The Bay Window Project: Russell Chater

THE BAY WINDOW PROJECT, 2011

Artists in a Frame

curated by sybin

RUSSELL CHATER > SPECTATRE

From: Monday 19 September 2011

SybinQ Art Projects

The Window on Cleveland Street, London, W1T 6DP. MAP HERE.

t. 07913717999

e. curatingcontemporary@gmail.com

The Bay Window Project: Patrick Mimran once said that art is where you least expect to find it. A window that becomes a container for contemporary art pushes the boundaries of public and private, transforming an ordinary space into a place for public art. Unaware passers-by will stumble upon it, becoming unintentional witnesses of the evolution of site-specific art in a non-institutional environment.

The third artist invited to exhibit in The Bay Window is RUSSELL CHATER

A recurring interest in contained and transitional spaces pervades much of Chater’s practice. Works question the boundaries between inside and outside and the familiar and the unfamiliar - seeking to explore spaces and states that are ‘between’ or ‘beyond’. Familiar scenes are often denied their context or purpose, resulting in the viewers’ focus shifting from the immediate to the subliminal.

For The Bay Window Project, Russell presents the work SPECTATRE (Various elements, dimensions variable. Courtesy: The Artist and SybinQ Art Projects)

Inspired by the conditions presented by the private/public space of a common bay window, SPECTATRE (a word suspended between spectator and spectre) draws on the language of a shop window display. The site-specific installation is both kitsch and eerie as a spot-lit mannequin is revealed to passers-by from its theatrical stage. The piece is also surreal – presenting as it does a commercial shop-window arrangement in a domestic apartment window.  Indeed, the work draws on its surroundings, with a nod to the artistic displays of the gallery directly below as well as the numerous shop windows of central London. Ultimately, however, the work can be read as a (self) portrait – raising questions about what we hide and what we reveal, the private and the public. Fundamental relationships of figure/space, light/dark, surface/depth are framed, and wider readings around reflection and in particular the gaze are evoked. The work also acts as a kind of companion piece to a large-scale painting that the artist will be showing at London’s City Hall later in the year.

The display runs daily: 19 September - 6 October 2011

FINISSAGE PARTY on Wednesday 5 October 2011

Please join the artist and us at the Jet Lag Bar, 125 Cleveland Street, London W1. From 6:30 pm.

Russell Chater is a graduate of the MA Fine Art course at Central Saint Martins and has exhibited extensively in both the UK and abroad. Galleries include: Galerie Zurcher (Paris/New York); Grey Area Gallery (Brighton); Unit 2 Gallery/Whitechapel Art Gallery (London); Galeria Espacio (Valencia); Museum of Science and Industry (Manchester). Russell has also co-curated a number of exhibitions and was previously a Co-Director of Dalston Underground Studios. The artist lives and works in London. Upcoming exhibitions include shows at London’s City Hall and Schwartz Gallery, London.  

For further information please see: http://www.re-title.com/artists/russell-chater.asp

The Bay Window Project: Catherine Bertola

THE BAY WINDOW PROJECT

Artists in a Frame 

curated by sybin 

CATHERINE BERTOLA > Home from Home

From Wednesday 10 August  

SybinQ Art Projects

The window on Cleveland Street

London W1T 6DP

t. 07913717999

e. curatingcontemporary@gmail.com 

The Bay Window Project: a window that becomes a container for contemporary art. Beyond the white-cube display, the artwork forcefully enters the private sphere of a flat to be seen by an extemporaneous, unaware public. The aim is to map the evolution of site-specific art in a non-institutional environment. 

The second artist invited to exhibit in The Bay Window is CATHERINE BERTOLA. 

Bertola realises site-specific installations engaging with everyday debris, from dust to the delicate patterns found on blinds or net curtains that keep our domestic sphere private from the outside world. The debris speaks of a distant past, of untold and invisible stories of places and people. Her work is included in the Government Art Collection and it has been displayed widely in National Museums and abroad. 

