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

empire2 0GrisewoodMcCall_tensioneLR

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

empire 2 - venice - exhibition invite - xl copy

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.

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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.

 

Drawn Conversations

Notes on a Table,  Maryclare Foá, Jane Grisewood, Birgitta Hosea, Carali McCall), Drawn Conversations exhibition @ Coventry University
4 December 2015

Top right: Notes on a Table (Reunion) 2015  240 x 128 cm, graphite and coloured pencil on paper  Bottom: Notes on a Table (after John Cage) 2010 240 x 128 cm, graphite and black crayon on paper

‘Drawn Together’, formed in 2008, is a London-based group of four artists who collaborate on performance drawing projects and share theoretical and research interests. Working with graphite and light, sound and animation they perform drawing processes and address the relationship between the body and presence, time and space. Notes on a Table includes two large drawings (each two-hour duration) made while in conversation gathered around a rectangular kitchen table. The first drawing in 2010 was followed by a second one this year, on the same surface in the same space to prompt conversation on what drawing together again might mean, or change,  five years on. This exhibition curated by Jill Journeaux and Helen Gorrill was part of the Drawing Conversations symposium reflecting on collective and collaborative drawing experiences.

reveal/conceal

reveal/conceal @ House no.25 London N16, 26 November 2014
Six-hour wall drawings, covering in dark and uncovering in light, with Carali McCall and documented by photographer Marco Berardi, during the early stages of the internal demolition of a Victorian 4-storey house. Graphite durational wall drawing, 400 x 220 cm; Acrylic paint on glass durational drawing, 110 x 110 cm

The Blackest Black 2014

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 the interview 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

Draw to Perform

Draw to Perform – Drawing Performance Symposium
@  Arebyte Gallery and ]performance s p a c e[ London
5-7 December 2013  Curated by Ram Samocha
Participating artists: John Court, Tony Orrico, Michel Platnic, dolanbay, Michael Namkung, Vera Martins, Daniel Ben-Hur, Judith ann Braun, Stuart Brisley, Robert Luzar, Kimbal Quist Bumstead, Katrina Brown, Ram Samocha, Hannah Turner Wallis, Nazir Tanbouli, Sally Madge, Jane Grisewood, Carali McCall, Maryclare Foá, Birgitta Hosea, Diogo Pimentão.

Draw to Perform curator Ram Samocha invited 20 artists to participate in the event, 10 giving live performances, including Carali McCall and myself. With cameras strapped to our bodies, we repeatedly marked the wall with charcoal and graphite as we moved back and forth throughout the 30-minute duration of the line dialogue performance. The 3-day symposium included evening video screenings as well as live drawing performances and discussions led by Ram Samocha, Nick Kaye, Professor of Performance Studies, University of Exeter and selected artists. Samocha writes: ‘The symposium will concentrate on the connection between performance art and drawing and the relevance of drawing as a modern medium. The symposium includes video screenings, live drawing performances, talks and lectures by artists and art historians.This symposium aims to promote the growing stream of live drawing performance, to distinguish it as a unique entity and allow it to rise from the eclectic, wider definition of performance art.
The twenty participating artists all consider their body of work to be fundamentally concerned with drawing, in that for them drawing connects elements of line, movement, space and time.’

VIEW http://vimeo.com/80489035

On Duration

JG on duration

Performance Research, Volume 17 No. 5 October 2012
Published by Routledge ISSN 1352-8165 (print) ISSN 1469-9990 (online)
To view article Click: On Duration 

LINE DIALOGUES: MARKING TIME AND PROCESS
Jane Grisewood and Carali McCall
The artists’ pages in Performance Research journal’s On Duration October issue present images from our performative-based art practice, which interrogates the relationship between drawing and performance to explore themes of duration, movement and the transmission of energy. The repetitive and continuous action of mark-making in the one to two-hour performances identifies the body as a tool to stretch time and record temporal presence, while challenging how the body experiences duration through drawing. Carali and I have collaborated on drawing performances in the UK and abroad for six years, most recently the two-hour Line Dialogue 5 at the opening of the ‘Again and Again and Again’ exhibition, Vancouver Art Gallery, Canada (view also Again and Again post).