Tenderpixel Gallery is pleased to present Interpolating, Frere's first solo exhibition in London. Frere has produced three new works for the show, each one articulated by serial and succinct units ranging from audio-bytes and colour coded keyboards to numerological vice/virtue charts. In Interpolating Frere seeks to alter and corrupt the normal paths of cultural streaming via experiments with the following strains of expression: music, morals, compulsion and obsession.
The first two works in this show address the politics of memory and the exercise of self-monitoring. By observing her own and her partner observing his own moral/ethical 'performance' over a seven-day period, and plotting the vice/virtue grading results onto plane diagrams, Frere tenders a stochastic version of an objective truth. This assessment henceforward becomes fixed not only in time, but also in the collective memory of those who engage with the politics of cultural memory. The resulting work is presented as both diagrammatic documentation and sculptural form.
For the final work in the show, 'Colour Me Lyrical', the artist sourced multiple single-word song lyrics, extrapolated these sound files and connected them to a trio of computer keyboards. One hundred and forty eight pop songs are reduced to the one thing they all have in common: colour. Colour Me Lyrical asks visitors to explore the familiarity of an interstitial song-section by using these sonic bytes as collage building blocks, typing out abstract sound poetry whilst simultaneously remixing the colour palette of Red, Yellow and Blue. Three dada inspired poems accompany the work: 1(R), 2(Y), and 3(B). Interpolating is a show where visitors become responsible for multiple speculative trajectories; for it is within the interpolated participatory gestures where meaning is unveiled, poised, and ready to play.
* Hal Foster, ‘Real Fictions’, Artforum, April 2017
3.00 – 4.10pm, Screening Programme
FREE, ALL WELCOME
Héloïse Delègue, Beverley Gadsden, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
4.30 – 6.40pm, Guest Contributors
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4.30 – 5.00pm, Ellen Kenyon Peers, 'Ana Key is Imagining Utopian Futures: Can art be used as a tool for change in contemporary politics?’
5 – 5.30pm, Emily Rosamond, 'Distortions'
5.30 – 6pm, Simone Rowat,' Forensic Aesthetics'
6.00 – 6.10pm, Guest Film Screening, Joey Holder, ‘Adcredo’ (2018)
6.10 – 6.40pm, Q&A
7 – 9pm, Private View
FREE, ALL WELCOME
8 – 8.10pm, Performance, Paul Gaudet, 'A Glimpse Inside (Introducing Darren Reeves)', Performed by Darren Reeves (2018)
Exhibiting Artists, Héloïse Delègue, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, Norman Mine, Denis Mortell, Miriam Naeh, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
Conspiracy of the Real: Artistic Perspectives in a Post-Truth Climate was developed by:
Paul Chapellier, Héloïse Delègue, Saskia Fischer, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, James Low, Norman Mine, Denis Mortell, Miriam Naeh, Phillip Reeves, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort. Project supervision by: Kate Pickering and Sam Plagerson. Special thanks to Michael Newman and Borbála Soós. Produced in collaboration with Tenderpixel and the MFA Fine Art programme at Goldsmiths College.
Sunshine Frere has a longstanding obsession with systems and variables. Her artistic practice is cross-disciplinary and it frequently employs interactive diversion. Frere obtained a BFA from Concordia University, Montreal (2005), and an MA in Interactive Media from Goldsmiths (2007). Selected exhibitions include: Group Video Show, Oblong Gallery, 2010, TESTING, TESTING 123, Outside World Gallery, London, 2009, 2 Virgin Marys are better than 1, DSG, London, 2009, Hearing Ghosts, Maison Rouge, Paris, 2008, and Re:Boot Area 10 London, 2008. Frere has also successfully completed numerous collaborative projects with artists Jenny Pickett & Holly Stevenson. In 2009, Frere & Stevenson co-founded and today remain silent partners of the DSG (Dirty Square Gallery), London.
We are grateful for the support of: