TERRY ATKINSON & JEFFREY CHARLES HENRY PEACOCK

Further Notes Regarding Jeffrey Charles Henry Peacock

March 2013 – ongoing

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kynastonmcshine is pleased to present a new project involving Terry Atkinson and Jeffrey Charles Henry Peacock. From March 2013 the ongoing production of elements of the project can be viewed via and downloaded by clicking on the image above.

The project consists of a series of written responses to two statements by Jeffrey Charles Henry Peacock. Two essays written by Terry Atkinson begin the correspondence with the JCHP statements, and these are followed by a piece of writing by kynastonmcshine.

The statements by JCHP outline inherent problems for the enactment of critical validity within the current hegemony of art world mechanisms of visibility, which elsewhere they refer to as the teratoma of Corporate tyranny. These statements explore how the modes of production that JCHP employs are both curtailed by and act as a response to the contradictions inherent to the dominant modes of distribution within the art world, which of course are its principal modes of production; namely, the so-called ‘expanded’ field of exhibition. They regard their response, to the critically stagnant system of ‘arthood’, as an organum that attempts to breach the state ceteris paribus of pseudo-Liberalist plenitude that constitutes art today as a state of affairs.

Terry Atkinson responds in a typically forensic manner, picking apart contradictions and ironies that he spots in the JCHP statements as he reads through these problems, further problematizing them as his writing unfolds. Tying each observation that he makes from the JCHP statements to significant contradictory and sometimes ironic moments within the history of modernist art, Atkinson attempts to delineate the illusory figure of, what he calls, the ‘avant-garde model of the artistic subject’, debunking at every turn the claims made for this model, by those that champion and reproduce it, to produce the figure of the artist as ‘a self-confirming centre of truth’.

kynastonmcshine comes at these discussions obliquely with an essay that explores humiliation as a highly likely and sometimes inevitable side-effect of exhibiting art within the given economies of visibility that pervade almost all of the art world and beyond. Exploring how a specific form of dispersed sovereignty in these economies of visibility provokes reciprocal humiliation for artists, audiences, and curators alike, the essay goes on to ask what a post-humiliation exhibition system might be like and asks what new forms of sovereignty for art might result.

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Terry Atkinson founded Art & Language in 1968 with David Bainbridge, Michael Baldwin and Harold Hurrell.

Jeffrey Charles Henry Peacock is the sole collective practice of Dave Smith and Thom Winterburn.

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To view and download the papers please click the image above.

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TURBULENT SURFACES II

Part II – One Dimensional Disco

27^th July 2012

8-10pm

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It all worked itself out naturally and well.
Every branch of science was fitted neatly
to the needs of the public,
and the various branches of science
were co-ordinated decently.

Isaac Asimov, The Complete Stories: Volume 1

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One Dimensional Disco contained a built structure, performances and a DJ set.

One Dimensional Disco was an artwork and exhibition. It was a blunt instrument constructed for this event at kynastonmcshine only.

One Dimensional Disco was an ad-hoc platform that included image, sound and text. Its disjunctive and tailor-made constructs acted as a closed vertical structure: an antagonistic surface.

One Dimensional Disco asserts itself beyond the contemporary cults of representation and interpretation; breaking definitively with the horizontal ground of narrativity perpetuated by the contemporary consensus of cause and effect.

One Dimensional Disco presented two performances and a DJ set by Material Conjectures. The DJ set was made up exclusively of work by The Algorithm, aka Remi Gallego, a 22 year old French artist who plays with a mixture of Black Metal, math-core electronica, Ska and Dub-Step.

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The event was organised by Material Conjectures – curator Kirsten Cooke and artist Dale Holmes.

Turbulent Surfaces is a series of performative platforms, curated by Kirsten Cooke, and co-organised by Kirsten Cooke and Dale Holmes. Part II saw two new events presented at kynastonmcshine in 2012.

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Nothing You Ever Wanted to Know About Curating

Part 1: The Interview

7-9pm Friday 29^th June 2012

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Curated by:

Stefanie Kogler, Ana Yarto Bilbao, Ana Sol Gonzalez Rueda,

Kate Pardon, Katrin Bengl, Petra Power, & Nora Mohamed Ismail

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The past ten years have seen the interview grow in its ubiquity as a research tool and as a promotional tool for curators. We now see a plethora of books, magazine articles, and online publications carrying interviews by curators and interviews of curators. This one-night event  provocatively revised and re-framed the interview as a curatorial practice.

Three video interviews were presented and discussed. The first interview includes Hans Ulrich Obrist in conversation with Pablo Leon de la Barra, and takes place inside a moving car in Miami. The second interview sees Rirkrit Tiravanija filmed during his on-site preparation for The 21st Century: Art in the First Decade, an exhibition at GoMA in Brisbane, Australia (2010). Finally, a dialogue held at Castello di Rivoli Museo d’Arte Contemporanea in Rivoli-Turin between curator Carolyn Christov-Bakargiev and artist Nedko Solakov (2009) was shown.

