Liminality (Temporal Impressions)
Private View: 4 July 2019, 6.30-9pm
Exhibition dates: 04 – 27 July 2019
Opening hours: Tuesday – Saturday, 1-6pm
Sunday by appointment (please ring office for entry)
Curated by Sean McLusky, Kevin Quigley & Bjorn Hatleskog
SOUND / MUSIC PERFORMANCE / INSTALATION ;
BRUCE MC CLURE
CALUM F. KERR
ROBERT MC GLONE
LIMINALITY [TEMPORAL IMPRESSIONS] The fourth in the series of exhibitions featuring cross-disciplinary works – featuring performance, sound architecture, sculptural installations, experimental music and film exploring ideas around time, consciousness and modes of perceived reality.
LIMINALITY is a process in ritual transition; the passage or middle stage of the ‘rite de passage’ where an individual or a collective makes a passage through a transitional phase in their lives.
The passage can be a trial or performance or an actual passage. The participant would go through a ‘threshold’ that marks the boundary between two other phases of transition – Separation on one side and Re-aggregation on the other –
LIMINALITY [TEMPORAL IMPRESSIONS] explores this transitional phase, moving towards a moment of suspended reality and altered perceptions.
Featuring commissioned performances/installation works to headline in the main gallery space –
LISA BUSBY / ROSE DAGUL
Details below of all new commissioned works and all exhibiting artists and performers.
‘SHOULD A GARDENER MANIFEST, OBSERVE WHAT GIFTS THE BEING BESTOWS’
Should a Gardener manifest, observe what gifts the being bestows. Though we do not understand them, they are our guides to this realm.
Sculpture is electronic music producer, Dan Hayhurst, and visual artist, Reuben Sutherland, on a freewheeling excursion through temporary forms of digital composition, analogue electronics, comic strips, sci-fi, pop, psychedelia and multisensory perception.
Their A/V performances play with temporal and genre signifiers, transitory possibilities and free association. Sonic artefacts found at the junk strata are manipulated through digital sampling and analogue tape looping. Timestretch until the portal appears. The pre-cinema mechanism of the zoetrope – perceptual slices arranged to convey motion – is updated in a physical-digital hybrid of video camera, turntable and a library of rotary patterns. Projecting geometric designs and absurdist visions in hallucinatory loops and jumps.
For LIMINALITY [TEMPORAL IMPRESSIONS] Sculpture propose to project you into a zone part garden, library, filing system and memory. Occupied by geodesic blossom and visiting organic entities tending recombinant physical and audible arrangements. Kinetic, sonic and performative elements will provide temporary conditions amenable to growth.
‘THE TIME FACTORY’
Every night is the same. I walk into the room and punch my number into the machine. Having clocked on I begin my shift of allotted time. It has been this way since forever.
It is dead of night here and the men are sleeping everywhere as if in a spell.
Bodies are slumped over every available surface, on dirty benches, grime ingrained tables, squalid floors, squeezed between the old rusting machinery bodies lie, slumped inert and static.
Something however has changed. Tonight I will escape through the hole that has been made in the wall and take leave of the sleeping bodies the constricting factory the allotted hours and go in search of another time, a different space, a new freedom.
The Time Factory is four separate impressions of time told through visuals word and sound by Field Notes: Inga Tillere: Visuals. Johny Brown: Text with Richard Strange as Stationmaster and Maybury as Soundscapist.
‘GREY SEA OVER A COLD SKY’
Grey Sea Over A Cold Sky is a durational improvised piece involving multiple cymbal players as well as a large group of other instrumentalists. Its texture is communicated by a pictorial score, which is expressly not a graphic score to be read. Its form is communicated by some simple and only partially determinate text instructions:
Cymbal players move slowly from rolls with soft mallets, to free playing with sticks, to a simple pulse with soft mallets again.
Other instrumentalists (high-pitched instruments) play small, fast sounds for part 1; long, sustained notes for part 2; then revert back to small, fast sounds again.
Grey Sea Over A Cold Sky has previously been 20 or 25 minutes long, and was released on tape in May 2019 on The Lumen Lake, as part of a split release with Norwegian improvising group Wendra Hill For. At Gallery 46 a specially invited group will play the piece for more than four hours, for as
Long as the context allows. A recording of this performance will then also be re-worked into a sound piece to remain installed in the gallery.
