25 November 2012

6-8pm – David Price and Andy Roche will present a cycle of collaborative 16mm films shown in Chicago in 2010, Bardic Visions from Britain and the Americas. In addition they will be presenting a new work made for the occasion.

Into the Field

Into the Field is a solo exhibition by David Price that includes the works of others, namely his fellow-artists G.Leddington and Andy Roche, and the writers Koen Sels and Anna Tebelius.

His work focuses on the gaps between things: between an artwork and its representation in another medium, and in fiction. The translation from one idiom to another also signals an exploration of different contexts in which to situate the artwork. His aim is not to make arresting or beautiful images through prints, sculptures or film; instead the work situates unremarkable things in a new light: a smudge left by a stick of liquorice, a sentence written in coffee grains held in cast glass, or perhaps a Super-8 film panning across a range of screen prints.

An eponymous publication accompanies the exhibition, as does a series of events featuring its participants and others still.

The Half-shut Door: Artists’ Soundtracks

The exhibition The Half-Shut Door: Artist’s Soundtracks examines the relationship between sound and vision in Film and presents four sound scores by internationally renowned artists. These scores are usually presented as the sonic part of their films and videos, yet, on this occasion, they are ‘performed’ separately. The resulting works can be seen as being made up of two components, the audio, which is installed in the gallery, and the implied visual, which is alluded to, but remains absent. The space, wrapped in heavy black drapes, is thus devoid of images and is turned from a visual space into an immersive listening environment.

Presented works:

Stefan Brüggemann, A Production of Nothing (Part 1), 2006.
10 minutes 12 seconds.

Dryden Goodwin, Flight, 2006.
7 minutes 33 seconds.

Joao Onofre, Catriona Shaw sings Baldessari sings LeWitt re-edit Like a Virgin, Extended version, 2003.
1 minute 40 seconds.

Hans Op de Beeck, Sea of Tranquillity,2010.
29 minutes 40 seconds.

The Mulberry Tree Press

A multiplatform exhibition including:

Antepress, Ruth Beale, Becky Beasley, Sean Borodale, Eleanor Vonne Brown, Roderick Buchanan, Ben Cain, Richard Dyer, Doug Fishbone, Hollis Frampton, Alex Frost, Katie Guggenheim, Emma Hart, Mike Harte, Gary Hill, George Henry Longly, Maria Marshall, Anthony McCall, Jeremy Millar, St Pierre and Miquelon, Gary O’Connor, Kate Owen, George Quasha, Martha Rosler, Jamie Shovlin, John Smith, Matthew Smith, Andrew Tinsdall.

Guest Curators: Gilly Fox, Laura Mclean Ferris, Fleur van Muiswinkel.


The multi-platform exhibition with over 30 artists bears the name of a fictitious publishing house, the Mulberry Tree Press, named after the last remaining tree from a garden designed by the diarist John Evelyn in Deptford.

It reflects on the relationship between space, object and text, how they exist one in the other, side-by-side, and separate. In particular, it is concerned with the translation or transcription that takes place in order to facilitate this passage from one place to another, from the studio and the gallery to the printed page.

With this in mind, the gallery is turned into a production office, a machine that generates and disseminates content on a daily basis. The space is divided into a number of different zones, typified by simple display devices. Pinboards, shelves, tables and glass cabinets are organised by different curators, while a monitor shows a curated programme of artists’ films. A number of live performances complement the exhibition.

Following the conclusion of the project, the final exhibit, the exhibition’s publication is launched.

Cabinets #1

A football bladder, a sheet of polythene, a lump of styrofoam, cardboard packing, and an upturned stool: these are materials variously employed by Ian Kiaer in his installations. Moreover these might be thought of as the visible signs of a world we can physically grasp, but which remains essentially elusive.

Kiaer describes the importance of the fragment as a means of referencing something beyond the actual, in short, the thing or idea that remains absent. His endeavour to conjure up an elsewhere through paintings by Pieter Bruegel or architectonic models of BrunoTaut or Frederick Kiesler cannot, or indeed, must not, succeed; instead, his work shows clearly that these delicately displayed fragments or shreds cannot replace- or even stand in for- the whole. The resulting aura of melancholia stems from the explicit failure to complete the project, to bring a place or earlier image to life in its original state.