HINTERLAND: i) Often uncharted district behind coast or river banks.
Land adjacent to water. ii) Area surrounding city a region, including communities and rural areas, that surrounds a city and depends on it.
Hinterland is a project curated by Jennie Syson comprising a series of offsite works situated along the banks of the River Trent in Nottingham. Different work will manifest alongside water throughout one year, with the first sightings being visible in time for Autumn 2006.
A ‘Hinterland’ evokes thoughts of boundaries or edges. The project is set to develop and grow in stages, happening just on the periphery of the city. By taking the theme of a hinterland as a motif, the identified site presents a viewpoint for revelation or concealment across the panorama of the whole of Nottingham.
The River Trent has 30 tributaries. 30 separate elements in the project will represent the different streams feeding into a larger body of water. As well as being a metaphor for naturally occurring streams, each artist’s individual project will ‘pay tribute’ to the geographical location. Hinterland will draw a contour around the southern edge of the city by following a section of the river, a channel about ½ a mile either side of Trent Bridge.
Bristol-based artist Mariele Neudecker tackles the highly emotive and challenging theme of grief for children in an evocative film installation created in response to Gustav Mahler’s Kindertotenlieder (Songs on the Death of Children). The commission is the latest in a series of innovative works by Neudecker in which she explores classical music and poetry through film and sculpture.
Bristol-based artist Mariele Neudecker tackles the highly emotive and challenging theme of grief for children in an evocative film installation created in response to Gustav Mahler’s Kindertotenlieder (Songs on the Death of Children). The commission is the latest in a series of innovative works by Neudecker in which she explores classical music and poetry through film and sculpture.
Bristol-based artist Mariele Neudecker tackles the highly emotive and challenging theme of grief for children in an evocative film installation created in response to Gustav Mahler’s Kindertotenlieder (Songs on the Death of Children). The commission is the latest in a series of innovative works by Neudecker in which she explores classical music and poetry through film and sculpture.
Bristol-based artist Mariele Neudecker tackles the highly emotive and challenging theme of grief for children in an evocative film installation created in response to Gustav Mahler’s Kindertotenlieder (Songs on the Death of Children). The commission is the latest in a series of innovative works by Neudecker in which she explores classical music and poetry through film and sculpture.
“Neudecker’s work sensitively explores a highly emotive subject matter. We are delighted that through this commission, she has taken her work in a new direction, combining sculptural form with film and classical music.”
Josephine Lanyon, Director, Picture This
“This installation continues some of our previous explorations of film and music at the venue. Colston Hall provides an unusual but highly appropriate setting for this work, and brings new audiences to both the visual arts and classical music.”
Graeme Howell, Director, Colston Hall
Commissioned by Opera North Projects and Picture This in partnership with Impressions Gallery, Bradford and Colston Hall (now Bristol Beacon), Bristol.
Future Factory, based within Nottingham Trent University, is delighted to present Town and Country, featuring work by Southwell Artspace artists: Georgina Bell, Geoff Litherland, Stuart Parkinson, Stephanie Richards and David Uden. The exhibition, which takes place in Bonington Foyer, runs from 23 February until 10 March.
This exhibition provides a rare opportunity to view the wide range of work from some of the resident artists at Southwell Artspace – which offers a focus for the contemporary visual arts in a rural setting, allowing the audience to reflect upon the importance of the artists’ working space, and the impact this has upon the work.
Featured work includes: textiles by Georgina Bell; drawings by Stuart Parkinson; silk-screen prints by David Uden; and paintings by both Stephanie Richards and Geoff Litherland.
Re-sensitised Symposium re-visits, reflects and re-lives the last seven years of the Sensitive Skin festival.
It brings together a diverse group of artists, all of whom have been part of the festival since its inception in 2000, pondering on the question ‘How has Sensitive Skin evolved over the past seven years and how has Live Art and Performance practice developed during that period?’
Offering talks, presentations, lectures and an “artists in conversation’ panel throughout the day, the event will culminate in a celebration closing this year’s festival, including two performances from Rajni Shah and Harminder Singh Judge.
