Galleries

The Shed – or Coventry Centre for Contemporary Art – has a new temporary home

The best travelled shed in the Midlands is back in one piece for another exhibition – though it was nearly claimed by Father Christmas!

The shed, officially known as the Coventry Centre for Contemporary Art, was originally used in a Bob and Roberta Smith installation at the Mead Gallery at the University of Warwick in 2009, and was then left for local artists to use. Coventry-based Martin Green and Lorsen Camps used it to exhibit with Joanna Rucklidge in Earlsdon, and the three reunited for an exhibition in the shed, rebuilt at The Herbert in Coventry, this summer.

It has now passed on to the Peapod Collective, based at the Pod in Lamb Street in Coventry, and has landed, in Tardis-type style, at Fargo in Far Gosford Street. However Fargo traders thought it could have a festive use as Santa’s grotto, but it was soon retrieved for its proper purpose.

Exhibiting in it are Eve Hyde-Davis, who graduated from Coventry University this summer, and sound artist HKid.

Eve is also one of three artists using studio space at the Pod which is made available to recent graduates of Coventry University’s Fine Arts degree course. Her work on show at Fargo was also in her degree show in the summer, but there it was hung up high, with other pieces around it, and at Fargo it fills the small shed space, and you just have space to walk around it. The work consists of several large sheets of paper, painted black and with different angular shapes cut out of them.

At a low-key opening Eve said they were typical of her work, “sterile, geometric and lacking in emotion”, which might partly fit in with her interest in brutalist architecture.

“This one was in the bigger show but it was in a much bigger space. It’s really interesting here, it’s got a different feel,” she added.

Eve will be working in studios at the Pod this year, alongside Lauren Heywood and also Jennifer Shufflebotham, who has been selected for the New Art West Midlands 2015 exhibition.

*Eve and HKid’s exhibition at Fargo continues until the end of January, and will be open Thursdays and Fridays from 5-6.30pm, and weekends 2-4pm.

Exhibitions are a delight of an escape from festive shopping

If you’re Christmas shopping in Birmingham and need something more stimulating to get you through the day, there are a few exhibitions which offer a bit of a respite. Well, they worked for me anyway.

At the Ikon gallery, Imran Qureshi’s exhibition is a mixture of his miniature paintings and site-specific installations made for the gallery.

Qureshi is known for using the disciplined miniature painting style of his native Pakistan in the Mughal courts of the sixteenth century and recreating it for the modern day. The miniatures look lovely, all delicate colours and shiny gold, but close up there’s more to see.

After watching on TV the aftermath of a terrorist attack on a marketplace in Lahore in 2010 Qureshi saw the blood-splattered surfaces, and felt a colour in his studio matched it. That red seeps into some of the miniatures, in splodges but also in delicate flower drawings or other patterns, overlaying the original image. In other miniatures, missiles are part of, and also not part of, what is drawn there.

There’s also red patterns across the floor, and on two huge gold ovals made from acrylic and gold leaf, called They Shimmer Still.

The image that has been most recreated from this exhibition in its favourable national reviews is the huge room full of thousands of sheets of crumpled paper. It’s called And They Still Seek The Traces of Blood, and is amazing in size and design.

The Birmingham Museum and Art Gallery as usual has several exhibitions on show. True to Life? New Photography from the Middle East is interesting and thought-provoking, especially in its works related to depictions of women and gender issues.

Static: Still Life Reconsidered is easy to overlook in the Waterhall gallery, and is quietly attractive, with lots of detailed and skilled works. There are also some larger more striking works by Patrick Caulfield, and for me William Nicholson’s work also stood out.

The West Midlands Open in the Gas Hall is large and varied in type of work and quality. Shaun Morris’s large and dramatic painting stood out for me. It was inspired by the land under the motorway around West Bromwich, and painted in the year of Margaret Thatcher’s death. The caption says Morris was struck by how the landscape around there had changed after she came to power, moving from manufacturing to distribution centres.

