“The 16th edition of Frieze London opens to the public on Thursday, with some 160 galleries participating. If you leave the main tent hungry for more art, a 15-minute walk through Regent’s Park brings you to … Frieze Sculpture, which places outdoor installations by Virginia Overton, Tim Etchells, and others throughout the park. …”
Artsy highlight Tim Etchells in Frieze Sculpture 2018. Read Scott Indrisek’s feature ‘The 18 Best Booths at Frieze London and Frieze Masters’ here.
Tim Etchells and his Frieze Sculpture work ‘Everything Is Lost’, presented by Vitrine, is pictured in The Independent’s Frieze round-up. View here.
Tim Etchells, Vitrine, and our presentation at a Performance Affair (September 2018) are included in Rose Lejeune’s insightful feature on “How to Collect Performance Art” for Independent Collectors. Read online here
“Can you buy performance art? A look into the financing of works that literally don’t stand still” A feature by Melanie Gerlis for FT, includes Tim Etchells, VITRINE and our presentation at A Performance Affair in September 2018. Read the piece in the clipping from the The Financial Times’s Collecting Special here, or online here
Middlesbrough Art Weekender is an annual contemporary arts festival held in the post industrial town of Middlesbrough, located in the north east of England. Tim Etchells is one of the artist selected and will be presenting ‘More Noise’ neon work. Read more about #MAW and other artists involved 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.
“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