[self] imaging @ NewMediaFest 2010, Cologne
Category: Art and Photography
Photobucket
Still from 'Archive Fever', by Tom Estes
part of [self] imaging @ NewMediaFest 2010, Cologne
http://videochannel.newmediafest.org/blog/?page_id=1035
Tom Estes' work ‘Archive Fever’, engages in the obsessive and electric intensity of attraction-unto negligence within a luminous atmosphere of inventive magic. Wry, touching and finely rendered, yet reminiscent of degenerates and suspicious characters, the work charts the sensuous and unbelievable strangeness of intimacy within the backdrop of urban alienation.
Archive Fever was originally created as part of a project for The Special Collection at The Nation Art Library at the Victoria and Albert Museum which was organised through Central St. Martins College of Art & Design. The work was premiered at 291 Gallery. The 291 Gallery presented a regular evening of experimental, underground and avant-garde film from emerging and established artists at 'Take 291'. Estes' work 'Archive Fever was shown alongside the work of Humphrey Jennings, who is listed by Cambridge University Press as one of the 'Heroes of Invention; Technology, Liberalism and British Identity 1750–1914'
Archive Fever can now also be found in The Letheby Galleries permanent collection. The Letheby has an online database which provides browsers with further information on the history of the collection, biographies of artists represented in the collection, as well as information and images on specific items dating from the 15th to the 21st century and themed exhibitions and changing perspectives and methods of artistic practice
Tom Estes' work ARCHIVE FEVER will be shown in the VideoChannel exhibition [self] imaging as part of the NewMediaFest , Cologne in July 2010.
Location: NewMediaFest 2010, Cologne
Read more: http://www.myspace.com/testes2/blog#ixzz12Xla9Mvu
Saturday, October 16, 2010
installation Bake'in by artist Tom Estes, Beaconsfield Gallery
Beaconsfield Vauxhall
Category: Art and Photography
small
Beaconsfield Gallery, Vauxhall, London
The video installation Bake'in by artist Tom Estes was shown his on April 11th, 2010, as a special last minute addition to the closing event for RELLA, an event organised as part of Testbed 1 at Beaconsfield. At this event Estes' contribution was a video performance of himself baking a cake while watching the film, The Exorcist.
Photobucket Photobucket Photobucket
RELLA co-curator Michael Curran meets and greets visitors
“The work Bake’in is in part, a reaction to the recent popularity of all things 'Cute' and Kitsch. Cuteness and kitsch have a long history of representation that is particularly popular when times are difficult- and neither is afraid to smile and act happy-go-lucky when all around them, people are worried about the world falling apart. The video is a performance of myself baking a fruit cake while watching the film 'The Exorcist'. For me, the act of baking evokes a child-like or fairytale image of women- a housekeeper, a mother or a wife. I can still remember the stories in books from my early childhood, but it was depictions on television and film came to dominate my visions of the world. When things are depicted as they use to be in real life, we find them quaint, funny and fictional- giving them a kind of mythical status.
I suppose most people are looking for a cosy community, a comfortable practicle environment that is not hyper competitive but clever and creative. For example, some of the most hits on the web are of kittens and babies. It seems to be part of our DNA to react to cute things, and to some degree we can not help ourselves. We instinctively are drawn to and want to nurture any creature that has a cute appearance, while we naturally feel repulsed and want to block out all things genuinely unsettling or disturbing. The cuteness craze represents nostalgia for a lost world. But there is something dark about the power relationship between lovers of cuteness and the objects of their gaze. It is important to understand the notion of dependency inherent in cuteness and how that emerged. And of course there is an element of manipulation, in which things that are naturally 'cute' are often re-presented in a way that highlights and heightens their vulnerability. The desire to show the face of 'cuteness' is a desire to show dependency by presenting public images that are cheerful and plucky.
