FOMO – Introducing Falmouth’s first Art Publishing Fair

F O M O – the first ever Falmouth Art Publishing Fair – opens at 4pm on Friday 29 September for a weekend of talks, workshops, screenings, artists’ book works, performances, zines and comics and readings.   

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Organised by Falmouth School of Art’s Senior Lecturers Neil Chapman, Gillian Wylde and Carolyn Shapiro and Associate Lecturer Maria Christoforidou, F O M O will take place at Falmouth Art Gallery and the Library of the Municipal Buildings, The Moor, Falmouth, and brings together Falmouth School of Art staff and students with local participating institutions including: Falmouth Art Gallery, Falmouth Library, Tate St Ives, Stranger Collective, Urbanomic, Atlantic Press, Burning House Books, BLNT Collective, Keiken and Krowji. 

F O M O will include contributions from academic and research colleagues from: Royal  Holloway University, Cambridge University, West Dean College, Aarhus University, Plymouth University, Goldsmiths University of London, Research Center for Material Culture Netherlands and from across Departments at Falmouth University.

Generously supported by Falmouth Art Gallery, the event has grown out of discussion between colleagues across different departments at Falmouth University. From meetings as a Research Forum, finding common ground between their varied interests, the group started to consider joint research and how best to team up for that work. One of the organisers, Neil Chapman, reflects on the development of the event, and what we can look forward to over the weekend…

‘As a research group, we share a commitment to collective work. That’s both a pragmatic interest and a critical position too. Most often, when people work together it’s so that a workload can be shared. But collective work is unpredictable and inefficient too and these are values that might tend to be lost in the current climate. There is a lot of emphasis in the contemporary workplace on individuals’ success and the competition that results can be destructive. Our title for the event – Fear of Missing Out – is on some level an ironic allusion to these issues.

We are all of us, in different ways, committed to discursive work, to the climate of ideas that surrounds ‘making’ in our different disciplines. And that’s a foundation for the publication fair too, reflected in the many talks, screenings, readings and performances scheduled over the weekend. F O M O provides an opportunity for us to invite our colleagues and friends to Cornwall. It’s good for the cultures of creative practice here in Falmouth. F O M O will bring lots of people into contact who might not have met otherwise. We’re excited to imagine the new partnerships and the new work that might result.

The aim has been to inaugurate the kind of event that we would want to go to ourselves, also the kind of event that students would be excited about. Henrietta Boex, Director of Falmouth Art Gallery, has been extremely supportive. We’ve made all kinds of demands on her and she seems never to say no to anything; the Gallery’s Glyn Winchester has also been a great support. The independence of the project is a way of underscoring our own priorities, which are evident in all kinds of ways through the framing of the event: the name, the graphics, the publicity, the choice of which artists, writers and publishers to invite. There are many Art Publishing Fairs in the UK and abroad and we have had an eye on some of those. But in another sense this Fair has been invented from scratch. And for that reason it will work well as a foundation for bigger and more varied research initiatives to come. We’re talking about a future peer-reviewed journal, discursive gatherings – dream dinner date/fantasy football team type things with exciting living people—maybe some dead folk too, ghosts. No zombies. Digital Roland Barthes’ Camera Lucida . . .

It’s particularly good to be working with current students and recent Falmouth University graduates. As part of FOMO, Graham Taylor who studied Fine Art and who graduated in 2015 is curating an exhibition entitled Practically Outside, involving a dozen or more Falmouth alumni. His contribution makes a direct engagement with the FOMO ethos, looking critically at what it means to be an ‘emerging artist’, engaging in the most thoughtful way with different platforms of exhibition and print publication.’

F O M O also includes contributions from writers, artists, poets, publishers, activists, hackers, Falmouth University alumni and musicians both national and international.

F O M O is an inaugural event, bringing a new art research collective into being, which, over forthcoming months will stage events in different forms and at different locations, connecting diverse networks.

https://falmouthartpublishingfair.wordpress.com/

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BA(Hons) Fine Art alumni Polly Maxwell and Lulu Richards Cottell curate contemporary art events across Manchester’s Victoria Baths site.

14 May 2017 11:00 –  12 Nov 2017 16:00

HOW TO SWIM is an exciting series of six contemporary art events in different spaces across the Victoria Baths site in Manchester, featuring a number of other Falmouth alumni. Over six events, all taking place in conjunction with Victoria Baths Open Days, artists will react to the site, installing sculptures, paintings and video as well as performing live movement and spoken word pieces, holding workshops and giving talks.

The project is curated by 2016 BA(Hons) Fine Art alumni Polly Maxwell and Lulu Richards  Cottell,  who go by the name of WHATCHAMACALLIT collective.

‘Trying to Float’, is the first exhibit in the HOW TO SWIM series of exhibitions and artists events at Victoria Baths Open Days in Manchester.

Opens: 14 May 2017 11:00 -16:00

‘Trying to Float’ explores collective and social memory.

Artist Maddie Broad invites group reminiscence on the theme of swimming in her interactive workshop Standing together in an empty pool.

Video and sculptural works address collective domestic experience in Ting Waterhouse’s piece, ‘Laundry’.

Polly Maxwell’s ‘Stairs’ is accompanied by interactive spoken word from poet ‘T.S Idiot’.

‘Trying to Float’ takes place alongside the Victoria Baths Open Day and public swimming event. Entry to the building allows people to view the art and view swimming.

