keep up to date with who is taking part. More to be announced.
Moran Sanderovich is a Berlin-based multidisciplinary artist. Sanderovich has studied at the School of Visual Theater, Jerusalem (IL )and Theatron Haguf, School of Physical Theater, Tel Aviv (IL) as well as more recently undertaking SMASH Berlin, an intensive program of experimental performance, Berlin (DE)
Her work spans across various mediums, such as performance, sculpture, and installation. Some of her sculptures are standalone artworks and installations, and some are wearing material as prosthetics transforming her body. Sanderovich’s work seeks new ways to challenge the perception of the human body, and is highly complex, combining multiple materials, with high attention to detail. She uses silicone, fabric, industrial waste, and toys, organic objects such as bone and hair, latex, among other found objects. By doing so, she does not only tell a story, but uses substance as a carrier for deconstructing perception of materialism, and confronts the spectators with dissonant images that require our attention, both on the materialistic and narrative aspects.
Recent performances include Mad House festival, Helsinki (FI) 2018; Tromso Varscene Festival, (NO) 2018; Disintegration festival, Gorki Theater Berlin (DE) 2017;
Martin Boyle lives and works in Belfast, Northern Ireland. He completed a Masters of Fine Art in 2008 at the University Of Ulster, Belfast, and a BA in Sculpture from the Limerick School of Art and Design. He works across many different mediums his conceptual art includes installation, sculpture, photography, video, and site-specific pieces. He explores the tension of opposites within his work, between human and nature, the artificial and real, the idealised and reality, the banal and profound. He has recently undertaken residencies at Art Centre Ongoing (Tokyo), SIM Residency (Iceland) and Artist in residence in the Ulster Museum (Belfast).
Recent Solo exhibitions include “Snap!”, Droichead Arts Centre, Drogheda, Ireland (2016);Human body’ accident, Golden Thread Gallery, Belfast (2015); Everyting’s Connected, Art Centre Ongoing, Tokyo, Japan (2014); Genuine Replica, Ulster Museum, Belfast (2013). Recent group exhibitions include ART WORKS, VISUAL Centre for Contemporary Art, Carlow, Ireland (2017); Future Artist-Makers, Nerve Visual Gallery, Derry (2017); These Days are Persistent and Changeable, Golden Thread Gallery, Belfast (2016); Diagrams, Pallas Projects, Dublin (2015); Out in the Open, Household Collective, Belfast (2015), Existence of flamethrowers in your street, G126, Galway, Ireland (2015); Scope Art Fair, New York (2013); Instances of Agreement, Kao Yuan Arts Centre, Taiwan (2012).
Doron Sadja is an American artist, composer, and curator whose work explores modes of perception and the experience of sound, light, and space. Working primarily with multichannel spatialized sound – combining pristine electronics with lush romantic synthesizers, extreme frequencies, dense noise, and computer-enhanced acoustic instruments, Sadja creates post-human, hyper-emotive sonic architecture.
Doron has published music on 12k, ATAK, and Shinkoyo records, and has performed/exhibited at Hamburger Bahnhof, PS1 MoMa, Miami MOCA, D’amelio Terras Gallery, Atonal Festival, Cleveland Museum of Art, STEIM, Norberg Festival, EMS Stockholm, STUK, CBK Amsterdam, Issue Project Room, and Roulette amongst others.
Sadja received his MFA in Sound at Bard College where he studied with Maryanne Amacher, David Behrman, Marina Rosenfeld, and Laetitia Sonami, and his BA in Technology in Music and Related Arts at the Oberlin Conservatory of Music.
Currently, Sadja is the host and lecturer for the popular Berlin series, Sound Portraits, a monthly lecture and listening session focusing on experimental electronic music composers.
