issue.08 August / September 2006 ÂŁ1.00
metropolis
She’s gone off on another
tangent
creating a small, independent art ‘zine.
tangent is a bi-monthly publication produced with the intention of informing and amusing in bite-size chunks. Quick ‘n Dirty, Black ‘n White, each issue contains contributions by and features on artists as well as arts listings in the South London area and beyond. To get the skinny on how to submit writing and/or artwork check out the website or contact: Karen D’Amico via email: tangent.mail@mac.com
Cover images, contents page image: Karen D’Amico
Stockists In London: Clapham Art Gallery ICA Bookshop Space Station 65 Studio Voltaire The Residence The Flea Pit Transition Gallery In Nottingham: Moot Gallery Further Afield: Eye Level Gallery, Halifax BC FluxFactory, New York Sticky, Melbourne Zeke’s Gallery, Montreal Events News etc., etc. available on the website:
www.tangent.org.uk tangent is a member of Indi&Ink, the independent publishing society all content © karen d’amico 2006 unless otherwise noted. all contributing artists’ work in the form of text and /or images is used by permission and is copyright by the artist. no stealing allowed; hey, make up your own ideas FFS! after all, we have.
metropolis inside
(in no particular order)
[contributors] London Jack Harris Lucy Harrison Aleda Fitzpatrick Los Angeles Baby Smith Melbourne The ‘Dear You’ Project New York City Nick Normal Nottingham Dave Bevan Vancouver Stewart Paley [review] Cathy Lomax, ‘Vignettes’ at Rosy Wilde [reflect] Thoughts on a Grey Day [inform] Arts Listings
Aleda Fitzpatrick alephino@gmail.com
LONDON CALLING
It’s Thursday, I’m sitting in one of the only pubs in Shorditch that seems to be beyond a London trend. It is not an eighties revival den, nor a post punk slum, not even one of those understated, to a point of perfection, ‘genuine’ old man, no-shit pubs- its just a bar. It plays the football when it’s on, it serves Mediterranean food because the staff are from that belt, its organic-ish because the chefs believe in it. I remember the first time I saw itit somehow looked out of place, too tropical, too happy to be placed where it was, in an area of such historical economic depression. The location seemed right for all the other self-consciously styled haunts, homes to equally hyper-aware youths of the eighties, but somehow didn’t fit the bill for this one. Puzzled by its lack of place among its companions and thus its lack of a subsequent definition, I moved on to a smaller, less open space not quite sure why I had made the decision to avoid the former. Was it this issue of space, of openness, of exposure that averted me, or was it the vibrancy and colour that threatened my newly found anonymity? Revisiting this place a year later, I began to think about this idea of space in a broader content. [Upon arriving in London and setting off from terminal one to the underground, the breath breaking words of London as you slap you feet on its open palm are ‘Mind the gap”. Every tourist mimics the rise and fall of this utterance, perhaps not knowing what it means yet perceiving the urgency and thus importance of this metropolitan melody. Thinking further about this automatic blurt I can’t help but think that this gap is perhaps not just a common health and safety ritual yet is moreover an abyss of the London philosophy that surrounds and even consumes its daily inhabitants mimicking the door of a near-departing tube. Mind the gap: A warning. Simply reminding the users of ‘our’ London Transport system that there is a gap between the carriage and the platform. It is a geographic cautioning, a call of attention to the physicality of disembarking a
machine in transit. (Similar to the signs nearing the end of an escalator). Taking this idea further it seems not only to be about physical space, ‘you are here’, but also about temporal space, ‘you are here now’, calling its commuters not only to recognise their departure from a mechanical body onto a static concrete surface, but moreover to recognise their own bodies mechanics, and awake from the passivity of the journey in order to fulfil a destiny (destination). It is thus, the voice of authority: ‘Mind the gap’. It resonates with the foreign commuter therefore as a safety precaution, a signal of importance but to the regular commuter as a sort of alarm call. A necessary wake up or shake up. Upon leaving the train, one is immediately (in rush hour) swept up by an orgy of bodies simultaneously ‘minding the gap’. In this way, the utterance becomes a collective caution, to be read perhaps as a statement of caring and concern. Delving deeper into this cautionary advice one could subsequently interpret it as a voice of the mother city, warning its flock of the fore mentioned physical gap yet further still the social gap that is caused by the metropolitan London existence. Mind the gap, the space, the void and isolation. Be aware of the gap, it says. Be careful of it, ‘don’t let it swallow you up now’, it says. A city of estrangement, it is a mothers premonition of its child’s sensitivity, their loss of direct support, their loss of a dominant culture, a way of life, a gap caused by the sudden unknowing, and negation of everything one has known. Mind the gap, as it seems to be filled with diversions but should infact be enjoyed and attended to for its emptiness. Its space, its temporal lull. The gap is the anonymity, the gap is personalities the gap is peoples desire to connect yet only at times of necessity. Human beings are aware of this fundamental need for each other, it is the infrastructure of the metropolis yet we are also equally aware that ‘liquidity’ is the desired consistency for these friendships, for our metropolitan life. It is also a powerful indication of the friendships to be made and unmade. The time that it takes to connect with people and the unjustified rapid evaporation of these newly established ties.
