13-14th February 2010 - the diagram: held at FormContent with antepress: Julia Calver, Tamarin Norwood, Gemma and Hannah Sharpe, Cressida Kocienski, Patrick Coyle, Claire Nichols, and Ami Clarke, Josh Baum and David Berridge.
photos of the event on the 13th February.
Sited amongst screens, reminiscent of office work cubicles and temporary exhibition stands, providing a spacial grid within the gallery space, discussion and short presentations of ideas relating to the diagram on 13th Saturday February, followed by a day of display on the 14th February of selected works.
13th and 14th February 2010 - FormContent project space: 51-63 Ridley Road, London E8 2NP.
Start at 14:00
Brief introduction to the day and introduction of invited people.
Dr John Mullarkeys lecture Diagrammatic Actualism, ACTUAL VIRTUAL (selected half hour)
My argument is basically that, whereas Deleuze tends to think of his diagrams as virtual processes as only a potentially concrete (or actual) thing I believe that it is better to think of them as already actual processes. touching on ideas relating to the working drawing, and the performative object.
Presentation of An Improvised Diagram Syllabus - an overview of the diagram ranging from Rodchenko to Gabriel Orozco - and photographic and video work by Rachel Lois Clapham and Alex Eisenberg.
Reading of two recent texts and screening of her video work Jet (2)
Presentation and discussion around his work Holding this objecty/making this objecty
Presentation and discussion of the diagram as linguistic moment
Presentation of a new series of drawings and of the most recent Empty Gallery Interviews
Presentation of the artist book DO SOMETHING and of the radio/text work Musica Practica.
Gemma and Hannah Sharpe:
Works by Hannah Sharpe associated with text by Gemma Sharpe will be on display
3 balloons - balanced to transcribe in mercurial lines a diagram of almost anything.
project fold: This Way Up (screens) and not to scale (working title) (pamphlets) :
project fold takes as its starting point the relationship between architecture and the ever shifting relations of exchange; the spatial frameworks that inform our experience of living in the city today, and the dissemination of art material, in turn informed by those experiences.
It was initially developed conceptually in the art works This Way Up (screens), and B®anding, first realised in the exhibition Unknown Unknowns at Campbell Works, London, a solo show in May.
The two parts to this work both rely on one another and exist in reciprocity and relate strongly to the concept of being in production;
This Way Up (screens); a set of screens used to navigate the territorial space of the gallery, both guiding and confounding ease of passage: an experiential reflection on the artifice of constructed space; of spatial organisation. The frames are designed with reference to the ideal heights for balustrades, door heights, and others, often used in retail and mixed use architectural developments.
B®anding; acts as a band or strip of colour, paper or ribbon delineating and so claiming a given volume/space. The two works are imbedded in one another and are shown intertwined.
During the research and development of designs, required to construct the screens in This Way Up, there are many drawings and explorative sketches produced, on plans, elevations, sections, hand-drawn perspective drawings, and other relevant material, often referencing the dimensions of the location itself.
Whereas the screens are a method adopted to navigate the territory of the gallery in an experiential mode, where reflection is suggested through experience, the pamphlet will act as a collective memory bank of the method by which the screens were arrived at, reflexively returning to the appropriated design of the pamphlet, from which the screens were developed: an archive in the making.