GUY SHOHAM
Evanesced
9th June - 8th July 2009
The Peeled Stickers is a series of paintings presented as two installations, evoking memory and loss, a comment on perception and deception. The shiny, veneered surface of the works imitates wood-effect laminate and along with the seemingly real handles and peeled-off stickers, Shoham has created perfect objets trompe l’oeil, completing wonderful works of deception. As Baudriallard writes ‘The objects of trompe l’oeil have something of the same fantastic vivacity as the child’s discovery of his own image, an unmediated hallucination anterior to the perceptual order’.[1] Shoham’s intent is to return the viewer to a moment in time, a flashback of a child gleefully attaching stickers to bedroom furniture; and later, returning to peel, pick, scratch the unwanted remains with dermatillomaniacal compulsion. The passage of time turns the once coveted stickers into sunburnt skin, or a scab that one guiltily and secretly peels off.
The canvases are the same size as the drawers and doors they represent. They become ‘doubles’, paralleling the real objects. ‘It is the appearance of the double, in the guise of trivial objects that creates the effect of seduction’[2]. The installations seduce and confuse, enticing the spectator into a morass of make-believe. This imaginary world created by the children we once were, projecting our past needs and desires, thoughts and deeds, kindness and cruelty onto the surface of the furniture. The stickers are marks of ownership and signs of individuality, showing the process of getting rid of the old and the unloved, trying to clear a space for new images.
The ‘damage’ to the furniture also seems like a juvenile act of rebellion against the conventional aesthetic and established values. However, the desire to assert one’s individuality and rejection of the old often happens by following current trends and fashions. So perversely, it is an act of conforming at the same time. By using mass-produced stickers it echoes the desire to belong and to fit in. It is a “ready-made identity”.
Ironically, the assembled paintings appear as stored furniture, reaffirming the storage role of the sheds and subverting their use as galleries. These objects are stored away, unloved, scratched and disused. They record lost childhood; memories, games, sibling fights, love and hate. All these memories are fading away, peeled, neglected and useless until the viewer recharges them once again with his own thoughts, ideas and memories.
Guy Shoham graduated with an MA in 2002 from Chelsea College of Art and Design. Since then he has exhibited in various venues, including Gasworks Gallery, London; Petach-Tikva Museum, Israel; and Wings Projects Art Space, Switzerland. In May 2008 he had a solo show at Dollinger Art Project in Tel-Aviv. This is his first solo show in London. For further information on the artist's work please see www.guyshoham.tk
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[1] Bauriallard J. Seduction, Ctheory Books Montreal, 2001, p.62
[2] ibid
Guy Shoham
Jane Frost
JANE FROST
Material Matters
14th May - 5th June
Fair Trade: Material Matters is an ongoing project, a combination of traditional drawn, hand-stitched work and a web-based community of artists. Launched in 2007 at the 2nd Moscow Biennale, it depicts artists self-portraits, collected, and stitched onto blankets. The Fair Trade exchange is a deliberate comment on the financial value placed on work, which is often not as beneficial to the artist. Material Matters relates to the process of Slow Making, the basis of Frost's work, exploring the process of making in the context of sustainable actions.
At the opening there will be opportunity to draw your self-portrait and be included in this international artists web site.
For more information about the work email Jane@FrostArt.co.uk
To see the online work go to http://frostart.co.uk/quilt/quilt_index.php
Bram Thomas Arnold
BRAM THOMAS ARNOLD
Walking Home
Shed and a half Gallery is proud to present the first solo show of works by 26 year old artist Bram
Thomas Arnold. The exhibition re-contextualises work shown as part of Arnold's final MA show in Dartington College of Art, Devon, and presents it alongside a performative installation of new research into his ongoing
project entitled 'Walking Home'
Bram Thomas Arnold is a Swiss born artist who’s hardly been home (not since 1987, when he got chicken pocks for a month). He grew up in Wales from 1984 and spent the previous two years traversing Europe, via Belguim, Holland and England, to Wales. He’s now going home again, he plans to walk there. Its 598 miles to St. Gallen according to google maps and Bram plans to get to the town in which he was born in time for his birthday on the 8th July. Using the project as an opportunity to explore things both personal – the recent death of his father, and general – notions of ‘home’, belonging, romanticism, relational aesthetics, the practice of walking and nostalgia.Through the project he seeks to explore artistic practice and living in the modern world, browse romanticism and Neitzsche, consume poetry and music, and hope that the past will present the future. The exhibition promises to give each individual viewer a different interpretation and experience of the same show; spaces will change over time, performances will occur and disappear, words will be thrown into open space. The closing of the show sees Arnold meticulously package every object from the sheds and address them for delivery to Switzerland, where upon his arrival the packages will be unwrapped as the opening performance of a show in the place of his birth.
