DIANN BAUER & AST | AMANDA BEECH | MELANIE JACKSON
PIL & GALIA KOLLECTIV | CLAIRE POTTER | TAI SHANI
LINDA STUPART | LYNTON TALBOT | AYESHA TAN JONES
CURATED BY KIRSTEN COOKE
11 JANUARY – 10 MARCH 2019
PREVIEW: THURSDAY 10 JANUARY 6 – 9 P
FIRST THURSDAYS: 7 MARCH UNTIL 9 PM
OPEN: THURSDAY – SUNDAY 12 – 6 PM OR BY APPOINTMENT
AYESHA TAN JONES | WORKSHOP
SATURDAY 2 MARCH 2019, 12-4 P
MIn Act ii of Apocalypse survival school ( act i took place at Nottingham Contemporary in Jan) we will work with astrological herbal wisdom, queering song/storytelling, and re-interpreted ancient crafts for an optimistically dystopian view on survival.
Inspired by Ayesha’s alter ego, Una Jynxx, the mystic blogger turned EMF conspiracy theorist, we will think about ways in which we can protect ourselves from harmful radiation such as EMF and bluetooth radiation, and we will focus on herbal knowledge for toxin/digital cleansing, and collectively re-forming myths.
Using games and movement, the workshop aims to help participants see themselves as part of an inter- connected web, that our bodies and energies are independent, yet the syngery between them is vital for a positive, co-existing future.
LINDA STUPART | WORKSHOP
SATURDAY 9 MARCH 2019, 1-5 PM
When we talk about or make images about climate change or ecology or environmental collapse, or even just about ‘nature’, we often act as if we are talking or making images about something outside and separate to our bodies. This workshop uses found, recycled, digital, and everyday materials to make art about our bodies as borderless, particularly in relation to the ‘outside’, to nature, gardens, and so on.
AT IMT GALLERY: RICH CURTAINS: PERFORMANCE OF STILE
CLAIRE POTTER | PERFORMANCE
SATURDAY 9 MARCH 2019, 5-6.30 PM
Artist writer Claire Potter will perform a newly written monologue, Rich Curtains: Performance of Stile, on March 9th at both 5pm and 6.30pm. The performance is the second part of a new commission for the exhibition in which the artist considers the difference between provisional and preliminary structures in relation to the common rural boundary crossings-stiles.
In the margins of the gallery’s second room a series of garishly coloured and individually drawn planks, nails, and wires, are installed to form a poorly-assembled, impractical, and upside-down stile. This installation, titled Rich Curtains Pending Performance, becomes the subject of critique within the spoken live work, and is discussed in relation to narrative time and fiction writing-which includes all the tv programmes watched during the making of the work, like detective series Luther, and that one about the old woman in Alan Bennett’s driveway.
A scaffolding structure will pierce the dividing wall at IMT gallery; the partition acting as a mirror that reflects the physical diagram across the two spaces.
Its anatomy is already doubling, self-replicating across the bifurcated gallery.
Snow Crash is a speculative architecture for alternative infrastructures that is flexibly built to respond to the artworks it houses. Artworks that exist in tension with the framework and will impinge on it, spill out from it and will be performed in and around the physical diagram. Assembled out of scaffolding, Snow Crash renders its own configuration visible and provisional, with the potential to be reformulated and adapted to future contexts. Snow Crash’s diagrammatic structure facilitates the ability for the autonomous artistic practices to go off in different directions but to reside in one place, enabling us to consider the complexity of the collective and the equally complex infrastructures that could support it. Snow Crash produces a project that thinks of itself as a scaffold, as opposed to a container, and as result has the propensity to suggest alternative and expansive forms of viewing art.
💎 Kirsten Cooke and Melanie Jackson | Snow Crash | 2018 | GIF