PROJECTSPROJECTSPROJECTS

Foul Ameliorations

Dartington Gallery [2008]

Video installation and performance.

Is Kylling Bogg Bogg video reconfigured installation that inlcudes: the Northern Lights, real fur island iteration, dense blanket cloud profanity, above and below sea level.




Here are my Instructions

Artists/writers from a range of disciplines were invited to explore text as a visual, performative entity and the page as an expanded, architectural space.


Each artist submitted a proposal of instructions. The sequence of wall-page exhibitions were installed from January to May 2003. These then formed the basis of the Gefn Press publication, Here are my Instructions which developed the project further through essays, a new text by Redell Olsen entitled ‘We await your instructions nervously’, documentation and artists’ pages.

 

Participants included:

Sally Alatalo, Allen Fisher, Robert Hampson, Sharon Kivland.


http://gefnpress.co.uk/projects/here-are-my-instructions/index.html

R A N K

Empty Orchestra Group Exhibition

Artists interrogated, dismantled, displaced, replaced and rebuilt the tools and contexts of musical performance.

Sophie Lisa Beresford, Petra Cortright, Flat Soufflée, Laura James & Samuel Rodgers, Maria Minerva, Oneohtrix Point Never, Alex Peverett.


Eastside Projects

Birmingham

2011

https://eastsideprojects.org/projects/empty-orchestra/

Aasinanimal video work made for:  

READING AS ART: TURNING THE PAGES OF PSYCHOLOGY 2013

Curated by Sharon Kivland

First shown at Senate House Library, London.

The work draws on Deleuzian concepts of assemblage and multiplicitous attractions and influences, taking its title from L’Abécédaire de Gilles Deleuze (1988–89). Deleuze didn’t think much of television and stated that the interview should not be aired before his death. In the interview, Deleuze discusses with Claire Parnet the crucial link between creativity, the very possibility of thinking, and animality, through the practice of être aux aguets (being on the lookout) for rencontres (encounters). To avoid zigzagging in his discourse, Deleuze received the list of topics beforehand, and although he worked assiduously on the answers, he then improvised during the recordings (Peter Stamer 2014).






Will Internets eat brain?

Journal of Writing in Creative Practice

Intellect Books

[2017]

Visual essay. Information retrieval and internet searches taking the form of a series of cut ups and punctured narratives, SMS language/textese and netspeak. 

A virus or infective agent, the writing takes up queer practices of disidentification; the act of rejecting dominant and pervasive ideologies, as a strategy to explore and disrupt entrenched power structures of language, image and words.


Developed from writing for Map commission for Glasgow Film Festival & ISEA presentation Hong Kong.



Bleu Gouttes (Dripping Blue)

2014

Video installation

Made for Enys House Penryn Cornwall. Group Exhbition.


Experiments in factualites and fabulations, queer coincidences and elaborations,

abnormal overlaps and ‘performative assemblages’ of the Internets.


Screenings:

Royal Academy of Art, The Hague [2015]


Experiments In Cinema Albuquerque, NM, USA [2016]


Percale Thrip

Video


THE NABOKOV PAPER

An experiment in novel-reading

The Nabokov Paper is a project by Kate Briggs and Lucrezia Russo. It takes as its starting point a series of exam questions set by Vladimir Nabokov in the 1950s, for students of his now famous lectures on great works of European fiction.


Published by information as material

Exhibition at Shandy Hall, [2013]

The Lost Swimming Pool (London, June 2010) was a site-specific Installation and performance (for Esther Williams and the Lost Olympics; and for Jane Holloway and Elizabeth Jesser Reid).


In part an homage to Esther Williams who would have represented the US as a swimmer in the 1940 Summer Games had they not been cancelled, and an examination of women’s physical education at the moments of the founding of Bedford and Royal Holloway Colleges.


Project conceived and directed by Redell Olsen in collaboration with Libby Worth, Gillian Wylde, Ruth Livesey, and Drew Milne.



THE DAY THE WORLD TURNED DAY GLO 2016

Exhibition commission Arnolfini Gallery Bristol.

Video installation, performance, sound work, billposters.

