Archives for posts with tag: beyond

BEYOND – Midsummer Events at Allenheads Contemporary Arts kicked off with Far From Daylight -Outstation #1. This involved lying in candlelit rows, blindfolded, on inflatable beds subjected to a pulsating tone while a disembodied voice gave an account of cosmonaut training in the 1960’s and the interrogation of the minds of the cosmonauts. 1806 outstation 1

Fact and fiction overlapped or merged as documented experiences of cosmonauts were read from texts by group participants. Later small groups of participants plucked word cards from a bag, the words signified archetypes or directives to inspire images that would be used as thought cards for future floatation tank experiences.

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‘The Illuminated Woman’ became the all encompassing and much more open ‘The Illuminated’.

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The Pilgrimage; a non-linear spiral, borders were permeable or herbaceous, the map dissolved leaving no points of reference in space only the depths of the mind to navigate. This was preceded by skimming stones on the cosmic pond and followed by conversations around the fire with artists Jo Hodges and Robbie Coleman who had devised and led this affecting event.

The next night was a test run for the scheduled live streaming of the sunset and sunrise from the top of the fell…

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…situated between borders.

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The Midsummer’s Night droning began just as the sun dipped the horizon and continued until it appeared again on the other side of the earth. It seemed to get around very quickly.

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It never got dark. The earth orbits the sun in about 365.25 days. Up 31 octaves this is 69.05Hz, a slightly flat C sharp. This midsummer the earth will rotate on its own axis in 23 hours, 59 minutes, 59.9998932 seconds. Up 21 octaves this is 24.269Hz, a slightly flat G.

Open Weekend Events up at the school house included seeing comic particle trails in my cloud chamber.

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Also a little hologram film I made of the trails set in a dodecahedron (motif for the universe)

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Exoplanet exploration

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The gallery in the village with work from other BEYOND residency artists

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Earlier visit to Allenheads – circling ideas, segmenting, focusing

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The density of the forest is overwhelming – no space to enter – yet imagine being able to pass unheeded through this entanglement

1806 Allendale Impenetrable forest

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Had a preview screening of edited soft borders (video with dance artist Paola Napolitano) and installation of Duodecimens (etched aluminium. screen print) in my studio space for the annual Open Weekend at Thames-side Studios.

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Using the dodecahedron as motif, the boundaries of the universe are brought within reach; pliant and permeable as the body bathed in cosmic particles that do not recognise borders but pass unseen through spacetime and matter. 1806 soft borders still.jpg

There was some interesting use of materials in New Relics sculpture show in Thames- side Gallery.

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The Echoing Space exhibition is a sensitive response to the history of Leith Hill Place from artists Julie Hoyle, Mary Branson and Penny Green. Combining traditional and contemporary materials and processes the past and present are drawn together reigniting the passions of past inhabitants for a new generation.

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1806 Leith Hill Place Julie Hoyle

The austere façade and darkened windows can give an initial impression of a sinister past and ghosts best left to rest but inside reveals a palimpsest of family life steeped in the arts and scientific discovery.

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In 1847 it became the home of Josiah Wedgwood III who was married to Caroline Darwin. Her brother Charles Darwin often visited and the wormstone he used for research into how stones and ancient ruins become buried over time is still in the grounds. He studied the action of earthworms excavating soil from beneath the stone and depositing it above the surface. It has been estimated that a 25cm thick stone might take approximately 250 years to fall to the level of the ground. What was under becomes surface.

Vibrant Matter: a political ecology of things by Jane Bennett has an interesting chapter on the earthworm and Darwin’s studies which conclude that earthworms ‘make history’ and augment human culture through the accumulated effects of ‘small agencies’.

Darwin’s niece Margaret married Arthur Vaughan Williams and their youngest son, Ralph went on to become the composer best known for The Lark Ascending. He was also an avid collector of folk songs hoping to save them from being buried in time.

