http://www.alisn.org alisn - artist-led initiatives support network Sun, 01 Apr 2012 21:38:23 +0000 http://www.alisn.org en http://www.alisn.org/Lubomirov-Easton http://www.alisn.org/following/alisn.org/Lubomirov-Easton Sun, 01 Apr 2012 21:38:23 +0000 alisn - artist-led initiatives support network 3120441 Launch date: Friday 15 June 2012, 6-9.30pm Address: Unit 8, Resolution Way, Deptford, SE8 4NT <img src="http://payload41.cargocollective.com/1/0/12247/3120441/GalleryFront New bordered_600.jpg" width="600" height="286" width_o="606" height_o="289" src_o="http://payload41.cargocollective.com/1/0/12247/3120441/GalleryFront New bordered_o.jpg" data-mid="17400182" border="0" align="left"/> Lubomirov-Easton In January 2012, ALISN was selected by Temporary Contemporary to run one of seven exciting, international new galleries which are about to open off Deptford High Street in June. ALISN’s directors, Iavor Lubomirov and Isabella Easton, will head the new project space and gallery – Lubomirov-Easton – which will be home to solo and group exhibitions by British and international artists and curators, as well as international exchange projects with New York, LA, Florida, South Africa and other key locations. The Modern Language Experiment As well as hosting ALISN projects, three times a year Lubomirov-Easton will be home to the Modern Language Experiment. TMLE is an artist-led contemporary art project dedicated to the development, discussion, contemplation and execution of the changing language of art today, which culminate in art exhibitions, collaborations, talks, seminars and screenings. The Seven Lamps Lubomirov-Easton will open on 15 June 2012 with an exhibition of seven emerging and mid-career artists, examining the seven principles of art proposed by the eminent Victorian art-critic John Ruskin in 1849. Artists: Iavor Lubomirov, Jason Hicklin (courtesy of Beardsmore Gallery), Michael Stubbs, Juliette Losq, Bella Easton, Grant Watson, Dolly Thompsett (courtesy of Vigo Gallery). ...Read more Enclave Lubomirov-Easton is part of Enclave: a new-build and long-term architectural infrastructure in Deptford, South London, housing a strip of project spaces, a gallery, art offices and a coffee shop. On 15 June 2012, the inaugural exhibition, Artist Urban Action, will launch throughout the entire site presenting the initial range of independent activity alongside a series of new commissions. Enclave will evolve with a gallery programme of outcomes by these spaces with additional curatorial symposia, exchanges, international residencies and multi-cultural film clubs that aim to develop both institutional dialogue and social engagement....Read more View Larger Map http://www.alisn.org/The-Seven-Lamps http://www.alisn.org/following/alisn.org/The-Seven-Lamps Sun, 01 Apr 2012 19:32:33 +0000 alisn - artist-led initiatives support network 3119994 Private View: Friday 15 June, 6-9.30pm Exhibition Dates: 16 June to 12 August, Friday and Saturday, 12-6pm SLAM Last Fridays: Friday 29 June, Friday 27 July, 6-8pm Part of Deptford X Festival: 27 July - 12 August Address: Lubomirov-Easton, Unit 8, Resolution Way, Deptford, SE8 4NT Iavor Lubomirov | Jason Hicklin | Michael Stubbs Juliette Losq | Bella Easton | Grant Watson | Dolly Thompsett Sacrifice or Art for Art’s sake| Truth or Faithfulness to materials | Power or Scale versus detail | Beauty or Nature as the ultimate standard | Life or The presence of the hand, or mind of the artist | Memory or Built to last | Obedience or Originality as a form of mastery <img src="http://payload40.cargocollective.com/1/0/12247/3119994/Thumb.jpg" width="600" height="305" width_o="600" height_o="305" src_o="http://payload40.cargocollective.com/1/0/12247/3119994/Thumb_o.jpg" data-mid="16578303" border="0" align="left"/> “...[I] have suffered too much from the destruction or neglect of the architecture I best loved, and from the erection of that which I cannot love, to reason cautiously respecting the modesty of my opposition to the principles which have induced the scorn of the one, or directed the design of the other.” John Ruskin, from the introduction to ‘The Seven Lamps of Architecture’. In the very middle of the nineteenth century, when the industrial revolution was just beginning its fast march away from artisanal production and the secular sciences their erosion of religious moral sensibilities, John Ruskin compiled seven earnest memoranda of guiding principles for the very survival of future architecture. The principles were intended to be general and fundamental to all form of human creativity, with architecture urged as the one discipline that is capable of leading and indeed saving all the visual arts, including painting and sculpture. Yet in this deeply impassioned, conservative exhortation, it is just possible to discern a desire for the new and unknown, hidden deep in its breast. This desire is couched in a fearful plea that the new should respect the old, should grow from it and preserve the hard-won knowledge and skills of craftsmanship. Thus, Ruskin is distrustful of new materials and manufacturing methods and takes pains to point out man’s inability to conceive any but the shallowest forms without reference to nature. Yet he also talks in often quite modernist terms of the wild and crude beauty of art forms in their raw beginnings, however choosing all his examples from the safety of antiquity and with the caveat of a later perfection achieved in the style. It is now more than one hundred and fifty years since the publication of Ruskin’s ‘The Seven Lamps of Architecture’. A century and a half may be the proper time, by Ruskin’s scale, to take stock, in the light of his lamps, of the way the rude beginnings of modern art too have come along. Is there any sign of achieving some over-arching perfection, which, while alien to the detail of his writing, may be true to some of his spirit? And conversely, was Ruskin indeed right to consider his principles the ‘constant, general, and irrefragable laws of right, which based upon man’s nature, not upon his knowledge, may possess so far the unchangeableness of the one, as that neither the increase nor imperfection of the other may be able to assault or invalidate them’? This exhibition uses the works of seven contemporary artists, under the heading of the seven ‘lamps’, to examine inevitable gulfs, as well as often surprisingly deep sympathies with Ruskin’s concerns. And although any such sympathies may be one-sided, we too, like Ruskin, may take comfort in his own now silent antiquity to impose our enlightened understanding on him. Hence we have also allowed ourselves to paraphrase the abstract definition which we feel to be underlying the motivation of each lamp. Curated by Bella Easton and Iavor Lubomirov. Text by Iavor Lubomirov. The Seven Lamps 1. Sacrifice or Art for Art’s sake ‘...this Lamp, or Spirit of Sacrifice... prompts us to the offering of precious things merely because they are precious, not because they are useful or necessary. ...Of this feeling, then, there are two distinct forms: the first, the wish to exercise self-denial for the sake of self-discipline merely ...the second, the desire to honour or please some one else by the costliness of the sacrifice.’ 2. Truth or Faithfulness to materials ‘Architectural Deceits are broadly to be considered under three heads: 1 The suggestion of a mode of structure or support, other than the true one; 2 The painting of surfaces to represent some other material than that of which they actually consist. 3 The use of cast or machine-made ornaments of any kind.’ 3. Power or Scale as opposed to detail ‘For, whatever infinity of fair form there may be in the maze of the forest, there is fairer, as I think, in the surface of the quiet lake.’ 4. Beauty or Deferring to Nature as the ultimate standard ‘I do not mean to assert that every arrangement of line is directly suggested by a natural object; but... that beyond a certain point, and that a very low one, man cannot advance in the invention of beauty, without directly imitating natural form.’ 5. Life or The presence of the hand, or mind of the artist ‘...outward forms, are noble or ignoble in proportion to the fullness of the life which either they themselves enjoy, or of whose action they bear the evidence... especially of the mind of man ...