Photobucket
Visitors to RELLA enjoyed tea and cake while watching Bake'in by Tom Estes
In recent years the sucess of the internet has meant that the old idea of privacy has started to bleed away into a new desire for a public profile. Fiction on screen has taught us everyting we know from how to fight to how to make love. We know that Gordon Gekko inved brokers gittish behaviour and all around us a young generation employs 'gangsta' speak gleaned from Hip Hop. As acting has become more naturalistic, more Stanislavski, our real life behaviour has become more stylized, more Kabuki. We are for ever taking on a role as our own but unable to resist referencing or copying centuries of actors who played and refined the part. And if you are desperate to be known, a very good strategy is the old evolutionary one of being so cute that you need to be cared for. And of course as viewers we enjoy being caretakers so much that we will create situations in which what is 'cute' needs our care, using things that are 'cute' to serve for our own emotional needs. We may be like those first office workers confined to the sterile anonimity of working from a cubical for eight hours a day and hanging up a kitten hanging from a tree. It may be that we are trying in some pathetic way to imbue our lives with sounds and images that strike at the deepest part of what it means to be human; our desire to be taken care of and in turn to take care of helpless creatures. ”
Tom Estes
Photobucket
RELLA co-curator Lucy Gunning
Tom Estes' video installation Bakie'in was shown on a loop while the visitors to the exhibition were invited to purchase tea and cake while watching.
Beaconsfield is the central London site dedicated to providing a critical space for creative enquiry.TestBed 1 is produced as part of Beaconsfield’s curatorial mentoring scheme for emerging artist-curators. This event called 'Rella', was curated by Michael Curran and Lucy Gunning’s and marked the culmination of their residency at TestBed 1 at Beaconsfield.
Testbed 1
In the time of YouTube, video cameras and home-editing suites, the creative process has become more democratic, enabling people en masse to become not only viewers but ‘creators’ and the gulf between cinematic and lo-fi film production to reduce. TestBed 1 reflects popular practice by commissioning six new digital screen-based works, to be made through readily available modes of production but supported in the context of a spacious, professional art space. From March to late July commissioned artists will use Beaconsfield as a creative base in a series of residencies.
RELLA
An ongoing conversation brings Michael Curran and Lucy Gunning together for their first collaboration. RELLA is a hook, a mode of play, hazarding, shuffling time zones, past present future vibrate as one. The term is a fracturing of the myth Barbarella in which the weight of the name takes flight by dropping its elephantine prefix. The artists are working from zero – seeing what can happen in the space through experimental and investigative studio practice.
"RELLA is emerging tentatively and cumulatively, it is a process navigating the peculiarities of Time. During this period the artists spent the first week creating an environment in the Upper Gallery – making props, provisional sculpture – while alongside they run material of different registers, YouTube edits, simultaneous screenings of films, moving image and audio loops which generate resonances and ruptures. Roger Vadim’s cult film Barbarella lies within, as a corpse waiting to be reborn by moving beyond its limits. The artists see all moving image as time travel and are interested in what it means to reclaim or retrieve something – how many things arrive from the past, somehow ahead of now. They look for a hybrid form. Visitors were welcome to view the artists at work and later invited to participate in RELLA".
The event, 'Rella', curated by Michael Curran and Lucy Gunning, marked the culmination of their residency in TestBed 1 at Beaconsfield. Estes video installation Bake'in was shown at this closing event on April 11th, 2010. Estes' contribution was a video performance of himself baking a cake while watching the film, The Exorcist. The visitors to the exhibition were invited to purchase tea and cake while watching.
Photobucket
Co-curator Lucy Gunning enjoys tea and cake with visitors
Later in the evening, the upstairs gallery hosted performances, music and manifestations.
Some of the material produced and moving image work screened at the TestBed 1 showcase will be on display again during Open House weekend, 18-19 September 2010.
Location: Vauxhall, London
Read more: http://www.myspace.com/testes2/blog#ixzz12XlFKVlz
Category: Art and Photography
small
Beaconsfield Gallery, Vauxhall, London
The video installation Bake'in by artist Tom Estes was shown his on April 11th, 2010, as a special last minute addition to the closing event for RELLA, an event organised as part of Testbed 1 at Beaconsfield. At this event Estes' contribution was a video performance of himself baking a cake while watching the film, The Exorcist.
