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AUCTION 12th September 2008 Viewing 6 - 9 pm followed by Auction from 9pm Artwork Auction from the project followed by films and music. |
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Beyond the Pale Yellow Amusement Park June 6 – 29 2008 Nat Breitenstein Beyond the Pale… is a four-week group exhibition of objects, installation, photography and video. The exhibits relate to past and future performance works or actions, alluding to the presence of the performer. Now, stripped of their initial purpose and exhibited in a gallery context, the work gains a new presence and a more intimate relationship with the audience beyond the mediation of the performance artist. As a counterpoint, the exhibition will present a selection of these artefacts within their primary context in ‘The Yellow Amusement Park’, a performative evening of artist video, film and music. A pale is a stake or pointed piece of wood and is associated with paling a fence. Owing to this, the term pale came to mean the area that is enclosed and safe. So, to be beyond the pale is to be outside the area accepted as 'home'. Pales were enforced in many European countries from as early as 1360 as a political tool to restrict trade between tribal and cultural groups - some then being allowed to live, as a concession, beyond the pale. This exhibition emphasises alternate aspects of enactment, moving beyond a romantic spectacle of performance to propose an alter-life for these exhibits. __________________________________________ Nat Breitenstein Totem and the headdress are props which will be seen in the work Moosewoman (2008), who is a sister to Ingmar Bergman's 'Death' in "The Seventh Seal", a silent companion to all unknown soldiers. She moves like a Saracen wanderer, voyeuristically skimming the edge of reality. She is solitary and hence un-judgemental and without morals. Moose may willingly or unwillingly shed their antlers, when found they become fetishised relics, unblemished witnesses to time and battles passed. Moosewoman embodies this fetish, she has 'wings of desire'. Hark! She may be a little mischievous too... Moosewoman will be screened on the film night.
From the 'The Unknown Soldier' Series. These are low-fi monuments
Totem. Mixed Media. 2007 Excerpt from Breitenstein statement: What is the use of truth anyway? I am interested in sculpture as image and the fading popularity of anti-retinalism as a beacon for the ‘Real’, (where the ‘Real’ equates with Truth). Are illusion, decoration, commodities and ‘looking’ not an essential part of everyday reality? Reality has changed since the ‘deconstruction’ of the 1960s; we live in another political realm where we embrace all the absurdities of appearance, they are an inextricable part of the foundation of our world. I embrace appearances because, quoting from Magritte again, ‘nothing makes the reality of space so uncertain as the painting of reality.’ Uncertainty, like a drop of mercury, will always resist dominance. ______________________ Samuel Dowd
The Visible and the Invisible. Video still. 2007 The Visible and the Invisible documents the construction of a sculptural ‘set’ within the building site of the new Towner Gallery, Eastbourne. Produced as the culmination of The Space Between commission / residency, this film draws on notions of the non-event, choreographed action and the shifting structural geometries of public architecture to address the potential perception and movement of the spectator through an as yet unfinished space. This film, as an indirect and partial trace of the invisible monumental intervention, serves to frustrate the artwork-as-spectacle in order to prompt an imaginative leap into a present and future in-between.
Awakening (First Light, Dungeness) (2007) ‘Awakening’ captures the artist in a moment of suspension whilst reflecting the first rays of daylight into the camera lens, producing an optical halo or mirage. The unique clarity of light at this location – threshold between land and sea, site of the brooding nuclear power station and one of the largest expanses of shingle in the world - is here harnessed to offer a glimpse of a potential becoming, a blinding reflection of a horizonal world yet to be. __________________________ Martina Schmuecker The objects and props built are made in relation to scale and measures of the artist’s body or the body of the performer. She sees her performances as sculptures, visible for a certain time. What stays is only the memory of a strange image and the props as a “place holder” for the performance. Colour Fight (2008) deals with the idea of a process of some sort into the performance, a process that creates a new image during the performance. This is a departure from her previous performances, which use time to make the image of the performance stay with the viewer. This performance creates a new image from the ingredients: blue + yellow = green.
