Friday, December 28, 2012

Seasonal Book Action

I have A LOT of books next to my bed thanks to Christmas, a new project in research and the obvious bibliophilia... Here's this month's top ten:

The Demon by Hubert Selby Jr

Going Public by Boris Groys

The Resistable Demise of Michael Jackson edited by Mark Fisher

BFI Film Classics: Don't Look Now

Extreme Metaphors: Interviews of JG Ballard 1967-2008 

1968 in America: Music, Politics, Chaos, Counterculture, and the Shaping of a Generation by Charles Kaiser


Bel Ami by Guy de Maupassant

and I'm dipping back in again to the overwhelmingly inspirational Atlas of Transformation


A Late Renaissance Moment





Exhibitions get quiet over the Christmas New Year period so I'm finding myself wandering back to the National Gallery a lot at the moment. In particular I'm having a late Renaissance moment. Feeling Salome by Cesare da Sesto (top), Michelangelo's homoeroticism and canvas exposure in The Entombment (middle) and of always and forever the weirdness of Allegory of Venus and Cupid by Bronzino (bottom). I also got very excited about going around with Thomas Dozol and looking at all the portraits with pitch black background.

Sunday, December 23, 2012

Oh Dear


I get bored slash productive around Christmas so I stupidly changed my blog template design and I'm not very happy with the result... I am throwing up my favourite video work now to stop myself making it worse at midnight. Adrian Piper's Funk Lessons is now available on ubuweb. I asked to show this in a little exhibition once but sadly couldnt afford the loan fee. Enjoy these 15 minutes of genius for Chrismas...

Thursday, December 20, 2012

Real and Virtual Writing

This has been a year of serious editorial for me - massive features and profiles. 

I've interviewed Sophie Calle, Goshka Macuga, Thomas Hirschorn, Jeremy Deller, Alex Bag, Janet Cardiff and Georges Miller, Bernadette Corporation, Josephine Meckseper, Rashid Johnson, Thomas Demand, Jim Shaw, Sara VanderBeek, Brendan Fowler, Mariko Mori, Sture Johanesson, Bjarne Melgaard,  Santiago Sierra, Thomas Ruff, Genesis P Orridge, and a bunch of younger artists.

My favourite piece was History Bites/Off-Modernism for Dazed & Confused's New Aesthetic issue this autumn, which they have placed online. (The Chris Dorland image above was one of the works commissioned to illustrate the idea). 

Other favourites include a piece on off/online galleries for Its Nice That (which I've pasted below) and a big examination of the contemporary male nude for Sleek. 

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Transcending to Outer Space: curating the real and the virtual
Text Francesca Gavin

Space. It’s a word you can’t escape in the art world. A much sexier option than the prosaic ‘room’. Space is high-brow. It implies a location for worship and inspiration, something otherworldly. It’s a one step way to sound art literate. ‘Not sure about the work but I loved the space’. ‘Space’ is particularly hot now because of our relationship with the digital and virtual. In an era defined by the screen, a new conversation is arising between real and virtual space.

The past few years have seen a generation of artists exploring our relationship with the virtual. What artist-curator Marisa Olson coined as ‘post-internet’ artists. The term has developed to not just define artists who work with technology and internet references, but to cover a much wider group of artists working in mediums from sculpture to moving image. Artists with an awareness of the internet but who do not necessarily make work about or using technology. People like Timur Si-Qin, Marlie Mul, Ed Atkins, Brenna Murphy, Benedict Drew, Harm van den Dorpel and many more. These are artists growing up in an environment as the presence of the internet was cemented. This emerging generation presents a challenge to the future of contemporary art and its curators. How do you show art when the space that really counts is a rectangular glowing screen?

