Artranspennine08

noreply@blogger.com (Harfleet & Jack) — Sun, 22 Jun 2008 16:01:00 +0000

Welcome to Artranspennine08! taking place from June 13th - August 15th 2008. Artranspennine is a large scale cross-regional exhibition with an array of emerging and established artists working in a variety of disciplines. Artists will be placing work, staging performances and creating interventions at a variety of locations across the transpennine route. To hear about specific times and dates please join our mailing list at atp08@hotmail.co.uk or join our Facebook group, for general news click here. We will also be selecting events and artists of the week below to assist in your navigation of the blog, details of each artist’s projects can be found in the link list to the right.

Thanks for visiting; we hope you enjoy the show.

noreply@blogger.com (Harfleet & Jack) — Sat, 21 Jun 2008 15:08:00 +0000

For Artranspennine08, Bryony Moore presents her new video work, 'Halfway House' The work was filmed at Edale, a location on the Pennines halfway between Manchester and Sheffield -the two cities where the artist and her boyfriend live, respectively. Having spent years separated by this giant hill, 'Halfway House' presents Moore's attempt to take it on, while simultaneously creating the opportunity to star in her own real-life love story.

http://www.bryonymoore.blogspot.com/

noreply@blogger.com (Harfleet & Jack) — Thu, 12 Jun 2008 16:33:00 +0000

"We explore the presence of energy within ourselves, and the world around us, through a direct and conscious interaction between the two."

For the past few months Wess and Baskeyfield have been exploring the above statement through the manipulation of sculptural forms - The Frame, The Sheet, and the L Block - all of which relate directly to their earlier work within the studio and emphasise, at this stage, the importance of the studio to their practice.

For Artranspennine 08 Wess and Baskeyfield propose to take these forms outside the confines of the studio to a number of predetermined locations and explore them through the freshness of these new environments, and explore the environments through the forms. A residue of explorations will be left at each site, perhaps a white frame, or something more subtle. The entirety of their exploration will be documented. Wess and Baskeyfield will make journeys over the course of five weeks, on the Friday or the Sunday of each week, starting on Friday 13th June.

http://www.islingtonmill.com/wessandbaskeyfield
www://saatchi-gallery.co.uk/yourgallery/artist_profile/a/90070.html

noreply@blogger.com (Harfleet & Jack) — Wed, 11 Jun 2008 15:37:00 +0000

(to see the video in the context of Google Map click here)

'First Person Rambler'

This work involves the walking of a section of the Trans Pennine Trail, starting near Stockport and heading East. Fred McVittie will be carrying a stick over his shoulder, to the end of which is attached a video camera that will record his progress. The viewpoint of the video recording will echo that found in ‘first person shooter’ video games. Whilst walking Fred will also be speaking aloud whatever occurs to him at the time; this forming a soundtrack to the moving image.

The project is a bringing together of two ideas; firstly that of walking through a landscape as a metaphor for the bindlestiff ramblings of thought and feeling, and secondly the sense of being outside of oneself. This second sense is most vividly exhibited in the avatar relations of video games and online virtual environments, but also features within a wide range of discourses, from spiritual practices and psychotic episodes to the ideals of empirical objectivity.

Chris Clarke's project at the Cornerhouse Bookshop. For 'Untitled', Chris Clarke used the contents of a bookshop to create a site-specific installation. Throughout the day, Clarke wrapped all of the books in brown paper, obscuring their titles and covers in order to create a walk-in sculptural environment. While the shop (attempted to) function as normal, the materials inside gradually lost their individuality and were rendered indistinguishable. (Click on picture above to see Chris Clarke's Slideshow)

During Artranspennine 08 Tim Machin will be creating a narrative across the transpennine region - this will exist in a number of forms; cards in newsagent's windows, 'lost dog' posters sellotaped to lamposts and small–ads, together with some Google maps and writing created in unconventional, ephemeral places from bulletin boards to Flickr discussion groups, the whole project will be able to be monitored online at Lost Dog.

www.tmachin.co.uk

http://www.tmachin.co.uk/lostdog/

Jemma Egan is planning to make several tongue-in-cheek interventions at bus stops (locations tbc) that cast a new context on the would-be passengers. By altering the otherwise uniform, innocuous locations, Egan want to allow people (either knowingly or unwittingly) to participate in novel interactions with their everyday environments and at the same time become an exhibition for all that pass by.

www.jemmaegan.com

Janet Griffiths presents the further fantasy flying adventures of her alter ego ‘Wendy’ who whilst flying around the Pennines nosedives into a bush. Details of the location of this installation will follow soon.

