LOCAL: An exhibition by HND Contemporary Art Practice students

LOCAL: Heather Lane & James Howden LOCAL 7

Local is an exhibition by HND Contemporary Art Practice (CAP) students from the Granton Campus of the Edinburgh College. The artworks that can be seen in the exhibition at North Edinburgh Arts until February the 23rd are the culmination of a project which was instigated in September 2012 by ourselves, Alan Holligan & Jennie Temple, course lecturers on HND CAP, with priceless support from Lynn McCabe and the North Edinburgh Social History Group.

The Contemporary Art Practice course has been running very successfully since 2007. The course provides a range of excellent opportunities for students to develop a broad understanding of artistic practice.  Alan and I had for some time been discussing how to develop a strong working connection between the CAP Course, the local community and surrounding areas of North Edinburgh. Beyond the college location, and the students who came to us who lived locally, we recognised that although we were part of a Community College (then Edinburgh’s Telford College: a stalwart of North Edinburgh for many years) we felt professional connection to our immediate surroundings could be stronger. We acknowledged that we bussed in and out of work every day, passing through the community in which our workplace was rooted, and also acknowledged that this was something we did not feel entirely comfortable about. As a result we started to discuss the possibility of a project for our HND 2nd year students that we hoped would, at the very least, begin a dialogue with some our neighbours.

We initially approached a couple of local groups to see if they would be interested in meeting with us, and subsequently our students. We couldn’t have anticipated the warmth with which we were greeted and quite quickly we were able to establish links and visits with (the amazing) North Edinburgh Social History Group and North Edinburgh Arts (with whom we already had some links). These visits were incredibly informative and allowed us to immediately understand the local area more fully, and in a way that we had never before: An area steeped in history; an area that had once been rich farmland; an area that had been home to a post-war camp; an area that the Duke of Buccleuch had happily called home, and much, much more. The students were instantly engaged and brought a range of rich contributions to the discussions: amongst the group of 11 students the majority was similar to us; they did not know the area very well. However, there is one current student (and we have had several prior) who grew up in the area and who has been able to give a very subjective insight into his relationship with North Edinburgh, alongside a few other students with friends and relatives in the area.

After these initial meetings and an amazing guided mini-bus tour of the area, generously facilitated by members of the Social History Group, we set the students the project. They were to spend two weeks responding to the local area and draw on the information that they had received from the experts. We would then present the resulting artworks to the Social History Group at the College.

At this point, we were all very excited, but could not have anticipated just how successful and stimulating the project would be. The students worked exceptionally hard from the moment the project started and responded in meaningful, thoughtful and sensitive ways. In retrospect, we realised that the students’ sense of responsibility to the Social History Group and the residents of North Edinburgh meant that they approached the project with a strong sense of integrity and a determination to make artworks that did not patronise or misrepresent the (sometimes sensitive and personal) issues that had been discussed within the meetings. The provision of a very unambiguous context for the artwork allowed the students to work in a way that was fundamentally different to normal project work: they had an audience that they did not know very well, and they were making work which they would themselves present to their audience.

As the initial stage of the project drew to a conclusion, we arranged a date for some members of the Social History Group to come and lunch with us and to view the works. The students were understandably nervous and worried: What if they didn’t like what we had done? Quickly it became clear that there was no need for nerves and all of the artworks were exceptionally well received and prompted lively, important and some emotional discussion amongst everyone present. The success and positive reception of the artworks went far, far beyond our expectations and we all knew immediately that we had to take the project to its next logical step: to exhibit the works, beyond the walls of the college and within the local community. And that is where we are now. The exhibition is an exciting opportunity for the staff and students to continue to engage with our local area and we are privileged to be taking part in what we hope to be the first stage of a long and prosperous collaboration between the students and staff of the HND Contemporary Art Practice course and the local residents and communities of North Edinburgh.

Jennie Temple.

