Wednesday, 19 January 2011









Featuring paintings by Georgie Nettell in the GALLERY, a Nam June Paik Satellite television 'experiment' in the ANNEXE, an exhibition by Am Nuden Da in the LIBRARY and the first in a new series of BLACKBOARD projects.


GALLERY: NEU! Georgie Nettell: Ultra

In two-tone colour (beige and grey), Nettell traces the recurrence of a single stenciled motif over multiple variously sized canvases. Bathed in the white glare of wall wash floodlights, Nettell’s dyadic canvases transform the GALLERY into a stark and ascetic space.

'the point of the pointlessness of the effort of this work is to re-process a recognizable engine so to discover new ways toward abandon.'

Georgie Nettell (born 1984, Bedford) studied at the Slade School of Art. She lives and works in London.

Ultra is the sixth NEU! exhibition at SPACE. Previous exhibitions include: Mysterious Cults by Charlie Woolley (Sep 2010), AMAXAMA by Ben Sansbury (May 2010), colourless green ideas sleep furiously by Adam Thomas (March 2010), What I Believe (a Polemical Collection) by Ruth Beale (November 2009) and PROH-SOH’ PA-PEER by Richard John Jones (September 2009). NEU! is an ongoing cycle of solo exhibitions by emerging artists at SPACE.


ANNEXE: Nam June Paik: Good Morning Mr. Orwell (1984)

An early experimental satellite TV "installation" by Nam June Paik.

On New Years day 1984, Nam June Paik orchestrated an ambitious intercontinental television experiment. Connecting WNET TV in New York with the Pompidou centre in Paris via a live satellite link that also took in broadcasters in Germany and South Korea, Good Morning Mr. Orwell reached an audience of over 25 million worldwide.

A chaotic and entertaining collage of haute and pop culture, of mass media and the avant-garde, Good Morning Mr Orwell features performances from Laurie Anderson, Merce Cunningham, Peter Gabriel, Allen Ginsberg and Joseph Beuys, amongst others.

Good Morning Mr Orwell - Credits: Original event conceived and coordinated by Nam June Paik. Executive Producer: Carol Brandenburg. Partial Post-Production: Nam June Paik, Paul Garrin. Post-Production: Broadway Video, Post Perfect. WNET, New York; FR3, Centre Georges Pompidou, Paris; WDR Westdeutsche Fernsehen. Editor of single-channel version: Skip Blumberg.

Exhibition design by New Display Strategies


LIBRARY: Session_14_Structure an exhibition by Am Nuden Da

3 Smartphones

Dictation software




Steel pole and brackets

A4 printouts



BLACKBOARD #1 : Modern Activity

BLACKBOARD is a new project involving artists who have studios with SPACE. For each exhibition cycle a studio artist will be invited to make an intervention onto a blackboard hung behind the front desk of SPACE. The first offering is from the design group Modern Activity who occupy a studio in the Triangle building.


I have an essay in the journal portion of VERSUCH: 'Notes and Projects': A Journal and Exhibition, curated by Gil Leung at Hollybush Gardens...

Have have extended 'SHITS' a brief text on Mary Barnes' coprophillic persuasions...

The exhibition includes works by Ed Atkins, Babette Mangolte and Robert Morris, Bevis Martin & Charlie Youle, Lucy Pawlak, Pamela Rosenkranz, Alexandre Singh and Patrick Ward.

The journal also includes texts by Jesse Ash, Ed Atkins, Andrea Buttner, David Raymond Conroy, Jesse Aron Green, Pablo Lafuente, Liang & Liang, Bevis Martin & Charlie Youle, Charlotte Moth, Francesco Pedraglio, Colin Perry, Heather Phillipson, Hannah Rickards, Alexandre Singh, Luke Skrebowski, Alexis Marguerite and Jesper List Thomsen.

Tuesday, 11 January 2011

Stuart Elliot /// Jimmy Merris at SEVENTEEN

I have organised both the basement and the upstairs shows at SEVENTEEN this January...

Here's the info:


Stuart Elliot

Wednesday 12th Jan - Saturday 12th Feb 2011

Multiple canvases, equally sized, are installed close together on the gallery walls. So close, in fact, that it is hard to experience one of them without the presence of another bleeding into the percept. This is a phenomenon of quite some significance. A salient, though by no means unique example of what we might call the ethics of painterly deflection running throughout this exhibition.

About deflection. In abstraction, this might be understood as a sort of moving away from the idea. Not showing the idea fully - and certainly not being it.

One gets the sense that Elliot is a ludic operator in the studio. His paintings deploy a mish-mash of strategies and techniques - often to paradoxical effect - in order to institute or delimit their own context, their own way. Variant tones, forms and gestures occur and concur over multiple canvases in a loose and willingly undirected fashion. The colouring of these canvases is spontaneous and deviant (metallic, transparent, scatological, voided, fluorescent) as well as purely readymade (paints are seldom mixed). Titling of works (and shows) is eschewed, as is, on occasion, the distinction between support and surface (very basically primed monochromes will be included in exhibitions, as well as more salubrious 'stand in' supports like inverted stretches of zebra print).

As we explored earlier, and as a final observation in this brief and far from comprehensive inventory of applied deflections (for sure, we could go on...), Elliot's paintings are never monadic. Their conception and material presence is fundamentally plural. Accordingly, the 'truth' of any one painting - the idea that any one painting could have a truth - is neutralised by the always ever-present imposition of another, ready and waiting to deflect things somewhere else altogether.


Jimmy Merris

finding your feet in the times of the worried man

Wednesday 12th Jan - Saturday 12th Feb 2011

What a piece of work is a man! How noble in reason! How infinite in faculties! How like an angel in apprehension. How like a god! The beauty of the world! The paragon of animals! And yet, to me, what is this quintessence of dust? - Withnail (reciting Hamlet).

Jimmy Merris makes short and strange videos. It's probably best not to say too much about them. What we will say is this. You can expect asymmetric humour. Not funny things. But the sense of a wit at work.

There is also pathos (... or should we say bathos?) Between these two poles then...

Funny sadness. Fucking weird funny sadness.