PRIVATE PROP.
Curated Art Project by Ingrid Z
Ralph Dorey, Declan Rooney (IRE),
Lisa Freeman, Simon Reuben White, Cherie-Marie Veiderveld, Lyndsay Officer, Jubal Brown + Tasman Richardson (Fame Fame, CAN), Shiraz Ksaiba, Eleana Louka, Ross Taylor, Konstantina Kapanidou, Christina Gunter, Kristen Healey, Stephen Harwood, Aaron Head, Matthew Atkinson, Hannah Brown, Cecile Borra, Lucy Swift, Nicole Mollett, Zuzana Piponi, & Scott Sturgill.
4 AUG - 1 SEPT
Private view 3 AUG 6pm (Email for GUESTLIST)
With Performance by
Simon Leahy & Richard Jones,
+ Garden Party!
The Residence rises to sacred ground as it re-launches at The Verger's Cottage in Hackney Wick, Olympic BangBang E9. Departing from its previous shop location, the gallery reassigns Director Ingrid Z's living space as exhibition platform. The inaugural show stems forth from ideas of private prop(erty) with links to reasonable facsimiles, identity theft, intellectual property,& paparazzi…, featuring new work from our favourite artists and latest fancies.
Saturday, 28 July 2007
forthcoming show with Simon Leahy at the Residence Gallery. Opens 3rd August
Friday, 27 July 2007
Sunday, 22 July 2007
Saturday, 21 July 2007
Wednesday, 18 July 2007
Remake of Infinate film on DVD
GIF
Here is a video I made recently constructed from collaged gif images collected through google image searches.
The really really easy show
THE show. Me, Jack George, Josh Love, Dan White, Isobel Shirley and Robert Kiff
The really really easy show is really hard. It examines the problematics of exhibition making between six artists whose practices exist in polemic harmony with one another. Using transparency as a device the really really easy show examines the contradictions inherent in putting together a show.
The binary of easy and hard is a slippery character, one that exists as an undefined notion of subjectivity. Through explorations into duration, the work, which speculates about its need for the actuality of viewing, interrogates a component relevant to the entire ‘really really easy’ process.
The thirteen new works mourn the need for futile, rebellious transgression and operate on the margins of artistic cliques and collectives.
You find this really easy. I find this really hard.
Download the pdf version press release here
Production as Excretion, Richard John Jones
RTN kamla, Josh Love. Smash, Jack George. Piece, Dan White
Down and all the way up again, Jack George. Alarm Clock, Robert Kiff
Infinate film on DVD, Richard John Jones, Smash, Jack George
More space
This is a shot from the infinate film in which a space ship moves slowly towards you until it gets to a certain size when it stops and the background of stars begins to move away from it for ever. I wrote about it first here.
Well, the idea remains and my initial involvement with this style hasn't ended. I have been really engaged with the work of Seth Price recently and have read an re-read a text which he has written and is freely available in pdf format appropriately all about the dispersion of art and 'things' in general. distributedhistory.com/Dispersion2007.comp.pdf
It is where the name of my weblog comes from;
"The last hundred years of work indicate that it's demonstrably impossible to destroy or dematerializr Art, which, like it or not, can only gradually expand, voraciously synthesizing every aspect of life. Meanwhile, we can take up the redemptive ciculation of allegory through design, obsolete forms and historical moments, genre and the vernacular, the social memory woven into popular culture: a private, secular, and profane consumption of media. Production, after all, is the excretory phase in a process of appropriation."
So where does all this lead us? Another space video - this time entitled 'production as excretion'. It is not appropriated (although the model is a space ship from the new Star Wars prequels) its referance to its mode of consumption is where the focus lies. It is literally a space ship passing from the right side of a monitor to the left taking an hour to do so. When it has completed the cycle it yet again makes the journey from one side of a screen to the other and over and over it will perform this incredibly slow almost imperceptable movement.
Here is a screenshot from the DVD.
Space Art...
A record entitled 'Space Art' became the inspiration to a radio show I co-hosted with Bennett Williamson at St. Martin's while he was over from New York on an exchange.
Gypsy Kings
While doing the translation of the Joseph Beuys pop song (click this link to see the post) I was looking into other songs which had been translated into a foreign language. One of the most famous examples and something which is as popular in its translated form as its native form is the Gypsy King's version of The Eagles classic 'Hotel California'. To take this to yet another new level I recently purchased, at no small fee, the midi format (which to quote wikipedia MIDI (Musical Instrument Digital Interface; IPA: /ˈmɪdi/) is an industry-standard electronic communications protocol that enables electronic musical instruments, computers and other equipment to communicate, control and synchronize with each other in real time).
It is currently hosted on webspace that I rent and is embedded below please give it a listen.