The exhibition will run until the 23rd of February at North Edinburgh Arts, Tuesday-Friday 10am-8pm Sat 10am – 1pm, with a day of discussion and art-workshops to take place on Wednesday the 20th February from 10am until 3pm. Places are free but limited and booking is essential. Please book a place by emailing admin@northedinburgharts.co.uk or call 0131 315 2515

Recruitment is currently taking place for HND Contemporary Art Practice Course at the Edinburgh College, Granton Campus. If you are interested please visit the College website for further information and online application.

www.edinburghcollege.ac.uk

North Edinburgh News Article 1

Malcolm Chisholm MSP opens LOCAL Exhibition

Modern Edinburgh Film School & HND Contemporary Art Practice Link up

Guest blogger Alex Hetherington presents: Modern Edinburgh Film School

Alex Hetherington Modern 1    Alex Hetherington Modern 5    Alex Hetherington Modern 3    Alex Hetherington Modern 4

Images Courtesy of Alex Hetherington: Modern Edinburgh Film School

Modern Edinburgh Film School – a temporary participatory film school, combining themes of the sculptural screen, film and poetry, narrative and space, event as image, and acoustics and noise as form – is curated by the visual artist Alex Hetherington in association with Edinburgh Sculpture Workshop.

It acts as a kind of prism, reflecting, connected and transparent surfaces – where one thing can be seen through another – on the activities, functions and architecture of the Sculpture Workshop’s

new building and outward to contexts, processes and activities externally, as satellite disparate engagements. It is informed by propositions and practices by a range of national and international artists demonstrating concerns between improvisational, meticulous and sensitively drawn associations in poetry, film, moving image, space and sculpture. It hopes to work as a season of projects, appearing and disappearing, being seen discreetly, at spaces and venues across the city in 2013.

Its propositions, which are elusive and allusive include a series of essays, of indicators of historical and contemporary activity, a slight curriculum: Edgar Schmitz, Anne Colvin, AA Bronson, Tom Marioni, Trisha Donnelly, Samantha Donnelly, Rachel Harrison, Martin Kippenberger, Harry Everett Smith, Marcel Broodthaers & Aurélien Froment and traits found in contributors, influencers and cameos such as Stephen Sutcliffe, Anthony Schrag, Anne Colvin, Lyndsay Mann, Hazel France, Sarah Forrest, Ute Aurand, Sarah Neely, Lauren Gault, Debi Banerjee, Benjamin Fallon, Zoë Fothergill,  Raydale Dower, and others.

The project, meanwhile is informed by the free school, and alternative learning approaches, inhabiting an arc of combined themes of the sculptural screen, film and poetry, narrative and space, event as image, and acoustics and noise as form. Education here becomes an obstacle, articulating thoughts on commitment, graduation, qualification and drifting attention, and the possibilities of promiscuous coincidences, synchronicity.  Meanwhile it contains two considerations of time, Modern and School, and the meanings of those in abrasion to a city with faint film vocabularies, traditions, establishment and authority and museums. In turn it contains thoughts on exhibitions, fictions and contrivances: outputs, alongside the essays are, transparent letter texts on black glass (solid film credits), zines and print, and a series of events and talks: Green Screen, Group Show, A Party for Young Artists, Edinburgh Homosexual, The Hand that Holds The Desert Down, A Library.

From the outset the School sought practitioners from different stages of their careers, including students in formal education, as well as those working at a professional level in contemporary art. After an open discussion on the work, and its ambitions, at Contemporary Art Practice at Edinburgh College and an open call, that followed  the conventions of applying for work in that professional setting: 4 images, statement and moving image samples,  two practitioners were identified to become part of the project, to attend works, and respond finally with a time-based submission for a portmanteau film for a screening at Edinburgh Sculpture Workshop’s appearance at the Edinburgh Art Festival in August 2013.

All the applicants in this process responded to different aspects of the shaping of Modern Edinburgh Film School, some revealing questions on the political status of such an undertaking, others looking at the subject of the poetic and the sublime, how literature and words give potent expression to filmmaking, how the digital might inform the sculptural.

The two successful candidates are Shareen Sorour and Kaitlyn Walker-Stewart whose applications both alluded to the symmetries, echoes and architectures of film, poetry and sculpture, while containing experimental and diverse approaches to the screen, the performative, time, the object, surface and representation. While still very early stage visual art practitioners their portfolios contain intriguing enquiries.