A short discussion followed the presentation of each of the videos. The discussions interrogated and rethought the self-reflexivity of contemporary curatorial practice, asking how and why curators so often invoke and employ the rhetoric of neutrality that is entangled within and is presented as an integral part of the self-consciousness of their work. Moreover, the discussions considered how the so-called construction of personality, which once belonged more to the construction of the image of the artist, has spread so predominantly today to the figure of the curator.

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This event was presented by MA students from the Centre for Curatorial Studies at The University of Essex: Stefanie Kogler, Ana Yarto Bilbao, Ana Sol Gonzalez Rueda, Kate Pardon, Katrin Bengl, Petra Power, and Nora Mohamed Ismail.

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TURBULENT SURFACES II

27^th April 2012

Curated by Kirsten Cooke

Performance/Screenings/Discussion: 3pm-7.30pm

Screenings following event: 7.30pm-9pm

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 “Then what is it the Eternals consider good? I’ll tell you. Safety and security. Moderation. Nothing in excess. No risks without overwhelming certainty of an adequate return.”

Isaac Asimov, The End of Eternity (1959)

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Turbulent Surfaces is a series of performative platforms, curated by Kirsten Cooke and co-organised by Kirsten Cooke and Dale Holmes. Part II presented two new events at kynastonmcshine.

This first element of Turbulent Surfaces II explored common and popular claims made by many video works as to the nature of scripting and structure in artists’ film and video. In particular the proposition that it is possible to locate alternative frames, forms and media that can oppose the operations of capital is interrogated. Two recent video works; one by Renzo Martens (Episode III - Enjoy Poverty, 2008), and one by the Bernadette Corporation (Get Rid of Yourself, 2003) stake these claims especially, and these works formed the focus of the event.

These two works were screened alongside a glossary by Dale Holmes and a curatorial statement by Kirsten Cooke. Also, Jaspar Joseph-Lester and Maxa Zoller each presented a ten-minute provocation that responded to the screenings. The event closed with an open discussion.

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Episode III – Enjoy Poverty (2008), by Renzo Martens, set in the Congo, asserts that every actor in the work, including himself, upholds the prejudices and expectations that perpetuate poverty.

In Get Rid of Yourself (2003), the Bernadette Corporation temporarily merged with Le Parti Imaginaire, a faction of post-Situationist militants with links to the burgeoning anti-globalization movement. The film documents and re-stages the anarchist group Black Bloc’s actions during the riots at the G8 summit.

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Kirsten Cooke is a curator whose work explores strategies that resist the impoverishing practice of exhibitions, which reiterate neo-liberal values through predetermining images affect.

Dale Holmes is an artist. His work is invested in the visual, political and philosophical legacies of abstraction.

Dr Maxa Zoller is a lecturer and curator who works with marginal and interdisciplinary film practices, focuses on issues of the body, expanded cinema, the practice of female filmmakers, and experimental film from former Socialist countries.

Dr. Jaspar Joseph Lester is an artist and writer, and is Reader in Fine Art at Sheffield Hallam University. His work focuses on the critical status of illusion in social space and has involved a number of long-term collaborations with artists, writers and curators.

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WAYNE LLOYD

Blow Up

3 March – 23 March 2012

Performance: Friday 2 March 2012, 7pm

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Wayne Lloyd presented a new performance and exhibition of photographs, which fused fiction and reality, at this evening performance and exhibition.

Michelangelo Antonioni’s 1966 film Blow Up is about a successful photographer living in London, who finds something suspicious in photographs that he took in a park. By blowing up the images and studying the minutiae he uncovers details that challenge his ability to match his perception with reality.

Wayne Lloyd performs the plots of films employing inventive and engaging narrative devices and tropes to generate surprising tensions and humour. The performances often culminate in a residual exhibition that can embrace a variety of disciplines such as drawing, photography, and even dance. The renditions have a ‘non-art’ quality, and their play of formality and informality obstructs pre-arranged destinations for the arrival of meaning. The result is an enjoyable mix of activity, storyline and stand-up.

‘Wayne Lloyd cuts to the heart of cinema’s story telling lineage, whilst focusing on the intrinsic differences between watching and describing a film. Lloyd’s recent works provide a refreshing alternative to film criticism, embodying a spirit more akin to an enthusiastic retelling to friends and with it a healthy relish of violence, sex and wit.’

Andrew Bracey, catalogue entry for Unspooling Artists and Cinema, Cornerhouse 2010.

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Wayne Lloyd is an artist living and working in the UK. Recent projects include Community Without Propinquity at MK Project Space (2011), Unspooling, Artists and Cinema at Cornerhouse, Manchester (2010), Rollerball, for Bob Smith’s Apathetic Afternoon, Beaconsfield, London (2009), Art & The New Town, Harlow (2008), The Brown Mountain Festival, London (2008), Last Tango in Paris at Wild Gift, London (2006), and The Middle Epics at Medieval Modern, London (2005). He has written two books, Nu Town (2008) and Wayne Winner’s Art House Cinema (Immprint Books, 2004).