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I didn’t get to see any of the live performances but did go to the Joan Jonas ‘in conversation’ with Marina Warner.  Denying any pretentions of being a shaman herself Joan denotes how the shaman enters an unconscious state and makes clear her performances are highly structured, rehearsed conscious episodes though both performances may appear to invoke the use of objects in ritual the intention is quite different. She draws on influences such as the documentation of Aby Warburg who was captivated by the rituals, masks, architecture, art and culture of native Americans he met on his travels in 1895. She has been to experience remote cultures for herself drawing on both real events and mythologies to feed her performances, creating an alternative space to preside in.1806 Joan Jonas (1)

The viewer watches. We are gathered at the fire.

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To follow the tale

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saw this pattern recently in Valencia on a 15th century floor

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Flooring Consulat del Mar at La Lonja de la Seda de Valencia (The Silk Exchange)

 

Communication between trees came up during the talk as discussed in The Hidden Life of Trees a book by Peter Wohlleben who describes a forest as a superorganism of unique individuals. He is writing about processes going on unseen beneath the soil, chemical languages, networks and relationships. We fail to understand trees because “they live on a different time scale” from us.

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In Material Sight at Arts Catalyst Fiona Crisp presents a series of photographs and films within a structure of scaffolding and invasive noise echoing the utilitarian sites from which the images are taken. She has spent the last few years stalking spaces of scientific research deep underground and beyond public accessibility to pluck out small nuggets of suggestibility that bring a sense of these remote locations to an audience who will never physically experience these unique spaces. We are not invited to comprehend the activities and processes of the laboratories shown any more than we can grasp the mysteries of the universe that these sites are endeavouring to solve.  The images aim to engage through a visual intimacy to counteract the distances crossed in bringing the images to the surface.

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The programme of events continued with Kosmica Ethereal Things at Iklectik which turned out to be in ‘Old Paradise Yard’ (one I have missed on my paradise trail.) Chamkaur Ghag was speaking about dark matter, current research, what we don’t know, physics in culture and the need for a more holistic approach to scientific investigations. Annie Carpenter who is also participating in the BEYOND residency was there to demonstrate black hole accretion using dry ice and household items to create a spinning contraption with a hobbyist aesthetic bringing scientific endeavour into the everyday.

Coming up is the final weekend of events for BEYOND at ACA when I will be screening soft borders video. A research trip to Grizedale Forest as prelude to making new work for an exhibition there. Further research for the weather balloon project – in the meantime having fun running the tracking predictor to see how likely it might be to retrieve any video footage depending on where the camera might land.

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Today would have been a good day for a flight.

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I had a very productive time during my Studio4 residency at Chisenhale Art Place. It was great to have so much space. I got started by putting up the hydroponic tent to run the cloud chamber to get some more film footage.

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I also ran a Cloud Chamber Workshop where lots of particle trails were spotted. The cloud chamber gives us a glimpse into the invisible world of particles produced in the radioactive decay of naturally occurring elements and those generated when cosmic rays strike the top of the Earth’s atmosphere.

My call out through Chisenhale Dance Place for a dance collaborator was successful and I met up with dance artist Paola Napolitano She has brought lots of brilliant ideas to the project with her knowledge of Rudolf Laban’s choreutics theory and her own interpretation of the dodecahedron as a Kinesphere, ascribing sequences of movement to the peripheral lines and planes within the shape. She shared some of Laban’s wonderful drawings with me

and pointed out his quote; ‘Space is a hidden feature of movement and movement is a visible aspect of space’ 

I then began building the velvet chamber.

Next I needed to make the small screens that the audience would use to ‘capture’ the filmed particle trails which would be projected in the chamber lined with thick black velvet.

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This took some working out to fix the joints but in the end a combination of glue, V nails, double sided tape and veneer pins seemed to be strong enough. I used tracing paper, projector screen fabric, white cotton, polyester, organza, styrene, acrylic and wood as different substrates to give different effects and emphasize the porous/solid nature of matter.

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The particle trail footage was edited together and the projections in the chamber tested.