The Cones. Object/Performance. White plastic (PPE), fabric, The Cones is an object/performance made for two performers. The performer wears the cone attached to the waist; the upper body is hidden inside the cone. The two performers walk slowly, silently through the space for a fixed time. At the end, they get out of the cones and leave them standing upside down in the space.
They come out in the dark. Sleeping bags, torchlights, The Performance They come out in the dark was commissioned by Camden Arts Centre for Architectural Week, London and took place in the Galleries on the 26th. June 2005.The performance takes place with 7 participants lying in the corners and along the walls of the gallery in sleeping bags. Their faces are covered and their feet are sticking out at the end of the bags. A small torchlight is attached to the top end of the sleeping bag. The performers move only minimal, like dreaming or sleeping people. The performance/installation lasts for 1h, after that the participants leave the bags and leave the galleries, leaving the sleeping bags behind. The performance can be seen as a sculptural occupation or takeover of the given space for a limited time. This performance can be done as well down to three participants. _____________________________ Naoko Takahashi A site specific installation with text on the gallery walls and stitching in public spaces around Campbell Works, I Represent Everything You Fear – Dedicated to Adrian Piper – Here Comes a Wicked Witch of the East (2008) provokes questions about private and public, real and fiction, inclusion and exclusion by orchestrating interventions into architectural and urban spaces and generates public ‘sculptures’ through a performance of writing that results in a documentation of process, site and encounter. My work highlights the ambiguities, confusions and manipulation of national and individual identities, played out through language. Focusing on issues of dislocation, re-location and representation in a global, multi-cultural, multi-lingual society, I explore processes of continual translation and transformation: from thought into voice, between one language and another, from one media to the next. My work is primarily performative, including live performance, participattory installation, performing for creating narratives with documentations of events and using traces of performances, mainly using text to examine and imagine (often humorously) a complex matrix of social and cultural forms of representation, combining one medium into another, for example, text to performance and vice versa, in my experimentation.
From the series: I Represent Everything You Fear
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Dedicated _____________________________________ The Yellow Amusement Park Friday 20 June 2008 Featuring: Nat Breitenstein Live Music by Juan Carlode with Bambiforindi, followed by Graeme Swindon with Terence Kirkbride and Lisa Sellik. Spartacus Chetwynd The Walk to Dover involved a seven-day walk from London to Dover by ‘Victorian Urchins’, as well as a send off event in London and a welcoming reception on the White Cliffs of Dover. Emulating the narrative from Charles Dickens' semi-autobiographical novel, David Copperfield, Chetwynd led a small group of walkers from London to Dover. Starting at the oberlisk, at St Georges Circus, the walk retraced Copperfield’s journey from a Blacking Warehouse in London to Dover where he found sanctuary with his Aunt, Betsy Trotwood. As David Copperfield foraged for food on his journey, the group also attempted to live off the land, looking for food for free. Copperfield’s journey also tracked his shifting social status, exploring class structures in Victorian England. The film documents the journey, using stills photography and sound recordings made by the group into a collaged narrative. The film has been made by filmmaker and fellow urchin, Zoe Brown with Spartacus Chetwynd. The Walk to Dover draws comparisons between Victorian “Debt Prisons” and our current credit card culture. This builds on recent investigations into concepts of debt and a specific interest in the advice of Alvin Hall, the television financial guru. The Walk to Dover was an off-site commission for Studio Voltaire in September 2005.