Emerging online galleries are presenting an alternative to the structure of space that institutions, private galleries and projects space provide. An alternative to physical spaces full stop. London collective LuckyPDF’s online TV programmes are lo-fi curatorial spaces, DIY locations where artists perform and exhibit work in a digital wild-west style. Their intentionally scratchy and raw approach garnered them a lauded project at 2011’s Frieze Art Fair. Other online galleries follow are more direct format. Places like the linear tumblr-esque SPAMM in Paris, the long running blog-like Rhizome in New York or London’s virtual project space pyramidd.biz. The most successful of these spaces is bubblebyte.org.

The gallery was started by artist Rhys Coren and curator Attilia Fattori Franchini in January 2011 and has quickly become the go to space to see artists experimenting with how to show their work online. Bubblebyte is organized in a very similar model to a conventional gallery space – a varied programme of changing solo shows and group exhibitions with online press releases. “We wanted to keep the relationship with a normal gallery space as much as we could. As well as showing work, Bubblebyte.org is slowly educating its audience.” Fattori explains. Their interface is intentionally simple and accessible. Their choice of works themselves have a much wider appeal in aesthetic and content that the text heavy, geeky net art of the 1990s. Works such as Douglas Davis’ ‘The World’s First Collaborative Sentence’ (1994) or Olia Lialina’s narrative, lo-fi monochrome piece ‘My Boyfriend Came Back From The War’ (1996). Bubblebyte’s choice of works, in contrast, are often abstract and even beautiful videos, gifs and animations accessed at the click of a mouse. There is an innate intimacy at viewing the work on their site. It’s just your focused attention and the screen – something very different to the physicality that comes from walking through a gallery space.

The obvious benefit of online spaces is reaching a massive global audience from Macedonia to South Korea to Nicargua. Here art can be accessed directly and intimately with out the restrictions of the cost, space or technical requirements. Online you don’t need DVDs, cables, amps, projectors, or any of the organizational noise of real space. “[Real and virtual space] are not interchangeable, they’re just different and both valuable.” Fattori points out. “The internet replicates reality. There’s a massive dialogue between physical and digital. It’s what our lives are about.”

Coren and Fattori are currently creating a downloadable version of bubblebyte as a template. The aim would be to create a community of virtual galleries where artists and curators around the world can show work. “In the art world there’s a culture to be a bit guarded and not give away ideas. On the internet to have some authorship or ownership of something, you share it. If you’re the first person to share it, it becomes yours,” Coren enthuses.

David Horvitz is an artist with a curatorial edge who has explored ideas of authorship online in a number of interesting ways. He has used the readymade structures of the internet to create work. YouTube, Flkr and Wikipedia have all been the locus of his past projects. “Initially it was never a choice of virtual over the physical. It was more about using contemporary means of information dissemination as a means/strategy for my art practice.” Horvitz explains. “YouTube is how people watch (and contribute) video, so it was the platform to use. A place that was public and relevant.”

Part of what makes Horvitz work so compelling is how it occupies the space between real and virtual space. For his 2011 ‘Public Access project’, Horvitz drove up the Calfironia coast and took photographs on public beaches. In all the images, which he inserted anonymously into Wikipedia for anyone to download, Horvitz himself was subtly present. “I like the idea of the open future of an image online. You don't know where it goes. You have no control. It leaves it's original context, and continues to move through time and space. It is an empty sign that holds meaning where ever it is held down at that moment.”

The digital and the physical are concurrent in Horvitz’ projects. ‘For A Brief Time Only Project’ was curated with Mylinh Nguyen. The pair created a 24 image group ‘exhibition’ that was purchased as photo prints from drugstores and photo shops around the world. When someone wanted to see the exhibition, they would email Horvitz their address. He would research the closest drugstore to them, and send the 24 image files directly to their local photo lab to print up. The viewer would pay for the photographs and own the local version of the artwork. “Seth Siegelaub was a model,” Horvitz explains. “his projects with conceptual artists in the 60's/70's, like the Xerox Book. [The project] is also about today, where things like Youtube, are frameworks that define certain parameters for how information is accessed. Someone made Youtube, and then others fill it with content, fitting in their parameters. In a sense, I try to create frameworks in which I invite artists to put their works in. It's not just about me playing the curator. I am interested in works that re-shape the same idea in the physical world. That it isn't necessarily forcing the project into a physical space. It is just reshaping some of the ideas. It's re-manifestation.”

