Performance, Screening and DJ Night: Glue Gun

Friday 13 January 2012 | 6pm
Endell Street

As part of the exhibition RELICA and to coinside with the Private View, Vitrine Gallery presents GLUE GUN a night of screenings, performance and DJs.

 

RELICA: Exhibition Private View.
6-11pm in The Games Room (4th floor) @The Hospital Club.
Artists: Edwin Burdis, Katherine Gardner, Ludovica Gioscia, Rennard Milner & Robin Kirsten.

GLUE GUN SCREENING: 6pm Cinema (2nd Floor) @The Hospital Club.

George Barber ‘Welcome’. 5’50”. 2008 Barber’s compilation “The Greatest Hits Of Scratch Video” is internationally known and has been featured in many galleries and festivals across the world. He is eclectic, his ideas varied. After Scratch, Barber created many low-tech video pieces and was influential in defining an emergent ‘slacker’ aesthetic. Narrative and found footage seem to be at the centre of much of his work, either deconstructing it or trying as an artist to evolve an approach that is contradictory to the maker’s original intention.

Noah Angell ‘Singing of the Birds’. 1’44”. 2008.
In Singing of the Birds an intertextual collapse of space/time and media takes place in which a Koranic passage seems to prophesy the attacks that take place in Hitchcock’s The Birds. As the passage is recited vocally, it is simultaneously enacted in Hitchcock’s The Birds, acting as a case study in the entwined relationship between
language, law, and cinema.

People Like Us & Ergo Phizmiz ‘Blue Moon’ from The Keystone Cut Ups. 7’28”. 2010.
Using the influence of slapstick comedy and the Surrealists as a starting point, the piece takes us on a madcap journey, combining the techniques and popular imagery of the two genres. The Surrealists took to cinema easily, using it as a device to show their disdain for established artistic tradition. In their quest to liberate the imagination, they believed that the process of juxtaposing unrelated elements would create images of great emotional and poetic power. Thomas Pynchon wrote, “one could combine inside the same frame, elements not normally found
together to produce illogical and startling effects”. ‘The Keystone Cut Ups’ employs a surrealist approach, presenting images side by side on the screen at the same time.

Andrew Gaston ‘Purgatorium’. 10’00”. 2010.
In a pattern matching of sequences, an ever-shifting multi-screen composition creates a momentum of unending
suspense. Shadow filled rooms, corridors, doorways and staircases form an inescapable labyrinth of domestic
interiors, in which each thread acts as an incomplete story. There is an absence of any denouement as the shadow persistently tries to visit. Unrelenting claustrophobia is contrasted with the continual threat from an unseen world. Is the intruder assassin or saviour? As the shadow persistently tries to visit – there is an absence of any
denouement. In a failing chain of communication, the buzz of the intercom, the ring of the telephone, the knock at
the door, cannot awake the dreamer.

People Like Us ‘The Sound of the End of Music’. 3’35”. 2010.
A collage of two films resulting in more than a sum of the parts. From “Genre Collage”, a 45-minute live a/v set by People Like Us, sourced entirely from well-known feature films. Since 1991 Vicki Bennett has been making CDs, radio, and A/V multimedia under the name People Like Us. Ever since she has been animating and recontextualising found footage collages with an equally witty and dark view of popular culture with a surrealistic edge, both pre-recorded and in a live setting.

 

PERFORMANCE: 7pm onward in The Games Room (4th Floor) @ The Hospital Club.

James Stopforth ‘Good evening, I’ve been calling on you and your neighbours’ 2011
A performance about toeing the line, re-fabrication and propaganda. Duration: 1 hour at 8pm. James is a performance artist based in North England. He graduated from Dartington College of Art in 2001. For
over 10 years, he has performed in arts venues and clubs, including Vitrine Gallery (London), the CCA (Glasgow), Catalyst Arts (Belfast), The Edinburgh Festival and The Playhouse (Leeds), and on the streets, in public squares, on trains, buses, tubes, in supermarkets and on dance floors across the UK.

Leah Capaldi ‘Rug Performance’ 2011
Duration: 3 hours. 6-9pm

Leah Capaldi work responds to the influence our culture has over the way we view ourselves in relation to themes of exploitation, power and desire. Challenging existing beliefs and stereotypes within a gendered, political and cultural context, she explores this in relation to social reference whilst testing the boundaries between
performance and sculpture. “In being self aware I understand the object of the gaze and I return it with a punch.”Leah graduated from The Royal College of Art with an MA Sculpture in 2010. She has exhibited and performed in shows including; EXPOSURE 2010, Parasol Unit, London, 2010; The Plaza Principle, Leeds Plaza, Leeds, 2010; RCA to
ECA, Edinburgh College of Art, Edinburgh, 2010; Testing Ground: Live at 176, 176/Zabludowicz Collection, London,
2010; A Race Against Myself, Tim Pritchard, London, 2009 and won the Matt Stoaks Prize for Sculpture in 2006.

 

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AFTER PARTY: 9pm til Late… the Games Room (4th Floor) @ The Hospital Club.

DJs Dean Brannagan and Natasha Rees

Dean Brannagan and Natasha Rees will present a continuous, collaborative sequence of music and sounds that
echo the themes of RELICA. Using medleys; cover versions; collaborations; duo’s; boybands; pop diva’s old and new; underscored with disco/northern soul hybrid classics.

Natasha Rees is an artist and writer based in London. She has recently DJ’ed at numerous art previews and private parties as well as recently playing keyboards in tropical, electro-rock band, Mithras.

Dean Brannagan is a London based artist working with Video, performance, and sculpture. He plays in a band and
regularly DJ’s throughout London.

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Exhibition and Event curated by Alys Williams & Katherine Gardner.