Edward Chell: Viewing Stations
Photos from the private view...
Limited edition print by Edward Chell
Tank is delighted to offer the limited edition digital print, Conium Maculatum, by Edward Chell. The black silhouette of common Hemlock is based on one in a continuing series of wild flower paintings featured in the exhibition, Viewing Stations, in which Chell explores and pays homage to the motorway verges of Briton. These 'edgelands' are home to a multitude of flora, thriving unhindered by urban or agricultural grooming. Chell details each species with wonderful accuracy, creating individual portraits of the plant life that we usually only glimpse as a blur through a car window.
Conium Maculatum (Hemlock) Edition of 10 Digital Pring on Paper Paper Size: 59.4 x 42cm £80 Edward Chell Viewing Stations Private View & Tank Closing Party: Thurs 10th Nov 2011 6:30-9:30pm Exhibition 11th-26th November 2011 |
Richard Stone
idir eathara
PV 6th Oct 2011 6:30-9:30pm
Exhibition 7th-22nd Oct 2011
Tank is proud to present the solo exhibition, idir eathara, by multi- disciplinary artist Richard Stone. idir eathara - an ancient Celtic term describes a boundary as neither one place nor another, but the space between the two, a temporal or transformative space that the artist envisages the self or body passing through. Working with sharp contrasts of light and dark and oscillations of scale, Stone presents a series of bold and dynamic new installation based works across both floors of Tank Gallery that explores this. On the ground floor, a small, delicate monochrome painting of a ditch is symbolically intertwined and echoed in shape and configuration by an expansive mound of salt across the floor, both a preservative and corrosive loaded with physical, historical and mythological meaning. Through his interpretive scope, Stone conjures somewhere placeless like a heath or the sea, symbiotically tracing an absence of self or physical body, a weightlessness or placelessness within the gallery space and beyond its walls. Upstairs, Stone evokes a different transience, creating an amplified twilight by obscuring the windows on opposite sides of the gallery with sheets of black glass. The once daylight infused space becomes imbued with the reflections and shadows of the viewer doubling. |
A small sculptural work emphasises this duality with two small identical porcelain birds placed on the floor facing each other, their heads cloaked in amorphous halos of black wax, caught somewhere between twilight and daybreak, imprisonment and freedom.
In a final seductive reworking of the skeletal form of the loft beams, Stone works with fragments of gold leaf, embellishing the beams as imagined rays of disappearing or emerging golden light, into night or revealing a day anew. Based in London, Stone's object, installation and site-specific based works have been shown at Schwartz Gallery, Beaconsfield and the University of the Arts as well as at further galleries and sites in the UK and abroad. |
Opposites Attract
Tank debuts Forged Signatures first group show - Opposites Attract Forged Signatures presents a group show, comprising of a two floor installation spread throughout the Tank gallery space. Opposites Attract will take the form of an immersive installation in which the viewer is invited to explore the works as a whole. Forged Signatures will be let loose for an ambitious two week build to be completed before Tank opens its doors for the public to discover and investigate. Lose yourself in the underground blackout before emerging back into the light of the first floor. Travel up and down, through dark and light, yin and yang, good and evil, heaven and hell, fact and fiction, love and hate, and back again. Works by - Ashes57, Jack Binnie, Christian Granados, Ziggy Grudzinskas, Chris Mackenzie-Gray, Neonita, Milo Tchais, O.Two and more. Limited edition prints to the first 23 people attending. forgedsignatures.co.uk |
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SLAM Last Friday
Friday 27th July 2011
The Pleasure Principle
PV Thursday 16th June 2011
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Image: Sculpture by David Mullen Beck’s Fusion Summer Guestlist
The Pleasure Principle Private View
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PV: Thurs 26th May 6:30-9:30pm
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Polaroid by Pacific Standard Time
Three years in the making this is the first exhibition from
London photographer, Andy J. Simmons and Vancouver electronic musician,
Caleb Cobell, who make up The Pacific Standard Time Collective. This
work will be released this year as a photo zine and double cd on Parking
Block Publishing.
