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Proving Ground: Prototyping at YSP

From April 30, 2014 through May 7, 2014 Yorkshire Sculpture Park hosted a prototyping exhibition for the Semi-Floating Structure as part of the upcoming film Proving Ground currently in production in collaboration with Daniel Gower.

Semi-Floating Structure

Studio and Construction

 

V&A to screen Fractal Weave Structure I: a film by Daniel Gower

Fractal Weave Structure I: a film by Daniel Gower will be screened at the Victoria and Albert Museum as part of the Friday Late Hackney Wick Takeover of the museum on the evening of Friday, the 28th of February.

V&A

The second public screening of the film will take place at 9PM on the 28th of February in the Hochhauser Auditorium inside the Sackler Centre at the V&A, where a component of the sculpture will also be on view. There is also a full program of events throughout the evening.

Hackney Wick Takeover
Friday 28 February, 18.30 – 22.00 Screening at 21.00

Friday Late with MasterCard is free and drop in. All events are available on a first come, first served basis. Please note that if the event reaches capacity, we will operate on a one-in-one-out basis.

Victoria and Albert Museum
Cromwell Road
London SW7 2RL

Premier Screening of Fractal Weave Structure I: a film by Daniel Gower

The recently completed film of the fabrication, construction, and installation of Fractal Weave Structure I: a film by Daniel Gower, will have its premier screening as part of the Pangea Sculptor’s Centre event: “Are You Sitting Down?” Sculpture in/as moving image at Genesis Cinema on the 21st of January, 2014.

Fractal Weave Structure I: a film by Daniel Gower

Book Tickets in advance at the Genesis Cinema

Pangea Sculptor’s Centre

TUESDAY 21ST JANUARY
Doors open 7.15 pm
Screenings commence at 7.30 pm
Intermission 9.15 pm – 9.45 pm
Screenings end 11.30 pm

PRICE: £9.50 (£7.50 student concession)

Or call the box office on 0207 780 2000

The London Project Goes North, YSP: Opens Saturday, 30 November

Gerson Zevi Exhibition at Yorkshire Sculpture Park opens this weekend.

Together with Alma Zevi and my gallery partner Alex Gerson, I am delighted to tell you about the next stage of the London Project, the Gerson Zevi show that we have been working on since the summer. Under the new name The London Project Goes North, the show, including a number of new works, will travel to the Yorkshire Sculpture Park, where it will go on display later this month.
-Matteo Zevi

Yorkshire Sculpture Park
30.11.13 – 05.01.14
Garden Gallery

Yorkshire Sculpture Park

Photos from Joinery at Tim Sheward Projects

Follow the link to see images from the exhibition held at Tim Sheward Projects between the 8th of November and the 7th of December 2013

View photos here.

Tim Sheward Projects

Gerson Zevi: The London Project at Yorkshire Sculpture Park

30.11.13 – 05.01.14
Garden Gallery

Gerson Zevi’s pop-up show, The London Project, features a selection of original 2D and sculptural work from some of today’s most interesting young artists

With a focus on simplifying the process of buying and selling contemporary art, innovative new art gallery Gerson Zevi, present expertly curated high-quality art. Rather than having a permanent gallery space, the European-American partnership exhibits art through their website and in a series of international pop-up events that expose exciting new artists and curators.

The show for YSP’s Garden Gallery features work from a new, up and coming group of eight London and New York artists: Adeline de Monseignat, Camilla Emson, Luke Hart, Steve Hurtado, David Murphy, Yana Naidenov, Sofia Stevi and Chris Willcox.

Yorkshire Sculpture Park

Gerson Zevi

Joinery: A Solo Exhibition at Tim Sheward Projects

Luke Hart – Joinery

“Our whole life is solving puzzles”
– Erno Rubik

The mental and physical acrobatics performed by speedcubers rely on different methods mastered to help solve the iconic 80’s brain-twister; the Rubik’s Cube. In July this year, at the Las Vegas World Rubik’s Cube Championship, Feliks Zemdegs became the world champion, with a time average of 7.49 seconds, however the current world record for a standard 3×3×3 cube ‘single-time’ attempt, was set in March by Mats Valk with a time of 5.55 seconds. Although speedcubers use different puzzle solving methods – from the Fridrich method (an algorithm-based method), to the Petrus method (a more intuitive technique) – speedcubers all share a similar physical posture when performing their task. Their heads remain locked still in focus as do their shoulders and elbows, their wrists resemble clamps fitted with internal ball-bearings; still, but providing a constant rotational support to the hands.

By the time the speedcubers mental impulses reach the tips of their puzzle-solving fingers, all their energy seems to concentrate on the fingers’ joints, producing the distinctive forward and backwards finger-flicking. As nervous energy translates into physical action, the path of thought travels through each of the speedcubers synapses, and finally into their arms and hands’ greater muscle structure. Such is the speed in which all this takes place that it relies not only on cognitive and mechanical action, but a deeply embedded muscle memory, whereby physical action appears to somehow anticipate the very mental impulse which predetermined its origin.

Luke Hart’s practice examines the way things in our world are put together: a dovetail joint, a musical instrument’s flight case, or a simple chair. Each a puzzle-solving situation reflecting the methods taken when solving each task. In Joinery, Hart’s first solo exhibition at Tim Sheward Projects, he toys with the familiar terminology for a carpenters’ workshop – a ‘joinery’ – acknowledging the pragmatism behind engineering and design. He presents us with sets of what appear to be technical instruments encased in wooden beech boxes, such as 4-Part Linkage Joint (2013) and Curved Plate Joint (2013). Cared for and respected they could belong in a wood workshop and, although at rest, he is reminding us that these are functional problem solving tools; joinery being a place, but also a skill and action.

Fractal Weave Joint III and IV (2013), on the other hand, focus on joint details. They form part of a larger work, Fractal Weave Structure I (2013), but here we are able to see them as works in themselves albeit recontextualised. We can still imagine their relationship to a larger structure, not dissimilar to the Terminator’s right arm in Terminator 2 found by scientists and kept to study, which even in isolation we are able to reverse engineer the significance of this component to a greater whole. Fractal Weave Joint III and IV (2013) seem hyper-organic; their latticed ligament structure interconnecting steel extremities and evoking an industrial charge, but in addition, they resemble a living-woven Möbius strip, suggesting the macro-micro models embedded in Hart’s work. The orange bonded polyurethane rubber in these works is reminiscent of the color-branding found in power tools and is also suggestive of heat and action. Hart’s practice shifts between allegorical suggestions and technical pragmatism – they are poetical power tools – and presented on sturdy travel crates rather than on ascetic exhibition displays, points to the idea of these sculptures having the potential to function.

Hart’s practice examines the deeper ergonomic nature that lies at the heart of decision making and design, and the relationship of form and functionality to mind and body. Frozen and made explicit in this way, his work suggests a societal relation, and points to what may be deeply imbedded in our synaptic and muscle memory, like the 3-D cross-hinge at the centre of a Rubik’s Cube fast twisting core.

-Juan Bolivar

Tim Sheward Projects

Art Licks