For The Bay Window Project, Catherine presents the work Home from Home (Self-adhesive vinyl on glass, dimensions variable. Courtesy: The Artist, Workplace Gallery and Galerie M+R Fricke) 

In 2001, Catherine Bertola first installed Home from Home in the windows of three pubic houses; the Forth Hotel, Trent House and Newcastle Arms in Newcastle Upon Tyne. Net curtains are associated with suburbia and the home, not just used for decoration but also as a barrier between public and private – allowing the occupants to look out but preventing passers-by from looking in. In that instance, the installation brought a touch of intimacy to the hedonistic heart of the city. This year, the work was featured again in the group exhibition Cult of The Difficult, curated by MA Curating the Contemporary students at the London Metropolitan University in collaboration with the Government Art Collection.

Home from Home was installed in the Cass Gallery’s main window, creating a suspended screen that interrupted, in a way, the overall view of the show from the street. Drawing from the concept of copy and paste and associating it to the analysis of the same artwork in different contexts, Home from Home now reaches what could be its natural environment: a bay window.

The site-specificity of Bertola’s work is translated in an installation that may go unnoticed, sitting between the actual function of an ordinary blind and its status of artwork that has been collecting traces from different places. 

The display runs 10 – 31 August. 

Catherine Bertola (Born in 1976 in Rugby, UK) lives and works in Gateshead.

Selected Solo Shows: 2011 – To be forever known, Bronte Parsonage Museum, Haworth; 2010 - Scion, Beacon Art Project, Barrington Court, Somerset, UK; 2009 – Unseen By All But Me Alone, Workplace Gallery, Gateshead, UK; 2008 – Over the Teacups, M+R Fricke, Berlin, DE. Selected Group Shows: 2011 – Cult of the Difficult, Cass Gallery, London UK; Personal Tempest, Neue Galerie, Innsbruck, Austria; 2010 – Walls are talking: Wallpaper, Art and Culture, Whitworth Art Gallery, Manchester, UK; 2009 – Out of the Ordinary: Spectacular Craft, Millennium Gallery, Sheffield, UK. 

Will come next: RUSSEL CHATER in September

Further links: 

The Government Art Collection

Workplace Gallery

Galerie M+R Fricke

Previously in The Bay Window: Davide D'Elia > Tropical Aryballoi. If you have missed it, have a look at it.

The Bay Window Project: Davide D'Elia

THE BAY WINDOW PROJECT

Artists in a Frame

curated by sybin

DAVIDE D’ELIA > Tropical Aryballoi

From Wednesday 22 June

SybinQ Art Projects

The window on Cleveland Street

London W1T 6DP

e. curatingcontemporary@gmail.com

Back again after the success of last year, The Bay Window Project continues to be an opportunity for young and established artists to create a site-specific work in uncommon settings. Beyond the white-cube display, the artwork forcefully enters the private sphere of a flat to be seen by an extemporaneous, unaware public. The aim is to map the evolution of site-specific art in a non-institutional environment.

The first 2011 artist invited to exhibit in The Bay Window is DAVIDE D’ELIA.

Davide D’Elia produces works that often re-value modern aesthetic graphic terminology by presenting itself beyond object and objectivity. He very much focuses on the vocabulary of the neglected and the degraded. By for example artificially creating the conditions for mould to grow, he bends the flow of time to his needs and questions the viewer about the process behind it. This creates what he had decided to be an object of art out of the spontaneous hands of nature.

For The Bay Window Project, Davide presents the work Tropical Aryballoi, 2011 (Living Still Life: Perforated vinyl, table, plant, magazines, books, candles, glass, stones, plywood, light. Dimensions variable.)

When Davide D’Elia first surveyed the bay window, all we were talking about was the way he works with mould, creating the conditions for it to grow spontaneously. For all the duration of the process, which requires high humidity condition and a meticulous chemical practice, he likes to live the environment he is going to contaminate, disrupting its normal function, violating the immaculate white gallery walls and leaving baffled visitors wondering about effective methods to efface mould. Being related with a different kind of environment – that is, the private dimension of an already inhabited flat, D’Elia had chosen a different kind of process; the negotiation with both the curator and the occasional viewer from the street. The fact that he couldn’t live the environment he was going to intervene into, led him to invent a parallel space based on the effects of warm and cold light, daylight and darkness.