[and] the amount of energy of that mind which has visibly been employed upon them. 6. Memory or Built to last ‘Memory may truly be said to be the Sixth Lamp of Architecture; for it is in becoming memorial or monumental that a true perfection is attained ...the building shall not depend for its impressiveness upon anything that is perishable.’ 7. Obedience or Originality as a form of mastery, not of invention ‘liberties will be like the liberties that a great speaker takes with the language, not a defiance of its rules... [but] brilliant consequences of an effort to express what the language, without such infraction, could not. ...A man who has the gift, will take up the style of his day, and will work in that, and be great in that, and make everything that he does in it look as fresh as if every thought of it had just come down from heaven.’ All quotes from Ruskin, John 1851. The Seven Lamps of Architecture Boston: Dana Estes & Company Publishers The Seven Artists Iavor Lubomirov’s work is a hind-sight and sideways view of time. His layered sculptures are finely scalpel-cut over long periods using laborious 3-D hand-printing processes. The resulting objects are both animate and static and give in solid form a glimpse into the wholeness and physicality of time and space. His work reformulates the qualities of film into physical material out of which he constructs or sculpts other dimensions. ‘[One] cannot avoid bringing up Muybridge’s photographs of movement and references to the Futurist group, and there is also a parallel with Marcel Duchamp’s obsession with the fourth dimension and Science-Fiction narratives, while Lubomirov’s geometric papercuts recall Hans Arp’s Dadaist geometric cut-outs.’ [Stephanie Moran, 2008]. His latest work, from the series Sculpture and Painting, sees him once again engage in contrabanding ideas between segregated art practices, ultimately simply to feed his compulsion for the purely abstract form. Jason Hicklin’s etching process is at the core of his work: a corrosive, permanent process, ancient in its origins and still practiced as a fine art graphic medium and as an industrial process. His interest hovers somewhere between the handmade images he draws with graphite and etches into zinc in his studio, and the industrial stainless steel plates themselves. For this exhibition he presents a prototype from his series The Canal Etchings: a public art sculpture commissioned by the Ellesmere Sculpture Initiative. Hicklin is currently working on six site-specific stainless steel etched sculptures to be situated at the World Heritage Site at Chirk, Wales and along the Llangollen Canal at Llanymynech, and Frankton Locks, with two further pieces completing the series at Ellesmere, alongside the canal and the mere. The walks he makes are along manmade waterways: earth has been removed to provide a water link between three major rivers. The canals’ origins are industrial. They were engineered to serve commerce and link communities: a physically negative space, conveying an ineffably positive influence. He walks along these water links retrieving images and text made by nature and by man. His interest and closeness with nature is a search for and an embracement of the unknown. This work from Chirk is all about the rhythm of the aqueduct and the view of the valley it preserved; each arch framing its own landscape, the valley with and without its manmade frame. The metal has been corroded away to provide a positive image and the concertina form resembles folded paper such as a map, unfolding into the landscape. Jason Hicklin appears courtesy of Beardsmore Gallery. Michael Stubbs’s abstract paintings are constructed by combining poured and dripped veils of tinted transparent floor varnish and opaque household paints with fragments of sharp-edged graphic logos onto canvas. His technique removes any direct sense of the painter’s touch from the work. Stubbs’ work responds to the concerns of contemporary culture, referencing the Internet and cultural production in a playfully and humorous way. Elements of chance and spontaneity combine with structural order to form decorative, layered and bold compositions containing concealed tropes of art history and popular culture. 'Michael Stubbs’s canvases, which suspend interlocking fragments of sharp-edged logos and scything blocks of colour in silky veils of tinted varnish, critically configure the medium for an age of teeming distraction and antiseptic corporate culture, but still come out looking ravishing and above the fray – no easy task.' [Martin Herbert, Art Review No.53, 2011] Juliette Losq’s work calls its ideas forth from the notion of 'The Clearing' - where wilderness and chaos oppose civilization and order, and where we feel at our most safe yet most vulnerable: stray too close to the edge and the forest may snatch you into its depths. Fading interiors and liminal landscapes hover at the edges of this symbolic Clearing, alluding to the English 'Gothic' of the eighteenth and nineteenth centuries, as typified by fragmented narratives relating mysterious incidents and landscapes that were charged with an imagined threat. Losq’s site-specific installation shifts in scale to evoke an uncertain world in which the uncanny can coexist with the mundane, and where the possibility of confronting what has been repressed may generate at once feelings of creeping malevolence or whimsical curiosity. Bella Easton’s paintings and structural installations explore architectural spaces and the urban landscape that exists close to her. She distills these personal places by fragmenting them into tiny sections to then reconstruct them using a system of geometry and layering. The new spaces negotiate between the real and the unknown, whilst making connection between image and pattern. The work isolates or abandons reality and the relationship between what may have once seemed ordinary and everyday is given a sense of importance and permanence. The real and familiar becomes bizarre, dreamlike and staged. Her most recent piece, Blind, is constructed around a grid structure of 168 hand coloured etchings, forming a landscape which repeats and mirrors, echoing Rorschach’s inkblot images. Printed partly in black onto a graphite base and tonally graded into white on white, in this large work the city’s streets resonate with elusive atmospheric qualities. Mysterious and mundane, grimy and ethereal, the landscapes here are both threatening and beautiful, familiar and uncanny. Grant Watson constructs his paintings using the traditional encaustic method, dating back to 3rd Century AD Egypt. He applies hot wax and oil colour to a prepared surface which he layers in thick swathes, obsessively changing and morphing his compositions over very long periods of time. Obsessively searching for the perfect beginning, his paintings are built up, over and over again, until they begin to resemble solid, memorial-like slabs of stone or wood, or some unknown yet familiar, natural object. For many years Watson has been concerned with modulations of tone and surface and the physicality of the materials used. He begins a painting with a specific shape or outline, which immediately begins to sink inexorably under successive, transformative layers of paint. Thus a succession of images are hidden, but are also preserved in a process of embalming, each layer informing the monochromatic and ghostlike conclusion. Dolly Tompsett creates sculptural paintings by building up layers of paint interspersed with glassy resin laminates, weaving her images through the surface of the work. Her glistening surface textures impart to her images a filmic, Hollywood-special-effects feel, while also reminiscent of traditions in Romantic painting. In Thompsett’s paintings historical and recent events, in which ordinary people are overcome by the extraordinary, become monumental icons of beauty. Their epic quality articulates moments of transformation or transcendence, creating a sense of religious awe. Dolly Thompsett appears courtesy of Vigo Gallery. http://www.alisn.org/EAT-with-ART-2012 http://www.alisn.org/following/alisn.org/EAT-with-ART-2012 Fri, 16 Mar 2012 19:50:47 +0000 alisn - artist-led initiatives support network 3020236 Sunday 1 April, 12.30 – 4pm <img