Photo: Katie Paterson, 2009
Take a look at Katie Paterson’s latest work, Campo del Cielo, Field of the Sky.
To find out more about Katie Paterson, click
here
.
Read up on Katie’s work with the Wellcome collection Art in Global Health website
The Villa Müller in Prague was designed by Adolf Loos for Milada and Frantisek Müller, and is now considered one of the foremost examples of domestic Modernist architecture. The villa uses Loos’ original spatial conception, the Raumplan , to create a spiraling of rooms, from the public to the private, drawing upon both modern Functionalism and a more classical English style.
For all their obvious differences, the buildings that make up Kettle’s Yard share with Villa Müller certain characteristics: the visual joining of different levels; a separation of gendered spaces; perhaps, more than anything else, an attempt to create a domesticated Modernism. Both houses are exceptional examples of such an endeavor.
In an attempt to bring to light the affinities between these two places, a female cone of a Pinus nigra was taken from the garden of the Villa Müller in the spring of 2012, to be placed in the house of Kettle’s Yard. The pine-cone’s placement was suggested by the year of the Villa Müller’s completion — 1930 — and so it can now be found beneath an appropriate nature morte painting, Christopher Wood’s Flowers , which was completed in the same year.
Jeremy Millar
–
Find out more about the Villa Muller here
View from St. Peter's church of Kettle's Yard, Lorna Macintyre, 2012
Check out the digital sketchbook Lorna has begun, to document her working process and thoughts in connection with Kettle’s Yard. She will be adding to this regularly over the coming months. You can find out more about our associate artist Lorna Macintyre here .
Lorna will have a new show, Nocturne , on in St Peter’s Church (next to Kettle’s Yard) from 1 Sept – 23 Sept.
Matthew Darbyshire, selected works in his studio, 2012
Matthew Darbyshire has just sent us photos of new works just finished in his studio. They’re waiting to be collected for the show at Kettle’s Yard which opens on Saturday.
Take a look at a review of the show from the Frieze Magazine blog .
Check out GROUPMOBILE, Lorna Macintyre’s digital sketchbook.
Biography
Lorna Macintyre (1977, Glasgow) uses a diverse range of materials and techniques in her work, from ferric ferricyanide crystals or marine coral to sun and moonlight. Her photographs, cyanotypes and installations also draw on a wide range of references, from psychology, surrealism, symbolism and literature, and she often takes literary sources as a departure point. Macintyre’s work could be described as giving concrete form to literary images; previous works have explored the work of authors as diverse as TS Eliot and Apollinaire, from William Carlos Williams, Fernando Pessoa and Jorge Luis Borges to Virginia Woolf. Her intuitive approach combines personal and collective iconography, exploring formal associations or the personification of objects, and allows both chance and design to inform the creative process. Macintyre is currently working on the second part of a collaborative project with Anthea Hamilton and Rallou Panagiotou, entitled One Person’s Materialism Is Another Person’s Romanticism (a title borrowed from the writings of the American sculptor Robert Smithson), to be staged in Glasgow as part of Glasgow International 2012.
Macintyre has taken part in group exhibitions at the Gallery of Modern Art, Glasgow (2011), Museum Ludwig, Cologne, the Austrian Cultural Forum, New York and Talbot Rice Gallery, Edinburgh (all 2010) and Akureyrar Art Museum, Iceland (2007). Recent solo exhibitions include ‘Granite and Rainbow’ at Wiels, Brussels, and at Kunsthaus Baselland, Basel (2010), Nought to Sixty at the Institute of Contemporary Art, London (2008). She has also undertaken artists’ residencies at CCA Andratx, Mallorca (2010), Dumbreck Marsh Art Project (2005) and Cultural Centre De Zeyp, Brussels (2000). She currently lives and works in Glasgow.
Lorna’s Gallery: Mary Mary Gallery
Frieze Magazine blog
Untitled (Self-Portraits), 2008, Two Colour Photographs
Some visitors to Kettle’s Yard may recognize Jeremy’s name as he curated the John Cage exhibition in 2010. More information about that show here.
Jeremy was also involved in this year’s event at Kettle’s Yard for Museums at Night on 17 May, 2012.
Biography
Jeremy Millar (b. 1970, Coventry) changed the landscape of contemporary artistic practice when he organized an exhibition entitled The Institute of Cultural Anxiety at the Institute of Contemporary Art in 1994. Turning curatorial conventions on their heads, he brought together such disparate exhibits as works by Hieronymous Bosch and Jeff Koons and the helmet worn by Donald Campbell on his ill-fated attempt to break the Water Speed Record. In taking on the spaces and conventions of display, he claimed new territory for artists, and inaugurated a new form of artistic practice: curating as art.
The Institute of Cultural Anxiety also set out certain themes and ideas that he has continued to explore since then, through films, photographs, sculpture and installations, writing and exhibitions: the assemblage-like nature of collections; the making of exhibition and other forms of display; the relationship between art and non-art objects; and the creation of imaginary conceits with which to structure a work.
Millar is currently working with the Museum of Barnstaple and North Devon, composer Sophie Sirota, and local young people to create a theatrical event and film work exploring the people, ideas and practices behind Barnstaple’s Literary and Scientific Institute.
