284 research outputs found
Exhibition 'In Another Place'
No full textIn Another Place is a celebration of contemporary art produced and presented by venues in the East Midlands.
10 regional organisations invited visual artists to present original artworks on advertising billboards in a range of locations for 6 weeks. Transforming these everyday hoardings into a vibrant display across the region, In Another Place aims to bring art to audiences, in places where normally they would see advertising.
Mandy Lee Jandrell was commissioned to produce The Collection’s billboard, located in the Lincolnshire town of Gainsborough. This enabled The Collection to explore how it develops its collections through commissions and exhibitions and transforms access to historic/permanent collections through engagement with contemporary art. The aim of the billboard exhibition was to will raise profile of The Collection with an audience that is potentially unfamiliar with it and one that does not necessarily visit Lincoln very often or art galleries.
Jandrell’s billboard exhibition complements an exhibition hosted by The Collection and Usher Gallery, which aims to relate the story of aircraft development, production and operations in the county and the impact and contribution Lincolnshire had on the successful outcome of the First World War. The image produced responds to shifting perceptions of landscape enabled by aerial photography which began to be used extensively in reconnaissance missions in the first world war. The interrogates the fragmentation of representation and shifts in perception as a result of viewing landscape from a dramatically new perspective. The work produces aims to draw our attention to the subjective act of interpretation (of images/the world around us) and makes reference to the role of women in the strategic interpretation of military reconnaissance imagery in the RAF. The project was commissioned by Lincolnshire County Council for The Collection to respond the centenary of the formation of the RAF. Jandrell's response focussed on the role of women in RAF reconnaissance and as Special Operations Executives in the second World War
Eidyllion
No full textThe publication included of a selection of landscape photographs made by Mandy Lee Jandrell over a period of 4 years that showed environments that are at odds with reality or the ‘real place’. The selection of images published in Edge of a Dream looked specifically at representations in constructed leisure environments that reproduce nostalgic pictorial conventions. Mandy Lee Jandrell also contributed to the research project for over a year in a series of discussions, seminars and a symposium held at both Camberwell College and Goldsmiths College, with the other participants, which led to the publication of the book. Through discussions with other participants a selection of her photographic work was made, to which the writers responded. Fellow participants in the project were acclaimed writers and photographers including Simryn Gill, Mandy Lee Jandrell, Virginia Nimarkoh, David Spero, Anthony Iles, Kate Soper and John Wood, with an introductory text by Paul Halliday. Edge of a Dream is the culmination of an Arts & Humanities Research Council funded project organised by Camberwell College of Arts and Goldsmiths, University of London. The process of collaboration between writers and visual artists allowed for the production of a book that uniquely engages with ideas around the representation of Landscape in contemporary photography. www.edgeofadream.co.uk The research project and its publication led to numerous debates and discussions around the representation of landscape in a series of discussions, seminars and a symposium held at both Camberwell College and Goldsmiths College which were open to the public. The book publication was launched with an event at the South London Gallery and is available for purchase through Affram Books. It is housed in a number of university librarie
Totale Erinnerung, 3rd Fotofestival Mannheim, Alter Messplatz, Mannheim, Germany. Curated by vvork.com
No full textTotale Erinnerung - Blog 3D
Alter Meßplatz Mannheim
Curated by www.vvork.com
The Internet blog is perhaps the most popular contemporary form of collecting images based on the ease of sharing data—the "same” picture or the "same” video can be used time and again in a variety of ways within the context of a blog. A blog is a global image archive for a private community of interests. Completely different images are presented within the blog in a uniform format, and it is this succession of images, the visual chain of association, that accounts for their charm. The blog reacts to the variety and torrent of images by means of this formatting. We invited the bloggers on vvork to show a collection of images in the form of an installation in public space, thus creating a walk-in, three-dimensional blog on the Alter Meßplatz in Mannheim.
