re-title.com
  13 March 2009

Photography, Film & Video  

Campagne Première, Berlin
176, London
Galerie Voss, Düsseldorf
gb agency, Paris
Murray Guy, New York
Golden Thread Gallery, Belfast
 
 
Campagne Première, Berlin
 
 
Anna Leader, The Visitors, 2008 
 
 
Anna Leader
A Call to Come In

14 March - 25 April 2009
 
From March 14 to April 25, 2009, Campagne Première is showing photographs by British artist Anna Leader.

In this new group of works Anna Leader has moved away from the depiction of people, previously a recurrent theme in her images. In their reduced colour, these photographs show situations in which landscapes become shrouded in darkness, snow or fog. This obscuring and therefore lack of information gives a new significance to what remains, its role distorted by the fact that the only visible things lose any literal interpretation and therefore let loose the imagination of the viewer, in a way now making him the subject. The viewer, being confronted with an un-clear and un-distinct image, might be taken into an irrational dimension. The lack of pictorial information makes her landscapes seem in turn absurd, threatening, sinister, amusing or even senseless. As the artist puts it, these images are a move towards "peripheries of visibility", at which point a previously hidden reality is introduced. What has taken place here? How should theses traces be interpreted? What has been hidden from the camera? The less the subject can be recognised and the less significant the place seems, the more the space opens up to something that cannot be represented in a single motif: the individual, psychologically charged interior landscapes.

"A Call to Come In", from a poem by the American poet Robert Frost, takes us into an intriguing, inner world.
Anna Leader, born 1979, lives and works in London and Locarno (CH).
 
 
Image:
Anna Leader, The Visitors, 2008
Lambda print
80 x 100 cm
Courtesy of Campagne Première, Berlin


Campagne Première
Chausseestrasse 116
D-10115 Berlin
+49 30 400 54 300

 
 
 
 
176, London
 
 
 
Matt Stokes, The Gainsborough Packet, 2009 
 
 
The Gainsborough Packet
Matt Stokes's 176 Residency Exhibition

26 February - 28 June 2009

176 is delighted to announce Matt Stokes's first solo show in London. The exhibition will include the newly commissioned song and film The Gainsborough Packet, a social interaction project entitled Club Ponderosa and the UK premiere of these are the days, a two-channel film made during his residency at Arthouse in Austin, Texas, as well as works from the Zabludowicz Collection.

Stokes's research-based practice is frequently concerned with musical subcultures. He proceeds by acquainting himself with particular groups, their histories and values, then producing films, installations and eventbased works related to his findings. Collaboration and shared authorship are central to his practice, as is an enthusiasm for DIY approaches. For The Gainsborough Packet, Stokes has collaborated with musician Jon Boden from acclaimed folk-big-band Bellowhead, composer Alistair Anderson, who is one of the UK's leading exponents of the folk tradition, and Tim Kerr, an iconic figure of the US punk and early hardcore scene.

The Gainsborough Packet is the culmination of a year's research and development, which began with Stokes's discovery in the Tyne & Wear archives of a letter written in 1828 by an ordinary man named John Burdikin. Tracing the adventures of Burdikin's life, the letter was the inspiration for lyrics, music and a 16mm film created by Stokes and his collaborators on the project. The Gainsborough Packet engages with folk traditions, contemporary music videos and popular culture, and is being produced with a particular sensitivity to the shared legacy of folk music in Camden and Newcastle/Gateshead, where Stokes lives. Since the rapid growth of these areas during the latter half of the 19th century, folk music and traditions have played an important role in the social and cultural fabric of each area, and this relevance is highlighted by The Gainsborough Packet. The Gainsborough Packet is a co-commission with BALTIC Centre for Contemporary Art, which will be exhibiting the work from 4 March - 24 May 2009.

Also produced as part of Stokes's residency at 176, Club Ponderosa takes its name from both the ranch in the famous 1960s TV series Bonanza and a shelter built in a Newcastle neighbourhood by residents of a crescent seeking an independent space to meet and talk. Club Ponderosa will function as a place for performances and social interaction designed and programmed by residents of the area around 176. Developed in collaboration with self-organised groups and gifted amateurs, the club will operate within 176, but with its own series of events and a separate entrance and access times. It will also include MASS, a free collective sound system made up of donated elements.

