s, MN and Portikus, Frankfurt, Germany (2001). Her work is included in the collections of Tate Modern, London, and the Museum of Modern Art, New York.
Tony Oursler
The Weak Bullet
1980, 12:41 min, color, sound
Courtesy the artist + Electronic Arts Intermix, New York
Told with raw eccentricity and grotesque humor, The Weak Bullet is an ironic tale in which the trajectory of the eponymous bullet propels a bizarre narrative of social rupture and sexual paranoia. Oursler takes the viewer on a delirious, psychodramatic odyssey through a nightmarish landscape that is part Caligari, part splatter film, and mostly his own outrageously perverse internal universe. As it winds its way through Oursler's world, the subversive bullet acts as a disruptive phallus that both castrates and impregnates. The miniaturized, crudely rendered sets house an expressionistic theater that is distinguished by Oursler's ingenious visual shorthand, narrative disjunctions, and typically droll, stream-of-consciousness text.
Pablo Pijnappel
Andrew Reid
Courtesy the artist, carlier | gebauer, Berlin + Juliette Jogma, Amsterdam
Pablo Pijnappel was born in 1979 in Paris and studied at the Gerrit Rietveld Academy in Amsterdam und at the Rijksakademie. His works have been shown in numerous international exhibitions including solo shows at Juliette Jogma, Amsterdam (2011) and carlier / gebauer, Berlin (2010); Kadist Art Foundation in Paris (2008), Künstlerhaus Bremen, Whitechapel Laboratory in London, the Slovakian Pavilion at the 52nd Venice Biennale, Artists Space in New York (all in 2007) und at Witte de With in Rotterdam (2006).
Sally Potter
Combines
1972, 15 mins 16mm transferred to video
Courtesy the artist
As part of her experiments into expanded cinema, Potter often combined live performances of music and dance with film projection as well as using dancers as the subject of her experimental shorts. Potter trained as a dancer during the 70s and toured as a dancer, choreographer, musician and performance artist with Alston's Strider dance company, the Limited Dance Company (co-founded with Jacky Lansley) as well as with performance artist Rose English and with fellow musicians in the Feminist Improvisation Group (FIG).
Sally Potter directed her first feature, THE GOLD DIGGERS, starring Julie Christie, in 1983. After making a number of short films and documentaries, she wrote and directed the Oscar-nominated ORLANDO, starring Tilda Swinton, which won more than 25 international awards. This was followed by THE TANGO LESSON (1996), which was nominated for a BAFTA, and THE MAN WHO CRIED (2000), starring Christina Ricci, Johnny Depp, Cate Blanchett and John Turturro. In 2004 Potter made YES, starring Joan Allen, Simon Abkarian, and Sam Neill. Potter then directed CARMEN for English National Opera in 2007. Potter’s latest film, RAGE (2009), starring Judi Dench, Jude Law and Steve Buscemi was the first ever film to premiere on mobile phones and was nominated for a Webby Award for Best Drama in 2010.
Sally Potter has had full career retrospectives of her film and video work at the BFI Southbank, London in 2009, and Filmoteca, Madrid, and MoMA, New York, in 2010 and recently presented a series of early films at Serpentine Cinema, London. Sally Potter has a blog and message board at www.sallypotter.com.
Laure Prouvost
It heat, hit
2010, 6 mins
Courtesy the artist + MOT International, London
It, heat, hit is a new work that constructs and propels an inferred story through a fast-moving sequence of written commentary and excerpts of everyday incidents and pictures that have been filmed by the artist. Innocent and pleasing images, such as a swimming frog or snowy street scene, are followed by statements of love and implied violence. These are inter-cut with strange, disconnected images, such as close-ups of flowers, body parts or food. The mood of the film gradually becomes darker and more unsettling, though nothing is stated directly. The growing intensity of the film is reinforced by the oppressive rhythm of a drum which accompanies snatches of music and speech As with Prouvost's other films, the pace tests the limits of perception and makes it hard to take in every image and comment. Repeated viewing subtly shifts what is understood each time, as Prouvost highlights the slipperiness of meaning and notions of reality.
Laure Prouvost (1978, Lille, France) lives and works in London. In 2010 Prouvost was awarded the 56th Oberhausen Short Film Principal Prize and received a Film London Artists’ Moving Image Network award (FLAMIN) in 2011. She won the EAST International Award 2009 in Norwich UK. In 2010 she presented Art Now Lightbox: It, heat, hit at Tate Britain, London.
