<Both Ends of Madness>
An exhibition on the effects of wellbeing on contemporary visual arts practice
curated by Angus Pryor
John Brennan, Richard Brooks, John Butterworth, Anjula Crocker, Mandakini Devi, Dom Elsner,
Jez Giddings, Lucy Gresley, William Henry, Mark Howland,
Emma Moody-Smith, Angus Pryor, Mike Walker & Heidi Yssennagger
7 to 14 April 2016
Plastic Propaganda presents Both Ends of Madness, an exhibition on the effects of wellbeing on contemporary visual arts practice, curated by Angus Pryor.
Throughout the History of Art, madness and an associated range of pathologies, creative and otherwise, have informed and often accompanied the execution of artistic practice. Since antiquity, thinkers have associated creativity with psychopathology—the classic idea of the “mad genius” with stereotypes taken from both mass culture and fine art traditions. Examples include, for example, the manic pursuit and creation of the perfect artefact or object to the recognition of creative practice per se as a displacement from trauma, addiction and illness or indeed as a therapeutic and reflexive response to such.
Plastic Propaganda (PP) was established in 2009 by William Henry, a UK-based installation artist and sculptor and by Angus Pryor, Reader & Head of the School of Art & Design, University of Gloucestershire.
A free public symposium will be held during the exhibition which will explore and discuss some of the issues and themes suggested by the exhibition.
Thursday 14 April 2016
This interdisciplinary symposium will explore and discuss some of the issues and themes suggested by the exhibition, including the iconography and content of specific works on display. There will be an open Q&A session with participation warmly invited from the audience and members of the general public.
The panel will be made up by Janet Sayers, Emeritus Professor of Psychoanalytic Psychology at the University of Kent at Canterbury where she works as a Clinical Psychologist for the NHS, Angus Pryor, co-founder of Plastic Propaganda and curator of the exhibition, Tony Gammidge, artist and filmaker and lecturer at Brighton University, and Dr Grant Pooke, Senior Lecturer in History of Art at University of Kent.
CASSIOPEIA : HIP
29 April to 15 May 2016
Cassiopeia is Hannah Rae Alton (London), Catrin Morgan (Nottingham),
Amy Goodwin (Cornwall), Irene Vidal Cal (Galicia, Spain),
and Anne Harild (Copenhagen)
Cassiopeia: Hip is the second part of the Cassiopeia project.
As a set of collaborators who not only share research interests but also
particular research methodologies, the exhibition is an opportunity to develop
new ways of communicating these to the public.
Cassiopeia is a constellation of five stars which form an M shape during certain times of year and which, at other points in the year appears as a W. This constellation was one of 48 first described by Ptolomy. Cassiopeia contains Tycho Brahe’s supernova, which flared in 1572 and is still a source of radio signals today. After his death, Tycho Brahe’s body was exhumed twice. Firstly, to discover the circumstances of his death and secondly to find out the material his artificial nose was made of. Cassiopeia is named after a queen in Greek mythology, the mother of Andromeda, who Poseidon tied to a chair and placed in the heavens as a punishment for boasting of her beauty (as she circles the earth she spends half of the year upside down). During World War Two, Cassiopeia was a cargo ship serving the US navy. She received one battle star for her service.
Cassiopeia are Hannah Rae Alton (London), Catrin Morgan (Nottingham), Amy Goodwin (Cornwall), Irene Vidal Cal (Galicia, Spain), and Anne Harild (Copenhagen). Named after a constellation in the Northern hemisphere composed of five stars, the project aims to explore and foreground the importance of research. Taking as our starting point Kenneth Goldsmith’s suggestion in that artists show their research material as work instead of the work itself, this is a show which foregrounds our research practice, using it to demonstrate links between our studio pieces that would not otherwise be immediately apparent. Cassiopeia is a snapshot of our working practice at a particular moment in time, it is a crystallisation of our interests which will be visible only for the duration of this exhibition.