The Walk to Dover, 2005/7 Lali Chetwynd Production still
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Shane Bradford HISTORY 2 November 2 – 18 2007 Opening November 1st 6-9pm Best known for his ‘dipping’ process in which various objects are repeatedly dipped in multi coloured emulsions, Shane Bradford’s practice broadens to encompass large-scale oil painting, 3 dimensional objects and project work. HISTORY2 (‘History Squared’) marks a development in the work away from the self-referential aspects of the dipping process. As the technique has evolved it is no longer necessary for the subject to refer to the process itself. Instead certain phenomena associated with the ‘dipping’ action; namely covering, sealing, burial, time, preservation, renewal, and layering are used to generate subject matter and objects which are consequently consistent with their own fabrication. Such a symbiosis between content and process, each driven by the other forms the trajectory for the exhibition and drives an enquiry into the artist’s personal history. Firstly pitting his work in relation to that of his artist parents, the theme expands to confront the modern role of the contemporary painter in relation to the long and weighty history of painting. Consistent with previous bodies of work such as the ‘Sign Series Paintings’ in which the narrative qualities of one particular colour sequence is employed throughout, each work in HISTORY2 shares the hallmark of the colour-set red, black, and white. This acts as a kind of coded branding system, which assists painterly decisions about colour, and helps to further delineate and define the intention of each piece. |
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Shaun Doyle and Mally Mallinson TANKYMONK November 23 – 9 December 2007 Opening: 22nd November 2007 6-9pm followed by film screening and Live music. 'Tanky Monk' is a proposal for a large scale sculptural installation, made up of forty smaller pieces grouped together on a huge table. The table functions like an architect's model or a model railway layout, with a cut away section in the middle accessible by a hatch like the serving hatch in a bar, or a stile structure. The layout of the sculptures on the table mimics the way theme park maps guide visitors to their various attractions. Seen as part theme park map, part giant railway set, the viewer is shown a mental landscape of conflicting beliefs and ideas taking the sculptural form of rides, costumed figures in parade, roller coasters and Christian iconography. Many of the smaller sculptures constituting Tanky Monk have been born from our interest in the clash between creationists and evolutionists, the conflict between science and faith. It is this conflict of ideas which seems to have become more heated recently with the opening of creationist museums advocating intelligent design and educators fighting back refusing to teach these ideas as science. This idea or conflict of interests we likened to the proximity of the park 'Monkey World' to its neighbour, the 'Tank Museum', in Dorset. We felt the two Shaun Doyle and Mally Mallison Multiples for sale --------------------------------------------------------------------- |
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Autonomous Series Autonomous Series is a research laboratory, presenting two new solo shows, two discussion evenings, and an accompanying film programme. John Tiney Joyride Press Preview: 3 July 2007, 4pm – 6pm 4 – 15 July, Wed – Sun, 12 – 5pm or by appointment For the second part of Autonomous Series at Campbell Works, John Tiney will be This work uses Kubrick¹s The Shining as a citation. A well known scene of Danny tri-cycling through the hallway of the Overlook Hotel has been re-orchestrated and adapted. As spectators, we are subject to his visions as we experience the similar turns, corners and flashes of vision. Sound and moving image recedes us into to a trancelike state. This double agency begins to envelopes a dialectical notion of being within and beyond an experience. Viewtube Discussion evening: Wednesday 4th July 2007, 7 to 9pm Panel: This discussion evening will be using youtube as a vehicle for the discussion. The conversation will nod it's head towards issues of selection, responsibility, collaboration, free sharing and the workings of peer to peer networks. This evening event is free - but places maybe limited. Film programme: 14th July 2007, from 2pm with tea and cakes. --------------------------------------------------------------------------------- |
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Matt Golden Multiples for sale
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Matt Golden Two Drops a cloud makes Press Preview: 19 June 2007, 4pm – 6pm 19 June – 1 July, Wed – Sun, 12 – 5pm or by appointment As part of the Autonomous Series at Campbell Works, Matt Golden will be exhibiting a series of newly commissioned work. Each piece is curious, poetic and ephemeral whilst embracing the material and psychological frictions between the public and the private realm. This exhibition manages to revere both the found object and the handmade, rigor and chaos, aspiring ideas of preservation, reconstruction and preparation. Discussion evening: While the city breathes 27th June 2007, 7 to 9pm ---------------------------------------------------------------------------------- Film programme: 23rd June 2007, from 2pm with tea and cakes. |