For biography details or to arrange an interview please contact Vita Gottlieb at vita@shedandahalfgallery.com, or Bram directly via bramthomasarnold@gmail.com.
Craig Cooper
CRAIG COOPER
The End of Shoreditch is Nigh
Private view Tuesday 17th February 6 – 9pm
Exhibition continues until 9th March
Craig Cooper:
“Shakespeare lived for several years in Shoreditch and is believed to have known the place well. At the time, the area was a haven for artists and actors, and notorious for boozing, prostitution and violence. Plays and playhouses were banned within the City, making Shoreditch, on its northern fringe, a magnet for actors and writers and base tenements and houses of unlawful and disorderly resort and the great number of dissolute, loose, and insolent people harboured in such and the like noisome and disorderly houses, as namely poor cottages, and habitations of beggars and people without trade, in stables, inns, alehouses, taverns, garden-houses converted to dwellings, ordinaries, dicing houses, bowling alleys, and brothel houses.
In 1576, on the site of the Priory, James Burbage built the first playhouse in England, known as 'The Theatre' (commemorated today by a plaque on Curtain Road, and excavated in 2008. Richard Burbage was the first Hamlet, William Somers, court jester to Henry VIII and Richard Tarleton, Queen Elizabeth’s favourite clown had Shakespeare pay homage to him by naming him as the most famous skull in history – Yorick. All are buried somewhere in the grounds of St. Leonard’s Church, Shoreditch.
I have lived in the area for 10 years in April and even from that day I heard the voices telling all that it was a full brimwise place to live, work and pursue the act of circusized debauchery a la carte, the plate on roller skates displaying a burst out of laughterised horrorshow, all short-slice and plaguesweet.
A land of Many an Era…
…and at the end of each epoch of time there would be the voice worn out, all croaked saying “Shoreditch is Dead!”
Then the scene shifters would move in and redocorate and the doors would open to shine the next light.
Marie Lloyd, the music hall queen, watched as Crown Plaza knocked down her Palace on Shoreditch High Street. She didn’t dilly dally, off went the van wiv her ‘ome packed in it, she walked behind wiv her old cock linnet.
Matt Munro, the “British Sinatra” and Barbara Windsor fled their birthplace singing and screaming “Shoreditch is Dead!”
The orphaned baby then nurtured by Damien Hirst and his YBA’s spelling it out in plain arty English that this was where it was at. The money machine that they all designed their own plastic for was now the butterflies evolving into moths eating away at the very pockets of those who desired to exist in the arena. “Shoreditch is Dead!”
Yet the most fantastic holy spirit moment was to be, choked with party fumes and jazz daz… There opened the portal to “Gary’s Place” – in my opinion, as good as Shoreditch gets. As close to the Shakespearian Shiver as one can get…
Alas… Tesco’s, Pret, Subway and Eat moved in and at the same time we felt the wrench to our hearts of the Bricklayers Arms closing, the doors sealed, only to re-open as a bus shelter.
It is in the beautiful roof garden surroundings of Vita Gottlieb’s Shed and a Half Gallery that I invite you all to the showing of a new painting and a new daedalum mirror.
In 1599 Shakespeare's Company literally upped sticks, and moved the timbers of 'The Theatre' to Southwark, at expiration of the lease, to construct The Globe. “
THE END OF SHOREDITCH IS NIGH
"To-morrow, and to-morrow, and to-morrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death.
Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury
Signifying nothing."
— Macbeth (Act 5, Scene 5, lines 17-28)
Harriet Poole
HARRIET POOLE
What Not to Wear
23rd - 25th October
In association with Photomonth 2008 - www.photomonth.org
What not to wear? explores the relationship between the redundant and the nostalgic through the dual narrative of a past-industrial site of a haberdashery factory and redundant items of clothing we no longer wear. The two sheds of the gallery are also important as both a site of secrecy, and where forgotten or discarded items end up.
