Curators are Judith Jones LG and Tim Craven LG (and Deborah Smith). Here, Tim Craven outlines the premise for the exhibition where members were asked to create new work around the theme
The simple and unifying premise of my fully formed idea was that each participating artist would be required to hide something of their choice in a new piece of work. The hidden element could be elementary, a trick of the eye, or complex in concept and execution, but it must be detectible in some way by the viewer: i.e. in plain sight.
I responded to this premise with a new video perpetual browse_r C-19 where complex, dynamic 3D structures are textured-mapped with layered visual fragments borrowed from the web that refer to Covid-19 and the uneasiness of life during the pandemic pandemic.
More about In Plain Sight on The London Group website HERE
Sandra Crisp LG invites three artists to place their processes and materials into the spotlight for A Question of Process, The LG Autumn Newsletter.
Distinctly different photographic practice from 3 LG artists that nevertheless incorporates overlapping and very interesting processes. It was a pleasure to virtually interact with these artists to create the articles.
C_bloom/ d-loop mixed media 150 cm x 150 cm wall-based video installation with sound is currently upstairs in the AV room at The Cello Factory. The installation incorporates 2 recent videos projected onto constructed 3D forms throughout the space. Here, I’ve posted a very short clip and (below) a longer montage view from different perspectives showing ‘d-loop’, one of the installed works.
Multiple elongated-cube structures were constructed* using wood to form 3D frames, then sheer muslin was used to wrap the surfaces. These multiple forms, suspended upon the wall provide unique projection surfaces whilst mirroring the many dynamic cubes in the video, as if they are emerging from virtual space. Audio is formed from a mobile phone recording of busy open spaces during lockdown, adding a humanizing element to the abstract forms in perpetual spiraling motion.
*Thanks again to artist and curator Alex Hinks’ cube construction/ installation idea for the realisation of this piece in it’s new ‘off-the-screen’ appearance for Edge to Edge.
Exhibition continues 23 July 2021 – 31 July 2021 Open daily 12-4pm & by appointment; The Cello Factory, 33-34 Cornwall Road, London, SE1 8TJ
See 1920 x 1080 version of this video ‘d_loop_search (UK floods)’ HERE
Here’s a great review of Edge to Edge at The Cello Factory by Simon Streather published on Artlyst, do have a read to discover more about the exhibiting artists and view images of the show. The banner image is a shot of my installation ‘C-Bloom/ d-loop’ where my video is projected onto muslin stretched over wood-framed boxes. Many thanks to co-curator of the exhibition and artist Alex Hinks for coming up with this installation idea and for his box-making skills, it was great to try something new.
A nod to Malevich’s architectonic models seems to appear in the videos of Sandra Crisp. Only far from being a stilled utopian model, we are presented with an oscillating, almost breathing mass of units, accompanied by the human and machine-made cacophony of the street. This feeling of overload is sensed too in the hectic but carefully constructed collage she presents.
Read the review HERE Exhibition continues 23 July 2021 – 31 July 2021 Open daily 12-4pm & by appointment; The Cello Factory, 33-34 Cornwall Road, London, SE1 8TJ
Coming soon…delighted to be exhibiting video in this forthcoming show, hope to see you there. I will be creating a video installation upstairs @ The Cello Factory using recent work, with kind support from Alex Hinks.
Edge to Edge features artists who use hard edges of some kind in their work but who are not necessarily defined by them. The hard edges they use are often tempered, mixed or contrasted with chaos, mystery or even humour. It’s like 60’s Hard-edge painting for the 21st Century….
This video uses 3 outtakes from my video Oceanics 2009-10 stitched together and recently mashed up for Weaving in the Dark collaborative video. Weaving, by Genetic Moo LG and (audio) Jockel Liess LG formed the immersive projection installation for In the Dark III – BEING THERE June 2021 at St John’s Crypt, Waterloo, London.
Please see previous 2 posts HERE and HERE for more information about In the Dark III.
By the time of closing, The London group ‘In the Dark III – BEING THERE’ exhibition hosted by the The Waterloo Festival at the old crypt, St John’s church, Waterloo, SE1 had received 228 visitors across the week. Including much positive feedback and interesting conversations prompted by the collaborative nature of the exhibition.
Muslin strips are suspended at intervals throughout the length of the long, narrow space and used as transparent projection surfaces for video – Including ‘Weaving in the Dark‘ which appears via 6 different projectors and is fragmented and layered over time on the see – through fabric. As the projectors are all started at different times, different imagery plays out in random ways and combinations from the 38.37 minute video. Sculptures, mobile elements and ephemeral objects also intersect with the projections whilst audio fills the atmospheric and rustic historic space.
A multi-sensory experiment by The London Group organised by Nicola Schauerman, Jockel Liess, Sandra Crisp, Almuth Tebbenhoff, David Theobald and Darren Nisbett
BEING THERE combines and fuses diverse physical objects and digital visual/audio contributions from 42 London Group members into one overarching immersive work of art. A kaleidoscopic experience that not only intertwines the physical with the virtual, but also transcends the boundaries of the individual’s artistic practice.
In the Dark III: BEING THERE exhibition opened yesterday and it was a really positive day with 35 visitors and some great feedback such as: ‘Exciting’; ‘Thought provoking’; ‘Can we film it?’ and ‘It’s magical’. Also, much interest about the collaborative nature of the installation.