Don't Look Now re-edit
Well, the Fitzcarraldo proposition reached its fruition in my re-edit of don't look now. Where the films grizzly climax finds itself grafted to the begining creating a dramatic montage which even to the trained eye could pass unnoticed. It is a shift that due to the original editing in which all the symbols throughout the film are montaged in the begining and end sequences, goes unnoticed or happens in a subtle way yet heavily missaligns the plot and ruins the dramatic narrative of the original.
Below is a sequence of images showing the opening sequence...
Fitzcarraldo video online
My Fitzcarraldo re-edit is here...
I wrote about it originally in this post.
Tuesday, 17 July 2007
London's most popular free daily
The table in the last post made me want to produce a publication entitled 'London's most popular free daily'.
Presentation
The NHI poster, OOOOO! works, trickster analysis, the infinate film and Fitzcaraldo were displayed together as a research archive, highlighting through juxtaposition these strands of my enquiry.
The Trickster and Fitzcarraldo
Getting into the Trickster figure, especially after reading Jean Fisher's Metaphysics of Shit. I became interested in Werner Herzog's 'Fitzcarraldo'. especially in terms of its tropological stuff. I ended up grafting the OOOOO! idea into a press release and transcript of a proposal for a show that never transpired but was curated around the character of Fitzcarraldo as a theme - both real and the Werner Herzog's work of fiction.
I wasn;t too pleased with the result but it was a start of a bigger project which I want to expand upon which I will write about later
I made a video mostly as a gesture to the process I wanted to embark upon as I find it quite interesting that a 4 minute clip of Fitzcarraldo could be used to highlight a thought process about how to manipulate the tropological layers of reality in Werner Herzog's filmic interpretation of the real Fitzcarrald story. An artwork appropriating the very footage to which it is a gesture of a process of further mediation, a video that goes nowhere, yet exists as a gateway (or a closed circuit) on a path to its own dissemination.
OOOOO!
This was an exercise in which five artists came together, wrote a proposal for a piece of work and then each composed a show from each others proposals and then performed a guided tour of an empty room proposing the show that was being planned but never executed.
My press release is as follows ( a little rushed but you 'get the picture')...
OOOOO!
Elvina Chan
Lina Jaros
Richard Jones
Ellie Steele
Jana Valencic
“As he was engaged in cleaning himself up, he happened to look in the water and much to his surprise saw many succulent plums. After surveying them very carefully, he dived down into the water to get some. But only small stones did he bring back in his hands. Again he dived into the water. But this time he knocked himself unconscious against a rock at the bottom. After a while he floated up and gradually came to. He was lying on the water, flat on his back and, as he opened his eyes, there on the top of the bank he saw many plums. It was then he realised that what he had seen in the water was only a reflection. “Well,” he says to himself, “and what a grand piece of foolishness that was! Had I recognised this before I might have saved myself a great deal of pain.”*
When the character saw the plums in the water he was at that moment confronted with real plums, fruit so real that it was worth rendering himself unconscious in the pursuit of it. On the contrary to the narcissus myth the reflection this time becomes the key to a revelation although admitedly through greed and stupidity, it is not a sticky end, rather a fruitful insight. In this sense, the representation only became real in the mind. The ‘encounter’ with the fruit forced the character to achieve an actuality of reality which is reinforced with the equation that this new understanding can stop a great deal of pain.
The 5 new works in the show OOOOO! Each deal with concepts of trickery, they are all perhaps plums (O) offering only representations of something else but in this microcosmic setting providing revelation through experience. Offering a numerous set of conceits, of known aspects of realness of understood abstraction. Valencic’s grass and live sheep inspired by the farm yard animals often found in Swedish motorway service stations automatically subverts the room and presents an almost comic appreciation of the contemporary food chain providing the surreal foundation for Ellie Steele’s first large scale installation. Steele’s scaffold construction using bamboo penetrates through the centre of the room providing a literal climbing frame, a Jack and the Beanstalk style escape into the upper room. Once the viewer has taken the awkward climb they are confronted by an invigilator with a story about Richard Jones’ ‘Film’ an impossible proposition for a visual sci-fi experience which lasts for ever but whose existants apparent only in myth and spoken language.
Elvina Chan’s sculptural perspex cube exploring notions of beauty and death, through performance and projection and Lina Jaros’s spoken examples of automatic writing reverberate round the third space in this exhibition. A private cushioned sanctum this space recalls the mind internal, the introspective/reflective. OOOOO! offers no solution it creates noise, a series of reflections each as tempting as plums in the river and possibly proving just as deadly.
*Radin, Paul. The Trickster: A Study in American Indian Mythology, Schocken Books, 1972, p.28.