src="http://payload36.cargocollective.com/1/0/12247/3020236/105a.jpg" width="600" height="145" width_o="600" height_o="145" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/105a_o.jpg" data-mid="16306688" border="0" align="left"/> Photograph: Eat with Art 2011 Thousands of artists live and work in the London borough of Tower Hamlets. It is home to many galleries, artist-run spaces and familiar cultural hubs such as Brick Lane and the Whitechapel Art Gallery. For a second year, the Mile End Art Pavilion is playing host to new art competition - The Tower Hamlets Spring Open. For this year's exhibition, twelve exciting artists have been selected from a large number of international applications. Once again, the organisers, together with Latitudinal Cuisine, invite you to dine with the winning artists and curators among the art works in the Pavilion. Come and join us for the second annual Eat with Art. Latitudinal Cuisine is a social networking platform based on the sharing of culture through food. For this event, participants are asked to each prepare and bring a dish (enough for 4) and drink At the lunch all guests will be given the opportunity to present their contribution to the gathering, and then to share in this wonderful co-created feast. The theme of the evening is to find the artists among you and find out from them about the artworks in the exhibition. The artists will be hiding dispersed among the guests and it will be up to you to hunt them out! But it's April Fool's Day, so keep your eyes peeled and don't believe everything you hear! Tickets: Places can be booked at http://eatwithart2012.eventbrite.com. There are three types of ‘ticket’: choose Starter, Main or Dessert according to the type of dish you wish to bring. Tickets are £7 per head to cover the costs of hire and transport. All bookings are on a first-come first-served basis and non-refundable. Important Note: We regret that due to the fragile nature of some of the art we cannot accommodate children under the age of 16. About Latitudinal Cuisine: A non-profit organisation run entirely by volunteers. www.latitudinalcuisine.com www.facebook.com/group.php?gid=103347851342 e@latitudinalcuisine.com #latcuisine +44 (0) 7815 040 619 Tower Hamlets Spring Open Organisers: www.ALISN.org www.RiseArt.com www.ArtPavilion.info Artists: Tom Estes | Felicity Hammond | Rab Harling | Brian D Hodgson | Thorsten Knaub | Gina Lundy Patrick Morrissey | Minou Norouzi | Emer O'Brien | Daniel Shanken | Rachel Wilberforce | Mary Yacoob With thanks to our student volunteers from City of London School for Boys: Noah Judge Rahul Robertson Alistair Napier Venue Details: Mile End Art Pavilion, Mile End Park, Accessed by Ashcroft Rd, off Grove Road, London E3 4QY Nearest Tube: Mile End (District, Circle and Central Lines, 2 stops from Liverpool Street) Buses 277, 425, D6 Click Here for Google Map <img src="http://payload36.cargocollective.com/1/0/12247/3020236/logo strip_600.png" width="600" height="54" width_o="745" height_o="68" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/logo strip_o.png" data-mid="15395156" border="0" align="left"/> Photographs by Latitudinal Cuisine <img src="http://payload36.cargocollective.com/1/0/12247/3020236/100.jpg" width="600" height="176" width_o="600" height_o="176" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/100_o.jpg" data-mid="16372345" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/101.jpg" width="600" height="131" width_o="600" height_o="131" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/101_o.jpg" data-mid="16372346" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/104.jpg" width="600" height="171" width_o="600" height_o="171" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/104_o.jpg" data-mid="16372347" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/105.jpg" width="600" height="140" width_o="600" height_o="140" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/105_o.jpg" data-mid="16372349" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/105a_4.jpg" width="600" height="145" width_o="600" height_o="145" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/105a_4_o.jpg" data-mid="16372351" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/105b.jpg" width="600" height="141" width_o="600" height_o="141" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/105b_o.jpg" data-mid="16372352" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/106.jpg" width="600" height="141" width_o="600" height_o="141" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/106_o.jpg" data-mid="16372353" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/108.jpg" width="600" height="106" width_o="600" height_o="106" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/108_o.jpg" data-mid="16372354" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/109.jpg" width="600" height="186" width_o="600" height_o="186" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/109_o.jpg" data-mid="16372355" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/110.jpg" width="600" height="160" width_o="600" height_o="160" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/110_o.jpg" data-mid="16372357" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/111_5.jpg" width="600" height="183" width_o="600" height_o="183" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/111_5_o.jpg" data-mid="16372358" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/113.jpg" width="600" height="109" width_o="600" height_o="109" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/113_o.jpg" data-mid="16372359" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/115.jpg" width="600" height="213" width_o="600" height_o="213" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/115_o.jpg" data-mid="16372360" border="0" align="left"/><img src="http://payload36.cargocollective.com/1/0/12247/3020236/116.jpg" width="600" height="160" width_o="600" height_o="160" src_o="http://payload36.cargocollective.com/1/0/12247/3020236/116_o.jpg" data-mid="16372361" border="0" align="left"/> http://www.alisn.org/Tower-Hamlets-Spring-Open-2012 http://www.alisn.org/following/alisn.org/Tower-Hamlets-Spring-Open-2012 Thu, 15 Mar 2012 16:17:26 +0000 alisn - artist-led initiatives support network 3007519 Scale and Place Selected by Rise Art and ALISN Artists Reception: Wednesday 28 March 6-9pm Exhibition Continues: 30 March - 7 April Gallery Open: Mon-Fri 2-6pm, Sat-Sun 12-6pm Address: Mile End Art Pavilion, Grove Road, E3 4QY Tom Estes | Felicity Hammond | Rab Harling | Brian D Hodgson | Thorsten Knaub | Gina Lundy | Patrick Morrissey | Minou Norouzi | Emer O'Brien | Daniel Shanken | Rachel Wilberforce | Mary Yacoob <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Inversion Reflection by Rab Harling 1 670_600.jpg" width="600" height="235" width_o="670" height_o="263" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Inversion Reflection by Rab Harling 1 670_o.jpg" data-mid="15328440" border="0" align="left"/> Rab Harling, Inversion Reflection 1 For the second annual Tower Hamlets Spring Open, ALISN and Rise Art invited artists from around the world to submit work addressing the title themes of Scale and Place. The resulting exhibition is a varied commentary on the sweeping size of the unusual exhibition venue and its place within the socially and visually complex borough of Tower Hamlets. Taken as a representative sample from the large and diverse set of submitted responses, the work of twelve artists both indicts and revels in the cacophony of the host borough. From the literal to the abstract, from the serious to the humorous, viewpoints and commentaries emerge on living conditions, architectural and social scapes, regeneration and degeneration, and the many other dynamic possibilities and limitations of a-place-apart. For Tom Estes ‘fantasy’ and ‘illusion’ are not a contradiction of reality, but instead an integral part of our everyday lives. 