Recent Submissions

  • Astronauts and Avatars Symposium Report

    Doyle, Denise (Intellect, 2017)
  • The Ends of Art (Sculpture)

    Altintzoglou, Evripidis (Vidéo Capitale 2016, Champlitte, France, 2016-02)
    This installation consists of a series of video works documenting the stages of the industrial processing of marble into tiles. The videos are shot in a straight conceptualist manner and have not been aestheticized neither during the shoot- ing nor the editing stages. Likewise, the sound elements of the work have been left unaltered in order to evoke the original atmosphere of the factory. The clinical portrayal of the commer- cialization of an otherwise historically traditional material for sculpture (marble) through an in- dustrial repetitive process underlines the recent methodological transitions in sculpture after the readymade: the substitution of the unique hand- made artifact by a massively reproduced object. In other words, it is a ‘behind the scenes’ docu- mentation of the process that produces a would- be-readymade while at the same time the mate- rial (marble) by which this object is produced is considered to be an important constituent of sculpture’s history and tradition. Likewise, due to the fact that this work problematizes the promise of a ‘new sculpture’ offered by the historic transi- tion towards interdisciplinarity it demands an approach that is foreign to the conventional aes- thetic means and phenomenological con nes of traditional sculpture; hence, the choice of video. Despite the radicality of Duchamp’s Fountain it persists as a sculptural form; regardless of how much it expanded the methodological eld of sculpture and by extension the de nition of art it remains an object.
  • Sunbeam (Artefacts)

    Altintzoglou, Evripidis (Wolverhampton Art Gallery, 2014)
    The Sunbeam project consists of a typology of gates of abandoned industrial sites in the Wolverhampton area, documenting a transition in local economic history. The design of industrial gates is generally driven by functionality and not by aesthetic concerns. Yet, the passage of time and labour have left marks of certain aesthetic interest on these gates, transforming them into iconic monuments of an industrial past that played a major part in the formation of the region’s modern identity. All images were shot in a positive manner under complimentary bright daylight in order to avoid the common melancholic approaches to similar subjects. This allows for conflicting dialectics to come into play, which reconfigure Walter Benjamin’s notion of the ‘ruin’ and revise the ‘straight’ and objective methodology that drives photographic typologies after Bernd and Hilla Becher, and the Düsseldorf School of Photography. As a result, these gates and by extension the industrial history of the Black Country area are celebrated as monuments of a glorious past and in return they offer an optimistic approach towards the future in reference to the city’s moto: From Darkness Cometh Light. The documented sites are located in the immediate area around the Sunbeam factory (the triangle formed between Penn Road - Birmingham Road - Drayton Street) and the area between the train station and the canal side (triangle formed by Walsall Street - Horseley Fields - Middle Cross). A number of these sites are currently undergoing regeneration with new types of businesses and buildings rapidly taking their place.
  • Grand Detour

    Altintzoglou, Evripidis (Beton7 Arts, Athens, Greece, 2016-02)
    Euripides Altintzoglou returns to Beton7 Arts with a new group of works that engage with a range of issues related to the crisis of late capitalism. The collection of works does not simply address socio-economic phenomena and their effects but attempts to stimulate the generation of new forms of political agency. True to the avant-garde ethos Altintzoglou’s methods draw from the radical approaches of Situationism, while he breaks new ground by using ‘theft’ objects as a creative mode of production.
  • Reclaim Photography 2016 Exhibition, 2016 Gallery Print Catalogue 26.'Family' (Artefact)

    Fahy, Su (Maxine Watts, Director Reclaim Photography West Midlands, 2016-04)
    This submission is an archived collective project which we brought to the UK in 2016 - this project's documentation is archived on line in - Reference 2016 Festival. Reference 2016 Gallery Print Catalogue (26.'Family', su fahy.
  • 'Serena Joy' artist's book/folio (Artefact)

    Fahy, Su (Sarah Bodman , CFPR UWE, Bristol, 2016-04)
    World Book Night takes place each year on 26th April and is an International Event .WBN Collective of which I am a member produce works in association with the Centre for Fine Print Research at the University of the West of England Bristol , UK , each year.Each year the practice outcomes are shared publicly online - and a publication / artefact is produced in a limited edition, This year the artist's book / folio Serena Joy has been accepted for the Tate Artists Book Collection at the Tate Galleries in London
  • The Demise of the Cinematic Zombie

    Fenton, Louise (Lexington, 2015-01)
  • Deflowered Revolution: An Ethical Examination of Neo-Liberal Tactics of Pacification