1803 velvet chamber projections 2Some unexpected effects appeared.1803 velvet chamber projections 1

 

I spent quite a while looking at different projector options. When it was time to film Paola I used a pico DLP for darker shots where just her body was visible and a more powerful HD projector for other shots.

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There was a lot of footage to go through and only a week to the opening event. This was my first video work and I was learning Premiere Pro on the hoof.

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Movement choreographed and performed by Paola Napolitano was filmed in the velvet chamber.

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This work builds on recent research that began with wondering what fundamental elements make up the landscapes around us leading to the discovery that less than 5% of the universe is visible.

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Within the unimaginable vastness of the universe we trace our paths continuously permeated at a quantum scale by cosmic rays fired into our world by high energy collisions in space.

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Plato described the dodecahedron as the fifth construction that ‘the god used for embroidering the constellations on the whole heavens’.

There is also a contemporary theory that the universe may be the shape of a dodecahedron, not infinite but with no boundaries this is known as the 3-sphere universe theory. If you left the dodecahedron at one point you would immediately re-enter at another point

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Rudolf Laban was influenced by Plato and the geometries of the platonic solids. His choreutics theories open up new languages to describe interactions between matter and space.

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‘What we cannot perceive with our senses, especially our fundamental sense of touch, remains unreal and its very existence is denied, until intuition or research discovers the unique and universal role of movement as a visible aspect of space’ Laban

 

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Laban Archive – Dodecahedron without six of its pentagonal sides, demonstrating a diagonal orientational axis with a circular void around it representing a circular movement. Model made with metal, painted wood, wool and shoelace.

 

The simple sound edit was a slow transition through the chromatic scale which is a scale with twelve pitches to echo the 12 sided dodecahedron and some added Geiger counter signals converted to an original chromatic scale composition. The video was screened at the open event Scales of Intangibility and it was a relief that Paola was pleased.

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Interesting  interactions happened in the velvet chamber.

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The polyhedral screens worked well to view the projections and ‘capture’ trails, ( a white shirt worked well too ) and I really appreciated all the good feedback from visitors.

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Now the concept has been tested I am keen to take the idea to new places. Hopefully it can be developed into work for my open door residency Beyond at Allenheads Contemporary Arts.

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While at Chisenhale I had the privilege of experiencing Lydia Ouramane’s The You In Us exhibition at Chisenhale Gallery alone on the floor, letting the reverberations from the underfloor transducer speakers course through my body while reading about the extraordinary tale of her grandfather pulling out all his teeth to escape military service and the night her dogs were kidnapped from her roof terrace. The sound piece is called Paradis it is about waiting for something better to come.

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It is a subtle interaction that makes the seemingly empty space personal. My body is here, I can feel the effects and I will leave traces of my visit as I enter and leave pushing against the heavy silver oxidised doors, as with every visitor’s touch, slowly revealing the silver beneath.

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Enjoyed an afternoon screening at LUX with Catalyst Arts presenting Looking Aside. Laura McMorrow’s The Lost Acre had a fragile materiality, creating unstable ground of the sort that might give way and open passages to other realms.

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I knew we were in for a treat as Peter Glasgow was involved in the selection of films to compliment Seamus Harahan’s BL CK B X exhibition: shiny wet stones.

Fred Butler Harmonics in Space was not quite the zen experience I had been expecting. There was certainly a lot of energy going on at the private view.

 

And as Laban states ‘Matter itself is a compound of vibrations’ 

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More excellent news is that I have been accepted as one of the Open Door Residency Artists for the BEYOND project run by Allenheads Contemporary Arts to take advantage of its new on-site astronomical observatory and to consider the word BEYOND as an open ended starting point for discussion.

The timing is perfect as I am about to begin my Chisenhale Studio4 Residency where I will have a large space to develop ideas from this experience that build on my current research looking at cosmic particles, the shape of the universe and the philosophies and mythologies that first attempted to understand the cosmos and relate its vastness to the human experience.