The Artranspennine Reading Room

Curator: Lewis Biggs

At the back of the Artranspennine98 exhibition guide is a page of ‘Thanks and Acknowledgements’. Signed by the Curators-in-Chief, Lewis Biggs and Robert Hopper, it concludes with the following sentence about Tate, Liverpool and the Henry Moore Institute, Leeds;

"The work of these two organisations over the last decade had provided the solid foundation upon which artranspennine98 has been built, as the first in a series of recurring exhibitions in this unique region."

The Artranspennine98 Reading Room is an installation to be shown at the Artanspennine08 hub space, Manchester, and focuses on the idea of legacy as it runs through the Artranspennine project. The piece consists of a bookshelf on which are placed copies of the Artranspennine98 Exhibition Guide, a 144 page, perfect bound, publication measuring 12.5cm x 15.5cm. There will be a dozen or so copies of the book. The bookshelf is set at a height of around 110cms – roughly eye height for a seated person. In front of the bookshelf are two empty chairs for the visitor to sit on.

The Artranspennine98 exhibition guide is presented as an artefact. We think of this piece as a sculpture rather than an archive, which allows the visitor to reflect upon the development of the exhibition over the ensuing period. The reading room of the title becomes a parody of contemporary museum practice in which reading materials are provided to illuminate the actual exhibition. The redundancy implied in having many more copies of the book than positions to sit and read it reflects the contents of a publication now, for the most part, ten years out of date. However it’s worth noting that a number of the original public projects are still present in the region and the occasional utility of the guide points to larger issues surrounding the continued existence of the Artranspennine concept. Indeed much of the pleasure of flicking through an out of date Exhibition Guide is derived from the chance to make a casual assessment of what has persisted and what has disappeared.

In this sense questions of legacy are foregrounded in the work much in the same way that the entire Artranspennine project has become a mediation, by a diverse and growing group of artists, on the legacy of a project initiated as a collaboration between the north’s two leading Museum spaces. That artranspennine98 has initiated a series of recurring exhibitions as originally intended, although through a mechanism quite different perhaps from that foreseen by the founding curators, is the subject of a work that takes the format of the exhibition, rather than the region in which it occurs, as its organising principle. We are particularly pleased that this work affords us the opportunity to collaborate with Lewis Biggs as project curator, enabling his return to an exhibition concept he co-founded over ten years ago.

Currently installed at Apartment - view by appointment.

Transmerge

Becky Bowley will take the train from Sheffield to Manchester. In Sheffield she will dig a hole and take the earth to the next stop, Grindleford, where she will then dig another hole and fill that hole with the earth from Sheffield, she will then take the earth from Grindleford to Hathersage, where she will then dig another hole, and fill that hole with the earth from Grindleford, and this process will continue along the hope valley line until she reaches Manchester and then goes back to Sheffield to fill the original hole with the earth from Manchester.

Transmerge is a ritual that communicates an artistic desire to merge body and land for creative peaceful purposes without boundaries of ownership. Prehistorically land and rock art may have been used to define boundaries, and ownership of the land to certain ‘tribes’ and to indicate their beliefs and rituals. These boundaries of land and people continue today causing global and personal conflict between individuals. Land and people are separated by differences that can be transformed into a merger of unique parts at peace with each other, which is ritualised in the performance of Transmerge.

The performance will be two days long and take place on the 21^st and 22nd of June, Becky will work closely with arts photographer Julian Hughes to document the performance. The photographs will be exhibited alongside a diary of the process and mapping of exchanged earth holes at http://beckybowley.blogspot.com/ where details of times, and stops will follow shortly.

www.beckybowley.com

http://www.julianhughesphotography.blogspot.com/

noreply@blogger.com (Harfleet & Jack) — Wed, 30 Apr 2008 20:39:00 +0000

Artranspennine 98 was a massive exhibition which included internationally acclaimed exhibiting artists supported by a £3 million budget. Intended to enrich the understanding of a bureaucratic construct by highlighting the transpennine route as a region, a celebration of a cluster of world class cities built on the successes of the Industrial revolution during the 19th century. Collectively cities in this region such as Liverpool, Manchester, Leeds and Sheffield have the population, wealth and resources to rival London.

