She’s Lost Control
16th May - 18th May 2008, St. Ninian's Church, Chorlton
SHE’S LOST CONTROL
(Part of Chorlton Arts Festival ‘08)
NOW YOU CAN TAKE CONTROL…
YOU HAVE THE FINAL SAY…
MAKE YOUR MARK ON A PEICE OF CONTEMPORARY ART…
She‘s Lost Control was an invitation to participate in a variety of different ways to a constantly evolving exhibition and music event. The Media can be a strong influence on the ways in which we think and act. Every day we are given mixed messages about what we should be doing. Participants were encouraged to join creative individuals from a wide range of mediums and styles to move away from the ‘norm’ and ‘lose control’.
Please see Participating Artists for further information…
Review coming soon…
Participating Artists
M Devereux: What ever works for you
We all have experienced losing control. We may be embarrassed about what we did, or discovered a personal freedom that is rarely allowed to escape in an ever more sanitised and dictated society. Drawing on my own experience of needing and healthily embracing moments of ‘losing it’, and being all the better and more enriched person for it. The installation aims to capture those intermit memories and flights of fantasy that we all have, but may have never allowed them to be voiced in public before.
M Devereux: Unfortunately / Fortunately
Every day we are given mixed messages…
Most mornings people wake up to post - letters prepared, formatted and sent directly to you. As soon as you open the envelope and glimpse at the paper certain words stand out…
I want to share with you a collection of letters I have received over a period of 3 years. Many mornings I have awoken to ‘unfortunate regretfulness’ which I think many ambitious person who strives towards a goal will relate to. This exhibit represents hopes, dreams and relentless determination; which in turn should be congratulated. I have provided you with a piece of paper - this is a letter which is to filled out and posted, to congratulate yourself for quite simply ‘being you’…
Embrace rejection, continue being determined and sod anyone who says otherwise!
M Devereux: ReThink
The work explores the concept of extreme thinking and asks the questions;
How stable am I?
How in control of my emotions am I?
It forces the viewer to explore and monitor their own moods and emotions
Karen Boulton: not so
The work looks at our perceived ideas of fair play and how we accept rules in games. It challenges our preconceived ideas of trust and our own willingness to accept how the game is being played and forces us to question the game itself. The ‘game’ will challenge our perception of fair play and trust in board games and rules. Do we bend the rules to our satisfaction or do we comply, will the participants try and cheat or accept loosing without questioning what is going on?
David Brinkworth: MAQ
MAQ stands for Modern Art Quartet… For this event it will be my intention to create an interactive Sonic / Pop experience, there will be a number of instruments available so that members of the audience may participate if they so wish. I do not see this as an eccentric quirk, but an integral part of this particular performance, which will have a direct bearing of the music played and the out come…
Daniel Hopkins: Hurra caine landcrash
Since the release of ‘Unanswered Questions’ (Released on Split Femur) an album of guitar loops egg whisks and ambience. Hurra caine landcrash aka Dan Hopkins is moving on into creating an organic sound contained within in a laptop, recordings of small bells and acoustic percussive instruments form the background of live improvisation with sound and space.
M Devereux: Glistening Cogs of Greenland
Glistening Cogs of Greenland coalesced in 2006 to scheme new performance through textures of semi–controlled improvisation, analogue electronics, and spoken word excursion and interference. . GCoG embrace and explore the tussle of fusing the ethereal with the jolting; the roll with the push. They like beauty. They enjoy incursion. This could be psychedelic social–realism. Or pre–Rock divinity.
All under the big slow sky stretching.
Individual extremes of lap–steel guitar, Moog, electric violin and vocals merge, fight, talk, sulk, stroke, beam and go on picnics together. Live spoken word narratives inform, deflect and nourish all instrumental philandering.
M Devereux: Full Circle
The spaces and environments we inhabit as a society are predisposed to control and rules. These levels of conformity are an obligation we consciously and subconciously abide by to maintain a peaceful social order. We are controlled and dictated to for our own safety and well being. However, what if we no longer chose to abide by the rules of civilised society?
Join us as we choose to break all the rules, but will you even notice?
M Devereux: Eat Your Words
Words have powerful influence on us and how we put them together can make the most profound differences to how we interpret them. I am interested in how we misinterpret words from different sources. Words that media constantly bombard us with seem to form rules for society and beliefs in what’s right and wrong. The digital age means that words have changed and meaning is different. Emotional words can become de–sensitized and sterile, or imbued with other complex meaning. Words can shape our views of others and the community around us, often reinforcing stereotypes and fears. Words are powerful and seem to act upon us without our knowledge and consent. It is time to take those words back and take control of them.
Fridge Poetry — taking words from media that are posted through my door, come down my arial, from songs, from books, from my diary, my shopping list collection and turn them into magnets. Inviting the audience to play. Inviting them to my house, my party, to make sentences and transform each others thoughts and associations. A changing space that is a notice board for us to speak back. Breaking out of the boundaries of language and making fun of the words that bombard us and control us.
M Devereux: Dealing the Hand
Dealing the Hand (Daniel Barrett and Tullis Rennie) explore, (re)interpret and respond to places and spaces, memory and created experiences, and objects that enter their personal days. Day trips and night walks form a key part of their creative approach, with recordings in the field being a happy pastime that generates new sonic material for their compositions and interventions. They have a love for the sonic world that embraces their everyday and a wide eared approach to the creation of new sound worlds that can be delicate and distorted, joyous and jarred, fantastical and familiar.
They are to perform a new composition ‘What ever works for you’ inspired and informed by Daniel Barrett’s installation within the ‘She’s Lost Control’ exhibition. We all have experienced losing control. We may be embarrassed about what we did, or discovered a personal freedom that is rarely allowed to escape in an ever more sanitised and dictated society. Drawing on my own experience of needing and healthily embracing moments of ‘losing it’, and being all the better and more enriched person for it. The installation aims to capture those intermit memories and flights of fantasy that we all have, but may have never allowed them to be voiced in public before.
M Devereux: Blood Moon
Blood Moon make improvised music, from non–rhythmical drone to punching rhythms and calm melodies to screaming noise. Blood Moon’s key influences are Sunn O))), Can, Velvet Underground, Arthur Russell and Sonic Youth.
Blood Moon will create music, using a variety of electronic and acoustic instruments, as an organic, improvised response to the location’s architecture and environment, by using sound to create a mood that intuitively flows with the time and space.
Dean Kelland: A History of Britain Vol.II (Episode 2) – Gary Glitter, Pat Molloy & Norman Stanley Fletcher
Utilising appropriated fragments of scripts from the sit–com “Porridge” in a visual collision with sections from 1970’s Gary Glitter Annuals, “A HISTORY OF BRITAIN VOL.II – GARY GLITTER & NORMAN STANLEY FLETCHER” addresses the notion of nostalgia and the way in which significant periods within British culture are now destined to be viewed through today’s eyes only.
The idea of innocence is lost and icons of a previous dawn who were once celebrated are now tainted with the headlines of today. Balanced against the fictional experiences of Ronnie Barker’s popular character “Fletch” from the sit-com “Porridge” this text installation has resonance with ideas related to nostalgia whilst retaining a dialogue with contemporary social issues and the idea of all tragedy and comedy being inextricably linked.
Dean Kelland’s work explores the language of cultural signifiers, such as sit–coms, popular song lyrics, newspaper articles and maps. His practice combines approaches related to Photography, Performance and/or appropriation of authentic materials (such as period wallpaper, wood effect vinyl, or second-hand books) locate the works historically and socially.
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