Meet in the Willett Collection of Popular Pottery, Brighton Museum and Art Gallery.

(Photo by Bernard G Mills, 2011)

On the final day of his exhibition, ceramics artist Neil Brownsword will give a talk about his work and tour of his exhibition. Responding to the Willett Collection of Popular Pottery and the legacy of the ceramics industry in his hometown of Stoke-on-Trent, Brownsword will speak about the themes and processes explored through this new body of work.

The catalogue that accompanies the exhibition with essays by David Whiting and Ethan Lasser is available for £10 from: www.lulu.com/product/paperback/relic/16680176

RELIC by Neil Brownsword is at Brighton Museum Wednesday 24 August – Sunday, 30 October 2011. Open Tuesday - Sunday, 10.00am – 5.00pm, closed Monday, admission FREE

Monday 3 – Sunday 30 October

For The Palace at 4am, the 7th exhibition in the Permanent’s Pavement series, James Clarkson has created two new works, one wall mounted, and another hanging, which form a display viewable from the street outside the gallery.

The multi-layered composition that James has created references, in its title, one in a series of works by Swiss artist Alberto Giacometti, in which he presented a series of dreams over a six month period as sculptural representations. These works by Giacometti contained a deep private language that he described as being ‘free from consideration’, unlike his other works, which appeared to him ‘complete,’ he considered these to have ‘failed.’ The works made in response to Giacometti’s dreams are thought to be a result of his relationship with a woman only known as ‘Denise,’ his description their relationship and the sculptures he produced at the time form the basis of the work James presents at Permanent.

‘We constructed a fantastical palace in the night—a very fragile palace of matches. At the least false movement a whole section would collapse. We always began it again.’ – Giacometti

The Palace at 4am aims engage in its own private language in which two sculptures embrace in a formal looping, where one becomes the support for the other to exist, each sculpture alluding to the next through nuances and conceptual decisions.

Through painting and sculpture James Clarkson’s practice explores a sensuality of material and imagery, in which methods of production rooted in modernism are tested by the potential of an object or image to change under a new set of concerns. The materials James uses in these works are often found or selected as references to materials used historically, in the production of sculpture and design (bronze, marble, ceramics etc).

Friday 2 – Wednesday 28 September 2011

Permanent Gallery window, 20 Bedford Place, Brighton, BN1 2PT, UK
+ APP for iPhone and iPad.

Download the PUREFLOW [mobile edition] APP from the itunes store HERE

Part of Brighton Digital Festival 2011

Preview: Thursday 1 September, 6.30pm – 9.00pm

Situated in the Permanent Gallery window, Katy Connor’s new work PUREFLOW generates live, moving imagery and sound from the data flows running between a Global Positioning System device [GPS] and the multiple satellites which triangulate its position at any one time; revealing a way of perceiving streams of ordinarily invisible data.

Fluctuations in this data reveal the noise in the signal, the system’s instability and a poetic fragility of these signals in space. The visual aesthetic – shifting layers of smoky black and white – lend an analogue, tactile texture to an otherwise digital scene. The work acknowledges the common use, in surveying and navigational tools, of sophisticated technologies, initially developed for military purposes.

As an APP for iPhone and iPad, PUREFLOW [mobile edition] allows audiences to experience the work in miniature: enabling the user to directly touch these signals, creating visual and sonic patterns that respond to the users environment and agile movement in space. PUREFLOW [mobile edition] launches at Permanent for the Brighton Digital Festival 2011.

Katy Connor is an artist working with film, video and installation who often works in collaboration with other artists. Currently based at Spike Island, Bristol, Katy has screened and exhibited her work in galleries and festivals in the UK, Europe and Japan. Following this exhibition at Permanent Gallery PUREFLOW will tour to Plymouth Arts Centre, for a solo exhibition in October 2011. www.katyconnor.com

Pavement is a series of exhibitions to be viewed from the street at Permanent Gallery on Bedford Place.
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Part of Brighton Digital Festival: a month-long celebration of digital culture, 1 – 30 September 2011. www.brightondigitalfestival.co.uk

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PUREFLOW was originally commissioned through the Exeter Phoenix Digital Media Bursary. Made in collaboration with Dr Duncan Rowland, Reader of Cultural Computing at the University of Lincoln, PUREFLOW [mobile edition] is supported by the National Lottery through Arts Council England.

