Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013
Cornerhouse – Exhibitions 2013

Cornerhouse – Exhibitions 2013

Tenure as Visual Art Programme Manager: May 2011 – present

Rosa Barba: Subject to Constant Change
Sat 26 Jan – Sun 24 Mar 2013

Subject to Constant Change is a major solo exhibition from celebrated Italian-German artist Rosa Barba. Barba’s installations explore the material properties of film as well as probing the structure of cinematic narratives and its relationship to memory. This exhibition is a unique collaboration between Cornerhouse and Turner Contemporary, Margate. Each venue will present a distinct part of newly commissioned film work Subconscious Society, which will be shown in different formats in the two venues.

Shot on location in Kent and Manchester, Subconscious Society takes the end of the industrial age as its subject.  Using the grandiose interior of Manchester’s hitherto abandoned Albert Hall as main stage, the artist assembled a group of local residents, some with memories of the building, and filmed them inside. Barba’s protagonists reflect on, and attempt to archive, different objects from the past: these are relics of the age of mechanical reproduction and analogue technology, now receded into near obsolescence and becoming increasingly mysterious in the digital present.

Exterior scenes filmed in Kent show a post-industrial Thames Estuary with desolate structures rendered increasingly strange, such as abandoned boats and a collapsing pier and Margate’s now defunct Dreamland amusement park.

Also on view will be Barba’s five-projector installation Coro Spezzato: The Future Lasts One Day, which premiered at the Venice Biennale in 2009, and Time Machine (2007) a white silkscreen print on canvas with text, that is lit in such a way it glows like a cinema screen.

The other half of this exhibition is showing at Turner Contemporary between Fri 1 Feb and Mon 6 May 2013.

Sat 26 Jan 2013 – Sun 24 Feb 2013

Four presents an exciting selection of brand new commissions from four UK-based artists. Liz West’s colour drenched installation features a never-ending landscape of bright objects encased inside a reclaimed wardrobe. Beams of light will invite you to look inside as they seep out of the wardrobe’s open doors into dark surroundings.

Tristram Aver has reinterpreted Richard Ansdell’s 19th century oil painting The Chase using internet found imagery and cultural and commercial iconography to create an altered view of contemporary Britishness and urban living. Kate Sully has created a giant petri dish whose ‘cultures’ – made from printed fabric, wiring and other found objects – suggest organic formations like coral and lichen. Nicola Ellis’ touchable, human-sized sculpture is made from irregular shaped paddlestones and has an unearthly, cocoon like appeal.

Four has been curated and developed by Cornerhouse’s young curators Liz Gibson, Alex Leigh and Neetu Roy, the team responsible for the successful 2012 show Lost is Found. For this exhibition the curators devised an open call to give four artists the opportunity to each realise a specially commissioned piece.

Yoshua Okón: Octopus
Sat 9 Mar 2013 – Mon 1 Apr 2013

Inserted within the US tradition of civil war re-enactments,Octopus (2011) by artist Yoshua Okón offers an alternative presentation of the Guatemalan Civil War.

Where usually such activities take place in historically significant locations by enthusiasts with no direct experience of the conflict in question, in this work the site is of symbolic significance. The battlefield is relocated to US soil at a Home Depot parking lot in Los Angeles, and the conflict is performed by people who fought during the Guatemalan Civil War. The former soldiers are now members of the Los Angeles Mayan community, and they gather to look for work as day labourers in the same parking lot where this performance takes place.

The title, Octopus, makes reference to the nickname used in Guatemala for The United Fruit Company, UFCO (now known as Chiquita Banana), a US Company based in Guatemala and directly linked to the CIA-led coup and to the following civil war. Also presented is US (2005), a single channel animation originally created for the Monuments For The USA show.

Anguish and Enthusiasm: What Do You Do With Your Revolution Once You’ve Got It?
Sat 13 Apr 2013 – Sun 18 Aug 2013

Revolutions often serve as landmark shifts in the history of nations, people and causes. But after the upheaval it is a country’s post-revolutionary period that reveals most about its prospects for change.

Anguish and Enthusiasm: What Do You Do With Your Revolution Once You’ve Got It considers the complex situations that arise after a revolution has taken place. This moment is frequently overlooked, but is often crucial in determining the likelihood of change. Curators Declan Clarke and Sarah Perks present work that ruminates on the complexities of this situation, offering new perspectives on what post-revolution could mean, and how it affects those who live through it.

Artists: Andreas Bunte, Berthe Morisot, Eoghan McTigue, Harry Eccleston, Jun Yang, Liubov Popova, Mathieu Kleyebe Abonnenc, Michelangelo Antonioni, Pocas Pascoal, Sandra Ramos, Sarah Pierce, Trust Your Struggle.

Curators: Declan Clarke, Sarah Perks

Double Indemnity
Sat 14 Sep 2013 – Sun 5 Jan 2014

Inspired by Billy Wilder’s classic film noir of the same name, Double Indemnity explores questions of desire, possession and complicity through new and recent work by a selection of high profile artists, including Sophie Calle, Jenny Holzer, Ming Wong, Anicka Yi and Frances Stark.

Two new commissions contribute to the exhibition’s immersive, psychoanalytic experience. With reference to Roman Polanski’s 1974 film Chinatown and the stereotypical role of the Chinese detective, Ming Wong’s definitive edit of his new video work, After Chinatown, features the artist adopting male and female guises as he explores Chinatowns across the world. The piece is screened on a custom-built ‘orientalised’ TV set.

For the exhibition’s second new commission, Anicka Yi has developed a unique fragrance that evokes the essence of Barbara Stanwyck’s character in Double Indemnity. Yi explains, “Phyllis is like a hologram, a delirious image. People project their desire on to her and she gives off varying intensities.”

The exhibition also features work by Laurel Nakadate, Hito Steyerl, Emily Jacir, Sharif Waked, Bunny Rogers and Filip Olszewski. Curated by Michael Connor.


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