12-20 мая – выставка Ольги Юргенсон «Слава капитализму!/Glory to Capitalism!»
Куратор: Виктория Илюшкина
Открытие 12 мая в 18:00
13 мая в рамках выставки пройдет показ английского видео «Перформанс присутсвия/Performing Presence»
Начало в 19:30
Санкт-Петербургский Государственный Центр
Современного Искусства
представляет выставку
Ольги Юргенсон «Слава капитализму!/Glory to Capitalism!»
Выставка продлится по 18 мая
Cлава Капитализму!
Интерактивная инсталляция
В течение последних двух десятилетий значительное количество русскоязычных иммигрантов из бывшего СССР обосновались в Великобритании. Этот процесс начался в начале 90х; новая волна иммиграции последовала в 2004 году, в связи с расширением ЕС. Безработные профессионалы и рабочие заполняли рабочие места в сельском хозяйстве, пищевой промышленности, ресторанах и гостиницах, зачастую выполняя тяжелые и малооплачиваемые работы, от которых большинство британцев отказываются.
Комментируя и отражая опыт рабочих-иммигрантов в Великобритании, Ольга Юргенсон разработала интерактивную инсталляцию.
Поп музыка на фабриках – обычное явление. Обрабатывая и упаковывая еду, рабочие должны слушать эту музыку, транслируемую для повышения производительности их труда. Петь и танцевать в цехах не разрешается. На выставке «Иди на Запад!» посетители имеют возможность петь и танцевать под аккомпанемент караоке версии поп-хита «Go West”, которую художница использовала для создания видео фильма, одновременно слушая шум работающих машин из фильма «Слава Капитализму!», проецируемого в этом же зале. Слава Капитализму! – своеобразный коллаж, состоящий из документального материала, снятого на современной фабрике в Англии, архивной хроники и фрагментов классических фильмов, затрагивающих темы рабочего движения.
В рамках выставки запланированы два вечера показов английского видео.
13 мая в рамках выставки пройдет показ английского видео «Перформанс присутсвия/Performing Presence», начало в 19:30.
Performing Presence
Video works by selected artists from the UK
Screening at The National Centre for Contemporary Art, St Petersburg
13.05.2010
Curated by Olga Jürgenson
Richard Layzell is a London-based artist who works in performance, video and installation internationally. He developed a series of innovative residencies in industry, defining the role of the ‘visionaire’, and was recently resident in Shanghai for the Visiting Arts ‘One Square Mile’ project.
His interactive installation Tap Ruffle and Shave, commissioned by Glasgow Museums in 1995, toured to London, Manchester and Newcastle and was seen by 100,000 people.
His current collaboration with Tania Koswycz, The Manifestation, is a major new installation for galleries. He is the author of The Artist’s Directory, Live Art in Schools, Enhanced Performance and Cream Pages and is an Honorary Associate of the National Review of Live Art.
Sorting the House Out, 5’, 2002
There is a quite distinguished white house with green lawns stretching down to the river, which is behind us. The house is fine but it needs sorting out a little, here and there.
Materials: terracotta, water
Zory Sharokhi was born in Tehran, Iran, and currently lives and works in Greater London. Her practice developed through a concern to explore cultural/political agendas, employing performance in relation to installation and photography. She is exploring a wide range of media processes as well as sculpture and time based imagery.
Her work has been shown widely in various group shows and solo shows. She was selected for Method, Cultural Leadership Programme 2009, Escalator Visual Arts 2006/2007 and awarded the Grants for the Arts by Arts Council England in year 2003, 2004 and 2007.
She has been a workshop facilitator in the last ten years.
Dancing with Walls, 2002, 80sec.