In 2011 Prouvost’s work will be shown at Time Machine, Bookworks, Spike Island, Bristol (2011), Museum of Speech, Extra City-Kunsthal Antwerpen, Belgium, (March 2011). Past shows include, Bedtime Stories, Supportico Lopez, Berlin (2011), NOVEL (2010), More Pricks Than Kicks, David Roberts Art Foundation, London (2010), Avec Excoffon, IFF Galerie, Marseille, France (2010) , New Contemporaries, ICA London and A Foundation, Liverpool (2010), It, Heat,Hit, Art now, Tate britain (2010), All These Things Think Link, Flat Time House, London (2010), Kryptonim Matrioszka, Bunkier Sztuki, Krakow, Poland,Frieze Frame, Frieze Art Fair, London (2010), Present Future, Artissima Art Fair, Turin (2010), Storeybored, After the Butcher, Berlin (2009) , The Know Unknows, Whitechapel Gallery, London,
The Filmic Conventions, FormContent (2009), London, and Burrow Me, Lighthouse, Brighton (2009).
Her video work is distributed by LUX and She is represented by MOT international (London)
www.laureprouvost.com | www.motinternational.com
Hans Richter
From the Circus to the Moon
1963, 16mm, 15mins, colour, sound
Courtesy Calder Foundation, New York
Giles Round
OH NYC (Object Horror)
2007/2011, wood, paint, wheels, lights
Courtesy the artist
Giles Round’s backdrop for ‘abjection’ Object Horror was first presented in 2007 at the Irish Museum of Modern Art, Dublin. Re-made in 2011 for Maybe I should have called it ‘My life in nineteen minutes,’ OH NY is the set for bands curated by Joe Ahearn/AIR from 9pm to 2am
“I was filled with a host of conflicting feelings. The strongest, most insistent of these was one of abject horror.” - Nick Cave
Object Horror, first realised in 2007 at the Irish Museum of Modern Art, Dublin comprised of a series of 2-dimensional cut-outs supported by makeshift wooden props, an equal amount of hanging light bulbs, a choice of face masks and an audience. The cut-outs, each a flat roughly painted black and white representations of sculptures from artists such as Hepworth, Moore, Genskin or Kippenberger, all share the simple common physicality of the hole. These form on one hand an informal stage set or back drop to an event and on the other a cast or group of figures within a sculpture court. From each hole pours red gloss paint, the marginalised cast are wounded and bleeding. The object takes the role of the abject. Blood pores from their bowels like the actor bleeding from the hole torn from his chest by a newly born alien.
Object Horror draws a tangental line between Nick Cave's lecture on the love song, a pun, a bad joke, Artaud's Theatre of Horror, Kristeva's theory of the abject, a historical cast of punctured sculptures, the genre of slasher horror films, the birth scene in Alien and the work of Francis Bacon.
Giles Round (b. 1976, London) lives & works in London, completed an MA at the Royal College of Art, London, 2002. Recent exhibitions include; The Form of the Book, +44141, Glasgow, 2010; The Studio of Giles Round, The Serpentine Gallery, London, 2010; Living Structures, S1 Artspace, Sheffield, 2009 and Strange days & nights, Nought to Sixty at ICA, London, 2008.
Holton Rower
Pour 03052011
2011, performance, paint on plywood and floor.
Courtesy the artist
Set from the site-specific paint performance for Maybe I should have called it ‘My life in Nineteen Minutes’
Retract
2011, 5.22 min, video, colour, sound
Courtesy the artist. Camera Dave Kaufman.
Performance and the documentation of a studio paint pouring exercise, re-edited from a video posted on youtube by director Dave Kaufman that recently received over a million youtube hits within a week-long period.
Holton Rower was born in New York where he still works today. His most recent exhibition was held in 2010 at John McWhinnie in New York. Prior to that, Rower exhibited at Galeria 6 in Aurau, Switzerland (1995 & 2007); Galeria Maeght, Barcelona (2001); Galeria Estudio Fuentes in Madrid (2000); Jay Grimm Gallery, New York (2000); Cencebaugh Contemporary, New York (2000); Galerie Maeght, Paris (1998); and Kunsthaus Orlikon, Zurich (1995). The artist's work is also featured in numerous publications and artist books, including "Scrap" (2010), which encompasses prints of his latest body of work, namely hybrid paintings and relief sculptures created by stacking scrap wood; "Jaw Law" (1999), for which Rower provided the etchings for John Sweeney's poems, "Nettles" (1991), a book of photographs, poems and drawings published by Flockophobic Press.