As a group of collaborators our interests are in systems of knowledge, particularly those relating to communication and architectural structures. Our work forms a constellation around various research interests. These include:
1. Rulemaking and constraint
2. Modular images
3. Misdirection and cryptography
4. Scientific discovery
6. Hidden histories
8. The built environment
9. Military history
All of the artists taking part in this exhibition have backgrounds in visual communication and we are all concerned with the way that our images communicate in a range of contexts. We are all at different stages in our careers and we all create works on and with paper. We have different working relationships with each other; both collaborative and educational. Some of us have only encountered each other’s work through research, others have been working closely together for many years.
Cassiopeia: Hip at A.P.T Gallery in Deptford is the second part of the Cassiopeia project. Cassiopeia will continue throughout 2016. In November there will be an exhibition at Guest Projects in Hackney and we are planning to document the year in a publication. Each part of the project is a development of and a response to the last one.
SPA FOR DOGS
Friday 27 May to Sunday 29 May 2016
We are six art students, working across painting, sculpture, photography, video & performance. The idea for Spa for Dogs came up from a shared curiosity to bring our works together within a framework that could somehow break from the academic, the self-generated and the overly theorised. Through this first 'get-together' as artists, we want to treasure the spontaneity, silliness and escapism that always comes up in our random conversations on our coffee breaks, walks and slow studio-practice days. Spa for dogs is therefore both the idea of a work, but also the idea of a practice.
Through this project we want to test our collective capacity to orchestrate a situation, an immersive environment, an event that could both recontextualise our individual work and most importantly celebrate the much needed and often neglected component of making : fun.
Spa for dogs will be based upon combining our current personal work through additions, arrangements and alterations based on the given space. So in this sense it is a site-specific project. We are also working on ideas of live action components for the opening or closing nights, such as a themed dj set and in-situ generated video works based on interviews and sound recordings. 'Spa' and 'dog' function as both names and metaphors since The central elements of the project evolve around ideas of play, luxury, agility and training environments rendered through the beloved figure of the dog.
cardinals, gardens, fishtails and a mermaid
Chris Marshall and George Percy
An exhibition of painting and sculptural installation
Thursday 23 June to Sunday 26 June 2016 | Open Thursday to Sunday 12noon to 5pm
This exhibition brings together two artists who share an intensity of approach to their practice. Although employing very different methodologies, the work of Chris Marshall and George Percy is steeped in a background of research that forms the central focus to their output. This research can be sensed when experiencing the work in its final state. George Percy's history of transcribing through a love and knowledge of the history of painting is crucial to his practice. Chris Marshall's research is rooted in a genuine concern and sensitivity towards the environment, which reveals itself in the form determined by his discovery and use of unusual materials.
Central to the works shown by George Percy is a series of paintings inspired by El Greco's portrait of Cardinal Don Fernando Nino de Guevara. The fusion of psychological depth and the representation of the sumptuous richness of the Roman Catholic Church in El Greco's work stimulated him to make works that pay homage to the painting. The works explore the dynamics of the original composition and provide an opportunity to indulge an extravagant use of red. Another series explores the topography of both private and public gardens. Responses to Matisse can be traced in the fragmentation of the picture surface.
Achieving a similiar level of intensity Chris Marshall's installation exposes 'A lyrical tribute to the meeting of land and sea'. A landscape of transition, a marginal landscape, a nervous fretful landscape, an edgeland. Anxious materials, invasive, unsound, hostile, negative materials. Their anxiety revealed by juxtaposing and mixing them with sublime, absurd, frivolous materials and substances. A garden of dancing fishtails. A mermaid washed up on the beach, fabricated from industrial clay and kelp. Fabrications from pillows encrusted with dried mud. Shredded and lacerated paper seascape with popcorn and icing powder foam.
George Percy | Cardinal after El Greco
Chris Marshall | Colossal Squid 4
Chris Marshall | Blower
Curated by Jennifer Harding
Thursday 30 June to Sunday 10 July 2016
Open Thursday to Sunday 12noon to 5pm
→ Artist in focus: Geoff Rigden
by David Buckman
A.P.T 2016 Curatorial Fellowship
Ingredients, Method, Serving Suggestion
Curated by Alaena Turner
21 July to 11 September 2016
The exhibition explores the ways in which contemporary artists have engaged with the format of the recipe, questioning the relationship between process and product, and testing the potential of the recipe as a model for collaboration and sharing of knowledge.