Tess Denman-Cleaver is a North East based artist originally from Gateshead. Her work spans live performance, performance writing, artist publication, workshops and installation. Recent projects include; Of Bensham and the Return (Workplace Gallery, 2018 and Shipley Art Gallery, 2017), Mutualism (Hatton Gallery and Tyneside Cinema, 2018), In the waste land… and other poems (Turner Contemporary, 2018), Time Passes (St Ives, M_HKA Gallery Antwerp, Paul Melon Centre, 2017-18), Villa Stein (Audiograft Festival, 2018) and Expanded Analogue (Wilkinson Gallery, 2017).
She is currently working with artist Tim Shaw on an English Heritage commission for Autumn 2018. Between June 2018-19 Tess is artist in residence at the Sonic Arts Research Unit (Oxford). Tess was the Artistic Director of Tender Buttons theatre and performance company between 2010-18 and a programmer at The Northern Charter between 2015-2018. She has a PhD on landscape and performance philosophy.
Helen Davison’s is an artist currently based in london. Her work articulates the struggle of language to represent emotions of being a queer woman. Through live performances and vocal works Davison looks to set up encounters between the body and the voice in response to the articulated struggle.
“I extend upon, inhibit or interrupt my own attempts at vocalisation in order to arrive at an exchange that is palpable in its struggle, resonant in its vulnerability and reflects the chaos of trauma.”
Davison has completed an MA Fine Art: Performance, Royal College of Art and a BA Fine Art: New Media, Chelsea College of Art, her recent shows include include flowing through selves, Safehouse 1, London, UK, Live to Camera, London, UK And GRAIN, The Factory, Folkestone, UK
Martin Healy lives and works in Dublin. He works predominantly through the mediums of photography, film and sculpture and his works have been shown widely both nationally and internationally. He has taken part in residencies at Cove Park, Scotland, 2014; HIAP-International Residency Exchange, Helsinki, 2010; Centre Culturel Irlandais, Paris, 2008; Artists’ Residency Programme, Irish Museum of Modern Art, 2007; the International Studio Programme Residency, PS1Contemporary Art Centre, New York, 2000/01.
Solo exhibitions include: A moment twice lived, Crawford Art Gallery, Cork, 2016;
Terrain, Galway Arts Centre, 2015 (Galway International Arts Festival); Aether,
Oonagh Young Gallery, Dublin, 2014; The Future Perfect, Rubicon Projects,
Brussels, 2013; Last Man, Crawford Art Gallery (screening room), Cork, 2012; The
Inhabitant, Temple Bar Gallery and studios, Dublin, 2011; Facsimile, Lismore Castle
Arts, St Carthage Hall, 2011.
Tim Shaw’s artistic practice is concerned with the ways people listen, specifically how listening environments can be constructed or explored using a range of techniques and technologies. He has a background in recording sound and his practice is anchored in the creative use of field recordings. He is interested in appropriating communication technologies to explore how they change the way we experience the world.
His recent work has been presented at New Ear Festival, New York (2018), History of Bosnia Museum, Sarajevo (2018), ARC, Switzerland (2018), bb15, Linz (2017), Stereolux, Nantes (2016), Baltic, Gateshead (2017), FACT Liverpool (2016), Eastern Bloc, Montreal (2016) and The Wired Lab, New South Wales, Australia (2016).
Andrea Oliver (AO) Roberts
Andrea Oliver (AO) Roberts is a Winnipeg based artist whose work spans sculpture and installation, video, print, and sound performance. Known for contending with the impacts of emerging technology, trauma, and systems of belief on the self within capitalism, Roberts’ work pulls focus between object and environment, the voice and text, and form and affect.
Roberts has exhibited both group and solo presentations internationally including TRUCK Gallery (Calgary) at Plug In ICA (Winnipeg), The University of Oakland (Detroit), and SomArts (San Francisco). A founding member of the defunct feminist artist collective ngtvspc, Roberts writes on sound, gender, and technology and performs live as VOR, a solo experimental electronic project. Roberts holds an MFA in sculpture from California College of the Arts (2014) and a BFA Hons in sculpture from the University of Manitoba’s School of Art (2011).
