Aaargh! Apart from being filled up with lots and lots of things, my life is incredibly messy at the moment. The only place I can currently call a ‚home‘ is extremely unstable and I am growing tired of it.
Still, there’s quite a bit of nice stuff happening that I consider myself happy to be a part of.
For instance, I have a few small and playful sculptures in a very nice show in Brixton at the moment. I failed at writing about it earlier because I didn’t have much internet access for the last few weeks. Oh well.
ARTIST HOUSE 2 14TH NOVEMBER 7PM:
Emma Alonze, Rob Bellman, Luke Burton, Rose Gibbs, Aidan O’Sullivan, Alexander Page, Nick Pankhurst, Simon Schafer, Nadia Visram. In a former studio and chapel in Herne Hill a disparate group, some of whom share a studio, will exhibit their work. From 7pm 14th November – 21st November 10am – 5pm.
It’s been close to a year now since I had the Night Shift show at Simon Oldfield Gallery. Yesterday, I was surprised in a very very nice way by Rebecca Helen Page, who has filmed bits of the performance I’ve done there and uploaded them to Vimeo.
It was quite a noisy performance with very weird sound and I had very short hair at that time.
The desk I had my instruments on was absolutely gorgeous. It felt like my own private TARDIS.
Night Shift explores the relationship between painting, sculpture and performance with new work by Simon Schäfer and Katy Kirbach.
The exhibition examines the tension between the handmade and ready-made; multiplicity and uniqueness; live event and still object; the diurnal and nocturnal. Night Shift is visually and aurally layered with texture, sound, digital feeds, colour and analogue electronics.
To acquire knowhow is to gain the practical skills or intelligence necessary to get something specific done. This is tacit knowledge in the sense that it can be withheld and kept confidential. It may also be difficult to transfer without practical instruction and the required cognitive faculty in the beholder. In the artist this skill has traditionally revealed itself as craft.
Since the dawn of the Readymade, craft in Art has continually been brought into question, and as a result any preconception of a definitive Artistic Knowhow has been blurred or expanded to involve a myriad of scenarios or conditions.
Knowhow aims not necessarily to pin down a definition of the word but to ask the artists to delve into their own practice or maybe push themselves beyond their normal bounds of proficiency. This might manifest itself in a cathartic exploration of an unknown craft, an engagement with a ‚knowing‘ failure or even through the use of prosthetic labour which utilises the employment of non-artistic intervention.
KNOWHOW is a curatorial project by Ben Newton in collaboration with Campbell Works