Throughout July, Jennifer Martin will be presenting Full of Loops, an interactive installation which appropriates the aesthetic and functional structure of ‘Old Time’ portrait studios with attention to the inherent problems of such places in which race and gender are usually stereotypes for an experience of fairground fun. As part of this project Jennifer is hosting several events including these reading groups which you can book to attend.
Wednesday 19 July, 6.30–8.30pm. Participation in the Photographic Act.
As chair of this reading group, Jennifer Martin will address aspects of participation and agency in the photographic act, discussing a text from Ariella Azoulay’s The Civil Contract of Photography.
Saturday 22 July, 14.00–16.00pm. Temporality & the Anthropocene.
Sasha Litvintseva’s doctoral research (Goldsmiths University) focuses on ‘geological film making’ as a ‘visual strategy for the Anthropocene’. As chair of this reading group, Litvintseva will respond to the Full of Loops installation and thematic Western film genre in relation to her research on the Anthropocene and temporality.
Applications are now invited from artists based in England for two residencies at Chisenhale Studios.
At the completion of her six-week residency, Nicola Dale presents new work arising from her research into art historian Aby Warburg’s photographic collection at The Warburg Institute. Nicola has selected and abbreviated 89 images and translated them into an eight-metre mural, in turn to be used as a choreographic score by contemporary dancer Chloe Aliyanni.
Expanding ideas developed during past projects (at Manchester Central Library, Shanghai Library, the National Arts and Education Archive and the University of Manchester) Nicola has been using her Standpoint Futures residency to explore processes of accumulating and communicating knowledge.
The number of images Nicola has chosen corresponds to the amount of unfilled holes she found in one wall of her residency studio, which she catalogued obsessively when she arrived in London. This holey reliquary – of absent works by previous studio occupants – is playfully interpreted as a methodology for gathering new research content from the photographic collection; reflecting on the idiosyncratic logic of systems through which knowledge is manifested and spread by archival institutions.
Nicola’s wall drawing isolates diagrammatic fragments from the photographs, such as a tail, a fool’s ear, a poised hand or a grimace. By inviting a dancer to take this abbreviation-relay a stage further, through movement-based interpretations, Nicola’s interdisciplinary game of Chinese Whispers both refines the image to its gestural essence and further obscures its original intent. In an era where excessive access to information invites continual abbreviation and mediation (e.g. emojis and viral sharing) Nicola’s subversive library processes are particularly apposite, using analogue, embodied actions to destabilise content and create new streams of cognition.
The event will take place in our Studio4, on the first floor, 7-9pm on Thursday 22nd June.
More information on Nicola Dale and her residency can be found here
We are excited to announce that this year’s PLL Award has been offered jointly to two recent MA graduates, David Blackmore and Fritha Jenkins. Each will occupy half of Pete’s former 500 square foot studio for a year. David graduated from The Slade School of Art (UCL) in 2015 and Fritha graduated from The Ruskin School of Art (Oxford University) in 2016. It is the first time we have given the award jointly. Both artists are experimental makers with sculptural practices who will benefit immensely from use of this large, free space at a transformative time in their careers. Fritha and David each demonstrate strong connections to the processes and values that were important to Pete and each of them present exciting proposals for our public programme. In addition to their shared space, David and Fritha will have access to our ground floor studio for regular solo presentations, events and public engagement activity during their year at Chisenhale Studios.
In his statement David Blackmore says: “My practice hinges on the boundaries between order and dissent. I intend to push my studio practice further, processing new developments by interacting with visible signs of authority and ownership and exploring methods for undermining materials. My contribution to the public programme at Chisenhale Studios will include a curated a series of events to further explore the instigating factor of my practice; frustration. This will be accompanied by open studio weekends and a Rage Room where visitors will be encouraged to lash out towards inanimate objects in a controlled environment.”
And Fritha Jenkins writes: “I intend to use this award as an intense period of making, with time for consolidating and developing ideas and processes which I began to open up during my MFA course. The resulting new body of work will have outcomes across sculpture, performance and video. I’ll also be creating work in response to material from the archive of the science writer, hovercraft expert and IJNA fellow Angela Croome. I’ll be curating a public programme involving talks, performance, exhibits and screenings broadly related to themes in my research and practice. Alongside this I’ll be continuing my work engaging with elderly people and their carers; seeking out meaningful and playful collaborations.”
The award commemorates the life of Pete Lloyd Lewis who worked in Chisenhale’s Studio 3 until his death from cancer in 2013. A critical and enquiring artist and teacher, Pete was instrumental to the growth and development of Chisenhale Art Place, of which he was a founder member. Pete’s practice was playful, experimental and open to diverse influences and media. He was preoccupied with the boundaries between the artificial and the real, often amplifying the synthetic qualities of materials and forms by contextualising them in relation to nature. The award is generously supported by Ted Sumner who was Pete’s partner, providing a studio rent-free for one year. Previous recipients are Athena Papadopoulos, Hannah Honeywill and Seth Pimlott.
