Went to ‘As Far As We Got / So Far, So Good’ previews. These shows were for recently graduated artists fomr the North West. Good to see both the International 3 and Malgras Naudet exhibition spaces for the first time.
>> A graduate show across two spaces
AS FAR AS WE GOT curated by TheInternational3 www.international3.com
Featuring. Ali gunn / Rebecca Kevill / Lucy McCall / Robyn McGowan / Rachel Pursglove / Rafal Topolewski / Mariana Torres
SO FAR, SO GOOD curated by HCollett/MTorres www.malgrasnaudet.tumblr.com
Featuring. Jan Agulto / Topical Jungle / Cerlin Karunaratne / Daniel McMillan / Higgins & Renshaw / Naomi Tattum / Martin Walsh / Lucas E Wilson
Rafal Topolewski paintings stood out for me. He explains on his website:
In the 21st century we witness an enormous exchange of information, we are bombarded with more than we can receive and analyze. In the age of highly developed capitalism: computers, mobile phones, movies and digital photography have rapidly changed the way we observe and understand the world. More than ever before, human beings have the ability to be an observer of an observer, to invigilate surrounding environment trough mechanical devices, which became powerful, uncontrolled, didactic instruments. However this informative potential very often becomes deconstructive. It functions more to pervert human perception rather than creatively educating it, it produces an inherent unnatural world replacing a natural explorative process with artificial transformation provided by mechanical devices. The main role of creation in the perception of a new generation is played by digital photography and the Internet. Pictorial information is easily taken and submitted to the virtual world, it transforms the Internet into a highly uncontrolled and potentially deconstructive new language. This 21st century access to the pictorial world creates a great challenge for the traditional medium of painting, questioning its role in the modern world.
Also I am becoming more and more of a follower (fan?) of Higgins & Renshaw. Since their final year degree show at MMU (an art-curatorial exploration of the institutional complexities of the location, removal and remaining frame of a Burne-Jones Tapestry) they have continued to explore the boundaries of artistic creation and curation with an intelligent blend of seriousness and humour. At Malgras Naudet the curatorial interventions included the replacement of decayed ceiling plaster onto the floor, removal and replacement of one door to another doorframe to present two doors on a single doorframe, and the relocation and replication of (Malgras Naudet artist/director) Magnus Quaife’s studio furniture into to exhibition space.