The curators of Artranspennine 98, Lewis Biggs and the late Robert Hopper believed that England was seen from the south and argued that until there is “real regionalism” there would not be an art world outside London. They asserted that the curators had as much right as anyone to propose a region and saw that the transpennine trade corridor may be a way to recontextualise this area and potentially help create a regional sense of identity, and consequently encourage a cultural shift toward seeing England from an alternative viewpoint.

Five years after this big budget exhibition originally participating artists Nick Crowe and Ian Rawlinson decided to reinvigorate this concept deeming the ‘brand’ of Artranspennine too significant to “fall into abeyance”. They felt that the “cultural momentum generated by the first Artranspennine exhibition was in danger of disappearing” and the pair went on to stage the second Artranspennine with a fraction of the budget of the original, though keeping very much within the confines of the original Artranspennine framework. The exhibition itself was a legitimate quality show and a gentle biennale parody, the final sentence of their curatorial statement announces that “Someday all biennales will be run this way”.

Ten years since the original Artranspennine, and five years since the second, Nick Crowe and Ian Rawlinson seemed determined to maintain the significance of the Artranspennine brand and approached us to stage Artranspennine 08. The challenge was an extremely daunting and exciting opportunity which, after much deliberation we felt unable to reject. We spent many hours discussing the nature of this particular inherited exhibition and its curatorial concept. We questioned how to explore and reinvigorate Artranspennine and enable it to be seen through a contemporary lense:

A decade later London continues to dominate the cultural landscape; this seems unlikely to change though possibly what has shifted is the drive to alter the south centered view of England. Frequently artists based in the north are bypassing the dominance of London and are heading overseas to exhibit, aided by the explosion of online activity. Quick to inhabit cyber space artists are using websites and free blogs, embracing my-space and Facebook as a vital networking utilities and using on-line resources as a legitimate promotional tool and occasional exhibition space.

Unlike the first Artranspennine our agenda is not to challenge the position of the north as parochial outsider or to promote the Pennine corridor as newly formed location of cooperation but to celebrate the benefits many artists enjoy living outside London as the realities of the internet and affordable airfares continue to place less emphasis on geographical location.

Artranspennine offers an exhibition template, a framework to view the work on show. The artists have the opportunity to challenge the notion of this mythical region or to totally disregard its potential limitations. Our main alteration of the original concept is to disregard a selection process. This democratising tool shows the level at which the ‘brand’ operates, who is engaging with it and what cultural relevance it still has? Artists have chosen to include themselves in Artranspennine 08 revealing the artists opinion of this decade old exhibition concept and its relevance to current practices. This ‘Call to Arms’ shows how artists continue to engage with a ‘brand’ or proposal often with little reward. A lack of fee and potential for failure seems not to dissuade the brave few that willingly place their work in the hands of a sanctioned ‘organisation’.

For Artranspennine 08 our curatorial hand is almost absent, all we have done is enable Artranspennine 08 to happen, we have constructed the infrastructure that will enable the work to be seen along the route whether people travel to see it or not. We have set up a free blog which will act as exhibition hub and audience first port of call, we have set up a face-book group which will facilitate debate and networking opportunities a Photo-bucket account that allows the work to appear as a slide show on the blog and an e-mail address which aids the dissemination of the relevant information to the artists who are participating and the interested audience, and we have taken every effort to promote the exhibition to the public and to on line and printed media.

As artist/curators we see ourselves as facilitators who like all the artists involved it seems find it difficult to turn away from a challenge. As we write this, the work is beginning to pile in to our in-box and we are both excited by the quality of the work and delighted by the generosity of all the artists involved. We are curious to see the potential of viral marketing, to see the reach and breadth these resources allow. We are looking forward to seeing how the exhibition evolves and to discover whether the Artranspennine ‘brand’ was worth resurrecting for the second time and we wonder whether it will return again for Artranspennine13.

Paul Harfleet and Hilary Jack

noreply@blogger.com (Harfleet & Jack) — Tue, 22 Apr 2008 09:31:00 +0000

The first of the Artranspennine exhibitions, ATP98 was held between 23 May and 16 August 1998. Artranspennine98 was an exhibition of public art that combined the method and language of the art museum (the bringing together of artworks to create the ephemeral experience of an exhibition) with the method and language of those commissioning public art in the

(the permanent siting of artworks to create a legacy within the public domain). It occupied a specific territory, bounded by Liverpool to the west and Hull to the east and traversed by the M62 motorway. Artranspennine98 aimed to foster a new sense of pride in this territory (diverse as it is, encompassing Yorkshire and Lancashire) through the proposition that it should be considered a region . It was always intrinsically concerned with its own legacy, both in terms of the number of permanent works of art situated in the public domain and in terms of the precedent for inter-institutional cooperation across the region.

