The Contemporary Art Society are delighted to be partnering with Shortlist Media on the latest programme of Rotate exhibitions. Rotate is a strand of our programming that provides a platform for the work of independent and artist-run spaces and galleries working outside London by inviting them to exhibit works by the artists they are working with in our central London office spaces.
We host the launch events of new installations three times a year and welcome visitors to see work from 9.30 — 17.30 Monday to Friday. Works are also available to view at Shortlist, 26 — 34 Emerald Street, London WC1N 3QA.
The Potential for Windows and Scale is the eleventh addition to the Rotate series, brought together by Sovay Berriman, Lucy Drane and Hannah James.
Their shared dialogue, developed over three years through their proximity within a regional network, culminates in their first collaborative project, drawing very deliberately upon the breadth of practice they each maintain; Sovay Berriman and Hannah James as artists and Lucy Drane as cultural producer.
Inviting artists Suzanne Mooney and Marie Toseland to include works in the exhibition, The Potential for Windows and Scale will span the Contemporary Art Society offices and the Shortlist foyer in Emerald Street and will engage its audience in sculpture, wall-based work, event, discussion and a publication.
Satellite activity will also take place alongside the permanent works/exhibition, developed in collaboration with An Endless Supply, Birmingham and the writer and researcher Laura Mansfield, Manchester.
Berriman’s practice is concerned with the dynamics of space in relation to power, imagination and performance; considering stage and prop, heterotopias and the potential of fantasy. Her body of work choreographs an overall experience, layering ideas through the production of objects, drawings, texts and events. Individual pieces reinforce and extend the space and ideas of others, allowing Berriman’s propositions to be observed within a wider perspective and at close proximity. Visually pieces demonstrate an affinity with sophisticated construction and aesthetics in their pared down offering of only the most essential ingredients, whilst an element of the hand-made is also employed, using more democratic materials and methods.
Recent activity includes the solo exhibition Rising Cities Float (July 2011) at The Agency, London; News From Nowhere (February 2011) a reading of the William Morris novel, over five evenings at the co-operative café, Café Kino, Bristol; the group exhibitions Theatre to Address: in excessive structure (October – December 2010), Cartel, London, curated by Bridget Crone, and Strange Loops (March – April 2011), Generator Projects, Dundee, curated by Craig Mulholland.
Link – www.sovayberriman.co.uk
As a cultural producer based in Bristol, Lucy Drane currently fulfills two permanent freelance positions; in her role as gallery co-ordinator at WORKS|PROJECTS, she works closely alongside the Director to deliver exhibitions and represent the gallery on National and International platforms. Lucy also co-ordinates the programme and membership of the Spike Island Associates Programme, a network of around 100 artists, writers, curators and cultural producers. In recent years she also played key roles in the delivery of two major public art projects for commissioning organisation Foreground, including Intervention Decoration, 2008 and Independent State, 2009.
Of her independent work, Drane’s portfolio includes a number of key collaborative projects. Central-Reservation, a four-month project space and programme of exhibitions ran from March to July 2010. As one of three co-founders, she delivered the once monthly market Checkout, a platform for artists and designers. Drane continues to work with writer and researcher Laura Mansfield, currently developing the publication FEAST, which looks to highlight contemporary visual art and film works, exploring our relationship with food as a social event, a marker of identity, a product of history and a commodity for trade.
James’ practice is primarily concerned with the experience of an artwork, wanting to describe the process of actively engaging with an object. Space, and the way in which the viewer approaches and inhabits it, is a central concern. Work is made in response to the specifics of site, often existing in a succinct and minimal form. Image and object are positioned as antagonists; the work oscillates between the two and three dimensional, repeatedly undermining and challenging one with the other.
Recent solo exhibitions include About Painting ABC Art Contemporary Berlin with Chert, Berlin Local Interference, WORKS|PROJECTS, Bristol (2011) and pots purr Part I Rhubaba, Edinburgh and Part II Chert, Berlin (2011). Recent group exhibitions include What does, and what does not, belong to words, Baginski Projects, Lisbon (2011), Point of address, OUTPOST, Norwich (2010), ‘The decade 2010-2020’. museum as hostage to fortune, The Pigeon Wing, London (2010) and Curtain Show, Eastside Projects, Birmingham (2010).
James will be participating in the Standpoint Futures Residency in August and September 2011 at Standpoint Gallery, London.
Hannah James CV – click here (pdf)
Central to Mooney’s practice is an enquiry into the collapse of an object into its representational form. Within her hallucinatory photographic compositions line, form, colour and reflection all conspire to create a sense of placelessness, making strange our understanding of scale and pictorial space. Mooney’s work evolves out of her continued interest into the potential sculptural qualities of photography and the formation and mediation of desire for things. By using the language of formalism her site-responsive artworks move increasingly towards abstraction, where unidentified objects hovers within intense and vibrant spaces of representation.
Mooney has previously exhibited her work in numerous solo and group exhibitions including Moody Gallery, Trajector Art Fair, Brussels (2010), Arnolfini, Bristol (2009), COVET, Plan 9, Bristol (2009), BCA Gallery, Bedford (2008) Gimpel Fils, London (2008); Arles Photography Festival, France (2008) Galleria Civica di Modena, Italy (2008), The Gallery of Photography, Dublin (2007), ‘Viewfinder Gallery, London (2007) and Dashanzi International Art Festival, Beijing, China (2006).
Mooney has a forthcoming solo exhibition at Spike Island, Bristol in 2012.
Toseland’s work is concerned with ideas of stillness and imperfection. Working across a range of media which includes print, sculpture and performances, her practice combines elements as disparate as fleeting ice sculptures with unyielding walls of speakers, or slight mark-making with overwhelming hip-hop. The works exist muted and refined; minimal and formal whilst ample room for error is left in their hand-made, unskilled production.
Recent projects include the solo exhibition Local Interference, WORKS|PROJECTS, Bristol (2011), group exhibitions Fellows for a Night/ a Night for Fellows (2010), Bristol Diving School, Bristol and Subset (2010), 34 Brigstowe Street, Bristol, and the spoken word performance of Annette, Frozen for Happy Hypocrite – Say What You See, Eastside Projects, Birmingham. Toseland will present a new reading as part of Happy Hypocrite’s – Miniature Essay at the Spike Island Artists’ Book & Zine Fair in October 2011.
Toseland is currently one of two artists selected for the Spike Island/U.W.E Studio Fellowship 2010-2011.
Marie Toseland CV – click here (pdf)