Photobucket Photobucket Photobucket
RELLA co-curator Michael Curran meets and greets visitors
“The work Bake’in is in part, a reaction to the recent popularity of all things 'Cute' and Kitsch. Cuteness and kitsch have a long history of representation that is particularly popular when times are difficult- and neither is afraid to smile and act happy-go-lucky when all around them, people are worried about the world falling apart. The video is a performance of myself baking a fruit cake while watching the film 'The Exorcist'. For me, the act of baking evokes a child-like or fairytale image of women- a housekeeper, a mother or a wife. I can still remember the stories in books from my early childhood, but it was depictions on television and film came to dominate my visions of the world. When things are depicted as they use to be in real life, we find them quaint, funny and fictional- giving them a kind of mythical status.
I suppose most people are looking for a cosy community, a comfortable practicle environment that is not hyper competitive but clever and creative. For example, some of the most hits on the web are of kittens and babies. It seems to be part of our DNA to react to cute things, and to some degree we can not help ourselves. We instinctively are drawn to and want to nurture any creature that has a cute appearance, while we naturally feel repulsed and want to block out all things genuinely unsettling or disturbing. The cuteness craze represents nostalgia for a lost world. But there is something dark about the power relationship between lovers of cuteness and the objects of their gaze. It is important to understand the notion of dependency inherent in cuteness and how that emerged. And of course there is an element of manipulation, in which things that are naturally 'cute' are often re-presented in a way that highlights and heightens their vulnerability. The desire to show the face of 'cuteness' is a desire to show dependency by presenting public images that are cheerful and plucky.
Photobucket
Visitors to RELLA enjoyed tea and cake while watching Bake'in by Tom Estes
In recent years the sucess of the internet has meant that the old idea of privacy has started to bleed away into a new desire for a public profile. Fiction on screen has taught us everyting we know from how to fight to how to make love. We know that Gordon Gekko inved brokers gittish behaviour and all around us a young generation employs 'gangsta' speak gleaned from Hip Hop. As acting has become more naturalistic, more Stanislavski, our real life behaviour has become more stylized, more Kabuki. We are for ever taking on a role as our own but unable to resist referencing or copying centuries of actors who played and refined the part. And if you are desperate to be known, a very good strategy is the old evolutionary one of being so cute that you need to be cared for. And of course as viewers we enjoy being caretakers so much that we will create situations in which what is 'cute' needs our care, using things that are 'cute' to serve for our own emotional needs. We may be like those first office workers confined to the sterile anonimity of working from a cubical for eight hours a day and hanging up a kitten hanging from a tree. It may be that we are trying in some pathetic way to imbue our lives with sounds and images that strike at the deepest part of what it means to be human; our desire to be taken care of and in turn to take care of helpless creatures. ”
Tom Estes
Photobucket
RELLA co-curator Lucy Gunning
Tom Estes' video installation Bakie'in was shown on a loop while the visitors to the exhibition were invited to purchase tea and cake while watching.
Beaconsfield is the central London site dedicated to providing a critical space for creative enquiry.TestBed 1 is produced as part of Beaconsfield’s curatorial mentoring scheme for emerging artist-curators. This event called 'Rella', was curated by Michael Curran and Lucy Gunning’s and marked the culmination of their residency at TestBed 1 at Beaconsfield.
Testbed 1
In the time of YouTube, video cameras and home-editing suites, the creative process has become more democratic, enabling people en masse to become not only viewers but ‘creators’ and the gulf between cinematic and lo-fi film production to reduce. TestBed 1 reflects popular practice by commissioning six new digital screen-based works, to be made through readily available modes of production but supported in the context of a spacious, professional art space. From March to late July commissioned artists will use Beaconsfield as a creative base in a series of residencies.