'There is a real Peter Pan Syndrome at play in my work and I suppose I would consider myself a carnival sideshow conceptualist, combining a bare-bones formal conceptualism with an eternally adolescent, DIY comic-prank approach. I try to do this with wit and economy and by paraphrasing early Sci-fi and horror films and their associated ideological fictions.' In his performance, Night Cleaning, the artist sets up four large international ‘cleaning in progress signs’ and mops the floor while wearing a pair of pyjamas. By asking members of the audience to take pictures of the performance, they become not only involved with the performance but part of the Live Art action. The pictures of the performance and the audience participation will be published on social networking sites for another online audience to view. Felicity Hammond uses photography to understand the ever-changing landscapes in East London, exploring its continuous deconstruction and reconstruction. At present she is particularly concerned with the building works taking place in the run up to the Olympics. Hammond's large scale installation, Transitional Object, in the Pavilion, is a replica of a site she has been photographing in East London. It allows the viewer to understand the vast construction going on within Tower Hamlets as London prepares for the games Rab Harling is a London based photographic artist whose work is primarily concerned with notions of happiness and our status within ideological infrastructures. Harling is showing a section of his work Inversion Reflection - an ongoing photographic sculpture of the Balfron Tower in Poplar - scheduled to be completed in August 2013, following the departure of the residents ahead of regeneration. Since 2011, in collaboration with its inhabitants, Harling has been documenting the interior as a vertical map, cataloguing the human traces of its community. Balfron’s iconic 'brutalist' design has seen the tower become a powerful symbol of miscarried social planning from a bygone age of utopian urban idealism. Harling's work opens the inside space concealed within the building's hard exterior, revealing its considered and generously designed living accommodation and the individual lives that have come to occupy it. Brian D Hodgson works primarily with printmaking. His work is concerned with time and scale and the elusive interplay between the micro and the macro. For the Pavilion, Hodgson presents Burning: a series of images on large metal plates, which have been corroded with acid in an act of performance. The totality of the work refers with visceral immediacy to the recent history of the 2011 London riots, of which Tower Hamlets experienced a prominent share. Thorsten Knaub uses video, film, sound, performance, GPS and photography to investigate the way recording technologies and data systems may mediate, document and archive our experiences and presence in today’s world. His work, GPS Walks (Victoria Park), creates a data animation by collating latitude and longitude coordinates. Using a portable GPS receiver, Knaub has recorded daily walks through Victoria Park in Tower Hamlets for the period of 14 days. The resulting animation, mimicking the gesture of a pen, creates a kind of personal park, which extends itself by following the artist's steps to visualise ideas of scale and duration of human activity within the larger scale of the landscape. Gina Lundy is a photographer who works with large and medium format cameras. Her photographs observe and document the topographic results that external forces such as government policy, economic conditions and developer-led investment have upon landscape and society. In her recent series, Games, Lundy uses multiple exposures, overlaying images from the perimeter of Stratford during construction, with flora from the gardens of peripheral residential areas, soon to be demolished to make way for developer-led regeneration on what has become prime real estate. As the demolition of post-war housing continues, 'A Fantastic New Community for East London' is proclaimed from the blue hoardings enclosing the Stratford site, echoing ironically the earlier utopian promises of UK social housing. Patrick Morrissey's work is systems and process based, and derives from his long standing pre-occupation with film as object. Using the innate qualities of film, such as sequential development, pattern forming, kinetic by-products and monumentality, Morrissey creates geometric abstractions as a pure form of communication. His site-specific installation, Pernambuco, is a direct response to and engagement with the space and its monumental volume. It intends to create a situation of intense meditative concentration or overwhelming visual absorption for the viewer, engaging their total visual field. Minou Norouzi is a moving image artist working predominantly with portraiture. The work appears formal in its photographic approach, with recurring thematic preoccupations in the architecture of incubated desire, displacement, authoritarianism and surrender, and misplaced femininity, often framed within the mundane. She is interested in creating conditions, in which a spectator can project him or herself; a kind of sensory participation in the work, which requires surrender. Her Single-channel video, I Remember, takes as its conceptual starting point a scene from Fellini’s Amarcord. In1930s Italy, a man is taking refuge in a tree top shouting “I want a woman!” Eighty years later, in London, a woman responds. The film is a performance intervention in collaboration with Israeli actress Alit Kreiz. Her body and movements are pathetic attempts at relating with her surroundings as she negotiates the artificiality of her presence in a series of documentary scenes. Emer O’Brien has an enduring interest in the passage of time. She is best known for works that meditate on the redundancy of human artifacts when deserted by man or things; once known, now unfathomable in their mystery. Her subject is the surrounding space as much as the objects represented, as an attention to the predicament of abandonment, desolation, absence and loss. Her large-scale, time-based installation, Run Run Run consists of a giant roll of paper, treated with multi coloured dyes and suspended high above a Perspex container of water. Through the process of chromatography, the pigment is drawn up the paper creating waves of vibrant colour and evolving throughout the duration of the exhibition. Emer O'Brien appears courtesy of Christian Ferreira Daniel Shanken's work explores mythic themes that are deduced to psychological archetypes—the unwritten, unspoken language that carries us between the conscious and unconscious into a realm of higher forms and altered perceptions. With three serially-titled, immersive works, he aims to control the immediate conscious environment of the viewer by using specific cues, or signs of danger such as sparks, fireballs and the manipulation of gravity in real time, which are then met with an anti-climax, inducing a passive spectacle. In Shanken's work, ONE, two oppositely charged metal sheets mounted on a bench produce a visible flow of energy while charging up the sitter either negatively or positively depending on which side they sit on. In TWO, a pair of 3d video glasses, joined symbiotically to an object, display a video, in which a narrator talks about the process and application of Milton Ericson’s confusion hypnosis technique. THREE is a video on a monitor, which shuts off completely when a viewer looks directly at it and instantly turns back on when the viewer looks away. Rachel Wilberforce works with photography, video and installation. With a focus on the residual, absence and memory, her practice explores subjects of place, often on the periphery, and self, as arenas for deconstruction. Her work, Untitled #1, Vanishing Point is from a series examining the nature of theatrical internal spaces prior or post performance and when empty. The work engages with, and seeks to deconstruct issues of spectacularity and theatrical approach with a focus on the spectator/stage relationship. Untitled #10, Missing is from another series which takes the study of recently emptied space into brothels and saunas around the UK. The work meditates on ritual and prostitution as institution. Mary Yacoob’s drawings are propositions for large scale installations which employ systematic techniques like repetition, geometry, counting, and classification, both to generate ideas and to process them. In ‘Proposition for Light Installation/Painting According to Tonal Values', the artist tries to maximise her use of a represented space (a former Science Museum in Birmingham): the small size of the