Tuesday, 13 November 2012
For more information on Sam Hasler please follow:
BACKWARD THINKING: Tooth&Clawr
FRI 23rd of November 2012, 2pm
Our texts for the EXPERIMENTICA session of Tooth&Clawr will be Ian McEwan's short story 'Solid Geometry' which features in his book of short stories 'First Love, Last Rites'. Our second choice is an interview with Charlie Kaufman for the BAFTA and BFI Screenwriters' Lecture Series titled 'Screenwriters on Screenwriting'. We cant wait to pick these apart with you.
For a copy of the text either pop inot Chapter and ask at box office, or contact us at email@example.com
Tooth&Clawr is going back to its roots and is making an appearance at this years Experimentica. We have chosen some texts that we thought will support the overall festival theme of the Unseen, whilst we have also taken into consideration the title BACKWARDS THINKING, which is this years contextualisation programme.
For more information on EXPERIMENTICA then please visit:
Tuesday, 16 October 2012
Just to remind you about the next Tooth and Clawr.
We'll be meeting at Chapter (hopefully in the gallery, but otherwise upstairs) on Tuesday the 23rd, at 7. The main texts for this session HG Wells' The Time Machine and Alan Lightman' Einstein's Dreams. Both pieces of writing present a particularly complex ideas on future and time travel. If you would like a copy of the texts then please email us at firstname.lastname@example.org.
Hope to see you there.
Sorry for the silence since our last Tooth&Clawr session that took place at the end of last July. It was a huge success, with great discussion and debate around the 'Something Like Nothing Happens Anywhere'. The title of the last exhibition was taken from Philip Larkin's 'I Remember I Remember', which gave us a strong literary foundation on which to make our reading selections.
For those who missed the session, or who haven't read the poem this below link to a video of Larkin himself reading the poem is for you:
We are gearing up for a busy and exciting Autumn and Winter programme. Alongside our usual Tooth&Clawr sessions, we will also hold two sessions to compliment Experimentica 2012: Unseen.
We look forward to the fruitful discussions that we will have with you about art and literature in the upcoming months.
Sunday, 8 July 2012
Tuesday 31st July 2012
£3 (booking essential as places are limited)
We will be located inside Chapter Gallery for this session. It was felt by all that attended that we should be surrounded by the artwork that we were discussing.
We look forward to seeing you there.
Us Tooth&Clawr lot are an excited, talkative bunch and we reckon this is the perfect event for our gang to attend before the next session. Chapter gallery is on a constant quest to provide spaces, places and events to get us discussing and contextualising art. Come along and Do! See you there X
Come Along Do: Film screening and discussion
Mon 9 July
Llun 9 Gorff
Chaired by Gill Nicol
Please join us for our second Come Along Do event that will take Marina Abramovic: The Artist Is Present as the starting point for an in-depth and lively discussion that will continue our explorations in to the increasingly shared language around art & film practice.
Seductive, fearless and outrageous, Marina Abramovic has been redefining art for nearly 40 years. This documentary follows the artist as she prepares for a major retrospective of her work at The Museum of Modern Art, New York.
Marina Abramovic: The Artist Is Present will be screened at 6.15pm and will be followed by and informal discussion for Come Along Do in Media Point. The discussion will be led by Gill Nicol who has worked for many organisations including Ikon (Birmingham), Tate Liverpool and Arnolfini (Bristol). In April 2011 she set up lightsgoingon — making contemporary art accessible: lightsgoingon.com
Tickets for Come Along Do are £2.50 - click here to book online. Please note tickets for the film screening must be purchased separately.
More information is available at facebook.com/chaptergallery or by emailing email@example.com
Tuesday 31st July 2012
Tooth&Clawr, our regular artist-led reading group hosted by Phil Owen and Kathryn Ashill, is back for another session and this time we will be exploring text in response to the exhibition Nothing Like Something Happens Anywhere.
Tooth&Clawr is an artist-led reading group that aims to promote critical engagement with and debate around our exhibition programme, through reading. Texts — theoretical, fictional and tangential — are selected to draw out different aspects of the work on show.