This show is a three phase event. Firstly, in CLOTHING there are intimate performances for one at a time in a staged darkroom exploring photograms and clothing. The private view event, PHOTOS, is then intended as a cathartic and collective experience sharing photos of audience members wearing forgotten/embarrassing/lost items of clothing, mediated through photographic manipulation of the live projected destruction of the clothing’s image within the Shed and a half gallery rooftop environment.
The FINAL EVENT will be a short viewing of the installation relics in the half shed, as a single group that would have met off site collectively and then go to a pub nearby for an informal talk about the work and feedback.
Wednesday 22nd October
2-6.15pm one-to-ones, What not to wear- CLOTHING.
6.30-9 private view, What not to wear - PHOTOS
Saturday 25th October
12-4 one-to-ones, What not to wear- CLOTHING
4.30-6 What not to wear- FINAL EVENT. Installation viewing 4.30-5, followed by post show discussion in a nearby venue tbc.
Event details:
CLOTHING: A participatory performance for one at a time. Participants are required to bring an unwanted item of soft clothing they no longer wear to surrender- they will not get the item back.
PHOTOS- Participants are required to bring a photograph of them wearing an outfit/item of clothing they no longer wear to surrender- they will not get the photograph back. Photocopies not accepted.
FINAL EVENT: Installation viewing of the final relics of performance and post show discussion, near gallery, venue tbc
NB All events strictly by appointment only and participants must agree to bring item(s) required. Please book asap to avoid disappointment.
Booking: via email stating in the header which event(s) you are booking for to whatnotphoto@rocketmail.com. You can come to as many as you wish! Any further information please contact Harriet on 07900 563631 or email as given.
Central to the work are theories in the work of Roland Barthes and Tino Sehgal, the first for his theories of the ‘mortality’ of the paper based photograph as an ‘impossible’ record of ‘now,’ and the latter for the fleeting materiality of his art works. Poole is researching principles of non-matrixed theatre and audience participation through the subversion of time based media practices. She is also experimenting with pushing the temporal nature of performance through marrying with the temporal nature of photography, placing the process of image making intrinsically at the heart of an intimate and participatory, performative experience.
About the artist:
Poole's approach to photography is to experiment with both the low and the high tech, from pinhole photography and photograms, to holgas and film SLR, to digital SLR and live feed and pre-recorded film, and found photographs and slides. She has a wide ranging style and use of technique that fuses the photographic with the performative; her work in her MA has put the spectator as participant directly in the process of image making in a staged darkroom in gallery and non-gallery spaces.
For further information on the artist's work please see www.harrietpoole.com
Alison Ballance
ALISON BALLANCE
Janus
17th September - 7th October
Janus is a collage of makeshift city plans, found images, photos, text and old stationary; separate components are united by their missing subjects and their references to time. Ruined and unfamiliar urban scenes suggest an unhopeful regeneration. They are shown alongside two words which appear definite in their want to communicate but are either hesitant or unable to do so. A photograph is pinned next to its subject matter. By showing the smaller collage in another context, this juxtaposition points to another time in which the work was shown – a point reconfirmed by the single slide shown in the adjacent smaller shed. The materials used are stationary sourced from yesterday, with a small hand-written T S Eliot quote noted down as a reminder about the role the past and the future play in the present. The piece takes its name from the two-headed god who could look both forwards and backwards in time.
Ballance prefers to represent the fragment and the suggestion rather than crude over-explanation and sees the idea of the fragment in architectural ruins, failures or incompleteness. In some corners of Janus the concrete depiction of a subject is missing drawing attention to the unrepresented. The work has a reductive grammar using materials that want to affirm their potential. Ballance works within a context of reusing and referring to a past store of cultural references. Her primary medium is collage whether this takes its form in site specific installations or time specific pieces that are held together momentarily in a photograph. She uses found objects, photography, drawing and cuttings in her work all arriving fully loaded with cultural references and she enjoys seeing the dialogue that arises within the piece.
