Wednesday, 30 June 2010

In Case We Don't Die. Vegas Gallery, London

Stephen Dunne
Andreas Emenius
Bibi Katholm
Shane Bradford
Ida Kvetny
Jacob Kirkegaard
Ralph Dorey
Iben Toft Nørgård
John Strutton
Pascal Rousson
Berlin * London * Copenhagen* Non-Stop!
‘In Case We Don’t Die’ represents a joining of forces among 12 contemporary artists from Berlin, London and Copenhagen, all travelling down similar creative paths, investigating the power of ritual, spontaneous bewitchments, visions of the future, and a kind of “supernatural” presence that sometimes reveals itself during the creative process. The exhibition is an attempt to visualize the already existing, natural communities and connections as opposed to the “designed” communities currently found in contemporary art as well as society in general. The theoretical starting point for’In Case We Don’t Die’ is an investigation into the constant slippage, or cross-over, between various types of media, that is visible in the work of the artists included in the exhibition – transitions between film, performance, painting, installation, objects, music / language / rhythm, and drawing. One main theme has been the focus of all contributions to the exhibition: The creative process.
These days…
These days potential catastrophes are everywhere you look. The world is full of danger, threats, stress, overload and insecurity, and most of the time it feels very likely that we are all going to be dead soon, the only question is when, exactly? Assuming that we, against all odds, survive the terrifying pitfalls of the future that lies ahead, is creativity going to be the thing that saves us?
The exhibition is curated by Bibi Katholm in collaboration with Shane Bradford
Bibi Katholm is a Danish artist, currently based in Copenhagen. She has a postgraduate diploma in Fine Art from Central Saint Martins (2006), and a Master of Painting degree from Royal College of Art (2008), London. Bibi exhibits and curates shows internationally, and she has had two major solo shows in Copenhagen since her graduation from the RCA. Furthermore Bibi has a BA in comparative literature, and a cand. Mag. in Visual Culture from the University of Southern Denmark.
Shane Bradford is an English artist, currently based in London. Shane graduated from Chelsea College of Art and Design, 1992, and he is currently represented by V1 in Copenhagen, and has recently had a solo show at Vegas Gallery, London.
The exhibition arrives in London fresh on the heals of the 1st version which was on display in Berlin between 29th May and 12th June 2010. Following the exhibition in Vegas Gallery, London, the exhibition will travel to Copenhagen where Bibi Katholm is going to curate the 3rd and final version of “In Case We Don’t Die”.The event is scheduled to take place during the spring 2011.
Suzanne Schurgers - Director
45 Vyner Street
London E2 9DQ
tel: +44 (0)20 30 22 58 50

Sunday, 13 June 2010

new zine launching with The Pigeon Wing as part of Foodface Travel Solutions, Camberwell art Festival

The Pigeon Wing at Camberwell Arts Festival
On 26th of June Foodface Travel Solutions will be taking over Camberwell Green. The Pigeon Wing & Aspidistra are hosting a reading table with publications by Stuart Morrison, Ralph Dorey, Ruth Beale, 2 new issues of An Endless Supply, 20 x 20, Fanzine, Aspidistra and more to read, buy or to eat.

Saturday, 12 June 2010

research notes point zero zero zero one. Immediacy and fluidity, archiving experiences of survival

What is your particular research question, argument or hypothesis?
a: Human existence is experience at one time only, this being the present, however our intelligence's primary focus is upon the past (for reference) and the future (for anticipation). Can these two modes be reconciled within art?
b: Can an art work be made that is not a translation?
c: Fluidity
d: Survival
e: Can art be made which is not following a mode?

How do you propose to address these questions and find out the answer (what is your methodology?)
a:  Unsure. Initial avenues for consideration include questioning experience itself as well as the state one is in while receiving experience, whether this can be prepared for and whether it can be doctored.
a.2: Questioning relationship to a past and future and examining the fluidity and relative transformative energies of these
b: Re-consider questions raised at extreme points of modernist art, do we accept the impossibility of the specific object?
c: Begin with constructing scenarios to allow art as response without the potential corruption of premeditation. Will this always result in the action of making being privileged over the made artefact?
d: Starting points: Consider and research design in times of nessesity. Cross referenced with [C]
e: Unsure.
f: Examine relationships between writing and visual art practice in terms of recording the immediate with authenticity.

 How do you see your work in the wider context of the discipline? Who else’s work might be relevant to your project?What skills, knowledge and experience do you have which are relevant to this study?

These questions are present within the foundations of the era we call Modernism, but also within more basic and broad areas as they concern our relationship to time and our own ability to learn. Textual areas of examination in progress include Henri Bergson, Rudolf Steiner, Joseph Beuys, Miles Davis, Cormac McCarthy, Carl Jung, Herman Melville, Susan Sontag, Werner Herzog, Sam Pekinpah, Günter Grass, Jack Kerouac, Apollo 13, etc etc


you can't put your arms around a memory

Friday, 11 June 2010


work which fills space spanning gaps between existing features and/or temporal pseudo-structures. presents a catalogue of ideas relating to water both above below and within ground. present ideas of the boat (+total volume of water) as place.
involves solid objects constructed from suspended metal powder which function as static counterpoint and an argument against fluidity.
Involves images of success, surprise, advice and advantageous decisions and loss of life.
involves lurchers.