1802 frozen galaxyI spent a wonderful weekend with 12 artists enjoying perfect moon gazing weather in the dark skies of Northumberland, seeing galaxies in frozen puddles, plunging into the darkness of the forest or the inflatable planetarium and discussing ideas generated as we shared our own interests and observations.

 

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I am thinking about what stories might be told if our ancient eyes had reached beyond those points marked out on the first star charts. Maybe Atlas would have had more daughters. Hopefully with the help of the brilliant open source planetarium Stellarium that we were introduced to I can add another layer of narrative.

From my vantage point on earth, the moon slides quietly, the stars twinkle through the atmosphere, satellites pass serenely by, but I know that just 15km above my head is a very violent place of high energy collisions as protons slam into our atmosphere, break apart and rain down, on and through me.

1802 Cloud chamber lightningThe opening paragraphs of The Power by Naomi Alderman prickle with the power they describe

“The shape of power is always the same; it is the shape of a tree…branching and re-branching…the outline of a living thing …the shape of rivers leading to the ocean…the shape that lightning forms…the shape that electricity wants to take is that of a living thing .. this same shape grows within us …power travels in the same manner between people..”

A brilliant novel. Shifts perspective to reflect the world back at us to shine the light on some uncomfortable truths.

A fascinating book to help understand the activity of matter is The Particle Zoo: The Search for the Fundamental Nature of Reality by Gavin Hesketh. I got this book to learn about the characters of the 12 fundamental particles and the forces that they interact with. It presents an unseen world of spinning, colour changing oppositely charged partners, repelling, attracting, sticking together, passing messages or passing straight through each other; releasing and absorbing energy in constant activity. Out of this melee which appears, once you get to the smallest scale, to be made of nothing but points of energy all things are formed.

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I have been reading this in tandem with Stephen Fry’s reworking of the Greek Myths – Mythos. Just as improbable.

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Captivating performance storyteller Ben Haggarty brought to exquisite and gory life three retextured Greek Myths under the banner The Fate We Bring Ourselves – decisions have consequences at the Crick Crack Club event Myths Retold at the British Museum. He spoke afterwards about the intimate space of the darkened circle that forms around the storyteller where each audience member feels personally addressed.

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Mythological thinking looks at the whole – the micro and the macro and sees commonality.

The New Materialisms reading group that I have been a mostly absent member of is currently reading Donna Haraway Tentacular Thinking: Anthropocene, Capitalocene, Chthulucene

 

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Donna Haraway: Story Telling for Earthly Survival

 

Fabrizio Terranova’s film, screened at the LCC, brought the text to life with her infectious mix of enthusiasm, joy and bewilderment at the world and her passion for new ways of thinking. The director spent a few weeks with her and her aging dog Cayenne in their Southern California home, exploring their personal universe as well as the longer development of her views on kinship and planetary welfare. Animated by green screen projections, archival materials and fabulation he has created an enchanting insight into the mind of Donna Haraway.

 

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Bjorn Hatleskog Perpetual Jellyfish in Liminality at Gallery 46

 

“The tentacular are not disembodied figures; they are cnidarians, spiders, fingery beings like humans and raccoons, squid, jellyfish, neural extravaganzas, fibrous entities, flagellated beings, myofibril braids, matted and felted microbial and fungal tangles, probing creepers, swelling roots, reaching and climbing tendrilled ones. The tentacular are also nets and networks, it critters, in and out of clouds. Tentacularity is about life lived along lines — and such a wealth of lines — not at points, not in spheres.” Donna Haraway

Also ‘Staying with the Trouble’ and hoping for a positive collective future are London duo patten at Tenderpixel asking ‘how do we make it to 3049?’

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I had the pleasure of hearing Mark Dion talk about his work, love of systematics and the usefulness of taxonomies as tools of communication at Whitechapel Gallery on the opening day of his show Theatre of the Natural World.  Like Donna Haraway, he is concerned with extinctions, environmental exploitation and catastrophic interaction with other species and expressed a pessimistic resignation that our future is unlikely to be a positive one unless there are some radical changes.