£3 (Places are limited to encourage discussion and booking is essential.)
We look forward to discussing the texts and exhibition with you!
|Stan Denniston Los Sonadores|
This stunning group show will be the focus of our next Tooth and Clawr session. The curatorial concept has derived from a line in Phillip Larkin's poem 'I remember, I remember'. The show deals with the ideas of a slow, burning personal history with place and memory. A sense of struggle can be seen throughout the show- most of the work is created through labour intensive processes: knitting ones guilt in Andy Holden piece, pushing a heavy block of ice on the harsh streets of Mexico City (Francis Alys), making a perfect monument through bronze casting a redundant piece of cardboard. Making the monumental out of the overlooked and discarded also features as a thread throughout the exhibition. George Shaw's eerie paintings of familiar back alley ways, paths and hostile local areas are painstakingly painted in a way that celebrates these overlooked areas.
Stan Dennistons 'Sonodares' video installation contests the ancient idea of the canine as 'Man's best friend'. Homeless, unloved and living on Cuba's streets, the dogs featured in the video work take rest in public places before being awakened by a noise that slowly moves them on to the next dwelling place. The looping of this film suggests that the dogs are constantly searching for a dwelling. 'Let sleeping dogs lie' also springs to ones mind when observing this work.
The gallery has acquired the former shop space at Chapter, which has had a huge positive effect on the way our audience uses the space. Come and see the amazing show and our new space for yourself!
Nothing Like Something Happens Anywhere
Fri 6 July — Sun 2 September
Gwe 6 Gorffenaf — Sul 2 Medi
Gwe 6 Gorffenaf — Sul 2 Medi
STAN DENNISTON, GEORGE SHAW, MAAI KE SCHOOREL, UGO RONDINONE, BEN RIVERS, FRANCIS ALŸS AND ANDY HOLDEN
Taking its title from a line in Philip Larkin’s ‘I Remember I Remember’ this exhibition explores the meaningfulness of ‘events’ in our lives, as opposed to the unadorned fact of ‘living’. The work explores the nearly imperceptible evolutions in everyday life; the slow history that lies beneath the surface of culture and contrasts with the highpaced changes dominating the surface. Delving beneath the rapid succession of events on a human scale, to find the slower currents typical of the history of human groups —relating to their environment and the structures that shape societies. The social history described by historian Fernand Braudel as an "anonymous history, working in the depths and most often in silence".
Francis Alÿs’ work stems from his interest in the factors that shape urban existence and the innovative schemes that ordinary individuals devise to subvert them. Employing a range of media his works involve intense observation and recording of the social, cultural and economic conditions of particular places.
In his 1997 film ‘Paradox of Praxis I (Sometimes Doing Something Leads to Nothing)’, he uses poetic and allegorical methods to address political and social realities. The five-minute film sees the artist push a large block of ice — identical to the thousands that are delivered every morning to street businesses — through the streets of Mexico City. Initially he battles with the traction of the huge weight, struggling on in the intense heat of the day, until all that remains is a small wet stain on the pavement — a poetic rupture that alludes to the seemingly unproductive hardship involved in the daily survival tactics of the city’s residents.
‘Los Soñadores (The Dreamers)’, 2009, Stan Denniston’s nine-channel video installation reflects the artists continued interest in the boundaries between still and moving image, adopting an uncompromising realism in its almost motionless portraits of sleeping Havana street dogs.At one point, however, the dogs suddenly wake up en masse, rise to their feet and exit the screens. Denniston presents this moment in slow motion, instilling intensity and meaning to their movement; are they being prodded to move on, displaced perhaps as wandering refugees? Playing with the tensions between domestication and the instinct to survive, private ownership and public responsibility, the dogs contribute symbolically to the notion that — unlike many popular tourist-board narratives — Cuba’s social and political systems are somewhat weathered and worn.