As Davide observes, “the light in which we live conditions our mood, our perception of things and our domestic rites. The light we project outside through windows, be it warm or cold, reveals the DNA of our modus vivendi. Our micro-domestic world relates with the outside by transmitting signals, both territorial and individual, to passers by who can decide to receive, or ignore, such signals.” Playing around with the few elements available to him – a plant, a table with elements on it, old vertical blinds and bits and pieces of ordinary life’s accumulation, he created Tropical Aryballoi, a two-faced container that changes at the change of light, revealing itself only to the most diligent of spectator. Tropical Aryballoi is a living still life, always the same but in fact ever-changing.

The display runs 22 June – 13 July.

The artist wishes to thank photographer Serena Andreini for her kind assistance. For further information please visit www.davidedelia.com

Davide D’Elia (Born in 1973 near Salerno, Italy) lives and works between Rome and London. Selected Shows: 2011 - Strange cross, Ex elettrofonica, Rome (IT); 2010 - Yesterday I distractedly called upon my mind memories not mine…I was by them enlivened, Ex elettrofonica, Rome (IT); 2009 - Beyond Existence, Cordy House, London (UK); 2009 – 3500 Square Centimeters, 27th Biennal Graphic Art, Lujbljana (SL). 2008 - Every other day, Zico House, Beirut (RL).

Will Come Next: CATHERINE BERTOLA in July.

MARCO DAL BOSCO > Scala 1:18

SYBINQ ART PROJECTS, in collaboration with LONDON METROPOLITAN UNIVERSITY, is pleased to invite you to:

SCALA 1:18 a performance by  
MARCO DALBOSCO

Presented by sybin > susanna bianchini

TUESDAY 14 DECEMBER 2010

from 6:30 pm

Unit G15

London Metropolitan University

41 Commercial Road

London E1 1LA

RSVP ESSENTIAL at curatingcontemporary@gmail.com

Italian artist Marco Dalbosco presented the performance Scala 1:18 for the first time as a parallel event at Manifesta 7 (Rovereto, Italy 2008). Setting its contents in the factory ambient and analyzing its obsessive and repetitive production process, the performance involves five women, dressed and combed the same, repeating all the same gestures, steps and sequences enhanced by a projected video of machines at work. The entire operation seems to have a liberating aspect that redeems creativity from job alienation; in fact it focuses, at the same time, on the issue of repeating and modulating mechanisms, set behind the creativity myth. The performers look like they are free, whereas they always come back to the starting point; they become metaphor for our own way of thinking, which sometimes may be constructed and constricted.

Following Guy Debord’s idea of society as a spectacle, instead of turning the production system into a show it is the alienation of the individual, the suspension of a thinking being and the unavoidable conformation of the mass that underline Dalbosco’s work. The choreographer Gloria Ploritch and her students, all from the Italian Northern Region of Trentino, have been working all along with Dalbosco to give shape to this performance, never before presented in the UK.

The exhibition is accompanied by a text by the Curator. 

Scala 1:18 is the closing event of SybinQ Art Projects for the year 2010.

INFORMATION ABOUT THE ARTIST:

MARCO DALBOSCO lives and works in London. Selected Events > 2010: Scala 1:18, London Metropolitan University, London (UK) and 26cc Space for Contemporary Art, Rome (IT); Meeting Ring, SybinQ Art Projects, London (IT);Incerti Arredi # Office Sales, Cesare Pietroiusti’s Studio, Rome (IT). 2009: 1h Art Project, London (UK). 2008: Scala 1:18, Manifesta7, Parallel Event, Rovereto (IT). 2008: Incerti Arredi, Paolo Tonin  Contemporary Art, Turin (IT).

GLORIA POTRICH lives and works in Rovereto, Italy, where she teaches Contemporary and African dance at the CDM – Didactic Centre for Music, Theatre and Dance. Her research started from Expressive African Dance passing through Contact and Dance Theatre to arrive to a research-based type of dance characterised with a bond with live music. 

SUSANNA BIANCHINI lives and works in London. By using the pseudonym of sybin, she curated various shows and created SybinQ Art Projects, a nomad space devoted to the promotion of exhibition projects, especially with young artists. This is mainly through the commissions of new artworks and the creation of unusual shows settings, outside the so-called “regular” exhibition’s parameters.