Andrea Roberts is supported by The Auxiliary’s AUX-AiR 2018 program
Tim Etchells is an artist and a writer based in the UK. He has worked in a wide variety of contexts, notably as leader of the world-renowned performance group Forced Entertainment and in collaboration with a range of visual artists, choreographers, and photographers. His work spans performance, video, photography, text projects, installation and fiction. He is currently Professor of Performance & Writing at Lancaster University.
Etchells’ work is represented by Jenkins Johnson Gallery (US, San Francisco and New York) and VITRINE (London). In recent years Etchells has exhibited widely in the context of visual arts, with solo shows at VITRINE (London), Contemporary Art Gallery (Vancouver), Gasworks and Sketch (London), Bunkier Sztuki (Krakow), Galerije Jakopič (Ljubljana) and Künstlerhaus Bremen. His work has appeared in the biennales Manifesta 7 (2008) in Rovereto, Italy, Art Sheffield 2008, Goteborg Bienale (2009), October Salon Belgrade (2010), Aichi Trienale, Japan 2010, with Vlatka Horvat, Manifesta 9 (Parallel Projects) 2012 and as part of Folkestone Triennial 2014.
Benedict Drew is an artist based in Whitstable who works across video, sculpture and music, creating large-scale multimedia installations which comment on the effects of socio-political and environmental issues. For MAW2018 Drew is bringing his most recent exhibition following his show at Matts Gallery (22-30 September 2018) The Anti Ecstatic Machines (2018).
In september (2017) he had a solo exhibition at Whitechapel Gallery, London, UK, and his work will be included in a group exhibition at Island Gallery, Brussels, Belgium. In 2013, he had a solo show at the Phoenix and Two Queens Gallery, Leicester, UK, and his work was shown at the Museum of Arts and Design, New York, USA; Young Projects Gallery, Los Angeles, USA; Bold Tendencies, London; Summerhall, Edinburgh, UK; Ceri Hand Gallery, London; Import Projects, Berlin, Germany; Eastside Projects, Birmingham, UK; Milton Keynes Gallery, UK; and the Institute of Contemporary Art, London.
Image credit: Matts Gallery
MSHR is the art collective of Birch Cooper and Brenna Murphy. Their work meshes digital sculpture, analog circuitry and ceremonial performance. The duo constructs and performs cybernetic compositions using analog synthesizers of their own design. For exhibitions, they install macro-arrangements of these sculptural instruments to create immersive light-sound-scapes. In their performances, they engage the systems through a series of unique interfaces. They also work with 3d modeling programs to design psychedelic virtual forms that are output as images and sculptures with the use of digital fabrication and as physically navigable virtual reality environments. MSHR’s sculptural, musical and electronic work inform each other deeply, creating the meta-form that is their collaborative practice. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.
Recent group exhibitions include: National Arts Festival, “Source Fold Compositor – Module Braid,” Grahamstown, South Africa, 2018; Sonic Arcade, Knotted Gate Presence Weave, Museum of Arts and Design, NYC, 2017; Transmediale, Haus der Kulturen der Welt, Berlin, 2014.
MSHR are supported by The Auxiliary’s AUX-AiR 2018 program.
Giles Bailey with Sophie Soobramanien, Jamie Hammill and Nellie Saunby
Giles Bailey works largely with performance, writing or strategically appropriating texts that he performs himself. Since 2016 he has worked in collaboration with Newcastle and Düsseldorf-based organisation CIRCA Projects. Exhibitions and performances have been hosted variously by CCA Glasgow, Kunsthalle Basel, The Hepworth (Wakefield), The Northern Charter (Newcastle), Chisenhale Gallery (London), OUTPOST Gallery (Norwich), Transmission Gallery (Glasgow) and KW (Berlin).
Sophie Soobramanien, Jamie Hammill and Nellie Saunby graduated from Newcastle University’s Fine Art programme in 2018. Previously they co-initiated the curatorial collective Double Yolk and have exhibited their work at Newcastle University Degree Show, Copeland Park, isthisit? and 36 Lime Street.
