Back for its third year running, Tintype presents Essex Road III, 8 specially commissioned short films that each delve into the iconic North London street from which the exhibition takes its name.
Whether it’s Susan Collins‘ ‘Wildlife’ depicting the various creatures (real and not) that inhabit the neighbourhood, or Lynn Marsh‘s ‘Resurrection Restoration’ filmed on location at Gracepoint during the restoration of a former 1930’s cinema and incorporating a gospel choir, each of the 8 contemporary artists who’s work will be screened through the front windows of the gallery, has approached the brief in their own unique manner.
If you ask me, there is nothing that rings in the holiday season more than brightly coloured things that shine. From tree ornaments to jewels to candlelight, Christmas is all about the sparkle, so now that it’s almost December I’d suggest running not walking to Tristan Hoare for their latest exhibition Cell-(estial), a collection of enchanting work by French-born Lebanese artist Flavie Audi.
Audi is best known for her mouthwateringly beautiful gem-like glass sculptures, but for this exhibition she also includes photography and film as a means to investigate the points at which the natural and artificial worlds meet.
Glass is a naturally occurring, organic material, yet through its modern usage in mobile and TV screens it has taken on technological significance – as an interface through which real and virtual worlds are mediated – and it is this collision of realities that is at the heart of Audi’s practice. To explore how these realms interact, the show has been divided into two distinct installations, one representing the physical, the other digital, chaotic nature placed alongside the rational and man-made.
We are delighted to have had the opportunity to speak with Audi about this exhibition and her general practise.
Have a read below and then as previously mentioned, get to the gallery immediately!
From this Friday 16 September, Tintype presents Suki Chan’s intrigiung solo exhibition, Lucida. Combining images, bio-medical research and individual testimonies, the interactive three-screen installation explores the fascinating relationship between the human eye, brain and vision.
After following the progression of this year’s SOLO Award since the competition was first announced, we are so thrilled to share that a winner has been selected!
Hopefully, you had a chance to view the incredible shortlisted artists’ works on our ArtAttack App, which we were honoured to exclusively showcase on the ‘Curated Art’ page. Well, one of these talented creatives is now the big winner! We are thrilled to introduce Victoria Lucas!
Victoria is a Sheffield-based artist represented by Mark Devereaux Projects. She received her BA (hons) in Fine Art (Sculpture) from Norwich School of Art and Design in 2004, followed by her MFA Fine Arts from the University of Leeds in 2007. Currently, she is a Fine Art Lecturer at the University of Central Lancashire, Preston.
Victoria’s artworks are often initiated by a physical encounter with a place, site or landscape. By concentrating on these contexts and their current or former inhabitants, she develops conceptual narratives that subvert and categorise events and myths using a site’s materiality as a catalyst.
We had the chance to speak with Victoria about her SOLO Award victory and greater artistic practice.
‘Photographs may indeed be evidence, but evidence of what exactly? That is a question that cannot be answered by the photograph alone”
Jennifer L. Mnookin, Professor Of Law
At ArtAttack‘s most recent exhibition visit, the subject of photographic evidence was put to the challenge. Exhibiting at The Photographer’s Gallery in London is a collection of eleven cases displaying photographic evidence spanning the period from the invention of metric photography of crime scenes through to the reconstruction of a drone attack in Pakistan in 2012.
The reason this topic fascinates me is due to a previous personal project on the Evidence of Human Presence, as I have always felt a photograph is the only permanent remains of a person. Half of this exhibition is focusing on the forensic evidence of land destruction with before and after photographs of buildings and aerial views. The other part focuses on the development of criminal evidence showing us what a photograph reveals or implies, whether these images are close ups of fine details by chemist and photographer Rodolphe A. Reiss, or scenic photographs which give an image-by-image account of the state of the victims and the circumstances of their deaths by cameraman John Ford. Both are thought-provoking and demonstrate how far the medium of photography has come over a century.
Essex Road II at Tintype gallerybuilds on their hugely popular inaugural event last year, with an array of leading artist-filmmakers providing compelling films.
The second edition of Tintype’s Essex Road Project is comprised of eight specially commissioned short films, each inspired by the North London street from which the project takes its name, and where the gallery is also located. With subjects ranging from Helen Benigson‘s visceral celebration of the female ritual of the hen night, to Uriel Orlow’s film based around playwright and authorJoe Orton’s fictional alter ego Edna Walthorpe, filmed on his doorstep.
I had the chance to speak to Tintype director Teresa Grimes about the project.
It’s not often one sees an artwork that is truly unlike any art one has ever experienced in the past, but I can say with certainty that such was the case for me with William Kentridge: More Sweetly Play the Dance at Marian Goodman, London. In fact, the work from which the exhibition borrows its’ title, an 8-screen film piece described by the gallery as ‘dance macabre,’ is perhaps the most inspiring work of art I’ve ever seen, and one that has pleasantly haunted me in the two weeks since I visited the show.
The experience goes something like this: After admiring a series of stunning, mostly black and white, paintings downstairs, which blend Chinese cultural artifacts with images of flowers painted on found paper swimming in Chinese characters, you enter a room, which introduces you to Kentridge’s video art.
After a truly energising experience at the Slade School of Fine Art Undergraduate Degree show, I was excited, last evening 11th June, to see what the graduate classes had come up with for their exhibition. Unsurprisingly, the show was beautifully put together, and full of fun and unique work, from painting, to video, to installation, even a giant, red, worm-like fabric piece that loops its’ away all around the building, slithering from the basement to the roof, and creeping up on you just when you least expect it.
A particular favourite corner of mine belongs to artist, Noga Shatz, who’s black and white works on paper of upside-down females, I find exceptionally enticing. The photo sadly doesn’t do them much credit, but to give you context, I came back twice to see these and would probably have done so again, had there not been cheeky barbecue waiting for me at home.
Nina Eunhee Hong‘s installation is another standout work. The attention to detail is second to none — from a tiny sculpture of a foot gracefully resting in the middle of the floor, to one lone side of a white box painted bright pink. This work is decidedly feminine, with single breasts scattered throughout the room and a patterned dress attracting the main focus of the piece. There is such thoughtfulness inherent in the work, which definitely made me smile. Continue reading →