APT Shots 2018
Analogue | Digital | Abstract | Generative
Dr Francesca Franco | Fiona Grady | Hanz Hancock | Patrik Huebner | Michael Iveson | Patrick Morrissey | Goia Mujalli | Charley Peters | Casey Reas | Tim Rodenbroeker | Students from Goldsmiths University of London MA Computational Arts
26 January to 18 February 2018
Exhibition curated by Brigitte Parusel in collaboration with Patrick Morrissey and Hanz Hancock, Saturation Point
Showcasing Still Life by Casey Reas
Premier of Algorithmic Signs - Five pioneers of computer art in conversation a documentary by Francesca Franco
Expanding Systems explores current and historic developments in generative art made by analogue and digital artists. The exhibition showcases work by contemporary painters and sculptors whose practices are geometric, abstract and/or systems-based alongside artists who use computer code and algorithms to create work. The artists share several working principles regardless of their individual methodologies – employing rational processes of numerical systems, repetition or calculation to establish ‘rules’ that are executed either by the hand of the artist or the mechanics of the machine. The documentary Algorithmic Signs - Five pioneers of computer art in conversation by Francesca Franco, will form part of the exhibition, introducing Ernest Edmonds, Manfred Mohr, Vera Molnár, Frieder Nake, Roman Verostko.
The exhibition explores the recent interest in abstract or non-objective practices by contemporary artists. It has increasingly become part of the visual language of a new generation of painters and sculptors; unbound by historic movements like suprematism, constructivism, concrete or minimalism, they moreover negotiate their own relationship with reductive practice. The presence of computer technology, its characteristic aesthetics and analytical thinking, which are part of our recent every day experiences, may have had an influence on this development.
The analogue artworks in the exhibition correspond to themes, processes or visual qualities that are often found in the coded art. They have a sense of movement, experimenting with self-determined systems from which the work is manifest. Fiona Grady’s systematic wall drawings are like stills of animations; she uses geometric forms to map physical space and sequencing in architectural settings. Hanz Hancock and Patrick Morrissey visualise complex numeric systems in their paintings, drawings and sculptural installations. Michael Iveson works with the imperfections or glitches of systems by using mass-produced but vulnerable materials like bubble wrap to create prints and sculptures. Goia Mujalli’s immersive prints on canvas emerge from repeated movements and overlapping textures. Charley Peters uses layering and juxtaposition to explore the materiality of paint and the disrupted syntax of pictorial composition synonymous with our experiences of reading space, material and abstract form in the post-digital image world.
The digital artworks show the innovative use of creative coding. The artists in the exhibition represent a varied, dynamic community of programmers, including Casey Reas, artist and co-founder of Processing, the programming language mainly used in the exhibition. In his work Still Life a ‘painting’ evolves over time. Expanded Systems also includes new work from creative computing students at Goldsmiths, University of London, who will present prints from digital animations and object mapping. Designer/artist Patrik Huebner’s algorithmically-driven interactive piece is generated by the movements of the audience. In Tim Rodenbroeker’s abstract short-film geometric computer-generated animations are synced with sound; referencing early film experiments from the 1920s.
Expanding Systems allows us to see the creative potential in visual rules or algorithms across both analogue and digital processes. It also shows that using coding as a tool, opens new fields for artistic experimentation.
Third Yr BA Photography | Camberwell College of Arts
23 - 25 February 2018
Lisa Milroy and Jayne Parker
Still Life brings together a selection of work by Lisa Milroy and Jayne Parker in a collaborative exhibition at A.P.T Gallery, London that includes film, photography, sculpture and painting.
The exhibition charts the artists’ shared interest in material and imaginative transformation, the relation between absence and presence, and how memory resides in all its complexities within the human frame.
Memory, 2017, oil on canvas, 184 x 233cm
The group of paintings selected for our exhibition Still Life features depictions of clothing and shoes, and mise-en-scenes from my recent ‘Mannequin’ series. The material form of the paintings includes oil and acrylic on canvas, object-paintings and an installation painting.
Shoes have been a recurrent motif in my practice since I began exploring ‘still life’ in the 1980s. Shoes, 2012 presents a single shoe repeated in rows against a grey background. This shoe is defined by two independent yet connected surfaces: the hard black shiny exterior and the soft blue-grey interior. The bright interior spaces of the shoe carve out hollows within the dark surface of the painting, turning the empty shoes into vessels full of light. This imagery keys the emotional dynamic of presence and absence and the physical dynamic of inside and outside, which reverberates throughout all my paintings in the exhibition, and chimes with aspects of Jayne’s work. A number of my paintings feature a female personage suspended in a reciprocation between body and mind, while other works focus on the passing of time - both predominant themes in my practice.
