Tuesday, 29 March 2011
CANNED magazine, CALL FOR WRITERS!!!!
The call-out is up!!! see http://cannedmag.net/callout.html or visit http://www.cannedmag.net/ for details on submissions. CANNED is looking for writers to comment on theories, trends, projects, artists and artworks within the discourse of contemporary practice. We are looking for unique perspectives delivered with eloquence and clarity. The publication has developed from the momentum of The NewBridge Project and will maintain a link to the North East without limiting its own scope of interest. The magazine will not stand for one fixed position; rather it will be a consolidating tool for the commentary of writers, artists and cultural critics. This is an unpaid opportunity but we will circulate 2500 copies plus coverage on the website (www.cannedmag.net) and through social networking channels. If you want to send anything through, have any questions or simply want to get in touch e-mail us at info@CANNEDmag.net
CANNED website
Our new website for CANNED magazine, www.CANNEDmag.net , is up and running! CANNED magazine is coming on really quickly now. We are up on Twitter, Facebook and have had a wealth of press thanks to some excellent p.r from Tessa Biddulph.
Recent press
http://www.creativeboom.co.uk/north-east/news/an-inspiring-group-of-newcastle-based-artists-have-canned-their-talent/
http://www.creativeboom.co.uk/north-east/ (your on the home page reel)
http://www.thisiscentralstation.com/opportunities/canned-magazine.aspx
http://www.creativeboom.co.uk/north-east/events/imitation-arsonist-lights-and-sculpture/
http://www.flickr.com/photos/57938740@N02/5342781982/
http://goarts.co.uk/
http://www.interval-bristol.org.uk/content/pop-initiative
http://www.euro-hostels.co.uk/glasgow/1513_newcastle-gallery-to-hold-exhibition-of-lights-and-sculpture
http://www.artscouncil.org.uk/news/NewBridgeStudio/
http://thenewbridgeproject.blogspot.com/2011/01/imitation-arsonist.html
http://paper.li/lovewhatslocal/2011/01/11
http://paper.li/jewellerybyshal/2011/01/11
http://www.creativeboom.co.uk/north-east/ (your on the home page reel)
http://www.thisiscentralstation.com/opportunities/canned-magazine.aspx
http://www.creativeboom.co.uk/north-east/events/imitation-arsonist-lights-and-sculpture/
http://www.flickr.com/photos/57938740@N02/5342781982/
http://goarts.co.uk/
http://www.interval-bristol.org.uk/content/pop-initiative
http://www.euro-hostels.co.uk/glasgow/1513_newcastle-gallery-to-hold-exhibition-of-lights-and-sculpture
http://www.artscouncil.org.uk/news/NewBridgeStudio/
http://thenewbridgeproject.blogspot.com/2011/01/imitation-arsonist.html
http://paper.li/lovewhatslocal/2011/01/11
http://paper.li/jewellerybyshal/2011/01/11
CANNED statement
From the momentum of The NewBridge Project in Newcastle upon Tyne comes CANNED, a new and visually exciting magazine that provides artists, curators, critics and the public with an informative and accessible cultural resource. CANNED contains articles, reviews and interviews with creative practitioners. It aims to improve public knowledge of cultural issues, establish and strengthen networks and improve synergy between practices and wider discourse. CANNED welcomes writers from all disciplines and encourages a range of styles and opinions. As such it aims to establish itself as an essential facility to further professional writing practices and open new avenues for discussion and creativity. CANNED aims to manifest a self-sustaining, intelligent and focused dialogue, and provide exposure for a range of artists. It will not stand for one fixed position; rather it will be a consolidating tool for the artistic trajectories of writers, artists and cultural critics. CANNED wants content that pushes, explores and challenges art criticism, generating sophisticated controversy and widespread debate that is forward thinking in its content, delivery and distribution. As an artist-led initiative CANNED is a non-profit publication. CANNED will be available to everyone, and fervently welcomes diversity and originality.
