Curated by photographer Jason Evans, this new exhibition brought together artefacts from our industrial, consumer society. Handmade signage recalls local commerce, pre-globalisation, and highlights ongoing transitions from analogue to digital. Some of the objects on show remain in circulation today, yet serve as a nostalgic reminder of the technological changes in our recent past.
The exhibition featured pages from the archive of Dick Hambidge, a sign writer from East Kent, who documented his works in meticulous photographic albums, presenting an alternative record of provincial life.
Also on show were a selection of erudite political ‘lampoons’ by Ditchling printmaker Philip Hagreen, loaned by Ditchling Museum of Art + Craft. Hagreen’s wood engravings feel as relevant now as when they were published eighty years ago.
Visitors were able to see an intriguing selection of original items from Clark Brothers of Manchester, who continue to hand produce point-of-sale marketing materials for a disappearing High Street.
Finally, the exhibition also featured an interactive photo opportunity, social media content, a marketing soundtrack and a new series of Evans’ own binary screen prints. Visitors were also advised to look out for people in Nottingham who participated in a project that Jason is running alongside the exhibition; they wore T-shirts which feature a wood-engraving by Philip Hagreen.
All images courtesy of Julian Lister and the artists.
Biography
Jason Evans(b. 1968) is a multidisciplinary photographer who, since the early 1990s, has had a broad cultural practice. His output has developed to include writing and teaching alongside applied image making. He works around art, fashion and street photography tropes, making images which are often informed by vernacular culture. His long-term projects with musicians Four Tet, Caribou and Radiohead resulted in influential sleeve imagery and portraits which seek to redefine the relationships between sound and image.
Since 2004, Evans has maintained The Daily Nice, which celebrates simple pleasures as their own reward. Every day an image of something which made him happy is presented on this one page, non-archived website.
His work is exhibited internationally, and his game-changing series Strictly is held in the Tate collection. Solo shows include his nomination for the Grange Prize at the AGO in Toronto and a retrospective of his Fashion work at the Hyeres Festival du Mode. His monographs include NYLPT (Mack, 2012) and Pictures for looking at (Printed Matter, 2014).
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Associated Events
Thursday 18 May, 7 pm – 8.30 pm – Jason Evans Exhibition Walkthrough
Join us on the penultimate day of Jason Evans’ curated exhibition for an informal and open discussion between Evans & Bonington Gallery curator Tom Godfrey. Hear more about the objects and works on show and the stories and histories that informed their selection.
The vast majority of my art is generated conceptually through the use of linear type ideas and thoughts, systems related to the creative potential of the ‘found’, order, dis-order, the acceptance of chance, context categorization and the gesture.
It is also related to mathematical and geometric contemplation, measurement, location, repetition, repetition and linguistic structure / time.
The voice of the group, the body as a concept as related to authorship and ownership, the original / copy are also notions dealt with in my mind.
Saying something about something.
In my futile attempt to try to find something, anything, that isn’t already divided I experience glorious failure which I embrace and present as art.
I am fascinated by the power of refusal, the very idea of not doing something even though you are capable of doing it, the right and creative beauty of potential to do compared to the reality of the done.
The notion that the more language you have the harder it is to say something appeals. As does the idea that where language fails possibly art begins.
Visual love and linguistic and linguistic and audio audio bastard hallucination.
With contributions from guest artists: Paul Noble, Michael Proudfoot, Chris Watts, and Elizabeth Wright
Opening Performance
To mark the opening of his solo exhibition here at the Gallery, Giorgio Sadotti led 80+ volunteers in an inaugurating incantation. With the audience entering in silence and into near total darkness, the performance evoked the sense of a sort-of ritual taking place in a cave. Evidence of the performance has now been left in the space, creating an installation which will remain throughout the duration of the exhibition.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Image has no captionInstallation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.
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Associated Events
Thursday 2 March, 5.15 pm – 7.30 pm – Fine Art Live Lecture Series Presents: Giorgio Sadotti
The Fine Art Live Lecture Series is an initiative by Nottingham Trent University’s Fine Art course, whereby creative practitioners are invited to deliver a lecture to current students. The lectures are also open to staff, alumni and the general public.
Biography
Giorgio Sadotti (b.1955, Manchester) lives and works in London. His work is in public collections including the Tate and the British Council. Sadotti completed an Art Foundation course at Nottingham Trent University (formerly Trent Polytechnic) in 1977.
Bonington Vitrines are a series of micro exhibitions which take place within the Bonington Gallery Foyer. They comprise of three display cases which present a variety of objects, artworks and printed material.
Marbled Reams was a publishing project run by Bonington Gallery curator Tom Godfrey from 2009–2012. It involved inviting individuals to submit A4 works on paper that were reproduced to a value of 500 pages (a ‘ream’). The front edge of each paper stack was marbled and then pages were available to be purchased individually.
Certain artists challenged the confines of the project. Sam Gordon produced 500 different pages; Laura Aldridge made a double sided work; Mark Harasimowicz hand fed 500 pieces of newsprint into his home printer and Heike-Karin Föll made a five page work that is repeated through the ream.
