Fold - Recent changes [en]

Template:Exhibition detail Astrid Colours - Sophie Michael and Paradies - John Robertson

2012-05-14T21:57:15Z

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-	'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London ~~intend~~ to punctuate the year with a series of two-person, solo shows. These will be two separate solo shows that run ~~in conjunction with each other –~~ presenting two separate bodies of work within the same space ~~– however~~, there will be no major physical divide within the gallery to set them apart.'''	+	'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London intends to punctuate the year with a series of two-person solo shows. These will consist of two separate solo shows that will run simultaneously, presenting two separate bodies of work within the same space. However, there will be no major physical divide within the gallery to set them apart.'''


-	'''The shows will not be coordinated with a view to creating any curatorial links – any ~~relationship or~~ association noticed between the two distinct bodies of work will not ~~have come from an intentional curatorial decision~~. As the programme continues, we may find that the two separate bodies of work present the viewer with sometimes disparate ~~relationships and, at~~ other times, there may be commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over, and interact, creating ~~links~~ between the bodies of work from within the separate shows.'''	+	'''The shows will not be coordinated with a view to creating any curatorial links - any association noticed between the two distinct bodies of work will not be contrived. As the programme continues, we may find that the two separate bodies of work present the viewer with a sometimes disparate relationship. At other times there may be distinct commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over and interact - creating ties between the bodies of work from within the separate shows.'''


-	'''The intention is ~~for~~ the viewer ~~to be presented~~ with a unique opportunity to ~~come to~~ their own conclusions~~, whereas~~ the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''	+	'''The intention is to present the viewer with a unique opportunity to form their own conclusions regarding the relationships between the separate bodies of work. The hope is that the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''


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-	Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a ~~‘live feed’~~ on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; ~~“Red~~?” The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.	+	Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a 'live feed' on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; "Red?" The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.

Template:Exhibition detail Astrid Colours - Sophie Micheal and Paradies - John Robertson

2012-05-14T17:35:06Z

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-	'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London intend to punctuate the year with a series of two-person, solo shows. These will be two separate solo shows that run in conjunction with each other – presenting two separate bodies of work within the same space – however, there will be no major physical divide within the gallery to set them apart.'''	+	'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London intend to punctuate the year with a series of two-person solo shows. These will consist of two separate solo shows that will run in conjunction with each other, presenting two separate bodies of work within the same space, however, there will be no major physical divide within the gallery to set them apart.'''


-	'''The shows will not be coordinated with a view to creating any curatorial links – any relationship or association noticed between the two distinct bodies of work will not have come from an intentional curatorial decision. As the programme continues, we may find that the two separate bodies of work present the viewer with sometimes disparate relationships and, at other times, there may be commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over, and interact, creating links between the bodies of work from within the separate shows.'''	+	'''The shows will not be coordinated with a view to creating any curatorial links <nowiki>–<nowiki> any relationship or association noticed between the two distinct bodies of work will not have come from an intentional curatorial decision. As the programme continues, we may find that the two separate bodies of work present the viewer with sometimes disparate relationships and, at other times, there may be commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over, and interact, creating links between the bodies of work from within the separate shows.'''


-	'''The intention is for the viewer to be presented with a unique opportunity to come to their own conclusions~~, whereas~~ the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''	+	'''The intention is for the viewer to be presented with a unique opportunity to come to their own conclusions about the relationships between the separate bodies of work. The hope is that the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''


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-	Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a ~~‘live feed’~~ on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; “Red?” The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.	+	Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a <nowiki> 'live feed'<nowiki> on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; <nowiki>“Red?”<nowiki> The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.