Re-make/Re-model Sunderland NGC
Compared to the National Glass Centre’s pristine exhibitions, marble collections and immaculate vases, its new exhibition, Re-make/Re-model (14/10/2010-27/2/2011) is almost aggressive. Set in a dark gallery with tiled floors and a complex ceiling of rigging and lights, Lothar Goetz’s bold blocks of colours adorn the walls, immersing a rich and vibrant display of sculptures that peripherally flit from one piece to the next. Although the works appear rather eclectic, and are admittedly somewhat inhibited by their unconventional gallery setting, the aesthetic and thematic ties are thought provoking and unusual. All the works exhibited share, to greater or lesser degrees, a concern for environmental and economic waste. They either have been or allow for the re-cycled, re-invented or re-made, testing formal and conventional possibilities of found or used objects and re-usable materials.
Upon entering, Darren Bank’s vintage televisions scream with noise adapted from classic horror movie culture, which forms a stark contrast to Steven Emmanel’s fantastically meticulous works, such as a cup containing hundreds and thousands sorted into their correct colours, or his symmetrical ink-blot like rug made up of 16,000 marbles. In an adjoining room, Jacob Dahlgren’s geometric framework of food cans twists and snakes next to Cristian Gräser’s chandelier made entirely from used beer bottles; both works originating from events put on in the glass centre in name of re-cycling and re-using.
Pieces such as Ruth Claxton's twisted, illusory mirrors, or Charlotte Hughes Martin's beautifully etched beer glass could go unnoticed next to the prominence of their vivid surroundings. However, such works, tucked into corners and crannies, invite that second look which adds to the intrigue of the space and gives the exhibition the layer of substance that allows it to maintain an investigatory nature.
For an exhibition that provides so many varied and original artworks, the success of Re-Make/Re-Model comes from its ability to provide a social narrative and for that narrative to be overlooked in enjoyment of individual aesthetics. It is not an original concept to demonstrate the manner in which artists utilise the throw-away or the recyclable, yet the originality felt from this exhibition stems from the diverse range of artists who have individually developed unique spins on the idea of re-making and re-modeling. Re-Make/Re-Model succeeds in its ambition to provide a different outlook on how art can be produced alongside environmental worries. Whether through its underlying message or its aesthetic diversity, this exhibition is at very least anything from the ordinary.
Upon entering, Darren Bank’s vintage televisions scream with noise adapted from classic horror movie culture, which forms a stark contrast to Steven Emmanel’s fantastically meticulous works, such as a cup containing hundreds and thousands sorted into their correct colours, or his symmetrical ink-blot like rug made up of 16,000 marbles. In an adjoining room, Jacob Dahlgren’s geometric framework of food cans twists and snakes next to Cristian Gräser’s chandelier made entirely from used beer bottles; both works originating from events put on in the glass centre in name of re-cycling and re-using.
Pieces such as Ruth Claxton's twisted, illusory mirrors, or Charlotte Hughes Martin's beautifully etched beer glass could go unnoticed next to the prominence of their vivid surroundings. However, such works, tucked into corners and crannies, invite that second look which adds to the intrigue of the space and gives the exhibition the layer of substance that allows it to maintain an investigatory nature.
For an exhibition that provides so many varied and original artworks, the success of Re-Make/Re-Model comes from its ability to provide a social narrative and for that narrative to be overlooked in enjoyment of individual aesthetics. It is not an original concept to demonstrate the manner in which artists utilise the throw-away or the recyclable, yet the originality felt from this exhibition stems from the diverse range of artists who have individually developed unique spins on the idea of re-making and re-modeling. Re-Make/Re-Model succeeds in its ambition to provide a different outlook on how art can be produced alongside environmental worries. Whether through its underlying message or its aesthetic diversity, this exhibition is at very least anything from the ordinary.
Subscribe to:
Posts (Atom)