Corin Sworn
After School Special
2009, video, 21 mins, colour, sound
Courtesy the artist, Blanket Contemporary Inc + Kendall Koppe Gallery
After School special consists of re-appropriated footage from Jonathan Kaplan’s teen movie Over the Edge, 1979, as well as shorter establishing landscape shots from the television series Wings Over Canada, 1999. For ‘After School Special’, the cast of Kaplan’s feature have been overdubbed with adult voices, minimal music scores, and Sworn has created her own sequence of abstract scenes within Over the Edge by making her own pans and zooms within the original shots. Dreamlike and droll, this dense work shows Sworn moving into highly emotive, and explicitly non-neutral territory. The subjectivity of characters (one of whom is recognisable as the broken-voiced Matt Dillon in his first feature role) is moulded from the originally blank and bored faces of etiolated youth, into a melancholic and esoteric voice that speaks lyrically of suburban displacement and social marginalisation.
Corin Sworn (born in London 1976, lives in Vancouver and Glasgow) is a visual artist whose work explores issues connected with the process by which subjective experience becomes translated into history. She works with drawing, video and sculpture. Solo exhibitions including: Tramway and Washinton Garcia, Glasgow. Group exhibitions include: Witte de With (2010) EASTInternational (2009), Kunsthalle Basel(2009), Participant Inc. New York (2008). She is represented by Blanket Contemporary Inc and Kendall Koppe Gallery.
Alexis Marguerite Teplin
The Party
2010, 25mins, video, sound
Courtesy the artist, Hotel, London + Mary Mary, Glasgow
A performance of The Party, a play by American artist Alexis Marguerite Teplin, with texts by Rachel Kushner, Pablo Lafuente and Michael Ned Holte. The Party is conceived as a collaborative project in the tradition of The Theatre of the Absurd and includes characters of an artist, designer, philosopher/critic and ingenue.
Alexis Marguerite Teplin was born in California in 1976, she received her BFA from UCLA in 1998 and her MFA at Art Center College of Design in 2001. Following a year's fellowship at the Royal Academy Schools (as the 2003 Starr Fellow), Teplin currently lives and works in London. Recent solo exhibitions and projects include 21 of 24, Gavlak, Palm Beach, FL (2011) The Party, Performance for Glasgow International, Tramway (2010) and Serpentine, Park Nights (2009); 5cm higher, Mary Mary, Glasgow (2010); Can You Hear the Sea?, Blanket Gallery, Van
Hans Richter
From the Circus to the Moon
1963, 16mm, 15mins, colour, sound
Courtesy Calder Foundation, New York
Giles Round
OH NYC (Object Horror)
2007/2011, wood, paint, wheels, lights
Courtesy the artist
Giles Round’s backdrop for ‘abjection’ Object Horror was first presented in 2007 at the Irish Museum of Modern Art, Dublin. Re-made in 2011 for Maybe I should have called it ‘My life in nineteen minutes,’ OH NY is the set for bands curated by Joe Ahearn/AIR from 9pm to 2am
“I was filled with a host of conflicting feelings. The strongest, most insistent of these was one of abject horror.” - Nick Cave
Object Horror, first realised in 2007 at the Irish Museum of Modern Art, Dublin comprised of a series of 2-dimensional cut-outs supported by makeshift wooden props, an equal amount of hanging light bulbs, a choice of face masks and an audience. The cut-outs, each a flat roughly painted black and white representations of sculptures from artists such as Hepworth, Moore, Genskin or Kippenberger, all share the simple common physicality of the hole. These form on one hand an informal stage set or back drop to an event and on the other a cast or group of figures within a sculpture court. From each hole pours red gloss paint, the marginalised cast are wounded and bleeding. The object takes the role of the abject. Blood pores from their bowels like the actor bleeding from the hole torn from his chest by a newly born alien.
Object Horror draws a tangental line between Nick Cave's lecture on the love song, a pun, a bad joke, Artaud's Theatre of Horror, Kristeva's theory of the abject, a historical cast of punctured sculptures, the genre of slasher horror films, the birth scene in Alien and the work of Francis Bacon.
Giles Round (b. 1976, London) lives & works in London, completed an MA at the Royal College of Art, London, 2002. Recent exhibitions include; The Form of the Book, +44141, Glasgow, 2010; The Studio of Giles Round, The Serpentine Gallery, London, 2010; Living Structures, S1 Artspace, Sheffield, 2009 and Strange days & nights, Nought to Sixty at ICA, London, 2008.
Holton Rower
Pour 03052011
2011, performance, paint on plywood and floor.