The exhibition features new work by 18 emerging and major UK visual artists, including contributions by Dan Howard-Birt, Katrina Blannin, Jane Bustin, Kieran Drury, Eddie Farrell, Ben Jenner, Sarah Kate-Wilson, Natasha Kidd, Jo McGonigal, Sarah Mcnulty, Sarah Pettit, Robert Rivers, Damian Taylor, Alaena Turner, Gary Woodley, Susannah Worth, Jack Vickridge and Jo Volley.
Ingredients, Method, ServingSuggestion brings together an intergenerational group of artists to explore the relationship between contemporary art and the everyday, through the conceptual framework of the recipe. The instructive form of the recipe enables material knowledge to be shared through collective acts of repetition and interpretation, situating the recipe as the historical precedent for open-source models of knowledge distribution. The notion of the recipe is expanded by asking how an artwork itself may function as a recipe, engaging with the history of conceptual art made through instruction.
Central to this exhibition is a series of paintings made by 14 artists in response to a Yoko Ono score, 'Time Painting', "Make a painting in which the colour comes out under a certain light at a certain time of the day. Make it a short time. (1961 Summer)". Whilst working from the same conceptual starting point these paintings display a diverse range of creative interpretations, utilising phosphorescent pigments, reflections, light-sensitive emulsion, and shadows, and referencing imagery of lenses, windows and sun-dials. As a collection of responses these paintings both host and inhabit the original Yoko Ono score, drawing out the poetic quality of the original linguistic gesture, and challenging the apparent opposition between conceptual art and painting practice.
To complement this collection of paintings new works which frame production processes have been generated by Natasha Kidd and Bruce McLean (working in collaboration with Eddie Farrell). These works have been developed to present the 'live' moment of a creative practice, positioning painting as verb rather than noun. Natasha Kidd's work proposes a system for a painting that makes itself, encouraging the aesthetic contemplation of the routine application of paint on a surface. Bruce McLean offers a re-enactment of his 1969 work 'Underwater Watercolour', which has been produced into a film by Eddie Farrell, making visible the narratives that emerge through the act of repetition, and signalling the absence of the original artwork.
Gary Woodley has been commissioned to produce a 'Mobile Kitchen Workstation', adapted from a 1963 design 'Kitchen Box' by Italian designer Joe Colombo (1930-1971). This artwork will facilitate the re-enactment of artist recipes and presentations using food during the program of events.
Over the course of the exhibition period a series of 15 'Do It' Instructions from Han's Ulrich Obrist's ongoing global project will be realised in the exhibition space. These instructions have been selected for their innovative propositions of how to use everyday materials, and it is intended that this ongoing activity will frame A.P.T Gallery as both exhibition and work-space.
In 2012 A.P.T launched the Curatorial Fellowship as an opportunity for curators and artists to make expansive use of the gallery to encourage diversity and innovation. By delivering the Curatorial Fellowship, A.P.T aims to build new audiences and engage with a wider arts community to develop an international profile.
The 2016 Curatorial Fellowship has been awarded to Alaena Turner.
→ 2010 APT Exhibition Bursary awarded to Wayne Lucas
→ 2012 Curatorial Fellowship awarded to Rose Lejeune, Bea de Souza and Charlotte Jansen
DURATION [26:7:2012 – 19:10:2012] | duration-apt-gallery.tumblr.com
→ 2013 Curatorial Fellowship awarded to Claire Undy
EXCHANGE PROJECT | A three-part exhibition exploring the exchange between artist and viewer
A.P.T’s Gallery and Projects selection panel is comprised of elected artist-members of A.P.T and their combined experience, as practising artists working in higher education and in the public realm, puts them in a strong position to oversee the gallery programme to encourage future development.
The A.P.T Gallery programme is delivered in five distinct strands of activity →
→ Curatorial Fellowship, thwo month funded exhibition opportunity available to curators and artists
→ A.P.T Selected Exhibition programme, the Gallery & Projects Committee selects shows from openly submitted exhibition proposals
→ A.P.T Projects is a funded education programme which enables artists to develop their artistic practice and release their potential
→ Creekside Open, a biennial competition for visual artists set up by A.P.T in 2005 to celebrate its tenth anniversary. The seventh Creekside Open will be launched in January 2017
→ Artist-members’ Programme includes group shows & Open Studio Weekends
A.P.T supports participation in the visual arts through creative practice, exhibitions and education. Since it was set up in 1995 A.P.T has provided a continuous and varied exhibition and education programme demonstrating the diversity of contemporary visual art and provides 42 studio spaces for visual artists.