How to exhibit artwork which generates online in physical spaces is one of the central issues in presenting work that has been generated online. What we are in effect talking about here is a process of materialization. Transformed into autonomous 'things' that standalone in a gallery, artworks that originate online take on an entirely new set of criteria,” Paul Pieroni curator of the aptly named SPACE studios in Hackney. “This transition augments them in a number of ways, changing their value, meaning and status within the general flux of other artworks being shown in real space as well as those online. It equates to a grand repositioning, the complexity of which is no doubt great. One thing for me that doesn't really change, however, is the content. A video that goes viral and gets seen by 500,000 people is still the same video when we show it in a gallery. It's all these other accessory conditions that mutate. The thing remains the thing.”

One option to circumvent this tension between online and offline work is to create a piece that is more than one ‘thing’. Art that comes in variations of form but can still be viewed as a valid part of a whole. A sculptural cousin to an internet project for example. It is something artists Oliver Laric and Aleksandra Domanovic have both done exceptionally well. They are two of the four people behind the cult site vvork.com, and have incredibly strong conceptual basis to their work. They helped push the idea of an artwork as versions of an idea. Things may move differently online, get flatter, move faster, get smaller – but they are still all artworks. Here they present a model where an online image having as much validity as an object sculpture, as a reproduction, as a book, as a film installation, as a sound file. How that manifests in their work is very different – from Domanovic’s video diptych, web archives and techno records to Laric’s wax sculptures, online videos – both equally as successful.

Academic Peter Lunenfeld, author of the fascinating ‘The Secret War Between Uploading and Downloading’, is captivated by works that explore how real and virtual space can interact. “I'm interested in a key question - how much digital art and this kind of experience needs to be locative? That you have to be there to experience it, versus the net.art dream of the 90s which was that this kind of art was going to be accessible from everywhere.”

Lunenfeld sites William Gibson’s novel ‘Spook Country’ as providing a model of how to push the boundaries between the real and the virtual. “’Spook Country’ is about this locative media artist. It's about making the transitions between the visible and invisible seamless. It's about walking through space not thinking that there's anything there and then something that's informatic will appear. It’s one of the 21st centuries notions that there's a way to make the invisible presence visible - that you can create things that are completely ephemeral that can be accessed.”

For Lunenfeld, art that uses augmented reality is a contemporary way to manifest this Gibson-like approach. An example he suggests is Los Angeles-based Adrian Saxe who embeds QR codes into ceramics. Here objects looked at as organic and part of an ancient heritage are transformed to be linked to California’s history of industry, jet engines and the modern. Another case is artist and designer Didi Dunphy who explores the relationship between feminism and modernism. Past work have included needlepoint QR codes that links directly to videos that you can only access by seeing that piece in the gallery. In both these cases, objects in real space are re-mystified. “I think people are incredibly interested in a search for the techno sublime. I think they really want these technologies to reengage with certain level of magic.” Lunenfeld notes.

Artworks in real space are also becoming magical but in an all-encompassing, completely immersive way. Work by installation artists like Christoph Buchel, Justin Lowe and Jonah Freeman, Mike Nelson, Cardiff and Miller and Thomas Hirschorn (in particular his awesome takeover of the Swiss Pavillion at 2011’s Venice Biennale) have become blockbuster attractions. These space-heavy experiences are almost impossible to document, though Mike Nelson’s book to accompany his New York temporary building sizes artwork ‘A Psychic Vacuum’ did a very fair attempt to recreate a sense of the mysterious and labyrinthine. The atmospheric book shows empty corner, strange details, winding staircases – recreating a sense of journey through its pages. These artwork  equivalent of a theme park ride, and just as exhilarating. Art that is so overwhelmingly physical and spatial that there it takes us out of our selves.