    Altintzoglou, Evripidis (Inter-Disciplinary Press, 2016)
    During the last two decades we have become familiar with new forms of protest. These new types of protest direct their discontent towards the system in ways that involve the general public, trying to affect change by spreading the feeling of discontent so that governments succumb to wider pressure. These forms of protest are radically different from a strike at a factory or a mine in that they do not affect only those immediately involved – e.g. the owner of a business or multinational companies and government bodies. To a certain extent radical forms of protest such as rioting and looting share this principle. More recently, the Tottenham riots (London, UK) led to widespread looting of retail stores and were heavily criticized for being driven by consumerist desire. This was the view propagated by the media, government officials and surprisingly by leading voices of the left (Bauman, Žižek, Hall). Although we should not be hasty in dismissing looting, we should question the nature of the tactics of any forms of protest that allow themselves to become suspiciously linked with consumerist desire. This is so, because the claim that a desire for goods is the overriding determining factor here aims precisely at deflating the political significance of these riots. By employing Alain Badiou’s model of Ethics we are in a position to deal with the root of the problem: what allows for riots that involve looting to be susceptible to the Evils (privations) posed by the accusations of being associated with consumerist desire? What does a public unrest of this nature need in order to avoid ideological demeaning (accusations of consumerist desire) and sustain their fidelity to revolutionary Truth?
  • The Train Films

    Sherwin, Guy (2006)
    The work develops the possibility of film as performance, specifically the live interplay of multiple projectors with the artist as performer. Its content forms part of a wider investigation by the artist into rhythmic spatial movement across multiple screens and the temporal and spatial illusions this creates. Overall, the work’s radical import is to prioritise film as a multi-faceted, open-ended system. The work builds on structural film of the 70s and the renewal of interest in “expanded cinema” (Dortmund, 2004). Several aspects of space and of movements between spaces are considered. For example the three-screen film “Camden Road Station” 2004 involves interaction between the profilmic space (of the station itself) the implied space created by the three projectors (overlapping, adjacent, stacked) and the physical space of the venue onto which the images are projected (the arched brick wall at Voutes).
  • Views From Home and Views from Home Reviewed

    Sherwin, Guy (2006)
    A 10 minute digital videotape exhibited as part of “Guy Sherwin: Re-Enactments” at the Evolution Festival. “Views from Home” addresses the aesthetic question of whether it is possible to successfully integrate an ambient music track (recordings made in the film’s urban neighbourhood) with time-lapse film recordings, since they would seem to occupy mutually exclusive ‘time frames’. The works forms part of Sherwin’s long-term investigation into sound/image relations. Initially influenced by Kubelka and others, the recent research has widened the field of enquiry to include digital technologies augmented by live performance. The work makes use of digital editing to adjust lengths of time-lapse shots to either match or counterpoint rhythms in the soundtrack. The later work “Views...Reviewed” involved a radical re-edit, effectively breaking up the work and allowing space for the musician’s live interaction, allowing opportunities for the performer to move around and even outside the performance space.
  • bdpq / Vowels & Consonants

    Sherwin, Guy (2005)
    The work developed from Sherwin’s successful AHRB application of 2003/4 to investigate if 16mm film can be successfully adapted for presentation in the gallery. “bdpq” questions the practical and aesthetic considerations of using a printing machine as projector within a gallery space, and asks if these indicators of geometry can be viewed as the aesthetic core of the artwork. “Vowels & Consonants” asks: what is the character of optical sound that can be generated directly from the physical shapes of letters? How does that sound relate to the sounds we associate with those letterforms? The work investigates chance at many levels. The letterforms b,d,p,q, were generated on a computer and printed onto raw 16mm film without a camera. Looped projection enabled an improvisatory form of projection facilitating live interaction with musicians. Effectively turn the process of film projection into an audio / visual art-form that can interact effectively with live music performance.
  • Guy Sherwin: Live Cinema: Retrospective Screenings

    Sherwin, Guy (2006)
    Curated by Sherwin, this is a series of live film performances in a retrospective programme of multi-projection works, some produced between 2001-2007; others reworked from films made in the seventies. The series addresses questions of moving-image art as performance or ‘live cinema’. What are the possibilities of exhibiting film as live performance? What are the specific analogue qualities of 16mm film that can contribute to a vibrant moving-image aesthetic in a digital era? The work builds on Sherwin’s 35 year history of investigation into the material properties of film, exhibition and interpretation. Informing the practice are the film works of Snow, Conrad, the LFMC, theories of Cognitive Psychology (Arnheim 1974), Structural Film (LeGrice 1975), Phenomenology (Hamlyn 2003). The primary research method is the process of exhibition itself. Films works are adapted to the space, time-allowance, and the wider curatorial context, resulting in unique programmes. The works focus attention on projection-as-event through the interrelationships between projector, screen and projectionists as performers of their instruments.
  • Dust

