Curated Projects

REPEAT REPEAT REPEAT - Art on a Slope
A Collaboration between Clare Goodwin & Esther Schena
Kurt Scheuble Siebdruckmanufaktur, Zürich
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Some Islands - group show curated by Andrew Bick&Clare Goodwin
Coleman - London with Andrew Bick, Jyll Bradley, Lothar Goetz, Clare Goodwin, Daniel Robert Hunziker
Emma Talbot, Dieter Roth
Coleman - London with Andrew Bick, Jyll Bradley, Lothar Goetz, Clare Goodwin, Daniel Robert Hunziker Emma Talbot, Dieter Roth
Using a small Dieter Roth etching from 1973 as a motif, this exhibition suggests that each work format could be considered as a kind of island, individualised, but nevertheless interdependent in ways that refer to Roth’s vast and varied oeuvre. Artists who make works on paper that have autonomy from other aspects of their output could be described as looking for space, for movement beyond accepted genres. The selected artists all make works either on paper or out of paper that appear selfcontained and yet may not necessarily be defined as ‘drawing’. This suggests two enduring aspects of art practice; one is the impulse to work beyond logical categorisation, the other is the urge towards the absurd or contradictory. For example, words can be combined in ways that make perfect structural sense while the meaning of the sentence remains illogical. Similarly, art can appear visually highly organised, while refusing to adhere to accepted genres or categories. By also considering what lies between the logical and the absurd – which at the inception of Modernism was defined by the relationship between Constructivism and Dada – a long tradition is revisited and given new energy. If the current situation can be described as one in which the initial self-conscious stages of Post Modernism have been replaced by a less doctrinaire desire to revisit art history, an exhibition such as this can then explore ideas of influence and echo without anxiety. There are many possible narratives behind what, on the surface, may appear to be an entirely selfcontained work, equally, the sequential imagery of a cartoon can be collapsed into a world that is not deliberately coherent, but finds oblique ways to make visual sense. Andrew Bick/Clare Goodwin, December 2017
http://www.colemanprojects.org.uk/
 
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