In a recent article in Ojodepez by Maria Caundas, she observes that “Urban society [is] woven with fragile personal relationships which are destined to wither away shortly after they are made…”, such is the gap of London. Like the ‘market exchange’ Richard Sennet introduces, Cuandas describes a world where social life has become weakened of HUMAN VALUES. Note the author does not suggest moral, but human values- such is the gap that lays silently at the foot of the train, such is the gap which infiltrates London and is what we are formally warned of. However, like the announcements themselves, the gaps do not appear everywhere, they are pocketed, and indeed pocket themselves. Like the tube, gaps are spackled along the networks of the city and thus the social networks of the city. People meet, experiences are shared, emotions dispersed, events dissolved and the gap reappears. It is a cycle, like every other cycle upon which this life is based. Yet it is important not to view this gap whether spatial or social as negative – after all, knowledge being power and thus power being introduced to the stranger upon first arrival, we the inhabitants possess the ability to control our destiny just as we do our destination. Estrangement, inhabiting the void must not be viewed as a threat, nor an advantage. The void is just that, indefinable, infinite and thus ultimately positive. A non-place (in a lyotardian way) stripped of associations or preconceptions because of its indefinite landscape. What is the gap if not nothing, and what is nothing but the basis from which all else springs. The gap thus is a platform onto itself, the void a momentary destination, or pit stop for the consciousness. It could be objectified domestically as a cup, half full, yet the half that is full is all you, and the remaining has suddenly been freed through dislocation, to be filled by the un-you, the possible, the infinite. Thus the call of London, London calling can be seen as the cry of a city for its people to consciousness, to mind the gap, cherish it and enjoy its endless possibilities, and the infinite potential it offers rather than simply abiding by your self-selected presupposed ideas of what it should be. London Calling…Mind: The Gap. - Aleda Fitzpatrick
images: Karen D’Amico
dave bevan www.beastmangoat.com
dave also publishes an independent zine based in Nottingham called 88 shades of grey
TRANSPARANCY I saw Sketchy Steve come loping across the square from a mile away…all gangly limbs and toothless smile. It was the fourth time our paths had crossed that day and with each crossing Steve had grown increasingly incoherent and boozeriddled, all the while proclaiming with an ever increased volume that he was evermore sober and worthy of our pennies…he sat with us for a spell on the blocks that surround the square, chewing the fat, preaching of his past as a member of our very clan (skateboarders) and his prowess upon the holy board… man, if Steve could skate anywhere as near as well as he could spin a yarn, then he was surely a lord and master of the early nineties scene. We never went out of our way to hang out with Sketchy Steve, nor any of the other loners, vagrants, wanderers and nay-do-wells that settle into the very fabric of the city, its just we didn’t shun them as the vast majority do - when you spend as much time skating and in-turn loitering around the public spaces and forgotten corners with all the other weirdoes and lurkers, then its just easier for all involved to get along. I liked Steve and the others anyway, once you get past the sometimes dubious intent and noxious smell, then they’re folk the same as anyone else, albeit laden down with the stifling problems poverty produces in addition to their multitude of plastic bags, but I never begrudged the time spent listening to Steve’s or the others rambling histories and tall tales or the loose change spared for some relief from their day. Before he left his perch amongst us for another pitch somewhere across town, I noticed the looks that passers-by would inadvertently shoot at our merry group, scornful and apprehensive and fleeting, before their collective gaze would return, fixed unwaveringly upon their destination, be it bus-stop, fast food outlet or shopping precinct. Streams of people all flowing in one of two directions (either left or right) never diverting from their course, save for the odd