Participating artists:
Mathieu Bernard-Reymond, Broc Blegen, Catrin Bolt , Luchezar Boyadjiev, Candice Breitz, Olaf Breuning, Mauren Brodbeck, The Bruce High Quality Foundation, Paolo Chiasera, Citizens Association “Rocky Balboa” Žitište, Lenka Clayton, Gerad Coles, Dainis Derics, Marjolijn Dijkman, Harm van den Dorpel , Michael Elmgreen & Ingar Dragset, Amel Emric, Leo Fabrizio, Lise Gagne, Cyprien Gaillard, Hayley Grimes, Simon Hardy, Pablo Hare, Joel Holmberg, William Hundley, Iman Issa, Mandy Lee Jandrell, Pete Johns, Jan Kempenaers, Kernbeißer, Lanica Klein, Shaan Kokin, Timur Kulgarin, Tomaz Levstek, Miguel Luciano, Ives Maes, Kelly Mark, Brett Matthews, Juan Monino, Mark Ollerenshaw, Christodoulos Panayiotou, Lauris Paulus, Kevin Phelan, Sarah Pickering, Wang Qingsong, Bernadette Rafferty, Karla Vanessa Redor, Amanda Richards, Thomas Ruellan, Pascual Sisto, Simon Smyth, Mohammed Tawfeeq, Anetta Mona Chisa & Lucia Tkacova, Guy Tillim, Rijel Violet, Drazen Vukelic, Chris Wile
Totale Erinnerung, 3rd Fotofestival Mannheim, Alter Messplatz, Mannheim, Germany. Curated by vvork.com
No full textTotale Erinnerung - Blog 3D Alter Meßplatz Mannheim Curated by www.vvork.com The Internet blog is perhaps the most popular contemporary form of collecting images based on the ease of sharing data–the "same? picture or the "same? video can be used time and again in a variety of ways within the context of a blog. A blog is a global image archive for a private community of interests. Completely different images are presented within the blog in a uniform format, and it is this succession of images, the visual chain of association, that accounts for their charm. The blog reacts to the variety and torrent of images by means of this formatting. We invited the bloggers on vvork to show a collection of images in the form of an installation in public space, thus creating a walk-in, three-dimensional blog on the Alter Meßplatz in Mannheim. Participating artists: Mathieu Bernard-Reymond, Broc Blegen, Catrin Bolt , Luchezar Boyadjiev, Candice Breitz, Olaf Breuning, Mauren Brodbeck, The Bruce High Quality Foundation, Paolo Chiasera, Citizens Association ?Rocky Balboa? Žitište, Lenka Clayton, Gerad Coles, Dainis Derics, Marjolijn Dijkman, Harm van den Dorpel , Michael Elmgreen Ingar Dragset, Amel Emric, Leo Fabrizio, Lise Gagne, Cyprien Gaillard, Hayley Grimes, Simon Hardy, Pablo Hare, Joel Holmberg, William Hundley, Iman Issa, Mandy Lee Jandrell, Pete Johns, Jan Kempenaers, Kernbeißer, Lanica Klein, Shaan Kokin, Timur Kulgarin, Tomaz Levstek, Miguel Luciano, Ives Maes, Kelly Mark, Brett Matthews, Juan Monino, Mark Ollerenshaw, Christodoulos Panayiotou, Lauris Paulus, Kevin Phelan, Sarah Pickering, Wang Qingsong, Bernadette Rafferty, Karla Vanessa Redor, Amanda Richards, Thomas Ruellan, Pascual Sisto, Simon Smyth, Mohammed Tawfeeq, Anetta Mona Chisa Lucia Tkacova, Guy Tillim, Rijel Violet, Drazen Vukelic, Chris Wile
Totale Erinnerung
No full textOn going research that explores the global spread of consumerism and the aesthetic regime that accompanies it. Jandrell spent 8 years working on this project, taking photographs in constructed leisure environments around the world. The six images chosen looked at how constructed spaces of consumerism such, as Theme Parks, work within consumerist experiential culture as a way of setting up a discussion on representation, realism and narrative.The development of this body of work has been recognised in its inclusion in this exhibition alongside contemporary artists of international standing. For this exhibition, a selection of 6 of Jandrell’s photographic works was made by the curators. These were printed to approximately 10x8 foot on canvas and installed as a part of the installation on the Alter Meesplatz in Mannheim, a public space open to Fotofestival visitors and the general public alike. This exhibition responded to highly pertinent issues facing photography today, and as such is in the forefront of its field.Curators Vvork were invited to show a collection of images in the form of an installation in public space, thus creating a walk-in, three-dimensional blog on the Alter Meßplatz in Mannheim, Germany.The exhibition was open to the public, with several events taking place to commemorate its opening and was reviewed in German press and photographic journals
Evidence in Camera
No full textJandrell’s two-part exhibition makes reference to aerial reconnaissance photography, and uses codes, fragments, deception and theatricality to interrogate our relationship to these images. Jandrell’s interest in surveillance photographs stems from an interest in their ambiguity, and the way in which they serve to trick our perception.
The installation ‘Le Bibou n’est pas un Éléphant / The Owl is not an Elephant’, explores the ambiguity of aerial reconnaissance photographs, playing on the use of decoys to create deceptive images staged to mislead. The installation uses mirrors and ambiguous reflected imagery to create a theatrical set, which alludes to the illusive nature of photographic images and the way in which they serve not only to trick our perception, but also to show us things that our eyes are incapable of seeing.
In the film ‘The Blue Hour’, Jandrell creates a fragmentary and disorientating narrative, using mirrors and light. The film uses unintelligible and fictional coded mirror- and torch-signals inspired by the secret coded signals used by the women of the Special Operations Executive, stationed in occupied France, to communicate with incoming RAF planes in World War 2
/Seconds
No full textMandy Lee Jandrell, Three photographs from the photographic series 'Eidyllion' were exhibited as part of /Seconds exhibition at the Sharjah Art Foundation.
Titles:
Boars, Burgher’s Zoo, Arnhem, The Netherlands
Waterfall, Mini Hollywood, Tabernas Desert, Andalucia, Spain
Moose, Camp America, Mall of America, Minneapolis, Minnesota, USA
The series 'Eidyllion' interrogates constructed representations of nature within the built urban environments of zoos, theme parks, living museums. The selection of images exhibited look specifically at representations in constructed leisure environments that reproduce problematic and nostalgic conventions that reiterate a divide between humanity and what we might define as nature. They explored hyper-real technologically constructed landscapes in theme parks, zoos and living museums drawing out incongruities between the surreal and the banal, between the natural world and the world of artifice. These works, through unravelling the veneer of the constructed landscape, expose our continually unfulfilled yearning for a return to a ‘primal’ nature. Using different levels of conceit within the images, sometimes nestled over one another, she sets up a ‘double-take’, one that draws us to the paradox that, as Adorno put its, a harmonious immersion in nature (our aesthetic appreciation of the beauty of nature which recollects a world without domination) is incompatible with human consciousness (ie we don’t actually want to be animals). In playing the role of both tourist and documentary photographer, travelling the world, revealing the seams between artifice and reality in her images, the work picks at the construction of narratives in photography itself.
Curated by Peter Lewis, Sharjah Art Foundation presents a selection of artists’ works from the online journal /seconds. (2004-2014), which covers a broad range of issues and art practices from different cultural perspectives.
Participating Artists
Abdullah Al Saadi, Emily Allchurch, Conrad Atkinson, Fabienne Audéoud, George Bolster, Tony Chakar, Elizabeth Chadwick, Gordon Cheung, Ami Clarke, Stephen Clarke, Judith Cowan, Roger Cremers, Myriam Custers, Shezad Dawood, Sean Dower, Milena Dragicevic, Thomas Draschan, Alan Dunn, Paul Eachus, Laura Emsley, Al Fadhil, Nooshin Farhid, Anna Faushauer, David Ferry, Damian Flores Cortes, Peter Fillingham, Leo Fitzmaurice, Alison Gill, Margarita Gluzberg, Alex Hamilton, Margaret Harrison, Laura Hatry, Dan Hays, Taraneh Hemami, Aaron Hobson, Janet Hodgson, Mandy Lee Jandrell, Mohammed Kazem, Peter Kennard, Uta Kögelsberger, Karen Knorr, Colm Lally, Thaniel Lee, Liliane Lijn, Rut Blees Luxemburg, David Mabb, Ruth Maclennan, Melanie Manchot, Kito Mbiango, Makiko Nagaya, Adam Nankervis, Warren Neidich, Guillaume Paris, Nada Prlja, Annie Ratti, Cullinan Richards, Graziella Rizkallah Toufic, Giorgio Sadotti, Hilary Koob-Sassen, Edgar Schmitz, Hassan Sharif, Lisa Stansbie, Sergei Sviatchenko, Jalal Toufic, Rob Voerman, Jonathan Whitehall, Cindy Wright, Takayuki Yamamoto.