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Archaeology came with the Anthropocene.

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His recreation of a Wunderkammer is another step in the journey for a collection of objects that were removed from their original environment, placed on display in a cabinet of wonders, then captured as drawings that were turned into engravings and then published in print.

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Manually sculpting the objects using the limited information gleaned from the prints as a guide they are returned to 3D. Ghosts of the past losing clarity with each transformation.

1802 Mark Dion 4Looking at the aura of objects Secular Icons in an Age of Moral Uncertainty at Parafin questions the idea of art as a system of belief based around looking and valuing objects beyond their intrinsic materiality. Lower floor was closed when I visited so didn’t see everything. Though just contemplating the horrors associated with Indrė Šerpytytė’s giant lightbox totem constructed using the first blocks of colour that appear from the google search ‘Isis beheading’ was enough.

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Indrė Šerpytytė 2 Seconds of Colour

Hell on earth continues. Glenn Brown Come To Dust at Gagosian had some genuinely creepy offerings and an obsessive repetitiveness.

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I did find Let’s Make Love and Listen to Death from Above compelling despite its bleak vision. Hung at an angle to appear that the sky is indeed falling and it is not the heaven we wished for that is descending upon us.

 

1605 Mercator World Map 1569When paradise could not be mapped on the known land it was believed it must be on an island over the ocean. Dare to dream.

 

 

on my island none of this would be true  – a dynamic group show at the new Arebyte Gallery space on City Island curated by Chris Rawcliffe took its title from the last line of a poem called Security, written by Tom Chivers for his book Dark Islands (Test Centre, 2015).

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It was another chance to see Verity Birt’s Venus Anodyomene a spoken text and video work with Holly Graham and Richard Forbes-Hamilton.

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The rhythmic narrative evoking a slippy oozing layered earth world of geology, archaeology, lost time or excavated memories was enhanced by the boardwalk approach to the gallery in torrential rain alongside the exposed mudbed of the River Lea.

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Hannah Regal What Transpires in the Field of a Body That is the Base of Her

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Gery Georgieva Europa Airlines Stand

 

“Again and again
we’re
expelled
from a garden
that never
existed” Ludwig Steinherr from Before the Invention of Paradise

What goes on in nature under our radar beautifully captured in Sam Laughlin’s series A Certain Movement as part of the Jerwood Photoworks Awards. Intimate moments and hidden processes lifted from nature with a quiet sensitivity.

 

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Sam Laughlin from the series A Certain Movement

 

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Visited Mayra Ganzinotti in the chilled and vaulted splendour of Florence Trust Winter Open Studios. Her beautiful work mixes crystal forms in geology with the body; rhythm and structure.

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Mayra Martin Ganzinotti

Other exciting work and use of materials going on was from Amanda Baum and Rose Leahy

Unexpected juxtapositions offer new paths to tread.

A group of artists and writers, selected by Payne Shurvell, were each asked to respond to the same image either with a text or intervention directly over the image. 256 possible diptychs were created. New pairings are hung daily in random combinations pulled out of a hat. The Arca Project lets fate or coincidence decide the outcome the audience will experience depending on when they visit. The concept to present multiple readings of one event draws on the ethos of W. G. Sebald who revelled in mixing things up.

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I only had time for a brief visit to Liminality [The Unknown] at Gallery 46 which was a shame as I think I missed some good things. But I did see the delicate and fluid interpretations of sound technology diagrams by Mary Yacoob

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Mary Yacoob Draft Drawings

also her meticulous ‘Seraphim for Sanctus’ inspired by a choral score for ‘Sanctus’ and the prophet Isaiah’s visionary six-winged angels.

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Mary Yacoob ‘Seraphim for Sanctus’ detail

I have been contemplating the circling angels of the Empyrean that dazzled Dante when he reached the final sphere of heaven. It might be the first time I have really thought about an angel as an other being/species not just a good human with wings.

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Gustave Doré The Divine Comedy’s Empyrean