Shattered Violin, 2016, photogram, 51cm x 61cm
The magnolia tree stands at the centre of my work in this exhibition. I first filmed the flowering magnolia tree, lit at night, in 2002 - this footage is included in my film The Oblique completed this year.The music, Blues in B-flat by Volker Heyn, performed by cellist Anton Lukoszevieze, provides the framework for The Oblique. The title comes from an instruction in the score, ‘oblique down stroke’, a call to the cellist to use an oblique bow. In the film branches of magnolia extend into the empty cavity of the cello, the space where sound resonates. The exploration of film’s relation to music and the search for a ‘music equivalent’ preoccupy me.
The photograms are of magnolia petals and flower buds. I think of them as an inventory. The analogue photographs use magnolia petals in place of a negative. The photograms and photographs, along with a small pile of magnolia braches shot through with mother of pearl, a series of simple stone carvings of bud shapes using soft limestone and alabaster, and objects constructed from instruments parts and horse hair - the hair streams through holes in the instrument parts - are music equivalents. They extend the imagery of my film work out into the world, into physical space.
On Saturday, March 10, there was performance by cellist Anton Lukoszevieze and a reading by poet Sharon Morris.
Lisa Milroy and Jayne Parker would like to thank Mali Morris for her support throughout the exhibition, and Lewis Biggs for his curatorial contribution.
a project by Maike Zimmermann
22 March – 1 April 2018
Private View 22 March 2018 from 6.30 – 8.30pm
with an introduction by Sarah Turner
Artist Maike Zimmermann's latest project [city]Frequency, a multichannel audio visual installation, is a poetic, psychogeographic engagement with urban spaces.
Based on the artist’s personal travels and experiences in New York, [city]Frequency develops into an abstract narrative with an observational, anthropological perspective. Viewers experience overlapping narratives of the artist's city explorations revealed by audio textures such as layers of field recordings, spoken word as diary entries and excerpts of interviews that engage in a dialogue with the visuals. The visual content becomes a multi-layered and elliptical montage slowly revealing meaningful hints of individual pasts marking a 'trace', a 'punctum' in time and so gradually unfolding a meaning, a story.
The interviews with New York residents talking about their most significant place in the city (at times touching on issues of gentrification/environmental pollution) include a tattoo artist growing up on the Bowery in the 70's, a nun living in the West Village during the AIDS epidemic and an activist living on Gowanus canal. In juxtaposition to their stories, the footage includes views of how the spaces appear today.
[city]Frequency examines our emotional response to cities as places of transition and how we experience them through memories. Every city has a different feel and triggers certain emotions linked to memories and experiences only inherent in that particular space and time. In an age of fast and aggressive change it is important to keep up a discourse about spaces and their authenticity (history) through our memories. There exists a ‘feel’, an emotional level for a space to stay alive so we can remember: Where am I? Why am I here? What means the place for me? To make oneself aware of one ‘s own experience. “Frequency” means an unconscious, human, emotional disposition in relation to the city: as a longing/nostalgia. New York (still) embodies this as the 'City of Dreams' for many people.
A photographic triptych selected from the artist's urban haiku series will also be on display providing an integral contextual part of the exhibition experience. http://maike-z.com/haiku-series
[city]Frequency seeks to engage a diverse audience through a workshop on Sound and Site (led by sound artist Iris Garrelfs) and an Urban Walks programme (curated by Carmen Billows) in London (Hackney Wick/Wapping/Aldgate area). Please scroll down for further information:
Events in conjunction with the exhibition:
Urban Walks curated by Carmen Billows
23 March, 2pm– Andreas Lang: Notes from the Temporary City (Hackney Wick)
24 March, 11am – Stephen Watts: From Earth to Air: A Walk from Wapping to Aldgate East
Workshop on Sound and Site led by Iris Garrelfs
25 March, 10am – 4pm at A.P.T Gallery
Artist Talk with Maike Zimmermann
31 March, 1 – 2pm at A.P.T Gallery
Urban Walks: A Walk to the Edge of the City
Cities like London or New York are similar to living organisms: Complex and subject to never-ending, rapid changes. Walking as an artistic research attempts to make sense of our position in the city and to find alternative ways of discussing space and environment.
How do we navigate urban space? What is the essence of a city, how do urban circulatory and structural systems operate? Finally, what are the current issues at stake with large-scale regeneration projects that add to a general feeling of unease?
In a two-day series of guided walks, led by urban researcher and architect Andreas Lang and poet Stephen Watts, London as an example of a mega-city becomes the object of research. Walking London areas - Hackney Wick and Wapping/ Whitechapel - that are currently severely effected by regeneration processes, will allow us to map and transcribe the changes that those areas are currently undergoing.