Throughout July, Jennifer Lauren Martin will be presenting Full of Loops, an interactive installation which appropriates the aesthetic and functional structure of ‘Old Time’ portrait studios with attention to the inherent problems of such places in which race and gender are usually stereotypes for an experience of fairground fun.
In August, Girolamo Marri will invite friends and neighbours to take part in a series of small scale events in and out of Studio4. These events will be based on the processes that make up a conference or a talk, such as the choice of a relevant topic, setting up an appropriate space, promoting and documenting the event, or simply being part of an audience. Although they’ll be presented as functional, no stress will be placed on efficiency or any final outcome, rather the events will be infused with ludic energy, oneiric obscurity, and unbinding ephemerality.
During September Cherelle Sappleton will offer to digitise analogue photographs belonging to women of colour from the general public. In exchange, participants will be asked to donate a copy of the resultant digital file(s) which, with their permission, will join her collection of source imagery as she develops new collage works for a project with the BBFA (Black British Female Artist) collective. The pieces completed during her time in the studio will be shown in a group exhibition with BBFA in autumn 2017.
At the culmination of her six-week residency AJ Stockwell will be presenting Fadic Rock.
Clay, sound and a stage come together to reveal a point in time that has been lost to history. The work draws on AJ’s ongoing research into the Society of White Rock, a community centered round the preservation of precious porcelain, and its customs and folk traditions.
Elements of museum display and theatre design are employed to accompany a soundtrack of repeat rhythms and tones, in an effort to sing the fadic rock back into present time. This singing of the rock mirrors a folk custom of ‘singing the land’ emerging from AJ’s memories of her maternal connection to the Western Isles.
The ‘fadic rock’ is a material lost in time, a fiction born of physical stuff, a utopic material fetish.
During the evening, AJ will speak about her research with Fiona MacDonald (artist and Director of Standpoint Futures) as a performed ‘in conversation’ event.
To book a place and help us out please RSVP through Eventbrite
Studio 4, Chisenhale Studios, 64-84 Chisenhale Rd, London E3 5QZ
Please Buzz the Office for entry or call 020 8981 1916
Standpoint Futures visual art development residencies are for artists based outside Greater London. They are designed to be flexible and responsive to the project, needs and desired outcomes of individual participants. The residency’s chief aims are to provide high quality, individualised opportunities to develop the artist’s practice and career, and to integrate London and the regional UK art world to promote access and the exchange of ideas. Participants are provided with accommodation in London, mentoring from relevant professionals, and work space. The programme in 2017 is run in partnership with Chisenhale Studios.
Pete Lloyd Lewis Studio Award: One Year Studio for a 2015 or 2016 MA/MFA Graduate.
Applications are now open for the 2017/18 Pete Lloyd Lewis Studio Award, which offers a free studio to one artist for one year from 1st June. Now in its fourth year, the award is open to applications from Fine Art MA/MFA graduates who completed their courses in either 2015 or 2016. This annual award commemorates the work and life of Pete Lloyd Lewis, an artist and founding member of Chisenhale Art Place which encompasses Chisenhale Studios.
Pete’s practice was playful, experimental and open to diverse influences and media, from text, glitter and celebrity photojournalism, to sculptural installation, video and print. He was preoccupied with the boundaries between the artificial and the real, often amplifying the synthetic qualities of materials and forms by contextualising them in relation to nature. Pete’s exhibitions were daring and genre-defying: a series of paintings worn as clothes, a performance space for the homeless, and ‘Sneeze’ a video comprising snippets of 80 second footage by 80 artists. He used collaboration and curating as methods of investigating the expanded possibilities of image-making in dialogue with different communities.
The successful application should demonstrate how aspects of the applicant’s own practice could make connections with, or respond to, the themes and ideas that shaped Pete’s work.
Chisenhale Art Place is an arts education charity and all studio artists are expected to contribute to its public benefit. With 40 studios, it is an active space with regular artist run events, workshops and open studios. The recipient of the Pete Lloyd Lewis Award would also be expected to contribute to the Studios’ public programme through occasional showings/events and assisting with community engagement.
The studio itself is:
- 520 sq ft.
- 1stfloor, with no lift access.
- No central heating
How to Apply:
Please send us a single PDF containing your answers to the four questions below with three images of your recent works and a current CV. The file size should not exceed 5MB and the file name must include your own name. Please email applications to firstname.lastname@example.org with PLL Award as the subject line.