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A selection of British film from 1970 – 2005 including work by: William Raban, Malcolm Le Grice, John Smith, Chris Welsby, George Barber and Rosalind Nashashibi William Raban Malcolm Le Grice Chris Welsby John Smith John Smith George Barber Rosalind Nashashibi ---------------------------------------------------------------------- |
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download word.doc press release here
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ON TRUST 12th – 27th May 2007 Private view: 11th May, 6.00 – 9.00pm Campbell Works is pleased to present ON TRUST, a project curated by Five international artists have been commissioned by Nichols, Taylor and Murray to define an idea for a piece of work to exist within the gallery space, on the premise that authorship of these ideas be handed over to the commissioners who then create the work. The commissioned artists are: Of these ideas provided by the artists, some are very specific and others more open. The commissioners formed interpretations and responses to these ideas, examining the politics of their gained authorship in the creation of the work. ON TRUST blurs traditional boundaries between gallery, curator and artist. ‘The artist has done their job by bringing an idea/image/object into existence…We must let go of the idea of control…How the work is used or abused will not affect its ability to, in one form or another, radiate and survive...’ An open floor discussion with Richard Wentworth LISTEN TO THE OPEN DISCUSSION SOUNDTRACK READ ARTICLES ON ARTS HUB: PART 1 - PART 2 An accompanying publication will be available with contributions from Michael Archer, Brian Catling, Henry Lydiate and Sophie Leris. |
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Robert Attanasio To hand control of an idea over... is not freedom or psychosis, it's business as usual. |
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Miriam Craik-Horan My work re-evaluates the notion of 'failure' fondly and through its means; failures of language, of pen athwart its page; of change catalysts in fantasy landscapes generated through travel, real and unreal. Chance events such as the littering of an amphiteatre can, conceived in the shy of imagination, amalgamate the phonemes we have grown accustomed to in speech -the small and timid moment of which becomes grand and attractive, like this 'failure' as we tend to it. |
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Filipe Cravo FilipElvis - Elvis died on the 16th August 1977. I was born one day after. So i translated some of his lyrics and hand-made the suit. My need to visit the past is not within the definition of longing or regretting – it's more related to the almost perfect beauty that imagination and memory can give us about the subject we want to remember. The capacity of forgetting what went wrong and the ability of filtering memories it's something that fascinates me. That's why I |
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Levin Haegele Glow Space, phosphorescent pigment My work centres on looking at the process of making as a response to the environment in which it is created and where it is eventually presented. Site-specificity and its dialogue with architecture, the audience, and material, are all integral to the development of a piece. I want to find a temporary sense of order in the chaotic, so that this minute moment of awareness can be the catalyst to making. While my work is often quite simple in its approach, its process undergoes a series of transformations, which turns the banal and overlooked into something that suggests a kind of pseudo-logic. |
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Laura Wilson I want to bring the everyday into visibility, and for the viewer to pay attention to things that they frequently ignore. I aim to capture the humorous and/or poetic material moment between objects, exploring notions of absurdity, functionality, displacement, and communication, or lack thereof. I am interested in the transferral of information between the work and the viewer, how they interact or experience it and how they can become the catalyst to a works completion. The work is generated through the appliance of pesuo-scientific investigations and experiementation; I am continually tinkering with things, playing with objects, spending time with them until ideas about a work evolve and I find a resolution. This process by which I make the work is an integral part of the work itself. It is this method of not quite knowing how things are going to turn out that I find exciting. |
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On Trust project is supported by :
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Campbell Works are currently preparing a large Arts Street Festival in collaboration with Cazenove area action group, to celebrate the completion of this project, to which everyone is invited on the Less a playground and more a walk through a story book, the Windus Streets for People project aims to reclaim the urban spaces existing between architecture to create new opportunities for play and leisure. The project has been an ambitious scheme involving 2 artists, hundreds of residents, 4 contractors, the London borough of Hackney, Transport for London , and a steering group of 10 residents from Cazenove Area Action Group. The aim was to create a new street environment for the residents of the Cazenove Ward in N16, Hackney. The area had been littered with rubbish, generally neglected and plagued by cars rat-running