“Cloud Study, is an immersive sculptural piece made up of a weather vane with a speech bubble atop – when this piece turns in the wind, the phrase ‘-yo’ is stuck in thar fo’ever li’l gray cloud.!’. The words have been laser cut into the bubble, emblazoning the message so that it can be seen from both sides. Not just a comment from the artist, you may recognise the line from Al Cap’s cartoon ‘Li’l Abler’, an iconic American comic strip where one of its characters “entombs the cloud that bedevils him in a cave, sealing it with a boulder…the protection this offers is, of course illusory”. Encompassing both political messages and personal feelings, the piece aims to encourage the viewer to meditate on “the tragicomic nature of life”: as the vane moves in the wind, it reflects the twisting emotions and thought oscillations of daily life.”
Charlie Godet Thomas’ upcoming SCULPTURE AT Commission in Hunger Magazine. Read more here.
“Malte Bruns, Patrizio Di Massimo, and Jamie Fitzpatrick weave visual narratives of power, desire, and dread through their artworks, often evoking an uncannily mysterious, playful, and yet serious atmosphere. Akin to fairy tales, the artworks featured in this exhibition offer more than what is visible on the surface: they hold a revealing mirror up to contemporary society.” Read more here.
For Plymouth Art Weekender 2017, artists Edwin Burdis and Tom Woolner are collaborating for the first time on a series of playful and improvised performances. Working with the Devonport Park Community Choir they have created an immersive performance that reimagines the traditional sea shanty.
Timed performances in two locations: 12.00 and 15.00 on Saturday 23 September and 12.00 Sunday 24 September. More information here.
Sarah Burger on isthisit? Guest curated by William Noel Clarke. The virtual exhibit is ‘A series of live recordings of exhibitions made via pericope prior and during the week of the show. Through the limited perspective of AI or OS, people can visit exhibitions that they may have been previously unable to attend. With AI or OS being thought of as all knowing the show looks at their humanness and inability to be physically present. The show ill involve a link to the periscope that you can watch live recordings’ [VITRINE, London features here]. View the exhibition here.
Review of the group show “Mit den Händen zu greifen und doch nicht zu fassen” at Kunsthalle Mainz. (German) Read more here.
“To make the five shaped panels, Murray shot double exposures of ten of those sites, once in the summer, and again in the winter, then painted atop the negatives. His broad brush strokes are so dynamic that they almost obscure that landscape, but the stark slivers of it that he reveals speak to his family’s narrow escape.” Read more here.
“The politics of the public square were informative for the development of this piece. Tomlins drew on Wallace Steven’s poem, ‘The Public Square’ (1931) in her preparations as a way to explore the symbolic importance of this architecture. The commission’s title, ‘Pylon and Pier’, is extracted from the second stanza, a description of the demolition of a modernist building facing into a square read as a metaphor for systemic collapse.” Lucy Tomlins in thisistomorrow by Cleo Roberts. Read more here.
“With a focus on innovative work made by artists living in Britain our acquisitions policy is characterised by a spirit of risk taking combined with an informed appraisal of current practice.
The Arts Council Collection acquires new work through an annual acquisitions process. Between 2013 and 2017 the Arts Council Collection acquired 160 works by 111 artists.” Read more here.