drawing and tiny marks within it belying the notional ambition of scale. Yacoob creates an uncanny sense of nostalgia by suggesting the possibility of the bigger work as perhaps displaced in time or reality, at the same time responding elusively to the submission call's explicit preference for ambitious large-scale proposals. <img src="http://payload35.cargocollective.com/1/0/12247/3007519/RiseArt-Logo cropped.jpg" width="366" height="60" width_o="366" height_o="60" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/RiseArt-Logo cropped_o.jpg" data-mid="15401157" border="0" align="left"/> Rise Art Benefits For Artists: . Share, promote and build a community around your practice and upcoming events . Receive feedback, recognition and exposure for your work . Earn money, endorsement from our curators, and additional exposure for your practice . Rise Art is completely free for all artists - Learn more and submit your work today. Rise Art for Collectors: For first time collectors and individuals who are not art experts, finding art for the home can be a difficult, intimidating and expensive process. Plus, how do you know that the the art you have seen in a gallery or group show will look great in your home or office? Riseart.com has just launched Art Rentals, which are the best new way to get original art in your home. Choose from a selection of ready to hang unique work from a highly curated selection of rising artists. Love the work? Keep it, with credits from rental applied towards purchase. If not, return it free of charge and try something new. Learn more about how it works. For more information, visit www.riseart.com Images by Nancy Elser, Iavor Lubomirov and the exhibiting artists Installation views <img src="http://payload35.cargocollective.com/1/0/12247/3007519/I1_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/I1_o.jpg" data-mid="16367838" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/I2_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/I2_o.jpg" data-mid="16367840" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/I3_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/I3_o.jpg" data-mid="16367841" border="0" align="left"/> Tom Estes Night Cleaning <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Tom Estes 2_600.jpg" width="600" height="448" width_o="960" height_o="717" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Tom Estes 2_o.jpg" data-mid="16039772" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Tom Estes_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Tom Estes_o.jpg" data-mid="16039666" border="0" align="left"/> Felicity Hammond TRANSITIONAL OBJECT <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Felicity Hammond_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Felicity Hammond_o.jpg" data-mid="16039638" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Felicity Detail_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Felicity Detail_o.jpg" data-mid="16365438" border="0" align="left"/> Rab Harling Inversion Reflection <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Rab Harling_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Rab Harling_o.jpg" data-mid="16039657" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Rab Harling 2_600.jpg" width="600" height="235" width_o="670" height_o="263" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Rab Harling 2_o.jpg" data-mid="16039658" border="0" align="left"/> Brian D Hodgson Burning <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Brian D Hodgson_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Brian D Hodgson_o.jpg" data-mid="16039633" border="0" align="left"/> Thorsten Knaub GPS Walks (Victoria Park) <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Thorsten Knaub_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Thorsten Knaub_o.jpg" data-mid="16039665" border="0" align="left"/> Gina Lundy [Untitled #2] - Stadium Construction, 6 exposures, Green Way / Victoria Park [Untitled #10] - Wall detail with Single Rose, Dennison Point / Doran Walk [Untitled #9] Corridor with Rose bush detail, Dennison Point / Doran Walk <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Gina Lundy_600.jpg" width="600" height="400" width_o="932" height_o="622" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Gina Lundy_o.jpg" data-mid="16039640" border="0" align="left"/> Patrick Morrissey Pernambuco <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Patrick Morrissey_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Patrick Morrissey_o.jpg" data-mid="16039652" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Patrick Morrissey 2_600.jpg" width="600" height="607" width_o="670" height_o="678" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Patrick Morrissey 2_o.jpg" data-mid="16039654" border="0" align="left"/> Minou Norouzi I REMEMBER <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Minou Norouzi_600.jpg" width="600" height="337" width_o="670" height_o="377" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Minou Norouzi_o.jpg" data-mid="16039650" border="0" align="left"/> Emer O'Brien Run Run Run <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Emer_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Emer_o.jpg" data-mid="16365850" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Emer O-Brien_20_600.jpg" width="600" height="256" width_o="670" height_o="286" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Emer O-Brien_20_o.jpg" data-mid="16365848" border="0" align="left"/> Daniel Shanken ONE, TWO, THREE <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Daniel Shanken_600.jpg" width="600" height="400" width_o="925" height_o="617" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Daniel Shanken_o.jpg" data-mid="16039637" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Daniel Shanken 2_600.jpg" width="600" height="205" width_o="670" height_o="229" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Daniel Shanken 2_o.jpg" data-mid="16365433" border="0" align="left"/> Rachel Wilberforce Untitled #10, Missing Untitled #1, Vanishing Point <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Rachel Wilberforce 1_600.jpg" width="600" height="450" width_o="670" height_o="503" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Rachel Wilberforce 1_o.jpg" data-mid="16039662" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/Rachel Wilberforce 2_600.jpg" width="600" height="396" width_o="670" height_o="443" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Rachel Wilberforce 2_o.jpg" data-mid="16039663" border="0" align="left"/> Mary Yakoob Proposition for Light Installation/Painting According to Tonal Values <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Mary Yakoob 2_600.jpg" width="600" height="396" width_o="670" height_o="443" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Mary Yakoob 2_o.jpg" data-mid="16039648" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/Mary Yakoob_600.jpg" width="600" height="400" width_o="670" height_o="447" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/Mary Yakoob_o.jpg" data-mid="16039644" border="0" align="left"/> Private View. Photographs by Nancy Elser <img src="http://payload35.cargocollective.com/1/0/12247/3007519/PV01_26_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/PV01_26_o.jpg" data-mid="16368548" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv02_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv02_o.jpg" data-mid="16367662" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv03_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv03_o.jpg" data-mid="16367665" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv04_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv04_o.jpg" data-mid="16367667" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv05_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv05_o.jpg" data-mid="16367672" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv06_31_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv06_31_o.jpg" data-mid="16368526" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv07_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv07_o.jpg" data-mid="16367678" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv08_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv08_o.jpg" data-mid="16367682" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv09_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv09_o.jpg" data-mid="16367684" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv10_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv10_o.jpg" data-mid="16367685" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv11_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv11_o.jpg" data-mid="16367686" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv12_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv12_o.jpg" data-mid="16367688" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv13_600.jpg" width="600" height="415" width_o="670" height_o="464" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv13_o.jpg" data-mid="16367689" border="0" align="left"/> <img