Islanders is commissioned by Giles Bailey & CIRCA Projects, in partnership with Middlesbrough Art Weekender, Tyneside Cinema, Berwick Film & Media Arts Festival and Northern Gallery of Contemporary Art. Supported using public funding by the National Lottery through Arts Council England.
AM Grave is the occasional collaboration between Rachel Lancaster and Stephen Bishop.
Fundamental audio sources (sine waves / noise / radioactive interference) are collected, aged and erased through analogue and digital process into miasmic drone, crippled techno and harrowing ambient.
Over 8 years Stephen Bishops solo output as Basic House has moved from disjointed collage and stumbling techno to a stage of crushed electronics, modular synthesis and cavernous rhythm. The music fluctuates between almost-danceable to completely flaying. As Mark Smith’s recent RA review for Pathetique states…
“There’s no colour, and it sounds like the shifting of tiny grains and broken objects in a windswept landscape. The malfunctioning electronics are reduced to emitting tremors, barking squalls and subsonic hum.”
Rachel Lancaster is an artist and musician based in Newcastle upon tyne, her music is darkly cinematic, minimal but human. Field recordings, voice and sequenced electronics evolve slowly into deep and starkly detailed environments. The music acts as a perfect foil to her visual work, wherein moving image and cinema are digested into a new form, distilled and pure.
Hannah Campion reverses the usual hierarchy of painting: her work escapes from
the traditional canvas surface and spreads into the surrounding space. Paintings
and objects are shredded, crushed, nailed, taped, pinned, torn, collaged, and re-
assembled into entirely new works creating ongoing dialogues with each other.
Her solo exhibition, Rainbow Room, is the culmination of her artist residency at The
Park Club in Middlesbrough which began in June 2018. Drawing on her interest in
architectural details and natural forms and surfaces, she uses colour, marks and
different materials to direct the viewer’s eye and body. Campion’s paintings activate
and occupy space; walls, floors, ceilings, furniture and air become charged with
tension creating a form of drawing choreographed in space. Every decision involves
the transformation of a material, the trust that the work will sit in a particular way or
grip a particular surface.
Campion carefully reconstructs aluminium, canvas or paper paintings and sets up
conditions to explore unusual ways of mixing and distributing paint into, onto and
through structures. Pieces pour off walls onto the floor, both visually and physically
and take over architectural spaces. This lack of preciousness blurs lines between
drawing, installation, object, painting and sculpture
Hannah graduated from Chelsea College of Arts with her MA Fine Art in 2013.
Press: Guardian Guide, Telegraph, How to Spend it Magazine, Wall Street
International Magazine, Hunger TV. Exhibitions: London, LA, Berlin, New York,
Singapore, Kuala Lumpur. Collections: Smurfit, Astra Zeneca and Charnwood
Council and Special Collections Chelsea.
Maureen McAdams is originally from South Africa and currently based in the Northeast of England. Her work spans sculpture, printmaking, sound, installation and poetry. Maureen has recently completed her MA Fine Art at Teesside University following her BA Fine Art at the same institution (2017). Born in 1966 she lived through an era of South Africa when it was legal to use hair as a tool to exploit and segregate people by race.
Having experienced high levels of displacement and witnessed the segregation across the country McAdams work talks to these social issues and experiences as a Black South African woman. Her work through both humour and in reflection, as can be seen in the Hair prints From Memory (2018) make the viewer bare witness to the daily processes McAdams has had to consider. McAdams strongly believes that art has given her the platform to reclaim her identity. This series of drawings, created on her tablet, is a celebration of her journey to self-discovery.
Having completed her BA (Hons) Fine Art at Teesside University (2017) and now her MA Fine Art at the same institution MAW2018 have invited McAdams to be part of the main artist programme as an example of the exceptional graduate art practices from the Northeast and from Teesside.
An Púca is a benevolent shapeshifter in Irish mythology. It is said to appear in many different forms though primarily adorned in a sabre coating of fur. The anomalous concept is witnessed in his approach to electronic music and sound design.