This event is possible thanks to the support of the Provincia Autonoma di Trento (IT), Cultural Association Ordine_Sparso (IT), London Metropolitan University and Levent Bozdere (UK).

More information on www.marcodalbosco.com

The Bay Window Project: Alice Anderson

THE BAY WINDOW PROJECT
Six Artists in a Frame


curated by sybin


NEXT OPENING: Tuesday 9 November at 6:30 pm. The artist will attend.
                                 Until Sunday 5 December.


SybinQ Art Projects
The window on Cleveland Street (between 92 and 96)
London W1T 6DP
T. 07913 717999
E. sybin@inwind.it


The Bay Window Project is a private window turned into a showcase of site-specific works, interrupting and changing the normal social fruition of such space and investigating the perception of art in a public display.


The fifth artist invited to exhibit in The Bay Window is ALICE ANDERSON.
(Born in London, 1976, where she lives and works)


The “obsessive artist” Alice Anderson uses memory and time to tell stories about her childhood, reinventing it as fiction through the language of movies and integrating this process with sculptures and environmental installations made of doll’s red hair. The characters she depicts, the family hierarchy in which the mother has the total power, behave in a cold and distant manner, like robots, obeying the rules of her world. By transforming herself into a doll, Anderson too becomes one of them, either succumbing or managing to free herself from her own plots.


For The Bay Window Project, Alice is presenting Rear Window (50 cm doll made out of silicon and plaster. Courtesy: The Artist and SybinQ Art Projects).


When Alice Anderson’s doll took shape, she was sharing details of her private life that she would have never thought to say to a total stranger. The person working on it listened and modeled her face, and at the end of the process they both looked at the result in awe. Before knowing this story, I remember walking past the doll at one of Alice’s solo shows and almost ignoring her until, out of the corner of my eye, I clearly saw it smiling. In the collective imagination, we already know that a doll is not just a decorative object or a toy, but is fraught with uncanny and sometimes not quite clear feelings. Since she was created, Alice’s doll – or perhaps Alice herself – has always been trapped somewhere, looking at events unfold before her, watching, without being able to act; The Bay Window will be her home for a while and only one thing is certain: she will be watching.


INFORMATION ABOUT THE ARTIST: www.alice-anderson.org


Selected Solo Shows: 2010 The Isolated Child, Cinematheque Francaise, Paris; Mother Web, Royal Opera House, London; Alice Anderson’s Time Reversal, Riflemaker, London; 2009 The Doll’s Day, Artprojx Space, London; Selected Group Shows : 2010 elles@Pompidou, Pompidou Centre, Paris; Living in Evolution, Museum of Contemporary Art, Busan, Korea; 2009 Voo Doo, Riflemaker, London; 2008 Peur et Desir, Palais de Tokyo, Paris; Hbox, Tate Modern, London; 2006 Art Unlimited / Art Film, Art Basel, Basel.


The everyday life of Alice Anderson’s Doll will be documented. Stay tuned!

Please follow the MAP below to find her:

SybinQ Art Projects > 13-14 October Events

Click on the images to enlarge them

SybinQ Art Projects is pleased to present a series of exhibitions and events curated by sybin and opening during the Frieze Art Fair week. In addition to this, we are glad to introduce a useful tool to avoid missing all the parallel events in the area: The Fitzrovia Art Map.

Wednesday 13 October 2010: performance

MARCO DALBOSCO > Meeting Ring

Starts at 1:30 pm

63 Whitechapel High Street (corner with Commercial Rd) London E1 7PF

13 October – 3 November 2010: solo show

VALENTINO DIEGO > Alterations

Opening: Wednesday 13 October at 6:30 pm

41 Commercial Road, London E1 1LA

THE BAY WINDOW PROJECT
14 October – 7 November 2010: solo show

SILVIA IORIO > The Viewing Cabinet

Opening: Thursday 14 October at 6:30 pm

The window on Cleveland Street, London W1T 6DP

For the most exciting week of the year in London’s art world, the nomad association SybinQ Art Projects will present three International artists in two different parts of the city.

Starting on Wednesday 13 October in London’s East End, Marco Dalbosco and Valentino Diego will present, respectively, a performance and a show both engaging with the notion of stage and representation in different ways.

