[Details on Request]

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Saturday, 18 December 2010


[Details on Request] have worked with 35 artists in 2010 over 9 exhibitions and events- find out about them below and keep checking our blog for news of 2011!

Airimages // David Butler // Laurie Lax // Liberty Rowley & Mark James // Matthew Kay // Matthew Mackisack // Rie Hale // Victoria Karlsson // [Details on Request] // y.not.i (stylists) // Jerk It (DJs) // Maria Lopez // Alex Perryman // Necole Schmitz // Esther Hubert // Luz Valencia // Turnhurst // Supermarket Sarah // Lou Marcellin // Pope Joan // Paul Hanford // Annie Ablett // Natalie Sharp // Will Slater // The Illegible Bachelor // Tim Smart // Super Penny // Lance Boreham //Roberta Vaz // Alastair Levy // Ruaidhri Ryan // Laura Kennedy // The Typewriters // Stephany Pollard // Ines Von Bonhorst // Rebecca Noy

Thursday, 16 December 2010


Last week whilst walking past Vyner Street [DoR] stopped in to Kate Macgarry to have a look at this, I would recommend it....

Music, fashion and art are indistinguishable in the multifaceted practice of Chicks on Speed. Their sculptural objects often function as a tool, an instrument or a prop in stage shows and gallery performances that fuse the vernacular of contemporary pop and the early 20th century avant-garde. For HAPPENING they present their recently invented E-shoes - wearable guitars with sensory strings that produce amplified wireless sound for foot-flying gigs - and Cigar Box Synthesizers, found cigar boxes adapted into functioning synthesizers to be played in large orchestral setups.

Wrapped around the gallery's walls is a tapestry that was made on a loom built into the stage at the recent Chicks on Speed exhibition at Dundee Contemporary Arts. The pattern has been derived from a speaker system and abstracted then produced manually during the show, thereby compacting traditional and current technologies, sound and vision, craft and durational performance.

Chicks on Speed is a collective of artists who operate through a membership based in cities around the world. Just as they transgress disciplinary boundaries, they move between places, their dispersal enabling an organic network of performers, designers and manufacturers that mirrors the contingent resourcefulness of global economies. Their aesthetic of ripped-up references, distorted quotation and borrowed methods evokes the energies of Dadaism, punk and radical activism, while their no-nonsense approach to self-display, sensory pleasure and forthright femininity places them squarely in the post-feminist camp, where what the lady wants, the lady gets on and does.

CHICKS ON SPEED formed when Melissa Logan (born USA, 1970, lives and works in Hamburg and New York) met Alex Murray-Leslie (born Australia, 1970, lives and works in Barcelona/Sydney). For this exhibition Chicks on Speed have collaborated with Anat Ben-David (London), Merché Blasco (New York/Barcelona), Kathi Glas (Berlin), Nadine Jessen (Hamburg), Krõõt Juurak (Vienna/Estonia), Faustine Kopiejwski (Paris), A.L. Steiner (New York), Morwenna Garrick, Steve Dawson and Oliver Horton (London).

The E-shoe was developed with shoe designer Max Kibardin, Milan in conjunction with hangar.org, and the Cigar Box Synthesizers with Diego de Leon and Alejandro Bizzotto, Befaco, Barcelona.



Over the past couple of weeks I have been working with a group of artists and curators in Kentish Town who are working towards an NVQ in Cultural and Heritage Studies. As part of this they have founded The Institute of Kentish Town, a week long archival exhibition held in Parlour Project Space.

The exhibition aims to create connections between artists and the public in the area- Well done to the group for putting together a really interesting show and group of events.

Find out more about this weeks events here: http://instituteofkentishtown.tumblr.com

You are invited to a one week archival exhibition, playfully documenting the community of Kentish Town.

Running from 14th to 18th of December.

The institute will attempt to gather information through drawings, found objects and mapping by asking the community to respond to their personal connection to the area through the following question-

‘What is your favourite place in Kentish Town?’

The exhibition will therefore look closely at notions of private and public, as well as ideas surrounding place and the community which inhabits it.

The Institute’s resident artists- Nic Harper, Jocelyn Allen, Milka Panayotova and Rodrigue Dakouri- will react to this idea through photography, painting and sound.

Members of the public are asked to contribute to the exhibition with found objects and ephemera, which will be placed in our display cabinet; as well as being asked to add to the drawing wall and interactive map. Contributors will be rewarded with a free membership to the institute and an invitation to the closing party on the 18th December, during which the completed archival collection will be displayed.