Broken beats, spitting snares and synths offset with cheeky melodies, lush pads and strange atmospherics.
Not one to stick to a genre, twisted electronics are the common denominator through both DJ sets and his own productions, but usually meanders somewhere between electro, broken beat, techno and IDM. Also a member of Skizze, the Berlin based crew who run events with a focus on the stranger side of electronic music and visual art.
2018: Klub Nacht x Marc Houle at Suicide Circus / Berlin, (DE), 9 Years suicide circus, Berlin, (DE), 10 Years of Killekill at Griessmuehle / Berlin, (DE), Skizze.07 at OHM / Berlin, (DE), Tok vs Soffy O at Suicide Circus / Berlin, (DE), COLOURS Afterhour at Griessmuehle / Berlin, (DE), Bold with Scalameriya Live at Suicide Circus / Berlin, (DE)
Video Installations:Skizze.07OHM Berlin (DE) 2018, Skizze.06 OHM Berlin (DE) 2017, Skizze.04 OHM Berlin (DE) 2017, Phase one: Electronic Music and Art’s Festival, Carrik-on-shannon, (IE) 2014, Group Show, Terminal08 Gallery, Gorzów, (PL) 2013
It is said that energy cannot be destroyed but is conserved and transferred from one place to another, continuously transforming and redesigning itself. Within the cyclical nature of life the body is a shell to hold us together in this balancing game of life and death.
Mani Kambo’s practice is predominately moving image based with sculptural and performative aspects. Kambo focuses on objects, routines and rituals distilled both from the everyday and mythology. Kambo explores the use of obsolete technologies as relics from the past, making the viewer question the possibilities beyond ones immediate self.
Mani Kambo’s work is an investigation of the inner spirit where she draw on her own personal totemic symbols. Kambo draws influence from her upbringing in a household filled with superstition, prayer and religious ceremony.
Resent Exhibitions include: RIFT (solo), Vane Gallery, September 2018, Feeling Yr Thoughts, Northern Charter, August 2018
“I am curious on the nature and usage of symbols and words, what they mean and how they do it”. James Pickering sees his painting as the engineering of ‘abstract machines’ of content and process (or sign/signifier), using a collected library of arbitrary forms and invented syntax, to reconsider modes of thought toward semiology in language.
Recent exhibitions include: Echoes of Abstraction II and The Bottomless Pit of Outros, Laing Art Gallery, July 2017
Juliet Fleming is a sculptor/ceramicist and performance artist living and working in Newcastle.
Juliet Fleming’s practice seeks to question the female experience in the 21st century, often using repetitive symbols. These symbols are used to start dialogues around sexual pleasure, bodily autonomy, reproduction and the division of emotional/physical labour. Recently Fleming creates work with a homely, domestic quality to investigate key themes of stereotyping, particularly in gender roles and hierarchies within todays society.
Resent Exhibitions include: ‘Six of one, half a dozen of the other’ Exchange Residency at The Royal Standard Liverpool and The NewBridge Project, Newcastle Upon Tyne 29.01.2018 – 25.03.18, ‘Close to you’ TESTT Space Durham Preview 19th of April – 30th May
Artist duo ‘Up’ reflects on the relationship between colour and symbolism, through the medium of screen print they create a dialogue between shape, colour and composition. They use colour and composition to initiate different meanings and impressions of symbol and form.
Bethan Turner and Louis Gault are a printmaking duo living and working in Glasgow, UK. Up uses the medium of screen-printing to create a dialogue between colour, shape and composition. They work in harmony to bring together symbols and forms to create new meanings through layer and composition. They focus on fluidity between the shapes through colour and its effects. They use shapes and forms inspired by the city and cultural surroundings.
© 2018 Middlesbrough Art Weekender All rights reserved.
Designed by Solar Bear Design
© 2018 Middlesbrough Art Weekender All rights reserved.
Designed by Solar Bear Design