The project has previously been exhibited at Limoncello, London; Donlon Books, London; The Modern Institute, Glasgow and CCA, Glasgow. It has also been presented at publishing fairs including Publish & Be Damned, London; Spike Island Book & Zine Fair, Bristol and Three Letter Words, London.
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Featured Artists
Laura Aldridge, Jennifer Bailey, Aline Bouvy and John Gillis, Emma Cocker, Kimi Conrad, Sean Cummins, Sean Edwards, Ed Fella, Heike-Karin Föll, Dan Ford, Babak Ghazi, Sam Gordon, Mark Harasimowicz, David L. Hayles, Ann Cathrin November Høibo, Matt Jamieson, Scott King, Jon Knight, Piotr Łakomy, Sara MacKillop, David Newey, David Osbaldeston, Anna Parkina, James Richards, James E Smith, Jack Strange, Steven Warwick and Jean-Michel Wicker
We live in an era of globalisation and interconnectivity, with an ever-growing amount of information and images easily available at our fingertips.
Painting, once the dominant medium in western visual culture, is now just one in a range of contemporary art genres. It is clear painting will not return to the pre-eminent position it once had, but will any other visual medium achieve the status painting held?
All Men By Nature Desire To Know brings together four invited artists who see painting as a significant part of their practice. The history of painting is continuously being overlaid and re-written by artists for whom the act of painting is both an accumulative and contentious process – influences are being absorbed and rejected.
The artists within this exhibition produce work that broadens and challenges the traditional form of painting, bringing their personal histories to their practice as well as traversing what has gone before. Each painting is self-contained as well as being part of a continuum; painting practice is opening out into other spaces, creating dialogues and furthering debate.
All images courtesy of Julian Lister and the artists.
Stefania Batoeva, Never Sleep Never Die II, 2016 (left) & Never Sleep Never Die III, 2016 (right). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Flora Klein, EF, 2014. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, A Sitting, 2016. Courtesy of the artist. Photo: Julian Lister.Image has no captionInstallation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, Curbelow, 2016 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Flora Klein, Untitled (blue). Courtesy of the artist. Photo: Julian Lister.Alan Michael, Today is, 2017. Courtesy of the artist. Photo: Julian Lister.Alan Michael, This City Is, 2016. Courtesy of the artist. Photo: Julian Lister.
Stefania Batoeva, Never Sleep Never Die II, 2016 (left) & Never Sleep Never Die III, 2016 (right). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Flora Klein, EF, 2014. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, A Sitting, 2016. Courtesy of the artist. Photo: Julian Lister.Image has no captionInstallation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, Curbelow, 2016 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Flora Klein, Untitled (blue). Courtesy of the artist. Photo: Julian Lister.Alan Michael, Today is, 2017. Courtesy of the artist. Photo: Julian Lister.Alan Michael, This City Is, 2016. Courtesy of the artist. Photo: Julian Lister.
Featured Artists
Stefania Batoeva (b. 1981 Sofia, Bulgaria) lives and works in London. Graduated from the Royal College of Art in 2014. Stefania has produced works specifically for All Men By Nature Desire To Know.
Flora Klein (*1988 Bern, Switzerland) lives and works in Berlin. Graduated with a BA in Fine Arts at ECAL, Lausanne in 2013. Flora is showing new works which have not been seen in the UK before.
Recent solo exhibition:
Flora Klein, Galerie Max Mayer, Düsseldorf and Oracle, Berlin, 2016.
Attachments and Assignations, Cubitt, London, 2014
Audrey Reynolds lives and works in London and Folkestone. Studied at Bath College of Art and at Chelsea College of Art, London. Audrey has produced new works specifically for All Men By Nature Desire To Know.
Solo exhibitions include:
Thirteenth and Third Girl, Ancient & Modern, London, 2014 and 2012
A collection of her writing will be published by AkermanDaly in Spring 2017.
Accompanying Text
Rachal Bradley (b Blackpool, 1979) currently lives and works in Nottingham where she is a lecturer in the Fine Art department of Nottingham Trent University. An ongoing archive of Bradley’s writing is to be found at www.rachalbradley.eu.
Curator
Joshua Lockwood (b. 1991) lives and works in Nottingham. Joshua is an artist based at One Thoresby Street, he is also a curator and co-director of TG Gallery. Joshua was also in residence at Lincoln University & The Collection, Lincoln from 2014-2015
Taking a break from the printed format of earlier editions, Mould Map 6 takes the form of an exhibition / walk-though magazine. For the duration of five weeks the exhibition will include talks, film screenings, performances and open workshops.
Set against the background hum of sci-fi imaginaries common to all Mould Map projects, Terraformers brings together over 50 artists and designers whose work embraces different approaches to ‘world-making’, the notion of creating one’s own world – both fictional and non-fictional.
This exhibition investigates the visualisation of possible futures, and the roles they might play in shaping the present.
Mould Map is a publication series dedicated to new comics and narrative art, co-edited by Hugh Frost and Leomi Sadler, and published by Landfill Editions.
Footage courtesy of Landfill Editions / Claire Davies.
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