through the residential streets.The project was initially instigated by a residents group CAAG, with funding from TfL. Working with the LBHackney the area has been transformed by narrowing roads at strategic points, creating shared surfaces and building new paved spaces for play. In the early stages, artists Neil Taylor and Harriet Murray from Campbell Works proposed the inclusion of artwork within the project to encourage a pedestrian focus within the scheme. This allowed opportunities to create social meeting places and child centred play areas at many locations, thereby shifting the focus and priority away from the car user. From the outset Campbell Works adopted an approach that would enable local resident involvement in the creation of content for the artwork. The artists began by closing the roads, putting up a marquee and running art workshops for 250 local people, to generate images and ideas for the scheme. Through close discussions with the residents group, Campbell Works then project managed the planting of 30 trees, the sourcing and positioning of 36 large scottish boulders, designing texturered coloured (spraygrip) surfaces for 18 road junctions and the production of 117 amazing granite artworks and bespoke carved seating. In an area as culturally diverse and ethnically mixed as the Cazenove Ward, the creative aspects of the Windus Streets for People scheme have been ground breaking and unique in providing an opportunity for generating ‘local shared ownership’ and community pride.. All artwork, designs and processes copyright Campbell Works. The concepts and designs relating to the Windus Streets for People Project must not be duplicated in another location by another party without prior consent from Campbell Works
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To watch the full animation, click the image.
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MIND MINE Date: Opening Thursday 8th June, 1700-2100 10th
18th June 2006 Location: Campbell Works, 27 Belfast Road, London, N16 6UN If we understood how our brains process information and store our experience of the world, would we be better able to determine our behaviour and destiny within it? Mind Mine is an ambitious attempt to understand complex neurological principles, through the construction of a huge two-storey installation. Developed and created by artists Harriet Murray and Neil Taylor in collaboration with scientist Elaine Beattie, Lecturer in Biopsychology at Goldsmith College, this labyrinthine installation dismantles brain functioning faster than physical thoughts travel through neural canals. Mind Mine
is the culmination of a three month collaboration project working with
over 100 people, exploring ways of communicating brain cell functioning,
neurological concepts, and the way these affect our decision-making, and
emotional stability. Like the wiring inside your new computer, that handles Opening times: Saturday / Sunday 12 - 5pm . Mon - Fri 10 - 5pm by appointment. Transport: BR: Stoke Newington Buses: 67, 73, 76, 106, 149, 243, 349, 476 Entrance is free Assisting project artist and animations by Mafj Alvarez Video Editing
by Sarah
Willmott Unmasked The Mind Mine installation will include a new project by artist Janet Marrett. Unmasked is an audio-visual documentary comprised of photographic portraits with taped interview conversations that looks at a series of ordinary characters in relation to their associated personality types. Each volunteer is depicted photographically both in private and public. The project explores the assignment of these four lettered Myers-Briggs classifications in representing 3-dimensional individuals. This exploration stems from Marrett's interest in areas such as Emotional Intelligence, Positive Mental Attitudes, Neuro Linguistic Programming; the idea that application of specific principles to a person’s life will positively affect their self-knowledge and in turn their existence. http://www.mediummagazine.net/live.html Project funded through a Pulse award from the Wellcome Trust Visit MindMine website
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Pimp Car Project 18th March
– 2nd April 2006 Ever designed your own car, or wanted to pimp some wheels? Dismantle an engine and put some bling in the thing? Well the Pimp Car Project gets right under the hoods. Popular modern British youth culture has long succumbed to the influences of East and West Coast of American ‘Rap’ – woman are bitches, kids carry guns and there's one solution to any problem. Violence. Forty 'fire arms' incidents every day, if you believe the Home Office figures. Ever younger generations aspire to Gangsta chic and the Pimp is god of bling, but who was the pimp, and whats pimp now? For the last two months a group of youths, garage mechanics and artists, led by Neil Taylor of Campbell Works have been developing the Pimp Car Project. The collision is now ready to view, and the final bling, a real live pimpstallation, will show a full size hand crafted car made from cardboard and urban building material detritus on a slow revolving turntable, brightly light, conjuring fantasy ‘Motor Show’ aesthetics. Alongside this constructed dream will be the de-constructed reality that was an oily engine. Unstoppable and unforgiveable, the Pimp Car conjures both respect and amusement, it represents a dream come true, but when the dream is over who mops up the mess? And check dis…………“Get Rich or Die Trying” – (the new 50 Cent computer game), available now £9.69 at Tesco.com.