src="http://payload35.cargocollective.com/1/0/12247/3007519/pv14_600.jpg" width="600" height="416" width_o="670" height_o="465" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/pv14_o.jpg" data-mid="16368533" border="0" align="left"/> Private View. Photographs by Rachel Wilberforce <img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv01_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv01_o.jpg" data-mid="16367769" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv02_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv02_o.jpg" data-mid="16367771" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv03_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv03_o.jpg" data-mid="16367780" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv04_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv04_o.jpg" data-mid="16367786" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv05_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv05_o.jpg" data-mid="16367790" border="0" align="left"/><img src="http://payload35.cargocollective.com/1/0/12247/3007519/rpv06_600.jpg" width="600" height="401" width_o="1280" height_o="856" src_o="http://payload35.cargocollective.com/1/0/12247/3007519/rpv06_o.jpg" data-mid="16367795" border="0" align="left"/> http://www.alisn.org/Needle-Scapel http://www.alisn.org/following/alisn.org/Needle-Scapel Wed, 14 Dec 2011 01:23:33 +0000 alisn - artist-led initiatives support network 153650 An Exhibition of sculpture and etchings by Edward Addlington and Iavor Lubomirov. Opens 6pm (Saturday 27 June) with a Champagne Reception. Thereafter open daily: 4 - 8pm 28 June to 3 July Address: 295 Burntwood Lane, SW17 0AP Supported by: AFMMXII & The Magnificent Basement Co. Ltd <img src="http://payload.cargocollective.com/1/0/12247/153650/e-flyer.jpg" width="670" height="473" width_o="2048" height_o="1448" src_o="http://payload.cargocollective.com/1/0/12247/153650/e-flyer_o.jpg" data-mid="661724" border="0" align="left"/> Needle and Scalpel will be the first exhibition resulting from a series of planned collaborations between 'Artists for 2012' and London property developers willing to open their buildings between completion and sale as alternative temporary exhibition spaces. <img src="http://payload.cargocollective.com/1/0/12247/153650/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153650/alisn_o.jpg" data-mid="785766" border="0" align="left"/> The object of these collaborations is: 1. to provide artists with opportunities outside the gallery system 2. to take emerging art outside saturated artistic hubs in South and East London and into the wider London community The space for Needle and Scalpel is provided by 'The Magnificent Basement Company Ltd' in a development near Wandsworth Common. A second show led by Sharon Gal, featuring live performance art, audience participation art and music will take place the following Saturday 4 July from 2-7pm. Details to follow. <img src="http://payload.cargocollective.com/1/0/12247/153650/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153650/alisn_o.jpg" data-mid="785766" border="0" align="left"/> http://www.alisn.org/Sharon-Gal-Room-to-Breathe http://www.alisn.org/following/alisn.org/Sharon-Gal-Room-to-Breathe Wed, 14 Dec 2011 01:23:32 +0000 alisn - artist-led initiatives support network 154044 One-day Performance by Sharon Gal Location: Wandsworth, London, UK. Date: Saturday 4 July 2009 How much breath does it take to fill a room? Room to Breathe, a collective action/participation-performance led by Sharon Gal, 4th of July 2009. Support and participation from : Iavor Lubomirov , Nicola Smith, Sarah Wyld, Kasia Perlak, , Arnold lane, David OConnor, Chas de Swiet, Ricardo Tejero, Lee Campbell, Moshi Honen , Evra, Ceri Ashcroft, Tim Fletcher, Jessica Kay, Bernard Burns, Kat Hawker, ALISN and The Magnificent Basement Co Ltd <img src="http://payload.cargocollective.com/1/0/12247/154044/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/154044/alisn_o.jpg" data-mid="667351" border="0" align="left"/> Videos: <img src="http://payload.cargocollective.com/1/0/12247/154044/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/154044/alisn_o.jpg" data-mid="667351" border="0" align="left"/> More Video Links: Finale - http://www.youtube.com/watch?v=orHISX2oCuE&feature=related Balloon music - http://www.youtube.com/watch?v=9iZlJkRNke8&feature=related Part 1 - http://www.youtube.com/watch?v=c52rd8ywJdY part 2 - http://www.youtube.com/watch?v=QMtAjS3c1yI&feature=related Ricardo Tejero & Moshi Honen - http://www.youtube.com/watch?v=Y-YNMRUvYMQ&feature=related Dave O’Connor & Ricardo Tejero - http://www.youtube.com/watch?v=XAi49R7D1L8&feature=related <img src="http://payload.cargocollective.com/1/0/12247/154044/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/154044/alisn_o.jpg" data-mid="667351" border="0" align="left"/> Photos (by Sarah Wyld): <img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 50.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 50_o.jpg" data-mid="667199" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 49.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 49_o.jpg" data-mid="667201" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 56.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 56_o.jpg" data-mid="667204" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 55.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 55_o.jpg" data-mid="667205" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 18.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 18_o.jpg" data-mid="667207" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 22.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 22_o.jpg" data-mid="667210" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 54.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 54_o.jpg" data-mid="667211" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 53.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 53_o.jpg" data-mid="667212" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 52.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 52_o.jpg" data-mid="667216" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 51.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 51_o.jpg" data-mid="667217" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 29.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 29_o.jpg" data-mid="667229" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 44.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 44_o.jpg" data-mid="667231" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 36.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 36_o.jpg" data-mid="667232" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 13.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 13_o.jpg" data-mid="667237" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 23.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 23_o.jpg" data-mid="667238" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood 11.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood 11_o.jpg" data-mid="667239" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 12.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 12_o.jpg" data-mid="667240" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 30.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 30_o.jpg" data-mid="667241" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 32.jpg" width="644" height="425" width_o="644" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 32_o.jpg" data-mid="667242" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 47.