Documentation of spaces in a wider sense has become a fetish for those interested in art. In the past few years there has been a massive increase in the spread of installation images. Quarterly magazine AGMA, and its online counterpart, has created an entire publication around the concept of installs. The magazine was created by three editors, two curators and one art consultant. The idea was to create “a critical art magazine which looks back to what just happened, slowing a moment in our life. AGMA brings information but doesn't communicates with words, rather through images,” editor Francesco Stocchi explains.

The reason why AGMA works is its complete lack of text. Most catalogues, reviews and profiles present art images accompanied by an often descriptive text by a writer. Someone has to see the show after all and try to record it for a wider audience. AGMA, in contrast, focuses purely on the visual, creating a pictorial conversations with the viewer and somehow democratizing the whole process.

AGMA’s images together place the emphasis is firmly on what the curator is doing. Everyone is looking for some who pushes how to use space. “Our language for installing artwork is most of the time very limited to classical parameters of setting things at a height of 150cm with proportional placement etc. This makes our job exciting by trying to find ways in which people are working to evolve or break this language or highlight those who are speaking this language fluently.”

As the medium of art changes rapidly – from performance to installation to sculpture to digital files – the process of documenting how space is used is becoming incredibly fluid. Exhibitions are living things with a short lifespan. What makes exhibitions so important and vital arguable is their ephemerality. “An exhibition connects ourselves, the artwork and the space to a specific moment in time which is unrepeatable,” as Stocchi notes.

As ideas around space and how to use it continue to develop, ideas around time are increasingly part of how space is used. Turner Prize winner Simon Starling did it most notably in an exhibition, which opened in December 2010 at Camden Arts Centre. ‘Never The Same River (Possible Futures, Probable Pasts)’ brought together 50 works from 50 years of the gallery’s history. Each work – from artists including Francis Bacon, Mike Nelson and Susan Hiller - was placed in the location they originally were shown in throughout the space’s history – like layers in time fused into one moment. That sense of layering time perhaps is only possible in real space.

Curator Rob Tufnell thinks there should be shift in awareness about ideas of how space is used. Tufnell runs his eponymous gallery in Pimlico and has worked with spaces as varied as Dundee Contemporary Arts, Turner Contemporary, The Modern Institute and Stuart Shave Modern Art. “I do think a lot of curators overlook the way works look in space. It’s difficult to teach that and I don’t think curating courses do. If you look at old school curators, the people who curated the Ferdinand Leger at the Tate in the 1970s, or Dawn Ades who has just come out of retirement to do project for Manifesta. They will always talk about the relationship between work and how they use the space. And giving works the space they need. I don’t think people talk about that now – they talk about names and media. There needs to be some kind of correction.”

That correction does not necessarily mean following the trend for environmental and installation works. “I think we’ve become so blind to things around us that those are the things that have become memorable because we have such a short attention span.” Tufnell notes. “I worked for a long time in Glasgow where a lot of famous artists - Martin Boyce, David Shrigley, Douglas Gordon, Jim Lambie - all studied under the Environmental Art course up there run by David Harding. The mantra of the course up there was ‘the context is half the work’. I kind of see that but at the same time I’ve seen so much ‘context is half the work’ work that it can be terribly dull.”

Tufnell is equally as tentative about our relationship with the internet and online spaces (though not notably as a research tool). He sites the VIP art fair as “the emperor’s new clothes” with its emphasis on the selling highly commercial aspect of the internet. “We don’t look at art anymore we look at jpegs. Artists want people to see things in the flesh – and as an agent to artists I have to try to make that happen.”

