IMT Gallery

Filmarmalade presents SECTOR INFINITY BALANCE by James Lowne

Mark — Thu, 09 May 2013 10:35:56 +0000

Filmarmalade presents SECTOR INFINITY BALANCE by James Lowne
6th June 2013 6 – 9pm

Filmarmalade are proud to present the performative video installation SECTOR INFINITY BALANCE by artist James Lowne that combines new video and experimental audio work with office furniture.

SECTOR INFINITY BALANCE comprises a triad of narratives that explore the concepts of production, reception and mediation to explore Lowne’s theories of the ‘Ambient Totality’ set within an interior world populated by incompletely drawn bodies, that ambiguously populate a series of ersatz landscapes.

James Lowne recently screened work at the Ann Arbor film festival, Michigan, Tate Modern, London, the British Film Institute, London, Wimbledon College of Art, London and the BHVU Gallery, London. He was born in the United Kingdom and lives and works in London.

Filmarmalade is a publisher and DVD label specialising in contemporary artistsʼ film and video works. Every year Filmarmalade publish a series of works, selected through both invited and open submission, with the aim of encouraging wider access to the moving image. Filmarmalade also specially commission interviews to accompany each publication to provide a greater understanding of how video and film artists situate their work in relation to the history of art and contemporary fine art practice. Filmarmalade is a project by the artist Gordon Shrigley. The entire Filmarmalade collection is held at the British Artistsʼ Film & Video Study Collection.

filmarmalade.co.uk

Plastique Fantastique Communique: YOUR EXTINCTION OUR FUTURE!

Mark — Tue, 07 May 2013 14:07:59 +0000

Plastique Fantastique, THR XTNCTN, R FTR

Plastique Fantastique | Your Extinction Our Future!
28th June – 28th July 2013
Private View: Thursday 27th June 6pm – 9pm

Plastique Fantastique Communique: YOUR EXTINCTION OUR FUTURE!

PHENOME (= hu-man) quickly-became-ghost: wasted, sunken-eye-and-cheek. Pallor? That-of-wax-ed-fruit. This PHENOME-ghost thinks it is something but can-no-see that it is NO-THING but a HALL-LOOO-SIN-NASHUN (or, precisely, echo-of-a-feedback-loop). And whaoooooooooooo! this old loop can run-and-run… but not for-ever. PHENOME can only spin like an invert-ted-top. An eye it is: spiked on the sharp end of a cone pointed skywards (upright-and-uptight until entropy cools-its-chops… which blows sooner than you think my friend). But NOW, finally, PHENOME-time really is a running out. Yes siree! FINALLY REALLY RUNNING OUT! PHENOME-time not enough to run the infinite space of the (what-is) CLOUD. Too much plug-in. Too much playing with the sticky-icky lube-tube/fuzzy-insertion-slot. Too much connect-connect-connect-connect. Yes siree, TOO many prosthetics broke the back of this poor-old-PHENOME-circuitry.

What next then? NATURAL HISTORY: CLOUD gives birth to new animals. Feedback loop mutates/generates/inverts (less reverb-and-delay, more time-stretch-tool). All filters are visible and all connections are marked for these CREE-TURES (a host of parasites and, FINALLY: NEUROPATHEME). And they shall bring WAR: a war on PHENOME-ghosts until all is dead-and-dusted, until all transparent apparitions are circled, arrowed, filled in, made opaque, redacted.

No winners. Who survives? FUX-OWLING for one. All born flushed-and-unplugged, swimming the continuum, like water-in-water. And NEUROPATHEME no doubt a.k.a. subject-without-experience, all made sticky and ready to receive, ree-kiwired and re-wired, a confirmed neurocentric, bound-and-gagged, spoken-for-and-babel-rush. First NEUROPATHEME redacts the letter ‘I’ (followed shortly afterwards by all the other vowels). 2ND-GN N-PTH is born, and is first to sing (in a new loop of its own making): YR XTNCTN R FTR!

Filmarmalade Presents Deep with the Mirror We Perceive a Faint Line by Maia Conran

Mark — Sun, 07 Apr 2013 11:54:57 +0000

Still from The Projection Room Collection, 2013

Filmarmalade presents Deep within the Mirror We Perceive a Faint Line by Maia Conran

18th April 2013 18:00 – 21:00

Filmarmalade presented a film installation by Maia Conran, Deep within the Mirror We Perceive a Faint Line, draws on interactions between traditional and contemporary forms of media and projection.

