View from Cockforest
Artist Talk – Moving Mountains Art in the Environment – Millom Palladium

Artist Talk – Moving Mountains Art in the Environment – Millom Palladium

Thank you to Moving Mountains artist and curator Irene Rogen, Phil of the vital Signal Film and Media, Frank (not Santa), Mary (who hung out with Norman Nicholson when she was a child!) and everyone who turned out of my talk in Millom the other week. Drinks were served and badges worn.

Pieces of You Are Here – Lorna Macintyre at DCA

Pieces of You Are Here – Lorna Macintyre at DCA

I was lucky enough to get along to Lorna’s opening at DCA last weekend, and had a tip top lunch with some long term favs to boot – thank you Lorna, Val and all at DCA. Pieces of You Are Here is delicate, detailed and full of beautiful surprises. An emotional thing for me – which I should have realised, as I was a little bit teary at the poster. Jeez. Go Macintyre and family!

NEWS FLASH – Lorna get’s a smashing review here.

The catalogue, designed by Val Norris, is the perfect accompaniment. And she builds a mean nest too.

Here’s what DCA says:

‘Scottish artist Lorna Macintyre uses a broad spectrum of influential touchstones in her work, from poetry and literature to archaeology and symbolism. These references often create an oblique structure underlying her photographic and sculptural artworks, lending a form for a composition or providing the impetus behind her choice of materials. This exhibition will mark Macintyre’s first solo exhibition in a major UK institution, debuting a new body of work commissioned for Gallery 2 at DCA.

Macintyre has long been interested in exploring the potential of the materials she uses within her practice, often pushing them playfully to develop in unexpected ways. Pieces of You Are Here will include silver gelatin photographs, cyanotypes, and digital prints on silk, installed alongside new sculptural forms such as crystalline structures grown from cyanotype chemistry on ceramic surfaces.

A significant focal point within this exhibition is a photograph of an archaeological artefact housed within The McManus museum in Dundee: a small terracotta tile excavated from the nearby Carpow Roman Fort in Abernethy that bears a paw print made by a dog who, centuries ago, walked across this clay surface as it was drying. Macintyre has been drawn to this fragment of our past, intrigued by the way it draws on specific ideas about time and historical record. What does it mean for us to consider an object such as this in a museum or gallery? How are fleeting, accidental moments in time now captured by raw materials in the world around us? Macintyre draws as much upon poetic imagination as historical fact to explore these questions in Pieces of You Are Here.

About Lorna Macintyre

Lorna Macintyre (b. 1977 Glasgow) is an artist based in Glasgow. Having studied for both a BA (1999) and MFA (2007) at the Glasgow School of Art, she now also works there as a visiting lecturer in Fine Art. Macintyre’s recent solo exhibitions include: Spolia, Cample Line, Dumfriesshire (2017); Much Marcle, Chapter, Cardiff (2016); Material Language or All Truths Wait in All Things, Mary Mary, Glasgow (2015); Solid Objects, Glasgow Project Room (2015); and Four Paper Fugues, Mount Stuart, Isle of Bute, part of GENERATION, 25 Years of Contemporary Art in Scotland, (2014). She is represented by Mary Mary, Glasgow.’

 

Margaret Salmon at DCA

Margaret Salmon at DCA

Margaret Salmon’s show at DCA is dealing with things my work has skirted around at times, but while I’ve come (ahem) at notions of love and intimacy by implying that the screen itself is both a barrier and a conduit of desire and touch, a semi-permeable membrane, a bad condom if you like, Salmon plunges us right into the bedroom on (digitised) 16mm. Fascinating to watch the audience react to this work as if they’re watching porn – at one point the entire room got up and left, post-orgasm. The notes on DCA website ask the right questions, on the work I’m still undecided…

‘Might it be possible for film to transcribe something as ephemeral as human warmth? Human affection? Human presence, trust and submission? What about love? Can film bear witness to love? Teach us about love? Express love? How can a lens invoke these very personal, subjective experiences? These are some of the questions posed by Margaret Salmon in her newly commissioned work for Gallery 1 at DCA.

Hole is about our bodies and the intimate human connections we seek with others. In an immersive installation that uses light, colour, heat and sound to envelop a viewer within the space, Salmon seeks to create an atmosphere of warmth, comfort and radiance to step into over the cold winter months. At the heart of this exhibition is a new 16mm work that uses a female erotic gaze to look for places where love might be found in contemporary life and to explore what might constitute supporting, loving relationships today.