Courtesy the artist
Set from the site-specific paint performance for Maybe I should have called it ‘My life in Nineteen Minutes’
Retract
2011, 5.22 min, video, colour, sound
Courtesy the artist. Camera Dave Kaufman.
Performance and the documentation of a studio paint pouring exercise, re-edited from a video posted on youtube by director Dave Kaufman that recently received over a million youtube hits within a week-long period.
Holton Rower was born in New York where he still works today. His most recent exhibition was held in 2010 at John McWhinnie in New York. Prior to that, Rower exhibited at Galeria 6 in Aurau, Switzerland (1995 & 2007); Galeria Maeght, Barcelona (2001); Galeria Estudio Fuentes in Madrid (2000); Jay Grimm Gallery, New York (2000); Cencebaugh Contemporary, New York (2000); Galerie Maeght, Paris (1998); and Kunsthaus Orlikon, Zurich (1995). The artist's work is also featured in numerous publications and artist books, including "Scrap" (2010), which encompasses prints of his latest body of work, namely hybrid paintings and relief sculptures created by stacking scrap wood; "Jaw Law" (1999), for which Rower provided the etchings for John Sweeney's poems, "Nettles" (1991), a book of photographs, poems and drawings published by Flockophobic Press.
Corin Sworn
After School Special
2009, video, 21 mins, colour, sound
Courtesy the artist, Blanket Contemporary Inc + Kendall Koppe Gallery
After School special consists of re-appropriated footage from Jonathan Kaplan’s teen movie Over the Edge, 1979, as well as shorter establishing landscape shots from the television series Wings Over Canada, 1999. For ‘After School Special’, the cast of Kaplan’s feature have been overdubbed with adult voices, minimal music scores, and Sworn has created her own sequence of abstract scenes within Over the Edge by making her own pans and zooms within the original shots. Dreamlike and droll, this dense work shows Sworn moving into highly emotive, and explicitly non-neutral territory. The subjectivity of characters (one of whom is recognisable as the broken-voiced Matt Dillon in his first feature role) is moulded from the originally blank and bored faces of etiolated youth, into a melancholic and esoteric voice that speaks lyrically of suburban displacement and social marginalisation.
Corin Sworn (born in London 1976, lives in Vancouver and Glasgow) is a visual artist whose work explores issues connected with the process by which subjective experience becomes translated into history. She works with drawing, video and sculpture. Solo exhibitions including: Tramway and Washinton Garcia, Glasgow. Group exhibitions include: Witte de With (2010) EASTInternational (2009), Kunsthalle Basel(2009), Participant Inc. New York (2008). She is represented by Blanket Contemporary Inc and Kendall Koppe Gallery.
Alexis Marguerite Teplin
The Party
2010, 25mins, video, sound
Courtesy the artist, Hotel, London + Mary Mary, Glasgow
A performance of The Party, a play by American artist Alexis Marguerite Teplin, with texts by Rachel Kushner, Pablo Lafuente and Michael Ned Holte. The Party is conceived as a collaborative project in the tradition of The Theatre of the Absurd and includes characters of an artist, designer, philosopher/critic and ingenue.
Alexis Marguerite Teplin was born in California in 1976, she received her BFA from UCLA in 1998 and her MFA at Art Center College of Design in 2001. Following a year's fellowship at the Royal Academy Schools (as the 2003 Starr Fellow), Teplin currently lives and works in London. Recent solo exhibitions and projects include 21 of 24, Gavlak, Palm Beach, FL (2011) The Party, Performance for Glasgow International, Tramway (2010) and Serpentine, Park Nights (2009); 5cm higher, Mary Mary, Glasgow (2010); Can You Hear the Sea?, Blanket Gallery, Vancouver (2009); Viaggio in Italia, For Guilietta, Car Projects, Bologna; and Yes Parisol, My Marisol, Hotel, London (both 2008). Recent group shows include Salon, LAND, Jorge Pardo House, Los Angeles, Paintings from England and America, Crisp, London (both 2010) Tag, Brown Gallery, London, Arrival Inside, Mary, Mary Gallery, Glasgow, Reframing, CCA Andratx, Majorca (2009); Flash, GSK Contemporary, Royal Academy; Jenny Lind, Concrete, Hayward Gallery, London; and That Beautiful Pale Face is My Fate (for Lord Byron) at Newstead Abbey, for Nottingham Contemporary (all 2008).
Cara Tolmie
An evening group and the faceless forefathers
2009, 4:32mins, video, colour, sound
Courtesy the artist
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