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“Crosswalks” 14 - 19
March 2006
‘Crosswalks’
showcases photographic work by ten emerging artists from Camberwell College
of Arts who share an interest in exploring the concept of cultural identity. WEBSITE You are invited to come along to the opening for photography, drinks and music! ADMISSION: Entry to the exhibition is FREE.
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THE
CUBBY HOUSE by Elodie Silberstein
In her second solo show, Elodie Silberstein invites visitors to lock themselves inside a cubbyhouse. The cubby is filled with many objects including an intimate diary which may transform visitors into voyeurs and allow them to penetrate into the secret world of a pre-teenage girl. In her new installation, Elodie Silberstein explores the contentious concepts of childhood that are so often the perspective of adults. Since the mid-nineteenth century, the romantic notion of childhood as a holy state seems to be a social consensus, but questioning this forces us to also reconsider the concept of adulthood. Children are growing older at a younger age, so what does it mean to be an adult? What are our responsibilities to ensure children's protection? How as an adult, do we cope with our loss of innocence? For that matter, were we ever innocent? According to the philosopher Peter Sloterdijk, we are all looking for an original cocoon. A cubby may represent a comfortable and metaphoric uterine matrix where children learn to separate from their mothers. To physically build a cubby is to symbolically build oneself and create an intimate setting for treasures and secrets. But we can feel that beyond a first cosy atmosphere some darker issues transpire in this cubby. We are left alone and powerless in front of what is said, and worse what is suggested. Elodie Silberstein lives and works in London. She focuses on creating installations to explore the concepts of childhood and regression. Her work is described as immersive as it engages multiple senses such as taste, smell and hearing. She also curates "Eat Art Party", a recurring experimental platform for debate and creation over a culinary work realised by an invited artist.
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INTIMACY (human people) by Completely Naked 10th - 30th November 2005
What defines intimacy in the 21st century? Perhaps nowhere so obviously as in the visual depiction of intimacy have the boundaries between art and entertainment been eroded.
Images of highly personal, intimate moments have become part of our everyday. Digital photography and the internet are dissolving the relationships between photographer and performer, model and muse, and a new generation of photographers are redefining our relationships, our fears and desires. So begins our exploration of the moment 'between the impulse and the action'
For this installation at Campbell Works, Completely Naked has invited 100 selected international photographers to submit over 500 images in any size and formatt that, according to them, portray ‘intimacy’. Having in common a new approach to photography and a fresh vision of themselves and their practice, they have become part of an ever growing un-scripted ‘movement’.
