PRESS Tim Etchells in Canvas Magazine
“I’ve always had an affinity with language, spoken or written. Over time, I have repeatedly questioned how language makes and shapes the world we live in. Perhaps the thing that I have done longest (even before ‘being an artist’) is to collect language; writing down fragments that I have read, heard, seen or imagined. Whatever context I am working in – whether it is performance, art, dance or written publications – it seems as though text always gets in there. In one way or another, text feels central to who I am and how I am in the world.”
Tim Etchells interviewed in Canvas Magazine. Read more here.
PRESS Tim Etchells in NY Times
Speaking by telephone from Sheffield, England, Mr. Etchells, who appears in “On the Thousandth Night …,” discussed inanimate objects, epic performances and why most Forced Entertainment shows — the Skirball ones, too — are built to fail. These are edited excerpts from the conversation.
Why Shakespeare? Why now?
If you’re based in the U.K., people are always saying, “Would you ever do Shakespeare?” For more than 30 years, our answer was, “No, I don’t think so.” What I like about this project is that we’re sort of doing them all, and then, in another way, not quite. We really focus on the plot architecture. Mostly, it’s very easygoing language, very everyday.
Tim Etchells and Forced Entertainment featured in NY Times. Read more here.
PRESS Corridor 8 Interview with Tim Etchells
“Corridor8: You work across a diverse spectrum of spaces — from gallery to stage, public space to paper. Do you find there are similarities in the ways you approach these?
Tim Etchells: Yes, I think so. I am always trying to understand the nature of the contract you can establish with a viewer in a particular context. If you can understand that — what the possibilities and limits of the situation are — you can make a work that speaks intelligently into the context. I’m always keen to understand the formal structures and the nature of the relationship to an object or a work in a particular context. In essence, you’re performing a calculation: ‘What is this space? How does it work, historically and in more pragmatic dynamic terms? What does it allow me to do? What are the limits I need to negotiate or try to break through?’ Any of these contexts allow you to do something quite different, but the calculations you make about the work itself are very similar.
One of the things I like about working across all these mediums is that it allows me to reach viewers in a variety of different ways. At the extreme end, a novel is very different to a neon sign, and a neon sign on top of a building is very different to an intimate show in a gallery or a performance lasting six hours. Each of those allows you to approach people in different ways, and that’s what interests me — the chance to make a connection, to get under people’s skin or get past their defences.”
Susie Pentelow interviews Tim Etchells for Corridor8 Magazine. Read more here.
PRESS SMUT in Widewalls
“Every piece exhibited is crying out for attention from the viewer, as if they are lonely and desperate for love, and every corner of the space is filled with flamboyant florals, fluid curves of golds and pastels and almost unidentifiable juicy materials.”
Great review of SMUT by Claudia Dance-Wells in Widewalls. SMUT, duo show of Patrick Fitzjamie and Lindsey Mendick is on view at VITRINE in Basel until September 2nd, 2018. Read more here.
PRESS Tim Etchells in Archinect
Tim Etchells’ work ‘Everything is Lost’ which is showing at Frieze Sculpture Park is featured in Archinect Magazine. Read more here.
PRESS SMUT in TZVETNIK
Image gallery of Jamie Fitzpatrick and Lindsey Mendick ‘SMUT’ at VITRINE Basel in Tzvetnik. Read more here.
PRESS Tim Etchells in The Art Newspaper
Tim Etchells “Everything is Lost” is featured in The Art Newspaper ‘In pictures: Frieze sculpture 2018″. Read more here.
PRESS Hanae Wilke in FAD
“The works are a novel take on an issue plaguing large parts of the population, offering alternative superior tenures. Wilke says that the “vessel is a habitable place”, somewhere that houses the body. A home to hold the future. A future where city architecture is planned with care for the public and social policies focus on cultural assimilation and housing equality in sustainable, environmentally friendly ways.” Will Clarke reviews Hanae Wilkes ‘Close Quarters’ at VITRINE London for FAD Magazine. Read more here.
PRESS Frieze Sculpture 2018, including VITRINE and Tim Etchells, is featured in Something Curated
“Last year, our first-ever summer Frieze Sculpture was a resounding success, with more than five million visitors enjoying exceptional sculpture by artists from around the world. The 2018 edition is just as expansive and diverse, so that the public and collectors alike can experience world-class artwork in the beautiful English Gardens, designed by Markham Nesfield in 1866. My hope is that the exhibition will give pause for thought as well as great pleasure, and that visitors to Regent’s Park will have a snapshot of the fantastic imagination of artists and variety of sculpture being made today.” Read more here: Something Curated, What to Expect From The Return Of Frieze Sculpture This Summer.
PRESS Tim Etchells is mentioned in Something Curated’s review of Frieze Sculpture
Tim Etchell’s ‘Everything is Lost’ is mentioned as a “highlight” of Frieze Sculpture 2018 in Something Curated’s review here