Shareen Sarour- Inside - Outside     Kaitlyn Walker-Stewart

Sharren Sarour: Outside: Inside; Still from Video.                 Kaitlyn Walker-Stewart: Barriers; Still from video

Modern Edinburgh Film School commences 15 March with a screening at Edinburgh Sculpture Workshop and a group show, Green Screen, co-curated with Embassy, followed there by performances and talks during March, and later a discussion on this collaboration at Edinburgh College of Art.

I would like to thank Alan Holligan, Jennie Temple and Colette Woods at Edinburgh College for their continued generous support of my practice in general and the work to be carried out for Modern Edinburgh Film School in particular.

Alex Hetherington, Edinburgh, February 2013.

Say Hello! Wave Goodbye!

The ContemporarayARTetc.com team are delighted to welcome the new AIRetc… Gregor Morrison who moved into the studio today. Gregor will be in residence until the end of January 2013. You can follow what he gets up to at www.AIRetc.wordpress.com and at his own site by clicking HERE

There is a tinge of sadness however as today was also our last chance to wish outgoing AIRetc… Natalie Wilson all the best of wishes as her wonderful show at the Bill Scott Sculpture Centre at ESW came to an end.

Hopefully Natalie will post up some images of the show before she signs off for the last time! Make sure you visit her website to keep up with what she’s up to!

http://www.nataliewilson.eu

‘Extract’ by AIRetc… Natalie Wilson Opens Friday 6pm – 8pm @ ESW

 

Artist In Residence Scheme at Edinburgh’s Telford College: Call for Application.

Edinburgh’s Telford College is looking for 2 individuals to contribute to one of the most successful and dynamic Creative Industries Depts in UK Further Education Sector.

The Art & Design Team are delighted to announce a call for applications for our 2012-13 Artist in Residence (AIRetc) programme.

Now in its 2nd year the highly successful Artist in Residence programme at Edinburgh’s Telford College (AIRetc…) is an innovative scheme which provides recently graduated / professional artist and designers who have previously studied at Edinburgh’s Telford College with the opportunity to develop their knowledge, skills and experience in Art & Design education while developing their creative practice in a dedicated studio space.

For more details and an application form please click on the links below:

For more details and an application form please visit: www.airetc.wordpress.com

PLEASE NOTE THAT WE ARE LOOKING FOR APPLICATIONS FOR THE FOLLOWING PERIODS:

SEPT 2012 – JANUARY 2013 AND FEBRUARY 2013 – JUNE 2013 INCLUSIVE

THE APPLICATION DEADLINE OF 26TH JUNE 2012 IS APPLICABLE FOR BOTH RESIDENCY PERIODS

CAP.com mark milestone anniversary with student takeover

Five years ago this month ContemporaryArtETC.com was launched! The initial intention of our blog was to draw attention to the  new Contemporary Art Practice course which would be launched in the autumn of 2007.

During that time we have made 217 posts and had over 20o,000 hits. Regular readers will have enjoyed a number of innovative developments over the years including Art e-Facts, Art e-Maps, Student Gallery, Staff and Alumni pages  to name just a few.

To mark this milestone in our digital journey together ContemporaryArtETC.com is being ‘occupied’ by course participants both past and present.

The first of our occupiers are Claire Briegel and Kirsty Leonard currently in their 1st year of the course. Claire and Kirsty recently interviewed former HND student and current guest lecturer Benjamin Fallon after his lecture/presentation of Artists moving image work. The interview will be published very soon and followed by content exclusively written, developed or commissioned by Claire and Kirsty.

In the meantime, thank you to all our readers and contributors of the last 5 years!

Note: Future content and the views expressed are those of the individual author/s, interview/s, contributors concerned and are not neccesarily reflective of the blogs owners or its partners. If you have any concerns regarding content then please leave comments in the appropriate comments box.

Mike Kelley 1954 – 2012: One students perspective.

Mike Kelley Screen Grab

I discovered Mike Kelley only a few months ago; I was working with teddy bears and was naturally drawn to his work, where he arranged stuffed toys into childlike, “teddy bear’s picnic” formations and created sculptures by fusing various toys together. I was attracted to the way he seemed to mess around with the objects, creating a sense of curios and play, yet the final result would often have a dark or serious meaning. With the stuffed bears in particular, he questioned the toys’ emotional value, which was the idea I was developing in my own work.