Learning how to walk the line between online and offline artwork is something I’m addressing in an exhibition opening at Jacob’s Island this March. ‘Responsive Eyes’ attempted to look at the tension between how we look at art and at screens. The group show which includes work by artists Antony Antonellis, Paul B Davis, Thomas Lock, Sara Ludy, Michael Ruiz, Lucy Stokton, Mark Titchner and Artie Vierkant, was inspired by an iconic Op Art exhibition called ‘The Responsive Eye’ held at MOMA in New York in 1965. A very young Brian de Palma, of ‘Scarface’ and ‘Carrie’ fame, made a documentary about the exhibition and it’s opening. De Palma captures the visiting audience’s reaction to the works, notably in fast edited comments in the end credits, and in brilliant visuals of people bobbing and moving in front of works trying to capture the best way to view it. The show and its response seemed a brilliant metaphor for how we look at screens (and screen based art) today. Instead of optical illusions and minimalist perceptual games, today we have a constant flux of movement, sound, information and visual stimulus online. Pieces in the show range from videos to monitor based gifs to magic eye posters. The aim is to play around with works that examine ways of seeing.

In reality, that process of seeing is related to a sense of enlightenment. Part of the attraction of visiting art spaces is almost religious. A space for those searching for enlightenment or thought or meaning or profundity (sometimes with some entertainment thrown in). “Whenever you find any minoritarian cultural pursuit, [its creators] are doing it with an ecclesiastical devotion.” Paul Pieroni observes. “The gallery has developed over a long period of time and changed and morphed. When you enter into one of those spaces there’s a feeling, almost a transcendent feeling. You can’t enunciate what that is, but I get it. It’s sacred. It’s ritualised.”


Copyright Francesca Gavin 2012 published in Its Nice That magazine issue 8









Friday, December 07, 2012

Best in Show 2012

Here's my annual round up of the best exhibitions of 2012. These are the moments when my stomach flipped, brain blew and I got all excited. The reason why I refuse to say all art is rubbish. 

The list below of course does not include my hat trick of exhibitions this year - The Dark Cube at the Palais de Tokyo, E-Vapor-8 at 319 Scholes and Responsive Eyes at Jacob's Island - though of course they were a big focus for me...

1 Documenta (for so many reasons)


2 Bronze at the Royal Academy of Arts London


Ghosts in the Machine at the New Museum


4 Les Maitres du Desordre at Musee Quai Branly


5 Antoine Catala at 47 Canal Street

Ed Atkins at Chisenhale



7 Bruce Lacey at Camden Arts Centre


8 One on One at KW Berlin (especially for Jeremy Shaw's incredible hypnotic video installation)


9 Jeremy Deller at Hayward Gallery


10 The Historical Box at Hauser and Wirth

If you want to see previous annual round ups check: 20112010 and 2009


Sunday, November 25, 2012

Fantasy gigs

Enough of art. I wish I'd seen these people play live:





Wednesday, November 21, 2012

Things to do in London this week




Cosmo's Levels at The Sunday Painter - the gallery that always gets me heading south (also in Peckham Friday Night there is a Guy Gormley opening at Son Gallery and big art/music event from Viktor Timofeev at Hannah Barry)



Death at The Wellcome Collection - which has so much good work in it (Dix, Bellmer, Goya, Ensor) you could go twice (Image credit: Untitled (Skulls with fingers and eyelash), Ray Johnson (1927–1995, USA) collage on illustration board, c.1985–95)


Gabriele Beveridge at Rod Barton Gallery - for assemblages and double exposures
N/V Projects and Pio Abad at Plaza Plaza - both opening on County Street near Elephant (yes its all about SE this week) this Thursday night the 22nd.




The Vivisector curated by Todd Levin - group show around Cindy Sherman with a doll angle at Spruth Magers (opens Thursday night as well as Kristine Roepstorff / Olaf Breuning shows at Pippy Holdsworth nearby)

Tuesday, November 13, 2012

Simon Denny



I did an interview with Simon Denny last year that was never really used full and it was great. With his kind permission, I felt it would be nice to share it in its full form here:


What do you find interesting about exploring ideas around technology in a less obviously tech sculptural form?