This exhibition also presents a special section composed of selected artists' video and audio from issues 1-14 with works by: Asa Anderson, Paul Allsopp, Martyn Blundell, Ben Brierley, Tim Brotherton, Edward Chell, James Chinnock, Rosie Cooper, Patrick Courtney, David Cunningham, James Early, Luciana Farinati, William Furlong, Mark Harris, Véronique Janin Devoldère, Ben Judd, Anne Keleher, Conor Kelly, Peter Lewis, Peter Lloyd Lewis, Katrin Lock, Karl Lydon, Elizabeth McAlpine, Monika Oechsler, Uriel Orlow, Mark Pickles, Adrian Shaw, Marie-Anne Souloumiac, Stuart Tait, Anders Weberg, Cecilia Wee, Robert William, Jo Wonder
Edge of a Dream: Utopia, Landscape and Contemporary Photography
No full textEdge of a Dream is a new publication from Affram Books. It discusses contrasting ideas of utopia in recent landscape photography, and in the context of global capitalism. The book considers how such photography might contest received ideas such as property, community, beauty and land.
Photography from visual artists Simryn Gill, Mandy Lee Jandrell, Virginia Nimarkoh and David Spero provides the catalyst for new critical writing by Anthony Iles, Kate Soper and John Wood, with an introductory text by Paul Halliday.
This timely publication will be of value to those with an interest in contemporary photography, the environment and the politics of landscape.
Edge of a Dream is the culmination of an Arts & Humanities Research Council funded project organised by Camberwell College of Arts and Goldsmiths, University of London.
For further information about the project visit: www.edgeofadream.co.u
Hearing voices, seeing things
No full textSeven artists' projects explore mental health using innovative and multidisciplinary approaches to collaborative practice, including painting, drawing, collage, ceramics, sound, performance, photography and comedy.
This publication was published to accompany the project and exhibition at Leytonstone Center of Contemporary Art (LCCA) at the Serpentine Gallery, 17 Sept - 15 Oct 2006.Artists: Bob and Roberta Smith and Jessica Voorsanger with Mel Brimfield and Sally O'Reilly, Karen Densham, Mandy Lee Jandrell, Andy Lawson, and Victor Mount.Bob and Roberta Smith, Jessica Voorsanger, Mel Brimfield & Sally O'Reilly, Karen Densham, Mandy Lee Jandrell, Andy Lawson, Victor Mount
Exhibition: Eventually Everything Connects
No full textEventually Everything Connects (2015)
Can new artwork be produced through a reflective and critical conversation between two artists? How do we identify and value a collaborative practice of critical discursive reflection as part of the creative process or innovation? Can we use this process to disrupt the history of singular narrative (as linked to power relations) in photography?
Using a collaborative critical discursive and reflective methodology between the artists over a period of eight years. The aim has been to forge new ways of encountering the photographic image to critique the use of lens as a tool in the construction of singular narratives (as and questioning our relationship, as women, to the camera, the history of photography and the printed image itself.
Through the using action research methodology in the studio and collaborative critical reflection, the artists have experimented with a range of approaches, utilising collage, video and installation to create a fragmentary and multiple point narratives. The process of producing the work for the exhibition makes visible a working practice between artists, whose dialogue enables them to develop new avenues of production in response to each other’s practice and critical questioning. It aims to question and value the role of critical dialogue in relation to the production of new artwork and gives credit to the role of critical dialogue in innovation.
Over the period of 8 years, this process of critical dialogue has seen the artists’ practice shift from a reading of photographs through the status of the privileged singular image, to an overlapping of interrupted scenes and forms. The viewer might reflect on how the works sit alongside each other independently, whilst strategies of making and disparate narratives inherent in the works begin to echo and respond to each other.
The contribution of the authors of this work included:
- a discursive collaborative blog through which the artists discussed the research question around the lens and its role in constructing and representing human perception of reality http://connectseverything.tumblr.com/
- a collaborative curatorial process to design and shape the exhibition of works
- the production of individual artworks in the exhibition attributed to each of the artists
-the collaborative writing and production of a short text publication alongside the exhibition
-artist talks with members of the public and students from Southampton Solent University.
• Jandrell produced three new artworks in response to the research question:
'Vibration 1975': An interactive installation of mirrors, a projector and acetate collage
'Let the Children Boogie': Clear Vinyl collage installed on the windows of the gallery (2m x 3m)
'Spooky Action': A large scale layered vinyl collage installed on free standing wall (2m x 5m
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