of peers that, intentionally or otherwise, all utilise the détournement ethos or modes of operation within their practice. Without intending to generalise the interests or agenda’s of the participants, Detours features twenty two artists expressing a variety of methods for altering found visual material.
All of the contributions to Detours will be shown on temporary display structures, free standing in the space, that are themselves an attempt to ‘detourne ’ the standard contemporary exhibition space and disrupt the physical flow of the show.
Enclave, 50 Resolution Way, London SE8 4NT
‘Bang the Whole Gang’, is my chapter on glam for Tate Liverpool’s current exhibition catalogue:
Glam! The Performance of Style
8 February – 12 May 2013
£8.00/£6.00 (Gift Aid with donation)
Irreverent and visually excessive, the Glam era is to be critically re-evaluated for the first time in an ambitious new exhibition at Tate Liverpool. Glam, an extravagant pop style which exploded across Britainduring the years 1971 – 5, embraced high and low culture whilst playing with identity and gender definitions. Moving beyond nostalgia, Glam! The Performance of Style will be the first ever exhibition to trace the avant-garde genealogy of Glam, examining its relationship to painting, sculpture, film, performance and installation art in Britain, across Europe and in North America.
Glam emerged in 1971 as the avant-garde pop product par excellence, with the work and ideas of major artists such as Richard Hamilton and Andy Warhol contributing to this. Drawing on avant-garde ideas, key Glam performers such as David Bowie and Roxy Music played with androgyny and conjured an ultra artificial aesthetic which synthesised past styles. This postmodernist style was presented through the optic of the near future with space-age connotations. In a period of enormous social and political unrest, Glam remained detached, seductive yet tantalisingly unattainable.
The exhibition will uncover a repressed aesthetic, revealing the hitherto under-acknowledged exchange between the radical art of the era and Glam expression. Emphasis will fall on performance, in particular ideas of dandyism, exaggerated identity and drag. Included will be works such as Gilbert & George’s iconic video Portrait of the Artists as Young Men 1972, which presents an ultra stylised pose of Gilbert & George as self-conscious decadents. Artists’ use of materials such as vinyl and glitter will be considered, mirroring or allegorising the conventions of Glam, as demonstrated by Marc-Camille Chaimowicz’s Glam-infused theatrical scatter environment Celebration? Realife 1972/2000. The exhibition will also explore how the era provided a backdrop for artists such as Margaret Harrison to assert their identity, often exaggerating and satirising cultural values of beauty and glamour.
Combining historical and thematic elements, Glam! The Performance of Style will bring together important artworks created in a range of media, alongside key documents and photographs, to emphasise the continuing influence of Glam on the contemporary imagination. It will address the under-acknowledged role of Glam in aesthetic and cultural discourse, offering a more comprehensive and nuanced representation of 1970s art.
Glam! The Performance of Style is curated by Darren Pih, Exhibitions and Displays Curator, Tate Liverpool and will tour to the Schirn Kunsthalle Frankfurt (June to September 2013) and Lentos Kunstmuseum Linz (October 2013 to January 2014).
Shift/Work will be part of a Sculpture, entitled Education: not knowing at Raven Row, 13th November 2012. The Sculpture features in…
The Individual and the Organisation: Artist Placement Group 1966-79
27 September to 16 December 2012
This is the first retrospective of the pioneering artists’ organisation Artist Placement Group, or APG, conceived by Barbara Steveni in 1965 and established a year later by Steveni and John Latham along with Barry Flanagan, David Hall, Anna Ridley and Jeffrey Shaw, among others.
Between 1966 and the turn of the 1980s, APG negotiated approximately fifteen placements for artists lasting from a few weeks to several years; first within industries (often large corporations such as British Steel and ICI) and later within UK government departments such as the Department of Health and the Scottish Office. APG arranged that artists would work to an ‘open brief’, whereby their placements were not required to produce tangible results, but that the engagement itself could potentially benefit both host organisations as well as the artists in the long-term. Artists’ work in proposing and carrying out placements is represented here in diverse ways, in films, photographs, texts and correspondence and sometimes in art objects.
APG was a milestone in Conceptual Art in Britain, reinventing the means of making and disseminating art, and anticipating many of the issues facing cultural workers today. It represented itself in a number of exhibitions and events, notably in the exhibition Art and Economics at the Hayward Gallery in 1971 with artistic interventions by Garth Evans, Barry Flanagan, John Latham and others. Emulating APG’s emphasis on the discursive, the exhibition will host frequent public discussions relating to art and social organisation.
The exhibition is curated by Antony Hudek and Alex Sainsbury, in consultation with Barbara Steveni.
56 Artillery Lane
London E1 7LS
T +44 (0)20 7377 4300