tenyearstoturner

Hello Martin, Thank you so much for your application!

Unfortunately, on this occasion you have not been selected for ASSEMBLE. I actually saw this piece as I worked at greenroom and I was really pleased to see an old greenroom artist applying!

However, we are looking for work that is, literally, an idea, and wants to be developed and we had some strong applications which we felt had more room for development. If you’d like more detailed feedback, please let us know and we will get back to you. And please keep in touch!

Doing The Buy Art Fair tomorrow, hope the buying public are buying.

Dear Martin,

Thank you very much for taking the time to apply for the Platform residency program at Site Gallery. We were amazed by number of genuinely exceptional applications we received and our panel of UK curators, previous Platform artists and the team at Site Gallery spent several days looking at every application.

Making the final selection from 250+ very high quality applications was a difficult task and there are many excellent proposals that we have not been able to take forward at this stage. I am sorry to say that you were not successful at this time.

Being of such a high standard we would like your permission to keep your application in our system and if future opportunities arise that seem appropriate we will have your information to hand.

We will use our mailing list to advertise future Platform residencies and applicants are welcome to reapply.

Thank you again for applying and very best wishes

Over a month since my last entry. I’ve been busy performing “two steps forward, one step back” at The Harris Flights – a temporary installation of stairs leading to the first floor veranda (a forgotten space) of The Harris Musuem and Art Gallery and Library.

Various feedback from various people, some critically engaged some lay but it’s all good; some of the people, some of the time, not that I’m trying to please just another useful saying to summarise the gist (to my mill).

To summarise then, comments ranged from the abusive “You’re a fucking clown” to the surprising “It’s profound”.

It’s important to be patient and make no assumptions. As with other interventions in public space some people made the effort to come back and carry on the conversation.

A surprising number of people joined in, not all of them young.

Many people wanted to know why.

Hello there Thank you for applying to Platform 2013-14 Open Call for UK Based Visual Artists. We have been delighted with the volume and quality of applications. We’re currently shortlisting and will contact you by the end of September to let you know if you have been successful. Very best wishes.

We take gravity for granted.

Please wear white cotton gloves to handle cards with care.

The Harris website describes 29,028 as epic!

The Chambers dictionary defines epic as “applied to a long narrative poem that relates heroic events in an elevated style”

London Thursday 1^st August – Saturday 3^rd August

Thursday

Whitechapel, Black Eyes and Lemonade (British popular art, the essay in the catalogue states “Through her curatorial method – though she herself would not have described it in such terms – she celebrated and made visible the participative networks of cultural production, championing the judgement of makers, collectors and consumers in opposition to the didactic dispensations of connoisseurs and design reformers.” ) and Time/Bank (which included a table, filing cabinet and white, cotton gloves like what I am going to do at 2^nd Exhibition at DuchampIYoko).

First Thursdays on Vyner Street (The Limewharf Annex, Hada Contemporary et al.)

Friday

Hamish Fulton at Maureen Paley (originally an East End domestic space). The press release states “……walking has formed the basis of his practice, materializing in photographs and walk-texts…….”

Lazarides – Know Hope The Abstract and The Very Real (expensive graffiti style work, including 15 framed bricks with text on brass/gold plates at £750)

Photographers gallery (Mass Observation and John Hinde print sales, 19 x 24” Edition of 25 from £600 + VAT unframed)

“The Serpentine Gallery is delighted to present the first solo exhibition of the work of Sturtevant to be held in a public institution in the UK. Best known for the repetition of works by other artists – including Joseph Beuys, Marcel Duchamp and Felix Gonzalez-Torres – she made her controversial artistic debut in 1965 when she replicated Andy Warhol’s flower paintings, just months after their initial presentation. Despite early hostility to Sturtevant’s work and ideas, her influence has grown significantly over the past two decades. Many now regard her as one of the most important artists of the 21st century, realising that she presaged the world we live in today with its deluge of unattributed information and repeating imagery. Central to her thinking is the relationship between repetition and difference. The works are not ‘copies’ but probe beyond the surface to demonstrate the power of Gilles Deleuze and Michel Foucault’s thinking about repetition. She does this through the wholesale recreation of the work itself, without recourse to mechanical reproduction of any kind. As Sturtevant says, ‘The work is done predominantly from memory, using the same techniques, making the same errors and thus coming out in the same place’. Warhol was once asked how he made his work. ‘Ask Elaine [Sturtevant],’ he replied.”

Alternative Guide to the Universe at Hayward gallery

Bold Tendencies at Peckham multi-storey car park (Levels 7-10)

Tate (Ellen Gallagher, Saloua Raouda Choucair, Ibrahim El-Salahi and Meschac Gaba)

Whitecube (Sarah Morris and Marcus Galan…. “in the work Erased Composition (2013), Galan has produced a geometric grid of aqua-coloured erasers that visibly decrease in density, ranging from the whole object at the top to a pile of shavings at the bottom. Galan created the work by using the erasers for their intended purpose – rubbing out – in different degrees to create a work that, through the most simple and economic means, invokes a range of philosophical and art historical precedents from Rauschenberg’s Erased de Kooning Drawing (1951) to more metaphysical notions of matter and being.”)

Jerwood Makers Open