disparaging glance, as if their route were etched into the very stone they flowed over. No one appeared to take note of the line of 5 drain covers in a row that send you flying if they catch you unaware when on four small wheels, or the curved plant pots, charred black and crumbling from past conquests and failures, no one looked up and recognised the beautiful architecture of the cities rooftops and chimneys, observing all from above, silent, forgotten and majestic. I’m sure no one recognised our group either, maybe a slight jolt of familiar unease would resonate upon hearing the clanking of trucks and scraping of wood on concrete, but no actual concept of what our purpose or reason for us being there was, no recognition of our place within the shared larger surroundings, despite this being one of the main haunts within the city centre and almost always populated by at least a handful of rolling figures. We became like the planters and ledges, dirty, broken but largely transparent. - Dave Bevan
Following page: Dave Bevan , excerpts from Interzone, a self published book; 2005
cathy lomax at rosie wilde www.cathylomax.blogspot.com www.rosiewilde.co.uk
The evening of the 4th of June found me in Soho to catch Cathy Lomax’s solo show,Vignettes, which launched Stella Vine’s recently re-located gallery, Rosy Wilde. Soho on a hot, sultry evening in June is always an entertaining place to be, and on this night in particular, the streets, bars and cafes were heaving with what seemed like a million people preparing to watch Germany v Italy battle it out in what was to be a heart-stopping World Cup semi final. So, a cracking atmosphere it itself, but I digress. Never having been to the previous incarnation of Rosy Wilde, I had no idea what to expect in terms of All Things Private View, and was plesantly surprised to find that, in addition to the requisite bevvie, there was also some rather nice food available. A nice touch, and I heartily agree with Russel Herron’s comment about Stella knowing how to treat her guests. Stella also knows how to hang a show. The gallery, located just above Ann Summers in Wardour Street, is small, unpretentious and well utilised space. I liked the way this show was curated; each piece had enough room to breathe, something that can be difficult to achieve in a small space, and there was a nice mix of large and small work. In spite of it being packed to the rafters with people on the night, I did manage to actually get a good look at the work. Vignettes is a collection of paintings depicting “sad stories of beauty, exploitation and prestige” in which Lomax addresses ideas such as nostalgia, sentimentality, romance and melancholia from the vantage point of an ongoing, very personal investigation of the notion of Englishness. Concealment and disruption are key elements in this work, with many of the subjects only partially revealed, as though peering over a fence, or having been caught unawares. Muted tones and a considered choice of colour contribute to create the feeling of recalling a bygone era, a sort of ‘faded glory’, impossible to recapture yet evocative all the same.
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Especially successful for me was ‘Little Mary’, a group of tiny paintings in metal frames, set up as a sort of tableau on a small glass shelf. Their size required intimate scrutiny, which nicely balanced with the larger works, most notably, ‘Goodbye 20C’, which was on the opposite wall. I felt that these furtive glimpses offered a sense of vulnerability and exposure, whilst also having a somewhat voyeuristic quality about them. Each subjects’ very existance felt as though it were a sort of secret it itself, a story perhaps yet to be revealed, leaving me feeling both wistful and curious. - Karen D’Amico
Rosy Wilde Art Projects 79 Wardour Street London WC1 Opposite:
(top) Cathy Lomax, Little Mary (detail)
tel: +44 (0)20 7851 8547 fax: +44 (0)20 7851 8548
(bottom) Cathy Lomax Little Mary Oil on Canvas and Frames, variable dimensions, 2006
info@rosywilde.co.uk www.rosywilde.co.uk
This page:
(top) Cathy Lomax, Sapling Oil on Canvas, 61 x 46cm, 2006
Tube: Piccadelly Circus, Leicester Square
(bottom left) Cathy Lomax, Ella at the Wells Oil on Linen, 61 x 46cm, 2006
Bus: 9, 12, 13, 14, 15, 23, 148, 159, 453
(bottom right) Cathy Lomax, Goodbye 20C Oil on Canvas, 97 x 81cm, 2006
Parking: You must be joking...