In this work she returned to the theme of the veil as a paradigmatic emblem of human enclosure and constraint against which the individual inevitably will resist. The brick walls within brick walls combined with the veil are seen here as a malign presences referencing the division of physical, political and psycho-social space: the separation of the inner from the outer world, the domestic from the public, the so-called third world from the so-called first world. Walls can, for example, function as geopolitical divides, whose resistance can lead to death (the Berlin Wall) and as sacred sites that can then also legitimately be fought over (the Jerusalem wall). They can block communication (‘talking to a brick wall’), separate, contain, obstruct and imprison. (Edited by Alex Rotas)
Caroline Wright My work includes live performance, drawing, site specific and durational pieces, working in mediums as diverse as glass and gold as well as the human body, I have made work for cities and rural spaces, for galleries, theatres, churches, on desolate uninhabited islands and for audiences of 100 and of 1. I am interested in human communication, control and power and the effect of outside influences and experiences on our actions and behaviour. I use art to re-imagine the ordinary and to take my audience to places of the imagination and the extraordinary.
In my practice, consistent concerns are communication structures, control and hierarchy and the extraordinary. Ritual (using the modern interpretation of this as repetitive action) is a one key element and site is a major influence when selecting appropriate media for my work.
Erasure: 2010, 2’53
A short video remake of a 2002 work. Two hands repeatedly write and erase in a dance-like tussle to gain control. This work explores the nature of writing, its permanence and effectiveness in communicating ideas. The work references the nature of communicative exchange, that there is a hierarchy in giving and receiving information and a positioning
that occurs according to our culture and sense of personal space.
Mark Aerial Waller was born in High Wycombe in 1969. He studied film and video with sculpture at St Martins School of Art.
Working in video, sculpture and event based practices, Mark Aerial Waller provides both an interpretation and interruption of cinema history. With recourse to technological and narrative mechanisms, Waller stretches, reiterates and at times perverts the mainstream vocabulary of structure and dramatic staging. Spectatorship is shaped into a psychological event that places the decentralised subject back inside the social situation. Waller compliments his studio practice with The Wayward Canon, where archival film and video artworks are reconfigured with audience and spatial considerations, events include Simon and the Radioactive Flesh (collaboration with Giles Round) (2006), Platform Garanti, Istanbul and La Societe des Amis de Judex (2007) at Tate Modern, London.
The Mantle
When seen together the pieces in this collection are called ‘the mantle’. The collection of outfits represent the lineage of mythological use of clothing. Since ancient times jackets coats and robes have been inscribed with special meaning and mythological power. Now days we are left with M1A Bomber jacket, once a flying jacket used in combat and in more recent history sported by queers and skinheads in a display of anti establishment street authotity. This event also includes guidance on donning a lifejacket, used to save the wearer from drowning, but perhaps used as a myth based status more often, to display a diversion from the dangers of travel.
Nicola Naismith makes work using a range of practices including moving image. Her interests include exploring the relationships between ‘the body and technologies’, ‘the hand made and mass production’ and in the observation and documentation of ‘the everyday’.
She works to commission and on residency and self initiated projects. She has exhibited work at a range of venues in the UK (Artsway, Kettles Yard, and Foundling Museum) and given artist talks at the ICA in London and at Conferences in Australia and Scotland. Currently she is showing a new video work at the Victoria and Albert Museum in London.
Counter 2008 1’ 29
With an extensive interest in industrial production Naismith’s Counter explores the relationship between manufactured object and hand dexterities. The video documents an investigation into ‘counting’ an everyday and ordinary objects not usually see in bulk qualities. The video camera is placed in the space created by the activity between the body and the hands, re-inventing a posture of making. Traditional (needles) and technological (video) tools are combined to offer an insight into what happens before the needle punctures the surface of the cloth and how the body can be viewed as its own site specific.
Andy Holden was born in Bedford in 1982. He graduated from Goldsmith’s College in 2005 and was a guest student at the Steadelschule in 2005. He now lives and works in Bedfordshire. Selected for Frieze magazine’s Emerging Artists of 2008, Holden recently produced a solo exhibition as part of the Art Now series at Tate Britain. He has exhibited widely both internationally and throughout the UK, and is represented by Works Projects, Bristol.
Andy Holden attempts a heterogeneous approach to art-making. The work incorporates large out-door structures, plaster forms, textiles, bronze, film and video, collage, painting, recorded music and musical performances.
The Third Attempt (A Meditation on the Dumb Motif), 2008
16mm transfered to DVD.