Main Page

2012-05-12T15:16:49Z

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	{{exhib\|Needle In A Cloud\|front}}		{{exhib\|Needle In A Cloud\|front}}
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Template:Artist detail Sophie Michael

2012-05-10T13:43:45Z

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-	'''GROUP EXHIBITIONS / SCREENINGS / PERFORMANCES'''	+	'''SELECTED GROUP EXHIBITIONS / SCREENINGS / PERFORMANCES'''


	2012 (forthcoming) Schools Show 2012, Royal Academy Schools (opens 19th June)		2012 (forthcoming) Schools Show 2012, Royal Academy Schools (opens 19th June)
-
-
-	~~2012 Latent Cinema Performance, curated by Jason Dungan, 176 Gallery, London (15th June)~~


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-	2012 Finger, Hidde van Seggelen Gallery, London	+	2012 Finger, Hidde van Seggelen Gallery, London
-		+
-		+
-	~~2012 Night School, Outpost Members screening, Ipswich Art School~~	+


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	2011 Video Takeaway programmed by Come to Ours, Plymouth		2011 Video Takeaway programmed by Come to Ours, Plymouth
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-
-	~~2011 Looking & Seeing, screening programmed by Sophie Michael, for Formless curated by Luke McCreadie, ACME Studios, London~~


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	2011 Premiums 2011, Royal Academy Schools Interim Show, Royal Academy, London		2011 Premiums 2011, Royal Academy Schools Interim Show, Royal Academy, London
-
-
-	~~2011 I love my crazy friends, 53 Cheverell House, London~~


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	2010 Salon Video Art Prize 2010, Matt Roberts Arts, London		2010 Salon Video Art Prize 2010, Matt Roberts Arts, London
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-
-	~~2010 BIA, Southwark Playhouse, London~~
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-
-	~~2010 Brief Encounters Buenos Aires screening, Buenos Aires~~


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	2009 phlizz, Acme Studios, London		2009 phlizz, Acme Studios, London
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-
-	~~2009 A Million Blue, The Boogaloo pub, London~~


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	2009 AURORA 2009 Tour: Chapter Gallery, Cardiff; Tyneside Cinema, Newcastle Upon Tyne; CCA, Glasgow; Norwich Arts Centre, Norwich; Black Box Café, Belfast; Arnolfini, Bristol		2009 AURORA 2009 Tour: Chapter Gallery, Cardiff; Tyneside Cinema, Newcastle Upon Tyne; CCA, Glasgow; Norwich Arts Centre, Norwich; Black Box Café, Belfast; Arnolfini, Bristol
-
-
-	~~2008 LifeWorkArt08 screening, Star and Shadow Cinema, Newcastle Upon Tyne~~


	2008 Hannah Marsden and Sophie Michael, ACAshop and Heritage Centre, Allenheads Contemporary Arts, Northumberland		2008 Hannah Marsden and Sophie Michael, ACAshop and Heritage Centre, Allenheads Contemporary Arts, Northumberland
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-
-	~~2008 Open Studio, ACAshop, Allenheads Contemporary Arts, Northumberland~~


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-	2007 ~~-2006~~	+	2007 Everlasting Materiality, Ada Street Gallery, London
-		+
-		+
-	Everlasting Materiality, Ada Street Gallery~~, London~~	+
-		+
-		+
-	~~Ready To Eat Jumbo Shrimp, Slade Research Centre, London~~	+
-		+
-		+
-	~~Big Painting Project, Slade Research Centre, London~~	+
-		+
-		+
-	~~Price, AsDa! Gallery, London~~	+
-		+
-		+
-	~~WAWTMAL, The Waiting Rooms, Palmers Green Railway Station~~, London	+


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	Introducing, Issue 9, Alexa Kusbar in conversation with Katy Kirbach and Sophie Michael		Introducing, Issue 9, Alexa Kusbar in conversation with Katy Kirbach and Sophie Michael
-
-
-	~~'''TEACHING'''~~
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-
-	~~2011 Visiting artist, Fine Art Department of University for the Creative Arts Farnham~~
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-	~~2011 Visiting artist, Photography Department of University of Kingston~~
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-	~~2010 Visiting artist, Core Arts, London~~
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-	~~2009 Visiting artist, BA Sculpture Department of University Wales in Cardiff~~
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-
-	~~2009 Visiting artist, BA Sculpture Department of Newcastle University of the Arts~~


