EMPIRE II – The Age of Anxiety

EMPIRE II – The Age of Anxiety @ Castello for the 57th La Biennale di Venezia
Exhibition runs : 13 May – 26 November 2017

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Empire II, an artist-led satellite project, was devised and curated by Vanya Balogh for the 57th La Biennale di Venezia. London-based artists Jane Grisewood (NZ) and Carali McCall (Canada) are screening their short film, tensione: how is that going to work? 2017 at Castello for the Biennale.  Filmed in the cold urban landscape, connected by 40 metres of elastic band, Grisewood and McCall repetitively twist and wrap the material onto structures forming horizontal lines, creating stress while testing endurance and reciprocity. (Camera: Sam Pinkstone)

Empire II IMG_2699.450 empire 2 Press Release ed

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The immersive film hub in Castello has ‘a three-chamber space: a library, single-screen darkroom, and a virtual reality port. Art, architecture, and cinema merged, thus creating an empire over the ruins and analog plastic media. Through the works of 115 international artists, Empire II reflects on the hybridization of modern media and of modern content, their coexistence in the Age of Anxiety and post-truth. It is our future present and our present future.’ (Quoted from the British Art(list) Line 2017 during the Venice Biennale.) Accompanying the films are a number of varied events and an imaginative designed and produced by Victor Hotz Studio in Switzerland.
The first viewing as a multiscreen installation was on 18 April in Brussels during Art Week in the 18th Century warehouse situated in the Old Fish Market. The second viewing was on 25 April at The Corridor Gallery, London. Further venues have been discussed.

Lumen: School of Light

Dancing with Sirius: lines of light, Lumen: School of Light @ Ugly Duckling, Bermondsey, London 3 – 5 February 2017
Invisible lines made visible through photographs of Sirius, the brightest star, taken on the summit of Cerro Tololo in the Chilean Andes during my artist residency. Following Sirius with handheld camera, random choreographic gestures were drawn in the air creating ephemeral ghost-like threads in the night sky.
Photographic installation of 17 mounted matt black prints on Hahnemuhle photo rag (24 x 30cm & 24 x 60cm) total 150 x 150 cm.

 

Big Deal No7: Space

Big Deal No7: Space @ Q-PARK 39, London 1 – 10 December 2016
Exhibiting The Eyes of Argus, the Submillimeter Array (SMA) on Mauna Kea, Hawaii, detecting light of colour that is not visible to the human eye.
Artlyst quotes: ‘A spectacular multimedia group exhibition in a multi-storey underground car park situated in the heart of Soho’s West End over the period of 10 days…It is an amalgamation of imaginary ideas and processes related and created as a response to the genre of Science Fiction, this exhibition features work in the media of sculpture, photography, painting, film, video and audio installations by some 100 international artists and guest students from RCA.’
Archival Giclee print mounted on Dibond  (aluminium & composite board) 75 x 100 cm.

VOID

VOID @ St John on Bethnal Green, London  21 June – 7 July  2016
Artists: Louise Beer, Jane Grisewood, John Hooper, Rebecca Huxley, Melanie King, Joshua Space and  Sarah Sparkes. Talk from Chris Welch, Professor of Space
Engineering at the International Space University in Strasbourg, France.
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My Black on Black: series of 22 drawings plus one wall hanging explore darkness, blackness – the void – through different black paints on black paper (31 x 31 each/ installation 190  x 126cm; wall hanging 250 x 150cm). Black Hole series: 20 photographs present a typology of voids found in numerous locations around the world (21 x 21cm each / installation 164 x 135cm).  Blacker than Black:  The optical black surface was developed specially for space telescopes and satellites as it absorbs almost all light (30 x 30cm) .

Transit of Mercury

UCL Observatory, Mill Hill, London, 9 May 2016
At the observatory as an artist-in-residence it was thrilling to witness the transit of Mercury. Mercury is seen as a tiny black dot crossing the vast majestic red sun, our nearest star. My photograph was taken outside with a Sony compact camera through H-alpha filter on the Solarscope.
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Drawn Conversations 2

Notes on a Table series,  performance drawing, Drawn Together: Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall,  June – August 2016

Notes on a Table (Peckham) 5 June 2016
Notes on a Table (Kleine Red) 2 July 2016
Notes on a Table (Folkestone Green) and  (Folkestone Blue) 25 August 2016, performance drawing @ Whelkboy Gallery, Creative Quarter, Folkestone
Notes on a Table (Markings) 8–9 July 2016,  ‘Markings: Illustration and Performance Festival’ @ Central Saint Martins, Granary Square Kings Cross London. Drawn Together performed in the Lethaby Gallery (drawing 240 x 128 cm). Along with live performances the festival included a symposium, film screening, workshops and exhibitions with broad themes on theatre, fashion and drawing.

 

Repetition & Recollection…

Selected for KALEID 2016 Collection of European-based artists’ books with a curated exhibition and seminar in Norway at Kunsthøgskolen i Oslo (Oslo National Academy of the Arts), 11 – 13 May 2016.

  • Acquired by:
    British Museum Collection, London
    Brotherton Library, University of Leeds
    Chelsea College of Arts Collection, London

    MICA, Baltimore MD, USA
    Tate Library Collection, London
    The Poetry Library, South Bank, London

Repetition & Recollection… is inspired by Søren Kierkegaard’s insightful dialectic from his 1843 book, ‘Repetition’ and is the essence of this book. Repetition and recollection are the same movement, only in opposite directions: for what is recollected has been, is repeated backwards, whereas repetition properly so called is recollected forwards.
Tactile words flowing in opposite directions across the folded pages echo the back-and-forth play between repetition and recollection. Recollection is confined to the past; or is it bringing the past into the present? Repetition, on the other hand, is in constant forward motion; or is it connecting the past to the future? Kierkegaard’s paradox remains. Double-sided concertina format 170 x 120mm; letterpress printed in Bembo; foil-blocked covers. Produced by Book Works, London.