All A.P.T activities are guided by the charity's educational remit and this facilitates our education programme which meets the needs
of local, national and international communities through studio visits, talks, workshops and hands-on practice. Our work is fully inclusive and involves all age groups.
If you have any questions about this initiative please email Liz May, A.P.T Gallery Manager
15 September to 9 October 2016
Exhibition open Thursday to Sunday from 12noon to 5pm
Private View | Thursday 15 September 2016 | 6pm to 8pm
The threshold is an interface; the point at which two systems meet. This portal can manifest in innumerable ways; a window, a door, a wormhole between universes, sometimes even an artwork. In the instance of this exhibition those two systems are; what might be thought of as objective reality and each artist’s own subjectivity. Reality rubs up against the creator’s imagined realm and the nexus point that it produces is an artwork. In this manner, all artworks are thresholds and all artworks are liminal. The artwork and its formative processes are gateways to exploring different ways of being, other possible worlds, alternative forms of knowledge and nonstandard ways of knowing. The diverse works and non-works presented propose a mapping of intensities; rigorous practices that weave these explorations into matter.
As the prelude to APT’s Open Studios APT LIVE (23rd - 25th September), signalling the forthcoming throwing open of doors, A Threshold brings together an array of new and old works by A.P.T artist-members alongside incidental studio artefacts. As well as showcasing the wealth of talent that brews beneath the studios' brick and mortar skin, the exhibition provides a glimpse behind the building’s 42 studio doors, which conceal the idiosyncrasies of each practice.
By placing CD collections, seaside windmills and customised caps on display, A Threshold considers
objects that are integral to each practice which often remain out of sight, invisible behind closed doors.
Many of the items present form part of a daily studio routine which might involve; thinning paint, working stone or staying hydrated. Then there are the silent witnesses – objects left untouched for years, maybe even decades, forever watching over the successes and frustrations that occur within the space. All of these artefacts are born of the artistic practices which A.P.T is home to.
The annual A.P.T members group exhibition has been selected and curated by the A.P.T Graduate Studio Award 2016 holders; Chris Alton, Svenja Bühl, Finlay Forbes Gower and Jack Otway.
Chris Alton is a multidisciplinary artist, whose practice often brings together distant, yet connected cultural phenomena. Whether deploying disco music against fascism or playing table tennis in competition with aggressive architecture, he utilises seemingly incongruous juxtapositions to address the multi-layered nature of prevailing social and political conditions.
Jack Otway’s paintings examine the superficial as a site for invention and often employ unbroken ‘skins’ of transparent acrylic pigments tonally gradated across glassy surfaces. Drawing upon inorganic structures found in Black Metal logos, B-Movie blood splatters and terrain simulations Otway’s monochromatic meshes present arrangements of fluid woven strokes. His paintings are products of rigorous, rhythmic gestures and place emphasis on haptic speed and direction.
FINLAY FORBES-GOWER & SVENJA BÜHL
Finlay and Svenja collaborate through mediums of sculpture, performance and film. Their work is often site-specific relating to their interest in unusual spaces through sensitive explorations of physical movements with and without constructed props. Their works are often participatory requiring the audience to become performers and vice versa.
A Face Like Yours
13 to 16 Ocotber 2016
Exhibition open Thursday to Sunday from 12noon to 5pm
Private View | Thursday 13 October from 6pm to 8pm
‘A face like yours’ brings together paintings, installation and video work by Jack Bodimeade,
Xenia Bond, Lewis Henderson, Jamie Jacob, Tash Mok, Francesca Mollett and Felix Treadwell
MOVING MELTING MOUNTAIN
An exhibition of original images captured by Thomas Wing-Evans and Michael Perkins during their research expedition across Iceland, supported by the James Phillips Foundation.