Both works produced as part of Stokes's residency are being developed partly in response to the history of the former Methodist chapel that houses 176 and its surrounding area.

Matt Stokes lives and works in Newcastle/Gateshead. In 2006, he won the Becks Futures Prize. Recent solo exhibitions include Real Arcadia (LuttgenMeijer, Berlin), Now is Early (VOID Gallery, Derry), Long After Tonight (Kavi Gupta Gallery, Chicago and Ziehersmith, New York), [un]promised land (Attitudes espace d'arts contemporains, Geneva), Lost in the Rhythm (Temple Bar Gallery, Dublin), and Pills to Purge Melancholy (Collective, Edinburgh). Forthcoming shows (both Solo and Group) will take place at, Baltic Centre for Contemporary Art (Gateshead), Centro per l'Arte Contemporanea Luigi Pecci (Prato), Deptford X (London). Stokes is currently producing new commissions for Arthouse (Austin) and VIVID (Birmingham).


Image:
Matt Stokes, The Gainsborough Packet, 2009.
© Matt Stokes
The Gainsborough Packet is a co-commission between BALTIC
and 176/Zabludowicz Collection, London.
 

176
176 Prince of Wales Road
Chalk Farm
London NW5 3PT
+44 (0) 20 7428 8940

 
Galerie Voss, Düsseldorf
 
 
Claudia Rogge, Foam City I, 2009
 
 
Claudia Rogge
isolation


March 6 - April 18, 2009

Claudia Rogge's latest series "isolation" consistently links with her former works from the Rapport and UNIFORM series developed between 2004 and 2007.
The show is focused on the so called "foam pictures", which depict once more the artist's examination of the topics society, individual, and masses.
People are mingling with the crowd, and yet each one of them is on their own. The foam symbolises both adjacencies and isolation of the individual. The bubbles' fragile texture implies transience, dashed hopes and, eventually, the finite existence. The foam series evokes images of a fun society enjoying themselves at foam parties as well as the daily news that refer to consistently bursting bubbles. At the opening of the exhibition on March 6th, 2009, the visitor will be part of a foam installation.

Additionally, the exhibition will show works from the mask series. All of the depicted people are wearing masks. They apparently turn towards each other and interact, but at the same time they seem to be imprisoned in their masks and isolated from the outside world. The question is, wether or not they show their inner self or just play a role. Undetected, they act according to certain patterns and rules.

From May 19 to June 28, 2009, the Moscow Museum of Modern Art (MMOMA) will show a cross section from Claudia Rogge's work in a solo exhibition.

 
Image:
Claudia Rogge, Foam City I, 2009
Lambda auf Alu-Dibond
130 x 180 cm
ed. of 3
Courtesy of Galerie Voss, Düsseldorf


Galerie Voss
Mühlengasse 3
D-40213 Düsseldorf
+49 (211) 134982
 
 
 
 
 
gb agency, Paris
 
 
 Ryan Gander, Note to Self - Rethink the idea of a self portrait, 2009
 
 
Ryan Gander
It's a right Heath Robinson affair
A stuttering exhibition in two parts
 
14 March - April 18 , 2009 
(until 2 May at Kadist Art Foundation)

A double exhibition in collaboration with Kadist Art Foundation

gb agency and Kadist Art Foundation are pleased to announce a solo exhibition of Ryan Gander (b. 1976, lives and works in London), held simultaneously in both spaces. This « stuttering exhibition in two parts » will gather new works created by the artist during his stay at Couvent des Récollets in Paris from
January to March 2009.

Blurring the boundaries between reality and fiction, Ryan Gander assembles seemingly disparate objects, actions and texts to develop his own narrative systems. Characterized by conceptual rigor, visual simplicity and allusive text, Ryan Gander's works probe the processes of emergence and the mechanisms of perception entailed by the work of art. Installations, photographs, performances, publications and press inserts are his means of following up a train of thought concerning art's discursive potential and its transmission systems. His practice, which makes extensive use of language and work with other artists, aims at « making the invisible visible » and providing the « possibility and preconditions for things to happen ».