The next project I worked on saw me yet again looking to Kelley for inspiration. In October 2011, I visited the Baltic Centre for Contemporary Art in Gateshead with my classmates to see the Turner Prize exhibition. However, most, if not all, of my peers were more awe-inspired by a work being shown on the floor above the Turner Prize show. Created by Mike Kelley and Michael Smith it was “The Voyage of Growth and Discovery”.

As we approached the room, I could hear the dull thuds of rave music. The doorway into the room was dark. I clocked a sign that read, “This exhibition may be unsuitable for young children”. I knew we were in for something good. As soon as I walked in, I was greeted with a whirlwind of lights, music and activity. A number of screens leered into the middle of the room, each one showing a video of Smith dressed in a baby outfit – his character, Baby IKKI – partaking in the Burning Man festival in Nevadaa. There was even a huge metal effigy of IKKI as the centerpiece of the exhibition. Kelley had built structures that reminded me of playground climbing frames and had attached various stuffed toys to them, the element that makes his work so distinctive. One of these structures was accessible, where visitors could roll around on a bed of teddies (the kids in the room had spent no time working this out). I could have spent hours in there, where all I felt was pure excitement.

I carried the experience I had into my next project, where my focus was carnival aesthetics and the link these rituals have with modern festivals. Throughout the project, I thought about how Kelley created an atmosphere – his use of lighting, music, imagery and decoration – to evoke emotions in an audience. I considered all of the things I had seen and heard and integrated them into my own work, as I shared an interest in combining Pagan celebration with modern culture. For that reason, I would say that the installation was my main artistic influence for the project, but it was also the most interesting and exciting installation I have ever seen. I enjoyed it so much, that I even bought the CD of the tracks played in the video shown.

No doubt I will continue to use my experience of being around Kelley’s work to influence the art I create. He inspired something fresh and exciting to be brought to contemporary art, a contribution that will be greatly missed. Personally, I have never felt so sad about someone I did not know personally passing away, because his work had a huge impact on me and will continue to for as long as I am making art.

Charlotte Wilkie-Sullivan is a Year 2 HND Contemporary Art Practice Student at Edinburgh’s Telford College

Exhibition!

Reblogged from air ETC...:

Click to visit the original post

Hi Everyone,

This exhibition is the culmination of four amazing months as Artist in Residence at Edinburgh's Telford College.

The exhibition runs fro Friday the 27th till Sunday the 29th of January, I hope everyone can make it.

the preview is Friday the 27th, 6pm till 8pm

The exhibition is open 11am till 6pm on Saturday and Sunday

thanks,

Paul.

Art e-Fact 84: Jeremy Deller

20110814-111617.jpg 20110814-111649.jpg  20110814-112355.jpg

London born artist Jeremy Deller makes installation, video and performance art. He is particularly interested in the notion of art as communication. One of his best known works is a re-creation of a violent conflict between miners and police which took place during the 1984 miners strike titled The Battle of Orgreave (2001). The re-creation which was something akin to that of a battle re-enactment societies involved ex-miners and police officers who had participated in the original strike. Unlike the original battle the re-enactment was a much more congenial encounter.

Deller went on to win the Turner Prize in 2004 for his installation Memory Bucket (2003) a documentary about Crawford, Texas the hometown of George W Bush and the siege in nearby Waco.

http://www.historicalfilmservices.mysite1952.co.uk/orgreave.htm

http://www.jeremydeller.org/

Basel Field Trip 2011: Day 3

The very early start of day 3 for most of us turned out to be late day 2 for some of the hardcore CAPers. Although its easy to appreciate the logic of staying up all night the more worldly wise among the group were well aware of the inherent flaws of such youthful enthusiasm. Still, all but one of the group were enthusiastically awaiting the 02:45am tram to take us in to Markt Platz and the centre of the action.
It was clear from the moment the tram arrived at the stop that something was gather momentum. On arrival in town this became even clearer.

