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.

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.
1.BonBbw.IMG_6125lr  Blacker than Black IMG_6604 BlackHolebwlr IMG_6390  BlackHolesbwlr IMG_6378

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) .

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.

365 drawings 365 dessins

Transitions in 365 drawings 365 dessins @ Openhand Openspace, Reading
24 – 27 September 2014, and forthcoming, Switzerland  6 – 17 May 2015
For this exhibition Cally Trench and Tineke Bruijnzeels made a drawing every day for a year, accompanied every week by a different guest artist. My seven sequential drawings reflect the shifting landscape observed while travelling between Hong Kong and New Zealand provided a further transition as the week went from 2013 into 2014. Through transitions of time, seasons and hemispheres the constant has been the mountainous terrain where the Hong Kong peaks morphed into the New Zealand Kaimai ranges.
White ink on 200gsm black paper; 14.8 x 76.5cm (14.8 x 10.5cm each)

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

Dancing with Sirius

JaneG 1Sirius 329dps

  • Acquired by the Tate Library Collection

Dancing with Sirius: lines of light   (series of prints and artist book, 2013)
In the high altitude of the Chilean Andes, the cloudless sky revealed a dazzling canopy of stars as night fell over the Atacama Desert, a stargazer’s paradise. Standing on the summit of the aptly named Cerro Tololo, ‘mountain in front of the abyss’, and surrounded by the imposing white observatories in the dark cold atmosphere, there was one star that captivated me – Sirius – the brightest star in the night sky, and visible in both southern and northern hemispheres. Hypnotised by its brightness and movement I spent most of the night with a handheld camera intent on following this one dominant star. The random choreographic gestures of my arms, like drawing in the air, created lines of light, ephemeral ghost-like threads danced across the sky as each one became suspended in time in my camera.
Artist book: 48 pages; 160 x 210 cm; 28 photographs; edition of 30; produced by Book Works, London

Separations at Eagle Gallery

Punctuations, Separations and Artists’ Books
@ Eagle Gallery/EMH Arts, London
21 June – 19 July 2013

  • Books acquired by the Tate and the Victoria & Albert Museum, London 
  • Selected ‘The Best Books for 2011’ by Elizabeth Tonnard for Photo-eye Magazine, USA

Separations exhibited at Eagle Gallery, London, includes 9 prints (33 x 33cm, Giclee printed on 300gsm Somerset paper); 8 special edition cloth-covered solander boxes with books and 11 s/s prints (17x12x2cm); and individual books (24pp, 15x10cm), produced by Book Works.
Elizabeth Tonnard writes: ‘
A small, restrained book of tiny seascapes. At first they look like watercolors. The beauty lies in the fact that the photos more or less leave behind their representational qualities to become objects on top of the page. These objects are anonymous, empty, they exist in their color.’
Emma Hill, Eagle Gallery writes: A pared down, minimalist approach is apparent in the works of Jane Grisewood… Separations 2011 – 2013 is a book and related sequence of prints that were inspired by the vast tracts of water that separate the artist’s native New Zealand from Britain. Using the most basic of landscape indicators – the horizontal line, Grisewood has brought together a collection of haunting photographic images made from film, digital camera and mobile phone.’