Look quiet, listen loud. The Ladywell Tavern
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SLAM last Fridays
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Adrift
Aoife van Linden Tol
Aliceson Carter
Exhibition 15th -30th April 2011
PV Thurs 14th April 2011 6:30-9:30pm
Tank presents a collaboration between mixed media artist's Aliceson Carter and Aoife van Linden Tol. Drifting through the city, daydreaming, in this sense does not lead the complex world of the imagination, full of impossible happenings or psychoanalytical learning's. Instead their work explores a state in between awareness, lost in the seduction of simplicity.
Adrift explores the almost hypnotic or meditative state of occupying ones own mind with small but significant observances within a public space . The loosing of ones self in such wonders contradicts the physical impossibility of getting lost on London. It is a reminder of ones singularity within the many, both comforting and isolating. The former being the overwhelming feeling for both artists.
Both No 1 and Fall Out deal with the perceived insignificance of the individual. Either not represented, as in the case of No 1, where lives are rounded up for graphic impact and to make the news of death more palatable. With Fall Out, the consequence of ignoring the importance of the individual in shaping our environment.
Spanning both floors of the gallery Sail, sets the building afloat and incoporates the video works Charing Cross and Rain, creating a billowing collaboration of installation and film.
Adrift explores the almost hypnotic or meditative state of occupying ones own mind with small but significant observances within a public space . The loosing of ones self in such wonders contradicts the physical impossibility of getting lost on London. It is a reminder of ones singularity within the many, both comforting and isolating. The former being the overwhelming feeling for both artists.
Both No 1 and Fall Out deal with the perceived insignificance of the individual. Either not represented, as in the case of No 1, where lives are rounded up for graphic impact and to make the news of death more palatable. With Fall Out, the consequence of ignoring the importance of the individual in shaping our environment.
Spanning both floors of the gallery Sail, sets the building afloat and incoporates the video works Charing Cross and Rain, creating a billowing collaboration of installation and film.
Still from Charring Cross by Aliceson Carter
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Tank is proud
to present a unique sound installation by German artist Karl-Heinz
Jeron. The idea for Fresh Music for Rotten
Vegetables stems from Jeron's interest in how
labour, product and art work is valued. Rotten vegetables are not
waste but a commodity from which energy and industry can be drawn.
Jeron has designed the exhibition based around a series of workshops
where attendees source waste food locally, build unique singing
device from simple components and add each one to the installation.
By the close of show the orchestra will be sixty or so strong,
emitting a cacophony of bleeps, beeps and hums.
Each device is tuned and setup to make them create a semi-aleatoric musical piece. In aleatory music aspects such as the ordering of a piece's sections, its rhythms, and even its pitches are decided at the moment of performance. Also called "chance music," aleatory music has been produced in abundance since 1945 by several composers, the most notable being John Cage, Pierre Boulez, and Iannis Xenakis. Within this project the chance aspect is be achieved by the change of the electrochemical state of the fruits/vegetables which will affect the tone, timbre and loudness.
This exhibition exemplifies Jeron's objective to subtly shift in social perceptions through engaging the audience in “artistic” practice. While waste and energy consumption are central to current world wide debates and politics, Fresh Music for Rotten Vegetables introduces the idea of potential alternative solutions within a local environment. Basic principles of turning the chemical energy from potatoes or carrots into electricity demonstrate a potential industry literally going to waste.
Each device is tuned and setup to make them create a semi-aleatoric musical piece. In aleatory music aspects such as the ordering of a piece's sections, its rhythms, and even its pitches are decided at the moment of performance. Also called "chance music," aleatory music has been produced in abundance since 1945 by several composers, the most notable being John Cage, Pierre Boulez, and Iannis Xenakis. Within this project the chance aspect is be achieved by the change of the electrochemical state of the fruits/vegetables which will affect the tone, timbre and loudness.
This exhibition exemplifies Jeron's objective to subtly shift in social perceptions through engaging the audience in “artistic” practice. While waste and energy consumption are central to current world wide debates and politics, Fresh Music for Rotten Vegetables introduces the idea of potential alternative solutions within a local environment. Basic principles of turning the chemical energy from potatoes or carrots into electricity demonstrate a potential industry literally going to waste.
Supported by the
Lewisham Arts Service |
Workshops: 10th- 17th March 2011
In these workshops each
attendant will make their own electronic singing device which will be
added to the installation. You will be able to collect your device
after the exhibition is over and keep it. The fee includes all the
parts and tools needed to make the device. Ideal for students,
community groups, teachers, and anyone who is interested in taking
part. We encourage the project to continue and can provide
information on how to do realise the project yourself.