Punk processes, internet browser appropriations, multiple windows and programmes open at the same time.



Snakes & Funerals

Video installation made for Queer The Space 2012

London Centre for Collaborative Research


Snakes&Funerals takes Jean-Luc Godard’s canonical Le Mépris (1963) as a starting-point to explore queer disordering of cinematic space and soundtrack through eliding established configurations of narrative and gender.

Blond Antideluvian

2012

Video Installation.

The Jane Fonda Workout VHS, book and LP; the 1980ʼs film Quest for Fire DVD and LP; and The World of Survival Tape and Slide set with cassette tape commentary by Colin Wilcox.

Voluptuous and unpredictable.


Shown at:

Plymouth University


Lost Property, Amsterdam

Horse Bazaar, Melbourne Australia



Enflamma Diagra

Video installation

Collaboration with Neil Chapman


Made for Plague of Diagrams ICA London

https://www.ica.art/whats-on/symposium-plague-diagrams


Screenings: CCA Glasgow, Victoria Baths Manchester, Royal Academy of Art. The Hague, The Orpheus Institute Ghent Belgium.


Is Kylling Bogg Bogg

Performance video made during residency at

Tou Scene Stavanger Norway [2006]


Screenings: Spacex Gallery Exeter [2007] Lounge Gallery London [2007] Dartington Art Gallery [2008] 'Humbly Through the Dust' Exhibition inspired by The British Council's Art Collection Co. Fermanagh [2012]  Ptarmigan, Helsinki [2011]






ARTING + WRTNG = EROTIC HOTWIRING


EXHIBITIONS/SCREENINGS/PUBLICATIONS/TALKS:

ISEA Hong Kong

Eros Press

Journal of Writing in Creative Practice, Intellect Books

Gefn Press

Sector 2337 Chicago, USA

Information As Material Press

Casa das Artes, Porto

Royal Academy of Art. The Hague

ICA London

Horse Bazaar, Melbourne City

CCA Glasgow

The Centre for Creative Collaboration, London

Videotage, Hong Kong

Bluecoat Gallery Liverpool

Vivid Birmingham

Milch Gallery, London

Bookartbookshop

Girls Like Us

Stroud Valley Art Centre

Chapter Art Gallery, Cardiff

Side Room, Amsterdam

Lounge Gallery, London

London Film and Video Development Agency

Victoria Baths, Manchester

Arnolfini Bristol

Shandy Hall North Yorkshire

Senate House, London

Artsadmin London

Dartington Art Gallery

South Hill Park, Bracknell

Transmodern Live Art Action Festival Baltimore

Lounge Gallery, London

Spacex Gallery Exeter

Midlands Art Centre, Birmingham

Alytus Biennial 2

Atelier Rafi Frankfurt

Enys House, Penryn

Falmouth Art Gallery

TEAK Helsinki

Tou Scene, Stavanger



































ʻAmerikan Tan: The Way of the Sausageʼ

Video Installation made as a direct response to the context of both the apartment I was staying in and to the context within which

work was exhibited. The work could not have known itself in advance of its making, its context and its locations. The ʻeventness of an objectʼ is always a response to the context and conditions of a situated environment. These are ʻmongrelʼ approaches to making, which are often counterpoint to, predetermined representative processes. Each element gathers around itself opposing tensions, inclinations and attitudes.

Made at TEAK Helsinki, Finland [2011]

Part of group exhibtion 'Cooperation'.


Aesthetica Pathetica =

[ISEA2016] (Re)volting data

Panel: Tarsh Bates, Jaden Hastings, Helen Pritchard, Jane Prophet & Gillian Wylde


Panel Statement (abstract)

As a panel of artist researchers, we offer critical accounts of artistic acts with data that arouse aversion or disgust. We address the following; 1) speculative art fictions that engage with the resistances and revolts of microbes in computational ecologies; 2) the biopolitics of our corporeal matter, using the material transformation of blood into artwork as a case study; 3) artistic research and practice as a study of small things, tiny revolts and frequencies of interference; 4) the boundary between life and death, growth and decay; and 5) the biopolitics of disgust through artworks that invite visitors to eat food produced from members of the human microbiome.