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Stewart Paley www. freynorris.com
Stewart Paley New York Acrylic and collage on canvas, 65” x 74”; 2006
Stewart Paley Unreal City Acrylic and collage on canvas, 65” x 74”; 2006
Opposite: Karen D’Amico Mass Pile Up (map) Digital collage,15 x 22cm; 2006
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asked & answered
Nick Normal www.nicknormal.com/normalblog
Nick’s work is on the following three pages.
when did you first know you wanted to be an artist? when did i first ‘know’ i can’t remember; but when i first declared was sometime in the age of 18. i made a piece whose title was ‘Nick Normal is an artist’ (with a little a). that was more about declaring an artist with a little a. perhaps that is when i knew, as well. can you remember your first piece of work? as far back as i can remember i used to draw. smartest thing you ever did in terms of your art practice? when i quit painting and took up photography & ceramics: that taught me a lot about how mediums really work. worst mistake in terms of your art practice? not falling in love enough. best / worst bit about being an artist? best is the fun you have with all your peers and those who are producing contemporaneously; worst is seeing how so much of the art world dead-ends with bogus discussions about sales and market value. any heroes or villains? my friends are my heroes. you’ve lived and worked in London and now New York. any major differences in terms of contemporary art practice? good question. i would say London likes its art grimy but with a slick edge, inevitably it must be ‘made well’, even if it is made from crap. New York is the opposite: the art is slick, almost by default, but yearns to be grimy, about the things the slickness never looks at. best and worst bits of living in a metropolis? these places are AMAZING... the recent blackout in Queens exposed our dependency on electricity, the majority of which in the US is generated via fossil fuels (depending on what report you read, around 70-86%). but still, i wouldn’t have it any other way! you could complain about how we’re paying for a service and it’s failing, or how so much of the recovery effort is political, but i’m not interested in either of those arguments. the food is still amazing, there’s plenty to explore, people are still bustling about and you can always talk to them. personally i like the noise. What shows have you seen recently? the Herzon & de Mueron special exhibit (Artist’s Choice) on at the MoMA right now will be on the tip of my tongue for a little while. Any words of wisdom for emerging artists? LOVE YOUR LOCAL LIBRARY! 14
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Baby Smith www. geocities.com/~artworkslive/index.html
from the ‘lost & found’ series this body of work, comprised of 3”x3” wall mounted box assemblages, was inspired by my recent move from the midwest to southern california. i began learning my new surroundings by collecting artifacts right off the streets in my neighborhood. everything from discarded grocery lists to scrap metal was fair game, swiftly picked up and tucked into my junk bag. each found item had a story to tell. the patina of the objects was weathered by the elements, but also revealed the very character of those who once owned them. soon my half-hour walks turned into 3-4 hour expeditions, accumulating countless found nuggets along the way. The “composites” are not only a comment on society’s multi cultural mass consumption, but also an intimate portrait of the people who touched and gave each material object a life of its own. - Baby Smith Shown opposite: Top, from left: Baby Smith, Composite No. 8 and Composite No. 15, (lost & found series) mixed media and found objects on wood; 3” x 3” x 2” (approx) Middle, from left: Baby Smith, Composite No. 21 and Composite No. 38, (lost & found series) mixed media and found objects on wood; 3” x 3” x 2” (approx) Bottom, from left: Baby Smith, Composite No. 39 and Composite No. 41, (lost & found series) mixed media and found objects on wood; 3” x 3” x 2” (approx)
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dear you anonymous, melbourne
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Lucy Harrison www.lucy-harrison.co.uk
A misuse of ‘Grand Theft Auto’; I have only played San Andreas a couple of times and so not being particularly well practiced was not able to win many points.
Dialectic of flânerie: on one side, the man who feels himself viewed by all and sundry as a true suspect and, on the other side, the man who is utterly undiscoverable, the hidden man. Presumably, it is this dialectic that is developed in “The Man of the Crowd.”