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	\| image = Sophie Michael_Astrid Colours_5_sm.jpg		\| image = Sophie Michael_Astrid Colours_5_sm.jpg
	\| image-1 = Sophie Michael_Astrid Colours_5_sm.jpg		\| image-1 = Sophie Michael_Astrid Colours_5_sm.jpg
-	\| caption-1 =	+	\| caption-1 = Astrid Colours (film still)
	\| image-2 = Sophie Michael_Astrid Colours_9_sm.jpg		\| image-2 = Sophie Michael_Astrid Colours_9_sm.jpg
-	\| caption-2 =	+	\| caption-2 = Astrid Colours (film still)
	\| image-3 = Sophie Michael_Astrid Colours_8_sm.jpg		\| image-3 = Sophie Michael_Astrid Colours_8_sm.jpg
-	\| caption-3 =	+	\| caption-3 = Astrid Colours (film still)
	\| image-4 = Sophie Michael_Astrid Colours_1_sm.jpg		\| image-4 = Sophie Michael_Astrid Colours_1_sm.jpg
-	\| caption-4 =	+	\| caption-4 = Astrid Colours (film still)
	\| image-5 = Sophie Michael_Astrid Colours_2_sm.jpg		\| image-5 = Sophie Michael_Astrid Colours_2_sm.jpg
-	\| caption-5 =	+	\| caption-5 = Astrid Colours (film still)
	\| image-6 = Sophie Michael_Astrid Colours_3_sm.jpg		\| image-6 = Sophie Michael_Astrid Colours_3_sm.jpg
-	\| caption-6 =	+	\| caption-6 = Astrid Colours (film still)
	\| image-7 = Sophie Michael_Astrid Colours_4_sm.jpg		\| image-7 = Sophie Michael_Astrid Colours_4_sm.jpg
-	\| caption-7 =	+	\| caption-7 = Astrid Colours (film still)
	\| image-8 =		\| image-8 =
	\| caption-8 =		\| caption-8 =

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2012-05-10T13:38:21Z

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2012-05-10T13:33:09Z

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Astrid Colours - Sophie Michael and Paradies - John Robertson

2012-05-10T12:24:43Z

New page: {{exhib|Astrid Colours - Sophie Michael and Paradies - John Robertson|page}}

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{{exhib|Astrid Colours - Sophie Michael and Paradies - John Robertson|page}}

Template:Exhibition detail Astrid Colours - Sophie Michael and Paradies - John Robertson

2012-05-10T12:22:27Z

New page: {{ {{{1<noinclude>|exhibition showdetails</noinclude>}}} | name = Astrid Colours - Sophie Michael and Paradies - John Robertson | date-from = Saturday 26th May | date-to = Saturday 30th...

New page

{{ {{{1<noinclude>|exhibition showdetails</noinclude>}}}
| name = Astrid Colours - Sophie Michael and Paradies - John Robertson
| date-from = Saturday 26th May
| date-to = Saturday 30th June
| private-show = Friday 25th May, 6 - 9 pm
| summary =
| description =

'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London intend to punctuate the year with a series of two-person, solo shows. These will be two separate solo shows that run in conjunction with each other – presenting two separate bodies of work within the same space – however, there will be no major physical divide within the gallery to set them apart.'''

'''The shows will not be coordinated with a view to creating any curatorial links – any relationship or association noticed between the two distinct bodies of work will not have come from an intentional curatorial decision. As the programme continues, we may find that the two separate bodies of work present the viewer with sometimes disparate relationships and, at other times, there may be commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over, and interact, creating links between the bodies of work from within the separate shows.'''

'''The intention is for the viewer to be presented with a unique opportunity to come to their own conclusions, whereas the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''

----

'''ASTRID COLOURS'''

'''SOPHIE MICHAEL'''

Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a ‘live feed’ on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; “Red?” The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.

----

'''PARADIES'''

'''JOHN ROBERTSON'''

Robertson's paintings in PARADIES stem from a trip to Jena, Germany, in April 2011.

