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REVOLVER | Part 1 | Part 2 | Part 3 |
William Cobbing | Benedict Drew | Tina Keane | Rachel Lowe | Back to REVOLVER homepage
|REVOLVER Part 3| William Cobbing, Benedict Drew, Tina Keane, Rachel Lowe | 31 October–18 November 2012 | Private View: Sunday 28 October 2–5pm|
William Cobbing, Demolition, 2004
Heads feature frequently in these performances but never as faces.
Instead, individual identity is shrouded by a crazed and mucky parallel
of the pixilation that newsroom editors employ in controversial
situations to “protect” the speaker from personal recognition. The
shifting alluvial mask that obscures two heads in The Kiss,
Cobbing’s film of the eponymous action, materialises the look of love
into a tactile mass, a cloggy marl that hands knead, model, smear and
spread noisily, glutinously and messily.
Benedict Drew, The Persuaders, 2011
You'll be watched, and in some way controlled.
This is a 21st century fable of transition in which the old and the new are just one thing. You'll be told a story about the newness of that which is discarded, and about the physicality of that which is disembodied. You'll enter a place where the obsolete is enhanced and the symbolic meaning becomes animate.
This will be a journey of discovery during which you'll find out about the language of the technological thing; a language that encompasses signs, symbols and signals, and, most of all, embraces the realm of the senses. Deciphering this language means to access the inner world of the device, and perhaps its reasons, in connection to your own world, the outer world.
You'll be interacting with techno-souls, and although you might feel controlled, you might also want to believe in the possibility of a reversal if you succeed in grasping their linguistic codes.
Things consist of tensions, forces, hidden powers, all being constantly exchanged.
This fable might not be a fiction after all, but a story of the 21st century. It might be a story about a journey through the acting technological object and another way to look at its reality: the material form, the being a means to an end which affects but also has many underlying causes. It might not be about enchanted techno-souls, but souls in the sense of manifestations, a display of a series of tensions that are very often disembodied because of our failure to notice.
Excerpt taken from exhibition text by Marialaura Ghidini for The Persuaders at CIRCA Projects, Newcastle upon Tyne, 2011.
Tina Keane, Demolition/Escape, 1983
...a large brightly coloured model steam engine...shunts jauntily
back and forth across the floor on a wide-gauge, twelve section track; a
yellow indicator lights up as it moves forward, a red as it reverses.
Behind and to the right of the track is a vertical column of six video
monitors placed alternately right side up and upside down, so that the
screens zigzag upward in a stepwise fashion. The monitors play a
pre-recorded performance of the artist as she crawls along the floor,
grasps a rope ladder and hauls herself up. The zigzagging of the
monitors, the diagonals of the ladder and its shadow snaking across the
screens, and the vertiginous shots of the artist clinging to this flimsy
structure combine to create a queasy feeling of suspense and
instability. The third part of the installation, which completes a three
dimensional triangle, is a line of blue neon numbers from nine to one
(a sliding scale or countdown), which diagonally ascends the wall from
behind and the left of the track. The blue haze of the neon and the red
light of the train are reflected by the blue and red hues of the video
performance, a painterly use of colour and different light qualities
which endows the work's sculptural physicality with physical presence.
Demolition/Escape (1983) is presented with the generous support of LUX - Artists' Moving Image, London.
Rachel Lowe, Revolving Woman, 2008
Her video installation Revolving Woman uses footage of a mannequin the artist shot on analogue video tape in a shopping mall in Brazil. The grainy recording of the figure's slow rotation in space in an echoing bubble of ambient sound is interrupted and choreographed with the interjection of geometric forms, hard-edged on the picture plane of the screen. These flash up almost too fast for the eye to easily register and exist as much as a startled memory as immediate perception, so producing a complex choreography of flicker, of light and darkness, the occasional flash of colour in time, and a tension between the illusionistic depth of the photographic registration of the figure and the flatness of the wall upon which the image is projected, returning us to an engagement with the elemental constituents of the projected image.