Salmon is known for creating filmic portraits that weave together poetry and ethnography. Often focusing on individual subjects, her work captures the minutiae of the everyday human experience, infusing it with a sense of poignancy and subtle grandeur. Adapting techniques drawn from cinematic movements such as Cinema Vérité and the European avant-garde, Salmon’s orchestrations of sound and image introduce formal abstractions as well as environmental interventions into the tradition of realist film.

About Margaret Salmon

Margaret Salmon (b. 1975, New York) lives and works in Glasgow. She completed undergraduate studies at the School of Visual Arts, New York (1998), before going on to graduate from the MFA programme at the Royal College of Art, London (2003). Solo exhibitions of her work have been held at institutions including Staatsgalerie Stuttgart (2015); Contemporary Art Museum St. Louis, USA (2011); Witte de With Centre for Contemporary Art, Rotterdam (2007); Whitechapel Art Gallery, London (2007) and Collective Gallery, Edinburgh (2006). Her work has been featured in film festivals and major international survey exhibitions, including the Berlin Biennale (2010) and Venice Biennale (2007). In 2006 Salmon won the inaugural MaxMara Art Prize for Women. She is represented by Office Baroque, Brussels.


Please note that this exhibition contains adult imagery that is not suitable for children: please see the advisory notes and/or speak to a member of staff for more information.’

From the DCA website

Jane Topping, Newspaper or (Memoirs of a Spacewoman) – A No. 35 Project – Opens 12-6pm 8th Dec. 2018

Jane Topping, Newspaper or (Memoirs of a Spacewoman) – A No. 35 Project – Opens 12-6pm 8th Dec. 2018

Consider yourself officially invited to Newspaper, a collaboration with Alex Hetherington – the last of his innovative No.35 projects in Stirling and a celebration of the entire series of shows, performances and films:
More on Alex and his numerous projects here:
The Influencing Machine – ngbk, Berlin – a secret peek…

The Influencing Machine – ngbk, Berlin – a secret peek…

Hi you,

I maybe shouldn’t share these images, which are merely mocks, but I’m too excited about the incredible work going on in Berlin, towards the ngbk* show The Influencing Machine. My work www.rabbitcottontoothcottonrabbit.com will be in the show, and in the associated publication.

The show is curated and made real by a working group consisting of Vladimir Cajkovac (curator), Kristina Kramer (translator and curator), Bettina Lehmann (curator), Sophie Macpherson (artist), Tahani Nadim (academic), and Neli Wagner (curator), plus all the good folk at ngbk.

Contributing artists include Anna Bromley, Kajsa Dahlberg, Egemen Demirci, Fabien Giraud & Raphaël Siboni, Fokus Grupa, Eva & Franco Mattes, Mimi Onouha & Mother Cyborg, Sascha Pohflepp & Chris Woebken, Tactical Tech, Jane Topping, Sarah Tripp, Clement Valla, Laura Yuile

The exhibition seeks to address recent debates on the manipulations of socio-political processes (particularly elections) by bots, automated processes programmed to interfere in online networks and communications. We are interested in extending the available vocabulary and imagination for talking and thinking about the phenomenon of “political bots” in a two-fold manner: Firstly, by focusing on the socio-material dimensions of “bots” (infrastructures, labour processes, historical narratives) and secondly, by suggesting that technologies such as bots are always already political, that is, they are the articulation of historically specific interests and positions.  (Tahani Nadim)

The Influencing Machine runs: December 1st  to January 20th. We should, like, totally go.

See also: https://www.ngbk.de/de/show/31/the-influencing-machine

*The neue Gesellschaft für bildende Kunst (nGbK), founded with a grass-roots structure in 1969, is today one of Germany’s most significant and largest art societies. The unique structure of the nGbK enables its members to directly influence its thematic orientation: exhibitions, interventions, research projects, event series and publications are developed in interdisciplinary project groups. The nGbK has established itself as an innovative venue for contemporary art and exhibition production which has left its mark on generations of curators, artists and creatives, and whose experimental exhibition concepts count as path-breaking. They have provided important impetus and continue to engage with relevant socio-political topics. Themes such as racism, National Socialism and urban politics are negotiated time and again, with a further focus placed on (post)migrant, (post)colonial and gender issues. 
Big Store (1999 or 2000)

Big Store (1999 or 2000)

Just found this blast from the very, VERY distant past. I made Big Store in 1999 as part of Nicola Atkinson-Griffith’s Bulkhead project. It was my first work after graduating from GSA and I got to show with far superior artists Justin Carter, Jess Worrall and Rob Kennedy.

