1,721,337 research outputs found
ÉVASIONISTA, 2012
Full text linkThe performance reinterprets gender critiques of affective, precarious and immaterial labour, literalising and embodying the figure of ‘the young-girl’ as gallery intern. ÉVASIONISTA was titled live sculpture and creation in amplification of the processes whereby the self is objectified and the full gamut of communicative, imaginative and sociable resources are put to work as the ideal neo-liberal subject
C21ST ART-WORKER 2013-2015
Full text linkCommissioned by LGP for a series of ongoing residencies, the poster deconstructs notions of art’s autonomy, emphasizing the apparatus of its appearance and the conduits of its circulation, where women are marshalling their individual cultural, social and erotic capital in the prestige field of art. Actualising the commercial and economic structures of the art world, the research extends the gender critique of cultural work in neo-liberalisation.
C21ST ART-WORKER was produced during Alison Jones and Milly Thompson's residency at LGP. Riso printed posters were exhibited in the exhibition 'Stolen planks from under the bourgeois phalanx', and a public adboard displayed in Coventry City centre.
The poster was further developed for a Deptford X offsite project, ‘C21ST ART-WORKER/ÉVASIONISTA EST ARRIVÉE’, 2015 in anticipation of the publication 'Alison Jones & Milly Thompson C21ST RECENT HISTORY', 2016 for the exhibition at Filet 'Alison Jones & Milly Thompson C21ST RECENT HISTORY Valentines Day'
Physiotherapy improves shoulder function after treatment in women with early breast cancer
No full textMartha Rosler reads Vogue, 2010
Full text linkThe exhibition took issue with notions of gender equality and posited post-feminism as antifeminism. The exhibition examined the ideologies of the women’s magazine where old forms of oppression are returned through the discourse of the free market and consumer culture, where the ‘perfect’ is a horizon of aspiration, self-regulation and competition. Critical strategies such as mimicry, double-speak and distanciation were employed performatively to deconstruct and undermine the false consciousness of the post-feminist consumer.
An artists talk took place in the gallery on 20/3/1
ÉVASION, 2012
Full text linkThe exhibition ÉVASION deconstructed, rationalised and reinterpreted artistic and curatorial strategies of ‘critique’. Understanding the critical, political art exhibition as itself thoroughly implicated in neo-liberal processes, the exhibition revealed the apparatus of competition, commodification, self-exploitation within the art world through a range of explicit performative strategies: hyperbolic advertising - (poster ÉVASION), self-publicity (artists’ book VUOTO) and self-reflexive performance of gallery employee (ÉVASIONISTA).
A panel discussion explored the themes of the exhibition on 18/2/12
Invitation
Full text linkExhibition of monochrome works, Annie Whiles drawings are made painstakingly neatly with pencil crayon, Alison Jones’
watercolours are informal and splashy.
The work shares a relationship with objects and spaces and the correspondence between qualities of drawing, texture, composition and line of very particular places and things. Annie Whiles has placed objects and things together to form portraits of polarised powers, objects are selected on their origin and status to form difficult relationships, often unstable and comical combinations, rendered with a steady hand. Alison Jones depicts plush interiors and the parade of wealth and glamour published in W magazine online. An exacting process of elimination has been undertaken by the artist, for this apparently convivial mood and event to take place.
Whilst the work of both artists invite recognition and pleasure, this welcome has conditions: it asks the viewer to check their politics and art world, along with their coat at reception
VUOTO, 2012
Full text linkVUOTO – Italian, meaning empty, nothing
Book of artists’ projects amplifying the self-commodification inherent in art-world visibility.
The publication undermined the assumed autonomy of the artists project in its intersection with fashion, publicity and journalism. VUOTO served as publicity for the exhibition ÉVASION and was used to literally construct a platform and furniture within the exhibition for the performance ÉVASIONISTA.
The publication was included alongside 'Alison Jones and Milly Thompson C21st RECENT HISTORY, 2016' in the exhibition 'THE GEO POLITICS OF MONETIZED AIRSPACE — Come Fly with Me, I Meet You by the Airside Gucci Concession at 4, Fox Fur Hat', at Midway Contemporary, Minnesota, in 2017
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