(Photo by Bernard G Mills, 2011)

Wednesday, 24 August ~ Sunday, 30 October 2011

A Permanent Project on the South Balcony and in Mr Willett’s Popular Pottery Gallery, Brighton Museum and Art Gallery

Open Tuesday ~ Sunday, 10.00am ~ 5.00pm
Closed Monday (except Monday 29 August 10.00am ~ 5.00pm)
Admission FREE

Artist’s talk and tour of exhibition on Sunday, 30 October, 3.00 ~ 4.00pm
FREE

Permanent in partnership with Brighton Museum and Art Gallery is pleased to present Relic, an exhibition of new works by acclaimed ceramics artist Neil Brownsword.

Assuming the role of artist-archaeologist, Brownsword explores the legacy of the ceramics industry and effects of global capitalism on the local economy of his hometown Stoke-on-Trent, Staffordshire, the home of British ceramics manufacture for nearly three centuries.

The Willett Collection of Popular Pottery, held at Brighton Museum and Art Gallery, is a unique collection of some 2000 pieces, many made in Staffordshire, that illustrate British social and political history from c.1600-1900. Its collector, Henry Willett (1823-1903) believed that “the history of a country may be traced on its homely pottery” and his Collection is grouped into 23 eccentric themes that include: Crime; Conviviality and Teetotalism; Domestic Incidents; Field Sports; Philanthropy; Royalty and Loyalty; and Scripture History.

If the Willett Collection encapsulates the rise and peak of ceramics manufacture in Britain, recent years have seen the iconic factories of the Potteries abandoned, fall into dereliction and demolished, with much remaining production being outsourced to the Far East. Having been an apprentice at the Wedgwood factory at the age of sixteen, Brownsword has a first-hand understanding of this recent history and his new works include appropriated and modified materials found in these abandoned factories.

(Photo by Bernard G Mills, 2011)

Ornaments and trinkets have been re-fired, fused together and transformed; abandoned workbenches with their traces of process have been relocated. Relic is a testament to the biographies and vanishing skills of a once thriving industry that has fallen into rapid decline.

“And if, in the revolutions of time and events, a country should be found whose Porcelain and Earthenware are vended on cheaper terms than those of the Potteries of Britain … thither will flock all the Earthenware Dealers; and neither fleets, nor armies, nor any other human power, would prevent the present flourishing Borough of Stoke-upon-Trent sharing the fate of its once proud predecessors in Phoenicia, in Greece, and in Italy.”
Simeon Shaw, The Chemistry of Pottery (1837) p.535

A publication featuring essays by David Whiting and Ethan Lasser and designed by Alex Rich accompanies the exhibition.
Purchase a copy of Relic by Neil Brownsword for £10.00.

(Photo by Bernard G Mills, 2011)

Link to interview with Neil Brownsword in

Brighton Museum and Art Gallery
Entrance in Royal Pavilion Gardens, Brighton BN1 1EE
03000 290900
www.brighton-hove-museums.org.uk
Wheelchair accessible, wheelchairs available, accessible toilet, baby changing facilities, passenger lift
Gift shop, cafe

Sunday 17 July – Sunday 21 August 2011

Permanent Gallery window 24/7

For Pavement # 5 Permanent presents ‘The Great Apes’ by Isabel Albiol Estrada. The title of her show is the common term for Hominidae, a taxonomic family of primates which includes humans, chimpanzees, gorillas and orangutans and their extinct relatives.
For the last 2 years Isabel has been researching and gathering stories and photographs of individuals of the Hominidae family who have become in someway famous or notable, both real and fictional, in order to produce a series of graphite on paper drawings.
With this work she intends to underline our palingenetic predisposition to associate with other living creatures no matter the circumstances, recalling notions of a primitive yearning stamped onto the human psyche early on in our evolution, as well as playing with anthropomorphised concepts of fame and celebrity.
The resulting drawings, which could be described as a cross-over of natural-history-style-illustration and celebrity photorealistic portraiture, will be presented as a wall-of-fame installation in the Permanent Gallery window.

Isabel Albiol Estrada graduated from Royal College of Art in 2006, she has exhibited at the Booth Museum of Natural History, Brighton, The Henry Moore Foundation, Hertfordshire and as part of Platform for Art, London Underground.

Pavement is a series of exhibitions to be viewed from the street at Permanent Gallery on Bedford Place.

