And what it became is not what it is now,
And what it became is not what it is now, is a reflection of wondering dialogues between people, practices and languages, beginning in studio visits with 3 Latin American artists - María Agustina Fernández Raggio, Paola Monzillo, Joaquín Aras - and particular bodies of research by each. It’s not about finding parallels, but rather a discursive space to share 3 distinct practices. And what it became is not what it is now, will be published as a discursive event across exhibition, publication and programme of screenings, talks and workshops at Grand Union in Autumn/Winter 2019. Programme details to be announced soon.
And what it became is not what it is now, is supported by Arts Council England, British Council Uruguay and EAC. Research and development support provided by Arts Council Wales.
Litmus Programme, Oriel Davies
Litmus was an exhibition and development programme offering curatorial and practical support for early career artists in Wales and the Welsh Borders to research, develop and present new work at Oriel Davies between May 2017 and April 2018. Oriel Davies is a contemporary art gallery in the heart of Powys and a key gallery of Wales, showing national and international art and craft. The Gallery presents around ten exhibitions a year, across three gallery spaces.
Shave and a haircut - two bits, Roman Stetina
Exploring the narrative of call and response, Štětina approached the festival theme of ‘communication’ through the concept of radio as a form of one way communication. In radio, the set up of a broadcast can be reduced to one individual speaking and one individual listening. The speaker doesn’t know if they are heard, or who hears them, and the listener is unable to respond. ‘Shave and a haircut – two bits’ reflects on our human need to connect with one another. The first knock rings out, and we’re waiting for an answer.
Roman Štětina’s works investigate the ways in which broadcast media is produced. It is an interest which circles back from using broadcast media himself. By working with radio and film, Štětina feels a need to make sense of what he calls ‘the basics’, which in turn come to be a topic of the work. Through installations, sculptures and videos Štětina unveils the props, technologies and studios of ‘backstage’.
Catherine Biocca, Cornelia Baltes, Rosalie Schweiker
Catherine Biocca, Cornelia Baltes, Rosalie Schweiker was a group exhibition curated as part of the Jane Phillips Award Curatorial Residency at Mission Gallery in Swansea.
Catherine Biocca created an inside-out environment, transposing a time some millions of years ago into the gallery with Deutscher Fürst. Layering cartoon imagery, science fiction and natural history, the artist produced a lo-fi, deconstructed dinosaur landscape in which are are asked who is on time - us or them (the dinosaurs). In parallel to Deutscher Fürst, 4-handed space drawings from the INTERGALACTIC series were also be exhibited.
Cornelia Baltes worked directly onto the walls of the gallery, expanding on a recent exploration of making site-specific murals. In this new installation, colour and motifs migrate from a large-scale wall painting to her coloured MDFs and framed paintings, escaping the confines of their supports as though both independent and fallen.
Rosalie Schweiker buys a fridge magnet wherever she goes for work. At Mission Gallery, Rosalie presented the migrant worker’s fridge magnet collection; displaying her magnets for the first time in public, on a fridge stocked with local drinks. If you bought the artist a drink at the public preview, she’d tell you the story behind a magnet. After the opening weekend, the fridge stayed on and serve the exhibition as a bar.
This exhibition was supported by Arts Council Wales.