Recent shows include ‘Dialogue Box’, Airspace Gallery, Stoke-on Trent; ‘Post it’ Another Road Side Attraction Gallery, London; ‘Allotments’ Group Show in Nottingham and Derby; ‘Red’ Site specific piece, Devon; Surface Gallery Open Show, Nottingham. Graduated in 2004 from Chelsea College of Art and Design, BA Painting.
Veronika Spierenberg
VERONIKA SPIERENBERG
For Two Voices
24th July - 14th August 2008
"The human voice touches the pictures and the picture begins to move in the rhythm of the bars. Nothing is more appealing when unattractive photographs flirt with a chanteuse."
Shed and a half Gallery is pleased to present new work by Veronika Spierenburg. Spierenburg is a Dutch/Swiss artist working predominately in video and photography. Her work operates in the realm of stillness and movement, where the camera’s eye and the human eye, sound and image and the unfamiliar view converge. Spierenburg is primarily interested in how irrelevant photographs acquire a function and how sound loads pictures with emotion.
The new work in this exhibition focuses on an installation of a photographic series composed into a sound system. Stubs on a carpet, holes in a wall, raindrops on stone will be seen as pitches and function as tune. The singer Sabina Leone will interpret the photographs into sound and transform the shed into a live act at the show’s opening. After the opening the pictures and sound are separated between the sheds in order to experience how the sound recalls the images and vice versa.
Born in Switzerland in 1981, Veronika Spierenburg studied at the School of Art in Basel, Gerrit Rietveld Academy and Central Saint Martins College of Art & Design. She was nominated for the Steenbergen Stipendium 2005 in the Netherlands and received the Red Mansion Art Prize 2006 in London. Spierenburg has exhibited in Britain and internationally. She currently lives and works in Switzerland.
Lucinda Holmes
LUCINDA HOLMES
Small Worlds
27th June – 17th July 2008
Working with found and discarded objects while employing simple actions such as repeated marks, layering and arranging, Lucinda Holmes has created and installed two contrasting ‘worlds’ in the interior of the shed spaces. One expansive and yet miniature world consists of found everyday objects and materials carefully arranged and ornamented, suggesting ‘other worldly’ terrains. The other, an archive of objects representing a visualisation of the artists tool box, items and objects which exists prior to their embodiment as part of these ‘worlds’. Holmes is especially interested in the transformative nature and energy of place. Holmes’ work allows you to ‘travel lightly’ to dimensions of different scale and intimacy.
The placement and choice of materials is in response to the floor of the gallery. The worlds may have hills, deserts cities or lines of telegraph poles stretching out across barren plains. As part of the process of Holmes’ work she collects, organises and photographs objects, makes drawings, which are a major source or inspiration in her work. These drawings and photographic documentation are displayed as a sort of treasure trove which visitors can look through, in the smaller gallery space.
Lucinda Holmes’ practice encompasses photography, installation and painting but the process of drawing is central to her artistic approach. She has been accepted on New York’s Drawing Center’s Viewing Programme and was an artist in residence at the C4RD in London earlier this year. Prior to completing her masters in Drawing at Wimbledon College of Art Lucinda won the Hunting Art Prizes Drawing and Print Prize in 2001.
Petra Hudcova & Ross Knipe
PETRA HUDCOVA & ROSS KNIPE
1st - 24th June 2008
It’s not easy to be nowhere
‘My soul is a hidden orchestra; I know not what instruments, what fiddlestrings and harps, drums and tambours I sound and clash inside myself. All I hear is the symphony.‘
Fernando Pessoa
It’s not easy to be nowhere is a collaboration between visual artist Petra Hudcova and artist and composer Ross Knipe. They set out to combine their individual interests as well as their separate tools to create a single conversation in the spaces of the gallery. The sheds become containers for fragmented landscapes of the mind which are filled with the outcome of a series of discussions and interactions of disjointed sound and moving imagery. Their starting point was a string of contemplations on the possibilities of the contents of such spaces. They wanted the sheds to serve as a metaphor for giant psyches that are overflowing with impulses and urges.
