Saga (Tamaran), Gran Canaria

Saga (Tamaran)

Wednesday 2 March – Saturday 5 March

Preview: Friday 4 March, 6pm

 El Castillo, Santa Brigida, Gran Canaria

Zanne Andrea/David Blandy & Larry Achiampong/Yvonne Buchheim/Julian Claxton/Martyn Cross/ChrisKim Fordwoh’s/Helen Grant/James Hutchinson/Harry Meadley/Mark Samsworth

 Arriving in the night, a group of UK based artists explore themes of disturbance, dislocation and dissonance on the ancient island of Tamaran in the mid Atlantic. Informed by Guanche culture and in observance of Acoran, Chaxiraxi, Chijoraji and Magec, our contemporary Faykans present film, object and image in a miniature Bond Villain's lair...

A Creed Art Club production in association with Volkskammer, Berlin

 

(Working Title) Lanza Del Destino.  Working with the object as fetish item, mythological power tool and hybrid symbol, Samsworth rephrases a partial text by the artist Michael Dean to convene with the history and topicality of Gran Canaria.  Dean visited Gran Canaria as a tourist in 1988.

The Holy Lance (German: Heilige Lanze), also known as the Holy Spear, the Spear of Destiny, or the Lance of Longinus, is the name given to the lance that pierced the side of Jesus as he hung on the cross, according to the Gospel of St John. Several churches across the world claim to possess this lance.

Samsworth (b. Whitstable, Kent, 1963) makes work that acknowledges the role of the unknown, the mythological and the half truth, while exploring hierarchies, expediency and visual languages.   

 

https://volkskammerblog.wordpress.com/

https://www.facebook.com/Volkskammer-202560313247078/?ref=ts&fref=ts

Loft Projekte, Berlin

Chapters, proposals, mysteries, myths, objects, places.  Loft Projekte presents work by Julian Claxton, Helen Grant, Simon Olley and Mark Samsworth in the form of a table display or natur tisch, with an off-site element at Kollwitzplatz.

For images go to: http://loftprojekte.blogspot.co.uk

Austerlitz

Three Men Walking

Mixed media with table and casters

Dimensions variable

October 2015

Rooms all painted grey and 'picture patience'.

Austerlitz told me that he sometimes sat here for hours, laying out these photographs or others from his collection, the wrong way up, as if playing patience, and that then, one by one, he turned them over, always with a new sense of surprise at what he saw...

Sebald, W G.  (2001).  Austerlitz.  London.  Penguin. Pp167-168.

William Dyce , Pegwell Bay: Swimming Residency

The Dyce family is fully clothed.  The women shawled and heavy skirted, gather souvenirs and shells from the beach, beyond them the lowish chalk cliffs stand over a receded tide, above the whole scene, the distant tail of Donati's comet.  William Dyce's painting of Pegwell Bay[i] depicts an activity unchanged, and the bay itself, with its cliffs and strata, sweeps to the west towards Sandwich and the Stour Estuary.  Little moved over time, a site of ancient disembarkation and more recent travel by SR.N4 hovercraft.  Hoverlloyd (later Hoverspeed) operated cross channel services from Ramsgate to Calais until 1982; the modern archaeologist or dog walker can explore the remains of the hoverport where the ramps enter the bay with white markings still visible and where delineated parking zones are partially covered in scrub.  The SR.N4 cossetted in a great heavy skirt like the ladies in Dyce's painting, was powered by four Bristol Proteus engines, one of which is currently on display at Bristol M Shed museum.  These powerful but thirsty engines propelled the craft and also inflated the black skirt that acts as a cushion between hull and water and land.

Slipping into the sea below the West Cliff beside the harbour, some children were playing on the sand, occasionally running and paddling up to their wastes.   Here the water takes on a milkiness, chalk leaching a fine sediment that drifts with the current until a point some twenty yards out where it meets deeper bluer water, the whole mixing in swirls of khaki, white and cyan.  May sea temperatures are around ten or eleven degrees Celsius, offering a bearable first swim.

From Swimming Residency Club, 2015.  

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[i]  William Dyce (1858-60) Pegwell Bay, Kent - a Recollection of October 5th 1858.  Oil on canvas.  Tate Britain

Spike Open 2015

From The Cast Room

Mixed media

Dimensions variable

May, 2015

In 2012, I embarked upon a project that has been influenced by or makes reference to a variety of texts.  The project broadly looked at the workings of the inner and outer worlds of experience, landscape and the need for convalescence during and after a non visible illness.  The texts include Henry Miller's Tropic of Cancer, The Waste Land by T S Eliot, Nancy Holt and Robert Smithson in England, 1969, Smithson's A Tour of The Monuments of Passaic, New Jersey, the poem Ozymandias by Percy Bysshe Shelley and Patrick Keiller's The View From The Train.

The project has six parts, of which the one shown here at Spike Island Open 2015, is Part 5, a version of The Cast Room (Things To Do While Convalescing). Parts 1 and 6 are video works or brief films: Voyager, shot in Paris and Margate, Rollright/Silbury recorded at the stone circle in Oxfordshire and the earth mound in Wiltshire. The other parts are: Part 2, a text, Logbook, Part 3 Alpines and Part 4, a set of paintings made on card and art related publicity material.