‘As regular writers of press releases/exhibition preambles will know, this text is written blind, about an exhibition that doesn’t yet exist, and works that are very much in progress. Regular readers of press releases/exhibition preambles will think, ‘ah, this is going to be one of those meta press releases/exhibition preambles that talks transparently from a position of not knowing’. Anyone who finished art school in London in the last six years will now be thinking about speculative fiction.
I’m not asking for sympathy, only stating that I am in a particularly difficult position with this one as the works that make up the exhibition are closer to avatars, interpretations, cover versions or translations of the primary artist’s work. I’ll start with what has at least already happened. One year ago Sean and Harry asked me to invite some artists from the Rijkskademie van Beeldende Kunsten (a two year residency in Amsterdam) for an exhibition at blip blip blip. Now halfway through I have asked Mercedes Azpilicueta, Marije Gertenbach, Tamar Tzvia Harpaz, Christine Moldrickx to make a new work, with one caveat: It had to be made possible by the current volunteers, all art students, who help run blip blip blip.’
- Excerpt from the introduction to Alex Farrar’s catalogue essay that accompanies the exhibition.
I’m not asking for sympathy, only stating that I am in a particularly difficult position with this one as the works that make up the exhibition are closer to avatars, interpretations, cover versions or translations of the primary artist’s work. I’ll start with what has at least already happened. One year ago Sean and Harry asked me to invite some artists from the Rijkskademie van Beeldende Kunsten (a two year residency in Amsterdam) for an exhibition at blip blip blip. Now halfway through I have asked Mercedes Azpilicueta, Marije Gertenbach, Tamar Tzvia Harpaz, Christine Moldrickx to make a new work, with one caveat: It had to be made possible by the current volunteers, all art students, who help run blip blip blip.’
- Excerpt from the introduction to Alex Farrar’s catalogue essay that accompanies the exhibition.
Another Exile; Christine Moldrickx by Jess Carnegie, Peter Holgate, Is van Leest, and Anna Stacey, 2016; potatoes and glass wear, table cloth, furniture; dimensions variable
Another Exile; Christine Moldrickx by Jess Carnegie, Peter Holgate, Is van Leest, and Anna Stacey, 2016; potatoes and glass wear, table cloth, furniture; dimensions variable
Blue wagons being painted red, or; Marije Gertenbach because of Holly Beer, Jess Eastwood, Georgia Holman and Michelle Leck, 2016; silicate paint on the wall; dimensions variable
Blue wagons being painted red, or; Marije Gertenbach because of Holly Beer, Jess Eastwood, Georgia Holman and Michelle Leck, 2016; silicate paint on the wall; dimensions variable
Sound Barrier; Tamar Harpaz through Hannah Brown, Grace Elder, Maddy Sadler, and Emily Uttley, 2016; video performance; 00:05:04 / dimensions variable
Sound Barrier; Tamar Harpaz through Hannah Brown, Grace Elder, Maddy Sadler, and Emily Uttley, 2016; video performance; 00:05:04 / dimensions variable
Sound Barrier; Tamar Harpaz through Hannah Brown, Grace Elder, Maddy Sadler, and Emily Uttley, 2016; video performance; 00:05:04 / dimensions variable
Sports et Divertissements; Mercedes Azpilicueta with Ness Herringshaw, Sam Kan, Seren Metcalfe, and Jazmin Morris, 2016; performative installation; dimensions variable
Sports et Divertissements; Mercedes Azpilicueta with Ness Herringshaw, Sam Kan, Seren Metcalfe, and Jazmin Morris, 2016; performative installation; dimensions variable
Sports et Divertissements; Mercedes Azpilicueta with Ness Herringshaw, Sam Kan, Seren Metcalfe, and Jazmin Morris, 2016; performative installation; dimensions variable
