Posts Tagged ‘2016’

Martin Westwood

Public Event Saturday 25 June, 2-4pm

Former Stanley Picker Fellow Martin Westwood presents Re-cut Piece (working title), a work of re-mediation, documentation, performance, technical support and materiality. Developed over a week-long residency in which the exhibition space is architecturally reworked while remaining open to the public, Re-cut Piece (working title) produces and stages the montage of multiple parallaxes – from haptic to audial, performative as well as architectural.

Comprising multiple durational interventions within the Gallery, Re-cut Piece (working title) introduces a layered process of re-organisation of technical, social and biological organs into a perverse aggregate. The installation includes a new moving image piece that takes documentation of a historic performance as its initial motif to display the activity of kneading dough into photocopier carbon and microphone windshields. Residues from the video’s production are redeployed in the gallery, whose space is also being figuratively kneaded over the course of the week.

Martin Westwood’s residency and show are part of his current PhD with the Contemporary Art Research Centre CARC at Kingston University.

Oreet Ashery

As a culmination of her Stanley Picker Fellowship research, Oreet Ashery presents Revisiting Genesis, a new major commission taking the form of a web-series in twelve episodes which remain on view online also after the exhibition. Written and directed by the artist, Revisiting Genesis  explores the philosophical, sociopolitical, practical and emotional implications of the processes surrounding death and withdrawal, digital afterlives, outsider communities, social networks and reincarnations of women artists. With a new episode released weekly, the online narrative unfolds in parallel to Ashery’s exhibition at Stanley Picker Gallery, which transforms the space into an interactive, social environment inspired by local community centres.

Revisiting Genesis  follows two nurses, both named Jackie, who assist people actively preparing for death to create biographical slideshows serving as their posthumous digital legacy. The slideshows become a tool for reflection on cultural and social loss, friendships and memory as identity. When a group of friends request this treatment for Genesis – an artist who is dying symbolically and otherwise – Nurse Jackie attempts to activate Genesis’ memory through the making of her slideshow, which draws from elements of Ashery’s own autobiography and explores the disappearance of social and educational structures under contemporary neoliberalism. Jackie concludes that it might not be Genesis who is vanishing, but the structures she had relied on. Presented in parallel with Genesis’ story, the twelve episodes are intercut with improvised interviews between individuals with life-limiting conditions and Nurse Jackie, played here by a practising GP.

Developed in consultation with Medical and Death Online experts, including researchers at Kingston University, and produced with a range of artistic collaborators, Revisiting Genesis  responds to diverse influences spanning from feminist art practice to outsider and minority politics, as well as the emergent online death industry.



Oreet Ashery is a UK based interdisciplinary artist whose politically charged and socially engaged practice includes exhibitions, performances, videos and writings, in an international context, that explore issues of gender materiality, potential communities and biopolitics. Recent presentations include Fig.2 (ICA, London 2015), Animal with a Language (waterside contemporary, London 2014), The World is Flooding (Tate Modern, London 2014) and Party for Freedom (Artangel 2012-13). A current Stanley Picker Fellow in Fine Art at Kingston University, Ashery is represented by waterside contemporary.

Revisiting Genesis is commissioned by the Stanley Picker Fellowships at Kingston University and supported by a Wellcome Trust Arts Award, public funding by the National Lottery through Arts Council England, Tyneside Cinema, Goldsmiths University of London and waterside contemporary.

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Simon Martin

Simon Martin is an artist living and working in London whose work explores ideas of subjectivity and the built environment. During his Stanley Picker Fellowship Martin aims to undertake an area of research around Objecthood, sound and memory.

Martin has previously made videos and exhibitions looking at how we might experience a range of cultural artefacts including buildings, images, artworks and furniture, reflecting on how the codes and commands of such artefacts press into our consciousness and play with memory. Recently he has said ‘I have moved from looking at particular objects and thinking about them in social terms to looking at how object image and place coalesce and seep into us in more indirect ways’.

Working with sound is an attempt to engage more directly with the modalities of production and distribution in contemporary art and technology. This together with a deeper investment in the possibilities of aural culture has been the main focus of his recent attention. Reflecting on the Internet Martin asks ‘Where does this vast accumulation and super fluidity of instantly callable images together with their simple replaceability leave us in terms of production as artists? What does it do to knowledge? What form of productivity effectively sidesteps this machinery without losing essential drives?’ Sound, proposes Martin, offers one possible way forward.

Martin will develop a new body of work for the Stanley Picker Fellowship built from the sonic ghosts offered up by the recent past, the city and our technological selves.

Martin has had numerous exhibitions in the UK and internationally, including Northern Gallery for Contemporary Art, Camden Arts Centre, Chisenhale Gallery, Tate Britain, White Columns, New York and Bass Museum of Art, Miami.

Charlotte Bergson

Curated by Stine Nielsen Ljungdalh

Founded in 1634 with the alchemical ‘union’ of Sir Nicolas and the legendary Lady Marianne – also named The Bull – the esoteric Hunting Society has remained, up to the present, undisclosed to the public eye. For The Hunters of the Invisible by Charlotte Bergson, the viewer is invited to glimpse into a parallel blueprint of creation. The exhibition forms a dialogue between objects kindly loaned by the Hunting Society and new work by the artist resulting from archival research recently undertaken during a residency at the Hunting Society Collection.

Known as a feminist artist and documentary filmmaker, Swedish/Danish born Charlotte Bergson has an ongoing interest in alchemy and not least in the work of Mr T. Smith. Also known as The Hunter of the Invisible, Smith’s work consisted of letters, experiments and notes found in a hidden attic chamber in Copenhagen; all ‘interpretations’ of the now missing alchemical manuscript The Saga of the Event. Written by Lady Marianne, the manuscript is the spiritual framework behind the Hunting Society’s ideological approach to the origin of creation, which may explain why the Hunting Society’s Archive holds the largest collection of Smith’s work.

Stine Nielsen Ljungdalh (b.1969) is a research candidate at the Contemporary Art Research Centre, Kingston University. Her practice centres on meta-fiction as a method for addressing different notions of the event, using perspectives from philosophy, science and alchemy. Her method involves the ongoing creation of a parallel world called The Zone; an alchemical theatre inhabited by fictional personas and organisations. Previous curatorial collaborations include Other Fictions at Photographic Centre (2013) and GamingGaming at New Shelter Plan (2014) both in Copenhagen.

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