Adults £4, (standard prices £3) FREE for under 16s and VB Friends

http://www.whatchamacallitcollective.com

http://www.victoriabaths.org.uk

Victoria Baths, Hathersage Road, Chorlton-on-Medlock,  Manchester, M13 0FE.  Tel: 0161 224 2020

 

 

 

The Wanderers – arts programme through August and September

Go Happen developing PACE at Trelissick House. Image courtesy of Field Notes

Go Happen developing PACE at Trelissick House. Image courtesy of Field Notes

Field Notes announce The Wanderers, a programme of live events, installations and artefacts throughout Falmouth and The Carrick Roads during August and September.

Download: The Wanderers programme

40 years ago artist Bas Jan Ader went missing at sea during an attempt to sail solo across the Atlantic from Cape Cod to Falmouth, for what became his final work In Search of The Miraculous. The influence of Ader’s work can be felt within the practice of many contemporary artists, from big names like Mat Collishaw and Francis Alÿs who feature in Newlyn Art Gallery’s international summer exhibition (In Search of the Miraculous on until 19th September) to developing artists and recent graduates.

Perhaps unsurprisingly, generations of students from Falmouth School of Art have been drawn to the works of this enigmatic and ground-breaking artist. The Wanderers is made up of six new commissions by nine Falmouth alumni who have been influenced by different aspects of Ader’s practice, from the pursuit of precarious journeys to the poetry of futility.

Audiences will be invited to discover their own pace in a night time exploration of the Trelissick Estate led by Go Happen; lose themselves in the streets of Falmouth with a map created by BA(Hons) Fine Art alumnus and Midas Award winner Guido Lanteri Laura that questions our relationship with fact; and be guided through a myriad of fateful journeys by Chris Taylor at The Royal Cornwall Yacht Club. Rhys Morgan’s sound piece in the foyer to Falmouth Library and Art Gallery will be in situ throughout; splicing silence, stories, poems, borrowed words and music. Then, in early September James Hankey will appear on the waters surrounding Falmouth, making his own futile journey across surface of the sea.

Blair Todd, Exhibitions Curator at Newlyn Art Gallery & The Exchange, said, “When developing In Search Of The Miraculous I’d always hoped the exhibition would spread beyond Newlyn Art Gallery and Field Notes have created a perfect parallel programme. The events are thoughtful, playful and adventurous – follow The Wanderers, they will take you somewhere new.”

Field Notes is a national projects organisation based in Cornwall; founded and run by curators and Falmouth School of Art alumni Cat Bagg and Rosie Thomson-Glover.

The Wanderers is supported using public funding by Arts Council England and FEAST, as well as funding from School for Social Entrepreneurs Cornwall and Falmouth University with the generous support of Newlyn Art Gallery, National Trust, Falmouth Art Gallery, Falmouth Library, The Royal Cornwall Yacht Club and Falmouth Town Council.

For more information visit www.thewanderers.co created by Falmouth based collective Medium Rare.

Pause Collective – Falmouth Fine Art graduates at Manchester’s Kraak Gallery

Pause Collective is a group of three 2014 graduates of Falmouth’s BA(Hon) Fine Art. They have recently held a group show featuring work by ten 2014 Falmouth Fine Art graduates at Kraak Gallery in Manchester’s Northern Quarter, and we’re pleased to share with you their write-up of the exhibition…

The opening night was a busy and vibrant event, with several other artistic events happening that weekend in the city. Falmouth alumni gathered to support the event, as well as Manchester residents and art students from local colleges. The Kraak Gallery is in the heart of the busy city and the artists were carefully selected to interrupt the speed and activity outside and to create a still and quiet moment. The exhibition felt like something of an unexpected discovery; the gallery is somewhat tucked away, and once people arrived, several commented that they did not want to leave. It was a space of sanctuary amongst all the clamour of the city, inviting the audience into its contemplative silence.

On entering the space, you were immediately met with Ashley Sheekey’s strikingly minimal piece Entrance, Exit, a corridor-like sculpture made up of white ceiling tiles. This piece acted as an entrance to the rest of the exhibition, first leading on to the melancholic landscapes of Ryan Joucla and Helen Carter. The landscapes of both Carter and Joucla are ambiguous and cannot be immediately placed, but rather require the audience’s time and attention to journey through them. Lizzy Barnes exhibited delicate prints embossed with architectural shapes that, at first glance, could have appeared to be blank sheets of paper. Round the other side of the space, were Emily Naish’s animations of a bee struggling against the raging sea, caught in a lighthouse beam.

Rose-Marie Caldecott showed her piece Drafting Illusion; flyaway prints on Japanese paper hold a landscape that disappears amongst abstract marks, all trapped beneath a resin block. This sat between Matthew Cotton’s Automated Drawing series, drawings made up of hundreds of delicate circles to create hazy abstract formations. The final wall showed Emily Cranny, Alexander Heath and Lucia Jones. Cranny showed drawings that make use of brighter collage among the mesh of graphite marks; Jones exhibited iPad constructs, where she has worked into photographs digitally with painterly sensibilities. Heath’s paintings, East of Eden, were inspired by John Steinbeck’s novel, and depict large scale semi-abstract figures in bold colours and shapes, but the pieces still retain a quiet attention to detail, with a focus on the surface of the canvas.

The works all held greater depth than could be perceived at first glance. To really experience the work required a full mental immersion; a quiet escape from the busy world outside. These quiet works, that might sometimes be overlooked, were given an opportunity here to speak and be heard. Entering the space was an escape but at the end of the day, we all had to exit back to the loud and bustling reality of Manchester, but hopefully carrying a piece of that quiet with us.

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