It took me a while to work out that you
Benjamin, Walter; The Arcades Project, Harvard 1999, pg 420
without really realising. I started another game
were supposed to mug and kill policemen and prostitutes in order to get money and weapons, and so long periods of time ensued where I was wandering around the streets and stealing vehicles solely for the purpose of listening to the different music which played from the car radios. My attempts at winning became even more half hearted when I fell into the river on the outskirts of the city and discovered that I could swim around and catch oysters- although I did not know what use my ‘oyster score’ could be put to. Despite this the game was still addictive and I found I had been playing for a couple of hours but then went to do something else (pour another drink, perhaps) and when I came back a few minutes later I saw that ‘CJ’, the main character, was standing where I had left him at the start of the game. Even though he 22
CJ as a passive spectator of the city had become completely passive, nobody had attacked him and he was standing watching the other characters drift past him in the street. The computer program’s limitations were slightly exposed as characters became duplicated- identical prostitutes walking past each other and repeating the same phrases. The activity of the street continued without anyone taking any notice of him. At one point someone shot a man right in front of him- he died screaming in the street without anyone reacting in the slightest. CJ didn’t even jump or look surprised, but perhaps he knew what was coming next; the body and the blood spilt on the street simply faded away into nothing. I don’t know if CJ would eventually lose energy or need to eat, but he seemed quite happy just watching the street go by. The makers of the game, in their attempt to make San Andreas as complicated and realistic as possible, have inadvertently created a Man of the Crowd within the digital city.
“San Andreas is structured similarly to the previous two games in the series. The core gameplay consists of elements of a thirdperson shooter and a driving game, affording the player a large, open environment to move around in. On foot, the player’s character is capable of walking, running, and jumping, as well as utilizing weapons and basic hand to hand combat. Players can steal and drive a variety of vehicles, including automobiles, boats, airplanes, helicopters, and motorcycles.” from Wikepedia, ‘Grand Theft Auto: San Andreas, Gameplay’
- Lucy Harrison
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Jack Harris http://web.mac.com/jack_harris/iWeb/Site/welcome.html
“The crowd is his element, as the air is that of birds and water of fishes. His passion and his profession are to become one flesh with the crowd. For the perfect flâneur, for the passionate spectator, it is an immense joy to set up house in the heart of the multitude, amid the ebb and flow of movement, in the midst of the fugitive and the infinite. To be away from home and yet feel oneself everywhere at home; to see the world, to be at the centre of the world, and yet remain hidden from the world.” - Charles Baudelaire – 1863
Baudelaire, C. (1968) The Painter of Modern Life. Translated from the French by J. Mayne. London, Phaidon
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Ths page: Jack Harris South Bank Digital print, size variable; 2005 Opposite page: top: Jack Harris Las Vegas Digital print, size variable; 2006 bottom: Jack Harris Car Wash Digital print, size variable; 2005
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Rod McClaren www.rodcorp.com
Rod McClaren, Abbey Among Oak Trees (Northern Line) Digitial composite; 2006
The movement of the tube is an giant invisible hand that pulls and pushes everything and everybody around. Since 2003 I have regularly sat on the tube, working with the train on to make some drawings. I am the unreliable accelerometer recording the train’s movement. I take the scribbly drawings that the train makes, and composite them in the computer into landscapes and other images. These ones are from the Northern Line. This image is a version of Caspar David Friedrich’s Abbey Among Oak Trees,1809-10, in the Altes Nationalgalerie Berlin. Friedrich’s painting is a wonderfully gloomy and desolate scene: a cortege of monks slowly bear a coffin through the doorway in a facade that’s the only standing remnant of a ruined abbey. About the abbey are shattered, leafless oaks and gravestones, none standing vertically. A horizontal band of light sky silhouettes the black oaks, the rest of the picture seems shrouded in a murky fog. Friedrich’s Romantic memento mori is becoming an ambiguous vision of open skies, of landscapes and scale, dreamt by tube trains rattling underground.
Rod McLaren works in IT, making mobile and internet data services for the government and companies. Occasionally he’s an artist and designer. He studied Fine Art at Coventry and St. Martins back in the day.
