TIPS FOR ARTISTS by COMMON CULTURE
Details to follow.....
Phase 2 During the winter of 2012 GMP embarked on a period of research that looks at bringing the space back to the original intention to develop the space as a place for curatorial experiment. The working title for this is Curator Lab. Co founder Richard Higlett has received funding to allow time to question his role as an artist and curator and time to network and build the research side of the project.
GMP will be launching the Future Archive before Christmas.
Artists who have presented in the project space have been asked to create a limited edition to compliment their exhibition. These have been created through Printhaus working with Nigel Bowles. The editions are by Rebecca Glover, Mike Murray, Paul Emmanuel, Lois Williams and Richard Higlett as curator of The Witching Hour and the Endless Kiss Installation. GMP are also inviting print maker to include a piece for the project which will be available as a limited boxed archive edition or as individual prints. A 'Scoop It' e-magazine site will profile the prints which will be available to purchase through the site. Sales support the artists and GMP's continued programme.
18th November to 16th December 2012
ARCADY: Lois Williams curated by Mike Tooby
DOWNLOAD PV INVITE HERE
'Arcady' is Lois Williams' first new solo project in the UK for 10 years.
It follows her participation in 2011 in 'Artisterium', in Tbilisi, Georgia. In Georgia she showed her first body of new work following an extended period when her practice was dominated by her role as consultant 'artist in the design team' for Oriel Mostyn Llandudno's redevelopment project.
'Arcady' speaks of the generalised vision of an ideal place, and of a specific association in the artist's mind. Lois Williams travelled through eastern Europe in 1994 to visit Brancusi's Endless Column, Gate of the Kiss and Table of Silence at Tirgu Giu. She now recalls being struck throughout this journey by a place near Odessa bearing the name 'Arkady'. For two decades she has carried the word with its associations in her mind as a potential title or designation for a group of pieces, being reminded of this as she continues travelling in what was once the Soviet Bloc.
Her work is made in two studios.
One is an old cottage, within a few hundred yards not only of her present home, but the now derelict farm on which she was born, and the farm which her parents worked for much of her life. The other is a purpose built new space in an artists' studio block in Sheffield, where her teaching career was based. She is about to vacate this studio.
idea of duality in her work has been explored in past projects and in
critical discussion. A renewed concern with memory, personal history,
the claims of particular places and the potential of new contexts has
played an important part in her recent work.
The title may suggest a pursuit of a golden age, but it is difficult to say whether this lies in the past or may come to be in the future, whether it is close at hand or lying at a distance.
Text: Mike Tooby'Arcady' is a collaboration with Michael Tooby.
Michael Tooby first worked with Lois Williams on a solo show at Mappin Art Gallery Sheffield in 1986. He wrote on her work in the publications for the touring survey 'New North' organized by Tate Liverpool in 1990 and for her major solo show 'O'r Canol / From the Interior' at Mostyn Llandudno in 1996.
GMP Future Archive Print Editions
'Arcady' is made specifically for the project space at Goat Major Projects in Cardiff. The installation will be accompanied by a new print on paper as part of GMP editions. Available shortly
Lois Williams and Michael Tooby will host an informal opening on Sunday November 18th, 3 pm. They will also be in conversation about Lois Williams' work and their collaboration on 'Arcady' on Sunday December 9th at 3.00 pm.
PART OF CARDIFF CONTEMPORARY
25th October to 11th November 2012
The Witching Hour: Sound Art from Wales.
Sara Annwyl, Kathryn Campbell & Jake Whittaker, Matt Cook, Michael Cousin, Paul Emmanuel, Tom Goddard, Heloise Godfrey, Mark Houghton, Leona Jones and Richard Huw Morgan.
Curated by Richard Higlett
As part of Cardiff Contemporary, Goat Major Projects will presenting
its 7th Project: The Witching Hour. This will feature the creation of a
sonique lounge in the Canton based project space. The lounge will play a
programme of sound art by artists based in Wales.
The title 'The Witching Hour' is influenced by the writings of David Toop
whose book 'Haunted Weather' refers to sound as being uncanny and
other worldly. Selection of artists has been through an open call ending
midnight 1st October 2012. The project will also have 2 performances at
midnight during the exhibition as artists call upon the witching hour for
evidence confirming sound is a vehicle for conveying the physical
presence of things and people.
Down PDF on sound works
The project is part GMP's Agenda for Sound; which will be developing
more opportunities for presenting sound art in 2013.
GMP would like to thank Cardiff Council for their support of the project
through the Cardiff Contemporary initiative that is developing the profile
of contemporary art in the capital in partnership with the creative
communities who live in the city.
PRESS PACKhttp://www.goatmajorprojects.com/TWH GMP 2510 to1111.pdf
9th September to 14th October 2012
curated by Sarah Gillett
Pink Fleece 2012
gallery text download HERE
12th August to 25th August Assembled at Home by Mike Murray
Assembled at Home/ Cydosod yn y Cartref
12/08/12 - 25/08/12
Private View Sunday/Preifat View Dydd Sul
Open Daily/Agor Bob Dydd 10-00 - 16.00
In Xavier De Maistre's A Journey Around My Room, published in 1794, a man is trapped in his room for 6 weeks. A space measured as 36 paces long, though he rarely travels in a straight line as he takes numerous short journeys of discovery. This period of incarceration allows him to contemplate the meaning and value of the objects around him. As he looks at engravings and furniture he begins to see them as scenes from a grand voyage, chairs become monumental, while one particular journey involves him travelling north to his bed. Maistre had created a parody of the grand travel narratives popular in the later 18th century. It was a time before the invention of railways an idealistic period before the ability to move around at speed meant distance and time compressed and travel became common place. A Journey Around My Room came back into prominence through Alain de Botton's Art of Travel, a book that could be found under countless Christmas trees a number of years back. Here the narrative was framed more philosophically as we were invited to contemplate the relationship between a journey through physical space and one travelled in the mind. Both are open to self-improvement while at the centre of both are the parameters of scale. In A Journey Around My Room we learn there is as much information to contemplate in a few metres as there are in 1000 kilometres, if we let the mind be free to wander.