The installation comprised of a series of super 8 projections of documentary films that re-read works Conran had previously shot on video. In doing so she investigates the layering of content and meaning that occurs across the production, presentation and documentation of the moving image, thereby re-coding the previous works as both recorded artefact and moments of semiotic disruption. The projectors were operated by projectionist Joyce Ho, in a performance determined by the demands of the technology.

Maia Conran has exhibited widely in the UK including the BFI, London; Phoenix Gallery, Exeter; Spike Island, Bristol and at the Oriel Myrddin Gallery, Carmarthen. In 2012 she undertook a Futures Residency at Standpoint Gallery, London. She lives and works in Bristol.

filmarmalade.co.uk

Attachment

Mark — Mon, 11 Feb 2013 14:18:00 +0000

Hyun-Min Ryu, Ice Cream Mic, 2011

Attachment
15th March – 14th April 2013
First Thursday late opening: Thursday 4th April 12:00 noon – 9:00 pm

IMT Gallery is pleased to present Attachment, an exhibition of works and collaborations in a variety of media, including video, installation, photography and drawing, that might function as transformative loci for everyday substances, props or occurrences to become conduits of emotional exchange.

An attachment is not the core provider of purpose or meaning, it may be extra, superfluous, an after-thought or revision, but, regardless of the specifics of whatever exchange of meaning might be taking place in an art exhibition, an attachment is both object and process. The attachment can be an auxiliary component and may have a sinister or ulterior motive for its presence alongside the thing, a file appended to an email received from the artists and/or curator, the forging of a lasting emotional connection between people. With attachments there may be confusion about the point at which something becomes art.

The exhibition brings together artists from UK (Conran and Shrigley), Denmark (Kjær Skau), France (Nové-Josserand), Switzerland (Potter), Poland (Robakowski) and South Korea (Ryu), and a broad variety of artistic backgrounds including sculpture, video art, architecture, sound art and photography.

Alejandro Ospina | Megalopolis

Mark — Thu, 06 Dec 2012 12:39:09 +0000

Greba Orokorra, 2012

Alejandro Ospina | Megalopolis
25th January – 3rd March 2013

IMT Gallery is pleased to present Megalopolis, an exhibition of new painting by Colombian artist Alejandro Ospina, and his second solo exhibition at the gallery.

In previous work Ospina has taken portraits from the web profiles of a tech-savy youth, literate in the manipulations and visual vocabulary of contemporary image-making. Having reframed these portraits via painting as an interaction between identity, technology and media, Ospina now pans back to present the world these avatars inhabit. The Megalopolis is an environment in which recognisable landmarks are smothered by the overdeveloped filters of Photoshop extremists, riot scenes fold in to bedroom interiors, architectural spaces collapse into landscapes from news reports and rearranged elements from other artists’ work; it is an environment forged by the vagaries of the users of social media and the products that define them.

Ospina’s work uses architectures of painting as a way of negotiating contemporary problems of image-making and artistic production in a networked world of complex relationships, inconsistent representations, and of technologies that have produced a flow of information at a magnitude and rate that is literally super-human. He says: “I try to work in ways that reflect continuous changes in attention at a rate and method that would have seemed absurd before the arrival of the Internet, simulating what happens in our minds when we jump from image to image accumulating and merging layers of visual information. I want the work to reflect how the Internet has mutated the way we look at sets of images or contemplate a stream of information.”

Megalopolis is ultimately a record of how the Internet has transformed our relationship to images, to space and to each other in bizarre and unprecedented ways.

Alejandro Ospina (Born 1970 in Bogotá, Colombia) studied at the Slade School of Fine Art, the New York Studio School and Duke University, USA. He has exhibited widely in the UK and abroad including Paradise Row, London; Witzenhausen Gallery, New York; Galería Jenny Vilà, Cali; Biblioteca Luis Ángel Arango, Bogotá, and at the Centro Cultural Salamanca. Ospina has completed a residency at Altos de Chavón, Dominican Republic, participated in an exchange program at the Parsons School of Design, Paris and is currently undertaking a studio residency at the Departure Foundation, London. Ospina recently performed with Eva Recacha at Bloomberg Space, London, in 2011 and exhibited his Algorithms series in a solo presentation curated by Carlos Blanco at the Centro Colombo-Americano in Bogotá.

Megalopolis is supported by the Embassy of Colombia.

