EMPIRE II – The Age of Anxiety @ Castello for the 57th La Biennale di Venezia
Exhibition runs : 13 May – 26 November 2017
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)
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 2017during 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.
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.
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.
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) .
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.
Performance drawing Line Dialogue (above left) and a selection of my paintings, drawings and photographs (above right) have featured in Jeremy Brock’s play, ‘The Blackest Black’, Hampstead Downstairs theatre 9 January – 8 February 2014
Artist friend and performance drawing collaborator, Carali McCall writes:
.. …Demonstrating the crossover from one artistic medium to another, writer Jeremy Brock took inspiration from artist Jane Grisewood, and as part of the second act of the play, a short version of Line Dialogue was performed by the actors as a 3-minute detail of our longer durational 1 to 2 hour drawing performances. … … The following extract from theinterview with writer Jeremy Brock, discussing his new play, with Hampstead’s features editor, Susie Benson, reveals the trigger for The Blackest Black: … … … Brock has always been interested in science ‘with an amateur’s obtuseness and enthusiasm’, especially the way scientists seem to ‘engage their imaginations and the whole of themselves’. But the trigger for The Blackest Black was meeting an artist, Jane Grisewood, at a party and hearing that she was just about to start a secondment at a US government observatory in Tucson: ‘All those feelings I’ve had about art and science suddenly came together and I realised I just needed to go.’ Laughingly he adds that it might sound ‘rather stalkerish’ but Grisewood was happy for him to research while she was completing her project, and watching the way she approached her work was very instructive…. … … Read full interview: The Blackest Black
see earlier post: The Blackest Black 8 February 2013 Hampstead Theatre Director: Michael Longhurst Designer: Oliver Townsend
Cast: Ian Bonar, John Light, Charity Wakefield
Photographs by Robert Day and Becky Paris, Hampstead Theatre
World Youth Congress Rio de Janeiro, Brazil June 2012
In June 2012, I participated in the 6th World Youth Congress in Rio de Janeiro as facilitator of the Art in the Making workshop, one of the many activities that took place over the two weeks. During the congress, which was organised and run by Peace Child International, over 250 youth from more than 100 countries were engaged in discussions, workshops and action projects, with the focus on issues of sustainable development, youth empowerment and job creation, alongside a diverse cultural and arts programme.