Burn the Furniture to Heat the House - Joe Shaw - Lime Street

Burn the Furniture to Heat the House

Joe Shaw

Burn the Furniture to Heat the House brings into relief the brief glimpse of stability that occurred between two defining moments: the fall of the Soviet Union and the 9/11 terrorist attacks. In this optimistic time, a disconnection formed between the precariousness of the world and ourselves, and we became complacent, imbued with a false sense of security. The sculptures in this exhibition are about the abrupt end of this complacency, the surge in ad hoc/insecure modes of living, a scrabble for resources, and the artists’ place within all this.

Joe Shaw (born 1990, Mansfield, Notts) is an artist based in Newcastle upon Tyne who makes performative sculptures and installations. His works use recognisable, everyday objects and often plastic or low quality materials to comment on the mechanism of disposability built into post-millennium society. Shaw’s lo-fi aesthetic and materials draw attention to the increased precarity surrounding modes of employment, housing, politics and our natural environment. The sculptures are used as a vehicle to both scrutinise the art-world and spoof fragile masculinity using a language of dry wit and black humour.

http://joseph-shaw.com/

Yorkshire Sculpture International at Leeds City Art Gallery

2019 saw the launch of Yorkshire Sculpture International, a festival of sculpture taking place across Leeds and Wakefield from June to September. 



In addition to the exhibitions at the four main galleries; Yorkshire Sculpture Park, Leeds Art Gallery, The Henry Moore Institute and The Hepworth, there programme also includes a number of outdoor sculptures and new commissions.



Rachel Harrison draws upon a wide range of influences, fusing art historical references with references from pop culture. Her choice of materials is similarly eclectic, with nods to art history and contemporary society.



Joanna Piotrowska selected a number of artworks from the Leeds collection and displayed these alongside her series of black and white photographs investigating social structures. Piotrowska asked local people in Lisbon, Rio de Janeiro, Warsaw and London to create makeshift structures in their homes. 





Although it is not part of Yorkshire Sculpture International, my visit afforded me the opportunity to reconnect with Lothar Goetz's vibrant wall painting which dominates the main staircase. Goetz is interested in how colour interferes with our perception of space and form. 

Nika Neelova - EVER - The Tetley Gallery, Leeds

EVER was a solo exhibition by the Russian-born artist Nika Neelova at The Tetley Gallery in Leeds. Neelova presented new and existing work that responded to, and was in dialogue with, the building's unique art deco architecture.

'At the centre of the exhibition is a new large-scale sculptural installation in The Tetley's atrium. Connecting with the building's past, it recalls the restoration and transformation of the atrium into a gallery space and incorporates original materials such as parquet floor tiles and oak panelling salvaged from The Tetley building.  Featuring these discarded architectural fragments, the installation creates a transitional space depicting, and derived from, places that once existed. For Neelova, it takes the form of a 'landscape in ruin', presenting different layers of reworked and reimagined architectural, sculptural and geological artefacts.'

 

In the old office spaces that surround the atrium space, Neelova installed a number of existing geological and architectural sculptures. The Lemniscate sculpture series is made from reclaimed wooden bannisters. Neelova has repurposed the bannisters and fitted them together so that they each become a continuous form.







Neelova's architecturally focused work benefits from being displayed in a gallery with its own unique architectural features and likewise the gallery benefits from her work as it naturally emphasises the context in which it is displayed. 







My criticism would be that there is too many repeated versions of the same idea. After seeing a couple of forms made from bannisters, I no longer gain from seeing a different variation of this theme. 

Cheeseburn Open Weekend 25, 26, 27th May 2019

I'm looking forward to a busy few days working at Cheeseburn Open Weekend on Saturday, SUnday and Monday.

Cheeseburn Sculpture is a unique destination for contemporary art in the North East of England. Each summer our programme features three curated gallery exhibitions together with new sculptures, installations and performance throughout the gardens.     

In 2019 Cheeseburn will be open from 11am to 4pm on 

 25th/26th/27th  May 2019 

This weekend you'll be able to see the following:

Gillian Dickinson North East Young Sculptor of the Year 2019

Visitors are invited to explore the proposals in the Stables Gallery by 10 young artists who have been shortlisted to become the 2019 Gillian Dickinson North East Young Sculptor of the Year.

Each artist is supported and mentored by Cheeseburn Curator Matthew Jarratt and the winning artist will receive £6500 to realise their idea at Cheeseburn in spring 2020.

The award is in its 4th year and was conceived by Joanna Riddell at Cheeseburn in 2015 and The Gillian Dickinson Trust has recently renewed their funding support for Cheeseburn to deliver this important opportunity for young artists for another 3 years.