Sunday, 12 December 2010


Laura Buckley • Maria Taniguchi • Adam Thompson
Laura Buckley works sculpturally with projected light, making it visible as a medium and causing its dispersal in space, therefore the built environment and structural support that surrounds it have become an integral part of the work. Importantly, Buckley reveals the process by which works of art and images generally emerge, revealing the methods of installation and equipment she uses. However the works reductive qualities are at play as rich figurative image is bounced and reflected across mirror and Perspex geometric planes transforming it into substance and its own materiality. The scenes of everyday life depicted in Buckley’s films are transported to an extramundane dimension by the psychedelic process of her practice.
In 2010 Laura Buckley will have her first solo exhibition at Mothers Tankstation, Dublin and was shortlisted for the 'Converse/Dazed Emerging Artist Prize', with an exhibition of her work at the Stephen Friedman Gallery, London. Group shows include ‘...Et De Lumiere' (with Jacob
Mattner), 401 Contemporary, Berlin, 2010, ‘Laura Buckley, Hugo Paris, Haroon Mirza & Doug Fishbone, Rokeby, London, 2009 and Material Presence at 176 Gallery, 2008
Maria Taniguchi avoids tangible subject matter unless it has been processed through a much wider network. Her works are often the result of displacement or distribution, with an insistence that the boundaries of the objects are unknown or pose questions in some way. In Taniguchi’s works there is normally an outcome that is part image and part object, which re-organizes the tenuous links existing between subject, representation and process. Using the Internet determines how an idea’s point of entry can be developed or processed. New windows open new scenarios, changing and diverting the initial idea and the informational content relies directly on the logic of the network.
Maria Taniguchi was a 2009-2010 LUX Associate Artist. Recent exhibitions include 'Lost in your eyes/Foreign Correspondent' , Form Content London in 2009 'No Soul For Sale: Festival of Independents', Tate Modern, London, 'There's fire on the lake', Kunsthalle Marcel Duchamp, Cully, Switzerland 'Homestay', Osage Gallery, Shanghai, China in 2010. Forthcoming exhibitions include 'Complete and Unabridged: A Survey of Philippine Conceptualism', Osage Gallery, Hong Kong and La Salle ICA, Singapore.
Adam Thompson distances himself from hands-on making excavating found debris and the stuff of the everyday. He keeps intervention to a minimum, carefully selecting objects and altering them in order to develop new explanations and new relationships with each other. Using the shallow horizon of the gallery floor to reinforce his interest in landscape he simultaneously combines intimate proximity and irreducible distance. The work addresses notions of: no beginning, no end. Philosophical questioning of metaphysics and materialism take president to the basic structure of framing landscape, often leaving the bigger questions about ‘the universe’ unanswered.
In 2010 Adam Thompson had solo shows at MOT International, London, Showreel (curated by Paola Caravati), Milan and , ‘Unthinged’ at Hayward Gallery, Concrete. Group exhibitions include 'Landscape Without Horizon' at Museum Schloss Moyland, Germany with a forthcoming exhibition at Saatchi Gallery 'Shape Of Things To Come: New Sculpture’

Thursday, 9 December 2010


[DoR] had a spare second and popped in to [SPACE] on Mare Street to see the controversial exhibition of works by the artist, poet and writter Mary Barnes.
The exhibition includes paintings, drawings and sculptures by Barnes and also includes written material and documents, all from her time spent at Kingsley Hall suffering from a mental breakdown. Barnes underwent radical therapy from R.D. Laing to treat her breakdown and suffered a complete behavioral regression. The exhibition also presents a series of videos works which are highly recommended.
If you also find yourself with a free moment do go and have a look -

Wednesday, 8 December 2010


Untitled, 2005

Last week [DoR] visited the newly opened Hauser and Wirth in Savile Row to witness the solo show of fabric works by the late Louise Bourgeois, previously exhibited at the Fondazione Vedova, Venice. As well a sizable collection of Bourgeios's fabric drawings the exhibition also included a series of large sculptures.

Taking inspiration from her parents tapestry upholstery business, Bourgeios collected textile including tablecloths and bed linen throughout her life. Between 2002 and 2008 she transformed her vast collection of fabrics into a series of works. Bourgeois's fabric drawings and sculptures express personal perceptions of her mother, an expert weaver, a natural carer and protector, and have been said to have contributed to the self healing of Bourgeois,

'I always had the fear of being separated and abandoned. The sewing is my attempt to keep things together and make things whole'.

Peaux de lapins, chiffons ferrailles a vendre, 2006


On Thursday the 2nd, we went to a performance lecture at Cell Project Space given by the artist and volcano fantasist Ilana Halperin. We found the format of a performance/ lecture every interesting- pulling the viewer into a personal relationship to the speaker, sharing in her stories and experiences- Along with the video installation behind her, the viewer was able to flit between watching the footage of volcanoes and watching the performer read from her diary- meaning that you were able to share in her amazement at seeing the beauty and almost terrifying power of the living mountains. The exhibition was a collaboration between the artist, curator and art writer, Andrew Patrizio and archeologist Karen Holmberg.