As we took up position in the cities main square ‘Markt Platz’ what struck many of us was the apparent lack of crash barriers, visible police presence or indeed any kind of stewardship. If you are familiar with any large-scale public event in the UK you will understand just how odd this was. In addition to this, if you were asked to imagine being in a city centre at 04:00am with tens of thousands of people gathering in total darkness illuminated only by the dimmest of lights emanating from giant canvas lanterns wheeled through the streets behind masked drummers and piccolo players, each of the lanterns featuring satirical illustrations of the preceding year new and events, I’d serious doubt you could. Yet that’s exactly what happened for well over an hour before coming to an apparent end.

I say apparent because the last lantern passed and we began to ease our way back into the centre of the square two things struck home. Firstly the square was completely packed as were all the side streets and secondly what seemed like an orderly and relatively subdued parade suddenly seemed to be travelling in different directions and taking on a life entirely of its own. It wasn’t easy getting back to the hostel as the crowds and groups ‘Fastnachers’ jockeyed for right of way in the packed streets but by 7am everyone was back and heading for bed tired, bewildered but happy.

After a 5-hour top up of sleep we met again for a walk taking in some of Basels wonderful mix of modern, contemporary and historical architecture. As we approached the centre of town it became clear that ‘Fastnacht’ had also gained a second wind and was gearing up for round 2. The thought was too much for some and the group split into two camps “Fastnacters” and lets get out of here fast[nachers] who opted for the first tram out of town to Dornach a leafy suburb of the city at the end of the No10 tram where the pace was slower and we could have a lazy picnic in the afternoon sun by the river.

In the early evening we all met again outside the Kunstahalle where great fun was had watching the last of a parade of themed floats and trying to attract the attention of the various masked occupants and catch the mixture of oranges, sweets, toys and confetti being thrown at the assembled crowds. It wasn’t too long however before the collective energy began to wane and the majority of the group soon returned to base for a slow evening of local wines and packet noodles.

Basel Field Trip 2011: Day 1

Basel Day 1:

We arrived in Basel a few hours late on Saturday afternoon. Not because of the snow in Edinburgh but due to the plane breaking down and having to be replaced by another from Milan. Edinburgh Airport has changed recently and is not the worst place to spend a few extra hours waiting for a flight. It is expensive though, which was something like preparation for Basel. I was last in Basel in 2000 when it was 2.36 Swiss franc to the £ now its only 1.47! Ouch!

The hostel; Basel Backpack, suited our needs well, a place to drop after a long day of galleries, museums and sightseeing. It has a kitchen and a common room, which was great for the budget conscious noodle munchers amongst the group. After sorting the rooms out and a short break for juice and coffee it was off to take immediate advantage of the free travel pass we all received when we checked into the hostel. Free city travel for all tourists, what an excellent idea. The trams are regular and easy to navigate so getting into town was no problem and only too 10 mins. Trying to cater for the individual food needs of a large group is never easy so we headed for a part of town with various outlets and agreed to meet an hour later. Sure enough an hour later we were altogether and heading for the Cargo Bar by the Rhine. The bar is small but very friendly with a great a[r]tmosphere. Cool tunes, fine wine and a range of good beers and coffee. Of course it didn’t take long for the effects of an early rise and the air travel to take their toll and it was off to bed at a very respectable hour.

Art e-Facts 83: David Nash

After completing his studies at Kingston, Brighton and Chelsea Scools of Art British Sculptor David Nash moved from London to laenau Ffestiniog in North Wales where he purchased a chapel. Dislocated from the mayhem of London and the urban sprawl the chapel remains both his home and studio.

In 1977 Nash who works primarily in wood, planted a number of Ash saplings on a plot near his home, which became his ‘Laboratory’. The Ash Dome is a place for thinking and developing new works.

