Solo art fair presentation of ‘Monkey Bum Print Factory’ by Oreet Ashery
Commission with Libia Castro and Ólafur ÓlafssonArt International Istanbul, 2014
Solo exhibition by Karen Mirza and Brad Butlerwaterside contemporary, 2014
Campagne Première, 2014,
Chapter Arts Centre, Cardiff, 2014
You are the Prime Minister, a prominent neon work in the window of the gallery becomes an empowering in- vitation to take up the title role in a fantasy fiction. It is soon revealed to be misleading: the statement belongs to a larger piece from a scholarship exam for thirteen years-old boys entering eton College, an elite school that trained 19 of the Britain’s prime Ministers and 12 members of the current government.
A video installation The Unreliable Narrator narrates the 2008 Mumbai attacks, alternately from a position of the terrorists and of a seemingly impartial commentator. The video sourced from CCTv recordings of the siege, together with telephone conversations between the attackers and their controllers, suggest that the event was performed for the benefit of news cameras: “this is just a trailer, the main feature is yet to come”.
Mirza and Butler expose the existence of an Unreliable Narrator who takes advantage of the gap between fic- tion and reality. we may imagine that in the street and at the gallery alike, we are tacitly comfortable with our own classic roles as actors and audiences. Making visible the self-propagating assemblies of circumstances, references and implications, the artists force a reconsideration of the mandate and power of the narrator, whether he, she or it is explicitly identified or merely implicit.
Solo exhibition by George Barberwaterside contemporary, 2013
Unmanned Aerial Vehicles – drones – have become an everyday feature of contemporary military activity, replacing humans in reconnaissance flights, small-scale combat missions and covert operations. The US Army operates some ten thousands UAVs –a six-fold increase during Obama’s term – deploying them over locations like Pakistan and Yemen.
In an installation conceived specially for the gallery and consisting of three video projections, an array of domestic objects and numerous washing lines, george Barber’s The freestone drone follows a mission from the point of view of the machine. The drone’s camera surveys cityscapes, encounters individuals, reports, and in flight becomes aware of its own utility and des- tiny. drone operators routinely study the washing to learn about their targets – it is foretold that the free- stone drone is to die entangled in a clothes line.
The video combines found and made footage to produce an uneasy, seductive montage, anchored on the drone’s private thoughts. Barber brings together war, love, life, death, and sends the drone over not only Waziristan, but also to New York and a london suburb. The drone then travels through time, projecting images of the past and possible futures.
Performance lectures by Fay Nicolson and Peter Robsonwaterside contemporary, 2012
Curated with Olga Ovenden
Marginal Notes: re search is part of an on-going series of performance lectures by Fay Nicolson. The developed a response to Arnold Bennett’s and the exhibition’s own themes and scope.
Peter Robson, MLitt, delivered a performative tribute lecture to Arnold Bennett.
Public commission with Marcin DudekPublic realm, London, 2004
In the grounds of the housing estate in East London, Marcin Dudek recreated Screen House, his modular and portable studio. Entering Screen House, visitors experienced an alternative landscape consisting of peep-holes, collages and projections.
Dudek’s practice follows enclosed spaces – examining how we make them and how we interact with them when they are made. Dudek himself grew up in the housing estates that can be found across Poland, and his irritation with these was not so much to do with their sizes as with their repetition. Screen House is a humorous re-creation of the ‘module’, offering unexpected vistas and perspectives.
Duo exhibition by Marcin Dudek and Ben Washingtonwaterside contemporary, January 2011
What we call ‘progress’ doesn’t necessarily take the direction we expect. Sometimes, in an attempt to ‘modernise’, the march of society pulls the rug from beneath our feet.
In their duo exhibition, Marcin Dudek and Ben Washington create parallel large-scale installations. Both artists pick up on the need to ‘push forward’, the need to dig or climb, but also the dangers of being swallowed up or lost in the clouds.
Read Redshift, an essay published on the occasion of the exhibition.
Solo exhibition by Javier RodriguezWaterside Project Space, 2009
Javier Rodriguez’s installation Principal Peripherals of Storage creates a series of puzzles seemingly unintelligible to the naked eye. Using a large number of maculaturas – overprint sheets of paper found in printing houses – together with wooden shipping pallets, the artist created an intricate environment: a series of islands and a multi-layered labyrinth.
The pallet platforms support an array of prints on paper composed in an abstract (though conceivably logical) chromatic and thematic progression – each of those has received multiple impressions of pages from newspapers, magazines, advertising and packaging. The text and images are pressed one on top of the other and out of register, creating levels of saturation, both of colour and content, not found in regular publications.