RELLA
An ongoing conversation brings Michael Curran and Lucy Gunning together for their first collaboration. RELLA is a hook, a mode of play, hazarding, shuffling time zones, past present future vibrate as one. The term is a fracturing of the myth Barbarella in which the weight of the name takes flight by dropping its elephantine prefix. The artists are working from zero – seeing what can happen in the space through experimental and investigative studio practice.
"RELLA is emerging tentatively and cumulatively, it is a process navigating the peculiarities of Time. During this period the artists spent the first week creating an environment in the Upper Gallery – making props, provisional sculpture – while alongside they run material of different registers, YouTube edits, simultaneous screenings of films, moving image and audio loops which generate resonances and ruptures. Roger Vadim’s cult film Barbarella lies within, as a corpse waiting to be reborn by moving beyond its limits. The artists see all moving image as time travel and are interested in what it means to reclaim or retrieve something – how many things arrive from the past, somehow ahead of now. They look for a hybrid form. Visitors were welcome to view the artists at work and later invited to participate in RELLA".
The event, 'Rella', curated by Michael Curran and Lucy Gunning, marked the culmination of their residency in TestBed 1 at Beaconsfield. Estes video installation Bake'in was shown at this closing event on April 11th, 2010. Estes' contribution was a video performance of himself baking a cake while watching the film, The Exorcist. The visitors to the exhibition were invited to purchase tea and cake while watching.
Photobucket
Co-curator Lucy Gunning enjoys tea and cake with visitors
Later in the evening, the upstairs gallery hosted performances, music and manifestations.
Some of the material produced and moving image work screened at the TestBed 1 showcase will be on display again during Open House weekend, 18-19 September 2010.
Location: Vauxhall, London
Read more: http://www.myspace.com/testes2/blog#ixzz12XlFKVlz
Tom Estes in Z4RD at The Center for Recent Drawing
Tom Estes in Z4RD at The Center for Recent Drawing
Tom Estes in Z4RD Volume 2: Box of Desires, The Centre for Recent Drawing, Highbury, London
Photobucket
The work of artist Tom Estes in the second edition of Z4RD
In his work for the SELL OUT exhibition, Z4RD at The Centre for Recent Drawing, artist Tom Estes directly references the surreal wit of Sci-fi horror films and their related ideological fictions. Through this interactive work called 'Dear Earthling' Estes conjures subjects revolving around alien invasions and alien abduction. The term ‘alien abduction’ describes subjectively real memories of being taken secretly and/or against one’s will by apparently nonhuman entities and subjected to complex physical and psychological procedures. Typical claims involve being subjected to a forced medical examination which emphasizes sex and the reproductive system.
Artist Tom Estes:
"Putting aside the question of whether abduction reports are literally and objectively "real", their popularity and their intriguing appeal are easily understood. In the post-modern age, tales of abduction are intrinsically absorbing and it is hard to imagine a more vivid description of human powerlessness in the form of a shared delusion. The science fiction genre itself has long served as a useful vehicle for "safely" discussing controversial topical issues and often providing thoughtful social commentary on potential unforeseen future issues. Presentation of issues that are difficult or disturbing for an audience can be made more acceptable when they are explored in a future setting or on a different, earth-like world. The altered context can allow for deeper examination and reflection of the ideas presented, with the perspective of a viewer watching remote events. Consequently, while many of these purported encounters are described as terrifying, some have been viewed as pleasurable or transformative."
Z4RD at The Centre for Recent Drawing
Curated and edited by Paul Kindersley, the second edition of Z4RD, is released to tie-in with the C4RD’s exhibition HAND JOY, which explores eroticism, desire, possession, longing and the body through drawing. Each artist contributed 20 original artworks, ranging from original drawings to poems to DVDs to woodcuts to photos. This edition is a unique opportunity to own a collection of exciting artworks by new and established international artists. The launch was on WEDNESDAY the 19th MAY
Photobucket
Drawing: the exercise of imagination on line
"Drawing as an approach is regaining the importance it once had as a way of thinking or acting that is fundamental to the human experience. It is being considered less as a particular use of materials or sub-activity of a particular discipline, and more as an approach discrete in itself.