John Harries is an improvising drummer and electronic musician, and plays in the groups Rutger Hauser (Adaadat, Tutl) and Sea Songs (The Lumen Lake). He’s also a Lecturer in Music at Goldsmiths, University of London, and co-founder of SE-London based independent label, long-running live night and artist’s co-operative The Lumen Lake (thelumenlake.org.uk).
LISA BUSBY + ROSE DAGUL
‘UNTITLED FOR CELLO, AMPLIFIED MANGLE, YOUTUBE AND VOICE’
INSTALLATION PERFORMANCE / OPEN STUDIO
Composers and performers Lisa Busby and Rose Dagul have a shared interest in making visible process activities, and in the intangible connections, hidden layers, and emergent materials of the compositional process.
In 2017 Iteration 1 of a new work was created for RadioPhrenia, an art radio station broadcasting from Glasgow’s Centre for Contemporary Arts. A series of six semi-improvised studies for cello, amplified mangle, voice, and processed youtube audio was created, reflecting on intangible experiences of the everyday, and by contrast the ways we have to represent or articulate them. The project provided an experimentation space for colliding notation for instruments, with use of found objects, online content, and conversation fragments as source material.
For Gallery 46 Iteration 2 of Untitled for cello, amplified mangle, youtube and voice will be developed and expanded into live performance, installation and score; with the artists utilising the space as an open studio 19-24 July 2019.
Lisa Busby is a Scottish artist, composer, and vocalist working in London. She is interested in fragments, fringes and collisions of song and noise; artefacts of pop and fan culture; entanglements with historical archives; experimental turntablism and expanded usage of playback; and everyday action as/in performative gesture. She performs and composes with bands NFDJs and Rutger Hauser; has a long-standing sound and movement collaboration, ’Floor Scores’, with Gabriel Bohm Calles; is part of the The Lumen Lake music collective; and a member of the art, education and politics group Common Study, based at Somerset House Studios.
Rose Dagul is an artist, composer and multi-instrumentalist living in London. She is interested in performance, improvisation, imperfections, mistakes, practice and repetition. Solo, she writes and performs music under the moniker ‘Rhosyn’, and collaborates with various groups, including Rutger Hauser and Alien Wind. She is the co-founder of The Surround, a platform supporting experiments in performance and music, providing a space for unfinished work to be performed in front of an audience. She is also a member of the Peckham Chamber Orchestra.
THREE INVESTIGATIONS OF TIME AND CHANGE
GUY HARRIES + FLORENCIA GUERBEROF
“Duration in the midst of change.
In an existence consisting of continuous change the only things that have duration are the principles upon which change is based.”
I Ching Hexagram 32 “Duration”
Sound performer/vocalist Guy Harries and dancer/visual artist Florencia Guerberof collaborate across their respective disciplines to investigate the connection between time and change through three short performance pieces.
Each of these three performative investigations proposes a different lens to explore time. One of these is the lens of change and constancy, as Guerberof proposes: ‘Things change but the conditions for change are regular. I like to explore that thing that persists amidst transformation.’
Visions of utopia and dystopia permeate a second investigation, suggesting possible links between an imagined future and present action. A third investigation challenges the concept of time as an influence on our perception and lived experience, evident in the performance space and beyond.
Space, movement, light, electronics, acoustic instruments, voice and text are used during the investigation process taking place in the gallery space – an open laboratory as well as a performance site
Is a composer, sound artist and performer, working with electronics, acoustic instruments, voice and multimedia. He researches the use of live electronics in music with a focus on dramaturgy, the performative and audience participation.
Guy also composes socio-politically engaged chamber opera including Jasser (Netherlands tour 2006/07) and Two Caravans(OperaUpClose Flourish New Opera Prize winner 2012), and investigates
the politics of opera making itself through community opera devising workshops in London and an ongoing symposium series at Trinity Laban Conservatoire.
He is also as an electronic troubadour under the moniker Guy XY and recently released the album Turing Cabaret – an art pop opera inspired by the life of computer pioneer Alan Turing.