The following programme on David Nash is available in the BBC iPlayer.

http://www.bbc.co.uk/iplayer/episode/b00ymlhp/Force_of_Nature_The_Sculpture_of_David_Nash/

Art e-Fact 82: Dennis Oppenheim, Site Markers

Dennis Oppenheim died on Saturday the 22nd Jan 2010 aged 72. His impact on contemporary art particularly in relation to challenging the supremacy of the gallery as the accepted context of art during the late 1960′s and early 1970′s should not be underestimated. Along with the likes of Gordon Matta-Clark, Michael Heizer and Robert Smithson, Oppenheim broke out of and deconstructed the gallery  (literally in some cases) in pursuit of alternative or new context for art.

http://www.dennis-oppenheim.com/early-work/4

“Dennis Oppenheim came to the forefront of the American art-world in 1968, taking his taking his place in the Earth Art movement. At the time the idea of the site was uppermost in his work. Site Markers Fig I, II, III document Oppenheims early excursions into the landscape of New York. Made in 1967, the works were executed by finding a site in the urban landscape, documenting its location. In all ten sites were documented and ten aluminium marker stakes were manufactured and engraved with a number corresponding to each of the 10 sites. The stakes (contained within individual fitted sacks) along with the photographic documentation (rolled in a clear plastic tube) were then exhibited. It would easy to assume that these objects are the most important aspect of the work, yet the artists main concern is the site itself. What Oppenheim has done is claim the site as a context for art, an alternative to the gallery. As the art movements which proceeded Oppenheim had set themselves apart from the real world here the artist locates himself and his concerns firmly with it.” Excerpt from Dissertation: A Holligan Jan 1996.

Other notable works of the period include:

Boundary Split: http://www.dennis-oppenheim.com/early-work/9

Forrest Floor Removal: http://www.dennis-oppenheim.com/early-work/10

Gallery Decomposition: http://www.dennis-oppenheim.com/works/11

Annual Rings: http://www.dennis-oppenheim.com/early-work/8

Art e-Facts 81: Susan Philpsz 2010 Turner Prize Winner and the Telford CAP Student:

Question: What’s the connection between 2010 Turner Prize winning Scottish Artist Susan Phillipsz and the HND Contemporary Art Practice course at Telford College?

Answer: 47 Film

In May this year Film 47 documented Phillpsz Prize winning work ‘Lowlands’. The final film was submitted to the Turner Art Committee for judgement ad there is little doubt that 47 Film’s film footage helped Susan secure her prize

At around the same time Filmogropher Andy Cameron of 47 Film, was working closely with Art & Design student Natalie Doyle on the recording of Natalies’ Final Major Project work of her Foundation Course here at Telford College. Natalies’  movie focuses on social relationships through the Internet and how identity is built up through that medium. CAP Alumni Lauren McLaughlin and Gordon Douglas also appear within the film.

The following is a short documentary about the film:

Andy Cameron works freelance in and around Scotland and has worked for the Edinburgh Art Festival, the Glasgow International Arts Festival and has been published on several high profile websites.

For further information email 47 film at:

andy@47film.com
47film@googlemail.com

Telford College Partner in The Big Arts Give Christmas Challenge 2010

Telford College and Contemporary Art Practice partner Edinburgh Sculpture Workshop (ESW) is one of only six Scottish charities selected to participate in the Big Arts Give Christmas Challenge, UK-wide campaign supported by the Scottish Government and Arts & Business which aims to raise £3m in total by increasing the incentives for supporting the arts.

Until Friday 31 December, all donations made through the Big Arts Give website will help ESW raise funds for the New Sculpture Centre

The Big Idea

To create a purpose-built sculpture centre in Edinburgh providing the facilities and services needed by artists to support them at all stages in their careers and to provide a valuable public resource which will enable people of all ages and ability to learn about contemporary sculpture.

ContemporaryArtETC.. has a long standing and highly productive partnership with ESW allowing our learners to produce and exhibit work in a professional, supportive and highly respected organisation. The new purpose built sculpture centre, the only one of its kind in the UK, will allow us to take the partnership to to a new level and we need your help to make it happen and secure this exciting future.

A limited number of donations and match funded and all money raised will go towards the cost of building the new sculpture centre.

If you would like to support Edinburgh Sculpture Workshop please make your donation through the Big Arts Give website by following the link below:

Big Arts Give Christmas Challenge

Art e-Facts 80: David Shrigley, An important message about the arts.

Glasgow based artist David Shrigley has made a short animated film in support of the ‘Save the Arts’ campaign.