C4RD’s purpose is to make space for drawing - to maintain the visibility of a characteristically humanist mode of expression and to explore the boundaries of the approach that is drawing; the encouragement and refinement of understanding of which the arts and society at large can benefit. C4RD seeks to facilitate access and dialogue for current drawing practice independent of structural forces in commercial and institutional educational settings. Drawing defined as ‘human imagination on line’ reinforces drawing’s capacity as a performed analogy (mentally/manually) of the continuum that is human consciousness; two marks, as in mathematics, necessarily make a line."
Andrew Hewish
Volume 2 is presented in a plain brown cardboard box, that, like Pandora’s, when opened unleashes the secrets, desires and fantasies of the artists involved. A cornucopia of drawings, from the pornographic to the abstract, exploring the energy of the artists hand. A plain box, a time capsule, hidden under a bed, opened in private, explored, each encounter offers up something different, individual artworks, for the owner to paw over, investigate, watch, read. Trying to evoke the excitement and longing of desire, Box of Desires, presents a unique artwork, a thrilling secret exhibition.
Each box contains original works by - Derya Akay, Maxime Angel, Daphne Astor, Paul Bench, Kirsty Buchanan, Jennifer Campbell, Joan Edlis, Tom Estes, Carlos Franklin, Helen Gorrill, Alex Gough, Gabo Guzzo, Rie Hale, Andrew Hewish Alexander Hidalgo, Sule Kemanci, Paul Kindersley, Sarah Lederman, Neil McNally, Christina Millare, Robert Monk, Oscar Oldershaw, Susannah Pal, Alexander Rathbone, Thom Ravnholdt, Dominic Rich, Grace Schofield, Mark Scott-Wood, Corinna Spencer, Patrick Staff, Magdalena Suranyi, Fred Vernon, Rafal Zajko
Photobucket
The launch was on WEDNESDAY the 19th MAY, with a drinks reception from 6-8pm, where the Z4RD was available to buy, priced at £120, in a numbered limited edition of only 20 copies.
All proceeds went directly to Centre For Recent Drawing which is Registered UK Charity 1123530.
Read more: http://www.myspace.com/testes2/blog#ixzz12XkxsOUS
Tom Estes in Z4RD Volume 2: Box of Desires, The Centre for Recent Drawing, Highbury, London
Photobucket
The work of artist Tom Estes in the second edition of Z4RD
In his work for the SELL OUT exhibition, Z4RD at The Centre for Recent Drawing, artist Tom Estes directly references the surreal wit of Sci-fi horror films and their related ideological fictions. Through this interactive work called 'Dear Earthling' Estes conjures subjects revolving around alien invasions and alien abduction. The term ‘alien abduction’ describes subjectively real memories of being taken secretly and/or against one’s will by apparently nonhuman entities and subjected to complex physical and psychological procedures. Typical claims involve being subjected to a forced medical examination which emphasizes sex and the reproductive system.
Artist Tom Estes:
"Putting aside the question of whether abduction reports are literally and objectively "real", their popularity and their intriguing appeal are easily understood. In the post-modern age, tales of abduction are intrinsically absorbing and it is hard to imagine a more vivid description of human powerlessness in the form of a shared delusion. The science fiction genre itself has long served as a useful vehicle for "safely" discussing controversial topical issues and often providing thoughtful social commentary on potential unforeseen future issues. Presentation of issues that are difficult or disturbing for an audience can be made more acceptable when they are explored in a future setting or on a different, earth-like world. The altered context can allow for deeper examination and reflection of the ideas presented, with the perspective of a viewer watching remote events. Consequently, while many of these purported encounters are described as terrifying, some have been viewed as pleasurable or transformative."