His music releases include solo work and collaborations with the POW Ensemble, Meira Asher and Yumi Hara on the labels X-OR, Sub Rosa and Migro. His latest album titled Fault Line was released on the label Sombre Soniks.
a London based dancer and visual artist from Buenos Aires, Argentina. Having trained extensively in Japanese Butoh dance among other forms of Oriental theatre she creates a physical language drawing a force that emanates from her own presence in a conversation with the unseen.
‘THE MAGIC OF RHYTHM’
‘The Magic Of Rhythm’ is an installation work where Kevin Quigley works in collaboration with a series of drummers.
On each performance we ask each drummer to perform three times to a short film work entitled ‘Lost Girl’
‘The Magic of Rhythm’ is inspired by the indeterminate drum compositions of composer Iannis Xenakis..
Zenakis described the ideas in his work as ‘immense abstract rituals – a suite of movements and of hammerings.’
Through Zenakis’s composition ‘Rebonds’ he asks the drummer to choose their own timbre and dynamics, through a mode of indeterminacy the drummer completes the work.
Through their own choices and expression of beats, dynamics and rhythms each drummer for ‘The Magic of Rhythm’ will bring the short silent film alive, completing the piece.
Each drummer responding to the changes and free flowing movement of our ‘Lost Girl’ who is walking, running through the cobbled streets of South London.
With each different performance we will have a different edit of the film – each film will be 8mins long.
Order of Performances / Drummers
aka Shen Jing is the former drummer with China’s first all-female punk band Hang on the Box. Since then she gone on to establish herself a noise artist with solo-releases on Little Sound and Noise Joy (under the moniker Cosmic Shenngy). Shenggy currently performs in the psychedelic drone duo Elephant House.
Robert Mc Glone
Born Belfast Rob Mc Glone’s drumming has taking him through a wide range of musical genres; playing in bands from post punk to reggae, Cajun- Americana and Irish folk – Afro-Beat. Over his 25 years of experience Rob was played all across Europe, Africa, America, Middle East. Playing various Jazz, Blues and World Music festivals. His studio work include soundtracks for Scottish Film
is a drummer working in the field of jazz and improvised music. He strives to create music within the avant-garde, pushing the limits of what is possible on the drums (technically and musically) while drawing influence from the jazz tradition.
Title: Who’s Afraid Of Red, White and Black?
Duration: 20min 03sec
Take heed of these piecemeal
Fragments on cheapest
Ivourine pulp – for they
Are not what they seem
Set for childish paw.
Wrenched from unkempt scribble
Instead to follow by dint of dot-to-dot –
The hint of puppy lassoed by number.
Or drifting doe-eye and policeman’s
Out-of-body smile – calmed by
Kruskal–Szekeres coordinates or
Reconciling to paternal gravity
The biddable Euclidean outlines
Of a preferred world achieved,
Once all things hankering and rampant
In the indilute chaos of
Succumbs to the ligature
Of non-toxic crayon
To obediently follow the dots
To reveal – as a sculptor
Phill Wilson-Perkin, creates sculpture, sound recordings and performances. Exploring aesthetics used in bolstering cultural systems. He examines how these are adoption or vilified through cultural tropes and institutional frameworks
This Is Rock Solid 2017
Newspapaer and liquid chalk
Liquid luminous chalk has emulsified on newspaper adverts. Shapes drawn as if broadcasting from the headphones. The luminosity of the chalk apes the sounds that would radiate from the earbuds. The ethereal being transformed into stone, albeit a crumbling, cracking, fragile stone.
Wax, cabinet parts and plastic bowls
Architecture was a main focus point for the MegaBoomBox sculptures. Comparing rituals and acoustic architecture found in European churches, architecture that, whilst working with an organ or choir they are able to produce notes beyond normal hearing, resulting in a more sublimely physical effect, with the similar phenomenon obtained in the contemporary, and often hand built architecture of Dub sound systems. The speakers body having been recast in wax, drawing comparisons between the modern and older ritualistic uses and sublime acoustic techniques.