Leibniz
Sensitive skin a season of interdisciplinary arts
Future Factory, within the School of Art and Design at Nottingham Trent University, is proud to present the 7th Sensitive Skin season of performance and live art.
Taking place in The Bonington Gallery, building and off-site from April to May, critically acclaimed artists will present work which responds to themes surrounding the material body, cartography, civic space and architecture.
Also on Saturday 12 May, 12 – 5 pm, a symposium will be held in the Bonington Lecture Theatre. Re-sensitised will bring together past and present artists from previous Sensitive Skin festivals to discuss how performance and live art has changed over the course of the last seven years.
‘Religious myth’ is a central theme which surrounds all of Judge’s work; whether through his complex installations, interactive performances, bodily adornments or shrine-like sculptures. His current work in progress, Live Sermon, will be shown at the festival as a short durational performance and sound piece.
Part of Sensitive Skin… a season of interdisciplinary arts
Mr Quiver is a durational event that combines the intensity of performance with the intimacy of installation. Exploring themes of identity, theatricality, and our relationship to the land we live on, this performance is built and then destroyed over the space of four hours. Audience members enter the space and leave as they wish, and may walk amongst the performers or sit back and enjoy the spectacle around them.
Rajni Shah (director/performer), Lucille Acevedo-Jones (costume/set designer), and Cis O’Boyle (lighting designer) create three performative loops that weave in and out of synchronisation during the four hours. By repeatedly inhabiting and abandoning the figures of Elizabeth I and a traditional Indian bride, Rajni reveals more and more of her true self during the performance and gently invites the audience to question their own identity.
Complete with haunting original vocals (live and recorded) and a stunning series of costumes, this delicate and probing performance offers up questions and images that will stay with an audience long after leave the event.
Future Factory, based within Nottingham Trent University, is delighted to preset A + B =CC(an) by Paul Matosic. The exhibition which takes place in Bonington Atrium, runs from 16 – 28 April.
The exhibition had been commissioned by Future Factory ad produced in response to the building of a new arts venue: Centre for Contemporary Art, Nottingham (CCAN)
Matosic’s exhibition incorporates a collection of discarded and mislaid objects that are assembled into a sculptural piece that could resemble a cityscape, and which is literally a snapshot of the waste produces by a consumerist society obsessed by the new. Taking the cultural residue of consumer society and re-presenting this is the gallery makes the comment on the process of regeneration.
Paul said:
“we live in a society that is dominated by a ‘NEW IS GOOD’ sensibility. Every which way we turn we are confronted with opportunities to by new stuff and in doing so dispose of some old stuff.
Paul Matosic
Actually look forward to the day when we run out of materials to use in my art because that will mean that society has stopped producing the vast amounts od wast that is the hallmark of consumerism.”
Artery is a collaborative project initiated Matt Hawthorn with the artists group Graft. The project aims to performatively map the course of the River Trent from Source to Sea, by inviting artists to use their practice to excavate hidden identities and generate new mythologies which will be recorded onto an interactive map.
The first incarnation of the map which is installed in The Bonington Gallery for Sensitive Skin, features work by five artists from the last three years of the Expo festival for emerging artists, curated by Graft for Future Factory at Nottingham Trent University.
Will Pollard has been making performance, video and installation work for the past 10 years. He recently completed a PhD at the University of Ulster, Belfast. His work is primarily concerned with the fluctuating relationship between the invisible and visible, especially in relation to the vagaries of performance, such as the relationship between the body and the object and the audience and performer. For Sensitive Skin, all these concerns are explored through a video installation.
Situated in the same room, two video projections exist. Like two people facing each other over a table, both are able to see each other, yet ultimately the slippage in their understanding of each other creates an opening.
The fracturing of light against a multitude of small mirrors mediates the light source whilst presenting this fracturing to the space.
The space awakens to the movement of the fractured light, the dimensions of the space are made visible by the light.