It’s excruciating to read this interview – yet I post it here. Curious.

Bulkhead Interview

More on Nadfly and Bulkhead here.

Here’s the text… Around this time I was jealous of friends who worked part time in Habitat. And I thought that there was no ‘alternative to capitalist realism’. How depressing, sorry MF.

The BIG STORE will contain Topping’s own branded goods with their inherent relationship to a climate of consumer wish fulfillment. It is here, in a reclaimed retail space, where people could potentially find all their needs satisfied just by looking and touching. Objects/signs have been demystified and pared down to their most basic form mirroring the appetite of the consumer. For it is strange how the sign/object power is constantly lost as it is consumed. An illusion, not a shop or an artist’s shop, but an unsettling environment which is almost recognised by the viewer as familiar.

INTERVIEW

Nicola Atkinson – Griffith Bulkhead Creative Director : I’d like to talk about how this particular work began.

Jane Topping: I’d already done a stunted version of what this will be, a lo – fi version, about a year ago. I wanted to create something that would reference the everyday. People would recognise what it was, people would understand that it was a shop, a commercial enterprise as far as they could see. But at the same time, it was to be perfectly obvious that, while the shop was branded and for all purposes it looked like a shop, the things in the shop were to be useless but still desirable. I want to create a need in the passing public, to create the same emotions you would get if you were passing Habitat, and yet, for you to realise while you’re experiencing these emotions that they are completely redundant.

N: If you wish these objects to be useless, is this how you feel art is perceived in society, as useless? Or is it the notion of how people don’t acknowledge their consumer desires and understand their relationship to them?

J: Its more the latter. I’m trying to discuss the way that people are not aware that they’re being sold the same product over and over again with a kind of myth of personalisation and creating your own personality, or showing your own personality to other people by buying what is essentially a mass marketed product. Its more about that and less about art being multiples. I think this is why I’ve had trouble explaining to people what I’m doing, because the pieces that will be supposedly for sale aren’t art, in my world.

N: In terms of art and defining it, you’re treading dangerous territory by saying that they’re objects that are aesthetic in a certain way but in a sense are useless – is that the dilemma of it?

J: Yes, because they’re useless but they’re not useless in the way a painting would be, without function, but as a symbol of you’re desire.

N: But then they’re not useless. Because in a sense you are investing, as an individual, into the actual object.

J: True. But most things you buy would not be essentially useless, like these things are. They’re being branded as some kind of electronic, hi-tec line. It’s not a trainer, there’s a use for a trainer, or a vase.

N: Wouldn’t that be a metaphor for art, the idea that they are objects which are useless, because in a sense they are not practical functional objects. Making an object which is a stereo, for example, that doesn’t work but looks great.

J: But that’s not the same as having a painting that looks great. The painting just by existing has a use, whereas the things I’m selling promise a use that isn’t there.

N: And what will they be promising?

J: I’m hoping that will be as wide open as possible. I’m hinting at a lifestyle at the high end of the market. An improvement of the quality of life by buying this object. It doesn’t hint at anything as specific as music. It hints at technology and at a new industry but isn’t specific

N: How will I be convinced, as I’m going there to the shop, that you are selling something if you’re only hinting. How can you hint at something and not grasp it.

J: You’ll grasp it because of the context. You’ll be aware you’re in some kind of showroom, that the products are there to be looked at. There will be advertising literature as well, to thumb through. There will be clues here that will make you understand what is being marketed.

N: And what are those clues?

J: There’s the brand itself – a logo without a name, which I’ve hopefully made as ominous as possible. This will spark off ideas in the viewer about what is being sold. The logo is the first point of sale.

N: Is that something you’ve observed in other things?

J: Yeah, that it has completely taken over. Consumerism has been taken to an extreme and productivity isn’t important anymore. The brand name is everything and the product is incidental. It creates a facade where you can sell anything with a name; put a swoosh on anything and people will buy it. People are wearing silver swooshes round their necks, that is absolutely the same thing, uselessness.

N: Why is it useless?

J: I guess when I say useless, I mean it’s been taken so far away from the original product. The swoosh sells the trainer but of course it sells the brand and the facade.

N: A corporate identity in a sense. I’m interested in that notion – the view of uselessness how you’ve personally did arrived at. But also, I’m interested in how, personally, you arrived at this philosophy, where does it come from?

J: I think its the hopelessness of it all. Demos are happening in Prague – it’s a noble cause. But how do you even start to discuss the idea of disbanding capitalism or changing things? I just get the feeling that its hopeless. We’ve gone so far down the line that there’s no way we can get out of this completely homogenised system of signs. We’ve got everything we need, yet we’re still buying things. I’m as guilty of it as everyone else. I love my stereo to the point where its the most important thing in my room. It’s ancient but it’s got its own personality. I can feel myself getting overawed by it all, just as everyone else. I’m not sure I want to give it up, that I want to go back. You can argue that you can’t get a decent coffee in McDonalds, but you always know what you’re getting – is that always a bad thing? I’m still not sure about that. I’m annoyed at myself for participating but I can’t see any way of not.

N: So this work is, on a personal note, almost your conflict between being drawn and consuming, having lovely new things and your feeling of alienation and not keeping up with what it demands from you.

J: Yes, and the shame you feel of loving Ikea furniture. Look – it’s so well designed and it’s affordable too. That’s what they want you to do. 

Matter Matters – 2nd Nov. The Millom Palladium from 6.30pm

Matter Matters – 2nd Nov. The Millom Palladium from 6.30pm

I’ve had the pleasure of collaborating with Mark Vernon on a new video work, Disaggregated Industries, commissioned by the Moving Mountains Festival. It’s screening in an installation alongside sculptural work by Irene Logan and a choral piece by Kris Wilkinson Hughes at The Millom Palladium on 2nd Nov. 2018, form 6.30. You should come along…

The video is a response to Millom, from our outsider’s POV and is, like so much great sci-fi, set, at least in part, in a quarry. Featuring Cthulhu, Bowie, conveyor belts and a toad…

nou is a semi-finalist at the Australian Independent Film Festival 2018

nou is a semi-finalist at the Australian Independent Film Festival 2018

Smashing to find that the AIFF has had its interest piqued by nou (2018), but can I get to Brisbane based on this, relatively flimsy, excuse..?

no.

https://www.facebook.com/ausindefest/

 

Last chance to see – An Introduction at The Pharmacy Sat. 6th Oct. 11-3pm

Last chance to see – An Introduction at The Pharmacy Sat. 6th Oct. 11-3pm

Make sure you get along to a special opening of An Introduction – our group exhibition of work by students, alumni and staff of Fine Art, UoC Institute of the Arts. Thanks to the curators of The Pharmacy, the space will be open from 11-3pm on Saturday 6th Oct. 2018. By popular demand after a packed opening event last week.

 

Introducing… Blade Runner at Borderlines Book Festival, Carlisle

Introducing… Blade Runner at Borderlines Book Festival, Carlisle

I’ll be introducing a screening of Blade Runner (Director’s Cut, 2007) at Borderlines Book Festival on Friday. Now as you know, I’m no film theorist, so I’ll be talking about the film’s relationship to PKD’s Do Andoids Dream of Electric Sheep, production gossip and why Blade Runner is great fun to play with. And if anyone wants to geek out on further BR discussion, of the original(s) or 2049, or discuss dystopian fictions in general, I’ll see you in the bar after the screening.

8pm Tullie House Friday 5th October 2018 – Get your ticket here.

There are loads of other things to get to at Borderlines too – Pat Barker and Lucy Mangan are in town for instance. Full list of events lives here.

From Borderline’s webpage…

 

Do Androids dream of Electric sheep?/ Blade Runner

Philip K. Dick’s Dystopian novel, Do Androids dream of Electric sheep? was filmed by Ridley Scott as Blade Runner,  and has become an enduring Science Fiction classic.

Released in 1982, the film is set in a dystopian future Los Angeles of 2019, in which synthetic humans known as replicants are bio-engineered by the powerful Tyrell Corporation to work on off-world colonies, and stars Harrison Ford, Rutger Hauer, Sean Young, and Edward James Olmos.

Jane Topping will introduce the film and lead an informal discussion, after the screening, on Blade Runner and our fascination for dystopian stories in literature and film.  Jane is Programme Leader of the BA (Hons) Fine Art at the University of Cumbria. Blade Runner was central to her PhD thesis and so she brings both the perspectives of a fan and an academic. She won ‘best short film’ for her production Peter which was shown at the 5th Annual Philip K Dick Science Fiction Film Festival in 2017.

Film running time: 117 minutes, plus discussion. Certificate 12