The exhibition involved 64 artists working on 40 projects at 30 sites across the transpennine region and was a joint initiative of the Tate Gallery, Liverpool and the Henry Moore Institute, Leeds. Curators-in-chief Lewis Biggs and the late Robert Hopper worked for some five years to develop the programme and coordinate the involvement of numerous regional institutions.

The intention was to create a unique art exhibition which also enriched the understanding of the area. It was the largest exhibition of its kind ever mounted in the United Kingdom and was in itself the recipient of the largest ever Lottery award allocation for a single exhibition, close to £1.8 million, in addition to approximately £1.2 million of private funding and other sponsorship. The presentation of Artranspennine98 was based on the region, not on the personality of the artists. It articulated a new impetus toward regional association and the role of cultural forums: it understood that England is seen from the south and until there is real regionalism, in the sense of devolution of resources and decision making, there won’t be an art world apart from disparate elements such as the Henry Moore Institute, etc, outside of London. Furthermore, the exhibition asserted that the curators had as much right as anyone to propose a region.

There had been a Transpennine Ltd (a company lobbying politicians at Westminster and Brussels) in existence for some years, supported by business and local authority subscribers ambitious for the region to be accepted as a single entity from a planning point of view. The economic potential has been recognised by the European Union in its designation as “the growth corridor for the 21st Century” - the E20 route. This is the trade corridor that commences in Limerick, spans the North of England and ends in St.Petersberg. The Transpennine Railway built in the 1860’s was the last element in the economic and industrial infrastructure that gave the region its world importance in the 19th Century. The region is one of the most densely populated and urbanised places in the world.

The transpennine regions contains some 42 universities, 456 hospitals, it produces one third of the gross domestic product of the UK, consists of a land mass larger than Belgium and containing some 13 million inhabitants. It is, in short, a small country.

Note: Much, but not all, of the above text is culled from an essay by Robert Hopper and Lewis Biggs in Leaving Tracks, the publication which was produced after Artranspennine98

In 2003 artist/curators Nick Crowe and Ian Rawlinson re-invigorated the ‘brand’ of artranspennine by asking artists to respond to the notion of the artranspennine region, the following appears on the artranspennine 03 website. (http://www.artranspennine.org.uk/)

“More pertinently the desire to stage the second Artranspennine exhibition came from the simple observation that if the ‘brand’ were permitted to fall into abeyance then the cultural momentum generated by the first Artranspennine exhibition was in danger of disappearing. Put simply this gesture is about keeping open the cultural 'Rights of Way'.

That there is a transpennine region at all is something of a bureaucratic invention. Certainly trade has flowed across the Pennines for hundreds of years but to ask people from Hull, Sheffield, Lancaster or Bolton if they belong to a region called transpennine would be to invite at least confusion if not a derisory kick in the teeth. Thus the way in which we have organised this exhibition has, in the first instance, grown out of our appreciation of artists as the primary artistic resource of the region.

We would not expect visitors to the exhibition to see it all, even in three days of concerted traveling. In fact as curators we are unlikely to see all of the projects. We do hope, however, that experiencing even one of the works in the glorious complexity of its specific context will give the viewer a significant encounter with contemporary art, a better understanding of the transpennine region and an appreciation of the true cultural capital it possesses.

Note: Much but not all of the above was culled from Artranspennie03’s website

noreply@blogger.com (Harfleet & Jack) — Thu, 03 Apr 2008 15:39:00 +0000

Below is some coverage from Flux Magazine, Artists are continuing to send us updates and images to our in-box, more artists then ever now have slide shows of their work on this blog so do browse the site!!

Hello and welcome to our news section as you can see below we have been really busy! The show has been going well with some press attention across the region. We were voted website of the week on 24 hour museum and have had over 13,000 hits on the site so far! Lots of the artists taking part have been sending updates and the site is becoming richer and richer as time passes. We will be sending further updates out soon. Thanks for visiting!

Above a slide show with images from the Artranspennine08 launch event at The International 3 on Friday. The launch event and open day generously hosted by International3 enabled artists to promote their work to press and public and to meet and network with other participants. Each artist was invited to pinpoint the location of their work across the region on a map in the gallery. Access to the blog enabled visitors to browse the various works alongside publicity material placed on the Artranspennine08 information desk. Temporarily International3 acted as the physical hub for Artranspennine08 creating a gallery context and a location for celebration, interaction and dialogue

Click on the 'Press' above to access our press coverage so far, we will be uploading press coverage here regularly, If you're a participating artist and secure your own press for Artranspennine08 then let us know and we'll post it on the blog.

The Launch of Artranspennine08 is TONIGHT!... 5-9pm at International3 who are generously hosting the event and we hope to see you there. We will also be at the gallery tomorrow from 12-5pm to meet visitors and talk about the project so if you’re overwhelmed by the activity in Manchester tonight then do come and see us tomorrow!

In case you’re not familiar with International3 here is the address: 8 Fairfield Street, Manchester, M1 3GF. Just opposite Piccadilly Train station and next door to the Bulls Head pub!

In other news we have had over 9000 hits on our blog!

We have 53 posts/activities on the (links to the left) involving over 60 artists! We are delighted with the array of activity that is taking place over the next couple of months and we will endeavour to keep you up date with all the activity so come back and visit the blog as each artists post will evolve and grow as their works are documented!

Thanks for visiting and hope to see you tonight!

News just in! 24 Hour Museum have written a full article on Artranspennine08 click on logo above to go to article!

The weather should be fine and sunny on Friday! for more up do date weather reports click here

The Launch event of Artranspennine will take place this Friday (13th) from 5pm at International 3! There will be no artwork in the gallery though artists will be able to add their contribution to Artranspennine 08 to a map placed in International 3 and will also be able to bring business cards, ephemera and publicity from their ongoing projects. We’re delighted with the amount of artists that have chosen to take part in Artranspennine and we hope to see you on Friday! There are also the degree shows at MMU and a preview at Castlefield Gallery so Friday promises to be a packed evening!

We’ve just added some new artists to our list so do have a look at the links on the right!

We've recently updated the 'frequently asked questions' area (click on picture for link!), with instructions on how to submit! The closing date is not until June 12th, though please forward your submissions as soon as possible to atp08@hotmail.co.uk.

Hello Everyone! and welcome to the ‘news’ section of our fabulous blog! We will endeavour to keep you up to date with all the developments over the next couple of months with Artranspennine 08. Please do join our mailing list or Facebook group if you’d like to get regular updates.

We have decided to extend the submission phase of Artranspennine so as many of you as possible can be included. We will stop taking submissions on Friday June 13^th, the same day as the opening event at International 3. Though to guarantee inclusion on the blog in time it would be best to get it to us as soon as possible.

We're delighted to announce that Flux magazine is our media sponsor for Artranspennine 08, Flux was the media sponsor for Artranspennine 03, so we're pleased to carry on the tradition of working with this Manchester based cultural institution.

International 3 have confirmed that they will host a special Artranspennine08 opening event that will take place on Friday 13th of June. For the Friday evening and Saturday day International 3 will act as a physical hub for the Exhibition, (times to be confirmed soon) Artists will be able to spread the word of thier own projects and learn what other participants have been up to.

For visitors to Manchester the event coincides with the Manchester Metropolitan degree shows, always a great event! International 3 is just opposite Manchester Piccadilly, it would be possible to stop off at International 3 on your way to MMU which is just a short walk across town.

International 3

The Super Lamb Banana was the original work of Japanese-based artist Taro Chiezo. Commissioned for the Art Transpennine Exhibition of 1998, the sculpture was a controversial, but welcome addition to the public art arena in Liverpool. Standing an impressive seventeen feet tall and comprised of concrete and steel, the statue first attracted interest from its original position on the Strand. The unusual artwork was created to warn of the dangers of genetically modified food, whilst being appropriate to the city of Liverpool due to the port's rich history in the trade of lambs and the import of bananas.

This work is being 'reinvigorated' in a competetion organsied by Granada TV as part of Liverpool's Capital of Culture. The public have been asked to add 'decoration' to this work, for more information click here.

noreply@blogger.com (Harfleet & Jack) — Tue, 26 Feb 2008 13:17:00 +0000

Click the logo above to access the article at 24 Hour Museum

noreply@blogger.com (Harfleet & Jack) — Tue, 26 Feb 2008 12:42:00 +0000

Anton Harding plans to make his folio of prints available for hire at a negotiated hourly rate. Proceeds will fund the development of grander forms of distribution. Interested parties can arrange a meeting to view the portfolio by email hardinganton@hotmail.com or phone - 01484 349194.

www.myspace.com/photostudy

noreply@blogger.com (Harfleet & Jack) — Mon, 25 Feb 2008 11:55:00 +0000

During Artsranspennine08 Lee Machell will investigate the potential for changing the architectural nature of space by a minimal mechanical intervention. This will be achieved through the process of performative drawing; the ignition of a horizontal line of matches.

The location for this drawing is the disused HGV garage situated on Hulme St, Salford, M5 4PF.
This building was chosen for its atmosphere of decay and its historic relevance to the industrial flow of commerce through the Pennines

The duration of the drawing will span from the 23rd of July to the 31st of July.

Leemachell@hotmail.co.uk

www.leemachell.co.uk

noreply@blogger.com (Harfleet & Jack) — Sun, 24 Feb 2008 15:01:00 +0000

Mark Kennard will create a new series of drawings in response to Artranspennine 08. A publication will be produced at the end of the project, acting in part as an unofficial catalogue of the event.

noreply@blogger.com (Harfleet & Jack) — Sat, 23 Feb 2008 11:04:00 +0000

Site #001

London Road Station (1958)
Built 1842 by London & North Western Railway.
Pulled down and replaced by Piccadilly Station in the early 1960’s.

More details to follow soon..

noreply@blogger.com (Harfleet & Jack) — Fri, 22 Feb 2008 10:52:00 +0000

The Transpennine Memorabilia Collection

Date: Friday 15th August 2008, 6-9pm

Venue: 29 Rockdove Avenue, Hulme, Manchester, M15 5EH

For Artranspennine08, Kwong Lee visited charity and junk shops in the Transpennine region collecting discarded memorabilia that represents the region’s villages, towns or cities. These objects, formerly cherished by the original purchasers as symbols of connection, identity and pride, will once again take the limelight in a one-night only display in a residential living room.

The collection is a snapshot of local interests that contrasts with the generalisation that aspirations to internationalism bring. While it may be hard to distinguish places by their contemporary architecture or high street shops, the images selected to represent their locations are often historical buildings or structures that, over time, have varying significance and reverence. These popular images are channelled through objects that have a function within both local pride and tourism.

The 25 or so collected objects are reproductions of copper or steel etchings, watercolours, pencil or colour pencil drawings, hand-coloured steel engravings, embroideries and photographs. They are mostly manufactured on paper, metal plates, ceramic plates, thimbles, jigsaws and metal spoons. A few appear to be unique and hand-crafted.

Visitors are welcome to bring their own souvenirs and memorabilia from the Transpennine region to donate to the collection. After the one night display the collection will be available for loan free of charge, for display in a home, workplace or public space.

The collection includes images of:

Bold Hotel, Southport

St. Oswalds, Lower Peover

Leeds Town Hall

York Minster

Church of St Mary and All Saints (‘Crooked Spire’), Chesterfield

Selby Abbey

The Shambles, York

Chester Cathedral

Bridge Street, Chester

Eastgate, Chester

Six Chimneys, Kirkgate, Wakefield

Jubilee Clock, Market Square, Otley

Manchester Cathedral

The Royal Exchange, Manchester

The Old Transporter Bridge, Widnes

Chorley Old Hall, Alderley Edge

The Parsonage, Haworth

Lymm Dam

noreply@blogger.com (Harfleet & Jack) — Thu, 21 Feb 2008 17:37:00 +0000

Nikola Irmer will be sending hand-made postcards from Berlin to randomly selected addresses across the transpennine route.

www.nikolairmer.com

noreply@blogger.com (Harfleet & Jack) — Wed, 20 Feb 2008 17:07:00 +0000

http://www.bryonymoore.blogspot.com/

noreply@blogger.com (Harfleet & Jack) — Wed, 20 Feb 2008 00:25:00 +0000

'Half way Hole'

Maeve Rendle will be filling holes that exist in the road/ floor between her studio and her intended destinations along the Art Transpennine Trail. The holes found will be filled with parts of things belonging to the things she has ingested throughout the course of a day spent working in the studio, or those being ingested at the time of departure. Each hole however successfully filled will be photographed and become part of a sequence of photographs mapping and connecting place, time, routine and habit. Depending on the repetition of frequented destinations away from the studio, some holes in parts of pathways may become halfway whole once more.

noreply@blogger.com (Harfleet & Jack) — Tue, 19 Feb 2008 00:07:00 +0000

Quintessence

Gaps, in-between-spaces, holes and crevices manifested.

Complicated bonding with at-ease support.

Mutual connection of respect.

Marriage/Lean on me.

We are all standing in for something.

"Walking along the Pennine walk I am consuming. Enveloped in time and all things forgotten it has become an object of desire. The liaison is beginning, if I can only get my hands on it.

It begins with a lust, the need for that raw material. I had the most utter fulfilment when I found the first piece lying there, forsaken and unwanted.

A love of the abhorrent, what an antonym!

Optical outlines of aphasia, the objects were alluding to their lost ability to articulate ideas through spoken/written language, invoking dialogue and communicating stillness, they were functioning at last.

No-one knew where they had been found, they didn’t know their past or their previous condemnations, all that is important was what they are doing now; shifting into stylised and mannered sculptures imposing questions with no room for doubt. They had become an object of art and I like the viewer: simply a bystander.

Will you see them? Will they see you?....."

noreply@blogger.com (Harfleet & Jack) — Sun, 17 Feb 2008 23:58:00 +0000

'The Glorious Twelfth'

Dave Griffiths will lead an astronomical field trip to the Dark Peak on 12
August, from dusk till dawn. Together we will observe and record the
celebrated Perseid meteor shower which climaxes in the northern hemisphere
around this date. You may bring a looking-glass of choice, or survey the
heavens with your naked eye. Our horizontal scrutiny may result in
convivial connection with one another and the firmament, and awareness of
England's dwindling dark-sky areas. If you are interested in joining this
rustic ramble, please get in touch - exact itinerary and location to be
confirmed.

griff@davegriffiths.info

noreply@blogger.com (Harfleet & Jack) — Sat, 16 Feb 2008 16:10:00 +0000

www.tmachin.co.uk

http://www.tmachin.co.uk/lostdog/

noreply@blogger.com (Harfleet & Jack) — Fri, 15 Feb 2008 16:01:00 +0000

"Attici Amoris Ergo" Artist Yuen Fong Ling will lead a workshop/discussion/performance twisting the traditional life class format to reconfigure the artist's model. Responding to the National Heritage site Rufford Old Hall in Ormskirk, Lancashire, the artist as the model will be working with members of LAN (Lancashire Artists Network) in the Great Hall where it is believed that William Shakespeare had once performed. By re-staging the life model set-up for Nicolas Hilliard's "Portrait of an Unknown Man Clasping a Hand from a Cloud" 1588, also believed to be connected with the young Shakespeare, the event aims to transpose the mythology of the portrait, through the artist as model, to speculate upon the creation of the myth.

Rufford Old Hall, 28th June 2008, 11am-3pm, standard National Trust Entrance Fees apply, to participate member of the LAN need to book by email to: mail@celia-cross.co.uk. This event is supported by MAP.

http://www.nationaltrust.org.uk/main/w-vn/w-visits/w-findaplace/w-ruffordoldhall
http://www.vam.ac.uk/images/image/11773-popup.html
http://www.lanarts.com/
http://yuenfongling.blogspot.com/
http://romanbricks.blogspot.com/

noreply@blogger.com (Harfleet & Jack) — Thu, 14 Feb 2008 12:43:00 +0000

Waist High Passimeter

Artranspennine 08 sees the beginning of a nation wide project, by the collaborative team Jones2, which celebrates and reveres a variety of unsung crafts from across the UK.

Throughout July the duo will be travelling sections of the Pennine Way, and its surrounding areas, documenting the mechanisms used to close and lock gates along pupil bridal ways and footpaths. Gate mechanisms will be selected on their creativity and use of materials, their location will be recorded and where possible their province will be sought. Medals of gold, silver and silver guilt will be awarded to the most innovative of mechanisms, displayed on a plaque and stand planted aside each gate.

To follow the progress of the project visit

www.jonessquare.co.uk

You can keep an eye on the progress of this project if you follow this link as well.

noreply@blogger.com (Harfleet & Jack) — Wed, 13 Feb 2008 12:25:00 +0000

The Anniversary Tea Party

In 1844 a grocery shop opened for the first time in Toad Lane, Rochdale. It was very small and sparsely fitted out, but over a short period of time transformed from humble beginnings to the Co-op movement. With a tiny capital, twenty-eight impoverished workmen founded the Rochdale Society of Equitable Pioneers. From bitter experience the Pioneers realised the shop traders, who were mostly the factory owners, forced a trade of inferior goods sold at inflated prices.

The selling of adulterated food was common – sand was mixed with sugar, chalk with flour, plaster of Paris added to bread and perishables passed off as edible. The shop’s first stock order consisted of; “ Butter 1 quarter 22lbs; Sugar 2 quarters; Flour 3 sacks; Oatmeal 1 sack and 2 dozen Candles.” Most of it was sold on the first night. By 1850 the Rochdale store had increased its members to 600 and by 1859 the number of members had risen to 2,703. By now the majority of ruthless shopkeepers were clearly threatened and handbills were distributed with the words “Will the shopkeepers still go on aiding the men who are fostering the system which is destined at no distant period to snatch their daily bread from their very jaws?”

As the store prospered the directors decided to celebrate with an Anniversary Tea Party. The men paid £4 for a ticket and the women £3 a ticket. So committed to the cause of improving the quality of life for its members and community, the Pioneers focused on issues beyond business - education being top of their agenda. In 1845 the directors decided “the members who did not attend the annual tea party be fined or charged the amount”.

Lisa Penny muses over these historical facts through a montage of retro adverts and found moving images, and by placing the sampled track of Michael Jackson’s ‘Beat It’, playfully suggests the lyrics resonate with the spirit and great struggle of the Rochdale Pioneers.

noreply@blogger.com (Harfleet & Jack) — Tue, 12 Feb 2008 13:43:00 +0000

Artranspennine08

The Durds will be performing at Islington Mill on Friday from 8pm as part of Artranspennine08

They will be supported by Mark Pilkington/ Anotherthoughtuniverse

(very smart electronic/ electroacoustic music, check out www.thought-universe.co.uk)

Watch this space for further news.

THE DURDS are Electronic folk/ research-based pop with elements of visual art, experimental sound and performance art.

6 songs played electronically with live vocals plus additional sound and music between tracks.

Dan, sits on a chair inside a wooden box, in the dark, singing. An infra-red camera relays images of him to a monitor on top. He cannot see or interact with band or audience, though they can see him.

Last time around (at the Arthouse, for the Chorlton Arts Festival) Fliss and Janet ironed and pegged out pegged out bacon dressed as charladies. This time they’ll be wearing negligees and deep frying odd socks.

The Durds (AKA The Duds) have a CD album out on Orange County, California's Banazan Records.

"If I said there were a million ideas on this record I'd be underestimating by some margin...The Duds take a couple of hundred of those ideas and corral them into one coherent concept, one glorious whole, one 3-minute tune, one minor masterpiece. And then they do it again."- Robots and Electronic Brains zine

There are also (under various names) 3 7" singles and a 12" EP on Eeriephone Records.

“Socially leprous dolly-disco... a freshly chilling sphere of wholesale evil.”- Butterfly Crush zine

Daniel Cray- vocals Felicity Shillingford- visuals Janet Griffiths- visuals

www.myspace.com/thedurds www.myspace.com/flissuk www.myspace.com/janetgriffiths

www.myspace.com/researchbasedpop www.banazan.com

Phone: 07763 751 453 (Dan) Email: daniel_cray@yahoo.com

noreply@blogger.com (Harfleet & Jack) — Mon, 11 Feb 2008 13:26:00 +0000

Birdlife

Situated just south of the Trans Pennine Trail, right at the heart of the Dearne Valley is the Old Moor RSPB reserve. Wearing the bird spotting costume, allows you to totally immerse yourself in nature, as well as to tap into the primitive practice of anthropopsychism - projecting a human quality onto an animal which in turn is then projected back onto themselves. By internally representing the object of your vision, a resemblance or correspondence can occur between the object of your eye and your senses.

Get closer to the wonderful world of birdlife; here are some of the birds known to the area...

noreply@blogger.com (Harfleet & Jack) — Sun, 10 Feb 2008 11:13:00 +0000

'Hall of Memory'

The Hall of Memory - 1974-2008.
A work in twelve parts.

Left Panel
Eva Clarkson - died 14th March 1956
William Clarkson - died 20th May 1969

Centre Panel
Fred Beddows - died 21st November 1961
Elsie Beddows - died 8th September 1992

Right Panel
James Nuttall - died 3rd May 1956
Beatrice Nuttall - died 2nd January 1981

Southern Cemetery Crematorium.
Hall of Memory
Barlow Moor Road
Chorlton-cum-Hardy
Manchester
M21 7GL

Opening times:
9am-4.30pm

Stagecoach Buses from Manchester central.
111: Manchester Piccadilly - Southern Cemetery, every 12 mins.
46/47: Manchester Albert Sq - Southern Cemetery, every 30 mins.