Docile Bodies in AQNB and an interview between Georgia Lucas-Going and Human Pony. Read more here.
Sam Porritt has a solo show titled ‘Vevey Positive’ at INDIANA, Vevey, CH (November 2018). Further information here
Sothebys has mentioned ‘Everything is Lost’, Tim Etchells work at Frieze Sculpture, in their Frieze week “Must-See” article. Further information here
“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.
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.
CLARE KENNY at KUNSTHALLE Basel. From 23 September – 7 October 2018, Basel-Stadt art credit (Kunstkredit Basel-Stadt) and guest curator Jean-Claude Freymond-Guth present seven artists, including Clare Kenny, who received grants from the Basel-Stadt art credit committee (Kunstkreditkommission) in 2017 in an exhibition entitled ‘Le vent Basel nousportera…’.
Read more here.
“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.
We are delighted to announce our participation in A Performance Affair, Brussels. Presenting a new performance work by Tim Etchells alongside a great lineup of other galleries and artists. More information here.
APA • A Performance Affair
The Panopticon Edition
7—9 September 2018