As a friend recently said to me, you can't define a term using that term. Effects of the digital are not always best explored using those selfsame mechanics of the digital.

What attracts you about screens and TV in particular?

Over the last say 10 years TV, both as a system and an object has undergone many major structural and contextual changes. It is no longer considered to be the dominant popular medium and is increasingly less of a distinct system unto itself – the digitalization of broadcast and introduction of HD makes it more flexible and it is increasingly more integrated with the internet. The type of television being produced has also changed to favor more epic, ”quality” HBO-style productions and MTV-style “reality” shows. as a result of this many people seem to no longer see the medium as inherently trashy. This has all occurred at the same time as TV monitors themselves have changed drastically in form and technology. Also screens, which have been a part of our lives increasingly over the past century, have reached a certain point where one basically does nothing without encountering them. As an artist I find it important to process our relationship to the built environment. And as an exhibition maker I need to be very aware of how screens read within exhibitions. The TV set used to be read as an icon of a trashy media-giant dominant bully, leading society astray. Now it means something else to us – and exploring what that is is part of what I’m interested in.

What do you like about playing with perception in your work? (Rather than 2d or 3d maybe you should be 2 1/2 dimensional?)

2.5 dimensional… ha ha. I recently made a 3D video of a walk through a factory in a small German town that chromes metal products for major international cruise ships – including the gigantic and complex funpark/boats made for the company that is known for making a little animated mouse very famous in the movies. Re-introducing 3D is one of the attempts of the consumer electronics/entertainment industry to create new must-see experiences that mean you have to go to the movies or buy a new kind of TV to experience them – you can’t just watch pirated versions for nothing on the internet. So the return of 3D is a stark economic attempt to save certain key streams of revenue in those industries. The relationship between 2D and 3D also happens to be a very important problem in the history of modernist art. So the intersection of the concerns of the contemporary entertainment industry’s economically-motivated format evolution and pictorial issues from art of the last 130 odd years is a pretty alluring thing to look at.


There is an interesting tension between the stable and unstable in your work - objects seem to be nailed in place. Or at the other end of the spectrum slipping somehow. What do you like about those states?

These properties are part of a grammar of sculpture that I first encountered with Arte Povera, which I was a big fan of when I started making exhibitions. They continue to be helpful when describing something like obsolescence cycles.

Some of your titles make reference to screen and video yet they are made with different materials, not straight videos. What draws you to that contrast?

I think we are living in a moment when we often don’t know what it is that we are looking at. When we look at an object, a lot of information that enables us to make sense of that object is just simply not available. This is even more the case when we experience things through screens – so much information is missing. By making things that claim to be videos but are only echoes of some formal qualities that surround the experience of viewing a video (kind of object ghosts of the viewing experience) I hope to communicate some of that feeling.

Some of your materials are overtly prosaic, domestic or functional. What do you find interesting about the readymade?

As I say, I am often totally baffled by the experience of objects, so being able to determine how much information one has access to around an object and how one receives this info is really engaging for me. It can be even more challenging to play with these dynamics around objects we are used to living closely with, because we think we know what they’re about. Using found objects in an exhibition is also different for me than the readymade, which carries this more specific history.


Sunday, November 11, 2012

What to see in London this week


Thursday November 15 is a night a damn good night for London art. There are three openings all in East London and an after party at Bethnal Green Working Men's Club at 9pm - where I am DJing in fact. These are the three are musts. All are open between 6-9pm on the opening night.

