The exhibition focuses on the use of found objects or images. Each artist presents work that results from the layering of the original object or image, with all its previous history and meanings, with the artist's action. The artistic intervention, or whatever the artist does to each object, does not completely erase the object but rather revises it. In a sense, the found object and the artistic gesture come to work together. As such, meaning in these works is not produced in isolation from the world. Rather, the meanings produced are a combination of what was there with what was added, emphasising overlaps and interconnectedness. The viewers are asked to look at the works closely and reconsider how they may be understood as both everyday objects/images and artworks.
Chalmers makes intricate drawings on the inner surface of found envelopes. These drawings are informed by the existing patterns and colours on each envelope. As a result, the drawings sometimes partially blend in with the printed design. Froehlich presents a different type of drawing on a found side table. Her intervention, which is based on the passage of time, evokes past moments as well as potential future moments in which this side table might participate. Garrido's work focuses on 'erasing' existing information from found or purchased printed material. Her labour-intensive process of working raises questions concerning value and worthlessness. Muendelein presents a photography installation based on a collection of found photographs from 1900 depicting landscapes, travel encounters and street scenes. By revisiting fragments from these private histories today, Muendelein's work explores their resonance in the present. Olympios photographs found footage, capturing the response of his digital camera to the TV monitor or the demise of scrambled low-resolution trailers from the Internet. The resulting captured image is transformed, leading to the undoing of film genres, the destruction of images, and the concealment or deconstruction of the depicted body. Timen has performed very simple and humorous actions to alter two found toys. Despite their simplicity, her actions manage to effectively revise the narrative associated with each toy, resulting in double or multiple meanings. Finally, Kassianidou has used found surfaces to create collages that partially disrupt existing patterns in space.
* 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.
We are grateful for the support of: