Pavilion
Sophie Yetton + Gabriel Birch
films by Mary Hurrell, Helene Kazan, Linda Persson, Thomas Lock, Mirza&Butler and Richard Whitby
2- 10 March 2013
Open Fri-Sun, 12 – 5 pm
Private View: 1 March, 6-9pm
Pavilion is Sophie Yetton & Gabriel Birch. Pavilion’s work re-frames the exhibition space by investigating the possible duality of sculptural object and gallery furniture. They create performative installations which become vehicles for the interaction between audiences and other artists’ work.
Auditorium is an exhibition that explores the idea of screen as object through a single sculpture which poses as a projection room for artists’ films. It challenges the viewer to occupy the structure and invites the audience as a whole to determine the object’s functional and aesthetic potential.
Built from timber and thin sheet material, the scale is both formally sculptural and also suggestive of lightweight architecture. The timber structure is intricate but anarchic, providing an elaborate footing for a shell-like platform. The screen stretches out across the timber, shattering and unfolding into a broken ground to offer a form of seating from which to view the films.
Auditorium presents films by:
Mary Hurrell works across performance, film and sculpture to explore choreography and composition of body, space and object. Her work investigates forms of non-verbal language, and relationships between physical and psychological experience.
Hurrell has made a new work for Auditorium, Tilt your head toward me (Remixed performance works), 2012, which incorporates recent performance footage, creating an altered interpretation of earlier works. This piece looks at the translation of performance to film and uses this dislocation to form a new composition.
Helene Kazan is a London-based multidisciplinary artist, who uses research and archival material to generate moving image and mixed media installations. Currently she is an MA student at the Centre for Research Architecture at Goldsmiths University, London.
Living on the Edge (2013) is a stop-frame animation entirely generated from a single archive photograph of a flooded house in London in 1989. It recreates the event and its effects on the architecture of the home, as a way of punctuating a turning point in cultural and political attitudes towards the environment, re-placing it within a contemporary context and a continued mobilised state of fear.
View film: Living the Edge
Thomas Lock is a London-based artist working with video and sound. Earlier works explore derelict buildings through a disembodied camera creating uncanny immersive video and sound environments. Lock's more recent works are low-fi video collages that break down the materiality of video and sound.
Body Dysfunctional (2009) explores the architectural space of an abandoned children's hospital in East London. The camera slowly moves throughout the building recreating the experience of a disembodied viewer.
Karen Mirza & Brad Butler have been making films for over 15 years including works that interrogate the illusionistic space of cinema, the recording and representation of space and the politics of the viewing space of film itself.
In The Space Between the film image is constantly fluctuating between object representation and surface abstraction. Repetition does not bring clarity nor is it meant to. No attempt is made to deny either the subjectivity of film or its representational mode; rather the viewer works through and against the film with the filmmakers; so to speak.
Linda Persson's practice stems from a metaphysical ground for artistic unfolding, exploring transformative spatiality through individual and collaborative engagements that influence aesthetics and discourse equally. Through the structure and syntax of filmic representation, the work aims to unsettle perception by activating physical bodies.
Encounter (2007): A lone figure performs undefined movements on a buoyant platform in a lake which was formerly industrial wasteland. His embodiment challenges the set perimeters navigated by historical events.
Richard Whitby sees video as a container in which different materials and tropes can be brought into proximity. These materials can come from historical research, documentary-style shoots and/or improvised performances with handmade props.
Palatul (2011) includes footage of inner-city stray dogs, and a narrated fable of an architect building a palace for a communist dictator.
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