25, 26 & 27 September 2009, 12.00 – 18.00
“Normal service will resume” is programmed as part of Liverpool’s ‘Long Night 2009’ which has been organised in conjunction with FACT’s ‘Abandon Normal Devices’ and ‘On the Waterfront’ Film Festival.
This exhibition takes divergence of intention and reality of outcome as a point of departure. It explores some aspects of the limitations of technology and false promises particularly the consequences of communication breakdown. There are many times and situations in which we seek to take assurance from a voice of authority; this exhibition considers the different aspects of being asked to take that leap of faith.
Fields of study are proliferating at an exponential rate with multitudes of experts, each claiming sole possession of absolute knowledge in their particular field; this in turn leads to a dense layering of jargon which feeds the Google machine. We put our faith in technology with expectations that it will meet our desires or answer our questions, sometimes wilfully ignoring its limitations.
Casting the role of the modern explorer, Blau uses search engines to travel all over the web, – gleaning photographs from private and corporate websites, photo-sharing sites and travel blogs, – and create miniature landscapes that sit somewhere between fiction and reality. Her miniature domes take up aesthetics of the Victorian era, relating the Internet medium to the old cabinet of curiosities and play with visual archetypes related to a place and a culture.
Cytter’s videos have a distinctly literary flavour. Although her medium is tape and she makes countless references to cinematic and televised forms, her scripts often involve long soliloquies and multiple voice-overs that would seem more comfortable unravelling over the pages of a novel. Cytter, who writes all her own scripts, deliberately uses an over-poetic and non-realistic spoken language to enhance the artificiality of the filmmaking process. This eloquent and expressive speech is at odds with the videos’ documentary style, which includes lots of wobbly, hand-held, out-of-focus shots, culminating in the camera getting knocked over.
Using digital media as a means to explore pre-cinematic audio/visual technologies in relation to today’s new media methods, Dee’s work looks at the juxtaposition between digital technology and 20th century cinema techniques. It highlights the development and progress of cinematic procedures using 20th century cinema in a digital context, comparing and contrasting moving imagery and still images, sound and vision, space and confinement.
His work, often nostalgic, sometimes comical but always captivating, seeks to explore cultural and social issues, examining human traits, capturing snap shots of emotion and amplifying them through the use of looped and frozen imagery. These scenes suggest underlying, universally resonant, human themes that both modify and adapt to societal and technological transformations.
Koszerek creates organisations as artworks/curatorial projects such as the Independent Art School (1999-) and The Unasked-for Public Art Agency (2006 -). She is interested in blurring the boundaries between art and non-art environments and borrows materials or ways of working from other vocations. The Unasked-for Public Art Agency delivers unasked-for consultancy packages to host organisations within which Pippa has nominated herself as artist in residence.
Lewis is an artist-filmmaker, often producing short and silent films that focus upon the descriptive and pictorial qualities of this medium, exploring a fundamental tension between the still and moving image, inviting viewers to consider the constraints of cinema and its inextricable link to photography. With short precise exercises on particular filmic techniques, such as back projection, he presents simple yet unresolved social episodes. There is also an underlying social or political thematic in his work, often created by choosing very specific urban or rural locations for his films that have a particular economic or social status.
Absurd and strangely poignant, Niculescu’s practice exists in the space between performance and documentation, between the live and the mediated. Seemingly impulsive responses to the places she encounters result in a series of interferences with architecture and urban structures, recorded and sparsely edited to create enigmatic, transferable events in film, video and photography.
To present these short, apparently spontaneous interventions back to the viewer in the gallery suggests that, otherwise, something of importance would have been missed. What that something is, or what it means, opens the work up to a variety of possible readings and equally manages to frustrate a definite interpretation while consistently engaging the viewer through their simple realization.
O’Hare’s work examines the public reception of the artist’s work and its problematic impact upon the determination of the artistic vision. Whilst artistic style and content can be borrowed or appropriated there is still a faith held in the importance of the artist’s work and of their ability to transcend the everyday or have something important to impart. In his practice the appearance of the work is based on arbitrary decisions with the aim that they will receive their credence and consequence by the viewer, resulting in him playing with ways of meeting fleeting judgements of taste that determine engagement.
In her artwork, Ramo appropriates everyday elements and scenes, displacing them from their original context and rearranging them in her videos, photographs, collages, sculptures and installations. The artist investigates the moment at which the objects stop making sense in people’s lives in order to create situations bereft of calm and order, making the world appear helter-skelter. Both formal and conceptual strategies overlap in a constant enactment of mapping a chaotic reality.
Shrigley’s experimental films take an irreverent, satirical approach to notions of self identity, whilst mixing caricatures and stereotypes. For this exhibition she will be showing “2 Bakers Buns“ which she describes as:
“An ending of a love affair, packaged meat in cling film, splitting up online. I have taken a personal conversation from msn messenger and this is my performance in reaction to this conversation. Online relationships in the 21st century; from letter writing, telephone calls, and texts, to now going online to finish a relationship with a partner. I’m interested in how surreal this can seem as meanings get distorted when there is no body language and or vocal tone.“
Live music from 9 pm: Chrik, We Came out like Tigers & Bagheera
‘The Fight’ – Mark Lewis