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Archive for the ‘Stephen Lawrence Gallery’ Category

Anton Lukoszevieze – performance and screening

Friday, February 6th, 2015

 

Anton Lukoszevieze

Anton Lukoszevieze

Friday March 27th 6.30 – Stephen Lawrence Gallery – Booking not required

 

Anton Lukoszevieze (photo) is an internationally renowned ‘cellist and founder of the ensemble Apartment House, a key contemporary music group which recently received a Royal Philharmonic Society Chamber Music Award for their performances of John Cage. Lukoszevieze has also recently championed Lithuanian contemporary composers in addition to his highly regarded solo performances of American experimentalists such Cage, Feldman, and Wolff as well as the slightly lesser known James Tenney and Philip Corner. Some of these will be played in this gallery concert as well as his own pieces in conjunction with film.

On Friday 27th of March, Anton Lukoszevieze will play: Philip Corner, George Maciunas, Sylvano Bussotti, Morton Feldman, Anton Lukoszevieze and Jennifer Walshe

Drawing Towards Sound: Visualising the Sonic

Wednesday, August 27th, 2014

Images: Anton Lukosevieze “Score” (2005)

This exhibition examines the interface between the visual and the aural through notation, documentation, performance and video/moving image. Each of these aspects are currently being explored from many different perspectives by contemporary composers, musicians, visual artists, and film/videographers. Its basic starting point is the historical graphic score/new notational practices of the modernist avant-garde and how sound is captured and communicated. Most famous here, is John Cage and Alison Knowles’ 1968 collection Notations and the recent update Notations 21 (2009) by Theresa Sauer. While the Highlights will include a complete performance of Cornelius Cardew’s 1960s graphic score Treatise, a visit and workshop performance by American experimentalist composer Alvin Curran (b.1938), and a rare chance to see UK performer Anton Lukoszevieze’s drawings and films, as well as Icelandic sound artist Hallveig Agústsdóttir’s drawing performances. It will position ‘classic’ experimental notations – such as Cage and Boulez – with the output of contemporary composers and visual artists. Also featuring, amongst many others, Aura Satz, Jennifer Walshe, Marianthi Paplexandri-Alexandri, Laura Buckley, Helen Pett’s exploration of performances on video, Vicki Bennett’s (People Like Us) collaged films, as well as Richard Hoadley’s interactive notations with dance/live performers, Simon Payne’s abstract exploration of vision and sound, and Neil Henderson’s evocative portrait of Evan Parker.

exhibitors:
Hallveig Agústsdóttir / Sam Belinfante / Vicki Bennett / Carl Bergstrom-Nielsen / Pierre Boulez / Earle Brown / George Brecht / James Brooks / Laura Buckley / John Cage / Cornelius Cardew / Alvin Curran / Tom Dale / Morton Feldman / Vinko Globokar / Christophe Guiraud / Roman Haubenstock-Ramati / Neil Henderson / Richard Hoadley / Joan Key / Catherine Konz / John Lely / Michelle Lewis-King / Anestis Logothetis / Onyee Lo / Anton Lukoszevieze / Farah Mulla / Rie Nakajima / Luigi Nono / Marianthi Papalexandri-Alexandri / Michael Parsons / Simon Payne / Helen Petts / Lauren Redhead / Aura Satz / Thomas Smetryns / Jennifer Walshe / John Wollaston / Christian Wolff / Iannis Xenakis

Jim Hobbs – Panoramic Decelerator

Tuesday, December 23rd, 2014

For his solo exhibition, Panoramic Decelerator, Jim Hobbs presents a selection of recent film, video, photographic and sculptural works completed over the past 2 years. The work moves across a wide variety of media, utilizing a combination of both digital and analogue approaches to explore complex relationships between place, memory and the fluctuations and materiality of time. Jim Hobbs received his MFA in Sculpture from the Slade School of Fine Art and is currently a Senior Lecturer and Artist in Residence at The University of Greenwich within the Department of Creative Professions and Digital Art.

In Black Sun, a 16mm black and white film installation, the work’s visual imagery directs a pensive and concentrated gaze at the sun itself, forming a type of melancholic and abstract environment. The notion of staring at the sun has been linked throughout history with ideas of insanity, mortality, and depression, as such this act describes the desire to overcome rational thinking and lose one’s self in vision. Shot in various locations, including Death Valley and the Virgin Islands, where the sun plays a dominate role, the film takes this act literally, capturing the sun’s strength and enigmatic beauty as it burns its image onto the film; the imagery moving away from the portrayal of a locational identity and replacing “place” with a psychological state created by the sun and its effects. Rie Nakajima has composed a sound work in response to the film, where the audio acts not as a soundtrack, but rather as an additional presence within the space.

Black Sun II, acts as a type of counterpart to the more “narrative” structure of Black Sun. Hovering somewhere between installation, sculpture, kinetics, and image, a rotating mirror perched in front of a projector lens creates a darkened circular eclipse within the picture frame, while at the same time sending out a type of search light across the entire room. Here the reflected/refracted light beam slowly examines and measures the entire space, while the blackened void within the frame, in fact, becomes the image’s subject.

Stretched out over 75 feet (23 meters) of the gallery walls, is je me souviens: 130 black and white silver gelatin photographs of landscapes taken during a 7 day walk through the Peak District. Obliterating the details of the “land”, these new scapes are types of silhouettes where space, distance, and time are measured not in specific details, but rather the accumulation of variables that occur in the sky against an anonymous horizon. Halfway through the journey, the images revert/invert to the negative creating a type of black mirroring where the sky and land exchange place. The pace – the way in which one engages with long walks over days of time – is here, echoed again in the display of the works. On walks like this – long walks over days – the mind wonders, it recalls things, it floats in and out. Somehow the landscape becomes both the catalyst and the vessel for memories.

Metronomes: Ticking away in an endless loop, are two metronomes whose measure of time should be exact, but in fact, they seem to be caught up in an endless cycle of either leading or falling behind. The hypnotic image of the metronomes relentlessly ticking away is echoed by the mechanical sound of the 16mm projectors. These keepers of time are not the exact, precise, or accurate instruments often assumed, but rather, they are inconsistent elements highlighting our desire for synchronicity and symmetry. Time becomes a type of physical material.

Drawing has always been an integral component to Hobbs’ practice, and this becomes the starting point for forget this place. Here, the artist tries to remember the exact shape of his home state, Ohio, spending hours in the studio trying to locate details in outlines and boundaries. These drawings are then digitized and laser cut on plywood, then finally hand worked with graphite and finished off with silver leaf gilding. Placed under the new shapes are lights that backlight the object and create a type of void, where the presence is absence.

1. Black Sun, 16mm black & white film transferred to digital, duration 15′ 36″, looped, 2013. Sound by Rie Nakajima.
2. je me souviens, 130 silver gelatin photographs, veneer pins, 230 cm x 13 cm, 2015.
3. Black Sun II, 16mm film, mirror, motor, aluminium rod, dimensions and duration variable, 2013-15.
4. Metronomes, 16mm black and white films, duration 6 seconds, looped, 2014.
5. forget this place, wood, graphite, silver leaf, LEDs, 45 cm x 45 cm each, 2015.

Jim Hobbs would like to thank David Waterworth, Andrew Hill, Robbie Munn, Phil Hudson, Viktor Krastev, Lisa Peachey.

Exhibition Opening Event: Hallveig Agústsdóttir with Alison Blunt

Wednesday, February 11th, 2015

‘Drawing towards Sound: Visualising the Sonic’ Private View on 3rd March at 6pm

7pm – Hallveig Agústsdóttir – drawing performance with Alison Blunt – Lecture Theatre, Stockwell Street Building

Hallveig Agústsdóttir is an Icelandic sound artist and composer currently residing in Belgium. Her interests stem from her practices as a visual artist, but also in the nature of graphic scores themselves, together with the development of an integrated form of performance, scoring and composition. Here, for this special event, she will produce a new piece in collaboration with London-based improviser Alison Blunt, violin.

Hallveig Agustsdotir_performance-drawing-2

Hallveig Agustsdotir