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 47_o.jpg" data-mid="667245" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 17.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 17_o.jpg" data-mid="667246" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 31.jpg" width="638" height="425" width_o="638" height_o="425" src_o="http://payload.cargocollective.com/1/0/12247/154044/4th July 2009 205 Burntwood Lane 31_o.jpg" data-mid="667247" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/12247/154044/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/154044/alisn_o.jpg" data-mid="667351" border="0" align="left"/> http://www.alisn.org/About-ALISN http://www.alisn.org/following/alisn.org/About-ALISN Tue, 13 Dec 2011 12:44:39 +0000 alisn - artist-led initiatives support network 129669 <img src="http://payload.cargocollective.com/1/0/12247/129669/alisn-team.jpg" width="200" height="267" width_o="200" height_o="267" src_o="http://payload.cargocollective.com/1/0/12247/129669/alisn-team_o.jpg" data-mid="2405171" border="0" align="left"/> The Artist-Led Initiatives Support Network (ALISN) was founded in May 2007 by Goldsmiths alumnus Jordan Dalladay-Simpson and Oxford alumnus Iavor Lubomirov with the aim of supporting emerging artists and fostering community and collaboration between artist-led and other emerging art galleries and projects. ALISN is: Iavor Lubomirov (Director and Curator) Bella Easton (Director and Curator) Anna Bleeker (Galleries and Events Manager) Jordan Dallday-Simpson (Design and Technology) Nancy Elser (Event and Documentation Photographer) (Photograph: the ALISN Team in May 2010. From left to right: Anna Bleeker, Jordan Dalladay-Simpson, Iavor Lubomirov. Courtesy of Candice Ashby) <img src="http://payload.cargocollective.com/1/0/12247/129669/alisn_1.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/129669/alisn_1_o.jpg" data-mid="666461" border="0" align="left"/> Founder Biographies: <img src="http://payload.cargocollective.com/1/0/12247/129669/jordan.jpg" width="200" height="155" width_o="200" height_o="155" src_o="http://payload.cargocollective.com/1/0/12247/129669/jordan_o.jpg" data-mid="786609" border="0" align="left"/>Jordan Dalladay-Simpson was born in 1986 in Scotland, and currently lives and works in London, United Kingdom. He is a designer specialising in understanding and developing new modes of co-creative practice. He graduated with first class honors from Goldsmiths and holds a Masters by Research (MRes) in Design from the University of London. He is currently head of the co|agency design thinking consultancy, and is working towards a PhD in asserting the benefits of co-creation as a means to develop re-directive and eudemonic design practices. www.jordandalladaysimpson.co.uk jordan@alisn.org <img src="http://payload.cargocollective.com/1/0/12247/129669/P1030825.jpg" width="200" height="155" width_o="200" height_o="155" src_o="http://payload.cargocollective.com/1/0/12247/129669/P1030825_o.jpg" data-mid="9438852" border="0" align="left"/>Iavor Lubomirov was born in 1978 in Bulgaria and lives and works in London, United Kingdom. In 2000 Iavor left Oxford University with a degree and Masters in Mathematics. While at Oxford, Iavor was awarded prizes and scholarships from the university and outside institutions. After graduating he studied art at night school while working for a blue-chip corporation in the City and later left to study for a BA in Fine Art. Since 2005 he has worked as an independent artist, curator and exhibition organiser. www.iavor.co.uk iavor@alisn.org <img src="http://payload.cargocollective.com/1/0/12247/129669/alisn_1.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/129669/alisn_1_o.jpg" data-mid="666461" border="0" align="left"/> http://www.alisn.org/AF2012-491 http://www.alisn.org/following/alisn.org/AF2012-491 Tue, 13 Dec 2011 12:41:52 +0000 alisn - artist-led initiatives support network 153350 Iavor Lubomirov | Jordan Dalladay-Simpson | Sy Hackney | Mark Green | Lee Broughall | Sara Moubarek <img src="http://payload.cargocollective.com/1/0/12247/153350/DSC_0273.jpg" width="670" height="445" width_o="2048" height_o="1361" src_o="http://payload.cargocollective.com/1/0/12247/153350/DSC_0273_o.jpg" data-mid="667469" border="0" align="left"/> 491 Gallery, Leytonstone, East London Private View Thursday 15th November 7 - 9pm Exhibition Continues 15th - 29th November 2007 In Phase 1 af2012 will be working through the 491 Gallery in Leytonstone. Located near Leytonstone tube station, the gallery houses several artist studios and regularly brings local and international emergent talent to the UK. It has been freely available to the local community for 4 years thanks to a determined collective of young artists. Phase 1 is an exhibition by six British and International artists selected to represent cultural and artistic diversity. Presenting: Iavor Lubomirov Jordan Dalladay-Simpson Sy Hackney Mark Green Lee Broughall Sara Moubarek "Roots" - An experimental horror by Yurena A De Dios will be screened for the first time during the opening on Thursday 15th November at 8pm. www.491gallery.com <img src="http://payload.cargocollective.com/1/0/12247/153350/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153350/alisn_o.jpg" data-mid="667444" border="0" align="left"/> Jordan Dalladay-Simpson <img src="http://payload.cargocollective.com/1/0/12247/153350/W6702 - n584528407_480992_4293.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6702 - n584528407_480992_4293_o.jpg" data-mid="12350008" border="0" align="left"/> Mark Green <img src="http://payload.cargocollective.com/1/0/12247/153350/W6701 - n584528407_480999_2267.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6701 - n584528407_480999_2267_o.jpg" data-mid="12350004" border="0" align="left"/> Lee Broughall <img src="http://payload.cargocollective.com/1/0/12247/153350/W6703 - n584528407_480993_4616.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6703 - n584528407_480993_4616_o.jpg" data-mid="12350011" border="0" align="left"/> Sara Moubarek <img src="http://payload.cargocollective.com/1/0/12247/153350/W6705 - n584528407_480995_5111.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6705 - n584528407_480995_5111_o.jpg" data-mid="12350017" border="0" align="left"/> Iavor Lubomirov <img src="http://payload.cargocollective.com/1/0/12247/153350/W6704 - n584528407_480994_4869.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6704 - n584528407_480994_4869_o.jpg" data-mid="12350012" border="0" align="left"/> <img src="http://payload.cargocollective.com/1/0/12247/153350/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153350/alisn_o.jpg" data-mid="667444" border="0" align="left"/> Press: "art AF2012 Leytonstone: a hippie squat that’s now a cultural collective. Enter Artists For 2012! Their mission: to fill the 2012 cultural funding gap with art. Such as… Iavor Lubomirov’s pieces are cool and cerebral- intricate paper forms cut into blank books and a film of dancers where vertically sliced frames are resynchronized to create time ghosts. He says it’s Special Relativity (er… wasn’t it Newton not Einstein that liked slicing time?) By contrast, Sara Moubarek’s canvases are passion, not reason – thick drizzles of textured colour. Jordan Dalladay-Simpson’s work is odd, ‘mediating between aspects of technology and metaphysics, he says. An electronic box, aerials and a bulb pick up energy within a chalk pentagram. But what if it actually summoned The Beast? Another soul sacrificed for art…" - Herbert Wright for Le Cool London (http://lecool.com) <img src="http://payload.cargocollective.com/1/0/12247/153350/W6701 - n584528407_480999_2267.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6701 - n584528407_480999_2267_o.jpg" data-mid="12350004" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6702 - n584528407_480992_4293.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6702 - n584528407_480992_4293_o.jpg" data-mid="12350008" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6703 - n584528407_480993_4616.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6703 - n584528407_480993_4616_o.jpg" data-mid="12350011" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6704 - n584528407_480994_4869.