Exhibition

In its wake

20 Nov 2008 – 4 Dec 2008

Event times

Open Wed-Sun 12-6pm

Elevator

London, United Kingdom

Address

Travel Information

  • Buses: 26, N26, 30, 236, 276,308, 488, 388
  • Changeat Stratford underground to overground, one stop to Hackney Wick
  • Train: Hackney Wick

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About

Friday, 21st November Thursday 4th December 2008 Elevator Gallery, Mother studios, White Post Lane, Hackney Wick, E9 5EN. Nearest station: Hackney Wick Gareth Bell-Jones . Sean Edwards . Line Ellegaard . Harriet Greinig . Tim Head . Neil Hedger . JT Lowen . Agnes Nedregard  . Naheed Raza . Lisa Slominski . Aethan Wills 

PRESS RELEASE A wake is a symptom of an intimate process of friction between space, time and a physical body, a material conscience of a journey passed. The word âwake' comes from the ancient Indo-European root âwog' or âweg', meaning âto be active', and is taken in the form of a burial as a sense of actively watching or guarding. In its wake presents a group of artists whose works are activated by a subjective deliberation or reverie of hand, mind and material, and which are imbued with an inherent physicality bearing witness to their becoming. While it is often stated that in many acts of image making, one has to be blind to either the actual model (world) or the drawing (ideal model), these works explore internal worlds that one sees with and through actively, blending figure and ground, becoming, being and passing, and therefore while being records of a process are in themselves imbued with a latent energy that actively continues to resonate. As transmitters (or perhaps vessels of exchange) of the intimate relationship between maker and made, the works may provide the possibility of stimulating in the viewer a physical motor-neurone response to the man-made that is both empathetic and provocative. If the origin of art is at the service of some ritual, be it magical or religious, it appears that in many instances the current ritual is in the service of instantaneous consumption and satisfaction. It is timely then that these artists' works provide not an objective immediate satisfaction but exhibit subjective and often ritualistic acts of creation/manipulation/transmutation that must be actively lived-in by viewer as they were lived-through by maker. All contain a sense of their own history, the history of human notational systems, as a fundamental part of their making; marks made by a physical body, onto a physical body. An element of friction, of dragging, both of material and of time lingers in their presence with the aim that immediacy of consumption is momentarily suspended in favor of an experience of time, duration, and physicality on the intimate scale of physical, actual, human relations. If the works then offer an inherent insight into their creation, Sean Edwards' works take this to the most literal extent. In exhibiting pages from sketchbooks, never made with the intention to be shown (ârelating to work that has been made but never of work that has been made') the works fall between the practicality of drawing as a tool to convey a message and drawing as an artistic endeavor. Line Ellegaard demonstrates the relationship between physical performance and documentation, her events exploring the notion of marking and embodying space whilst the presence of the material documentation left behind signifies their absence. Meanwhile Naheed Raza offers a stark physical transparency with a 3D drawing constructed and self-supported solely by the journey of manipulation it has been subjected to. The works are the testimony to a process, a grace of conscience, on which time has left its trace. They are not facsimiles, avatars or simulacra, but wakes.

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