It would be great to see you there:
Organised by Nicola Schauerman, Jockel Leiss, Sandra Crisp, David Theobald, Almuth Tebbenhoff & Darren Nisbett In the Dark III: BEING THERE
St John’s (Chrurch) Crypt St John’s Waterloo Waterloo Road London SE1 8TY
Exhibition open: Sat 19 June – Sun 27 June Times: Daily 2-6pm | Sat and Sun, 12 midday-6pm
A multi-sensory experiment by The London Group. BEING THERE combines and fuses diverse physical objects and digital visual/audio contributions from 42 London Group members into one overarching immersive work of art. A kaleidoscopic experience that not only intertwines the physical with the virtual, but also transcends the boundaries of the individual’s artistic practice.
The theme ‘Being There’ has emerged from the forced separation of the last year, and the ability of The London Group members to only exhibit and meet in the virtual space. This exhibition thus celebrates a physical as well as virtual coming together of the Group.
I really enjoyed editing a second set of articles for 3 of The London Group sculptors/ installation artists for the Summer LG Newsletter. Thanks to Almuth, Paul and Alex for their insightful contributions toA Question of Process.
I chose to write a few words about a long ago visit to view Picasso’s ‘Guerninca’ and ‘Las Meninas’ by Valasquez’ in Madrid’s Museo Del Prado, Spain. View Here for more about that and to see other member’s contributions, of course….
Ancestors ‘I have always collected in one form or another including childhood stamps, keyrings, Whimsies, vinyl records and art books. However, my most recent collection is my ancestors, gathering, so far, 7,517. Alongside 30,342 records and 1,806 photos that also reveal places, families and past occupations that I had no idea about. This began as a distraction (now more like an obsession) during lockdown March 2020 when I began building a family tree online. Since then discoveries include; A Great x 2 Grandfather in N.S.W. Australia previously lost to family for 3 generations; Black Country nail makers, from which the World Champion Stand Spring Jumper emerged; stone masons; monumental stone rubbers, grooms and coachmen; a Victorian magician; ship builders; agricultural labourers, an architect; a shoe manufacturer and finally a quirky link to the Bloomsbury Group.’
Honoured to be included in this great line-up of audio artists BBC3 Late Junction – ‘Subterranean Sounds’ show which aired last night. Many thanks to Verity Sharp, presenter for including my humble audio track from 2010 video ‘Mapping London’s Subterranean Rivers’. It’s very near the end of the show at 1:51:40 but the whole show is definitely worth a good listen.
Kindly invited by curator by Teresa Retzer of ZKM| Zentrum fur Kunst and Media, Karlsruhe, Germany: Video perpetual browse_r_2 (2019) included Computable-Incomputable Digitale Kunstalle at ZDF (Zweites Deutsches Fernsehen, German public-service television broadcaster) virtual walkthrough exhibition Oct 2020 – Oct 2021. The online visitor may discover artworks by moving around a 3d virtual environment and by clicking on ‘cellular automata’:
Is the universe, a conglomerate of cellula automata? And if so, is the human subject completely computable? This exhibition, featuring born-digital artworks largely from the ZKM collection (Zentrum fur Kunst and Media, Karlsruhe), offers insight into artistic and scientific responses to these questions, and shows how computers help visualize alternative worlds that can become new realities.
Is the universe a big computer? The question is not new: Konrad Zuse, pioneering computer scientist, described the universe as a large cellular automaton back in 1969. In his opinion it is imaginable as a discrete computational system composed as cells that evolve following pre-set rules by considering the states of other cells in their locality. Cellular automata can compute functions and solve algorithmic problems. Zuse called his hypothesis “calculating space” (Rechnender Raum), and it can model the universe as a combination of many small computers (in this case equivalent to automata) that adds up to one large computer.
This exhibition reflects the idea of calculating space, but also Seth Lloyds “programmed universe” which proposes that the universe is one huge quantum computer. With the development of computation and graphical user interfaces, it turns out not only that reality can be described as a computational system, but that sets of computing “executables” can generate new virtual realities, This capability of computers has fascinated artists, who have been exploring generative aesthetics for half a century to date.
While the computability of environments now seems clear, the question of whether the self can be computed hasn’t been answered in the affirmative, althought the promise of artificial intelligence already threatens to reproduce the thinking subject. Despite the fact that current computers are unable to simulate human thought, and so the self as yet remains incomputable, this recognition has functioned as a powerful stimulant for speculative fiction.
The collection at ZKM| Karslruhe (Zentrum fur Kunst and Medien/ Center for Art and Media), focuses on media art: an artform defined by the medium with which it is created, distributed, and received. The apparatuses created by computer-related by computer-related disciplines emerging throughout the second half of the twentieth century – such as automata studies, cybernetics, information and communication technologies, and artificial intelligence – have gradually expanded the definition of media, and made the computer one of the most important tools and media for visual arts.
Computable – Incomputable showcases software-based digital artworks in a computer-generated environment. A digital copy of an atrium at ZKM| Karlsruhe is populated by multiple cellular automata, generated completely algorithmically. The exhibition support structure, just like the artworks it displays, reflects upon its apparatus and medium: the computer.