Tuesday, October 18, 2011

INCUBE8 Part IV - Ideal State (All Suffering Soon to End)

For part IV of INCUBE8, Motorcade/FlashParade is delighted to invite you to

Ideal State (All Suffering Soon to End)
A solo show from Adam Collier

Private View: 
Thursday 27th October
6:30pm till late

Bar + food + music

Exhibition continues: 
Fri 28th 12 -   6pm, Sat 29th & Sun 30th 11 -  5pm

The work is influenced by utopian architecture and thought which stems from an interest in the fact that visions of utopia are by definition impractical, impossible dreams. A Utopia or an ‘Ideal state’ offers an alternative vision of the future whilst drawing on the past and commenting critically upon the present. The work takes the form of aspirational models which have somehow fallen short of their intended purpose; from momentous semi-architectural  totems to strange anthropomorphic archetypes that seem to have mutated or evolved slightly wrongly. The installation will serve simultaneously as a proposal for an ‘ideal state’ - a utopian model - and at the same time an abandoned vision - a social and artistic graveyard.  

Monday, October 17, 2011

National Open Competition Launch

Motorcade/FlashParade is launching our first National Open Competition today! 

Saturday, October 15, 2011

Remote Viewing, curated by Chris Barr

For BV Open studios, Motorcade/FlashParade will be featuring a show of BV studio holders work, selected and curated by artist Chris Barr:

Remote Viewing

Laurence Kell
 Catherine Knight
Esme Clutterbuck
Myles Donaldson
Alex Hardy
Simon Ledson
Robert Lang
Gareth Pitt
Phil Young

Remote Viewing…

I should acknowledge that at the time of selecting the works for this show my only means of knowing them did not allow for the intimacy or immediacy they deserve. Initially at least, I had to suffice with the only means available to the long-distance curator – the jpeg, or more precisely the file-sharing website Dropbox. But in the process of making this selection on behalf of the BV artists that submitted work, perhaps I have become more aware of what is at stake when, as an artist myself, I endeavour to document my own work and abandon it to the countless calls for open submissions and the merciless selection process that ensues. In addition to this, and perhaps more significantly, I can say that I have it in good faith (having recently moved in with two curators) that this is how one curates – with a laptop.

In recent years, it could be argued that we have become accustomed to seeing art purely as image, regardless of its physical status. As producers, we are not naïve to the importance of documentation as an essential level of mediation that stands between us and our audience. The increasing capacity with which iconic images circulate and pervade our culture, above and beyond the limitations of other media, was recently addressed by an art critic in relation to a particular generation of young British artists; despite creating for the best part sculptural work, they seemed to be preoccupied with making it overbearingly photogenic, rather than perhaps (in the modernist sense), a true reflection of our attempt to understand the spatial concerns of the subject within the built environment.

Faced with our incessant drive to document, philosopher Jean Baudrillard more or less claimed that in every way of life – in the symptomatic self-historicising and narrating of ones self, we sense that deep down, ‘all is invalidated’. Artists, we like to tell ourselves, offer an alternative to the dematerialisation of culture we are currently experiencing in the so called ‘information age.’ In the broadest terms the traditional experience of a work of art places emphasis on material gestures, which constitute an implicit part of the production of meaning, and it is this dialogue that seems to remind us of the duality that exists in the experience of looking. Even if we are encouraged to consider a work of art purely as an image, as we might when looking at a painting, it frequently manages to embody a tactile quality or a trace of this process.

I could have taken the title of this exhibition from the sculptural bust that occupies a more or less pivotal position within the space. Perhaps I’m entertained by the idea that all I’m doing in this text is projecting a narrative onto this work, as if by identifying with it’s look of perpetual scrutiny and distraction I'm giving it a voice in relation to everything that surrounds it. Either way, the notion of being Between Two Places seems to summarise an age-old conflict in relation to artistic production, namely the duality that exists between art as it is lived by the spectator on the one hand, and art as it is lived by the artist on the other. 

Chris Barr, Oct ’11.

Friday, October 14, 2011

BV Open Studios

BV Open Studios, 14th, 15th, & 16th October 2011

Opening Night: Friday 14th-6-9pm
Saturday 15th + Sunday 16th 11-6pm

One year on, bigger and better……………BV Studios, the largest independent artist’s community in Bristol, is opening its doors to the public again in October, showcasing over 100 artists.

BV’s inaugural Open event last year was a major success, attracting over 2,000 visitors and the ‘Top Banana’ award from Venue magazine for the most significant contribution to the arts in Bristol.

The weekend event opens on Friday evening with a bar and refreshments. There will be a café on site all weekend with a delicious selection of food, and an espresso bar on Saturday and Sunday.

Entry to the Open Studios and the art-space Motorcade/FlashParade is free.


Monday, October 3, 2011

INCUBE8 Part III - Rostra for a Shifting Space

Motorcade/FlashParade is thrilled to invite you to the 3rd in our INCUBE8 series:

Rostra for a Shifting Stage 

Sovay Berriman

PRIVATE VIEW: Friday 7th October
7pm till late
Bar + food+ music 
Exhibition continues Saturday 8th October, 12 - 5pm

For Rostra for a Shifting Stage Berriman presents three repeated sculptures made following instructions set for the exhibition Strange Loops at GENERATORprojects and curated by Craig Mulholland. The works were to duplicate themselves whilst modifying their scale to suit the three linked exhibition spaces at the gallery in Dundee. For Motorcade/FlashParade Berriman will bring these pieces together to show in one space alongside new wall-based works on paper.

Berriman’s practice is concerned with the dynamics of space in relation to power, imagination and performance considering stage and prop, heterotopias and the potential of fantasy. Her body of work choreographs an overall experience, layering ideas through the production of objects, drawings, texts and events. Individual pieces reinforce and extend the space and ideas of others, allowing Berriman’s propositions to be observed within a wider perspective and at close proximity. Visually pieces demonstrate an affinity with sophisticated construction and aesthetics in their pared down offering of only the most essential ingredients, whilst an element of the hand-made is also employed, using more democratic materials and methods.

Recent activity includes the solo exhibition Rising Cities Floar (July 2011) at The Agency, London and group exhibitions The Potential for Windows and Scale (September 2011 – January 2012), Contemporary Art Society, London, and Strange Loops, (March – April 2011), Generator Projects, Dundee, curated by Craig Mullholland. Forthcoming projects include the group show Space Exchange at Aid & Abet, Cambridge with fellow Spike Associates, Maia Conran, Hannah James, Sam Playford-Greenwell and Marie Toseland.