Disrupting the normal afternoon passers-by routine, Marco Dalbosco will coordinate the performance Meeting Ring at 1:30 pm: the social gathering will see artists and curators, the two very figures that allow shows to happen, ironically confronting each other in a virtual ring where they will have to pursue their preferred role through suggested actions that may, or may not, enter in conflict with one another. To express the supposed existence of a clash between artists and curators, we can recall Daniel Buren’s critical definition of the curator as being a “super-artist, using artworks as many brushstrokes in a huge painting”. But, the artist wonders, is this really the case? The reason why this artificial antagonism is staged lays in Dalbosco’s aim to explore how this particular social interaction works, transforming the performance in a rehearsal for a proper dialogue and constructive confrontation that is expected to follow afterwards. After all, relationships are built on dialogue, not procedures.

Following the performance, please join us at 6:30 pm to celebrate Valentino Diego’s first solo show in London: Alterations is a site specific installation created for a window in the London Metropolitan University’s premises in the East End. Inspired by the tailor shop windows you may find in residential areas, with owners putting their work on display in order to attract clients, Alterations is a stage prop trying to convince the distracted passer-by of its authenticity. Working on displacement and on the “redemption” of the fake object through a meticulous attention to details, the artist’s response to the window follows the general lines of a “wrong perspective” theme: the gaze builds the perception of a space but, unless the mathematical rules of perspective are applied, its representation may differ from reality. Diego’s representation of a temporary alterations shop offers a wrong perspective in its literal meaning.

Moving to the West End and in conjunction with Frieze’s Art Fair opening on Thursday 14 October, THE BAY WINDOW PROJECT will feature the first solo show in London of its fourth invited artist: Silvia Iorio.

For The Bay Window Project, Silvia is presenting The Viewing Cabinet, 2010 (Two panels, Plotter print, 193 x 80 cm each. Courtesy: The Artist and SybinQ Art Projects)

In line with the previous shows, which explored issues like capturing the gaze and the notion of voyeurism, the artist has created a viewing cabinet of her latest works. The concept of a cabinet of curiosities, a treasured collection normally reserved to a few, is turned inside out, becoming a public display that demands to be seen and, in turn, watches. Reflecting Silvia’s interest in the connection between science and art, the work aims to direct the never-resting gaze to explore this cabinet through a binocular in a sort of voyeuristic game, with the viewer actually standing on a street and using a magnifier tool to look in what would be a private window. This particular collection is almost invisible to the naked eye, its miniature details concealed: only our natural curiosity, which for example allowed Galileo to define the Solar System, will reveal what lies under the starry sky.

Please note that you will need a binocular to see Silvia Iorio’s work. Binoculars will be available at the opening and by appointment.

INFORMATION ABOUT THE ARTISTS:


MARCO DALBOSCO
Born in Rovereto, Italy, 1958. Lives and works in London. Selected Solo Shows: 2010 – 26cc Space for Contemporary Art, Rome (IT); 2008 – Paolo Tonin Contemporary Art Gallery, Turin (IT). Selected Group Shows: 2010 – Michael Landy’s Art Bin, South London Gallery, London (UK); Censorship and Self-censorship, performance with Cesare Pietroiusti, Rome (IT); 2008 – Scala 1:18, Manifesta 7, Trento (IT); 2006 – Mavarte Gallery, Valencia (E). www.marcodalbosco.com


VALENTINO DIEGO
Born in Ciriè, Italy, 1978. Lives and works in London. Selected Solo Shows: 2010 – Race, with Tomas Dzadon, Hunt Kastner Artworks, Prague (CZ); Roomates/Coinquilini, with Pietro Ruffo, MACRO Museum of Contemporary Art, Rome (IT). Selected Group Shows: 2009 – Usine de reve, 26cc, Rome (IT); 2007 – Versus XIII, VELAN, Turin (IT); Spazi Incorretti, Fondazione Pastificio Cerere, Rome (IT); 2006 – Generazioni/Rigenerazioni, CAMeC, La Spezia (IT); 2005 – Italian Camera, San Servolo, Venice (IT).