Embarking on the Infinate DVD
Steering off course a little I decided I wanted to make a film that never ended, I was troubled by looping in a show I had seen and realised that looping, and certain stylistic choices had created a standard video display, or approach in art. If this is the case then I believe that this formation has reached its terminal phase. So what about a film that never ends. The technology is available and as universal as being available on DVD through programming. So I set about to create the infinate film... Coming up with the visual was an inate process. There is no easier way to allude to an approach to utopian thought than through Sci-Fi as a genre. Its exciting connotations with voyage through the infinate yet the ability to access or make understandable the infinate through stylistic convention is an exciting area. It is also unashamedly geeky, and so involved with the idea of illusion that it has a transparency that is unavailable in any other stylistic genre, it is an entirely false construction of a type of human 'being' yet it informs an understanding of the incromprehensible and therefore is the object that affects the subjective viewpoint.
All this transparency to deal with! I was tempted to suggest that one could take their time over it but the idea that it will never go 'back to the beginning' is probably more pressuring than the idea of it never ending.
NHI
This is a photocopied poster A1 size enlarged from an original scaled reproduction. Information on what has been reproduced in this image can be found here
The original reproduction will be enlarged again to A1 size and will feature in Gasworks forthcoming exhibition Stick* Stamp* Fly* which is a review of poster design today. Information can be found on their website gasworks.org.uk which opens on the 9th August 2007.
English Language Translation of Sonne Statt Reagan by Joseph Beuys becomes most watched performance.
This is the documentation of a performance by myself and my doppelganger Tom (on guitar) under the band name Little Beuys, of a translation I made of Joseph Beuys' only pop song which was released in 1982 under the title 'Sonne Statt Reagan' which in German is a play on words meaning both 'Sun after Rain' and 'Sun after Reagan'. It reached only a modest level of success but did become an anthem for a growing mainstream movement for people campaigning for nuclear disarmourment.
As I was first made aware of this song and its snippet of video from popular art video/audio archival site UBU web I thought that it would honour this new context by posting my contemporary translation on youtube. It has since become my most watched piece of work, indeed attracting more views than some posts of the original Joseph Beuys video.
It was performed in late 2006 but the date escpes me, however, the performance was infamous for being an hour late to start as we were plagued by technical problems. This also meant that the performance had never before been rehearsed.
Below is a scan of the actual flyer for the event clearly displaying the new time for the performance.
Boy doing a wheely video 30 mins looped
This is a 30 minute video where a camera was strapped to a car dashboard and a journey embarked on. At one point just as the car approaches a T junction a boy cycles in front of the car and pulls a wheely.
And thats that really.
That seems to put a cap on the side of TATE MOSS that I was really involved with, it was an interesting experiment and John managed to get the best high school graffiti achronym on the side of the building before we left... If Destroyed Still TRUE!
RIP
13a Copleston Road Gallery
Dan Kelly did this in his front garden in Peckham in 2006, I designed the website and helped make the mud bricks for Toby Ziegler's mud hut.
the website is thirteena.co.uk
FUTURE FIRST HISTORY LAST after party at TATE MOSS 09/2006
With an alternative burlesque performance from the infamous La La Lovette and a DJ set by Patrik Wolf, Nadia Ksaiba and Joapps plus, Me and Simon Live for our second ever gig! Ingrid Z really pulled out all the stops - featuring a performance guided walk by Simon Ould!
TATE MOSS TALENT SHOW at Tatty Bogles
We were asked to host a night at the popular new music night called 'Fleamarket'. This was Team Brick's first London gig and he has now a year on been offered many opportunities and has become something of a regular feature on London's experimental rosta which is really great - you heard it here first!
Also featured a fantsastic DJ set by me and Michael...
NO PLANT, NO ENTRY! The Garden Party at TATE MOSS 03/06
Izzy Webster deconstructed the jewel of middle class socialising...
NO PLANT! NO ENTRY!
Monday, 16 July 2007
Goodiepal/Aelters Live at TATE MOSS 02/2006
This was the first event hosted by TATE MOSS and was an unbelievable success receiveing 'rave' reviews and a listing in Wire, somehow we managed to straddle two binary crowds from the off - nice...?
Goodiepal working hard.
finishing with the strangest image of Ximon Tayki I have ever seen...
BEER HERE
an art 'happening' being overseen by Robert Kiff and Richard Jones on the 15th of February 2006 in Project Space 1 on the 7th floor at St. Martins School of Art on Charing Cross Road.
Involving the consumption of 120 bottles of free unlabeled beers which were collected and recycled.
Recycling at a Squat Art Show on Old Street 2006
Collection, sorting and recycling of all the rubbish that was left over in the squatted building in Old Street was performed Live by TATE MOSS for the whole opening night.
TATE MOSS Branding posters 2005
OK, if this is going to be a place where my work can be in one place then I need to do a bit of back dating!