Petra Hudcova is a visual artist working predominantly with still and moving images and installation. Her work relates to the notion of ‘a moment of the impossible’ understood as an experience of something that happens when the time-space code becomes irrelevant. She is mainly interested in the moment when time seemingly shatters or disappears and one is left experiencing a different mode to the one that is inherent to our language. She seeks to reproduce this moment which is embedded within the configuration of circumstances and doubt. Her current work derives from the interest in implementation of image drops into space creating an orchestra of passing moments. Petra graduated from Central St. Martin’s College with an MA in 2006 and is currently based in East London. She has exhibited her work in Britain and internationally.
For more information please visit www.petrahudcova.com
Ross Knipe is an artist and a composer working in TV, film and advertising. He has also been active in the underground dance scene releasing under various monikers including Pussycuts, A.R.S, Somos and Bammer, producing remixes for the likes of Moby and A Man Called Adam. Bammer also composed the soundtrack for the documenting CD Rom of "Contents: 31 Tiensevest" by artists Marysia Lewandowska and Neil Cummings.
Ross is currently studying sound arts at the University of the Arts, exploring concepts and representations of space and the musicality of environments. One of his areas of interest is looking at individual gestures and actions and their cumulative effects on specific and global environments, including the physiological, social and psychological impacts on people and communities, as well as the creative and regenerative potential of gesture in space.
Miyuki Kasahara & Calum F. Kerr
MIYUKI KASAHARA & CALUM F. KERR
For Whom do you Speak?
3rd – 24th May 2008
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FOR WHOM DO YOU SPEAK?
To be creolized means a language created through mishearing or mistranslation. In this collaboration Miyuki Kasahara & Calum F. Kerr look at the fractured communication (oral and visual) between people who speak completely different languages.
Miyuki has collected over 150 images and/or text from people across the world, from USA; Canada; Japan; China; Tibet; India; and Europe (inc. UK) all from those who use non-European Languages. The languages include Chinese (Mandarin & Cantonese); Hindi; Japanese; Korean; New Zealand Maori; Persian, Taiwanese & Tibetan.
This is similar to the SETI (Search for Extra-Terrestrial Intelligence) projects, such as NASA's Voyager 1 & 2 Spacecraft that carries disks with a "message to Aliens". The contributors were asked to communicate their own "message in a bottle" to whoever might view it in the exhibition.
At the opening visitors will be able to form a new language through linking the installation (by Miyuki) to a performance (by Calum).
Viewers will be able to look at these multifarious messages through 'spy holes' in the larger shed. During the opening they will be able to write or draw interpretations of what they saw and take them to Calum in the smaller shed. Then through an agreed form (that could be drawn, a gesture or spoken) they will reach a final translation of what was seen. Throughout the lead-up Calum has not been allowed to see any of the images or text involved.
The artists are looking to share these messages sent from afar and through interpretation and translation see what new forms can be discovered.
FOR WHOM DO YOU SPEAK?
For further information on For Whom Do You Speak?
Contact the artists:
miyu_ku@yahoo.com - www.miyukikasahara.com
calumfkerr@googlemail.com - www.myspace.com/calumfkerr
Miyuki Kasahara and Calum F. Kerr Biographies:
Miyuki Kasahara’s work explores identity, personal memory, and personal mythology in others and herself. She considers how art creates interraction with people through conversation and through the gaze without conversation. ‘In his/her personal sky installation at Sevenseven Contemporary (London 2006) and at Art gallery X (Tokyo 2007), the visitor is encouraged to see a stranger’s personal memory through the stranger’s ear. When you first see his/her personal sky, you see only floating white clean spheres in the space. Then you notice that each sphere consists of an organic shape – an embedded ear. But you don’t notice immediately that each is made from a different persons ear and has a different image inside until somebody tells you. When people noticed the ears and the ear holes, they usually held the piece up to their ears as if they held a seashell. Then they asked Miyuki, “Can I listen to something from here?” Miyuki said, “No you cannot. But instead of listening, you can see an image there and imagine the story behind.” This was the starting point of interaction.’
She has been involved in many group and solo exhibitions, including touring exhibitions, onetree (2001-2002), supported by North West Arts Board England, and Ikons of Identity, organised by Craftspace Touring, Touring Exhibition in England. (2001-2002).
Miyuki has also organised group exhibitions including One silver coin exhibition (2003) and Because, there is no stars in the sky (2004), Gallery eSIESTA, Tokyo.