Thomas Dozol 'Côtes d'Azurs'

French Riviera 309 Bethnal Green Road, London  E2 6AH
until Dec 16 2012


CHIMERA Q.T.E.
Curated by Attilia Fattori Franchini


Cornelia Baltes, Nicolas Deshayes, Adham Faramawy, Jack Lavender, 
Berry Patten, Sabrina Ratté, Travess Smalley, Oliver Sutherland


Cell Project Space, 258 Cambridge Heath Road, London E2 9DA
until Jan 13 2013 (closed Dec 17-Jan 3)


Tiling 
Curated by Tim Steer

Laura Aldridge, Larry Bell, David Berezin, Andy Boot, David Raymond Conroy, Timothy Davies, Mark Soo

Seventeen Gallery17 Kingsland Road, London, E2 8AA
until Dec 22 2012



Saturday, November 10, 2012

Potato


I use the word potato too much. I admit it. As a verb, an adjective, a noun. "He's a potato", "Let's just potato", "I felt like a potato" etc. Its not because I eat them non stop - it just feels like such a descriptive word. It was my birthday yesterday and many friends sent me potato themed images, seen here. This post is in honour of the humble pomme de terre





Tuesday, October 30, 2012

Reading List


As ever I am feeding my bibliophilia with too many books - these are the current books that are piling up around my bed:

Confessions of an Art Addict by Peggy Guggenheim, with a forward by Gore Vidal

Mike Kelley: 99,9998% Remaining 

How the World Works by Noam Chomsky

Anne Hardy (stunning catalogue from her solo show from the Vienna Secession)

Fruit Salad (from very good looking publisher Bronze Age Editions)

William E Jones (from the Inside the White Cube catalogue series - bought the Raphael Hefti too)

Monsieur Pain by Roberto Bolano


(For past reading lists see here and here and here and here)

Friday, October 19, 2012

Top 10 shows to see this month



I miss the old Time Out. I would occassionally get it to tick all the shows I had seen and circle the ones I had not. Now there is only artupdate et al to keep me entertained (thank god that exists) in non digital form.

I think I might try to make up for this with regular top 10 lists of shows to go to each month (as well as tweets which you can view at the bottom right of this blog)

1 Converse/Dazed Emerging Artist Award (opening Oct 25)

2 Ed Atkins @ Chisenhale (pictured above)

3 Rashid Johnson @ South London Gallery

4 Theaster Gates @ Whitecube Bermondsey (esp for the library piece)

5 After/Hours/Drop/Box @ AND/OR

6 Jesse Wine @ Limoncello

7 Bronze @ Royal Academy of Arts

8 Guy Rusha @ The Sunday Painter

9 Klein/Moriyama @ Tate Modern

10 Jack Strange @ Project Number (opens Oct 25)


The end of The Dark Cube


The show has closed - followed by a brilliant performance lecture by this year's Emdash award winner Cecile B Evans at the Palais de Tokyo, which was documented by Purple Diary. Her 'lecture' played with ideas of interpretation, association and the impossibility of things. She used The Dark Cube as an example - speaking on the show like a wikipedia entry before it collapsed on itself. It was the best closure to an exhibition I have ever experienced.

The show was also covered in the following places:




Dazed Digital - profiling Scott Treleaven
And you can see some documentation here (thanks to artist-photographer-filmmaker David Ledoux)

Harry Burden 'Dirty Fucking Hippies' (2012) details

Antoine Catala 'Fantastique' (2012); Ben Sansbury 'Changing Change' (2012)

Scott Treleaven, 'The Body Electric' (2012)
 

Oliver Laric 'Chippendale Cube' (2012)

Clunie Reid 'World Without Images' (2012)

Thomas Dozol 'I Can Barely Hear You' (2012)

Scott Treleaven 'Walking With Thee' (2012); Jeremy Deller 'Did He Change Your Life?' (1994)

Juliette Bonneviot 'Stepanova/Popova/Adidas/Puma/Umbro/Reebok/Nike' (2012)

Kasper Sonne 'Untitled Carpet No 3' (2012)

Anne de Vries 'Trance Tracks' (2012)