Figment: Did I?
Hiraki Sawa, 2011, 9′31″
Followed by: Akira, Dir. Katsuhiro Otomo, 1988, 124′
Friday 24 June, 11.30pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Akira

&

Dwelling
Hiraki Sawa, 2002, 9′20″
Followed by: Godzilla (1954), Dir. Ishiro Honda, 1954, 96′
Sunday 26 June, 1pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Godzilla

Hiraki Sawa was born in Ishikawa, Japan. He currently lives and works in London. Since 2002, he has exhibited extensively, including solo exhibitions at: James Cohan Gallery, New York, 2011; Musée des Beaux-Arts de Besançon, Besançon, 2010; Yu-un, Tokyo, 2009; Knoxville Museum of Art, Knoxville, 2008; Chisenhale Gallery, London, 2007; National Gallery of Victoria, Melbourne, 2006. Sawa has also participated in a number of group exhibitions and international art festivals including: Biennale of Sydney, Sydney, 2010; Asian-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 2009; Automatic Cities: The Architectural Imaginary in Contemporary Art, The Museum of Contemporary Art, San Diego, 2009; Yokohama Triennial, Yamashita Pier, Yokohama, 2005; Lyon Biennial, Museum of Contemporary Art, Lyon, 2003.

Figment: Did I?
Hiraki Sawa, 2011, 9′31″
Followed by: Akira, Dir. Katsuhiro Otomo, 1988, 124′
Friday 24 June, 11.30pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Akira

“The film is a patchwork of narrative fragments, a collage of daydreams that appears to display the lack of overarching logic inherent to all things oneiric. Shot in black and white, Did I? escapes ordinary temporalities. It isn’t necessarily set in the past, but it clearly belongs to an elsewhen freed from the down-to-earth now. A man (the artist?) seats at a desk floating above a Magrittian sea of clouds. On the tabletop, an ordinary glass bottle sparkles as if set alight.”
From “Hiraki Sawa: Figment” by Coline Milliard

“A boy closes his eyes for 25 minutes and wakes up with the world gone from behind his thoughts. His language slips and shifts, he tastes orange juice without knowing anymore to describe it as sour, he likes numbers but cannot put names to faces. His room is filled with a thousand records and many more. He sees the records, unable to listen. He can’t see the floor, has never seen the floor beneath them, wouldn’t recognise it if he met it in the street. He meets people in the street and his only option is to trust that they know him when they say they do. His records become opaque, circular slabs of the unknown and the unknowing. A fog of landscapes without contours, without borders, that can only be read by touching. To move forward he must step out, one foot then the other, and believe that he is indeed moving. His mind like an emptied lake, the sky welling upward and outward, unable to contain the depth of it all, the bottomless, fathomless wealth of the things he lost in his sleep.”
Text by Dale Berning

Figment: Did I? was commissioned by Animate Projects, supported by the James Cohan Gallery, New York

Dwelling
Hiraki Sawa, 2002, 9′20″
Followed by: Godzilla (1954), Dir. Ishiro Honda, 1954, 96′
Sunday 26 June, 1pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Godzilla

“At first it simply seems to be a slightly blurred record of a domestic interior: a kitchen, a sitting room, with on the floor, some toys including a couple of model planes. Suddenly one of these planes takes off, then another lands and soon the kitchen and dining room have turned into a busy international airport, planes crossing the room, landing on tables, taking off from work surfaces, and all in total silence. They negotiate the narrow chasm of a slightly open door, deftly avoid a light fitting or a bowl of fruit and its so absurd and silly I find myself grinning like a child.”
From “Untold Stories” by Alan Bennett

These pre-feature screenings are in partnership with Animate Projects and Duke of Yorkʼs Picturehouse as part of Brighton Japan Festival.

Brighton Japan Festival is a week-long celebration of Japanese film, art, performance and culture supported by Moshi Moshi and Asahi Beer.

Permanent is taking part in the OUTPOST Summer Fayre, a project showcasing the work of artist-led initiatives and gallery organisations from across the UK.

Wednesday 22 – Sunday 26 June 2011
Launch event: Tuesday 21 June 5 – 9pm

OUTPOST Summer Fayre, Pitt Street, Norwich, Norfolk, NR3 1DE
Open 12–6pm daily
Cafe + Library
Admission is free

Permanent will be presenting works by:
Kitty Clark
Bill Leslie
Phil Root

And editions by:
Lotta Antonsson
Louise Bristow
Aya Fukami
Hexaplex

OUTPOST Summer Fayre features formal presentations from:
Am Nuden Da
Embassy
Grand Union
OUTPOST
Permanent

With additional contributions from:
Castlefield Gallery
Eastside Projects/Extra Special People
The International 3
LUX
Spike Island Associates
Wysing Arts Centre

And regional stalls provided by:
Kaavous/Bhoyroo
Stop Sharpening Your Knifes
YH485 Press
plus others

Click here for further OUTPOST Summer Fayre details

Sunday 8 May – Sunday 12 June 2011
Part of House Festival

Phil Root Artist Talk: Sunday 15 May, 3pm

Wood Painting is an installation by Phil Root created especially for Permanent’s window space on 20 Bedford Place.