Director: Andy Holden, Music: Johnny Parry, Camera: Lucy Parker
The work takes a great deal of its particularities from the landscape, which is that of the Dutch polder, the area of flat land reclaimed from the sea in the 19th century. The platform with the barbeque is built on the island of one of the fortresses that provided the old defense line of Amsterdam, the boulder form is the other side of the moat, like a large static war machine. The wooden panels are hand painted in fence paint, the five colours available mixed wet on wet like large abstract paintings, evoking ideas of demarcation.
Simon Woolham is an artist/musician enthusiast currently based at Wysing Arts Centre. As well as recent shows including the Project Pigeon – Pictorial, Curated by Alex Lockett and Ian England at the Rea Garden, Birmingham, In Between the Lines Recent British Drawings, Curated by Jeremy Cooper at Trinity Contemporary, London, Le Roman Du Lievre: Marginalia MTS Gallery in Anchorage curated by jimmy Riordan and Leslie Rosa Stumpf (also touring to New York and London) and soon to be having his first solo show at Danielle Arnaud Contemporary Art, Woolham is also one half of sound and vision project M4SK 22.
A Short Term Effect
A digitally manipulated image of a bird on a telephone wire from outside my studio window mixed with the sound of my mobile. The film suggest that the phone call is affecting the movement of the bird. This could be seen as a humorous take on a series environmental and social impact.
The work is unassuming, quite often made from simple materials and with seemingly modest aspirations. It is their quotidian qualities, however, that charges them with emotion, not that those emotions are easy to identify. It is not that these works are personal or autobiographical that obscures their emotional content, it is the fact that they are irreducibly, irrevocably unsettling. These sites are the scenes of humiliation as well as innocent play, of rejection and failure as well as fantasy and adventure.
David Kefford (b. 1972) is an artist currently based in Cambridgeshire. He completed his BA in Fine Art at Hull School of Art in 1996, followed by an MA at the University of Brighton in 1999 and is well-known for his sculptural works using found objects and more recently his mixed media installations in response to gallery spaces and off-site locations. He has exhibited his work in both Solo and group exhibitions throughout the UK and been the recipient of several prizes and awards. His work is held in a number of private collections.
Moving image 2: Agitate | 2008
Agitate is a moving image of a sculptural assemblage made using everyday materials and found objects. I was interested in how these discarded items could be animated using film documentation to create a particular atmosphere and sensibility.
Dominique Rey’s practice encompasses the interplay between notions of identity, site and culture within personal histories. Rey traces the resonance of once inhabited spaces and points to the varying ways that these may be interpreted by those who follow. Rey exhibits in varying sites relevant to her specific interests and also within galleries. Recent works have involved video projection, sandblasted glass, old textile patterns, Persian garden designs, a medieval under-croft, and notably, an airfield.
The Mercer’s Grains of Paradise 5’50
The work is based on research of the past export of worsted cloth, historically one of the staple trades of Norwich, and the import of spices. It focuses on use of a tidal river to transport the goods. On screen fragile spice-patterns are blown away in an echo of the transient nature of the river and trade. The etched patterns are taken from Norwich textile designs of the 15th to 19th centuries.
This is from a series of works that consider ideas within Norwich writer Sir Thomas Browne’s (1605-1682) works, particularly «The Garden of Cyrus», which takes as a starting point ancient Persian king Cyrus the Great’s four-quartered garden.
Cinzia Cremona Born in 1968 in Italy, lives and works in London, UK.
Cinzia Cremona’s moving image, performance and digital media works stand for points in a continuous flow of relationships, and perform the body as a transitional moment of relating – an embodied momentary relational function.
An active member of the research cluster Critical Practice, hosted by Chelsea College of Art, University of the Arts London, a member of the Experimental Media Research Group at University of Westminster, London, and a PhD candidate at CREAM, University of Westminster, Cinzia also co-curates the annual moving image event Visions in the Nunnery, Bow Arts Trust, London.
Regardless, 2007, 17’, Single screen installation (5 min extract)
A woman calls you from inside a monitor and asks you to touch her.