Andy Holden’s work incorporates monumental outdoor structures, plaster, bronze and ceramic sculpture, film, painting, collaborative lectures, recorded music and musical performances. Often showing these diverse media together, his work builds a fragmented yet richly textured collision of ideas, references and forms.
‘The Cookham Erratics’ (2011), a series of six sculptures constructed from steel, foam and mixed knitted yarn, presents a personal archaeology from which a disembodied voice recounts a fragmented narrative that Holden has composed — meandering through subjects as diverse as geology, art history, theology and metaphysical poetry.
The films of Ben Rivers are rich, cinematic portraits that challenge notions of scale, perspective and stability. Shot on a wind-up Bolex camera, ‘The Coming Race’ (2006) features hundreds of people frantically scrambling across rocky mountain terrain; the footage is shrouded in an indistinct haze that drifts over the image to cloud our vision; the groups that populate the film exist outside of conventional time. The destination and purpose of the crowds’ ascension remains unclear throughout the film’s five-minute cycle — it is a vague and enigmatic pilgrimage that sits somewhere between the real and imagined as we witness the eternal struggle of humankind to reach the summit.
Ugo Rondinone’s ‘still.life. (cardboard leaning on the wall)’, 2009, accentuates the sculptural properties of the everyday. The textured surface of the bronze cast cardboard takes on a painterly dimension and in this respect reflects the long tradition of still life — of apparent naturalism underpinned by compositional artifice, and of time suspended. The bronzes’ lead core reinforces the notion of heaviness, of time slowed down, by pulling it towards the ground to emphasise ideas of impact, isolation and passivity; paradoxically, in so doing, it provides a melancholy reflection on its subjects’ inevitable transience.
Maaike Schoorel’s minimal paintings inhabit a position on the edge of legibility. Her brush strokes suggest outlines, marks, colour and shadow and invite a particular way of looking that allows the images to unravel over time.
Using her own photographs as reference material, Schoorel paints portraits of friends and family, as well as depicting the familiar scenes and activities that reference collective memory. She also alludes to the history of her chosen medium through the subject matter of paintings. After selecting and cropping her photos Schoorel involves the picture in a series of reductions until she wears away the original image to reveal something new.
The paintings of George Shaw comprise a sustained enquiry into the nature of time, place and memory and record the mundane and often overlooked. Based on photographs taken of and around his childhood home on the Tile Hill Estate, Coventry, Shaw’s landscapes are at once familiar and unsettling. Working from photographs, Shaw renders his work almost exclusively in the Humbrol enamel paint used by model-makers. His paintings have a unique, instantly recognisable quality; a reflective, seductive surface that lifts them from the realm of the purely representational.
There is a haunting quality to the work and one wonders if these non-descript, un-peopled places hold bigger secrets that may never be fully revealed; that they act as a rich repository for our own imagined narratives.
This exhibition is financially supported by the Arts Council of Wales and the Belgian Embassy. With grateful thanks to Maureen Paley,London; Wilkinson Gallery, London; Galerie Diana Stigter, Amsterdam; Olga Korper Gallery, Toronto; Sadie Coles HQ, London; WORKS I PROJECTS, Bristol; David Zwirner, New York; The Collection Mario Testino, the artists, and the private lenders who generously loaned works for exhibition.
This exhibition has received financial support from the Arts Council of Wales and the Belgian Embassy and is part of the Chapter 40 celebrations.
Tuesday, Wednesday, Sunday 12-6pm.
Thursday, Friday and Saturday Sunday 12-8pm.