The Gillian Dickinson Trust is North East charity which works to promote creativity in young people. www.gilliandickinsontrust.org.uk

Winner of the 2018  Gillian Dickinson North East Young Sculptor of The Year

Clare Townley was selected as the winner of the 2018  Gillian Dickinson North East Young Sculptor of The Year. Clare has spent 9 months producing her installation at Newbridge Studios in Newcastle after graduating in 2017 from Newcastle University.

The large scale dystopian installation is called  “Nostalgie de la boue: Plastic Friend”  and  is constructed from recycled plastic and includes a swing where visitors can contemplate the impact of plastic on the rural environment.

The installation will be featured along with our Stables Gallery exhibition of proposals from 10 young artists who are bidding for the 2019 Young Sculptor of the Year Award. Visitors will be able to vote for their favourite proposal at Cheeseburn Sculpture across two open weekends in May 18th/19th and 25th/26th/27th.

Funding from the Gillian Dickinson Trust has enabled Cheeseburn Sculpture to develop this annual award to support new and emerging artists who are from the North East or committed to working in the North East.

Cheeseburn Sculpture Curator Matthew Jarratt said:
“ The funding  from the Gillian Dickinson Trust is providing a fantastic annual opportunity for young artists in the North East to get their professional careers started and to realise ambitious new artworks. We were so impressed by the quality of  proposals from the young artists and really excited to work with Clare to support her to produce an installation which asks questions about our relationship with plastic and its impact on the landscape.”

New Sculpture and installations

This summer Cheeseburn are delighted to site new sculpture and installations in the gardens and project spaces at Cheeseburn by 16 artists including Lucian Anderson, Lisa Delarny, Erin Dickson, Brigitte Jurack, Peter Hanmer, Joseph Hillier, Bennett Hogg, David Mach, Becky MacKenzie, Keith Roberts, Jeff Sarmiento, Ayako Tani, Clare Townley, Olivia Turner, Cate Watkinson and Alice Wilson.

Performance and Dance Interventions

Cheeseburn is planning a series of special pop-up dance performances and interventions in the gardens which build on our work in autumn 2018 with dancers Simona Yovcheva,Maria Vincentelli and Lizzie Klotz.

Look out for press and follow us on social media for more news:

Twitter @CheeseburnArt

Facebook @Cheeseburn

I hope to see you there!

Emma Hart: BANGER at The Fruitmarket Gallery, Edinburgh

The Fruitmarket Gallery is one of my favourite galleries. I rarely leave disappointed, whether that be due to the reliably top class exhibitions or the excellent range of art and culture publications available in the shop. Located right next to Edinburgh Waverley train station, it is often my first point of call on any trip up to the Scottish capital. My recent visit was no exception. 

I had no prior knowledge of the work of Emma Hart, and this made for an excellent treat. I was immediately attracted visually to the sculptural installation that greeted me in the downstairs gallery. 

"The exhibition presents two bodies of work that represent the most recent developments in her artistic practice: Mamma Mia! (2017), a major installation made following a residency in Italy awarded as part of the Max Mara Art Prize for Women that Hart won in 2016; and a group of new sculptures collectively titled BANGER (2018) made since Mamma Mia! and in response both to it and to the space of The Fruitmarket Gallery.

Mamma Mia! (2017), consists of ten large ceramic objects which hang from the ceiling, while an eleventh lies sidelong on the floor. The objects simultaneously resemble heads, upturned measuring jugs and lamps. They are glossy and monochrome, and project large speech bubbles onto the floor, some of them periodically sliced through by the shadows of ceiling fans made of oversized cutlery. As you move around and under the forms you become aware that the interior of each is a riot of intensely coloured, highly inventive pattern. The patterns used, ranging from the violent to the humorous, suggest the cyclical nature of anxieties and addictions, as well as the habitual repetitions of everyday life.

  

Upstairs in BANGER, viewers are faced with Just Because You’re Paranoid Doesn’t Mean They Aren’t After You. Headlights in a rear-view mirror, the work has you projecting forward and looking back, thinking about what’s behind you before you turn left into the rest of the space. And when you do turn, you find yourself face to face with the first in a series of four double-sided sculptures, car windscreens that stand, like road signs, around the gallery. On one side – the outside – you see into the inside of a car. On the other – the inside – you look out to the outside. The sculptures are made from handmade ceramic tiles, closely tessellated in such a way that the same shapes make different images on each side.