Each workshop will last 4hours. There are 12 places available per workshop. Age 10–99 years. Fee: £5 per person To book your place please go to: http://workshops.jeron.org/tank |
Stephen Lee and Maria Chevska in Conversation
Artist Talk
Weds, 2nd March 2011 7-9pm, FREE Maria Chevska and Stephen Lee will converse about the work in their current show at Tank, eye of the blackbird. Talking about their artistic practice, how the show came about, the dialogue between the two artists installations and the relationship the exhibition has with words and poems such at the Thirteen Ways of Looking at a Blackbird, by Wallace Stevens, from which the title of the show came. The evening will finish will an open discussion. |
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Landscape and painting, expanded in terms of materiality and metaphor is the point of departure for this collaborative exhibition over two floors in an old carriage house in South London. The country and the city are thematically inter-woven in an elaborate upstairs/ downstairs dialogue.
Maria Chevska’s painted cobblestones displayed in the ground floor gallery refer to the materiality of the street. Retrieved from just below the surface of the road, these slightly subterranean objects have considerable gravity as paintings. The painted stripes on the surface of the stones are records of palettes used on her main body of paintings. The cobblestones therefore act as a storage or file-code of colours. They also form a direct connection between the art produced in the studio and the urban landscape.
The title, eye of the black bird, is a fragment of a poem by Wallace Stevens that provides the common ground of modernism, language and materiality for the collaboration. The poem is described by Maria Chevska thus: ‘I enjoy the poem's proposal of ordering the world and it's sensations (Art), even if compressed into haiku-like form which amongst all its other qualities contains humour’.
The upstairs gallery houses Stephen lee’s juxtapositions of Plein- Air landscape painting of countryside with sculpted animals, human forms and objects. Characterised by a feeling of light, air and space, the work has the structural appearance of a poem of objects, clustered across continuous shelving. Closely tied to literary qualities of narrative and time, intrinsic to landscape, Lee describes his choice of subject matter: ‘I am particularly interested in places where human activity and objects interact with the surrounding environment to create a heightened sense of time as metaphor. This could be for example, a group of people fishing and picnicking by a river, a train-line, canal or motorway connecting to the city like a vein or a post-industrial zone, which has been partly re-absorbed into surrounding fields like a ruin’.
Tank is proud to present London based artist Emma Winter's debut solo exhibition in London. Winter's artistic practice spans installation, sculpture, interactive art, set design, art direction, curation, and performance. For A Trail of Tales Winter has created a unique installation piece at Tank that will instinctively engage and envelope the viewer. Using various locations across London throughout the year, visitors can embark on a journey that will start at Tank and take them to one of our local Deptford art galleries, into the heart of London's theatre district, and on to other secret locations across the city. What exactly will happen is part of the mystery and those taking part will have to follow clues to get there.
Winter's work somehow always leads her to a fantasy realm where one or several stories merge, unravel or follow a path. Party attributed to an overactive imagination, which inspires her reality, she explores how life is formed from fantasy and fantasy from life in many of her bold installations. With Chapter I:Through the Portal, Winter's intention is for the viewer to be sucked into the piece as if crossing a threshold. This first instalment is a whirlwind that takes the shape of multiple forms, each unique to individual imagination and perception, drawing up random literary extracts and tumbling them out reconfigured.
Used as a purveyor of morals, warnings, ideals and goals, it has been claimed that faerytails have a profound impact on child development, especially in learning how to overcome psychological conflicts. Many scholars and psychoanalysts have explored links with, sexual repression, gender roles, collective consciousness and Freud's theory of wish fulfilment. In most classic faerytails the wish is achieved and the happy ever after follows, yet in the multiplicity of real life, one wish is replaced with another as desires are met, lost or replaced. Winter believes the primary function of such stories is to act as a facilitator for continuously building a contemporary version from ones own desires. Thus, she aims to explore the boundary between imagination, existence and experience through creating her own illusions while inviting others to visit and momentarily make it their own.
The installation itself mimics the historical evolution of the faerytail and the vessels of it's distribution simultaneously. From wood to paper, from aural whisperings to printed literature, from individual books to multitudes of pages sewn together, the recycling of both the story and material are dominant themes. Even the books were saved from a skip and will go onto be transformed in the future.