Walk 1: Notes from the Temporary City
Friday, 23rd March, 2 - 5pm
"Notes from the Temporary City" takes you on a tour of a neighbourhood on the cusp of change. It will take you from Queens Yard, Hub 67, to Grow Hackney, Swan Wharf, Save Hackney Wick, Stour Space and back to the German Deli. It provides a complex picture of the dynamics reshaping contemporary London, from the pressure of market forces to new structures of governance and the ingenuity of its residents.” (Isaac Marrero-Guillamón)
Walk 2: From Earth to Air: A Walk from Wapping to Aldgate East'
Saturday, 24th March, 11am - 2pm
The walk will begin at the shoreline in Wapping, looking out towards Canary Wharf/Isle of Dogs and over-viewing development along that part of the Thames over the past 40 years. We will then progress slowly via Shadwell & the Cable Street Mural towards Aldgate East, where commercial, global development is both worryingly intense and mesmerising. Throughout the walk, which will intentionally pass by trees and close to public housing, we will try to compare the very local with the 'global', focusing on the effects of the latter on social histories and architectures. The walk will end at the rapidly changing Aldgate East & Toynbee Hall, currently a building site of ongoing development impinging the lives and work of artists and communities based there: after which we may adjourn to a cafe or bar for further talk.
Workshop on Sound and Site (led by Iris Garrelfs)
Sunday, 25 March, 10am – 4pm at APT
This one-day workshop is led by Iris Garrelfs and will provide you with an introducton to exploring site specificity through sound, as a sense, a socially engaged method for exploring sites and communities, and an artistic medium. We will prioritise our ears through exercises and a sound walk, and explore how we can collect, curate and communicate site. Collecting site may include recording environmental sound, interviews, or sounding architecture; curating site looks at creating a unified work from the material; and communicating site explores strategies to employ in site-specific performance or installation. This workshop will focus on the aspect of collecting site, firstly by familiarising ourselves through listening, then recording interviews, environmental sound, collecting objects and other materials. We will briefly look at curating and communicating site.
Carmen Billows is a curator, currently based in Berlin, specialising in the moving image. She has an academic background in Cultural and Curatorial Studies from Universität Bremen, Germany and the Royal College of Art, London, UK. As an independent curator she has curated various exhibitions and film screenings internationally in London, Berlin, Paris and Bangalore. Her film screenings and exhibitions are mostly concerned with urbanism and notions of space in artists' moving image, film performance and site-specific video installation, but also with the transition of different film forms from the cinematic to the art gallery context. www.carmenbillows.com
Iris Garrelfs is a site-responsive sound artist active across performance, installation and fixed media. Through listening she explores relationships with the world; her understanding of place includes people who, through their ideas or presence, participate in creating it. Her work establishes experiences, environments for listening and has featured in major institutions worldwide, for instance the Onassis Centre Athens; Transmedia Borders Mexico, International Computer Music Conference New York; GSK Contemporary - Royal Academy Of Arts; Rencontres Internationales; Tate Britain; National Gallery. She is the commissioning editor of the open-access journal Reflections on Process in Sound and lectures in Sonic Arts at Goldsmiths, University of London. .www.irisgarrelfs.com/
Urban researcher and architect Andreas Lang has taught Architecture at numerous institutions including the Architectural Association, the Royal Collage of Art, and Umeå School of Architecture, Sweden. He is currently head of M ARCH Architecture and teaches within the MA Architecture: Cities and Innovation. He is co-founder of public works (2004), a non-profit critical design practice that occupies the terrain between art, architecture and research. Lang's work has been exhibited widely in architectural exhibitions and the art context such as the prestigious Venice Biennale (2012), Serpentine Gallery (2004), Folkestone Triennial (2008), the British Art Show (2005/06) and the Irish Museum of Modern Art (2016). He was included in the Guardian’s portrait of key players in British Architecture (2012).
Stephen Watts is a poet, editor and translator. He has lived in Shadwell in East London for the past 40 years, but is also very familiar with remote, non-urban landscapes and his writings reflect intimately the interfaces between landscape, memory and language. Recent books include 'Ancient Sunlight' (2014), 'Republic Of Dogs/Republic Of Birds' (2016), recent co-translations are of the Iraqi poet Adnan al-Sayegh and the Syrian poet Golan Haji. An interview with Watts by Pippa Marland and a long poem, both on the Little Toller website, are very pertinent to the proposed walk. Watts was a friend of Max Sebald and is writing a study of the latter's fictions.
Maike Zimmermann studied Photographic Studies (MA) at the University of Westminster in London. In 2013 she completed her Meisterschüler Degree in Art and Media at the University of the Arts in Berlin. She has received numerous awards, including the Grants for the Arts and the Artist International Development Fund from the Arts Council England, DAAD Promos Travel bursary and the micro bursary from the Bremer Film Fund. She has been part of international exhibition and residency programmes including in Norway, New York and Berlin.
Savannah Grieve, Alia Hamaoui, Simon Handy, Lowri Heckler, Isabel Mills, Joseph Philo-Powell,
A group show which brings together six final year fine art students from Camberwell College of Art who have identified with the oxymoronic nature of their work.
Curated by Savannah Grieve and Alia Hamaoui
5 to 8 April 2018
Open Thursday to Sunday from 12noon to 5pm