The four major sculptures, Green Light, Give Way, Wipe Out and X, are joined by others that direct and affect how you navigate the space – peering at and under the car bonnet of Fix Up; standing square onto the steering wheels of Race You to the Bottom; moving past Gatecrasher, both a safety barrier and a drawing of a car that seems to have crashed into the gallery wall; and tracking the movement of the woman of Wind Down as she winds herself face first down into the gutter and receives a splash in the face.

Throughout the gallery, visual and verbal puns bring things together and apart, both simplifying and complicating your looking as you ’get’ – or maybe struggle to get – the idea. Multiple ways of looking at each sculpture emerge the more you look. This shift in viewpoints plays out in the dual meaning of words like viewpoint and perspective, which are both about actual processes of looking and also about one’s worldview."

I was fascinated to discover that Mamma Mia! is the result of a residency in Italy in which she had "access to lessons about the Milan Systems Approach, a systemic and constructivist method of family therapy at the Scuola Mara Selvini Palazzoli which involves physical re-enactments and the study of repeated actions. The body of work is the culmination of an investigation into pattern, from visual patterns to patterns of psychological behaviour. The work also looks at the design and rupture of pattern and the ruminations in between."

http://www.emmahart.info/HartBanger2018.html

http://www.emmahart.info/

https://www.whitechapelgallery.org/about/press/max-mara-art-prize-women-emma-hart/

Joseph Grigely

I was recently introduced to the work of Joseph Grigely, an American artist who works in a range of media including sculpture, video and installation. When Grigely was ten he was involved in an accident and he became profoundly deaf. He has since used this to fuel his artistic practice, commenting that he “want[s] to take people inside the experience of being deaf and share it with them.”




St. Cecilia 2007, paper

Grigely regularly communicates with other people by writing on scraps of paper and napkins. He collects these records of his daily conversations, and organises them according to different systems such as their size or colour.




167 White Conversations 2004
© Joseph Grigely

"When people who do not know sign language talk with me, I explain that I am deaf and ask them to write – a mode of communication that is simple without being simplistic, and generally inclusive. But what gets written is often quite unlike writing in the usual sense: there are gaps, crossed-out words, drawing, lines, all of which looks less like writing that it does talking on paper. It is by using these scraps of paper on which people have written notes, names, or phrases in order to 'converse' with me that I make much of my art, using such scraps of conversations to make wall pieces, books, and table-top tableaux that all take as their subject matter the ineluctable differences between speech and writing, and reading and listening."



The Information Economy, 1996, mixed media


https://www.artsy.net/artist/joseph-grigely

https://www.wnewhouseawards.com/josephgrigely.html

https://scpt209.wordpress.com/2012/10/22/joseph-grigely/

Bobby Baker on what it takes to make an exhibition accessible

Great & Tiny War is the most ambitious show I’ve ever made. Or maybe I’ve said that before?!

How to Live where I launched my own Therapy Empire at Barbican Theatre in 2004 was really massive. When I had the idea of 2,000 ‘pea patients’ dancing the Mexican wave as a finale, accompanied by a choir and full on light show, I hadn’t quite thought through how much work (and money) and pure skill by the production team it would take to pull off. But we did. Which I suppose encourages you to be optimistic you can do it again with the next big plan…

Great & Tiny War takes a whole house and transforms it into a complex art installation where people come in groups of 4 and go on an audio guided tour from room to room with a host. It opened on 9 September and has proved to be so popular that we are keeping it open 3 weeks longer than planned until 28 November.

The team

The most important part of any show, and why it succeeds or not, is the people in the team and their assorted talents and skills. The Great & Tiny team are exceptional – mainly due to Ilana Mitchell and the amazing Wunderbar team. Their strap line is “extraordinary projects conceived by artists and made by audiences.”

Wunderbar has a long track record of creating great art in unusual places, and we share a passion and belief in doing what we can to reach people where they are, and to make the art as easy as possible for everyone to see.

It takes a lot of technical skill to achieve this so having a good team is vital.

I’ve worked with Steve Wald, technical director, and Miranda Melville, production designer, for many years – their skill and experience is the reason the dancing peas worked so wonderfully for How To Live. Each of the 5 rooms in Great & Tiny poses complex design and technical challenges.

Wunderbar recruited talented local artists and technicians to help install the show and host the tours. Lots of them have been drawn to the project because of what it’s about – transgenerational trauma, feminism and the politics of domestic labour and health care. Many of us have experienced hard times and felt excluded. So it’s been great working together and really fun too. And it’s definitely meant everyone shares a focus on the ethos of fairer access.

Inclusion and equality consultant Sarah Pickthall has been part of the team from the start – helping plan and budget the work needed and oversee the brief. And for the first time we used the opportunity now provided by Arts Council Grants for Arts to receive extra funding for extra support for me.

