Group Exhibition

Viborg Kunsthal, Denmark.

September 7 - November 25, 2018.

Laura White (UK), David Toop (UK), Pilvi Takala (FI), Michael Schultze (DE), John Russell (UK), Lea Torp Nielsen (DK), Sophus Ejler Jepsen (DK), Lara Eggleton & David Steans (UK), Jette Gejl (DK), TC McCormack (UK), Michelle Atherton (UK)

The exhibition is curated by Michelle Atherton, TC McCormack and Jette Gejl in collaboration with Viborg Kunsthal

In the discourses that surround the formulation of heritage writers have commented that it is the contemporary use of the past as its meanings are defined in the present. That culture's take the time to construct the heritage that they require and manage it for a range of purposes defined by the needs and demands of their present societies. In these ways the present constructs the past, but also points to formulations applicable or aspirational for the future.
Our understanding of the term Heritage is wider than its usual definition as a preservation and/or leisure industry. We recognise it as being a force, an entity that is all pervasive, much like contemporary art - it shares an ability to touch any part of our lives and appropriate most material and draw it to its cause. Yet many are simply not aware, as yet, to its reach and potential.
In recent discussion on contemporary art cultural commentators argue that an emphasis has been placed on heralding a kind of presentness. In that the now of modern and contemporary art practices conceptually posits a rupture with the past. Although perhaps in C21st it is becoming increasing possible to see an anomaly, a space overlapping between the rhetoric of the rootedness of heritage and the provocation of contemporary art, both believing they proffering a kind of truth.

Works shown in Room 1:

'Zingaro'. 2016. Plastic, leather and mixed media. 90 x 60 x 65cm.

'Broker'. 2015. Plastic and chamois leather. 58 x 58 x 17cm.

'Rove 1'. 2017. Mixed Media. 150 x 30 x 30cm.

Rove 2. 2017. Mixed Media. 150 x 30 x 30cm.

Rookie. 2015. Plastic, chamois leather and metal frame. 142 x 115 x 62cm.

'Buddy'. 2016. Chamois leather and plastic. 82 x 35 x 32cm.

'Messenger'. 2015. Plastic and dyed chamois leather. 117 x 44 x 37cm.

These works focus on a negotiation with the world of STUFF, ie: interactions with materials and objects exploring ideas of value, profile, association, meaning and behaviour of materials, individual and collections of objects. Things are explored both as material stuff and anthropological signifiers, occupying a fluid space that on one hand demand critical discourse, and on the other their own ambiguous and intuitive logic.

Works shown in Room 2:

'The Great Refuser: Pottery: throwing 25 hours, basket weaving 5 hours, taxidermy 7 hours, pottery: porcelain 6 hours, glassblowing 6 hours, experimental ceramics 24 hours, shoemaking 6 hours, blacksmithing 7 hours,
taxidermy 7 hours, weaving 5 hours, jewellery making 6 hours and dress making 0 hours. Mixed media.' 2016-18.

'Yo-yo 1'. 2017. Bread dough and rubber. 66 x 68 x 7cm.

For the last 5 years I have been extending my knowledge and experience of the material world, and different mind - hand - material - environment negotiations by participating on a range of skill based courses from bread-making to taxidermy. These activities are not just about skills learnt, but the context and environment in which they take place (butchers shop, fish market, foundry, workshop), the social exchange (those doing it with her - skilled professionals and fellow participants) and also the industry they service (restaurants, homes, shops and museums.)

Workshop objects are displayed on a bespoke trestle table made from wood and mirrored glass. Each object presented is accompanied by a short description of the time in which it took to make it, written on the surface of the table next to the item.

https://research.gold.ac.uk/id/eprint/24088