Recent exhibitions include Trigger, Art Gallery X, sponsored by Nihombashi Takashimaya Department store, Tokyo (Solo exhibition 2007) - A piece of me, Sketch, London (2007), The London Group open exhibition 2007, London (2007) - Milky Way Project, commissioned by Shoreditch Trust, London (2007) - Miyuki Kasahara exhibition, Gallery Chimenkanoya, Tokyo (Solo exhibition 2006) - The Surgery project part1, supported by Capital Community Foundation, The Surgery, London (2006) - Clash Art 2, Sevenseven Contemporary Art, London (2006) - Art in the Gardens , sponsored by Southampton Saab, Sir Harold Hillier Gardens, Hampshire (2006, 2007, 2008) - Clone , Nog Gallery, London (2005) - Clash Art, The Foundry, London (2005) - www.miyukikasahara.com
Calum F. Kerr creates participatory artworks, situations that are altered through audience intervention and interpretation. His performances challenge participants to join in; they are often subsumed in an absurdist action or process. These include opening a Bagel Stall, being Mark E. Smith, joining a convention for Curtain Twitching voyeurs and directing Untuned Symphonies, a series of informal choral groups. Kerr's work is found between a considered systematic approach and the inevitable ascent/descent into chaos.
Recent performances & exhibitions include Suburbia, Foreign Press Association, London
(2008) -The Famous, the Infamous & the Really Quite Good, Decima Gallery,
London (2008) - Climate 4 Change, Old Mercades Showroom, London (2008) - Spectre vs. Rector, The Residence, London (2007) - and many more..., Wiebke Morgan Gallery, London (Solo Exhibition, 2007) - Punk: A directory of Modern Subversive Culture, London & Hamburg (2006) - At War with Ghosts, Space Station Sixty-Five, London (2006) - The Circus Show, Three Colts Gallery (2006) - Berliner Kunstsalon, Berlin (2005) - The Ideal, Plovdiv, Bulgaria (2004) - The Lost Adjuster, Atrium Gallery, PricewaterhouseCoopers, London (Solo Exhibition, 2004).
Performance Links & Video: www.myspace.com/calumfkerr
See also www.seeyouincourt.info
Marianna & Daniel O'Reilly
MARIANNA & DANIEL O'REILLY
Ayaz’s Palace
Opening preview Friday 22nd February
23 February-16th March 2008
Ayaz said to the deputies O Renowned Officers
Is the ‘Order of the King’ more worthy or the ‘Diamond’?
Marianna and Daniel O’Reilly’s first collaborative installation exploits a devotional theory of drawing in order to create an environment-allegory for the process of ‘inspiration’ which lies at the heart of all popular mythologies of ‘the artist’; a mythology which rings true more often than not in the artistic consciousness itself. The project marries together concepts rooted in medieval thought which are seen as indispensable to contemporary notions of art production; accounts such as the art of the alchemist as Sufi metaphor, the popular accounts made of the workshops of Tintoretto and Fiorentino etc, and the monastic workshops of the icon painters. A necessary umbrella concept that ties these accounts together is the prevalent theory of Melancholy from this period and, as such, the installation is tinged with ‘tone’; a tone which sets a model for the edifice as a whole and which reads as a metaphor in the working relationship between Marianna and Daniel inasmuch as it records a dialectical process of individual aims that are subordinated for the elevation of the work as a whole.
The process of drawing stands as a common ground which exists between the individual practises of the two artists involved and thus serves as a liberating neutral point from which they are able to explore the shared interests which lie at the centre of both practises. In that drawing traditionally holds the position of preparation or study for a finished work, it is reconfigured here as a preparation with no desire for an end point; one in which the creative essence, (the relationship,) remains vital and which never achieves a fully realised, ‘finished’ state. Incorporated into the installation is the short film ‘The School of Night’ which has been specially created for this project. It comprises a series of images taken from paintings by Marianna coupled to a soundtrack by Daniel with the aim of spawning renewed energies from existent sources by means of cinematic devices such as counterpoint and the unexpected meeting. The artists have also created a pictorial diary entitled ‘The Carouser’s Notebook’ as an accompaniment to the exhibition which is available in a signed edition from the gallery.
For more information regarding the artists please visit www.mariannaanddaniel.co.uk or e-mail to either daniel_o_reilly@hotmail.com or marianna_red@hotmail.com
