Bernard G. Mills, Clare Gasson, Yve Lomax, Mo White
2nd – 25th November 2007
Preview 6 - 9pm, Thursday 1st November 2007
Ed Osborn, Giles Drayton, Angus Carlyle, Kate Briggs
30th November – 21st December 2007
Preview: 6 - 9pm, Thursday 29th November 2007
2nd November – 21st December 2007
Friese Greene Gallery,
15-17 Middle St,
Online broadcast: outlet.finetuned.org
Networked broadcasts: Ruskin School of Drawing, Oxford, Quay Arts, Newport, Isle of Wight and Farnham Maltings, Surrey.
Relay presents 7 newly commissioned installations and text works by artists Giles Drayton, Clare Gasson and Bernard G. Mills, writers Yve Lomax, Kate Briggs, Mo White and Angus Carlyle and the UK premiere of 'Swing Set' by Ed Osborn.
This two-part exhibition extends the curatorial frame with simultaneous online broadcasts via http://outlet.finetuned.org and networked screenings to the Ruskin School of Drawing, Oxford, Quay Arts, Newport, Isle of Wight and Farnham Maltings, Surrey.
These new works manifest particular engagements with sound. Each work points towards a singular, subjective preoccupation and its movement into the world. At the same time, something passes between the works – a relay that occurs when they are brought into proximity.
In the first show, Bernard G. Mills’s Title Roll is a cinematic installation that surveys a record collection spanning forty years: a procedure of selection that defies the conventions of indexing.
Clare Gasson’s film The Ballad of Albatross Way traverses multiple narratives as it approaches a blind spot: a point at which the end can only be seen after turning the corner.
Yve Lomax’s Roll and the Example is a philosophical treatise on the nature and composition of the example and shows that the place of the example, the space an example appears to occupy, is paradoxically, the very space it can never fully occupy.
Mo White’s exploration of the impact of the circular pan on film in a round... recurs at different speeds to the reiterations in the other works as it recalls past attempts to destroy cinema’s pleasures by way of the preventative effect of the pan and the eventual, one might say inevitable, decline of such attempts through the disruption of desire.
In the second show, Ed Osborn’s installation Swing Set generates a haunted air, as if the actions of the children who once used them continue to stay in place long after they have departed. Giles Drayton’s sculpture Index explores the division of our lives by tintinnabulant indicators through the construction of a full-scale church bell composed of over 100 sheets of wood.
Kate Briggs’s Bell Fabrications direct association with Drayton’s Index furnishes us with a number of tintinnabulant resonances ranging from the anticipatory plagiary of the bell in dreams where the ringing of alarm clocks both stimulates the sleeper into a dream narrative and provides its finale, to the peculiar fabrication of Pavlov’s use of bells in academic memory.
Angus Carlyle’s If I Were To Clap, If You Were To Listen pushes out into the origins and mechanics of sound transmission, its receipt and a wonder that remains undiminished by factual and scientific expositions of the process.
Curators: Gavin Peacock and Julian Weaver.
Relay is supported by Arts Council England and Awards for All