Thursday 27 October to Sunday 30 October 2016
Project talk | Saturday 29 October 2pm to 3pm
Across the breadth of our short existence, humankind has forged relationships with ice in the name of adventure, wisdom, conflict and religion. Present-day geology has enabled us to examine these frozen giants, but failed to dislodge our unshakeable awe in knowing the natural and phenomenal moving landscapes that existed long before humankind. Glaciers, defined by being able to move under their own weight, are flowing timelines; a transparent archive of past, present and future territories. Now, more rapidly than ever, they are transforming.
Michael and Thomas undertook a photographic exploration of Iceland to reveal new topographies created by shifting ice. Thematically exploring the remoteness, scale and migration of the glaciers meant the pair adopted a nomadic attitude, sleeping in bivouacs and carrying all supplies and technical equipment on foot.
The resulting exhibition interweaves these two narratives into a dyad at opposing scales; the human and the geological. Using both digital media and print, MOVING, MELTING, MOUNTAIN investigates these separate characters against themes of transformation, migration, and eventually extinction.
Exhibition kindly supported by Yeti Screen Print, Essex / Fotospeed, Corsham / Make Architects, London / James Phillips Foundation
Memory and Movement
Part of UrbanPhotoFest 2016
3 November to 13 November 2016
Exhibition open Monday to Sunday from 12noon to 5pm
Private View | Sunday 6 November 2016 | 6pm to 8pm
Exhibiting artists | Stefano Carnelli, Pablo Conejo, Kevin Fitzgerald, Paul Halliday, Mattias Malk, Tanya Houghton, Silvia Sosaar, Mari Volens
Private View | Sunday 6 November 6pm to 8pm
Artists' Talk | Monday 7 November 3pm to 5pm
Memory and Movement is a feature exhibition of the Urban Photo Village and part of
UrbanPhotoFest, an international urban photography festival exploring contemporary visual practices focusing on urban life. For further information, please visit the website at: www.urbanphotofest.org
17 November to 11 December 2016
Private View | Friday 18 November 2016 from 6 to 8pm
Opening Hours | Thursday to Sunday from 12 noon to 5 pm
Day Bowman, Dan Coombs, Marguerite Horner, Barbara Howey, Lee Maelzer, Sean Williams,
Lizzi Kew Ross & Co, Michael Berkeley, Iain Sinclair, Nick Papadimitriou
'In Conversation' evening with Iain Sinclair and Nick Papadimitriou
Thursday 24 November from 5.30pm to 8pm | Ticketed event | Please email firstname.lastname@example.org for details
As London property development continues to edge out to the very margins of our urban wastelands an exhibition of painting, dance, music and spoken word celebrates these forgotten corners of our landscape.
Building upon the success of last spring’s event Edgelands, an exhibition by members of the Contemporary British Painting Group - Day Bowman, Dan Coombs, Marguerite Horner, Barbara Howey, Lee Maelzer and Sean Williams - sets out to explore and document the wastelands and neglected environs found on the fringes of urban living.
Creekside in Deptford can still be said to be on the edge of London’s urban wastelands - but not for long. The cranes are working over-time and the wharves, vacant lots and back-yards that have housed traders and dealers for centuries are being erased and given over to developers. It is fitting, therefore, that an exhibition that addresses these landscapes is taking place in the wonderful spaces of A.P.T Gallery that has, for some years, been a beacon of contemporary art.
A.P.T Gallery is delighted to stage an evening of dance and spoken word on Thursday 24 November, 5.30 to 8.00pm. A dance performance, choreographed by Lizzi Kew-Ross, accompanied by Michael Berkeley’s powerful edgy soundscape Odd Man Out, is a realisation of the visual artists’ work through three dimensional form and content. This will be followed by a discussion with Iain Sinclair, author of London Orbital and Nick Papadimitriou, author of Scarp, when they will highlight their experiences of the changing face of inner-city wastelands.
A fully illustrated catalogue accompanies the exhibition with an essay by Andrew Lambirth.
Edgelands will tour the following galleries during 2017: Aberystwyth Arts Centre, Hartlepool Art Gallery, ARB University of Cambridge, Beverley
Museum and Art Gallery and Gloucester City Museum and Art Gallery.