Mike Murray's work explores the ideas and processes of Surrealism; the influence of the subconscious in our actions and what exists beneath the thin veil we place over life we mistakenly describe as reality. The resulting work presents a form of dark humour at odds with the delicate and refined process of the watercolour.
At points during the exhibition, Mike Murray will spend time in the gallery responding directly to a book on furniture construction which informed the exhibition. This action will take the form of adding new images to the printed diagrams. These 'cuckoo' images will take the diagrams beyond their original meaning.
For Assembled at Home, Mike Murray has worked with the Printhaus' Nigel Bowles on two print editions that will be available to purchase. All sales of the edition will be supporting the artist and the future program at GMP. This edition is the second in an on-going series that compliment the exhibitions program.
22th July 2012 12pm to 4pm XSC
GMP host XSC: The Cross Studio Critorials Group of Cardiff Artists: http://xsc.carbonmade.com/projects/4250474
4th August 2012
Mermaid and Monster presents ONE NIGHT STAND. 6pm till late. 9 Artists one work each.
Space Invader by Rebecca Glover till- 8th July 2012
Installation detail: image GMP
'Space Invader' by artist Rebecca Glover.
On Sunday 3rd June 2012 from 12pm to 3pm, Goat Major Projects (GMP) opens its second show by artist Rebecca Glover. Space Invader is Glover's first solo show outside of London and is a reconstructed installation of a public work originally commissioned for 'Flat 52, market estate project 2010' a one-day event which invited the public to explore over 75 art works created on site at the Market Estate, Islington just before the estate was demolished.
Space Invader is an art installation that is occupies the entire GMP space. Her installation features blue spikes pushing out from the space walls that prepensely trespasses in the space; pushing out or obstructing the viewer. Space Invader marks the first exhibition outside of London for Rebecca Glover, Glover is an emerging artist who is gaining recognition for her evocative interventions and we are pleased to be showing her first in Wales at GMP.
In recent years, Glover has been experimenting with the properties of drawing, painting and sculpture and the influence of each medium on her work.
"Over time an interesting dialogue begins to develop across the different dimensions and mediums. Paintings often trigger an idea for a new sculpture and the sculptural work acts as a starting point for new drawings and paintings. Each medium feeds the others and develops my visual language." Artist Rebecca Glover
The title of the Space Invader is a comment on the presentation of contemporary art in the public realm and gallery context and plays with how art in received and contested depending on the context of its derivation.
A signed digital print by Rebecca Glover is available as an edition of 25. Further details through the Editions section of the website.
On Sunday 8st July at 2pm, artist Rebecca Glover will be in discussion with Emma M Price on her practice and her current solo show at GMP, both will investigate further the Space invader context in relation to presenting art in the public realm and art in the gallery context.
DOWNLOAD PROGRAMME NOTES for Space Invader HERE
1st April to 13h May 2012
In Michelangelo Antonioni's 1966 film Blow-up, the main character is casually taking photographs of a distant couple arguing in a park. Unknowingly he is witnessing a crime taking place and the murder of the male is captured on film. On realising this, he attempts to enlarge a section of one of the photographs, a image of bushes where a gunman appears to be hiding. Despite numerous attempts the greater he enlarges the image the more the resolution breaks down and the use of photography to present visual facts or 'evidence' is called into question.
For Endless Kiss the first presentation the Goat Major Projects space, GMP co-founder and artist Richard Higlett has recreated El Lissitzky's seminal installation piece of 1923 Proun Room using an image from the internet with a file size of 70kb. The creation is an exercise in guesswork with dimensions estimated. The piece has been made using mostly scraps of wood from around his studio while a subsequent photograph of the interpretation suggests the work of a more objective maker. As in Blow-up, the source used to make the work is open to interpretation as details cannot be reproduced with a level of certainty. The exercise becomes an echo of the 1923 original while conceptually existing in its own right as no other research other than viewing the image from the internet has taken place.
Endless Kiss has been created as a starting point for a number of dialogues about the ways in which we experience life through different mediums and use them as false substitutes for evidence of the original. The piece is intentionally theatrical and lacking the creative rigor. An accompanying work Endless Kiss 2.0, is a low quality print of the Wikipedia page for El Lissitzky. Wikipedia is considered a contemporary signifier of factual information. A small black circle on the first wall indicates the point the artist returned to when estimating the position of objects in the space, compensating for the distortion by the camera lens, as he attempted to return the image to existing in three dimensions.
Artist's Talk: Sunday 6th May 11am.
Richard Higlett will be discussing Endless Kiss and the history of Proun Room along with other examples of 20th century artworks that have been remade. He will be showing a small film that documents a recreation of a second Proun Room made in 1969 from the artists notes. Until the talk he has deliberately avoided seeing any other documentation of the work other than the low resolution on-line image.