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The parabolic curves on airline route maps show us where we might travel to - wildly different cities at varying distances from our own. But Calvino’s chapter on Trude in Invisible Cities reverses this - a traveller flies from one airport to another, only to find that he is in the same city. It would be like a traveller in London expecting to emerge from an underground station in a different country. So this piece redraws the tube diagram as if it were an airline map, showing a multitude of places to visit and a near-infinite number of ways to get there, but one in which we never leave the city. Rod McClaren, Invisible Cities Illustrated #1: Trude (HN30) (2003)
If on arriving at Trude I had not read the city’s name written in big letters, I would have thought I was landing at the same airport from which I had taken off. The suburbs they drove me through were no different from the others, with the same greenish and yellowish houses. Following the same signs we swung around the same flower beds in the same squares. The downtown streets displayed goods, packages, signs that had not changed at all. This was the first time I had come to Trude, but I already knew the hotel where I happened to be lodged; I had already heard and spoken my dialogues with the buyers and sellers of hardware; I had ended other days identically, looking through the same goblets at the same swaying navels. Why come to Trude? I asked myself. And I already wanted to leave. “You can resume your flight whenever you like,” they said to me, “but you will arrive at another Trude, absolutely the same, detail by detail. The world is covered by a sole Trude which does not begin and does not end. Only the name of the airport changes.” - from Italo Calvino’s Invisible Cities 27
The diagram is a network of curved lines connecting to every other node on a 6 x 5 grid, and has two configurations: if the picture is hung one way up, it illustrates the Ersilia chapter in Calvino’s Invisible Cities (where the lines are like the threads strung between the buildings of Ersilia); if hung the other way up, it shows that of Trude (where the lines are like a complicated airline route map).
Rod McClaren, Invisible Cities Illustrated #2: Trude/Ersilia (2003)
In Ersilia, to establish the relationships that sustain the city’s life, the inhabitants stretch strings from the corners of the houses, white or black or gray or black-and-white according to whether they mark a relationship of blood, of trade, or authority, agency. When the strings become so numerous that you can no longer pass among them, the inhabitants leave: the houses are dismantled; only the strings and their supports remain. From a mountainside, camping with their household goods, Ersilia’s refugees look at the labyrinth of taut strings and poles that rise in the plain. That is the city of Ersilia still, and they are nothing. They rebuild Ersilia elsewhere. They weave a similar pattern of strings which they would like to be more complex and at the same time more regular than the other. Then they abandon it and take themselves and their houses still farther away. Thus, when travelling in the territory of Ersilia, you come upon the ruins of the abandoned cities, without the walls which do not last, without the bones of the dead which the wind rolls away: spiderwebs of intricate relationships seeking a form. - from Italo Calvino’s Invisible Cities
Following page: Karen D’Amico City Digital collage, 294 x 220mm; 2006
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Thoughts on a Grey Day www.karendamico.com
I’m an urban creature, most definitely. I feel quite cosy living in a crowded row of terraced houses where, though you might not actually know your neighbour, you at least know someone’s there. I don’t think I could ever live in the country. There’s something ominous about wide open spaces and having next door neighbours that you have to drive to; rather like those beautifully desolate Hopper paintings or being in an episode of Twin Peaks. True, the countryside is beautiful and often relaxing, but I find it quite unsettling, foreboding even. Large, uninhabited spaces tend to infuse my over active imagination with thoughts of the Bates Motel. Cities, on the other hand, fascinate me. I love visiting big cities and I love coming home to one. The Really Big, Stuffed-to-the-Sky, Spilling Out Of Every Possible Opening type Cities are the most exciting, like New York or London or Bangkok. They’re full on, in your face, over the top, larger than life, overwhelming and exciting. They never sleep. They are diversity and excess all crammed together, like a mass organism with little mini-communities, all interwoven; a cacophony of people, buildings, sounds, smells and energy. To me, cities are like heartbeats; expanding, contracting, but always pulsating. That constant alive-ness is intoxicating. To live in the city is to be in a continual state of flux, relentlessly moving, never standing still, always changing yet always somehow remaining the same. Perhaps that’s what attracts me. - Karen D’Amico 30
catch: Arts Publications
Anxiety Culture [an] magazine Arty Magazine Found Magazine Interlude Magazine Leisure Centre Publish and Be Damned Rant Magazine rifRAG Smoke: a london peculiar
Weblinks
Artangel Artinliverpool Artquest Arts Council England Art South Central Axis Artists Eyebeam Fallon & Rosoff Happy Famous Artists Kollabor8 Newsgrist Re-Title Rhizome Stunned Theory.Org Wooster Collective
Listings
galleries, weblinks, etc.