    Rooney, Paul (2006)
    A single screen 8 minute video projection with sound. In a humorous and moving way the voice of a hotel maid stages a historical and imaginative encounter with a familiar place: a hotel room. A distinctive aspect of the piece is the way that the text for the voice is constructed. Rooney interviewed three hotel maids, but in scripting their words deliberately blurred the line between truth and fiction, by turning the three voices into one monologue. This approach foregrounds the agency of himself as the maker of the work, the presence of any ‘authentic voice’ will always be mediated and manipulated.
  • Lights Go On. The song of the nightclub cloakroom attendant

    Rooney, Paul (2002)
    In a single screen 2 minute video projection with sound, rather than using conventional documentary approaches, which emphasize the importance of the words and presence of the subject in real-time on screen, Rooney ‘re-narrativizes’ the words of his subjects (in this instance a cloakroom attendant), by re-scripting them and having them spoken by others. In this he tries to create a space which enables the viewer to imaginatively engage with what that individual’s experience is like, while also making them aware of the limits of that imaginative reach.
  • Got Up Late the Other Day

    Rooney, Paul (Colchester: Firstsite, 2006)
    The first comprehensive overview of Rooney’s practice, the book surveys twenty-two works made between 1998-2005, and includes critical essays by writer and critic Michael Bracewell and Claire Doherty, University of the West of England. The book includes stills from videos and soundtrack scripts and lyrics, and focuses upon the importance of language to Rooney's work.
  • Philosophizing the Everyday: Revolutionary Praxis and the Fate of Cultural Theory

    Roberts, John (London: Pluto Press, 2006)
    This book develops a genealogical critique of the cultural concept of the “everyday” from Freud and the Russian revolution (where it became crucial to notions of revolutionary cultural change) through Lukács, Benjamin and Lefebvre to Barthes, the Situationists and de Certeau.
  • The Intangibilities of Form: Skill and Deskilling in Art After the Readymade

    Roberts, John (London: Verso, 2007)
    This book looks at the dialectical relationship between skill and deskilling in art after the ‘readymade.’ Focusing on Marcel Duchamp in the first half of the book it challenges the idea that the readymade constitutes an act of anti-art nihilism or is a simple stylistic turn. On the contrary the use of the readymade represents the basis for the transformation of art’s relationship with what Roberts calls “general social technique” (the relationship between art’s place in the social and division of labour and technological transformation).
  • Austria and Monolith

    Payne, Alistair (2004)
    Payne’s two works in this exhibition were created by deconstructing the structural dynamics of painting and enfolding the resulting possibilities onto different external elements. The paintings exhibited not only their own particular structural/physical or material identity as painting, but also their relationship to other mediums. “Austria” was a floor-based work, made from high impact polystyrene (nine sheets cut into the form of paint spills laid over each other following the colours of the camouflage used by the Austrian army). “Monolith” contained nine blocks of polished 6x6x1 inch Perspex with sheets of solid acrylic paint between each one.
  • Leviathan’s Slumber

    Payne, Alistair (2005)
    Derived from Payne’s continuing search for a new interdisciplinarity within painting, “Leviathan’s Slumber” is an installation comprising four circulating pumps, food colouring, water, 180 metres of 4cm transparent tubing and a central reservoir. This follows a methodology of ‘folds and flows’ derived from the philosophy of Gilles Deleuze, which Payne developed in his doctoral thesis to present a new and dynamic method for painting practice, arguing that painting retains its formal particularity yet shifts its physical and spatial characteristics across different mediums.
  • The Colour of Memory (2006), Essex Flâneur (2006) and 3 Days (50 Years)

    Kossoff, Adam (2006)
    “Moving Frame” is an experimental film and video project, allowing artists and theorists to produce work and participate in seminars, forums and screenings on an ongoing basis. Kossoff made three works for the project: “The Colour of Memory” (2006), “Essex Flâneur” (2006) and “3 Days (50 Years).” Kossoff’s work focuses on the differences and overlaps between film and digital video; how the perception of time and space can change through the manipulation of moving image material. Through the central issue of film as a sequence of photograms, the work interrogates how perceptions of the moving image are evolving and how the digital has now re-defined the idea of the photogram and the frame. “3 Days (50 Years)” uses the digital camera’s single frame button, capturing the disruption of history in a work about Poland. Through repetitious cutting, “Essex Flâneur” mechanically captures the rhythms of space. Re-colouring and reframing family footage, “The Colour of Memory” shows video as a memorial to time. Kossoff’s essay investigated the moving image as a desiring machine, which is fragmented under interrogation.

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