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The Immense Ventriloquism - Part.2
No full textThe Immense Ventriloquism - Part.2 presents new work by TC McCormack, and showcases new and existing artworks by seven guest artists. Presenting a new installation; Hybrid Display Structures, with an accompanying film: Magic isn’t Magic, it is Always Something Else, and displayed in conjunction with a selection of paintings and prints by guest artists Clara Bausch, Matthew Burbidge, Ingo Gerken, Marie von Heyl, Michael Schultze, Raaf van der Sman and Oliver Zwink.
The second in a series of exhibitions; The Immense Ventriloquism – Part.2 explores the conditions of exhibiting, the nature of display and the manner in which we address artworks. TC’s installation Hybrid Display Structures foregrounds the exhibition’s curatorial mode of address, by directly corresponding with the paintings and prints of the guest artists, while adopting the physiognomy of exhibition display architecture - in order to examine the autonomous and authorial positions of artworks.
Taking the shape of floor to ceiling panels, the fabric based digital prints are orientated across the gallery walls and suspended from a lightweight framework that reaches into the exhibition space. The visual language of these hybrid panels speaks of calibration and optical registers, as well as decentred patterns and a slippage of surface.
The Immense Ventriloquism - Part.2 presents an intimate and immersive selection of paintings and prints, which when viewed collectively reveal liminal and emergent qualities. Certainly these artworks elude and challenge any positional or situational play, as this gathering of exquisite voices pass up on the measures: indeed they seem to speak through us.
At the centre of Magic isn’t Magic, it is Always Something Else is a voice that challenges the viewer’s expectations of the role and content of the film, through a deciphering of its visual information, while loosening the pervasive traditions of narrative. Magic isn’t Magic extends the curatorial premise of The Immense Ventriloquism – Part.2, in part through referencing the visual language of the hybrid panels, and by speaking back to or ventriloquizing those artworks by the guest artists.
Paintings featured:
Paravent, by Michael Schultze (2020) Wood, Tempera on Canvas, S. 180/145
Mask, by Raaf van der Sman (2020) Egg tempera on paper, S. 55/32
‘Untitled’ (BVFS, Nr.1) & ‘Untitled’ (BVFS, Nr.7) by Oliver Zwink (2017) Acrylic, wax and coloured pencil on paper S. 110 x 155 & (2018) Acrylic on paper, S. 110 x 155
Prints featured:
Shadows, by Clara Bausch (2019) silkscreen mounted on dibond, S.68/98
An Image to Be Read, by Matthew Burbidge (2011) Print S.61/43
BIBLIOSCULPTURE 012 (GROSSES TUCH) & BIBLIOSCULPTURE 016 (BEI BUCHHOLZ) by Ingo Gerken (2012) Photographic print, S. 348/349
“Phantom Limb” by Marie von Heyl (2015) Photographic print diptych & cast metal, S. 22.8/31.3
Film: Magic isn’t Magic, it is Always Something Else (2020) Single channel digital video with audio (08.24)
The first exhibition in the series The Immense Ventriloquism was presented at nationalmuseum, Kruezberg, Berlin in 2017 and featured a video diptych and an Assemblage platform by TC, in dialogue with a selection of sculptures and drawings by eight guest artists.
The title The Immense Ventriloquism takes inspiration from a poem by Wallace Stevens, ‘Not Ideas About the Thing but the Thing Itself’ (The Collected Poems of Wallace Stevens, Alfred A Knopf, New York 1954.
The Absolute Outside
No full textPresented at SPOR KLÜBÜ, Berlin, this exhibition features five artists from Berlin and the UK:
Marie von Heyl, TC McCormack, Matthew Noel Tod, Richard Sides & Oliver Zwink. Group exhibition curated by TC McCormack.
The absolute outside, is a term coined by Quentin Meillassoux to describe a space that exists beyond the limits of our thoughts, of being genuinely elsewhere. He argues that thought ‘can never get outside itself to encounter the world as it really is’. All we can ever know is ‘how the world is for us, not how it is in itself.’
The potential to entertain this speculative exteriority can be glimpsed in the selected work of the exhibiting artists; though their practices each have distinct concerns, all have strayed onto this speculative territory.