Z4RD at The Centre for Recent Drawing
Curated and edited by Paul Kindersley, the second edition of Z4RD, is released to tie-in with the C4RD’s exhibition HAND JOY, which explores eroticism, desire, possession, longing and the body through drawing. Each artist contributed 20 original artworks, ranging from original drawings to poems to DVDs to woodcuts to photos. This edition is a unique opportunity to own a collection of exciting artworks by new and established international artists. The launch was on WEDNESDAY the 19th MAY
Photobucket
Drawing: the exercise of imagination on line
"Drawing as an approach is regaining the importance it once had as a way of thinking or acting that is fundamental to the human experience. It is being considered less as a particular use of materials or sub-activity of a particular discipline, and more as an approach discrete in itself.
C4RD’s purpose is to make space for drawing - to maintain the visibility of a characteristically humanist mode of expression and to explore the boundaries of the approach that is drawing; the encouragement and refinement of understanding of which the arts and society at large can benefit. C4RD seeks to facilitate access and dialogue for current drawing practice independent of structural forces in commercial and institutional educational settings. Drawing defined as ‘human imagination on line’ reinforces drawing’s capacity as a performed analogy (mentally/manually) of the continuum that is human consciousness; two marks, as in mathematics, necessarily make a line."
Andrew Hewish
Volume 2 is presented in a plain brown cardboard box, that, like Pandora’s, when opened unleashes the secrets, desires and fantasies of the artists involved. A cornucopia of drawings, from the pornographic to the abstract, exploring the energy of the artists hand. A plain box, a time capsule, hidden under a bed, opened in private, explored, each encounter offers up something different, individual artworks, for the owner to paw over, investigate, watch, read. Trying to evoke the excitement and longing of desire, Box of Desires, presents a unique artwork, a thrilling secret exhibition.
Each box contains original works by - Derya Akay, Maxime Angel, Daphne Astor, Paul Bench, Kirsty Buchanan, Jennifer Campbell, Joan Edlis, Tom Estes, Carlos Franklin, Helen Gorrill, Alex Gough, Gabo Guzzo, Rie Hale, Andrew Hewish Alexander Hidalgo, Sule Kemanci, Paul Kindersley, Sarah Lederman, Neil McNally, Christina Millare, Robert Monk, Oscar Oldershaw, Susannah Pal, Alexander Rathbone, Thom Ravnholdt, Dominic Rich, Grace Schofield, Mark Scott-Wood, Corinna Spencer, Patrick Staff, Magdalena Suranyi, Fred Vernon, Rafal Zajko
Photobucket
The launch was on WEDNESDAY the 19th MAY, with a drinks reception from 6-8pm, where the Z4RD was available to buy, priced at £120, in a numbered limited edition of only 20 copies.
All proceeds went directly to Centre For Recent Drawing which is Registered UK Charity 1123530.
Read more: http://www.myspace.com/testes2/blog#ixzz12XkxsOUS
Tom Estes in Sewing Performance in Tate Modern
mediumcrop
UK.art2come.com
Art on the Cutting edge in UK
http://uk.art2come.com/index.php?page_title=Cutting+Edge+Art+Video+with+the+Tate
Tom Estes in Sewing Performance for The Really, Really Free Market (RRFM), a 3-day market organised as Post-Museum's contribution to No Soul for Sale: A Festival of Independents, held in Tate Modern.
This sewing performance was intended as a viral extension of a performance produced as the culmination of a residency at Trinity Buoy Wharf. The work was conceived in relation to the site of Trinity Buoy Wharf- a place of both extreme poverty and extreme wealth; of crumbling and overgrown Docks, which in recent years has been changed beyond recognition by corporate and private housing developments. In this work Tom Estes gently embroiders leaves and vines onto a bespoke or tailor- made suit, causing a dimpling of the material. This sewing has the effect of slowly shrivelling the arms and legs of the suit. So in a way the work is really about being powerless in the face of exploitation and is intended to accentuate a core of wordless confusion and emotional dissatisfaction.
small
NO SOUL FOR SALE is a festival of indepentents that brings together the most excitin not-for-profit centers, alternative institutions, enterprises from around the world. No Soul for Sale celebrates the people who contribute to the international art scene by inventing new strategies for the distribution of information and new modes of participation. Neither a fair nor an exhibtion, No Soul For Sale is a convention of indivdiuals and groups who have devoted their energies to keeping art alive. The event is a spontaneous celebration of independent forces that live outside the market and animate that contemporary art.