Yes, you. This call is for you. A presence in a box requests contact in a game of vulnerability, seduction and power. It’s a call for contact now, but it is also a call to reflect on relationships, strength and weakness, ethics and power.
How do you respond to vulnerability? What do you offer? What do you ask for? What do you take?
Mare Tralla [aka Disgusting Girl] is an Estonian-born artist and organiser/curator who currently lives and works in London. As feminist she became widely known in Estonian mainstream media as ‘revolting female’. Her critical and often self-ironic art questions the place and role of women in society and how women from Eastern Europe are perceived or seen as in the Western world. Many of her recent projects have dealt with the issues of privacy and surveillance. She works with video, installation, photography, performance and painting.
Olga Jürgenson has been practicing as an artist since 1992 and has enjoyed an interesting journey from her Fine Art education focusing on Socialist Realism at the Ilya Repin Academy of Fine Arts in St. Petersburg, Russia to current work as a contemporary digital and Installation artist living and working in the UK.
Jürgenson has held several solo exhibitions and has participated in significant group exhibitions and festivals across Europe, The Far East and Australia, including ‘Wind Art’ Festival in Seoul (South Korea) and Liverpool Biennial, UK
When Estonian Peasant meets Russian Miner or when a Russian Miner meets Estonian Peasant 2008 1’45
Jürgenson’s and Tralla’s collaborative video was created as a part of a joint exhibition at Tallinn City Gallery, Estonia. The tongue-in-cheek installation reflected on the tensions between ethnic groups in Estonia and was a result of their collaborative research on stereotypes of one ethnic group about another.
The video film features Jürgenson and Tralla, dressed in miner’s uniform (Jürgenson) and Estonian national costume (Tralla). The artists chase each other, with a threatening hammer and a sickle respectively. The chase is accompanied by the soundtrack from the TV series of British comedian Benny Hill, who is very popular in both Estonia and Russia.
Helen Judge In 1986 I completed a BA at Auckland University where I studied History. I worked for the New Zealand Social Services until I moved to the UK in 1991. I have been a practising visual artist for twelve years and work from a studio at Wysing Arts Centre. In 2007 I completed a Masters Degree in Fine Art at Central St Martins College of Art and Design in London.
I use a variety of media, including sculpture, performance, film, internet projects and graphics. Finding different places to site work is an on going interest of mine. I like to exam the boundaries of cultural codes and to uncover different perspectives and new spaces of interaction, I often use a process of appropriating, re-ordering and remaking
To make the film By Appointment I performed in a sculpture/ head dress I made out of PVC and rubber. The sculpture is a cross between a military cap, the British crown and a gimp mask. It looks like a Goth cliché. I experimented with it, adding a twitching prosthetic finger and sound effects.
Kirsten Lavers makes art that infiltrates everyday life, provokes curiosity, inspires engagement and challenges preconceptions about what an ‘art experience’ might be or might mean. Her work is socially engaged made in close dialogue with a specific context, issue, group or location. Projects emerge from processes of introduction, gathering and care-taking over an extended period, often including collaboration, curation and multiple participants. Outcomes are wilfully diverse, ranging through sound, video, print, installation, collage, writing and performance. Large scale extended public projects are underpinned by a personal, reflective studio-based practice of writing and collage/drawing. The consistent thread being Kirsten’s commitment to conversation, the everyday and the ‘happening upon’ witness/participant.
‘somewhere (under construction)’ celebrates the human process of ‘building’ and is dedicated to the builders and pioneers of Orchard Park, Cambridge. Kirsten Lavers was Neighbourhood Artist for this brand new housing development (1200 houses) on the northern edge of the city of Cambridge 2007 – 2009. She was given privileged access to the construction site for the development’s community centre which led to the publication of a book photographs: ‘A Show of Hands’ (blurb.com/bookstore/detail/1016534) and this short film, made in collaboration with sound artist, Simon Keep and film editor, Dan Fawcett. «Somewhere Over the Rainbow» performed by Jola and Greg Wegrowski.
