Karen Ay “Swarm”
Tiny fragments from an East London telephone directory containing thousands of names, addresses and telephone numbers are used to reference a swarm of insects. The work is a reflection on the idea that humans are quite possibly the most invasive species on the planet. An irony is also found in the fact that telephone directories themselves could be considered an endangered ‘species’ and may soon be extinct because of the ever widening use of technology.
Vanya Balogh “SLIP 6”
Work relating to an invasion of the face/image…
“Four image-repertoires intersect here, oppose and distort each other. In front of the lens, I am at the same time the one I think I am, the one I want others to think I am, the one the photographer thinks I am, and the one he makes use of to exhibit his art”. (Roland Barthes)
Tracey Bush “Primroses”
Tracey Bush’s Nine Wild Plants series examines the correlation between brand recognition and the diminishing knowledge of indigenous flora and fauna. The fragility of real primroses is highlighted by the invasion of brightly coloured artificial specimens which encroach into the grass.
Cedric Christie “U has to trust the i”
The note of money – with the current expansion of wealth and population the human race could be seen as one of the most invasive species on the planet; this could be because of our need to be accepted. And what we do to seek as acceptance be it from a parent lover friend or society? On the whole it seems to all play with our values, be it time or money…
Forge & Cutter “Can I take your order?”
In the middle ages the Cistercian Order underwent a rapid period of expansion from its original base at Cîteaux, building hundreds of monasteries across Europe, a proto-globalisation for the twelfth century. Forge & Cutter, knowing what goes round comes around, have drawn a parallel with similar expansionist invasions of our own time. Is it all good? Is it all bad? Are there shades of grey?
Helene Kazan “Masking Tape / Light Intervention : Lebanon 1989 – 002”
We have a specific experience of physical interventions, which are understood and restricted by space and time. Web based interaction can eliminate these boundaries and allow a free flow of access. But the question is how do we experience three dimensional space through two
dimensional formats? How can this be developed through new media and online resources to forgo borders that operate as geographical filters? ‘Masking Tape / Light Intervention: Lebanon 1989 – 002′, features an archive photograph of Kazan’s family kitchen in Beirut taken before leaving Lebanon during the civil war. The window is hatched with masking tape, creating a pattern of shadows on the surrounding space. The original purpose for the tape was to control the effects of shattering glass during bombing. Taking the archive photograph and generating a stop motion animation from it, enables the moving shadow throughout the day to explore the three dimensional space in the kitchen. Making the archive photograph a platform for the intervention. Also, by labeling it as an artwork, it changes the context of the masking tape and reclaims its purpose. This work draws a personal parallel between all human and biological migration, and starts to investigate processes in which technology can be utilised to explore its parameters.
Toni Parpan & Manuel Kämpfer rifiuto
During the exhibition, visitors can dispose of their waste in the bin which has been sent to Venice by the artists. This will be returned at the end of the exhibition and the collection will be utilized to further work. “Rifiuto” translates variously as “waste” / “refuse” or “rejection” / “refusal”.
Danny Pockets Trachea
The four horsemen of the apocalypse, decimating the street drinkers of England with their chemically produced noxious waters. The biblical sense of the apple used to drive the innocent from Eden. The arrival of these liquids on foreign shores and the incumbents that produces. Arriving here, in Venice, and…
Liz Sheridan “Glacial Pebbles”
In the topsoil of north London are numerous small, round pebbles; the story goes that w hen the UK was covered by an ice sheet in the last ice age (10,000 BC) that it came down just this far and that the hills of North West London – Hampstead, Highgate, Finchley, Dollis Hill…are mounds of moraine left by the retreating glaciers. Were the little pebbles then carried from far away by the ice and polished smooth by its action, or perhaps by the violent force of the gushing rivers of meltwater? Their infinitesimally slow but steady progress was halted when the ice age came to an end, leaving them to continue a different, static existence in the boulder clay, serving perhaps an unknown purpose there, perhaps none, perhaps unwittingly waiting for another cataclysm to take them further. I have intervened in this natural process and brought the pebbles out from geological time into human-scale, historical time. From north London to Venice, an unexpected spurt of speed in their arrested southward journey. From this point on their progress continues once again outside my control – visitors are invited to liberate a pebble, take it with them, to their home or perhaps on new and unexpected journeys of their own and log where they have taken it. So a map can be built up of the passive journeys of the glacial pebbles from north London, via Venice as they are transported into the unknown. Through the movement of the pebbles I am exploring how humans interact with the natural world, at how our patterns of movement and rapid change are superimposed on the existing, more ancient pattern.
Steve Smith “London Stone: London Heart (the outsider)”
The London stock brick is a signifier of London’s architectural and social history; the fragment approximates to the size and shape of the human heart. This fragment of ruin discarded on the banks of the Thames, however harbours life. With its reclamation, transport and immersion in Venice lagoon water this once more enables this discarded fragment to come back to life.
Karen Winzer “Greetings from Venice”
(…) Mimicry is the similarity of one species to another which protects one or both. This similarity can be in appearance, behaviour, sound, scent and even location, with the mimics found in similar places to their models. Mimicry occurs when a group, the mimics, evolve to share common perceived characteristics with another group, the models. (http://en.wikipedia.org/wiki/Mimicry)
The receiver of the signal may realize the camouflage when it is already too late.