Photobucket
"The Really, Really Free Market (RRFM) movement is a non-hierarchical collective of individuals who form a temporary market based on an alternative gift economy. The RRFM movement aims to counteract capitalism in a non-reactionary way. It holds as a major goal to build a community based on sharing resources, caring for one another and improving the collective lives of all." The event at Tate Modern was organised by Ela Ciecierska, Emma Jackson, Lynn Lu in collaboration with the people of London.
small
Post-Museum is an independent cultural and social space in Singapore, run as an open platform for examining contemporary life, promoting the arts and connecting people. Opened September 2007, Post-Museum is a ground-up project initiated by Singaporean curatorial team which includes: Bala Matchap, Gene D'Castro, Jolyn Chin, Veron Lau, KK Lee, Phua Xinyan, Eve Tan, Ted Tan, Tay Shi Ying, Woon Tien Wei.
Photobucket
More information on the residency at Trinity Buoy Wharf is available at:
http://artportal.carbonmade.com/
For more information go to:
http://www.nosoulforsale.com/2010
http://www.tate.org.uk/modern/exhibitions/nosoulforsale/default.shtm
www.post-museum.org
UK.art2come.com
Art on the Cutting edge in UK
http://uk.art2come.com/index.php?page_title=Cutting+Edge+Art+Video+with+the+Tate
Tom Estes in Sewing Performance for The Really, Really Free Market (RRFM), a 3-day market organised as Post-Museum's contribution to No Soul for Sale: A Festival of Independents, held in Tate Modern.
This sewing performance was intended as a viral extension of a performance produced as the culmination of a residency at Trinity Buoy Wharf. The work was conceived in relation to the site of Trinity Buoy Wharf- a place of both extreme poverty and extreme wealth; of crumbling and overgrown Docks, which in recent years has been changed beyond recognition by corporate and private housing developments. In this work Tom Estes gently embroiders leaves and vines onto a bespoke or tailor- made suit, causing a dimpling of the material. This sewing has the effect of slowly shrivelling the arms and legs of the suit. So in a way the work is really about being powerless in the face of exploitation and is intended to accentuate a core of wordless confusion and emotional dissatisfaction.
small
NO SOUL FOR SALE is a festival of indepentents that brings together the most excitin not-for-profit centers, alternative institutions, enterprises from around the world. No Soul for Sale celebrates the people who contribute to the international art scene by inventing new strategies for the distribution of information and new modes of participation. Neither a fair nor an exhibtion, No Soul For Sale is a convention of indivdiuals and groups who have devoted their energies to keeping art alive. The event is a spontaneous celebration of independent forces that live outside the market and animate that contemporary art.
Photobucket
"The Really, Really Free Market (RRFM) movement is a non-hierarchical collective of individuals who form a temporary market based on an alternative gift economy. The RRFM movement aims to counteract capitalism in a non-reactionary way. It holds as a major goal to build a community based on sharing resources, caring for one another and improving the collective lives of all." The event at Tate Modern was organised by Ela Ciecierska, Emma Jackson, Lynn Lu in collaboration with the people of London.
small
Post-Museum is an independent cultural and social space in Singapore, run as an open platform for examining contemporary life, promoting the arts and connecting people. Opened September 2007, Post-Museum is a ground-up project initiated by Singaporean curatorial team which includes: Bala Matchap, Gene D'Castro, Jolyn Chin, Veron Lau, KK Lee, Phua Xinyan, Eve Tan, Ted Tan, Tay Shi Ying, Woon Tien Wei.
Photobucket
More information on the residency at Trinity Buoy Wharf is available at:
http://artportal.carbonmade.com/
For more information go to:
http://www.nosoulforsale.com/2010
http://www.tate.org.uk/modern/exhibitions/nosoulforsale/default.shtm
www.post-museum.org
Subscribe to:
Posts (Atom)