Tuesday, 8 June 2010

More Bergson

The essential thing is the continual progress indefinitly pursued, an invisible progress, on which each visible organism rides during the short intival of time given it to live.

Sunday, 6 June 2010

Brighton University "Hook, Line and Sinker" Graduates 2010

My lady and I went to Brighton, ill prepared for the heat I impulse-bought a linen suit which may well be more delicate than I am capable of accommodating, we attended the Brighton University final show opening.
In no particular order here is a small selection of images by some of the graduates from what was an extraordinarily strong show.

Kate Price

Katy Pritchard

Nick Spalding

Tom Nash

Katie Mccallum

Isabella Martin

Anna Testar

Alicia Tennant

George Little

Rhona Greene

Philippa Cannan


Ralph Dorey Artist Statement for:
I Am Solitary I Am An Army
Sunday 6th June 2010

“I care not to perform this part of my task methodically; but shall be content to
produce the desired impression by separate citations of items , practically and
reliably known to me as a whaleman; and from these citations, I take it- the
conclusion aimed at will naturally follow of itself”
Melville, Herman Moby Dick

“For the architect working in the ninetieth and twentieth centuries, history was
understood not as a sequence of discrete events but as an agency with its own,
irrefutable patterns laws, and logic”
Boyd Whyte, Iain Modernity, Architecture, and The City

“The dam, consisting by now of macro-seeds that are hooked together and
further augmented by true organic growth, begins to catch the first spring runoffs.
Seeds mulch, topsoil, and other organic principles are captured by it; the
dam grows both literally and figuratively. Within three to six seasons it has grown
into a compact area of vegetation and a permanent trap for capturing topsoil.”
Papanak, Victor Design For The Real World

“It is none the less true that these influences are so many threads which bind up
the system to another more extensive, and to this a third which includes both,
and so on to the system most objectively isolated and most independent of all,
the solar system complete”
Bergson, Henri Creative Evolution

“Look. All is men. Water alive.”
Kurosawa, Akira Dersu Uzala

Saturday, 5 June 2010

Daryl Brown

I met Daryl in 2003 when we both started at university and I have been fairly consistently in awe of his work as well as (though with anyone else this description would be quite ridiculous) his quite incorruptible path of art investigation ever since. When I met Daryl both he and I would have firmly identified ourselves as painters, but whereas I moved away from this in a search for more immediacy (and escape from a level of self control and discipline I felt I was unable to achieve), Daryl had the sort of natural ability when handling paint that I imagine simply presented too little a fight, and it is this battle that he seemed to search out with his subsequent investigation into sculpture and drawing.

Image: Daryl Brown documenting Scaffold (1) Brown, D and Dorey, R. 2004, reclaimed wood, Portland stone, galvanised nails, dimensions: 14m x 2m x 5m. Photograph: Ralph Dorey

The idea of art as an honourable conflict, a meeting of forces was drawn to the surface in a early work that was the first of what would a series of three projects authored by both of us together. Scaffold was a installation of three large scale structures built into the rocks at the edge of a bay on the Isle of Portland. We had a week on Portland as part of a study trip to learn about stone carving, and eschewing the possibility of learning this skill we, almost wordlessly, began our journeys from the shore to the various skips a couple of miles inland, gathering armfuls of timber and using these to add to, strengthen and modify our structures. This activity was repeated multiple times per day for the duration, punctuated by the odd trip to the village hardware shop for more nails and new hammers.

Photograph: Ralph Dorey

Photograph: Ralph Dorey

Photograph: Ralph Dorey

The ideal of honourable conflict was born in this work for both of us. I would now argue that this conflict is the core of both Modernism as an art form and a characteristic of modernity itself. It is not repetition for its own sake, making art by simply punishing yourself with labour or the irony of a folly, half attempting something you are fully aware you can neither accomplish nor even believe in the possibility of accomplishment. 

  images: installation photographs from Turkish Surfboard, Brown, D and Dorey, R 2004 reclaimed wood and galvanised nails. Dimensions variable.
Photographs: Ralph Dorey

The honourable conflict continued in Daryl's Later work in various forms. Some things remained constant, the artist's activity being likened to training, the acquisition of new skill in order to test this skill against.. against what? against the act of creating art work perhaps. Materials are bent to their uttermost, surfaces are sometimes polished to an impossible design-prototype finish, sometimes they are subjected to rust and degradation, in the end these are both marks on the same axis, it is the application of pressure, to will a transformation. To instil energy within something. To charge an artefact. to make it an artefact. materials are bent which we believe could not be, the work presents the tale of the passing strongman. Elements are ruptured and their strata rebuilt, forced to stand tall like a tower of bones, held by what we do not know, perhaps will once again, will alone. 

 Photograph: Daryl Brown