Filmarmalade Presents An Alien Cartography by Luciano Zubillaga

Mark — Fri, 02 Nov 2012 17:05:51 +0000

Work in progress 2012 by Luciano Zubillaga

Filmarmalade Presents An Alien Cartography by Luciano Zubillaga

6th December 2012 18:00 – 21:00
Free admission

An Alien Cartography presents four incomplete ‘works in progress’ films that are to form part of Luciano Zubillaga’s forthcoming feature length work, At the Beginning of the Great Utopia.

The incomplete works include: an internal monologue of ‘the dreamer’, played by Hanna Schygulla; a film of three unnamed characters wandering through the ruins of a fictional nation, and a memorial to a former generation of adolescent revolutionaries, intellectuals and artists, who gradually merge into a parallel, more refined universe.

An Alien Cartography allows each viewer to wander through four films, gradually completing the unfinished work from the raw cinematic ingredients that Zubillaga has created.

Filmarmalade is a publisher and DVD label specialising in contemporary artists’ film and video works. Every year Filmarmalade publish a series of works, selected through both invited and open submission, with the aim of encouraging wider access to the moving image. Filmarmalade also specially commission interviews to accompany each publication to provide a greater understanding of how video and film artists situate their work in relation to the history of art and contemporary fine art practice. Filmarmalade is a project by the artist Gordon Shrigley. The entire Filmarmalade collection is now held at the British Artists’ Film & Video Study Collection.

filmarmalade.co.uk

Simon O’Sullivan | Book Launch | On the Production of Subjectivity

Mark — Wed, 19 Sep 2012 09:57:20 +0000

Performance of ‘Protocols for Deceleration: Night is also a sun’ by Plastique Fantastique in 2009 at Outpost Gallery, Norwich

Simon O’Sullivan | Book Launch | On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation
Thursday 4th October 6pm – 9pm
Talk to commence at 7pm

To coincide with the exhibition Henrik Schrat | Report on Probability B, IMT Gallery will be hosting a launch of the forthcoming book On the Production of Subjectivity with a talk by the book’s author Simon O’Sullivan, in which he shall be introducing the themes and drawing the five key diagrams.

The book will be available to purchase during the event for £27.50, 50% off the cover price.

On the Production of Subjectivity: Five Diagrams of the Finite-Infinite Relation (Palgrave, 2012): How might we produce our subjectivity differently? Indeed, what are we capable of becoming? This book addresses these questions with a particular eye to ethics, understood as a practice of living, and aesthetics, understood as creative experimentation and the cultivation of a certain style of life. Central to the enquiry are the writings of Felix Guattari and Gilles Deleuze separately and in collaboration, as well as their philosophical precursors, Spinoza, Nietzsche and Henri Bergson. Each of these, it is argued, offer powerful resources for thinking subjectivity beyond its habitual and typical instantiations specifically in relation to opening up a different temporality of and for the subject today. Alongside this Deleuze-Guattarian trajectory the book also brings into encounter the writings on aesthetics and ethics of Michel Foucault and Jacques Lacan, and pitches Deleuze against Alain Badiou’s own theory of the subject. At stake in this philosophical and psychoanalytical exploration is the drawing of a series of diagrams of the finite/infinite relation, and a further development of Guattari’s ethico-aesthetic paradigm for thinking the production of subjectivity as a speculative, but also pragmatic and creative practice.

Simon O’Sullivan is Senior Lecturer in art history/visual culture in the department of Visual Cultures at Goldsmiths College, University of London. He is the editor, with Stephen Zepke, of both Deleuze, Guattari and the Production of the New (London: Continuum, 2008) and Deleuze and Contemporary Art (Edinburgh: Edinburgh University Press, 2010). His first monograph, Art Encounters Deleuze and Guattari: Thought Beyond Representation was published by Palgrave 2005. He also makes art, with David Burrows, under the name Plastique Fantastique, who are represented by IMT Gallery.

Henrik Schrat | Probably Ping Pong

Mark — Wed, 12 Sep 2012 16:44:01 +0000

Henrik Schrat | Probably Ping Pong
Saturday 22nd September 12 – 6pm

To coincide with Henrik Schrat’s exhibition Report on Probability B and Artist Books Weekend, IMT Gallery will be hosting an interactive event through which Henrik Schrat and collaborators will produce a one-day comic strip. Schrat likens the process to a live Jazz jam session in which visitors are invited to participate by creating their own part of the narrative.

According to Schrat, “every page will begin with Ping Pong, the main character, awaking and end with him falling asleep. Every page follows the narrative of the preceding one in some sense, yet Ping Pong always awakens to another reality – finding himself drawn and handled by someone else. This references the mulitiple realities observing each other from the source material of the exhibition’s title: Brian Aldiss’ 1969 science fiction novel Report on Probability A.”