Cell Project Space (http://www.cellprojects.org/content/hand-held-lava)

Saturday, 4 December 2010


Here they are at last!!!

Many thanks to the man with the camera Richard Morris

Stephany Pollard

The Typewriters

Stephanie Pollard

Paul Hanford- TAGO MAGO curator

[Details on Request]

Sounds of Awe and Wonder, Alastair Levy

Roger That, Ruaidhri Ryan


On Thursday the 9th December at the Richmix, Making Tracks will be fantastic cinematic event which will combine film and music, provided by The Cabinet Of Living Cinema. Whirlygig Cinema is a project run by fellow ex-Bath graduate Katie Steed providing opportunities for emerging filmmakers.

Making Tracks will be a really interesting evening...go along to find our more!

Whirlygig Cinema is hosting Making Tracks, a unique live cinematic event that will combine new short films from up-and-coming filmmakers with live music from The Cabinet of Living Cinema at Rich Mix in Bethnal Green, East London at 7:30pm on Thursday 9 December.

Katie Steed of Whirlygig Cinema said, “There is a trend at the moment for seeing old films re-scored live, people love that sort of thing. This is an exciting opportunity for new filmmakers to be given the chance to have their work treated in this way.”

Making tracks will bring together a diverse collection of filmmaking talent including animation, abstract and experimental video and silent film homages. The event will give filmmakers who have had problems with music copyright the chance to have their work screened in public.

Many of the filmmakers will attend the event in person and will hear the new scores for the first time. Katie said: “They will also be able to keep the recording of the Cabinet’s score so their films can be shown again.”

Making Tracks will take place again in the Rich Mix Bar on Friday 14 January 2011 as part of the London Short Film Festival when the programme will also include a handful of films from past festival entrants.

Rich Mix Bar, 35-47 Bethnal Green Road, London E1 6LA

Tickets are £5 in advance or £7 on the door. Book online at richmix.org.uk

Thursday, 2 December 2010


I cried.


Image from here:

With some amazing video visuals and live footage in the background- a absolutely fantastic evening from one of our favourite bands- although it did get a bit churchy towards the end.....and they didn't play About Today....

Wednesday, 1 December 2010


Didnt time our Bristol visit so well- should have planned it to coincide with this:

Inbetween Time Festival has come along way since it first emerged as part of Arnolfini’s Live programme in 2001. That time and place marked the very real beginning of a critical community of performance in Bristol that has grown from strength to strength. In 2010 Bristol is now one of the UK’s most vibrant centres for contemporary performance and live art.

Back in 2001, we flooded Arnolfini’s public spaces with hundreds of tiny projections, strung up mirror balls in every corner and helped launch an influential community of artists from Bristol onto the world. And we learned that for a festival to happen, the chemistry has to be right. It needs to be cared about by more than just a few people. It has to be shared, a moment of communal gathering, a celebration and a ritual.
We are immensely proud to announce that Inbetween Time Festival is now produced independently by Inbetween Time Productions in close collaboration with Arnolfini. Inbetween Time 10 is an international celebration of real eccentricity and defiance, artistic bravery and audience openness.

And in particular this:


If anyone has any ideas how [Details on Request] can work with other people or students regarding creative protests against cuts in the arts please let us know we'd be happy to work with you:



It is a tough time in the arts at the moment. Whilst commercial galleries may continue to court the big spenders, it is the public galleries and artist run spaces that will suffer the most- and these are the places that are either open to all of the public or the places that nurture and invest in emerging talent. Art can be seen as a luxury and so spending goes from this area first and we (artists, art lovers, curators, writers, poetics, illustrators, makers ad. in.) are being put in the position where we need to remind people of the intrinsic value of the arts to creativity, development, forward thinking and expression both with in the arts and beyond.

This is what we like to see:

We believe that the current proposed cuts to university funding threaten the existence of arts and humanities education in England and Wales. It is for this reason that we have made the decision to occupy the Slade School of Art building. We demand that the government provide the same protection for arts and humanities in universities as is provided for the sciences. We vehemently oppose the transformation of the university system into market based model; education should be a public debate, not a private economy.

Therefore we the students of the Slade are offering a space for the assembly of all art colleges in England in order to organise non-violent direct action against what we view as an attack by the government on the arts. This is not a virtual exchange, this is a physical assembly. We are demonstrating the value of physical space for art education through the continuation of our day-to-day activity, as well as by inviting other colleges to participate in open events, lectures and workshops. Our occupation is not designed to be disruptive, nor will it engender any damage to the building. Rather, we want to highlight the value of intellectual and cultural exchange within art courses. This is not a boycott, it is an act of support.

See also: