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DTSTART;VALUE=DATE:20190129
DTEND;VALUE=DATE:20190310
DTSTAMP:20260810T110916
CREATED:20190110T172447Z
LAST-MODIFIED:20190720T103401Z
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SUMMARY:Mark Baldwin: Embodied Knowledge
DESCRIPTION:Embodied Knowledge\nMARK BALDWIN\nJANUARY 29  – MARCH 9\n  \n \n\nNicola Clayton FRS\nProfessor of Comparative Cognition at the University of Cambridge\nFellow of the Royal Society (FRS)\n\nEmbodied knowledge captures those thought processes that emerge when the brain and the rest of the body come together in a meeting of minds: the cerebral mind’s metacognitive eye coupled with the corporal intuitive wordless thoughts. The brain is not a vat of knowledge that works in isolation\, depending on a mutually beneficial relationship with the body. They interact with the world and are shaped by the environment they inhabit because all thoughts move\, whether they are wordless images or they are pictures and sounds that are accompanied by words.  The environment affects the way in which these thoughts move\, influenced by the substrate\, the morphology\, the atmosphere\, the ambience…\n \nThoughts shimmer and change through space and time\, depending on our emotional well being and our current perspective\, capturing fleeting moments in the active process of memory and mental time travel~ travelling backwards and forwards in the mind’s eye to reflect upon the past\, inventing new futures and creating new ways of thinking. Sometimes these strategies are deliberate and mindful\, where the brain has conscious access to the thoughts we create; but sometimes these thoughts arise de novo as a result of unexpected triggers which may be manifest as insight and intuition\, created through improbable connections and surprising parallels\, and sometimes the body knows these things long before the mind is afforded conscious access to them.\nThe body remembers as well as the brain and therefore it is interesting to contrast those two types of memory. Psychologists differentiate between procedural memory (body memory/corporal thoughts)\, and declarative memory (mental memory/cerebral thoughts). With procedural memory\, the body acquires the knowledge of what to do and how\, but there doesn’t have to be conscious access to the process through which the information was acquired. By contrast\, declarative memory depends on conscious access\, when the mind is well aware of what it knows and remembers. Mental time travel is an especially important process because it allows us to constantly reconfigure our memories and thoughts\, supporting our need to contextualize the present and make it our own\, because it is controlled and constrained by who we are – past\, present and future – and in turn it creates our identity\, our sense of self and a sense of self-involvement. As the famous American psychologist William James remarked “For a memory to become my memory\, to own it\, requires more than the mere dating of a fact in the past. It must be dated in my past.”\nA powerful way of experiencing these features of memory is through movement\, and especially through contemporary dance and other forms of conceptual art. This ‘mental time travel’ feature of memory makes it great for creativity\, allowing us to think outside the box\, engage in divergent thought and explore new ideas. However\, there is a downside to this process. Our memories are not accurate repositories of what really happened.\nThere is another feature of memory that is all about movement\, namely suppleness.  We use the past to create the future\, and when we recall the past it is the suppleness of our imagination that allows us to create and recreate those memories. This is a powerful creative tool\, particularly when the physical suppleness of a dancer meets the cognitive suppleness of the mind. It is this physical and cognitive suppleness that allows the dancer to engage with the choreographer (the person who invents the dance) in a deep sense.\nSo memory is not static\, nor is it just focused on the past.  It is forward-looking not backward\, and it is flexible not fixed\, which is precisely what allows it to be supple. These ideas are the very things that are expressed in Mark Baldwin’s masterful art. All of the images move in the mind of the viewer because even static images can capture movement\, and they can tell a story\, reminiscent of the paintings of lions and horses in the caves of Chauvet and Lascaux created by our early ancestors to capture the vitality of the living form. Mental time travel is an essential feature of the human mind\, one that may have originated before our ability to read and write.\nMark’s art is all about ideas and why and how they move. His creative process reveals the complexities of how to use a transferable skill across domains~ the conceptual visual artist\, the choreographer\, the Renaissance man inspired by science and the arts: they are both the same and different.\n\nMovement in Mind\nMark Baldwin and Nicky Clayton have been collaborating for the past ten years\, exploring the exciting commonalities between science and art\, about ideas expressed through the medium of movement. For Mark it’s about the dancer and the choreographer; for Nicky it’s about the crow and the scientist fascinated by their manners and movements. There are in fact many parallels in the practice of an artist and a scientist: they use different tools and methods of inquiry\, but many of the questions remain the same.  How can we represent complex abstract ideas through the medium of movement without the need for words to represent and explain these things? What might mental time travel be like in the absence of words\, and what kinds of evidence might we look for in such an endeavour?\nWhat happens when our worlds meet and we create something new together? Typically for us these are ideas that have inspired seven new choreographic works including “Comedy of Change” to celebrate Darwin’s bicentennial and the 150th anniversary of “On the Origin of Species” or “Seven for a secret never to be told” with its emphasis on the importance of play for cognitive development in young children and other animals\, notably crows or “The Creation”\, which was inspired by the origins of life in the universe. These ideas of our mutual ways of working are expressed pictorially in this series of watercolours painted by Mark\, ideas that evolved mutually from Mark and Nicky’s discussions\, questions that grew and emerged organically through a decade of exploring and playing with ideas together.\nMovement in Mind investigates the creative process through a series of open-ended questions\, in the hope of inspiring new questions and new ways of thinking and working.\n  \n \n \n\n  \n  \n  \n  \n  \n  \n  \n  \n\n  \n  \n  \n\nWORKSHOPS & EVENTS\n  \nMARK BALDWIN – ARTIST WORKSHOP \nSaturday 02/02/2019\, 12pm\nThe artist process with Mark Baldwin\nA rare pair of workshops led by Mark Baldwin OBE\, on the process of embodied knowledge\, crossing between art and dance.\nLearn how to use your own embodied knowledge to create art and dance. Following his debut solo exhibition Mark presents a practical workshop of the ideas behind his work\, looking at inspiration\, process and performance. \nEver wondered what knowledge is in your body? \nRecommend for people interested in visual arts and/or dance. Loose clothing required. Drawing materials provided. \n  \nMEMORY – INTERACTIVE TALK \nWednesday 06/02/2019\, 6pm\nThe Dancer Remembers with Prof. Nicky Clayton FRS\nPart-talk\, part-workshop Professor Nicky Clayton FRS and Clive Wilkins MMC combine both Tango and science to help us understand how memory works and what is its purpose. The presentation will consist of both observation and participation to demonstrate these ideas.\nHow do you access memory? Where are your memories? Could you say that remembering the past is a form of time travel? When we think of the future\, does this engage the same process? The same parts of the brain? \n  \n  \nMEMORY – WORKSHOP \nSaturday 09/02/2019\, 12pm\nWho am I? with Carolyn Bolton \nProfessional dance artist Carolyn Bolton leads two separate movement based workshops\, focusing on internalising physical memories and accessing them. Through the sessions you will seek to access your ancestral\, future\, past\, embodied knowledge and find an enriching experience.\nWorkshop 1 – will guide you through a series of improvised sequences that open up our creative memory\, whilst opening up your archived knowledge to lead you in the future. \nWorkshop 2 – will lead you through a series of task-based work\, which culminates in a mini-art performance in the gallery based on memory. \nCould you say that remembering the past is a form of time travel? \nThe workshops are aimed at anyone with dance experience who wants to investigate their own embodied knowledge to generate and explore movement. \nParticipation in both workshops is highly advised. \nLoose clothing required. \n  \nPLAY – PANEL DISCUSSION \nWednesday 13/02/2019\, 6pm\nThe Playground discusses\n  \nThe success of the playground as a place of collaboration and sharing of ideas between artists of different disciplines motivates this panel.\nThe Playground is normally hosted at Rambert’s building on Southbank. This panel will give a unique insight into the inner workings of the artist’s mind.\nFinding out how process can be integral to finding common ground. Questioning how to work with difference and overcoming and embracing challenges.\n  \nPLAY – WORKSHOP \nSaturday 16/02/2019\, 12pm\nThe Playground deeper with Vanessa Kang \nThe Playground is a place of collaboration and sharing of ideas between artists of different disciplines. This workshop extends upon those ideals. Normally hosted at Rambert’s building on Southbank\, this workshop will give a different context to learn about collaboration.\nFacilitator Vanessa Kang will lead through a series of exercises\, games and scenarios to enable tools for collaboration. Placing emphasis on dealing with difference and maintaining a sense of identity whilst working with others. \nPlay can create a joyful body so for any starting point\, what better place to be.\nPlay is essential to children’s development but also to non-verbal forms of process. Whilst as adults we can be discouraged against our ‘childlike’ selves\, this embodiment of potential is an exciting one. \nObservers welcome. \n  \nGENDER – PANEL DISCUSSION \nWednesday 20/02/2019\, 6pm\nDo I feel my Gender? Young artists talk about today’s challenges in a gendered world. Young artists talk about today’s challenges in a gendered world.\nAs alternative and parallel thinking of gender are becoming more prominent\, artists discuss what it means today. How does this relate to their practice and what does it mean for audiences. The work of Mark Baldwin OBE travels through various non-binary/gender specific identities\, prompting the topic of Gender. \nA panel of dance and visual artists will discuss what does gender mean to them in their embodied forms. Thought-provoking discussion\, including a Q&A. \nWhat is gender\, a construct or instincts? Do we feel our gender? Is it internal or what we show? \n  \nGENDER – WORKSHOP \nSaturday 23/02/3019\, 12pm\nGendered bodies with Stephen Quildan \nWhat is gender\, a construct or instincts? Do we feel our gender? Is it internal or what we show?\nPractical movement based workshop looking at the performing of gender\, based on observation\, imitation and embodiment. Starting with projections of gender as a social construct\, Choreographer Stephen Quildan leads a series of two workshops on what it means to perform Gender. By recognising what is our own and what we have learnt he hopes to uncover more of our true selves. \nThis workshop is appropriate for all levels of movement. Loose clothing recommended. \n  \nCOMPOSITION – PANEL DISCUSSION\nWednesday 27/02/2019\, 6pm\nA score of movement\, Composers discuss \nA panel of musical composers will spin through their practices and philosophies of composition and reveal their crafting of time and sound. Using the themes of the exhibition ‘Embodied Knowledge’ the talk will create discourse on what it means to compose music for the moving body.\nHow do you capture movement\, in a painting\, score or picture? \n  \nCOMPOSITION – WORKSHOP \nSaturday 02/03/2019\, 12pm\nImage Making with Jack Thomson \nJack Thomson will be leading two fascinating workshops investigating the relationship between dance and the camera\, revealing his artistic practice and processes along the way.\nWorkshop 1 – role of the photographer with the subject/dancer. \nWorkshop 2 – role of the dancer/subject and how these roles work together to create composition. \n“Combining my interests inside and outside the dance studio\, has developed my personal\, multidisciplinary interests and work. Most of the work I make is largely about the relationship between the moving body and the camera and the context in which these two come together.”\n– Jack Thomson \nParticipation in both workshops is highly advised. \nBring your own cameras and loose clothing recommended. \n  \nCULTURE – ARTIST TALK \nWednesday 06/03/2019\, 6pm\nIn conversation with Mark Baldwin and friends. Mark Baldwin OBE discusses with other artists what does embodied knowledge means to them. Does your personal culture become art?\nExploring the culture-makers responses to the world around them and discussing what they feel. Highlighting quirkiness and being silly\, amongst the deeply skilful and serious aspects of an artist. \n  \nCULTURE – WORKSHOP \nSaturday 09/03/2019\, 12pm\n‘Borderless?’ with Mark Baldwin \nMark Baldwin OBE\, artist of ‘Embodied Knowledge’ leads this rare practical movement workshop. Co-creation and embodied knowledge have led him to make new work with artists of specific cultural backgrounds\, such as African Zulu\, New Zealand Maori and worked in dance ecologies in Japan\, Colombia\, Turkey and Europe.\nIn the workshop Mark will open up collaboration\, improvisation and endless invention for artists to learn to further develop their own territory and voice. \n“I start most of my work by listening and moving to music\, I can also read music so if I have written score I will learn to follow it as I hear and see it on the page. I also make paintings. It’s in these actions that I begin to make sense of what I might be trying to say\, essentially I am looking for “something” by playing with ideas in time and space. I find music opens up my brain to all kinds pictorial thoughts\, atmospheres\, manners\, attitudes\, memories and feelings both from my body and my mind. I tend to listen to several different pieces of music usually along a chosen theme or musical direction e.g. choral works\, new music\, string sounds lately Japanese or Polynesian drumming. I am trying to go beyond the ideas and move towards another place where my Embodied Knowledge is informing me of a key direction.” \nNo previous dance experience necessary. \nLoose clothing recommended. \n\n  \n  \nWorkshop days consist of two sessions 12pm-1pm & 2pm-3pm.\nThat workshops are £10 or £15 for two workshops on the same day. £6 concessions.\nAll other events are £7/£5 concessions \nConcessions are\, over 60 \, under 18\, Student\, Equity/BECTU. \n  \n  \n BOOK ADVANCE TICKETS FOR TALKS\n\n\n \nPowered by Eventbrite\n\nBOOK ADVANCE TICKETS FOR WORKSHOPS\n\n\n \nPowered by Eventbrite\n\n  \n   \n\n\n\n  \nAbout Mark Baldwin\nMark Baldwin is a choreographer and a dancer\, therefore these images came into the world via a particular stance\, dance. For this exhibition\, his first\, grids are his preferred method of transport. The paintings in his grids stand-alone but make a whole new picture when stacked next to each other. They\, represent his choreographic notes\, the squiggles on the back of an envelope writ large which carry information about timing\, shift\, sound\, shapes\, mood\, character and plot.\n\nThe paintings inhabit the universe of memory; “Mental Time Travel” and the “imagination system” allowing him to make a dance in time and space that is flat but constantly shifting up\, down\, back\, forth\, inside\, outside\, left\, right\, high and low etc. We all have embodied knowledge which some might argue sits on the surface of who we are\, where we came from\, and who we hope to become.\n  \n\n  \nPowered by Eventbrite\n\nhttps://www.facebook.com/markbaldwinstudios/videos/1128634683962937/
URL:https://project-space.london/event/mark-baldwin-embodied-knowledge
CATEGORIES:Events,Previous Exhibitions
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20190312
DTEND;VALUE=DATE:20190317
DTSTAMP:20260810T110916
CREATED:20190216T124314Z
LAST-MODIFIED:20190720T103401Z
UID:6017-1552348800-1552780799@project-space.london
SUMMARY:Yana Rits: Body Talks
DESCRIPTION:BODY TALKS\nYANA RITS\nMARCH 12 – MARCH 16\n  \n \n  \n‘We\, as humans\, carry within ourselves all angels of heaven alongside every demon of hell blending one with the other\, a cocktail complementary to circumstances and personal tastes. This impermanence is as infinite as it is beautiful. The human personality is rich and iridescent like an artfully cut diamond\, and it is the diversity of these innumerable facets that I try to reflect in my works’.   Yana Rits \n  \nBorn and raised in St. Petersburg\, London based artist Yana Rits’ photography and cinematography combines the sublime moral character and rich cultural heritage of these beautiful cities. In her photographic practice\, the artist uses her own body to study not only concepts of time\, form\, and space but also the whole gamut of human existence – from cultural aspects such as religion\, gender and racial privilege to more primal ones like sexuality and age. \nThe beauty\, harmony and fragility of the human body\, male or female\, are the focus of the artist’s work and they represent an incomparable tool for the embodiment of philosophical themes. The use of a single model in various hypostases united in a single-frame allows the artist to achieve the effect of presence in several spatial planes simultaneously\, thus transferring the idea of unity in a single moment in time. The technique of black and white allows the artist to create a language of metaphors and abstractions – the image thus becomes a means to establish a conversation between the viewer and the artist’s inner universe. \n  \n \nThe exhibition will be held in conjunction with SMart Network\, the arts-based registered charity which helps homeless and socially marginalised individuals to regain a sense of purpose using creative expression. Some of the proceeds of the exhibition sales will be generously donated by Rits as a way to raise valuable funds to promote existing art projects and to inspire the creation of new ones. \nBeing an artist myself\, I find it crucial to utilise art in supporting others\, who’s life circumstances do not allow them to express themselves or even fulfil their basic human needs of food and shelter.  I would be very proud to help SMart in their work of raising funds and awareness of the issues of homeless people. I find it very important that art can play an active role and serve the most vulnerable people\, help rediscover themselves\, find new meaning in their life and get back on their feet again.I find it very important that art can play an active role and serve the most vulnerable people\, help rediscover themselves\, find new meaning in their life and get back on their feet again. \n – Yana Rits (March 02\, 2019)
URL:https://project-space.london/event/yana-rits-body-talks
CATEGORIES:Events,Previous Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190318
DTEND;VALUE=DATE:20190401
DTSTAMP:20260810T110916
CREATED:20190307T151058Z
LAST-MODIFIED:20190720T103401Z
UID:6025-1552867200-1554076799@project-space.london
SUMMARY:SUMMER SALON 01 BRITISH PAINTING : DISPOSITION
DESCRIPTION:SUMMER SALON 01 British Painting\nDISPOSITION\nCurated by Marguerite Horner\nExhibiting Artists: John Atkin\, Franki Austin\, Day Bowman\, Luke Caulfield\, Claudia De Grandi\, Alex Hanna\, Kaori Homma\, Ben Johnson\, Graham Martin\, Sneh Mehta\, Kate Mieczkowska\, Alan Rankle\, Rob Reed\, Katherine Russell\, Sarah Shaw\, Andrew Stahl\, Judith Tucker.\nMARCH 18 – 31\n  \n  \n  \nDisposition is defined as an arrangement of things in relation to each other. While the relationship between artists\, their practices and the perception of audience are not always empirically definable\, this exhibition attempts to bring together a group of artists whose common link is that\, they are all contemporary practitioner living and working here and now\, and endeavouring to put the ether into material form\, each in their unique and individual way\, their consciousness manifest through material process to be experienced by the ‘other’- the viewer who brings their own associations.\nMerleau-Ponty states: ‘precisely because Painting does not ‘copy’ things\, and because it does not offer things to thought as does science but presents them immediately and bodily\, in their depth and movement\, that painting gives a true sense of the world and what it means to see it’.\n  \n  \nJohn Atkin deploys a clear physicality to the artworks through the use of collage alongside materials such as Perspex.  The use of digital media together with traditional methods of practice has permitted an experimental approach to the application of colour and form used in preparatory drawing and prints.\n  \n  \n \nFranki Austin‘s work revolves around Dartington Hall in Devon and on the international community of artists who were living and working at Dartington in 1930s. This research led the artist to value the relationships and interactions between artist\, community and place.\n  \n  \n \nDay Bowman is a painter whose work lies on the axis of figuration and abstraction. In her current body of work she confronts and questions our notion of the coast and the seaside and asks ‘is it now more border than holiday destination?’\n  \n\nLuke Caulfield’s work is founded on instable\, shifting\, temporal elements and perceptual uncertainty. The work seems to toy with the idea that he may not be making a work of art himself but instead making a “documentation” of other works of art.\n  \n  \n \nFrom 2017 onwards Claudia De Grandi has been concentrating on large scale paintings based on her studies and observations of the sea\, from the shores of East Sussex and Northern California.\n  \n  \n \nAlex Hanna‘s work is based around arrangements of objects\, materials and surfaces. Much of his work has been about the painting as both an illusory device and simultaneously an object.\n  \n  \n \nKaori Homma uses Invisible ink made with lemon juice to render images\, altering the delicate balance of paper. For the artist\, the resulting image contains a level of fragility and notion of death within it by nature.\n  \n  \n \nBen Johnson He is best known for his paintings based on architectural spaces (some almost forensically accurate\, others heavily manipulated) and his large-scale\, intricately detailed cityscape.\n  \n  \n \nGraham Martin is interested in the ideas which shaped the original social and architectural concepts of development\, the dystopian themes associated with it today and the inevitable entropy to which it has succumbed.\n  \n  \n \nSneh Metha current series ‘Psychological Portraits’ is an exploration of the intangible in the human condition through ‘moods’\, ‘emotions’\, ‘relationships’ and ‘states of being’.\n  \n  \n \nKate Mieczkowska is a British born artist inspired by history\, politics and the world around her. Her work often explores identity in terms of nationality and gender.\n  \n  \n \nAlan Rankle is an artist and curator whose work explores historical\, social and environmental issues informed by his interest in the evolution of landscape art.\n  \n  \n \nRob Reed practice re-evaluates the everyday scenery and the discovery of its symbolic qualities which can present an environment for solitary contemplation for audiences.\n  \n  \n \nKatherine Russell tries to dissimulate a fraction of the mass of imagery that we encounter on a daily basis. Her work looks at how we as individuals\, inevitably engage with these images on a personal\, subjective and an emotional level.\n  \n  \n \nAndrew Stahl ‘s process is based around his personal experience. Andrew Stahl has exhibited frequently in London and the UK and widely internationally across Europe\, Asia and America. He is a recipient of many awards  Scholarships and residencies.\n  \n \nSarah Shaw’s process revolves around the building up and stripping down of imagery\, exploring different painterly languages then reducing down to the lowest denominator.\n  \n \nJudith Tucker‘s work explores the meeting of social history\, personal memory and geography; it investigates their relationship through drawing\, painting and writing.\n  \n  \n  \nMARGUERITE HORNER Time Keeps Slipping\nSolo Show\nMARCH 18 – 31\nOur minds slip in and out of linear time\, bringing memories\, thoughts and beliefs that exist outside of linear time into the present as we recall.\nThis body of work originates from the recalled reality of my personal experience which acts as a metaphor for my internal world with which I explore notions of transience\, intimacy\, loss and hope.\n‘For the only equivalent of the Universe within is the Universe without’.\nJung\n  \n\n\n\n\n \n  \n  \n\n\n\n\n  \n\n\n\n  \n  \n\n\n\n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n  \n 
URL:https://project-space.london/event/summer-salon-01-british-painting-disposition
CATEGORIES:Events,Previous Exhibitions
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