Seung Teak Lee and Mi Jung from STPMJ architects have designed this invisible barn, situated within Socrates Sculpture Park. The barn or folly mirrors its surroundings, becoming one with the tress and seasons around it. The building tricks the eye and operates as a glitch in the landscape. The presence of it amongst the trees is subtle and its actual foot print being minimal also allows it to hide and camouflage itself, it allows those that experience it to engage not just with it but also with the landscape that encapsulates it. Its walls seem to be the very nature that surrounds it.
The photography work of Sam Irons presents photographs of everyday situations and vistas but with twist. The way the scenes are framed and composed subtract them from the world we maybe familiar with and suggest somewhere else an otherness. These heterotopic visuals leave us to rebuild the story and context to comprehend them. They allow us to engage with spaces that otherswise we would just digest without a second thought. For more work please check his website here.
The portfolio of Croatian artist Igor Eškinja has been one that I have become drawn to. The simple yet clever use of recognisable objects are altered or presented in a new perspective. The simple forms are striking and make the eyes and brain engage to read the works and what they are trying to convey. Click here to see more of Eškinjas’ work.
This work by Igor Eskinja can be interpreted as a challenging disengagementent from his former research practice directed towards problematizing of visualità in contemporary visual expression. A concept tied to ironizing of the basic visual elements like space, perspective, interaction and dictate of consummation of the presented work is been supplemented by problematization of questionable ownership over natural resources and a right to freedom of their distribution.
21st March – 15th May 2014
Access by appointment only
We present two films NOISE//01 and NOISE//02.
Each film take us on a series of orbits around a single, unedited, scan captured in Berlin in November 2013. The camera journeys through the droning spheres of error and cataclysmic arrays of inaccurate points.
A single edition of each film is available for purchase.
ScanLAB Projects exhibition at Surface Gallery delivers an insight to the process of Matthew Shaw and William Trossell. Their work which they produce under their name ScanLAB Projects. I saw their work from a recent post on BLDGBLOG, here is what is said about these images.
Last week, Shaw and Trossell premiered a new project at London’s Surface Gallery, exploring where laser scanners glitch, skip, artifact, and scatter. Called Noise: Error in the Void, the show utilizes scanning data taken from two locations in Berlin, but—as the show’s title implies—it actually foregrounds all the errors, where the equipment went wrong: a world of “mistaken measurements, confused surfaces and misplaced three-dimensional reflections.”
The tics and hiccups of a scanner gone off the mark thus result in these oddly beautiful, almost Romantic depictions of the world, like some lunatic, lo-fi cosmology filtered through machines.
As one of the past artist in residents at SNEHTA I will be exhibiting at the upcoming Art-Athina. This SNEHTA show will be co-curated by Augustus Veinoglou, Becky Campbell and Irini Bachlitzinaki. Six past artists have been invited to exhibit at this art fair who have spent time on the artist in residence program run by SNEHTA. Art-Athina hosts Greek and International galleries and alongside these established galleries they also run a Parallel Programme which is what SNEHTA will be part of. Over the next few weeks the work will be finalised and more information about this art fair will be released. It is an exciting opportunity and I look forward to seeing what the curators and artists bring to the table create for this event.
Launched in 1993 by the Hellenic Art Galleries Association, Art-Athina stands today as one of the longest lasting contemporary art fairs in Europe and as the largest annual visual arts event in Greece. A meeting point for international artistic creation, Art-Athina brings together significant Greek and foreign art galleries, cultural institutions, curators, collectors, art critics and art lovers.
Last year’s Art-Athina was held with great success from 16 to 19 May 2013 at Faliron Pavilion (TaeKwonDo Stadium) and was enthusiastically received by some 30,000 visitors!
Important art galleries from Greece and abroad were joined in harmony by cultural institutions, art publishers and media to present a full picture of the contemporary art scene. A number of important parallel activities reinforced the international character of the event with the participation of a large number of artists with a marked predominance of the younger generation. Concurrently, educational activities and historical retrospectives underlined the social role of Art-Athina.
For more information please follow these links:
Patatap is a portable animation and sound kit. With the touch of a finger create melodies charged with moving shapes. While easy to pick up there is a wide range of possibilities. Switch between multiple color palettes and matching soundscapes on the fly. Whether its on your laptop, desktop, mobile phone, or tablet Patatap invites creators of all ages to engage the mind and senses in a different type of creation process.The motivation behind Patatap is to introduce the medium of Visual Music to a broad audience. Artists working in this field vary in discipline but many aim to express the broader condition of Synesthesia, in which stimulation of one sensory input leads to automatic experiences in another. Hearing smells or seeing sounds are examples of possible synesthesia. In the case of Patatap, sounds trigger colorful visual animations.The history behind the aesthetic expression of synesthesia arose from the paintings of Piet Mondrianand Wassily Kandinsky and the early videos of Viking Eggeling and Norman McLaren, to the contemporary animations of Oskar Fischinger and softwares of C.E.B. Reas. Patatap takes elements from all these visionaries and aims to present this concept in a direct way.
Matt Calderwood – Interrupted Projections sees 3D and 2D meet with direct prints taken from 3D and presented in 2D. A simple yet effective translation which creates a dialogue between the two dimensions. It is however the decisions and errors in this translation that intrigue me, like with a lot of visual attraction its the flaws that have the detail and interest. This exhibition for me portrays this in a straight up fashion, with such simplicity leading to so much more. The 2D prints deliver new narratives and readings of what came before.
opening Saturday 1 March 2014, 6–9 pm
exhibition 2 March – 12 April 2014
Wednesday–Saturday 11 am – 6 pm and by appointment
Sommer & Kohl are pleased to present the first solo exhibition of new works by British artist Matt Calderwood (*1975 Northern Ireland).
The title of the exhibition Interrupted Projections refers to mapmaking processes which translate the curved, three-dimensional terrestrial surface onto a flat, two-dimensional plane. No map projection can preserve shape and size simultaneously, and the larger the mapped area, the more pronounced the total distortion. Interrupted maps were developed in order to represent specific map characteristics more accurately or to achieve the best possible compromise for certain sections of a map.
Calderwood is interested in the fact that compromises are necessary when transferring a three-dimensional surface onto a two-dimensional plane. Where does the space between a sculpture and its flat representation get lost? Recently the artist has been producing printed images from a range of rubber and plywood sculptures using printers ink and household gloss paint on large sheets of paper. These works have always recorded one side of the sculpture resulting in something like a drawing of the object.
For Interrupted Projections, Matt Calderwood deals with the object’s entire surface. His central theme, how to follow the logic of objects with an economy of means, is always present in the background. For the exhibition, the raw plywood form is painted on all sides with gloss paint, placed onto a tyvek sheet and wrapped on all sides with the material. After a few moments the now gloss printed wrapping is removed and both it and the sculpture are left to dry. This process is repeated several times. The sculpture hereby becomes subject, tool and object for the image production. At the same time the images resulting from this process are like a set of maps for the sculpture. Like a cartographer’s interrupted projection where there are cuts in the image to allow the flattening of the globe’s surface with minimal distortion, the necessary folds in the fabric as it negotiates the three-dimensional surface create similar interruptions and compromises within the prints.
Matt Calderwood lives and works in London. 2013 he had solo exhibitions at the De La Warr Pavilion in Bexhill On Sea (UK) and at Baltic 39 in Newcastle upon Tyne (UK).
For further information and/or images please contact Sommer & Kohl.