Great & Tiny War access resources

Here’s a list of what we’ve done to try and make the show accessible to all:

• A downloadable easy read visual guide explaining clearly what to expect in advance

https://wunderbar.org.uk/wp-content/uploads/GTW-EasyRead-full-res.pdf

• A captioned film showing what’s upstairs. The house is on two floors so some people, including older people, can’t see the whole show without some sort of digital package. The film we’ve produced is shown on a tablet in the comfort of the kitchen downstairs.
• There’s a bespoke built accessible toilet in the yard at the back (the porta-loo Wunderbar ordered was denied access due to overhead telephone wires in the lane. The production team created a new one to fit.)
• Audio descriptions for the blind or partially sighted
• A portable hearing loop
• A transcript of the audio guide
• The option to listen to the audio tour on loud speaker
• Bespoke visits tailored to your needs, including relaxed and BSL on request.

There’s a dedicated page about access at the show here.

https://wunderbar.org.uk/gtw/access/

I’m pretty sure what we’ve set up is rare for a temporary art installation. We know we haven’t been able to do everything but, given our resources, we’ve done our best to make the show as accessible as possible.

And the best thing is that we have been able to be responsive to people and the tailoring of bespoke experiences – partly because we have the resources, but mostly because the hosts of the show are so welcoming and ready to adapt.

What we’ve learnt

Despite all our planning it’s been much harder than we thought to make this happen due to stuff we just hadn’t anticipated. So, for the record, here’s some top tips I would give myself when (hopefully) working on a massive project again and planning access work.

Time
Typically, and considering how complex the installation is, a team of about 10 of us worked right up to the last minute before the first preview to finish. What we hadn’t factored in was the time needed to also produce great quality digital access material.

The film, text, images and so much care went into making all this material. I mean, if you’re making a film of part of the show for people who can’t physically get round the installation then as much care needs to go into that as into the art work itself.

Filmmaker Alastair Cummings was brilliant . He worked around the crashing and banging of the installation but inevitably finished filming it all after the launch when quiet enveloped the house. So that took an extra week to get working on the tablets.

Producing the rest of the digital access work took longer still. Geography was challenging – Great Tiny War and Wunderbar are in Newcastle, Caroline Dawson, our access specialist from Daily Life Ltd, the sound producer and I are based in London and, after the launch, so was technician Steve Wald. Sarah Pickthall is in Brighton, Alastair is in North Shields. Communication and time and travel cost energy and cash… we hadn’t quite thought through the logistics of all that.

Comms
Sally Flemons, Wunderbar’s Communications Director, ran a really top class campaign for the project working with SFPPR and the 14-18 NOW team – hence the high audience level.

With Sarah Pickthall we had a plan for a special comms campaign to reach new networks – but didn’t make enough allowance for the extra time needed, including finding just the right people to reach. We could have done with local specialist help budgeted in.

Budget
How do you budget properly? It’s the most important thing surely? We did a pretty good estimate with Sarah Pickthall but what we hadn’t factored in was the extra time it took us all. Film, text, images, recordings, installing it on headsets, testing it required so much care and time. Next time we would budget for another local person on the team to help project manage the making of the access materials, as well as more time for comms.

And finally – Me
I’ve never tried to work out my own access needs and costs in advance for such a massive amount of work. I’m rather exhausted now with every joint in my creaky body aching. I’m seeing the doctor later today and the physio too, about pain management and recovering from it all. So I think reflecting on what I could have arranged better will take another blog…!

But despite all this we are so pleased with what we have achieved given all the challenges. Feedback from audience members has been very encouraging.

We’ve thought very hard about how we communicate our accessibility offer so as to be really clear (plain English) but not patronising and avoid ‘labelling’ – readers of my last DAO blog will know how I feel about this.

People have been getting in touch with bespoke access requests and we’ve been doing what we can to help support these. We are also very keen to listen to feedback and be dynamic in our approach so please do share with us any comments or suggestions.

There’s 2 more weeks to see the show… see what you think and let us know!

Tickets for Bobby Baker’s Great & Tiny War, an art installation in a house in Newcastle, are available until 28 November.

Great & Tiny War - Bobby's introduction

What's on your doorstep? - My discovery of Bobby Baker's Great & Tiny War

I live on what I believe is the friendliest street in Newcastle (arguably the UK). We have a facebook group for residents to post things related to the street. As the vast result of residents have some art/music/theatre connection, there are regular posts by residents spreading the word about gigs, performances and exhibitions that they are involved in. A few months ago there was a post on The Sidney Groovers about a project that would be happening on our street. A few days later a letter was posted through my door with details of the project; Bobby Baker's Great & Tiny War.