In this spirit of being genuinely elsewhere, there is the hope that this exhibition can offer the viewer a moment of self-doubt; to see the viewer ask a simple question; where should-I-stand-in-here?</p
A Ragged Gesture
No full text'A Ragged Gesture' is an exhibition between TC McCormack and Michelle Atherton. The first major presentation from their research and curatorial collaborative project. The exhibition features a constellation of ragged gestures, recognisable in and through a series of artworks in the forms of prints and wall drawings, a large-scale painting, video and animation work, and vitrines featuring a collection of collaged elements.
Collectively, the work in this exhibition addresses a counter position, one that manifests itself against the neat formulations of progress and handed down historical trajectories. Speaking to the ruptures of the past and present, in offering points of contention to the state we find ourselves in today. A ragged gesture does not adhere or sit easily within known trajectories; they are, by their character, more impure in their askew glance to futurity.
MA & TC are documentarians, reworking signs from multiple genres, disciplines and periods to enable the reappraisal of current structures and phenomena, so something can be shifted, extracted or added. They draw on architectural forms and industrial activity, art movements and philosophical speculations to encounters at the barricades, talk-show conversations, filmic moments and organic ephemeral forms.
Works by Michelle Atherton include 'On Demand', 'Wall Drawing' & 'Rock' - See supplementary file for more information
The Immense Ventriloquism.
No full textThe Immense Ventriloquism is a solo exhibition by TC McCormack. The exhibition encompassed a diptych of films, displayed through digital projection, a platform assemblage which featured a collection of sculptures and drawings by eight artists, onto which a series of animated pattern-motifs are projected, and three large fabric prints suspended in an offset arrangement.
The film diptych is in a dialogue with the animated platform assemblage, the visual phrasing moves between and across the three time-based elements with a particular cadence and rhythmic structure. Each phrase or scene appears as a material configuration; their characteristics are distinctly different; in form, tone and pace.
The term Ventriloquism speaks to the immediacy of difference, and in the activation of the other. This exhibition questions the boundaries between video and sculpture, materiality and immateriality, by foregrounding the temporal as much as the spatial conditions of sculpture, and valuing the digital surface with equal regard.
As an unfolding act of dislocation, the animated pattern-motifs resist any temporal trajectory; in they appear to move in and out of time. This idea informs the project’s visual language; from a divergent fragmentation of surfaces, to the dissembling patterns, and an ungraspable slippage of content.
As singularities within the assemblage, the selected sculptures have quite different characteristics, each piece is considered for how it effects and activates the others. These formal gestures are counterpoint to and within the aggregate, distinct and various positions on the platform
All our ships are at sea
No full textAt its centre, this assemblage features a spoken text, with a video diptych (on Barco monitors), positioned amidst a series of large suspended fabric prints, which closely corresponds to a large wall based print.
At its centre, this assemblage features a spoken text, where voices speak of a divergent fragmentation and a sense of dissembling control. Likewise the visual language alludes to an ungraspable slippage of content. The imagery and pattern motifs are adaptations of evasive optical registers, drawn from a stealth technology and topological features (mapping geometry, architectural measure).
In this time-based installation, sequential visual phrasing enables the pattern motifs to move between and across monitor screens, which in turn sets up a direct dialogue with the larger fabric and mural based prints.
The spatial interplay between the corresponding large pattern motif structures denies the viewer a fixed optical register, offset or displaced… the gaze refuses to settle. A curatorial led enquiry has partly informed this structural composition of this assemblage.
Foregrounding the spatial qualities of patterned surface with the temporal conditions of video, enables the animated content to move away from more conventional narrative structures to explore a more immersive and intimate environment.
Featured in the exhibition: It doesn’t have a Shape, it has a Shadow
with TC McCormack, Michelle Atherton and Jette Gejl.
at Spor Klübü, Berlin. March-April 201
Play it as it lays
No full textPlay it as it lays, is an assemblage platform structure, within a time-based installation which features a sequence of projected animated pattern-motifs.
