http://scotiabankcontactphoto.com
Friday, May 30, 2014
Martina Bacigalupo at CONTACT Photography Festival
Martina Bacigalupo's installation shots at Toronto Pearson International Airport for CONTACT Photography Festival!
http://scotiabankcontactphoto.com
http://scotiabankcontactphoto.com
Clare Strand's new exhibition in Krakow
Clare Strand's first post on tumblr about her new show in Krakow: Further Reading at the National Museum of Krakow as part of Krakow Photomonth.
http://clarestrand.tumblr.com/
http://clarestrand.tumblr.com/
Friday, May 9, 2014
Friday, April 25, 2014
Tuesday, April 15, 2014
Monday, April 14, 2014
Friday, April 11, 2014
Monday, April 7, 2014
Monday, March 31, 2014
Thursday, March 27, 2014
Martina Bacigalupo's Gulu Real Art Studio featured on the Internazionale
Click here for full article
Thursday, March 20, 2014
Monday, March 10, 2014
Monday, March 3, 2014
Tuesday, February 25, 2014
Sophy Rickett: Objects in the Field - TALK
Sophy Rickett will be in conversation with Barry Phipps
Barry Phipps is a curator and a fellow of Churchill College, University of Cambridge
March 12th, 2014
6:30-7.30 pm
The talk is free but places are limited
RSVP: elisa@camillagrimaldi.com
Camilla Grimaldi Gallery
25 Old Burlington Street
4th Floor
London
0203 637 0637
Sophy Rickett will be in conversation with Barry Phipps
Barry Phipps is a curator and a fellow of Churchill College, University of Cambridge
March 12th, 2014
6:30-7.30 pm
The talk is free but places are limited
RSVP: elisa@camillagrimaldi.com
Camilla Grimaldi Gallery
25 Old Burlington Street
4th Floor
London
0203 637 0637
Monday, February 24, 2014
Clare Strand featured in El Hotel Eléctrico – Rooms Available at M HKA in Antwerp
February 21- May 11th 2014
When does animation become art? What remains of animation when it leaves the cinema or TV screen, and manifests itself in other spaces? The exhibition El Hotel Eléctrico – Rooms Available sets out in search of the many expressions of the phenomenon of ‘animation’ in a broader sense, starting with the medium in its earliest forms, at the time when this artistic practice was not yet constrained by the conventions and clichés of the film industry.
February 21- May 11th 2014
When does animation become art? What remains of animation when it leaves the cinema or TV screen, and manifests itself in other spaces? The exhibition El Hotel Eléctrico – Rooms Available sets out in search of the many expressions of the phenomenon of ‘animation’ in a broader sense, starting with the medium in its earliest forms, at the time when this artistic practice was not yet constrained by the conventions and clichés of the film industry.
When animation leaves the confined frame of the movie screen and pops up in a museum, it no longer offers the visitor a purely visual experience, but rather creates a space in which exploration is encouraged.El Hotel Eléctrico was conceived as a visual essay, a space-related experience. Animation here is understood as entering a force field: the manipulation of images and objects in 'staged' museum rooms, the bridging of intervals.
In El Hotel Eléctrico, visitors step into another time and space. For much like a hotel, a museum is a place where every visitor is but a temporary guest. The tension between public and private, between neutral interiors and personalized objects, between waking and sleeping, and between working and dreaming creates playful contrasts in every single 'room' of El Hotel Eléctrico.
El Hotel Eléctrico presents an alternatingly merry and macabre, monochromatic and brightly coloured, magical and mysterious framework for works by Robert Breer, David Claerbout, Robert Devriendt, Léon Foucault, Sara van der Heide, Pierre Huyghe, Katrin Kamrau, Julien Maire, Anthony McCall, Lars Morell, Matt Mullican, Philip Newcombe, Honoré d’O, Roman Ondák, Cornelia Parker, Philippe Parreno, Bart Prinsen, The Quay Brothers, Yann Sérandour, Tommy Simoens, Michael Snow, Clare Strand, Javier Téllez, Luc Tuymans.
Clare Strand featured at Birmingham Museum
For the Record
27th January 2014 - 29th June 2014
Curated by Lisa Beauchamp
To know more, click here
For the Record
27th January 2014 - 29th June 2014
Curated by Lisa Beauchamp
To know more, click here
Sophy Rickett's Objects in the Field on The Learned Pig
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| Objects in the Field, 1991/2013 |
Collaboration between the arts and the sciences is both increasingly prominent and, perhaps as a consequence, increasingly problematic. Projects and practices describing themselves as interdisciplinary collaborations are on the rise, in part as a result of funding availability. But it’s also more complex than that: art is always drawn to power, and few institutions in the Western world today wield as much power as omniscient Science.
But to what extent can pure, balanced collaboration ever actually occur? Is it not always marked by the spectre of the parasite, or of exploitation? On the one hand, perhaps this particular period in the history of relations between the arts and the sciences may be seen as a great coming together of shared interest and understanding (but what would that look like?). On the other, and less explicitly, perhaps it’s actually seeing a crystallisation of existing oppositions, whereby each so-called collaborator retreads the same lines of opposition in the very process of ‘collaboration’. Perhaps, as ever, it’s a bit of both.
Such questions are deftly alluded to by Sophy Rickett in her thoughtful and elegant exhibition, Objects in the Field. Originally exhibited at Kettle’s Yard, Cambridge, the project has been expanded upon and is now on show at Camilla Grimaldi’s temporary space in an intriguingly unprepossessing office block on Old Burlington Street.
To read more, click here.
Sophy Rickett's Objects in the Field on POSTmatter
“Fail again. Fail better.” Samuel Beckett’s uniquely positive phrase encapsulates the curious optimism of Sophy Rickett’s new collaborative exhibition, in which the possibilities of photography are expanded. Over the course of her time as Associate Artist at the Institute of Astronomy, Cambridge University, she worked closely with Dr Roderick Willstrop, a retired scientist of the department. His design of the Three Mirror Telescope enabled him to effectively photograph the night sky, recording the movements of the stars above. Their trails were slowly exposed upon a specially cut negative, punched out of a 5×4 film to fit perfectly upon the lens of the telescope. When she met Dr Willstrop he was preparing to place the complete set of 125 negatives, unprinted, into the museum archive – a process interrupted by Rickett when she decided to embrace their subtle beauty by printing them herself.
To read more, click here.
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| Sophy Rickett, Observation 111, 1991/2013 |
To read more, click here.
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