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Review of Wayne Lloyd’s Blow Up in Art Review, 21 March 2012.

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BRIAN MORAN

Engineering Consent 5: The Soap Carving Contest

1 October – 27 November 2011
Opening: Friday 30 September, 7pm-12am

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Brian Moran presented a series of works based upon the soap carving contests initiated by the multinational corporation Proctor & Gamble. The Soap Carving Contest was the latest iteration of Moran’s ongoing project Engineering Consent (2005-present), which is based on his interest in the points of intersection between marketing and psychoanalysis.

Conceived in the 1920s by Edward Bernays, pioneer of the field of public relations, the Proctor & Gamble soap carving contests were originally intended as a means to increase brand recognition for Ivory Soap among children. The contests went on to become hugely successful annual events in their own right, recruiting enthusiastic participants, highly accomplished submissions and embraced by schools and municipal institutions.

For the exhibition at kynastonmcshine, Moran produced his own soap carvings as proxy contest submissions. Moran’s own sculptures included examples of traditional folk carving styles, copycat carvings from the original contests and also pieces derived from more recent mass culture memes. Moran is interested in the possibility of Bernays’ soap carving contests as a ‘scale model’ of an uneasy symbiosis between alienated work, creative work and corporate sponsorship, which began in the 20th century and persists into the first decades of the 21st.

The Soap Carving Contest was and is an opportunity to revisit an early incarnation of ‘user generated content’ and an attempt by private enterprise to ‘crowd source’ the creative energy of amateur artists for marketing purposes. Engineering Consent 5: The Soap Carving Contest has been designed by the artist with the intention of simulating the type of civic public space and display strategies deployed in the original exhibitions of soap sculptures that were staged across America at the height of Proctor & Gamble’s Ivory Soap campaign.

*Image: Lester Gaba, author of ‘Soap Carving, Cinderella of Sculpture’ (1935)

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Download the review, by Giulia Smith, of Engineering Consent 5 – The Soap Carving Contest, published in Frieze Online 20th November 2011.

Read the review of Engineering Consent 5 – The Soap Carving Contest, by JJ Charlesworth, originally published in ArtReview issue 56, January & February 2012.

]]> http://kynastonmcshine.org.uk/exhibitions/exhibition-02/feed/ 0 http://kynastonmcshine.org.uk/exhibitions/exhibition-01/ http://kynastonmcshine.org.uk/exhibitions/exhibition-01/#comments Sat, 07 May 2011 18:35:32 +0000 admin http://kynastonmcshine.spikes-you.net/?p=31

New drawings by Diann Bauer

19th May to 17th July, 2011

Opening Times:

1pm-6pm Friday-Sunday, or by appointment

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kynastonmcshine presented its first project with an exhibition by Diann Bauer, entitled Rush Limbaugh is Sick.

Bauer presented a new series of drawings, unseen in the UK, that depict the imagined final days of the American political commentator and broadcaster Rush Limbaugh.

Rush Hudson Limbaugh III hosts The Rush Limbaugh Show, which is the highest-rated talk-radio program in the United States. Limbaugh signed an 8-year, $400 million contract extension with Clear Channel in 2008 that pays him $50 million a year. In the 1990s, Limbaugh became a bestselling author with his books The Way Things Ought to Be (1992) and See, I Told You So (1993).

The website dedicated to Limbaugh’s talk-show describes The Rush Limbaugh Show as:
“… the most listened to radio talk show in America, broadcast on over 600 radio stations nationwide. Rush Limbaugh is also known as: America’s Truth Detector; the Doctor of Democracy; the Most Dangerous Man in America; the All-Knowing, All-Sensing, All-Everything Maha Rushie; defender of motherhood, protector of fatherhood and an all-around good guy. There is a ‘consensus’ among the American people, who have made this the most listened to program, that it is also the most accurate, most right, and most correct. People who disagree with this are Rush Deniers.”

Limbaugh is regarded by many as the de facto leader of The Republican Party in the USA.

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Diann Bauer is an artist living and working in London and Berlin.

Recent solo exhibitions include Necrotroph-optopolis (2007), Paradise Row, London; and, Bludgeonerator (2006), The Showroom, London. Recent group exhibitions include Dawnbreakers (2010), John Hansard Gallery, Southhampton; Inferno (2009), Yautepec, Mexico City; Il Faut Être Absolument Moderne (2009), Paradise Row, Istanbul; Institute of Psychoplasmics (2008), Pumphouse Gallery, London; Foreign Body(ies) (2008), White Box, New York.

Bauer’s work is represented by Paradise Row, and an exhibition of new work will run there from May 13th to 18th June 2011.

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Review by Skye Sherwin, The Guardian, 26 May 2011: ‘Diann Bauer – Artist of the Week’

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