Playing with different processes of revelation, apparition and disappearance, the works presented in his exhibition raise questions related to portraiture : how to represent or try to define someone and particularly the figure of the artist (in the broad sense of the visual artist, writer, architect, urbanist, designer, magician...), from his - real or imaginary - role in history and current society to his social representation and his private image. These concerns are also brought up through pieces particularly linked with notions of authorship, ownership and appropriation. The worlds of art - their codes and their languages - are incessantly put into perspective with characters and stories invented by the artist. Spread out over both exhibition galleries, Ryan Gander's works provoke constant shuttles between these real and imaginary worlds, until their in determination.
 
 
Image:
Ryan Gander, Note to Self - Rethink the idea of a self portrait, 2009
Photograph, 10 x 15 cm
© Ryan Gander, courtesy gb agency, Paris


gb agency
20 rue louise weiss
75013, Paris
+ 33 1 53 79 07 13



 
 
 
Murray Guy, New York
 
 
Barbara Probst, Exposure # 56: N.Y.C., 428 Broome Street, 06.05.08, 1:42 pm, 2008 

 
BARBARA PROBST
 
28 February - 4 April 2009
 
Murray Guy
is pleased to present its third solo exhibition of photographs by Barbara Probst. This show will comprise two new multi-paneled works, Exposure #55: Munich, Waisenhausstrasse 65, 01.17.08, 1:55 p.m and Exposure #56: N.Y.C., 428 Broome Street, 06.05.08, 1:42 pm.

Probst works within a structure redolent of conceptual art-she simultaneously exposes multiple photographs of the same scene with a radio-controlled shutter release-but using the techniques of studio photography. Her dispersal of one moment into a series of images becomes a means to address photographic conventions-portraiture, surveillance, commercial photography, cinematography-and the staging of these images in memory and cognition. Oftentimes, the process of looking at her work approaches forensics as the viewer tries to construct a narrative out of a single, tense instant.

Both works in this show unfold as lush interior mise-en-scènes. Probst's cameras peer through keyholes and doorways, around furniture, framing figures and domestic surfaces in ambiguous arrangements. Yet the simultaneity of Probst's exposures frustrates any closure: it is impossible to look at one photograph in each series without meeting many others. As in conceptual art, the photographic apparatus itself is made visible. However, Probst frames her cameras and tripods as part of the works' open narratives; they become not only metaphors for the figures' means of self-representation, but also ciphers for the viewers, scattered throughout the gallery space.

Barbara Probst was born in 1964 in Munich, Germany and lives and works in New York and Munich. She has been the subject of numerous solo exhibitions, most recently at Domaine de Kerguehennec, Bignan, France, Madison Museum of Contemporary Art, Madison, WI and the Museum of Contemporary Photography, Chicago. Her work was featured at the Museum of Modern Art, New York, in the 2006 "New Photography" exhibition. Upcoming solo exhibitions include Stills Gallery, Edinburgh and a midcareer survey at the Kunstverein Oldenburg, Germany. In 2007, Steidl published an extensive monograph of her work, Barbara Probst: Exposures, which is available from the gallery.


Installation view
Barbara Probst, Exposure # 56: N.Y.C., 428 Broome Street, 06.05.08, 1:42 pm, 2008
Ultrachrome ink on cotton paper
4 images: 112 x 145cm/44 x 57inches,
2 images: 91 x 60cm/36 x 24 inches,
1 image: 60 x 40 cm/24 x 16 inches,
3 images: 180 x 120cm/71 x 47 inches
Edition of 5
Courtesy of Murray Guy, New York


Murray Guy
453 West 17 Street
New York, NY 10011
+1 212. 463. 7372



 
 
 
Golden Thread Gallery, Belfast
 
 
Susan MacWilliam, 13 Roland Gardens, 2007
 
 
Susan MacWilliam
13 Roland Gardens

5 - 14 March 2009

Following Susan MacWilliam's recent selection to represent Northern Ireland in the 2009 Venice Biennale, the Golden Thread Gallery is pleased to host this intriguing exhibition of work by one of Northern Irelands best known artists.
 
13 Roland Gardens is accompanied by a text by Dr.Slavka Sverakova:
 
The 'documentary' elements of this work were gathered in New York in 2006 and 2007. 13 Roland Gardens was made for Seeing is Believing, at the Photographers Gallery, London, where it was exhibited alongside photographs from the collection of the psychical researcher Harry Price. Price's collection is held at Senate House Library, University of London.