The Save the Arts campaign is organised by the London branch of the Turning Point Network, a national consortium of over 2,000 arts organisations and artists dedicated to working together and finding new ways to support the arts in the UK.

The aim of the Save the Arts campaign is to encourage people to sign a petition which will be sent to the Culture Secretary, Jeremy Hunt. It points out that it has taken 50 years to create a vibrant arts culture in Britain that is the envy of the world and appeals to the government not to slash arts funding and risk destroying this long-term achievement and the social and economic benefits it brings to all. Source: http://savethearts-uk.blogspot.com/

Find out more, and sign the petition, at savethearts.org.uk


Art e-Facts 79: Victor Pasmore, The Apollo Pavilion, Peterlee.

Victor Pasmores Apollo Pavilion is a reinforced concerete homage to the Apollo moon landing in 1969. The structure spans a small man made lake connecting the two halves of the Sunny Blunts estate in Peterlee, County Durham. Between 1955 and the 1970′s Pasmore was Consulting Director of Urban Design for the Peterlee Development Corporation, collaborating with architects Peter Daniel & Franc Dixon he contributed to the towns spatial arrangements, road system and open spaces as well as the distinctive aesthetic of the housing.

During the 1980′s the Pavilion fell into dis-repair due to lack of funds and became the focus of vandilism and anti-social behaviour. Despite this and in the face of significant critism, Pasmore remained committed to the structure defending it at a public meeting in 1982. In 2009 the Pavilion underwent major restoration including the rebuilding of the stair providing access to the upper level, refurbishment of the light system and restoration of Pasmores original Mural.

www.apollopavilion.info

FREE FILM SCREENING: Tomorrow @ Stills Gallery

FREE  Film Screening: Counter Images. GDR Underground Films 1983-1989
Thursday, 12 November 2009  6.30PM

For this special screening curator and filmmaker Claus Löser will present a selection of films which were made in the GDR between 1983 and 1989 by young artists, musicians and writers. At a time when art was subject to state control artists operated outside all official channels, their subversive actions watched closely by the Stasi state security police. As in the West, the GDR had a thriving Super 8 movement which developed out of the D.I.Y. credo of punk and was able to blossom in the small pockets of independent underground culture, providing new forms of expression amid the rigidity of the political climate. Today, many artists of this GDR Super-8 underground scene – including Helge Leiberg, Via Lewandowsky, and Cornelia Schleime – have become well-known figures in the international art world.

A 70 minute programme comprising seven films.

Presented in association with Goethe-Institut Glasgow
——————–

Art Attacks on BBC Radio 4

New BBC 4 radio programme  called ‘art attacks’  covering the destructive nature of art – it was pretty interesting and informative all round, but particularly great for Robert Rauschenberg’s account of meeting Willem De Kooning.

Series investigating the history of attacks on art works, from the earliest times to the present day.

When does destruction become an act of creation? Lawrence Pollard explores what lies behind some of the more bizarre assaults on contemporary art, including an exploding shed, an artist who destroyed every one of his possessions and art that has been both urinated on and whacked with a hammer.

Sourse BBC Website:

Listen to the Programme now on the BBC Iplayer:

http://www.bbc.co.uk/programmes/b00nk2xr

Only available until Monday 9th Nov

ContemporaryArtETC… Graduates to Curate New Gallery Space.

ContemporaryArtETC… Graduates Peter Amoore & Jade Noble are seeking submissions for the soon to be launced A5 Gallery.

This innovatuive 2-D gallery space is to be launched later this month within the pages of the  re-launched Edinburgh College of Art student magazine the Wee Red Herring.

The Gallery will show contemporary artwork within the specifics of a one sided, A5, page within the college magazine which has a print run of 600 copies.

The artwork will be printed in black and white.  It is a visual gallery space directly showing work produced specially for the magazine context.

The artist or artist’s may use this space however they intend – the gallery space is as flexible as you make it. Submissions should be sent as word documents or jpeg images with instructions if necessary.

Please send artwork, proposals and questions with the subject as (A5 gallery) to weeredherring@gmail.com

The deadline for submissions is Thursday 15th October.

From Jade Noble and Peter Amoore, curators of the A5 gallery.

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