The assemblage is made up of a collection of artefacts, statues, sculpture and other contemporary materials (including products), this collection has been specifically compiled to be presented at Viborg Kunsthal, including the large statues borrowed from VK’s archive.
The installation featured audio, a spoken text, featuring multiple voices.
The time-based immersive installation: Play it as it lays is conceived as an excavation site, a staging to reassess our public and private collections of various categorisations. Foregrounding the spatial qualities of projected animation with the temporal conditions of sculpture, enables this body of work* to move away from the more conventional narrative structures and explore a more immersive and intimate environment.
This form of speculative curation led practice has enabled me to hold a more diverse spatial and gestural sensibility within this time-based project.
The animated patterns originate from a body of research that speaks of topographies; from a stealth technology used to cloak sensitive material, to an excavating form of topographical mapping and further examples optical registers.
Play it as it lays is presented in the large East Wing gallery of Viborg Kunsthal, in the group exhibition: As Much About Forgetting
Co-curated by TC McCormack, Michelle Atherton & Jette Gejl.
*This work relates to an exhibition: The Immense Ventriloquism at nationalmuseum, in Berlin, 201
Artists-led organizations: Agency-lab and the era of dissolution
No full textWorkshop on Artists-led Organizations; Agency-lab and The Era Of Dissolution offering artists a platform for exploring how working as part of an organization vs. as an individual artist can open up new opportunities, venues and connections.
As part of this workshop Michelle Atherton and TC McCormack discussed their instigation and involvement with Agency- lab, the artist-led research organisation based in the Art and Design Research Centre at Sheffield Arts Institute, Sheffield Hallam University. Agency-lab purpose is to enable artist’s to connect with institutions, individuals and processes. It host interactions across different locations and sites to offer a reflective and open platform for equal exchange and the generation of research projects and artworks. A key proponent of the discussion was the importance of creating and maintaining a space to be speculative and less quantifiable. One of the research projects The Era of Dissolution co-devised by McCormack & Atherton through the Agency-lab was used a case study in the workshop. The project features art production and curating concepts of cultural phenomena and historical syncopation. The research investigates and asks what is the visual language of our times? The research project is evolving over a series of international exhibitions and an accompanying publication.
The Transcultural Exchange International Exchange 2016 conference provided options for artists to embrace different cultures, mindsets and technologies. Panellists spoke about their international residency programs, providing practical advice, discussing how art can play a vital role in social interventions and promote ways for artists to collaborate with those in other disciplines, including medicine, architecture, conservation and engineering. The workshops and round table discussions gave artists with similar interests the chance to meet, network and talk about their work; and the portfolio reviews with the speakers, gallery owners and critics supplied additional venues for artists to showcase their work
We didn’t look after it, it fell apart
No full textThis work features a large print (backlit freestanding) and two monitors, one of which is draped a translucent fabric print. Both monitors display animated sequences that negated a filmic narrative form, rather they present a more spatial animated language. The monitors positioning within the gallery space reflects their function as activating objects or animated forms.
The large free standing back-lit print frames one end of the gallery space and depicts a linear set of lines that appear to resemble both a grid and a double mask like face. The crudeness of the lines speaks the language of Neolithic drawing, while the slight fragmentation of the image gives the impression of a dissolution or an unravelling.
Both monitors display sequential phrasing, which enables animated gestures and scenes to move between this diptych of screens, and by extension relay across the gallery space, this in turn sets up a dialogue with a large print that frames the gallery space. Collectively these three elements appear to move in and out of time, while managing to resist any conventional temporal reading, they speak to unfolding acts of dislocation.
A translucent fabric print draped over a vertical monitor, which created the doubling optical effect of overlaying two digital patterns. The fabric had the effect of softening the monitor, making it more of an object.
This work was developed in response to the curatorial theme of the exhibition, the elements and composition were developed in direct response to Laura White’s sculptures, which were planned to be presented in the same space. An active curatorial conversation was an important aspect to this piece, to consider the wider scope of forms and materials. This is an example of curatorial led art practice.
Featured in the group exhibition AS MUCH ABOUT FORGETTING
Co-curated by TC McCormack, Michelle Atherton & Jette Gej
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