In 1930 Price held and documented a séance with Eileen Garrett (1893 -1970). The séance refers to the crash of the R101 airship and is described in 13 Roland Gardens by the medium's daughter Eileen Coly, and through pages of reports. When Eileen Coly talks about seeing her mother in a trance, hearing a change in her voice, one word stands out: resonance.

It inspired me to think about other cases of resonance, not just in the stories about the séance, the description of the flat at 13 Roland Gardens, and their travel to New York in 1931, but about the way MacWilliam layers the video.

Resonance means the quality to be resonant. This video resonates because the personalities interviewed are resonant with normal life, with glorious memories and with gentle belief in continuity between this life and afterlife.  It starts, however, by another kind of resonance. The mutual understanding and trust between the artist and her 'guests' forges a close connection with the subject - an agreement that is worth paying attention to. The psychic defences fall down, and a vibrant life story about a person with inborn special gift is delivered with humble respect for the unknown. 

Layering of times comes across in changes of appearances: it is the same time whenever Eileen Coly appears wearing an orange top, but different from the time when she sits opposite her daughter Lisette in a pink chair, with the photograph of her mother on the table, or from her reflections on after life when she wears the white cardigan. Watch for her gestures and timbre of her voice. They are different too.  The layering of time, of appearance, of gestures and voice works as resonance with the idea of continuity between now and then in more than one sense.

 Once it is about memory, when Eileen Coly is not sure of names and places. Then it is about the belief in the possibility of communicating with absent persons. And sometimes, I get the impression that the daughter speaks under some command from her mother. I have in mind the episodes when the excited state of remembering gives way to a voice of authority - "... why shouldn't there be a continuation..."
The appearance of the two male guests, Dr Stanley Krippner and Dr William Roll offers a resonating thought about the personality of the medium Eileen Garrett, claiming that she could offer evidence and that when she entered a room "...she was the centre..."
It is the creativity of the artist that guarantees that the video is also a story about itself. The artist is there all the time, just behind the lens.

Slavka Sverakova
2009
 
I would like to thank Dr Slavka Sverakova for her ongoing support, encouragement and enthusiasm. Her insights, contributions and generosity of spirit are of great value to both myself and to the development of the work.
Susan MacWilliam

Susan MacWilliam's
practice explores the world of the paranormal, and the tradition of psychical research. The scope of her work is wide, encompassing studies of particular historical cases of paranormal phenomena- including accounts of materialisation mediums and clairvoyants, x-ray vision, optograms and dermo-optical perception- and is realized in the form of video, photography and installation works. Her approach is archive-based and she has worked closely with prominent parapsychologists including Dr William G Roll, Dr Stanley Krippner and Dr Rex Stanford and also with psychical research institutions, including the Parapsychology Foundation, New York, the American Society for Psychical Research and the Dermo Optical Laboratory of Madame Yvonne Duplessis, Paris. In 2008 she completed a residency in Winnipeg where she researched the Thomas Glendenning Hamilton Spirit Photograph Collection housed at the University of Manitoba Archives .

Susan MacWilliam has been selected to represent Northern Ireland, with a solo exhibition, at the Venice Biennale of Art 2009. MacWilliam has exhibited video and installation works in Ireland and internationally for over 15 years, including solo shows at Jack The Pelican Presents, New York and Gimpel Fils, London (2008). In 2007 she exhibited in 'Seeing Is Believing' at the Photographers' Gallery, London. MacWilliam was awarded a place on the PS1 International Studio Programme, New York in 1999 and has worked on art residencies in Dublin, Trinidad, Slovenia, America and Canada. She was shortlisted for the 1999 Irish Museum of Modern Art/Glen Dimplex Award and was awarded the Ormeau Baths Gallery, Belfast, Perspective 2003 Award. She is a lecturer in Fine Art at the National College of Art and Design, Dublin. Her video works (1998-2007) are housed in the Drama and Literature Section of the British Library's Sound Archive. She is featured in Art Review's Future Greats, Issue 30, March 2009.
 
 
Susan MacWilliam, 13 Roland Gardens
2007, DVD, Colour, Stereo, 22mins 30secs
Image © Susan MacWilliam, Courtesy Golden Thread Gallery, Belfast
 

Golden Thread Gallery
Switchroom
84-94 Great Patrick Street
Belfast BT1 2LU
Northern Ireland
+44 (0) 28 90 330920



 
 
 
 
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