Our Standpoint Futures resident Beth Emily Richards has moved into Studio4 for six weeks of mentoring and making.
Beth is an artist and researcher based in Plymouth. Her work investigates contemporary mythmaking, often exploring popular culture and its associated idiosyncratic subcultures. Frequently the work seeks to complicate macho narratives by re-performing them in ways that use absurdism and failure to undermine dominant histories.
Past works have engaged with personae such as Harry Houdini, Robert Falcon Scott, Francis Drake, Arnold Schwarzenegger and William ‘Buffalo Bill’ Cody; as well as with social trends such as ‘tombstoning’ (teenagers jumping off cliffs into the sea), Mexican telenovelas, ‘80s-‘90s action films, roller derby girls, Western movies, scouting, and motivational speaking.
Working with others is central to Beth’s practice, which frequently involves collaborating with location-based or interest-based communities. During her time at Standpoint Futures she will be consolidating and expanding upon a group of occult enthusiasts and experts with whom she has been attending workshops responding to the life and work of Ithell Colquhoun, a surrealist artist, writer and occultist who worked in Cornwall in the mid-twentieth century.
Beth’s new body of work not only responds to Colquhoun’s creative output and divinatory practices, but to the experience of working with a diverse group of artists, writers and magical practitioners, and forming a temporary community with them. More info at www.bethemilyrichards.com. Image from Ancient Scent project, 2017.
Standpoint Futures visual art development residencies are for emerging/mid-career 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 promote the exchange of ideas between London and the wider UK art world.
Standpoint Futures is run in partnership and hosted with Chisenhale Studios with support from Arts Council England, Arts Council Wales and the Fenton Arts Trust. http://www.standpointlondon.co.uk/residencies
THE FEAR IS BACK
Artists: Into the Wild 2016-17 (see names below)
Time: Friday 6-9pm, Sat & Sun 1-5pm
Over the Open Weekend 20-22 October, Studio4 will host ‘The Fear is Back’ – a group show of works by some of the 2016-17 participants of Chisenhale Studios ‘Into the Wild’ programme.
Liam Geary Baulch
Image Credit: Film still from Ben Tupper’s War all of time. Courtesy of the artist.
As part of her Studio4 residency, Cherelle Sappleton invites women of colour, femmes and non gender confirming people of colour to have their favourite images of themselves, heroines or family members scanned at high resolution for FREE. In return, participants can opt to donate a digital copy of the file to her collection of source material which will go on to enrich and intermingle with her practice.
About the artist:
Cherelle Sappleton is a visual artist of mixed Dominican and Jamaican heritage based in London. Her practice is based in photographic media with a focus on the body, abstraction, performance and gesture.
Sappleton is also a member of the Black British Female Artist collective (BBFA).
As a collagist, Sappleton’s practice relies heavily on found imagery however, she felt mounting frustration due to the lack of people of colour and particularly women of colour represented in the fashion and editorial publications she used as source material. Born out of this frustration, Scan/Exchange looks to draw on the personal archives of fellow people of colour to not only use as material for her practice, but to also act to instigate preservation so that following generations are able to access imagery within families. Any donated files will be used to create new art work from in an attempt to weave the images and presence of black and brown women into the art historical narrative.
The event will take place on 23rd September, 11am-5pm, drop-in
Sympathy for chairs
6 – 7.30 pm
An hour long “workshop” lead by Heather McCalden, a visual artist with dance training, whose practice deals with movement and spatial relationships.
Starting from the idea that during a conference or talk, chairs and their positioning play a role in how the “content” of the talk is passed from speaker to the audience, the ten or so participants to the workshop will be led into a series of exercises/games involving chairs. while musicians and Girolamo will act as “the speakers” , offering a soundtrack made of word and music improvisation, but also actively participating in the games.
Cardboard model making
August 20 and 27
3 – 6 pm
Few places still available to join this small workshop divided into two parts and lead by architect Enrico Arrigoni who will teach how to build cardboard models for architecture.
Studio4 will be used, revamped as a conference room, as a sample, where everything inside will be measured by the participants in order to make 3d models on the computer which will then be turned into 2D shapes which will be cut and assembled into a 1:20 scale model.
As the number of places is limited to 6, we ideally wanted to engage participants over 50 aged especially those who have less opportunity to play with computers, but if you’re young and interested do still get in touch!
Topic-nic and the secret life of an audience
11 am – 5 pm
The “largest” of these events, hosting about 15 participants
To begin, all the participants will be invited to have a picnic in Victoria Park where they will discuss ideas unfamiliar while eating food also new to everyone.
Later everyone will go to Girolamo’s studio at Chisenhale Studios, where he will talk about what his idea of an audience is directly with the participants as an audience. Finally ending with the photographer Rama Lee taking a group picture of everyone posing as the ideal audience.
If you are interested in any of the above events, please email Girolamo
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.