To complete the circle, a bound copy of the exploits of Ping Pong will be sent to Aldiss.

Henrik Schrat (born 1968 in Greiz/Thüringen, Germany) studied an MA at the Slade School of Fine Art, London and a Doctorate at the Business School of the University of Essex on the theme of the comic and its potential as visual display of organisations. He has exhibited extensively in Germany and abroad including the Forum Ludwig for International Art, Aachen; Museum Junge Kunst, Frankfurt (Oder); Van der Heydt Museum, Wuppertal; Eastside Projects, Birmingham; Wolverhampton Art Gallery, Wolverhampton; BankART 1929, Yokohama and at MOCCA – Museum of Contemporary Canadian Art, Toronto. Schrat’s work has focused on site-specific narrative murals and drawing work with the comic as multi-use format. His latest visual narratives have extended to wood inlay work, confronting the slow traditional technique with comic style and contemporary content. Schrat lives and works in Berlin.

Mark Peter Wright | 30 Minutes of Listening

Mark — Sun, 02 Sep 2012 19:31:05 +0000

Still from ‘Here & There’, 2012

Mark Peter Wright | 30 Minutes of Listening
2nd November – 2nd December 2012

30 Minutes of Listening is an exhibition by award-winning UK artist Mark Peter Wright. Reimagining how we listen to and perceive place, the works presented draw specific inspiration and focus from the area South Gare: a designated site of special scientific interest in Redcar, Cleveland UK.

Taking one 30-minute period of listening in South Gare as its point of departure, the exhibition proposes possible ways of experiencing time and space in relation to this singular moment. Through film, sound, photography, objects and text, Wright examines the dialectical nature of listening and its potential to transgress both physical and mental territories of place and self.

The site from which the project draws is a Designated Site of Special Scientific Interest. Built between 1861 – 1884, this unique 2.5 mile stretch of man-made land acts as an essential breakwater between the North Sea and the Tees Mouth Harbor. A vital industrial passage for the region, the ‘Gare’ is now home to Europe’s second largest blast furnace (Sahaviriya Steel Industries) and a coastline thriving with natural habitat.

Mark Peter Wright (born 1979, Kings Lynn). He studied at the London College of Communication, University of the Arts, London and Manchester Metropolitan University. He has exhibited and broadcast works internationally including Flat Time House, London; Barbican Centre, London; Queen Elizabeth Hall, South Bank Centre, London; British Library, London; Cabinet Magazine Gallery and on BBC Radio 3 and Resonance FM. In 2009 he was awarded the British Composer of the Year Award (Sonic Arts) for his work A Quiet Reverie, which premiered at IMT Gallery in 2008. In 2012 he was nominated for a Prix Ars Electronica award in Digital Musics & Sound Art. Wright is also the founder of Ear Room, an online publication exploring the use of sound in artistic practice.

30 Minutes of Listening, is supported by the Arts and Humanities Research Council and CRiSAP London.

Henrik Schrat | Report on Probability B

Mark — Sun, 02 Sep 2012 19:22:23 +0000

Henrik Schrat | Report on Probability B
21st September – 21st October 2012
Private View: Thursday 20th September 6pm – 9pm

The one-eyed aliens came down to earth, dug out Modernism, and showed it as a picture story in a melancholic chamber…

Henrik Schrat’s Report on Probability B is a revisiting of Modernism under the aegis of a Science Fiction narrative. The exhibition adopts the classic premise in Science Fiction of reality as only one probable version, a version that potentially exists beside many other versions. Brian Aldiss’ Report on Probability A (1968) is perhaps one of the most pure and iconic accounts of this premise: a claustrophobic tale of ‘watchers’ observing reality upon reality, observation upon observation. Utopian versions of the future were part of Modernism as part of a belief in technical solutions to problems. If Modernism is not seen as a period with its own questionable destination but as part of a development, as Jaques Ranciere would see it, it becomes another Probability: a Probability B.

Report on Probability B sees IMT Gallery ‘transferred’ into a kind of museum displaying artefacts of a ‘Space Odyssee’. These artefacts narrate a story about a journey to the stars amidst scattered ‘Remnants of Modernism’; an earthling discovers the One-Eyed Tribe in outer space; Donald Duck is buried in the star-sand; Frank Lloyd Wright’s House of Fallingwater, the water gone, a one-eyed alien is scratching in the sediment…