The project started in 2004 as a research study into contemporary photographic practice and quickly grew into a huge online gallery containing over 1000 images, and is growing daily. Gathering together for the first time, a generation of photographers whose images are re-defining contemporary aesthetic, this installation explores both the visual intimacies portrayed and the physical intimacies of the photographic print. Becoming a physical object, and breaking the so convenient but so fastidious un-reality of the online galleries. Collective photographic exhibition by Completely Naked part of Photomonth View the INTIMACY online project contact
Completely Naked here
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The Hackney
Empire in collaboration with The Hackney Arts Club proudly
presents the first ever Hackney Spice For two hot weeks the Hackney Empire
and it's four venues, plus the Town Hall Square has thrown itself open
to the cut and trust of the vibrant local life. Photographs
by Britt Hatzius and sculpture by Neil Taylor details of things out of place, sites that remind of something else and a long list of locating names to unknown places. www.britthatzius.co.uk The Hackney
Empire
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bAcK pAcKeD
Drawing on an obsessive fascination with space and scale, and the ways they alter our self awareness and behaviour, Neil Taylor creates an extraordinary home for an eclectic array of new sculpture and gathered objects that become its transitory packaged products. Working in media as diverse as sculpture, drawing, printing, collage, and film , Back Packed presents a myriad catalogue of new works, embodying a restless exploration of the nature of ‘stuff, and reflecting a continual questioning and re-evaluation of artistic practice and cognitive enquiry.
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"Microcosmology of the three-piece-suite" 22nd January - 6th February Using installation, performance and live events, six artists from Ruskin School of Art, Oxford attempt to encapsulate cosmic enormity through the microcosm of the domestic environment. Our 'home' can be viewed as a microcosm, an arena that mollycoddles all the contradictions inherent in the universe. The building that we are born into is the beginning of the universe; it is our stability - we will never leave it. Anna-Marie
Hainsworth Tova Holmes LIVE PERFORMANCES: 'Cleaning Gymnastics' at 1/2 hour intervals 'Anand Karaj' (Blissful Union) Street Event: 'The big picture'
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Nocturnal
Visions an animation in 23 frames by Harriet Murray and guests 17th
December 2004 - 9th January 2005 A seductive nocturnal installation of images and shadows evolving over 23 evenings. Viewable from Belfast Road this beautiful installation of shadows and illusions gradually evolves, attempting to slow down the frantic oscillations and unattainable speed of every day life. The changes made may be physically slight but creating a huge shift in meaning or dramatic, to portray the narrative from a completely different viewing point, like the changing camera angles within a film. The
artists are attempting to confront us with our own fears and perceptions
of reality, revealing how we all view the world through a filter of pre
constructed ideas and beliefs.
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Whithin These Walls 8th - 31st October 2004 Photographs
from Palestine by Carol Archer Within These Walls creates an extraordinary document and testimony to the people in Palestine who are struggling to live their daily lives. During the preparation of this installation many issues were raised about the display of such material and how to create a dialogue that springs directly from the material shown, but by challenging our assumptions we can question if the reason it may be problematic is because it forces us to look in the mirror and ask if we may be part of the problem. Carol Archer has visited Palestine and Israel three times and has just returned from five months study at a university in the West Bank. While there she witnessed the construction of the Apartheid Wall / Security Fence and the effects of the Israeli Occupation on the everyday life of the people living there. Within These Walls presents some of the hundreds of photographs Carol returned with. The exhibition was accompanied by two film screenings
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Margate Rocks Sand Castle / Tug of War Contest Margate Sands 24th July 2004 As part of the Margate Rocks Arts Festival, Campbell Works organised a challenge between artists from London and artists living or working in Margate. The challenge consisted of two events. Firstly a sand castle / sculpture contest which was followed by a Tug of War Contest, with both events taking place on Margate Sands.
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Fifty Come, Fifty Hung 22nd August - 5th August 2004
The Opening will be a live curration / hanging event. The gallery
with accept work form 6pm onwards.
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'The Good, The Bad, and The ...' 24th June - 11th July 2004 Challenging
their own convictions, and risking the end of their careers, 8 artists
grapple with the fundamental question "What makes an Artwork Good
or Bad?"
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