SILVIA IORIO

Born in Rome, 1978. Lives and works in Berlin. Selected Solo Shows: 2007 – Chromatèma, Silvia Iorio, Artist’s Corner, Auditorium Parco della Musica, Rome, (IT); 2005 - N-Kiloton, Silvia Iorio, The Venice Biennale, 51. International Art Exhibition, Venice, (IT). Selected Group Shows: 2010 – Sorry, We’re Open, London Metropolitan University, London, (UK); 2009 - Galleria Vistamare, Artissima 16, The International Fair of Contemporary Art, Turin, (IT); 2007 - Across Art and Science, MAKRÁČ Institute of Macromolecular Chemistry, Prague (CZ).

Leaving Frieze Art Fair? Do not miss all the events in Fitzrovia!

Keep yourself on top of what’s going on with the Fitzrovia Art Map, realized by MD in collaboration with SybinQ Art Project. Download and print it here.

Will come next for THE BAY WINDOW PROJECT: Alice Anderson in November

Cadavre Exquis Video, previously in THE BAY WINDOW, showed the work of more than 60 artists. True or false?

Leave your thoughts on the Guestbook post. 

SybinQ Art Projects

T: 07913717999

E: sybin@inwind.it

There must be a reason

With every preparation of a show, here comes the moment every young curator dreads the most: sending the Press Release.

If you don't have the luck (or funds) of having a proper Press Office doing it for you, then be prepared for a good deal of stress which will probably end up in calling the computer every name under the sun or, more politely, putting your hands in your hair not exactly to pull them out, but to prevent them from falling off.

Too melodramatic? In the end it's not a big deal, is it? It's just about sending some emails... well, there must be a reason why people study hard to become Press Officers.

First of all, dealing with the press means tight deadlines, well in advance of the event, which can't be ignored; therefore you need to squeeze your brain out and get the press release done before that date. If you have the writer's block or suffer from chronic perfectionism, you're screwed.

Once everything is nicely ready, the image is in place in the email's body, the writings make sense - not too boring, not too long - and the timing is right, you suddenly realise that you can't send it at once to all your contacts. Most of the on-line email servers now have anti-spam filters activating themselves as soon as you try to go over, say, two-hundred emails per day - Two Hundred! Wow, you have a hell of a mailing list! - OK, people don't like spam and that's a fact, but there is a difference between selling Viagra and informing about an upcoming show... I am sure these spam filters, which must have been devised from the CIA's greatest geeks, are aware of the email's content.

How do you solve this? By splitting your contacts in not too large groups. Ype, but this takes half of your day. Moreover, you can be the most organised and precise person in the world... there will always be a skipped, forgotten or even added twice contact ending up in the wrong group. Like That Gallery Director getting, together with the show invitation, a personal message saying: "Hello dude! Hope to see ya there!" Face it: you're not Superman.

After having tried to pull your eyes, that have started twitching, together, you are ready to press the 'Send' button. Read it again.
Adjust that double space.
Add something.
Delete something.
Wait! Don't forget to add the Bcc otherwise every contact will see everyone else's email and they are going to hate you.
Ah! Add the disclaimer, too. Explain to people why they are getting this email, that you are blah blah, rules about privacy, blah blah blah and that, if they don't want to receive such information anymore, they can unsubscribe.
Put your email in the "To" field, so you can monitor everything.
Done. Take a breath... Send.

Aaaaah, first batch gone, you start to relax and even to feel smug. Piece of cake! You receive the email that you have just sent to yourself and...instead of the image, there is a nice blue square with a question mark in it. What the hell? Simple: the image has jumped. That's when you start to loose it because you just have informed a group of people of a show about a work that they can't see. And it's not just any group, like "Friends" who will definitely understand: it's "Press". This doesn't really help.

To avoid repeating the embarrassing mistake, you start all over again, create a new fresh email, re-add the image, and avoid the "Forward" button like the plague. This, for five or six times minimum, depending on how many "Groups" you have. In the mean time, is 1.59 am and you have been at it all day. Well, at least it's done. Life is beautiful!

The day after, you open your email account to finish sending the invite to the rest of your contacts - you were clever enough to keep the ones not subject to deadlines for the day after because the spam filters have indeed blocked you. - Among the many "Out of Office" auto-reply and failure notices because you typed 'hitmail' instead of 'hotmail', what do you find?
A couple of "Unsubscribe". Like this. No reason given.

Well now, after all you have been through!