- Describe your practice with reference to recent works (max 350 words)
- How does your practice relate to some of the themes and processes that Pete valued? (max 250 words).
- Why do you need a free studio for a year and how would you make the most of this opportunity to develop your practice? (max 300 words).
- How might you contribute to Chisenhale Studios’ public-facing programme? (max 200 words)
Deadline for applications is 10am, Thursday 13th April 2017.
A shortlist of applicants will be made, with interviews most likely to held on Thursday 4th May. As accommodation and travel is not part of the award, applicants should already be settled in London.
More information on Chisenhale Studios can be found on our website www.chisenhale.co.uk/chisenhale
We are inviting proposals for Studio4 Residencies at Chisenhale Studios. Residencies will take place between July and September 2017, ranging between one and two months depending on your project needs (please specify in your application if there’s a particular time slot you’d prefer).
The residencies provide free use of the Studio4 Project Space to artists seeking a short-term studio to develop an idea or execute a project. The aim of each residency is to provide opportunity for a visual artist to experiment with new work or ideas in a fresh, uncluttered space that facilitates sharing and participation while making artistic processes visible to new audiences.
In exchange for use of the studio, the artist undertaking each residency is expected to engage a wider artistic network as well as people who live and work in our local area, involving them in the artistic process through the development of the work itself or a few small public events, showings, workshops, studio conversations etc. Ideally, smaller open-door sessions could also happen during the residency, as an opportunity to engage with other Chisenhale members.
To apply, please write to tell us about the project or idea you’d like to work on, why you need this free short-term studio to realise it and how you will engage people outside of Chisenhale Art Place during the residency. It would be helpful to include what benefit you think will be gained by those audiences and the impact it will have on your practice. Please state your anticipated duration in the studio and any time preference over the summer.
Please note that Studio4 is on the first floor and the building unfortunately has no lift. Studio events should be suitable for small audiences of up to 50 people. We also have a more accessible ground floor education room which could also be made available for public activities.
Applications are due by 10am on Thursday 6th April 2017. Interviews for short-listed applicants will mostly likely be held on Monday 24th April.
Submission will only be accepted in the following format:
- Proposal of project idea, including detail of information requested above. One or two A4 pages, minimum font size 11.
- Current CV. No more than two A4 pages giving current and relevant experience.
- Supporting images. Text and images from previous projects or illustrating your proposal. No more than three A4 pages, with images saved at a low resolution. Your website address could be added for additional info, but we can’t guarantee we’ll be able to look at it.
Please combine all the above into one pdf file, clearly marked your name. We will not accept submissions that exceed 7 pages and 5MB file size.
Submissions and queries to email@example.com
We’ve had some fantastic projects recently realised in Studio4, including Byzantia Harlow’s work with Roman Road Market, Liz Lake’s research into the ecologies of industrial materials such as concrete, and Save Me a Place’s experiments in collaborative sculptural collage. Do see other postings on our website for previous residencies and events taking place in our project space. http://chisenhale.co.uk/chisenhale/public-programme/project-space/
image: Save Me A Place July 2016
For the culmination of his Standpoint Futures residency in our Studio4, Simon Bayliss is collaborating with artists and musicians working with pop music, rave and live performance. The event has developed through conversations with Sian Dorrer performing as Acid Prawn, and Susie Green who collaborates with Bayliss as Splash Addict.
The idea of metamorphosis stems from Splash Addict’s latest track, a dance cover of ‘Smalltown Boy’ by Bronski Beats, the lyrics of which describe a painful life-transition from oppressive parochial sexual-conservatism to urban liberation.
Acid Prawn’s piece ‘What Women Do’ (featuring Joey Four) features live soundtrack, online make-up tutorials and sandwich making. Rafal Zajko (Into the Wild Alumnus!) will be performing a psychedelic sound work in collaboration with pop singer Zoee. Lobsta B aka Leon Bayliss, will be DJing a ‘pop-rave megamix’.
Studio4, Chisenhale Studios, 64-84 Chisenhale Rd, London E3 5QZ
Please Buzz the Office for entry or call 020 8981 1916
Event: Thursday 19th January 6.30-8.30pm.
Mapping the interconnected ecologies of material cycles, Liz Lake’s installation demonstrates how the values, uses and physical properties of industrial substances transform over time. In her fieldwork footage, mountains of gypsum are chemically removed from power station gasses ready to be sold as additives for construction or food production; and unwanted incinerator ash finds new life as breezeblock.
A series of sculptures presents these relations in the abstract language of the materials themselves, incorporating concrete, tarmac, copper, plaster and resin in diagram-like composites. This is the first showing of an ongoing project that Liz Lake has been working on during a 3-month residency at Chisenhale Studios.