Felt, amplifier, ratchet strap with iphone and animation
Felt forms that mirror the shape of speakers, with a small amplifier or headphones strapped face into the felt. An iphone shows an animation of cartoon horror. The noise of labour both industrial and domestic are played, muffled into the felt form. The felt muffles the sounds protecting us and separating us from the horrible sounds of industrial and domestic labour
Jim Roseveare is an artist and tree surgeon. Since his Florence Trust Residency in 2004 his commissions, awards, residencies and exhibitions include The Istanbul Art Fair (2008); Towner Gallery, Eastbourne (2010/11); Folkestone Triennial (2011); Saatchi Gallery, London (2013); Q Park, London (Frieze Week 2014); Farley Farm House, East Sussex (2015); Elements Gallery, London (2016); Transition Gallery, London (2017); The Venice Bieannale (2017 and 2019); KINOKINO Kunstal, Norway (2018); and Museum of Contemporary Art in Oaxaca, Mexico (2019). Roseveare works with installation, sculpture, video and photography.
Jim Roseveare is interested in the material nature of the world around us and how we experience it. His work is predominately elemental and engages with the power of physical forces, forms and processes – a way of looking which is informed by over 30 years of arboricultural experience. Often site specific his work focuses on the complex relationship between culture and landscape.
Huff N Puff was inspired by the curious tale of The Three Little Pigs. A playful but somewhat conceited construction.
“Who’s afraid of the big bad wolf,
The big bad wolf, the big bad wolf?
Who’s afraid of the big bad wolf?
Is an artist / curator who’s main interest is exploring and expanding on esoteric culture within art making. Focused on asking questions on archaic ‘occult’ ideas and remoulding them into new strains of thinking for the present to produce discussion in modern living and being.
Kevin works in a range of mediums including printmaking, installation, performance, sound, text.
Mary Yacoob’s site-specific vinyl installation ‘Modular Maze’ is a deconstruction of her black and white drawing for a maze that is constructed out of broken circles. It is the breaking up of the perfect and complete shape, a circle, that permits passage through the concentric circles of the maze, and in this way disruption of the ideal allows for accessibility. The proportions of the circles are taken from the architect Le Corbusier’s ‘modular’ system which he devised in his attempt to a discover an ideal universal system that relates the proportions of the human body to proportional harmony in architectural design.
Mary Yacoob’s ‘Draft’ drawing is one of an ongoing series of drawings of white ink on dark blue paper. Inspired by diagrams of hardware and mechanical engineering found in sound technology textbooks, Yacoob is intrigued by what access we have to these visual tools of industry and what happens when they are removed from their functional context and their visual language, structure or geometry are used to inspire the making and viewing of art. Repetition, pattern and rhythm are emphasised by the use of mark-making, harking back to the original source of sound technology textbooks.
Title ‘can I see my toes?’
Lucy Oates is a London based multi-disciplinary artist, currently studying Mixed Media at the Royal College of Art, prior to this she studied Contemporary Arts Practice at Bath-Spa University. Working predominantly in print, textiles, video and sculpture. Her practice addresses both social and personal subject matters, focusing heavily on the human body and waste material. Using her own body as a drawing tool Lucy has explored the perceptions and preconceptions related to the body, focusing on what she regards as ‘problem areas’ on her own body. The print is a result of manipulating imagery of ‘problem areas’ of herself recorded in a video, in to a screen print. Using video as a process to draw is often a technique Lucy adopts. ‘Can you see my toes?’ is accumulation of combing traditional techniques with digital
CALUM F. KERR
CALUM’S ROAD TO AONODOMON
INSTALLATION / PERFORMANCE
Calum’s Road to Aonodomon (Elements): 46m 49s (2018)
Working: Earth (Tsuchi) 17m 48s / Running: Water (Mizu) 11m 22s / Walking: Fire (Hi) 8m 58s / Flying: Wind (Kaze) 3m 11s / Resting: Void (Sora) 5m 30s.
Along Calum’s Road 20/09/15: 37m 16s (2018)
Film Installation / Performance
This work stretches temporal boundaries travelling along Calum’s Road on the Isle of Raasay, Scotland and through the tunnel of Aonodomon at the Yabakei Gorge in Kyushu, Japan.