I was immediately excited - Bobby Baker is an inspirational woman and an artist whom I hold in very high regard. I have followed her work for a number of years and could not believe that I would now get the chance to witness one of her installations in a house down my street.

Fast forward a few more months and I received notification from Wunderbar, another arts organisation that I rate highly, that they are working on a project called Great & Tiny War and are looking for people interested in working with them to realise the project.

Naturally I responded immediately with enthusiasm about the opportunity to work with two artistic entities (and their teams) that I greatly admire and respect.

I won't bore you with the many coincidental discoveries and revelations of connections that arose throughout the following 'recruitment' process, but to cut a long story short, I am delighted to be one of the hosts that will be guiding visitors around 133 Sidney Grove for Bobby Baker's Great & Tiny War.



Today was the first time that all the hosts met with Bobby and the Wunderbar crew in the house. Bobby (Lead Artist and Artistic Director, Daily Life Ltd), Illana (Artistic Director, Wunderbar) Hannah (Producer, Wunderbar) and Ree (Participation Producer, Wunderbar) introduced the project and explained our roles as hosts. We were given a run-through of the tour, and saw the installation in its final stages of being completed. One thing is for certain; visitors are in for a treat.

I'll be blogging regularly about the project, and hope that readers of this will visit the installation.

For more information about this Wunderful project, including how to book tickets, please visit

https://wunderbar.org.uk/gtw/great-tiny-war/

Plato's Lair by Peter Hanmer at Cheeseburn

Plato's Lair by Peter Hanmer is one of the delights currently being exhibited at Cheeseburn, Northumberland. Peter won the Gillian Dickinson North East Young Sculptor of The Year award 2017 with his proposal for Plato's Lair. Housed in the potting shed in the beautiful grounds of Cheeseburn Grange House and Gardens. The work is heavily influenced by Plato’s story The Allegory of the Cave featured in Plato’s seminal work The Republic.

"Plato asks us to imagine prisoners inside a cave, their legs and necks shackled. They can only look at the wall in front of them where projected images are made by puppets and the objects behind them; they can't see these because they cannot turn around, the shadows on the wall are the prisoners only reality.

A prisoner who manages to escape from his chains discovers that it is the puppets and fire that are casting the shadows and that their reality is an illusion. Once out of the cave the prisoners eyes adjust to the sunlight and see reality for what it really is, including plants, animals, the sky and most importantly the sun, which for Plato represents enlightenment. The now free prisoner returns to the Cave to tell his fellow prisoners what he has sees."




There are similarities when viewing the work at Cheeseburn. One passes through the fabric barrier into a dark space. Steps down lead to the grotto-like cavern populated with 30-40 little figures. As your eyes slowly begin to adapt to the lighting conditions, more details are revealed; non-human characters with beaks are engaged in a multitude of activities.




Peter has incorporated some of the objects found within the shed into the narrative that he constructs. For example, an ancient lawnmower is used to project images onto a screen.



The figures belong in the potting shed, it is their world, and we are invited into it.

The installation is open to the public at the August Bank holiday weekend (25th, 26th, 27th August) and the first weekend in September (1st and 2nd September). Opening times are 11am-4pm. For more information visit

http://cheeseburn.com/

https://www.peterhanmer.com/

All images courtesy of Paul Stephenson

Land Sand Strand by Suki Seokyeong Kang at Bluecoat as part of Liverpool Biennial

'Conceived as a visual translation of the Korean musical notation ‘Jeongganbo’, Land Sand Strand is a new multi-part installation by Suki Seokyeong Kang. The work transforms the exhibition space into a grid. 

Building on the concept of the hwamunseok – a traditional Korean woven mat, interpreted as the minimum space provided for each individual in society – it is activated by performers and the audience. 

The choreography, inspired by the Spring Oriole Dance and traditionally performed on the hwamunseok, is shared with visitors. 

The movements on the mat serve as the blueprint for the wider installation consisting of painting, sculpture and video.'

I found Suki Seokyeong Kang's installation at Bluecoat a visual delight. 

I took pleasure from the formal qualities in the work; the subtle use of colours and the combination of traditional Korean materials along with painting, sculpture and video. 

I appreciated the way that the video transformed my understanding of the work presented in the gallery space; static elements are activated through movement and sound.

'Suki Seokyeong Kang (b. 1977, Seoul, South Korea) lives and works in Seoul. Kang deploys various media including installation and video to seek a synesthetic expansion of painting. 





Through movement and rhythm, she creates an environment that guides the direction of her painting, which she uses like a visual musical score. 

Her practice is situated between the abstract and figurative, the organic and geometric, creating a visual language of balance and harmony.'