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6704 - n584528407_480994_4869_o.jpg" data-mid="12350012" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6705 - n584528407_480995_5111.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6705 - n584528407_480995_5111_o.jpg" data-mid="12350017" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6706 - n584528407_480996_5397.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6706 - n584528407_480996_5397_o.jpg" data-mid="12350018" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6707 - n584528407_480997_1839.jpg" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6707 - n584528407_480997_1839_o.jpg" data-mid="12350019" border="0" align="left"/><img src="http://payload.cargocollective.com/1/0/12247/153350/W6708 - n584528407_480998_2040.jpg" width="670" height="893" width_o="670" height_o="893" src_o="http://payload.cargocollective.com/1/0/12247/153350/W6708 - n584528407_480998_2040_o.jpg" data-mid="12350021" border="0" align="left"/> http://www.alisn.org/Hackney-Transients-Art-Project http://www.alisn.org/following/alisn.org/Hackney-Transients-Art-Project Tue, 13 Dec 2011 12:13:08 +0000 alisn - artist-led initiatives support network 153371 Kim Alexanders | Alison Barnes | Marnie Baumer | Matthew Blackler | Clemmie James | Matthew Krishanu Tamara Lesniewska | Christina Mitrentse | Barry Gene Murphy | Christoph Steger | Lucy Tomlins Charlotte Young <img src="http://payload.cargocollective.com/1/0/12247/153371/_MG_10.jpg" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/0/12247/153371/_MG_10_o.jpg" data-mid="12349604" border="0" align="left"/> Hackney Transients Art Project (HTAP) is a Hackney-based initiative that investigates everyday experience in this London borough as a catalyst for making new art works and creative processes. The project brings together twelve artists, two curators and other Hackney enthusiasts to investigate ongoing changes in Hackney, accelerated through flows of people and ideas. HTAP explores various forms of transience, including individuals in flux, shifting communities and expanding notions of art. HTAP seeks to move beyond familiar conventions of community-based art and manufactured moments of social catharsis intent on repairing the social bond. Spread across an oral history archive, an experimental mapping event and an exhibition of new artworks produced in response to the project’s ongoing development, HTAP explores the idea of the production and distribution of art as a means of community formation. Reflective/reflexive discussion furthers HTAP’s development and sustainability as a multi-stage initiative. Since January 2009, the artists and organisers have met regularly to unpick preconceived ideas, find points of affinity and to identify areas for further investigation. Through both face-to-face and online dialogue, the group works together to tease out the complexities that make HTAP such a compelling and ultimately expandable project. These include the politics surrounding ‘transience’ as HTAP’s overarching theme, public engagement, the challenge and benefit of working with other organisations including local and national administrative bodies, and the opportunity of developing exhibitions in response to, and in parallel with, other events, namely Pattern Making for Beginners, HTAP’s contribution to the Hackney Wicked Festival 2009. Generative and topical, these discussions also grapple with new expressions of collaborative and/or participatory art. HTAP Team: Lucy Tomlins | Marnie Baumer | Marsha Bradfield | Miriam Kings | David Patrick Stucky | Jordan Dalladay-Simpson | Iavor Lubonimov HTAP Artists: Kim Alexanders | Alison Barnes | Marnie Baumer | Matthew Blackler | Clemmie James | Matthew Krishanu | Tamara Lesniewska | Christina Mitrentse | Barry Gene Murphy | Christoph Steger | Lucy Tomlins | Charlotte Young <img src="http://payload.cargocollective.com/1/0/12247/153371/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153371/alisn_o.jpg" data-mid="785265" border="0" align="left"/> ALISN Talks about HTAP Listen: &#9835; Alisn(HTAP).mp3 http://www.jordandalladaysimpson.co.uk/Alisn(HTAP).mp3 Download: Audio: 10mins MP3 9.5MB <img src="http://payload.cargocollective.com/1/0/12247/153371/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153371/alisn_o.jpg" data-mid="785265" border="0" align="left"/> Hackney Transients Art Project Website (www.htap.co.uk) HTAP's Vimeo Channel Londonist Interview with HTAP Team <img src="http://payload.cargocollective.com/1/0/12247/153371/alisn.jpg" width="16" height="16" width_o="16" height_o="16" src_o="http://payload.cargocollective.com/1/0/12247/153371/alisn_o.jpg" data-mid="785265" border="0" align="left"/> http://www.alisn.org/EAO-Conference-on-Resonance-FM http://www.alisn.org/following/alisn.org/EAO-Conference-on-Resonance-FM Fri, 28 Oct 2011 16:17:46 +0000 alisn - artist-led initiatives support network 2034331 ArtEvict | ALISN | The Modern Language Experiment | ]performance s p a c e [ Rise Art | Sluice Art Fair | WW Gallery <img src="http://payload.cargocollective.com/1/0/12247/2034331/6327565444_49f7e57628_b.jpg" width="670" height="446" width_o="1024" height_o="683" src_o="http://payload.cargocollective.com/1/0/12247/2034331/6327565444_49f7e57628_b_o.jpg" data-mid="11422409" border="0" align="left"/> 8-9pm Tuesday 8 November Resonance FM 104.4 FM www.resonancefm.com Guests: Nathalie Bikoro, Benjamin Sebastian and Bean, ArtEvict and ]performance s p a c e [ Iavor Lubomirov and Jordan Dalladay-Simpson, ALISN Matthew Stock and Keh Ng, The Modern Language Experiment Scott Phillips, Founder, Rise Art Ben Street and Karl England, Directors, Sluice Art Fair Debra Wilson and Chiara Williams, Directors, WW Gallery ALISN presents a one hour live discussion on Resonance FM on topics taken from the forthcoming Emerging Art Organisers Conference, which will take place in Goldsmiths on Thursday 24 November. Intended as a publicly available preview of the Conference, the Resonance panel will offer the views of several very different organisations on what it means to be an art organiser in today's emerging art reality. Performance artists Nathalie Bikoro and Benjamin Sebastian will tell stories from their nomadic and fluctuating project ArtEvict, which has been operating since 2009. Benjamin Sebastian also works with fellow performance artist Bean, who founded ]performance s p a c e [ at the beginning of 2011, in a 3000sqft studio in Hackney Wick - the only space dedicated entirely to live, performance and time-based art. All three artists operate a loose, non-hierarchical, highly collaborative practice, with merging borders between their two organisations and others such as OUI Performance in York and BBeyond in Belfast. Artists and curators Matthew Stock and Keh Ng founded The Modern Language Experiment in 2009. and have also been operating nomadicaly, relying on collaborations with organisations including Hackney Council, IMT and Angus-Hughes Gallery. Ben Street and Karl England are the founders of the Sluice Art Fair, which opened its doors in Mayfair this October 2011 to showcase emerging art projects from around the world. Debra Wilson and Chiara Williams co-founded their commercial project, WW Gallery, in 2008. From the very beginning they have found creative ways to break into the bastions of the established art world, showing twice at the Venice Beinnale and other major fairs, with often irreverent setups, such as their shop at the London Art Fair in 2010. We also have with us Scott Phillips, the founder of online community based platform Rise Art. Rise Art is a social community that helps anyone discover, connect with and collect artwork from a selection of talented artists worldwide Scott Phillips, Founder, Rise Art Ben Street and Karl England, Directors, Sluice Art Fair Nathalie Bikoro, Benjamin Sebastian and Bean, ArtEvict and ]performance s p a c e [ Matthew Stock and Keh Ng, The Modern Language Experiment Debra Wilson and Chiara Williams, Directors, WW Gallery Listen to entire Resonance session: &#9835; alisn_resonance_fm_boradcast.mp3 http://k003.kiwi6.com/hotlink/cocoe2487i/alisn_resonance_fm_boradcast.mp3 Download an mp3 recording of the radio show: http://k003.kiwi6.com/hotlink/cocoe2487i/alisn_resonance_fm_boradcast.mp3 Photographs by Nancy Elser