For more information about the exhibition or press images please contact Hannah Firth or Lauren Jury on 029 2031 1050 or email firstname.lastname@example.org
Wednesday, 16 May 2012
Thank you to everyone who attended last nights Tooth&Clawr. The discussion was active, engaged and there were so many insightful observations. It has left us with plenty of food for thought and new ways of viewing the exhibition. We had a struggle with the noise levels in the Cwtch area of Chapter Cafe, but despite this everyone was still very focused. Helen Bullard's text was the perfect platform for the group to consider the complications of collaboration between artist's and scientists. As a group we discussed the similarities and dissimilarities of both areas. Artist's ability to subvert and challenge certain ethical boundaries were considered and compared with a scientists position, who have to follow strict codes of ethical conduct. The theme of Whaling communities in Japan is very prevalent in the Institute of Critical Zoologists show, and is an interesting example of an artists ability to challenge these ethical perceptions (whaling is a common, acceptable practice in Japan, whereas the West view it as barbaric). This moved us onto the strong sense of East meets West in the exhibition and the fact that most of the projects are said to have taken place in Japan or Singapore. This sense of the unknown world, and the foreign validates the scientific language and allows the viewer to read the information as truth.
We then moved on to talk about Paul Hurley's Becoming Snail, a performance piece where the artist mimics the actions of live snails in a lit greenhouse. Hurley sucked on the glass and slowed his movements so that he could not only be an observer to the snails physical activity, but could embody their perspective. Using the artist's PhD text as a platform we noted that it was a successful way to practice the art of observation, and that it was in complete contrast to the presentation of observation made by Helen Bullard and the Institute of Critical Zoologists. Both the latter artists chose to use the formal, museological approaches of display (i.e vitrines, lab cases etc.) During the performance Paul had a back pack like vessel filled with urine and vomit attached to him in order to emulate the shell of a snail. The slimy snail oozes its own bodily fluids from its shell, over its head in order to keep itself moist. Paul re-represents the scientific, factual and physical reality of the snail in his attempt to become like one of the creatures.
Our discussion was concluded with a quote from ICZ's work Some Kind of Expedition:
'The search for wildlife is also the search for authenticity and for truth. It can be religious. We constantly seek to impose meaning onto our relationship with the natural world.'
We are delighted that Tooth&Clawr sold out again which is testament to the desire for critical engagement with exhibitions. Preperations for the next session beging soon. We at Tooth&Clawr will begin chosing books and artist's to complement the next show at Chapter Gallery.
Once we have finalised the dates for the next group discussion we wil put it here on our blog site, so keep posted!We cannot wait to see you all at the next one and to sink our teeth into the next exhibition!
Hwyl fawr am nawr,
Tuesday, 15 May 2012
We are looking forward to delving into the themes of the curated texts with the aim of expanding our interpretations of the ICZ show at Chapter Gallery. We will be deep in conversation in the CWTCH area of the Chapter Cafe from 7pm tonight. We hope to see you there.
Wednesday, 9 May 2012
|Fig.1. Loon leg (detail for 1 Fathom Deepcreated for SWLA) resin, latex, © Helen Bullard 2008|
Our main text for the next Tooth&Clawr is Fostering Pidgins by artist Helen Bullard. Follow this link to access the text:
http://www.artandresearch.org.uk/v4n1/bullard.php or visit Chapter Gallery to collect a copy.
There is no pressure for you to study the text before the event, but if you wish to have a read before hand then please do. We are a relaxed, informal, informative discussion group. All people form all backgrounds welcome, but a keen interest in the visual arts is essential. We advise that you visit the exhibition before the reading group so that we can all delve into it's themes and the artist's ideas together.
For more information on Helen Bullard's practise please visit the artist's website:
Thursday, 19 April 2012
Fig.4. You are here (detail, work in progress for Animus flux) ©Helen Bullard 2009
The focus of the evening will be ‘Fostering Pidgins’ by artist Helen Bullard. Helen – currently Resident Artistic Research Associate in the department of Experimental Psychology, University of Cambridge – works with animal subjects to question and uncover a changing landscape of research, theory and material exploration that deals with the animal-human relationship. We will also look at former Cardiff-based artist Paul Hurley’s writing on ‘becoming animal’ in performance. Looking forward to discussing the many and various ways the texts might provide in to thinking around the ICZ show!
Tuesday May 15th 2012, 7pm at Chapter Arts Centre. £3. Booking Essential.
For more information contact: email@example.com
Tooth&Clawr are gearing up for the next artist run reading group event. We are busy selecting the next texts and planning so that we can encourage lively discussion around Chapter Galleries next show. The Institute of Critical Zoologists (ICZ as we affectionately call it) will open to the public on Friday 27th of April 2012. The private view takes place on Thursday 26th of April 2012, 6-8pm and you are all welcome to attend. Hope to see you there!
Fri 27 April — Sun 17 June
Gwe 27 Ebrill — Sul 17 Mehefin
Preview: Thu 26 April • 6-8pm • Iau 26 Ebrill
The Institute of Critical Zoologists (ICZ) works with artists, scientists and researchers to develop a critical approach to the zoological gaze. Motivated by current ecological concerns, the heart of its practice addresses the human regard for animals as conveyors of meaning with values that are both culturally and politically specific.
Taking factional environments as a starting point for quasi-factual scenarios, projects are realised as installations, photographic art works, archive material and expedition reports. The ICZ aims to test the role of art and photography in the dissemination of knowledge and acceptance of truths.
Chapter has worked in collaboration with the ICZ to present its first UK retrospective exhibition that interrogates the boundaries between the seen and the unseen, art and artifice, credence and fantasy; exploring methods of allegorical representation and interpretation.
In March 2012, ICZ artist Zhao Renhui undertook a residency at the National Museum Cardiff that has informed part of the research for this exhibition. An installation by the artist is open in the Natural History Galleries at the Museum between 13 March and 17 June 2012.
Pauline J Yao writes, Zhao’s work "may be truthful depictions or artful fabrications, but it hardly matters: Zhao succeeds in proving that our assumptions about reality must be rigorously questioned if not, on occasion, fully abandoned". (Best of 2010, Art Forum)
This exhibition is curated by Lauren Jury and Helen Warburton.
Under the organisational name of The Institute of Critical Zoologists, Zhao Renhui has shown in a number of international exhibitions and been the subject of extensive writing and commentary. He is currently undertaking an artist residency with Ffotogallery, UK on behalf of the Land Archive. Recent group exhibitions include: The Singapore Art Museum (2012); Langgeng Art Foundation, Indonesia (2011); Fukuoka Art Museum, Japan; Seoul Arts Center, Korea; (both 2010); Photo Levallois, Paris (2008), as well as solo exhibitions at The Institute of Contemporary Arts Singapore (2012) and The Arts Gallery, London (2011). In 2011 he received the Deustche Bank Award in Photography from University of the Arts London and was Winner of the Sony World Photography Awards in Still Life. He was awarded the Singapore National Arts Council Young Artist Award in 2010 and won a distinguished art prize in Singapore, The United Overseas Bank Painting of the Year Award in 2009. Zhao graduated with a Masters in Photography from The London College of Communication under its graduate scholarship program. He lives in London and Singapore.
Image: Secret Place, from the series ‘The whiteness of a whale’, 2010
Gallery open: Tuesday — Saturday 10am-8pm. Sunday 2pm-8pm; closed Monday.
Monday, 5 March 2012
|Tooth&Clawr Artist Reading Group Banner|
A group of people coming together to actively engage. Huddled around a table in a public meeting space, the group begin their study, sinking their teeth into literature, art and debate. Picking apart. Dissecting. Re(a)d in tooth and claw.
Tooth&Clawr would like to thank all those that attended the first session (of many!) of this unique reading group, which has been set up to promote engagement with Chapter Galleries exhibition programme.
The level of discussion was exhilarating. People comfortably sharing ideas on the chosen texts and art works, bouncing off one another, listening to each other. Reading collectively.
We are very excited at the prospect of hosting the next Tooth&Clawr, which will centre on The Institute of Critical Zoologists, an exhibition of work by artist Renhui Zhao and guest curated by Lauren Jury and Helen Warbuton for Chapter Gallery.
Dates to be announced soon!