www.anxietyculture.com/ www.a-n.co.uk www.artymagazine.com www.foundmagazine.com www.interludemagazine.co.uk www.leisurecentre.org.uk www.publishandbedamned.org www.rant-magazine.com www.riffrag.org/ www.shink.dircon.co.uk/smoke.htm www.artangel.org.uk www.artinliverpool.com/blog www.artquest.org.uk www.artscouncil.org.uk/ www.artsouthcentral.org.uk www.axisartists.org.uk www.eyebeam.org www.fallonandrosof.com/artblog.html www.happyfamousartists.blogspot.com http://kollabor8.toegristle.com/ www.newsgrist.typepad.com/underbelly/weblogs/index.html www.re-title.com www.rhizome.org www.stunned.org www.theory.org www.woostercollective.com/
Galleries / Studios / Resources UK 198 Gallery (SE24) 2B1 Bearspace (SE8) Cafe’ Gallery Projects (SE16) Castlefield Gallery (M15) Cell Project Space (E2) Clapham Art Gallery (SW4) Gasworks (SE11) Hayward Gallery (SE1) inIVA (EC2) ICA (SW1) Levack (W1) Moot Gallery (Nottingham NG3) MOT (E8) Photographers Gallery (WC2) Photofusion (SW9) SevenSeven (E8) South London Gallery (SE5) Space Station 65 (SE22) Space Studios (E8) Spectacle (Birmingham B16) Stand Assembly (NG3) Standpoint (N1) Studio Voltaire (SW4) Surface Gallery (Nottingham NG1) Tate Modern (SE1) The Flea Pit (E1) The Residence(E9) The Wyer Gallery (SW11) Transition Gallery (E8) Transmission (Glasgow)
www.198gallery.co.uk www.2b1studio.co.uk www.thebear.tv/bearspace/ www.cafegalleryprojects.com www.castlefieldgallery.co.uk www.cell.org.uk www.claphamartgallery.com www.gasworks.org.uk www.hayward.org.uk www.iniva.org www.ica.org.uk www.levack.co.uk www.mootgallery.org www.motinternational.org www.photonet.org.uk www.photofusion.org www.sevenseven.org.uk/ www.southlondongallery.org www.spacestationsixtyfive.com www.spacestudios.org.uk www.spectacle-gallery.co.uk/ www.standassembly.org www.pauperspublications.com/gallery.html www.studiovoltaire.org www.surfacegallery.org/index.html www.tate.org.uk www.myspace.com/tom_and_bob www.residence-gallery.com www.thewyergallery.co.uk www.transitiongallery.co.uk www.transmissiongallery.org/
020 7978 8309 - 020 8691 2085 020 7237 1230 0161 832 8034 020 7241 3600 020 7720 0955 020 7582 6848 020 7921 0813 020 7729 9616 020 7930 3647 020 7539 1911 07786 257213 020 7923 9561 020 7831 1772 020 7738 5774 078 0816 6215 020 7703 6120 020 8693 5995 020 8525 4330 020 7729 5272 020 7622 1294 0115 934 8435 020 7887 8000 020 8986 8866 020 7223 8433 020 7254 0045 0141 552 4813
Further Afield Flux Factory (New York) Location 1 (New York) Printed Matter (New York) White Column (New York)
www.fluxfactory.org/ www.location1.org www.printedmatter.org www.whitecolumns.org
1 (718) 707 3362 1 (212) 334 3347 1 (212) 925 0325 1 (212) 924 4214
Platform Artists Group (Melbourne) Sticky (Melbourne) The Invisible Inc. (Sydney)
www.platform.org.au www.platform.org.au/sticky.html www.theinvisibleinc.org.au
+61 3 9654 8559 +61 3 9654 8559 -
Torpedo Artbooks (Oslo)
www.torpedobok.no/
+47 48231217
Eye Level Gallery (Halifax, Nova Scotia) Zeke’s Gallery (Montreal)
www.eyelevelgallery.ca www.zekesgallery.blogspot.com
1 (902) 425 6412 1 (514) 288-2233
somewhere in Seoul about 20 years ago; can’t quite recall exactly when though...