CGP London: Exhibition Thumbnails - ONE AND ONE AND ONE

ONE AND ONE AND ONE

23 Sep - 28 Oct 2012

A group exhibition that considers the idea of incompletion through the imagined and real spaces of architecture.

23 September to 28 October 12-6pm.

Constructed space… is more than simply the concrete and material substance of constructed structures, the permanence of elements and the architectonics of urbanistic details. It also exists as the sudden proliferation and the incessant multiplication of special efforts which, along with the consciousness of time and of distances, affect the perception of the environment.1

ONE AND ONE AND ONE is a group exhibition that considers the idea of incompletion through the imagined and real spaces of architecture.

The force of incompletion allows for different circuits to operate where openendedness, distraction and the peripheral imagination come into play. ‘Margins can touch, overlap and rub up against each other.’2 The incomplete proposes a space that is begun and worked upon while at the same time acting within its own history.

The participating artists explore the transient qualities of spatial occupation through works that expose a process of production that might suggest versions in transition towards further manifestations. The work is released from a point of conclusion, offering a concept of space that is not static.

Taking this sense of fragmentary space and discontinuities as a mode of address, the exhibition evokes the contingent and provisional not so much as unfinished business but as an arena where conversations intersect and are hybridized.

ONE AND ONE AND ONE is curated by Outside Architecture. Projects include Outside Architecture, Stephen Lawrence Galley, London; Architectural Fictions, South Hill Park, Berkshire; Interior Life, Herbert Read Gallery, Kent; House in the Shape of a Stretcher, Five Years, London; Left of Place, Five Years, London. www.outsidearchitecture.org

Discussion event Sunday 21 October 3 – 5pm at Cafe Gallery: Conversing on the Incomplete with speakers Ian Hunt, David Ryan, Ciara Healy.

K3 Project Space, Zürich hosts ONE AND ONE AND ONE part 2
Bernice Donszelmann, Katrine Hjelde, Justin Hibbs, Monika Ursina Jager, Mary Maclean, Tim Renshaw, Amikan Toren 6 -14 October, 2012 Gallery talk Sunday 14 October 4-5pm K3 Project Space, Hardstrasse 219, 8005 Zürich www.k3zh.ch

1 Virilio, P. 1984 Negative Horizon

2 Verwoert, J 2007 ‘Forget the National: Perform the International in the Key of the Local ( and vice versa)’

Supported by

Bernice Donszelmann’s installations and objects probe how material surfaces within architecture and domestic spaces produce empathic relationships with the human body. Everyday synthetic materials (plastics, foam, fabrics) are transformed into forms of ‘soft architecture’ - provisional modes of enclosure and delimitation that echo and address the corporeality of the body.

Richard Healy ‘Testing Ground’ has been shown in various guises since 2009. It is a practical space for the formulation of new works which are then collated and curated into a space and presented as an ongoing project. Every time ‘Testing Ground’ is shown it is different. As an artist Healy is interested in cross-disciplinary studio practices, prototypes and the role of labour.

Louisa Minkin and Francis Summers use the format of the triumphal procession to pose questions around the twinned states of glory and nihilism. FTW! (For The Win / Fuck The World) is a banner that combines a letter to a generic addressee alongside a selection of internet memes, rage comic figures and images of disaster and celebration. Drawing on the procession's historical movement through the space of the city – demarcating its limits, activating its latent sites of power, demanding acclamation from the people – this work reflects on the need to demonstrate collective worlds.

Mary Maclean In Maclean’s new body of work she explores a close up view of writing boards in lecture halls, collapsing their functional surface into the flat plane of the image. The abstract surface traces a written inscription and holds a literate history of information exchange. The written signage does not only act as a repetition of the oral structure of educational transaction, but also proposes both a material vestige and an anticipation of what is not there. Maclean’s work in photography develops her interest in the space of cultural exchange.

Sally Morfilll’s drawings offer material translations of fleeting thoughts and actions, framing fragments of a recorded exchange between architects Pierre d’Avoine and Andrew Houlton tracked using motion capture technology. The architects respond to questions posed by Morfill around the idea incompleteness within architecture e.g. the idea of building as a fragment in relation to its site, or the relationship between the sketch and a developed project. The drawings indicate a stage in an ongoing process of translating and re-constructing and reflect the open-ended and incomplete nature of the conversation.

Ruth Proctor’s work navigates a performative process bringing into dialogue sculpture, installation, performance, video, 16mm film and works on paper. Her current work has been examining notions of luck and failure positioned within the context of potentiality and chance. She often works in response to a particular space and time, staging performative moments within the gallery.

Tim Renshaw’s ‘Notebook’ paintings begin from the design of a lined notebook page upon which are constructed a potentially infinite number of imaginary stage-like spaces. This is a surface which retains its latency as a site for drawing even while the page is partially effaced in the process of the paintings’ construction.

Amikan Toren ‘Three years ago, Evelyn House (the house where I live) went through a major renovation. Using a video camera I documented the process. On each of the jobs which were done to the house, I placed a voice over which reads letters I have received ever since I lived at this address. Put together in this form the work becomes a self portrait by proxy. The work duration is 45 minutes, to be shown on a monitor as a continuous loop with no beginning or ending.’

Yonatan Vinitsky’s practice is formed from a series of findings that he translates into his own works. DEADENDDEADENDDEADENDDEADENDDEADENDDEADEND (‘he was a good man’) is an example of this method. These findings can be a piece of paper from the street, an artwork by an unknown artist or a document from an archive. The motivation for the work derives from his fascination with the decision-making processes embedded in the original.