Wednesday, 29 February 2012
Thank you to everyone who has booked their tickets and collected the texts at the gallery. It is very exciting and encouraging for Tooth and Clawr and Chapter Gallery that so many people wish to delve deaper into the exhibition programme. If you have yet to book your tickets, then please do this as soon as possible as there are only two available before we reach maximum capacity! Fear not, if you do fail to get a place on this session you are still welcome to recieve the reading material as we belive in offering as much context about the gallery programme as possible. All preperations are going well, and we look forward to seeing you this Sunday in the Cinema Foyer at Chapter.
Wednesday, 22 February 2012
|"Id Like to book my place on the Tooth&Clawr reading group please..."|
Booking for the Tooth&Clawr reading group event is essential as spaces are limited. Chapter Arts Centres lovely Box Office staff will be able to assist you with booking your place on the space.
Visit: http://www.chapter.org/26183.html for further information on the event and how to book.
Sunday, 19 February 2012
|Lothar Götz Lightbox Commission at Chapter' main entrance|
Saturday, 18 February 2012
We have selected excerpts from J.G Ballard's Crystal World and Thomas Bernhard's novel Correction. The artist Lothar Gotz selected the latter book for our reading group as it has had a major influence on the theme's within his art work. We will regularly ask Chapter artist's for a text that has inspired their practice, as it is often a great entry point to the art work.
For a copy of the selected reading material for the launch session please visit Chapter's Gallery or email us at: firstname.lastname@example.org.
Fri 3 Feb — Sun 1 April
Gwe 3 Chwef — Sul 1 Ebrill
Gwe 3 Chwef — Sul 1 Ebrill
Preview • Blaenwelediad: Thu 2 Feb • 6-8pm • Iau 2 Chwef
Lothar Götz’s practice ranges in scale from site-specific wall paintings and room-sized spatial installations to paintings and drawings. There is a clear coherence and dialogue across his body of work through its continual referencing and engagement with ideas about architecture and space and its characteristic use of abstract geometric forms, fields and lines of intense colour.
His work is informed by real factors of circumstance, site, or the particular inhabitants or histories of a building, space or place, but mixes these factors with further imaginary or fantasy ones.
Similarly, many of his drawings represent the floor plans of idealised dwellings, sometimes for specific people or historical figures, sometimes for imagined ones.
Together they form part of an ongoing series exploring spatial ideas for domestic spaces: apartments, houses, bungalows, villas. Colour is used to denote the functions and atmospheres of rooms, or the situations and qualities of the surrounding landscape — whether a chateau set in a meadow or a bungalow overlooking the sea. It also cues off the identity of the person who is thought to live there, in a web of imaginative factors that continually feed into the geometrical arrangement of forms and the colour decisions for each drawing.
Lothar Götz was born in Günzburg, Germany in 1963. He now lives and works in London. His solo shows have included rahncontemporary, Zurich; Kunsthalle Wilhelmshaven and Galerie der Stadt Remscheid, all Germany (2011); Petra Rinck Galerie, Germany (2009) and Chisenhale, UK (2002). He has forthcoming solo exhibitions at DOMOBAAL , London and Städtische Galerie Wolfsburg, Germany.
Public commissions include Platform for Art at Piccadilly Circus underground station in 2007; a collaboration with Caruso St John Architects at the Arts Council England Offices in 2008 and a commission at Haymarket Metro Station, Newcastle in 2009.
He has been on residencies in New York, Shanghai and Guangzhou, and completed an Abbey Fellowship at the British School at Rome in 2010.
Image: Lothar Götz, Circus, wall painting, 2012.
Friday, 17 February 2012
Tooth& Clawr will be launching at Chapter
On Sunday 4th of March 2012 at 3pm
To book your place on this exciting discussion event contact Chapter box office:
Refreshments included in ticket price
Lawnsiad Tooth&Clawr yn Chapter
Dydd Sul 4edd o Fawrth 2012 3pm
Bwcio yn hanfodol
I fwcio tocyn i ymuno'r trafodaeth cysylltu gyda'r swddfa bwcio ar:
Mae lluniaeth ysgafn ar gael gyda'r tocyn
Printed excerpts of the curated texts are available from Chapter Gallery, or on request through contacting Tooth&Clawr at: email@example.com