Viewing articles tagged with 'Newcastle Gateshead'

BALTIC Centre for Contemporary Art, South Shore Road, Gateshead NE8 3BA

BALTIC Artists’ Award

Eric N. Mack, A Lesson in Perspective 2017, activated by participant, BALTIC Artists' Award 2017, installation view, BALTIC Centre for Contemporary Art Gateshead.

The BALTIC Artists’ Award is a clear attempt to combat some of the issues associated with prize exhibitions through a format that provides an actual and equal opportunity for four artists to develop and showcase significant new bodies of work. The award has no limit on age or nationality, is selected by some of the world’s leading contemporary artists (who also mentor the shortlisted artists) and has no ‘winners’ or ‘losers,’ with prize money (totalling £30,000 per artist) shared equally amongst the four. Review by Amy Jones

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Holly Hendry: Wrot

Holly Hendry: Wrot, installation view at BALTIC Centre for Contemporary Art, Gateshead, 2017

It is no exaggeration to say there are many layers to Holly Hendry’s ‘Wrot,’ both literally and metaphorically. In her first major institutional exhibition, the emerging British artist presents an imaginative body of work that demonstrates her boldness and ingenuity. Review by Christopher Little

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Tyneside Cinema, Pilgrim Street, Newcastle upon Tyne NE1 6QG

Oreet Ashery: Revisiting Genesis

Oreet Ashery, Revisiting Genesis, video still, 2016

Taking form as a web-series in twelve episodes, originally released weekly in soap-opera style, ‘Revisiting Genesis’ explores, amongst other things, the philosophical, socio-political, practical and emotional implications of the processes surrounding death and withdrawal. Review by Mette Kjærgaard Præst

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

The Playground Project

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‘The Playground Project’ at BALTIC seeks to put the subversive back into play. The exhibition, first staged at Kunsthalle, Zürich, reconnects us with the playground’s historical connections to social activism and utopian thinking. Review by Elly Thomas

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Caroline Achaintre

Caroline Achaintre15 July –30 October2016BALTIC Centre for Contemporary ArtGateshead |balticmill.comCaroline Achaintre(installation view), BALTIC Centre for Contemporary Art, 2016. Photo: John McKenzie © 2016 BALTIC

In continuity with her work of the past, the pieces forming this current survey exhibition at BALTIC demonstrate Achaintre’s ongoing interest in the primitive - its aesthetic qualities, visual references and associations. Review by Emma Warburton

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Tyneside Cinema Gallery, 10 Pilgrim St, Newcastle upon Tyne NE1 6QG

Chris Watson: The Town Moor: A Portrait in Sound

Chris Watson at Tyneside Cinema, 2016

Watson’s audio collage transcends the limitations of various other artistic approaches through its expression of the passing of time, and articulation of the multiple identities of public spaces. The ensemble of recordings depict the town moor as a natural place, a meeting place, a place for partying, and a place for relaxing, a place for both people and nature, within the city. Review by Zara Worth

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NewBridge Project Space, 16 New Bridge St West, Newcastle upon Tyne NE1 8AW

Konrad Smoleński and Honza Zamojski: Transparent

Konrad Smoleński and Honza Zamojski: Transparent

Transparent features configurations of objects and humans, humans and architecture and exhibits, institutions and individuals. Within a carefully structured environment and a precisely scripted scenario of live action, humans animate the system regardless of bounds to establishment and restrictions.

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Omer Fast: Present Continuous

Omer Fast, 5000 Feet Is the Best, 2011 (still), Digital film, 30 min. Courtesy of gb agency, Paris, Arratia Beer, Berlin and Dvir Gallery, Tel Aviv. © Omer Fast

Drawing inspiration from short fiction, Fast combines multiple narratives to create serpentine tales that delve into both cultural and political taboos. Yet, as they traverse the powerful social themes upon which they pivot, each becomes an intimate portrait, exploring how identity is constructed and performed. Review by Christopher Little

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Vane, First Floor Commercial Union House, 39 Pilgrim Street, Newcastle Upon Tyne NE1 6QE

Jock Mooney: Who Are You and What Do You Want

Jock Mooney, ‘Who Are You and What Do You Want?’, 2016, installation view

Mooney has confidently matured in his abilities to perform the role of adolescent artist, having his cake and eating it with two fingers up and no concern to start producing ‘adult’ art, all the while remaining cerebral, provocative and daring. Review by Peter-Ashley Jackson

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CIRCA Projects, John Joyce Building, Saltmeadows Road, Gateshead NE8 3AH

Mario Pfeifer: Approximation in the digital age to a humanity condemned to disappear

 Mario Pfeifer: Approximation in the digital age to a humanity condemned to disappear, installation view at CIRCA Projects, 2015

‘Approximation in the digital age to a humanity condemned to disappear’, seems like a prophetic title, steeped in a type of dystopian rhetoric; in fact it is a much more specific, contemplative description of the dissolution of smaller cultural identities, irreverently ignored and ousted by globalised industry and capital. Review by Josh Wilson

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

From the archive: Jason Rhoades: Four Roads

Jason Rhoades, The Grand Machine, installation view at BALTIC, 2015

American consumer, pop and car culture collide in cacophonous excess in the sprawling, disordered installations painstakingly recreated for BALTIC’s formidable spaces. Review by Rowan Lear

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BALTIC Centre for Contemporary Art, Gateshead Quays, South Shore Road, Gateshead NE8 3BA

Ida Ekblad

Ida Ekblad KONSTELLASJONER 2015 Scenography Nationaltheatret, Oslo

An exuberant gate, two expressionistic figures hanging from either side, sits across the entrance of the gallery space at Ida Ekblad’s BALTIC solo exhibition. Review by J.D.A Winslow

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