On 30th April 6-8, there is to be a panel discussion with some of the artists to look at the approach they each took.
We could range these from “investigation” to “observer’ to “active engagement” methods in terms of the research approaches taken by the artists. Then how did they arrive at the works themselves? What considerations shaped the making of the works? Did working on this project mean a new strategy?
book with the gallery if you'd like to join the discussions
Following the stairs, Jil Moore’s glimmering vessels, containing the floating child, the swirl of light, traffic and the reflections of yourself, the streets, bridges and tower outside the goldfish bowl of the gallery. Drawn into this shimmering world within a world, somehow the viewer becomes suspended between the work and its reflections – the rush of the hour.
From this halfway landing you can see the rest of the paintings by Grennan&Sperandio. How colourful is this exhibition! So much colour which I almost hadn’t noticed till now! Youre reminded that these paintings have been created by a circuitous route including being shipped from China. That red paper rushing down from the ceiling; the over blue and bottle grass green in the paintings, and now as you turn to the downstairs rear gallery, the acid colours of the lights within William Titley’s dustbin Monument, with its tinkling water and foggers blowing whisps of steam out into the space. The mood has changed, gradually from a light, to rather dark, rather unsettling back alley way kind of dream.
You see the TV screens and some old chairs, some grim furniture set against that midnight wall – they are a bit too close for comfort. Its some interior, domestic place, the walls between the houses have been dissolved and we are all in a circle but in isolation, focussed on the individuals discussion of TV and culture on Hafsah Naib’s TV.
Turning the corner we are finally in the dark. Father on my Rightside, Mother on My Left, by Jo Lewington at once throws me into a dilemma. Is what I see beautiful? The movement, the skill in each job, the work worn hands, naturally flowing; or is it a stark portrayal of the human industrial condition? In the title, there is the hint of a potential for hope, to some feeling of supportiveness, guidance, cooperation. As in Jil’s containers the question comes back – are we all subtly directed, and constrained by the flow of the city, or like the stalwarts remembered in Titley’s Monument and the individuals in the Richardson’s diagrams and Wilson’s games, is it worth getting stuck in and trying to make change happen? Is a community network a way to do that? Or are there other forces at play….
How will other people interpret the work? How will I find out? Here, the writing and feedback of others will come in. Spending so long in the process of making, curating, planning, negotiating about the projects – how to stand back a little – is it possible to?
Reviewers, members of the public, artists – we’re having a reception this afternoon for community group members and people who work for CN4M, so that will be one part of the feedback.
the show – part1
Actually, one of the best things was that all these factors, for myself at least, began to create a new physical and emotional narrative in the exhibition. Starting upstairs in a light-hearted spirit with Wilson’s games, set out on three makeshift tables, complete with un-reformed community centre chairs (direct from St Lukes). The brightly coloured and intriguing boards invite play, puzzling over instructions, and for those in the know, laughter! Its like a new toy at Christmas that didn’t quite live up to expectation and all the bits end up on the floor as you abandon it for something more satisfying….On the wall the map of the community based show is preserved on the ubiquitous community exhibition material of choice, foamboard, hinting at the previous life of these works.
A lone painting hanging in the corner of the space, overhanging the balcony, shows a gable end and a glimpse of New East Manchester. Grennan & Sperandio’s first painting shows its blank face and invites you to peer over the balcony, down to Joe Richardson’s sweep of red wallpaper and its partner, the “lining paper of regeneration”, laid out on its golden pasting tables.
get over yourself!!
I think I have now got over myself! After the wonderful summer’s evening enthusiastic reception the exhibition received at the opening last Thursday and the fact that I had so much support from Castlefield Gallery staff making everything run so smoothly (as I keep saying, as a freelance curator one gets used to DIY) I’m now thinking about the exhibition again.
Certainly, standing back and looking at the work, in a formal way, was really exciting part of the curating process – and it’s the nature of the gallery space that this becomes so much more important – if not the main consideration.
The viewpoint in relation to the space, the positioning of works in relation to each other…. There are practicalities – like light, wall conditions, new build of walls and electrics to consider as well as the purely aesthetic considerations and making sense of the ideas in the show.
Its Here!
The show is here…..
Apologies for not updating this blog for ages…I Hope you can get along and see it !
Its all happening NOW… TODAY the show opens tonight 6-9pm… along with 5 other big shows in Manchester, so hopefully the audience wont be too drunk by the time they arrive at Castlefield!! – the sun is shining, spring is here and I’m feeling apprehensive. In the gallery there’s no hiding..
Putting the work into a gallery has been a fascinating process – whilst carrying in my mind all the practicalities of the community based show and the issues we dealt with there, the set of challenges in the gallery is altogether different – obviously!
The luxury of working at Castlefield, with a great technician to help with things, with enthusiastic volunteers and supportive yet challenging curators – it has been a new and exhilerating experience! Most of my projects have been non-gallery based, where people may not have time or be be all that bothered about your work. The Luxury of spending all afternoon positioning lights, weighing things up, discussions about placement of things, trying it out for several days….and playing with the ideas with other artists has been good. I’m learning all the time..and one of the big things I ve learnt is that you dont really know the work till its all there together and how it works – if it works- as a group show. So now it’s a show and what will it say?…..more soon
An artist and curator in Manchester My work can be seen at www.alison-kershaw.com