The project views Jena as a double city existing in two times: the Jena of 2011 and the Jena of 1800 (the literary moment of the birth of Romanticism). In response to the demands of both this temporal gulf and theoretical Romanticism, the work seeks a poetics of interruption.

Multi-panelled works on anodised aluminium combine different logics of painting to disrupt unity in the work. What is on display here is more like collage, revelling in difference, the cut, the turn, slippage and rupture. Alongside are text paintings on polythene. In these smaller works, light-hearted self-contradictory word-plays become elegant abstract paintings.

In Jena, or at least the Jena of the work, which is nothing if not the site and intensity of interruption between polarised modes, the neutral becomes aggressive, Switzerland invades.

| image = AstridColours_Paradies_flyer.jpg
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Template:List future exhibitions

2012-05-10T12:21:42Z

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Template:Exhibition detail Astrid Colours - Sophie Micheal and Paradies - John Robertson

2012-05-10T12:18:41Z

New page

{{ {{{1<noinclude>|exhibition showdetails</noinclude>}}}
| name = Astrid Colours - Sophie Micheal and Paradies - John Robertson
| date-from = Saturday 26th May
| date-to = Saturday 30th June
| private-show = Friday 25th May, 6 - 9 pm
| summary =
| description =

'''FOLD Gallery London is pleased to announce the first in their new programme of solo shows. Broken up by conventional group shows and individual solo shows, FOLD Gallery London intend to punctuate the year with a series of two-person, solo shows. These will be two separate solo shows that run in conjunction with each other – presenting two separate bodies of work within the same space – however, there will be no major physical divide within the gallery to set them apart.'''

'''The shows will not be coordinated with a view to creating any curatorial links – any relationship or association noticed between the two distinct bodies of work will not have come from an intentional curatorial decision. As the programme continues, we may find that the two separate bodies of work present the viewer with sometimes disparate relationships and, at other times, there may be commonalities to be found. Unintentionally, themes, aesthetics and theories, may cross over, and interact, creating links between the bodies of work from within the separate shows.'''

'''The intention is for the viewer to be presented with a unique opportunity to come to their own conclusions, whereas the gallery, rather than intervening, is acting as a catalyst for these events to unfold.'''

----

'''ASTRID COLOURS'''

'''SOPHIE MICHAEL'''

Sophie Michael presents a two part 16mm film installation. The film documents nine-year-old Astrid colouring in a strip of clear 16mm film on a light box. Employed as an agent for drawing, her choices and actions determine the colour, pattern and duration of the hand-made film, which appears as a ‘live feed’ on the opposite screen. The artist is briefly pulled into the film when Astrid asks the camera for confirmation; “Red?” The bright palette of the film set is imported into the gallery, and the projector plinths are modeled on classroom furniture. Faced away from each other as if in an exam, the two screens cannot be viewed at once. The sequence becomes a memory game that recalls 1940s abstract painted film and 1970s educational materials.

----

'''PARADIES'''

'''JOHN ROBERTSON'''

Robertson's paintings in PARADIES stem from a trip to Jena, Germany, in April 2011.

The project views Jena as a double city existing in two times: the Jena of 2011 and the Jena of 1800 (the literary moment of the birth of Romanticism). In response to the demands of both this temporal gulf and theoretical Romanticism, the work seeks a poetics of interruption.

Multi-panelled works on anodised aluminium combine different logics of painting to disrupt unity in the work. What is on display here is more like collage, revelling in difference, the cut, the turn, slippage and rupture. Alongside are text paintings on polythene. In these smaller works, light-hearted self-contradictory word-plays become elegant abstract paintings.

In Jena, or at least the Jena of the work, which is nothing if not the site and intensity of interruption between polarised modes, the neutral becomes aggressive, Switzerland invades.

| image = AstridColours_Paradies_flyer.jpg
| artist-1 = Sophie Michael
| artist-2 = John Robertson
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Template:List future exhibitions

2012-05-10T12:01:06Z

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