‘Along Calum’s Road 20/09/15’ is a silent kaleidoscopic film of the artist traversing ‘Calum’s Road’ on the Isle of Raasay as a ‘rite de passage’ on his 40th birthday. This 1.5 mile stone road was built across inhospitable terrain between 1964-1974 by crofter and Gaelic poet Calum Macleod (1911-1988) in order to unify the island, in defiance of the Highland council. The artist was named after Calum Macloed. ‘Calum’s Road to Aonodomon (Elements)’ is a film in five sections – Working: Earth (Tsuchi), Running: Water (Mizu), Walking: Fire (Hi), Flying: Wind (Kaze), Resting: Void (Sora), each relating to the Five Elements philosophy in Japanese Buddhism. The film stems from a 2017 journey to the Aonodomon Tunnel, Yabakei Gorge in Kyushu. This 185 meter tunnel was chiselled over thirty years by 18th Century monk Zenkai in order to stop local villagers falling to their deaths using dangerous chain bridges. The origin of this passage became known through a semi-fictional account by early 20th-Century writer Kan Kikuchi, ‘Beyond the Pale of Vengeance’. Zenkai was on the run after murdering his master, and found himself far from his birth place of Edo (modern Tokyo). In penance for this crime he became a monk and began chiselling through the mountain, in a transformative action. This work is an aural and visual tapestry of Monk Zenkai’s life. Calum MacLeod and Monk Zenkai’s tasks had much in common; social responsibility; epic timescale; crossing thresholds in their almost mythical endeavour.
Visual essays: www.calumsroad2aonodomon.com
Wojciech Rusin composes for and designs and builds instruments.
His practise draws inspiration from alchemical and gnostic texts and early renaissance choral music.
He released “The Funnel” LP for Akashic Records in April 2019, which is informed by the life of Giordano Bruno, Giovanni Pico della Mirandola and field recordings on industrial sites including Port Talbot’s Steel Works. His music was featured on BBC Four and he has worked for The National Theatre, The Southbank Centre and National Theatre Wales.
BRUCE McCLURE & BJORN HATLESKOG
Storyteller is an ongoing collaboration between writer & occasional filmmaker Bruce McClure and sound artist Bjørn Hatleskog, investigating the union of spoken word with electro acoustic sound in the form of audio recordings, Audio/Visual installations and performances. ‘Project R.O.Y.’ is a Lovecraftian travelogue detailing a family man’s decent into madness, while in search of a mythical being.
Bjørn Hatleskog’s work explores the nature of feedback loops, noise and interference and their application via mechanical automation. Since 2002 he has been running the Adaadat record label.
Bruce McClure recently completed a lo-fi, zero-budget, indie, psychological black comedy feature film called District Nurse. In 2000 he co-founded an electronic label called Seed with Joshu Doherty (Posthuman, Altern8) and Richard Bevan (also from Posthuman).
Word performance to camera on digital video.
Rupert Cole is a transdisciplinary artist and performer living and working in London. He has exhibited and performed internationally. He also works as an idea generator for community wellbeing and art projects. Currently he is devising and curating an ‘art as apparatus’ theory called Hylopath.
Will be showing new video instillation works specifically for the event.
Seulgi Kang’s delicacy of work belies our innermost fears of want and the human condition, showing life’s breath separated by a membrane from nature and life itself, how we touch, feel and breath our thoughts in what is the human spirit manifested in man against the eternal, which is just one and a slight trope represented in her devastatingly honest works. They show the recurrence of fragility in belief and emotion, it’s ‘all’, yet separated, to come back, again and again but gone in an instance. Energies are expressed exhaustively delicate and precarious but to ultimately end up futile and gone, to mean nothing, or, however, we can question and hopefully from this questioning we look to find ourselves and truth.
Seulgi Klang, born in South Korea and based in London, video and performance artist, Chelsea College of Art, 2016.
”Earth on Heaven” 2019
“Untitled” (Chair Series). 2019
Tom Wildblood is a young London artist working across multiple mediums, painting, sculpture, photography, video, sound art. Creating immersive and impactful installation and performance work, exploring the mundane and the metaphysical, questions inside inquiry’s disguised as queries folded into veiled investigations of examinations of catechizations, and by getting further from the truth in a mire of minutiae he paints a jarring abstraction that is revealing yet impregnable.