Also of interest were works by Bethany Kane. Originally from Rugby, she studied at City College Coventry, then the University of Derby. Her photographs are part of a Hidden Hunger project which looks at food poverty in the UK today. Foleshill Baptist church in Coventry and the Chace Hostel feature in this exhibition, both lacking people but with facilities provided to hopefully feed the needy. They are stark and lack warmth, but provide the sort of help no one ever wants to need.

Other paintings might be more cheery, but as a touch of reality in the run up to Christmas both Shaun Morris and Bethany Kane’s works spoke volumes.

Bitter-sweet retrospective shows variety of artist’s work

Margarita Rubra work  Seed

Retrospective’s of an artist’s work are always interesting as it’s good to see what they may have created over a long working life, and how their work has changed over time.

I was impressed a couple of years ago to meet the charming Avril Moore and interview her in her retrospective exhibition at the late lamented Roots gallery in Coventry. When I asked why she was holding her retrospective then she said she was over 80 and wanted to plan it herself, which was a good point. Sadly she died a few months later.

I didn’t meet the artist Margarita Rubra (pictured below), whose retrospective exhibition is taking place this week at the Lewis Gallery at Rugby School in Rugby, but I wish I had. There was a good turnout at the exhibition opening of people who obviously knew, liked and respected her.

Margarita was born in 1933 and died last year. She lived in Long Buckby in Northamptonshire but not far from Rugby.

She had exhibited before at the Lewis Gallery with 97 Rush, and the Tantalus Project, and at Rugby Art Gallery & Museum’s Floor One gallery. She trained as a mature student and completed an Art Foundation course and HND in Craft Design Technology.

The work in this exhibition is very varied. There are lots of pieces, many for sale, and varying between £25 and £500 in price, but with more towards the lower end of the scale. She used wood, ceramics, metal and other materials including one remarkable large wood and rope structure.

There’s also an attractive mobile, and lots of smaller pieces with pleasing curves, plus one item which seemed very different, a set of boxes with quotes in them, and what looked like lights attached to them – though I didn’t dare press the switches to see.

Tomorrow is the last day to see the exhibition, 2-5pm, though I’m glad I got to the opening and raised a glass to an artist I was sorry not to have come across before.

Margarita Rubra  Gesture 2

The Last Known Pose – a camp parade makes for a memorable night at the mac

qasim riza shaheen the last known poseQasim Riza Shaheen, The last known pose of Xavier Leroy Frasier (autoportrait, photograph, 2012)

There are art exhibition opening nights – then there was the opening night of Qasim Riza Shaheen’s exhibition The Last Known Post at the mac in Birmingham.

Elegant women clad in white saris paraded slowly around a marked route. A man fell gracefully to the floor, his profile then marked out in red tape in a crime-scene style.

A tall woman in enormous spiky heels and what looked like an Asian wedding outfit joined the parade, followed by a young man with a topknot and enormous platform boots.

A woman who may or may not have been a gallery assistant approached people and recited to them, as did the man. Then another young man in, er, underpants, boots and a long trail made up of squares of paper incorporating a flag sashayed around. Camp did not begin to describe it.

Traditional Sufi music was played live, and slightly incongruously the drinks came courtesy of Absolut so for the first time ever I viewed an exhibition, and one by a Muslim artist at that, with a vodka and orange in my hand. And I rather liked it.

The performance was called One, and was apparently researched and developed earlier this year with local residents and artists at the National Visual Arts Gallery in Kuala Lumpur.

It certainly made for a memorable night, as did seeing Quasim Riza Shaheen urging on the performers, nattily dressed in a stylish outfit incorporating high boots and a neckerchief. It was no surprise at all that he’d once studied fashion, and at Central St Martins in the late 1980s-early 90s, and the outfits of the performers were all his work. Though he said that now he designs only as part of his artworks.

So on to the main show – which takes some effort to interpret, and that is best done with some careful reading of the excellent guide by mac visual arts producer Craig Ashley.

The story of the exhibition is that it’s based around a love letter to the artist before his 40th birthday, reflecting on their love and proposing marriage. The letter is part of the exhibition.