Millar’s writings on art have been published widely. He teaches regularly at the Royal College of Art and is a member of the editorial board of the journal Afterall . He has been the recipient of fellowships from Nesta, the Arts Foundation, and from 2007 until 2010 was AHRC Research Fellow in the Creative and Performing Arts at the Ruskin School of Drawing and Fine Art, University of Oxford. Millar has exhibited widely in the UK and abroad including Tramway, Glasgow; NGCA, Sunderland; CCA, Vilnius; Rooseum, Malmö and Bloomberg Space, London. A permanent public work was installed in Folkestone in 2006. A monograph on his work, Zugzwang (almost complete), with an essay by Brian Dillon, was published in 2006. He is based in Whitstable, Kent.
Read more about Jeremy’s work:
Frieze Magazine blog
Guardian
The Falmouth Convention
Frieze
The Galswegian
And the latest piece he wrote for the Guardian
Katie Paterson Artist in her studio Photo © MJC, 2009
“I am an artist often working with scientists in my exploration of time and the evolution of nature and the cosmos by way of moonlight, melting glaciers, and dead stars. I am like a magpie, collecting and piecing together ideas from a multitude of places. The imagination always plays a key role.” Katie Paterson
Katie’s conceptual projects make use of sophisticated technologies and specialist expertise to stage intimate, poetic and philosophical engagements between people and their natural environment. While in residence, she will be exploring genomics research. The outcomes of her residency will include an exhibition at Kettle’s Yard in Spring 2013.
Katie Paterson will begin her residency in July 2012.
Scottish artist Katie Paterson (born 1981) is an emerging talent in the world of art. Her conceptual projects make use of sophisticated technologies and specialist expertise to stage intimate, poetic and philosophical engagements between people and their natural environment. Since graduating from the Slade School of Art in 2007 she has gone on to exhibit internationally, from London to New York, Berlin to Seoul, and her works have been included in major group shows at Tate in London, and Vienna’s Kunsthalle. Her artworks are represented in collections such as the Guggenheim New York and SNGMA Edinburgh.
Find out more about Katie from
Katie’s site
You can watch the artist’s ’100 Billion Suns’ video below
from on .
Read up on Katie’s work with the Wellcome collection Art in Global Health website
Biography
Matthew Darbyshire (1977, Cambridge) studied at the Slade under the acclaimed British sculptor Phyllida Barlow, alongside other rising British talents Spartacus Chetwynd and Pablo Bronstein. Darbyshire is best known for installations that draw heavily on the aesthetic language of today’s commodity culture and the aspirational lifestyles it promotes. He is interested in the fact that bright CMYK dots are the logo for an estate agent and a cinema, as well as a NHS walk-in centre; that Arne Jacobsen egg chairs can be found in London’s Zetter boutique hotel as well as in recently rebranded McDonald’s restaurants. He explores design as a barometer of social change within the complex visual environment of contemporary Britain.
Darbyshire’s work has been included in recent exhibitions at the Miro Foundation in Barcelona, Turner Contemporary in Margate, (both 2011). He was included in The British Art Show 7 and Newspeak at the Saatchi Gallery (both London, 2010), and Altermodern: the Tate Triennial at Tate Britain (London, 2009). Darbyshire has also had a string of solo exhibitions in London in recent years: at Gasworks and as part of the Nought to Sixty programme at the Institute of Contemporary Art (both 2008), Hayward Gallery Project Space (2009) and Frieze Projects (2010). His largest public exhibition to date, T Rooms opened in January 2012 at Tramway in Glasgow.
In 2010-11, Darbyshire was the Stanley Picker Fellow in Fine Art at Kingston University, London. He teaches regularly at the Ruskin School of Art, Oxford and is based in Rochester, Kent.
Video from the Guardian:
You can read about our Curator’s, Lizzie Fisher, trip to see Matthew Darbyshire’s studio here .
Read a review about the show on the Frieze Magazine blog .
Biography
Drawing particularly on his own experience of postcommunist life, Matei Bejenaru (b. 1963, Suceava, Romania) is interested in how historical, socio-political and cultural contexts shape everyday life and dictate the conditions of artistic practice. His poignant and poetic work often brings different artistic languages together; it can take the form of a travel guide to the UK for illegal Romanian immigrants (Travelling Guide, 2005-2007) or a modernist interpretation of choir music. Songs for a Better Future (developed in collaboration with composer Will Dutta and premiered at the Drawing Room and Tate Modern in London in 2010) draws on musical themes from proletarian choir songs to electronic music of the 1970s.
Bejenaru works and exhibits internationally, including recent projects at the Tirana Biennial (2003), Thyssen-Bornemisza Contemporary Art, Vienna (2006), Tate Modern, London (2007), the Taipei Biennial 2 (2008), The Drawing Room, London (2010), Glasgow School of Art and The Western Front, Vancouver (both 2011). He is based in Iasi, Romania, where he established the Periferic Biennial (http://www.periferic.org/) in 1997, initially a performance festival and now an international art event. He is also a founding member of the Vector Association, which promotes contemporary art in local contexts.
Bejenaru teaches photography and video art at the ‘George Enescu’ Art University, Iasi, and is currently Visiting Professor in visual arts at the University of Quebec in Montreal, Canada.
You can watch the artist discuss his travel guide at Tate Modern here .
View more of Matei’s work:
Frieze Magazine blog
Pilot London
Networked Cultures
Matei Bejenaru, Alexandru cel Bun, 1994-2003
: