Exhibition

IT IS PROBABLY BETTER TO START FROM ZERO #1.2 Georgia Spickett-Jones

7 Apr 2016 – 1 May 2016

Window Space

London, United Kingdom

Travel Information

  • 25, 205, 254
  • Aldgate East

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About

IT IS PROBABLY BETTER TO START FROM ZERO is a long term curatorial and artistic project taking place in the Window Space, at the Cass Faculty of Art, Architecture and Design, London Metropolitan University from December 2015 to July 2016.

 

IT IS PROBABLY BETTER TO START FROM ZERO intends to highlight the unfixed position of both artistic and curatorial practices and to assume them as research-based activities, potential nexus for discussion, critique and production. Through working with artists whose body of work functions as an ongoing process, the project aims to stress the growth, complexity and diversification of collaborative practices. The unpredictable state of flux inherent in artistic practice will shape the curatorial activity as a constant ”state of becoming”, as stated by the artist and curator Paul O’Neill. Inspired by the particular properties of the Window Space, the project will also look at the window as a frame of process, exploring the constraints and possibilities of displaying a body of work within these spatial and conceptual boundaries.


After marking its mid-point with #0.2 Workshop, IT IS PROBABLY BETTER TO START FROM ZERO  presents a second intervention by each of the four artists exhibited previously, over the next four months. By coming back into the Window Space, the artists present the progress of their ongoing research and practice, taking into account the effects of their relation with the curators, the other artists and the space itself. For her second manifestation, Georgia presents FORM FOR AMBER, a further reflection upon the concepts that underline her work. Exploring form in a material and bureaucratic sense, the artist interrogates the value of official procedures in establishing and maintaining authenticity. Through her work with amber she invites the viewer to question the nature of the objects on display and, in doing so, questions the very processes by which truth is manufactured and assigned.

Curators

Ines Costa

Antonio Terzini

Matilde Biagi

Exhibiting artists

Georgia Spickett-Jones

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