Other works include a two-screen film of the artist dressed as Amy Winehouse telling of his admiration for her in I Lost My Passport in Your Dream, and a set of photos under the title Father Rock Me, showing the artist’s father and the actor Rock Hudson.

In the photo Samson and Delilah the artist looks worried as actress Vanessa Ahmed caresses his lovely long hair, and in the two-screen film A Bride of Khusro he appears as a woman to perform Kathak Dance moves to a Qawali soundscape, in front of a Sufi shrine in Karachi.

In A World Where There Are Five Women I Am The Seventh is a new commission which allows Shaheen to display his costume-making again, showing five sari blouses around a wedding dress; this apparently leaves space for another woman, a space he describes as ‘gender atypical’.

The obvious interest in gender raises questions, but the vital exhibition guide tells us that the adoption of a feminine persona echoes the gender transformation of the Sufi saints into the eternal brides of their masters, apparently.

Shaheen is an artist who has moved away from the ideas of autobiographical work to play with ideas of what may or may not be true, and create from that. The love letter, the guide tells us, is actually a creation of the artist. At the exhibition opening he said that he likes exploring ideas of relationships, but these are always viewed as romantic relationships – whereas to him his most important relationship is with his Kathak dance teacher of the last 20 years – Nahid Siddiqui, who was at the opening and who appears in his video diptych Arya with him, where he reads the love letter aloud.

It’s a striking exhibition, with layers of meaning and misinterpretation possible. And possibly best approached with a vodka in hand.

* Opening the same night, and which I also managed to visit, was the new exhibition at Eastside Projects.

In the large gallery, Turner Prize winning artist Susan Philipsz has created a new site- specific work called Broken Ensemble: War Damaged Musical Instruments (Brass Section).

It consists of speakers from which come the sounds of instruments damaged in various conflicts in the late nineteenth century, including the Balaklava Bugle, used to sound the Charge of the Light Brigade in 1854, and another military bugle damaged by a bullet.

The sounds are as you might expect – but the idea is interesting.

Leamington offers up nudity and vivid landscapes in night of two art show openings

What a fun night for the art show ligger in Leamington.

On Friday, Arts Trail Gallery in Regent Court, Livery Street, held a private view of a new exhibition entitled Le Maison Bleu, paintings by Bryan B Kelly, curated by Grazia Carano. I was invited to that so decided to visit. At the same time, Gallery 150, which has just moved across the street to different premises in Regent Court, held a opening night for its new exhibition, Human Spaces. I wasn’t invited to that, but as the galleries are only three doors apart, what the hell, I wasn’t going to miss it.

The exhibitions couldn’t be more different. Human Spaces, which I visited first, consists of works by seven artists, plus Kate Spence who gave a live performance in the window space at the opening. The exhibition was described as a figurative exhibition, which doesn’t have to mean naked, but that’s mainly what was on show.

Stand out works for me were Ray Spence’s series of photographs of life models, not in their ‘work’, but posing naked in more domestic situations. Alongside each was a question and answer session with the model. It’s refreshing to see the models have a voice, and also that they’re not all young and slight. Domenica, 58, lays back on a rooftop near a railway line, as the photo is taken from next door where a man cuddles his pet dog.

Anna, 45, lays on her kitchen worksurface, while Kadi, 28, is in two pictures while her partner and young child carry on with life oblivious. Cressida, 44, sits around while a man practises his French horn, and Arthur 79, poses imaginatively while a woman does the housework and makes a phone call around him. Only ‘H’, a heavily tattooed and, er, intimately pierced man doesn’t benefit us with his thoughts.

Ray’s works feel different for giving the models a voice, but there seems little new or different about many of the other works to show the theme of the nude has moved on at all, and some have odd overtones.

There are two paintings of Sophie, by Melvyn Warren-Smith, and the model tells, slightly worryingly, how she was persuaded to pose naked after visiting Melvyn and his wife at their home, but how liberating she found the experience ….

Neil Moore’s Release shows a naked woman with piles of ropes laying around her. It was a relief to see Emma Tooth’s paintings of a muscley breakdancer, complete with trousers.

By this time, at a packed opening, the gallery had run out of wine though there were still plenty of good-quality nibbles around. But there was more wine (and equally good nibbles) available at Arts Trail Gallery, though Gerry Smith who runs it suggested we visit his installation gallery first.

This is an empty shop within sight of the gallery where there’s a large window space. It’s been furnished brightly in a way which fits in with the paintings of Bryan B Kelly, which are all in very vivid colours. There were also some of Bryan’s accomplished pottery pieces on show there too, which were in more earthy colours and were rather stylish.

Paintings included The Little Red Butterfly, with the creature in the bottom left corner of the big, busy work showing purple and green fields. Four Sheep show the animals in one field, amidst a bigger landscape, and Herons Cove shows the bird on an island, again bottom left, on a huge expanse of aquamarine colour surrounded by fields.

The Little Red Butterfly by Bryan B Kelly

The Round Tower shows the uncharacteristically grey tower in a landscape, reminding me of a trip I made many years ago to Bryan’s home country of Ireland. Bryan studied textiles and garment design in the 1960s and has only begun painting in more recent years, and describes his paintings as “naïve with more than a hint of surrealism”. Some of the repetitive dots and patterns also suggest an interest in Aboriginal art too.

Anyway, wine drunk, nibbles eaten it was time to move on from Leamington’s busiest art quarter of the night after what had been an interesting, and certainly varied night.

Bryan and visitor in the installationPictures – The Little Red Butterfly, and Bryan with a visitor in the installation

Shed show for found art at The Herbert

Shed in the Herbert   Joanna Rucklidge's work

The Shed – Collect – Shed exhibition in The Herbert, and Joanna Rucklidge’s miscellaneous collection

Visitors to the Herbert might wonder why a rather basic-looking shed has suddenly appeared upstairs on the landing.

But it’s a well-travelled shed which has already had several lives as an art gallery, and has re-emerged from artist and curator Lorsen Camps’s Coventry garage for this outing.

The shed is officially known as the Coventry Centre for Contemporary Art, and was taken over by Lorsen after it was used in the Bob and Roberta Smith installation at the Mead Gallery in 2009. Its first appearance was then in the grounds of Earlsdon Primary School, showing an exhibition of found objects by Lorsen, plus Martin Green and Joanna Rucklidge. The three are reunited for this Herbert exhibition.

The show is called Shed – Collect – Shed, playing on the different means of the words, but Lorsen explained the idea is to explore the relationship between their own found objects, and the Herbert’s collection of Coventry-related pieces.

Lorsen said: “We are bringing found objects which are the collection of three artists into the museum setting and starting to play with ideas of what the Herbert specifically does. I met with the Herbert’s collections curator Paul Thompson and he was explaining the Herbert collects Coventry’s identity and that was quite interesting.

The idea is Martin and I collect in Coventry in a different way. Joanna has come down from Sheffield to do a different thing but it’s all related to Coventry.”

Martin and Lorsen also took a trip to one of Coventry’s twin cities, Cork, to create some of the works in the exhibition incorporating photographs and found items, Paradise Disregarded, Paradise Reclaimed, which also uses things found in the Paradise area of Coventry.

They include clips and tiny pens, plus against a Gothic-type image there’s a spooky white eyeless doll, plus a black plastic avenging angel.

Joanna visited Coventry in June and said she ended up with aching thighs after bending down at least 200 times to pick up circular items she wanted to use in this exhibition, noticing a theme from Coventry and its history.

She said: “I was inspired by trying to collect something from the streets of Coventry. The ring road dominates, and there’s the history of Coventry, of clock and watchmaking, cars and cycles and so I thought I’d use all sorts of circular pieces.”

She found all her pieces on four circular walks on one day in June, and has used them in various ways. They are displayed in similar groups, such as clear bottle lids, and metal bottle lids, some just shown and others in colourful screenprints on paper.

Lorsen said about his work: “What I am showing them is an extension of what we showed in the shed. I have played around with the ways the Herbert presents its objects.”

One item, My Fond Knotted Crisp Packet Collection (below), is deliberately like an old-fashioned display board of butterflies pinned to a cork board. A display of Mini Beasts includes plastic animals and toys, a special interest of Lorsen. Standard Triumph uses a row of matchboxes to show small plastic toys. A window frame has been turned into a modern-looking lightbox display with a sea horse air freshener and hairband around it.

My Found Knotted Crisp Packet Collection   Martin Green's City Boxes

Another item is an old found wooden door with small, colourful items stuck neatly to the back of it. Another consists of boxes with bits of jewellery and other sparkly items in them. A found fridge shelf is used to frame a collection of pens and pencils.

Easy to miss, over the door are some trophies, a swan statuette and a plastic flying bat, both in gold-sprayed frames which on closer inspection come from the polystyrene packaging from white goods.

Martin Green’s new work is called City Box (above), and there are 12 boxes, all arranged on some shelves. He said: “It’s based on using boxes as a sculptural form. I was trying to give some sort of personality to the piece so I have collected things to do with travel.”

Each box is held up by a shoe heel found by Martin, or a stand made by a cigarette packet, colourfully wrapped with material from a found umbrella. There are different things in each one. They include wheels from suitcases, zip ties, rucksack buckles, bits of lighters, wheel weights and sunglass lenses.

There is also a DVD slide show with images of 100 items in situ flashing up on the wall outside the shed.

Lorsen admitted he was quite pleased to have the shed out of his garage after three years, and this may be its last outing, at least with him: “We are thinking about what next and we are seeing if other people are interested in taking it over.”

* The exhibition is on until November 2.

Noémie plays with sense of time and space at The New Art Gallery, Walsall

Observatoire III

Measurements of time and space are played with to give an illusion of permanence in an exhibition by French artist Noémie Goudal.
The Geometrical Determination of the Sunrise at The New Art Gallery in Walsall comprises photographs, films and installations. In the work Goudal is described as exploring “the relationship between reality and artifice and the intersection between nature and the man made”.
In a series of black and white photographs, Observatoires 2013-14, the artist has taken her reference point from the astronomical observatories built by Maharajah Jai Singh II in Jaipur and Delhi, inspired by the sun, moon and stars and used as an astronomical observatory.

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Coventry University final year students’ work on show

Coventry University’s art and design final year students are holding their end-of-course shows across campus this week, with the chance for all to see what they’ve been working on.
The show opening is usually one of my Coventry are highlights of the year, but this year it felt quieter than usual, and the more muted tone – in the basement and top floor anyway – seemed to match the show.

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Jeremy Deller exhibition at Mead focuses on industrial and musical past to raise valid questions

It’s been D-day in Coventry- Jeremy Deller day. All That is Solid Melts Into Air is the title of the touring exhibition he has curated which is now showing at the Mead Gallery at Warwick Arts Centre, at the University of Warwick in Coventry.
On the opening day Deller was in Coventry to take part in an In Conversation with Mead curator Sarah Shalgosky held at The Herbert in Coventry and then there was the exhibition opening party at the Mead. I caught up with Deller in the morning as the final touches were put to the exhibition – including fixing the jukebox which takes central position in one room.

adrian street and his father 1973 photo dennis huthinson (c) dennis h    (2)Adrian Street and his father1973 photo Denis Huthinson (c) Denis Huthinson
The exhibition is described as “Jeremy Deller takes a personal look at the impact of the Industrial Revolution on British popular culture, and its persisting influence on our lives today”.
He told me that wasn’t what he had set out to do: “Originally it was to be a show much more about music culture and industry but when I started looking at the industrial revolution it became fascinating to me and I became more and more interested in it and the effect it had on people and urbanization and the show became less about music and more about the social and cultural aspect.”

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New Art Gallery brings together great overview of Richard Long’s career

There has been a lot of Richard Long’s work on show in the Midlands in the past year – and now there’s an exhibition dedicated to him at The New Art Gallery in Walsall.
The gallery is showing Richard Long: Prints 1970-2013 and a work created in the gallery, Spring Circle, 1992. The prints cover all those he has made during his career.
In a fascinating In Conversation with the Walsall gallery’s director, Stephen Snoddy, Long was questioned about his career and his work.

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