PRESS SMUT Interview with Jamie Fitzpatrick and Lindsey Mendick in MyArtGuides
On the occasion of the duo show “SMUT” by British artists Jamie Fitzpatrick and Lindsey Mendick at VITRINE Basel, which opens on Tuesday 12 June to coincide with Art Basel 2018, we asked the curator Alys Williams (VITRINE Founding Director and SMUT Curator) and artists to have a conversation to learn more about the exhibition, the artist’s practice and their interest in the Wallace Collection, London, where they have both taken inspiration. Read more here.
PRESS SMUT in Frieze
“The Wallace Collection is housed in the 18th-century Hertford House in a square north of Oxford Street in London. It is a sumptuous setting for a superb collection with emphases on 18th century French painting, furniture, porcelain and more. Contrast that with Vitrine’s Basel location: an angular, contemporary glazed space tucked under a road bridge next to a train station, tram stop and supermarket. British artists Jamie Fitzpatrick and Lindsey Mendick, both graduates of the Royal College of Art, bring a flavour of the historic London collection to this Basel location with works in sculpture, painting and sound that revisit the exuberance and excess of the French depictions of love and sensual encounters. Embraces and gestures are examined and recreated with keen interest in their standard vocabulary and how this might be altered or emphasised, reviewing gender and class distinctions in contemporary form. “
We are delighted SMUT is featured in Frieze Best Shows in Basel guide! Read more here.
PRESS SMUT on FAD Magazine
‘SMUT’ is a two-person exhibition of emerging British artists Jamie Fitzpatrick and Lindsey Mendick, whose practices explore a shared interest in gender, high and low cultural histories, and the relevance of the figure in image-making. Opening during Art Basel at Vitrine gallery Basel.”
Jamie Fitzpatrick and Lindsey Mendick featured in FAD Magazine. Read more here.
PRESS Maya Rochat in The Telegraph
Review of Shape of Light at Tate Modern featuring Maya Rochat is now live. Read more here.
PRESS Maya Rochat in The Upcoming
“Almost for the first time, we find some colour, with Maya Rochat’s brightly engaging The Rock Is A River exhibited alongside genuinely innovative uses of monochrome photographic processes by contemporary artists such as Antony Cairns and Daisuke Yokota.”
Anna Souter reviews Shape of Light at Tate Modern featuring Maya Rochat. Read more here.
PRESS Maya Rochat in ELEPHANT
“I like the warmth of an overhead projector, which has an image that is very alive and immediate. Once a drop of paint falls onto the acetone you instantly have a huge moving painting projected on the wall, overlapping the architecture. It reminds me of anagogic photography; a simple and yet magical moment to observe. In my performances, I want the public to have as much fun as I do.
A friend of mine once commented that the annoying thing with performance is that performers generally seem to have more fun performing than the audience taking it in. I therefore conceive my performances to be open, colourful and pop. I like to create a meditative moment, a safe place, letting images of space and the cosmos filter in.
The musicians I work with, such as Buvette or Bermudaa, compose live, creating a welcoming and relaxed atmosphere. I am drawn to musicians who experiment with sounds in the same way that I am composing immersive collages.
For me, the job of the artist is to figure out what art can do for our society, our people and our dreams. If a person visits my show and leaves feeling encouraged to start something of their own, becoming aware of the preciousness of being creative (egoistically as well as collectively), then I’ve succeeded in what I set out to do.”
Maya Rochat discusses her favourite tool, The old-school overhead projector, for Elephant Magazine. Read more here.
PRESS Alfie Strong in WSI
Alfie Strong ‘Beyond the Pylon of the Pit’ featured in Wall Street International. Read more here.
PRESS The Manchester Contemporary VITRINE and Paradise Works in conversation
Conversation between Hilary Jack (Paradise Works) and Helena Kate Whittingham (VITRINE), which took place electronically in the weeks following The Manchester Contemporary 2017.
Both Paradise Works and VITRINE were selected to participate in The Manchester contemporary 2017, and were invited by Corridor8 to discuss their organisations and participation in the fair as a whole. Read more here.
PRESS Wil Murray in White Hot Magazine
“Murray works directly onto the photographic negatives in camera, to interrupt its exposure. This base is then “filled in” by the photograph taken in the other season as they are merged, developed and reformed again by painting over it using his signature-morphed style. Although you can’t make out any figurative elements in the works, you can see the changes in season through the heritage colors used, as well as their play with hot and cold sensations. The works themselves are still developing through its exposure to light; black paint strokes are painted on the glass windows to interfere with the sun’s gaze, thereby disrupting its reaction with the photographic negatives. By using both dimensions of the space – its white walls and the glass windows into which you see through – Murray alters the works’compositions using sculptural devices such as shadow; as the day progresses the work becomes shielded and exposed. Gallery-as-laboratory is brought into notion here as the space is transformed into an experimental camera.”
Wil Murray THE ONLYES POWER IS NO POWER in WhiteHot Magazine by William Noel Clarke. Read more here.
PRESS Charlie Godet Thomas ‘Roman-fleuve’ in ArtAgenda
“A roman-fleuve is an ongoing, ambitious narrative; this exhibition frames a moment in a continuum, and some bright objects crystallize. Short, sweet words and gestures—OH—that can overcome the mass of impressions of an everyday city. Thus employed, VITRINE Basel does not define the city’s powers but enables countermovement.”
Review of Charlie Godet Thomas’ “Roman-fleuve” in Art Agenda. Great words about the show and VITRINE’s gallery model. Read more here.
“Roman-fleuve” runs until 3 December at VITRINE, Basel.