Phil Root’s practice explores the illusory plane of the painted surface. His paintings, which incorporate folk-like patterns and primeval imagery such as birds and eggs, become elements within larger installations of domestic objects and surfaces (such as pot plants, rugs, tables). Root employs both representational and diagrammatic methods of depiction, and uses diagrams of natural forms as a map for the placement of objects. Through linking and mixing-up various modes of representation Root creates a dialogue between the space of the installation and the internal space of the paintings, 3d space and the 2d plane, the figurative and the abstract.

For this exhibition Root will create a flat surface to support the installation of paintings, ceramics, plants and other objects, dividing the window space horizontally so that the objects and paintings become viewed as part of a vista.

Spiral Charity Shop (opposite Permanent Studio, 20 Bedford Place)
103a Bedford Place
Brighton BN1 2AA
Saturday 14 May, 7.30pm (including after performance discussion with Bill Aitchison)
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Sunday 15 May, 7.30pm (Doors 7.00pm)

£7 / £4 concessions
Book tickets here www.brightonticketshop.com (booking in advance advised, limited tickets available on the door)

One of a kind performance artist, traveller and all round professional eccentric Bill Aitchison, has been artist in residence at the Chinese European Art Centre in Xiamen, South China for the last three months. This has given rise to a new performance of imperfect translations, misunderstandings and insights into how the British (i.e. Bill) come over to the citizens of Xiamen.

‘The Customer Is Always Wrong’ uses the state of being a visitor to China to creatively plot the intricacies of national and cultural identities and take a sideways look at the hypocrisies of commercial culture. Expect a humorous and insightful take on identity confusions in the 21st century.

Performed entirely in Mandarin with English translation.

The Customer Is Always Wrong is presented in partnership with Permanent and is supported by British Council China, Arts Council England and Spiral Charity Shop, as part of House Festival www.housefestival.org

Bill Aitchison is a performance artist who has shown his solo performances and videos at theatres, festivals and galleries across Europe, Asia, the Middle East and America. He has spent extensive periods in New York’s downtown theatre scene and the European performance circuit working as a solo artist, writer and performer. He has published critical and creative texts and has a PhD from the University of London.
www.billaitchison.co.uk

(NOTE: ticket price for Saturday 15 May includes after performance discussion with Bill Aitchison which will take place at Permanent, 20 Bedford Place. The performance lasts for approximately 1 hour)

Sunday 15 May, 3pm
£5/ £3 Concessions (including glass of wine/juice)
Permanent Studio, 20 Bedford Place, Brighton, BN1 2PT

Phil Root’s practice is driven by an inquiry into what painting is and why it fascinates. For this talk he will speak about his expanded approach to painting and the process of creating an installation specifically for the Permanent window space.

This event accompanies ‘Wood Painting’ Phil Root’s window exhibition at the Permanent Studio, 8 May – 12 June 2011, part of a series of window exhibitions, Pavement. This project is part of House Festival.

Book tickets here brightonticketshop.com

Monday 21 March – Sunday 24 April 2011

‘113 Years Later is a two-sited work situated in the windows of 20 Bedford Place and Spiral Charity Shop (opposite 20 Bedford Place).

The work in the window of 20 Bedford Place is a construction of sculptural objects, plinths, and flats which rise up like a cityscape. Considering the window as a frame similar to that of film with a flat surface, single vantage point and distancing effect. I have created a composition made of a series of layers, or flats, with objects displayed among them. Technically this is inspired by the use of glass layers in early animation and the flat, layered scenery of Victorian theatre. Aesthetically it combines references to Bauhaus, classical architecture and British abstract sculpture. Some of the objects incorporate forms that echo architectural features found on buildings in Brighton and Hove.

In the window of Spiral Charity Shop a Super-8 film is shown on continuous loop. The film features the same objects and ’set-pieces’ which are installed in the 20 Bedford Place window, exploring further framings, movement and lighting.’ – Bill Leslie

Pavement is a series of exhibitions to be viewed from the street, selected through an open call for proposals.

This project is kindly supported by Spiral a registered charity based in Brighton and Hove providing services for people with learning disabilities.

Sunday 27 February ~ Sunday 27 March 2011

A Permanent Project at The Regency Town House
13 Brunswick Square, Hove, BN3 1EH, UK
Open Saturdays & Sundays, 11.00am ~ 6.00pm
Preview: Saturday 26 February, 6.30pm ~ 9.30pm

“Allegories are, in the realm of thoughts, what ruins are in the realm of things”
Walter Benjamin [1]

Permanent proudly presents, Ruins, a solo exhibition by Lara Viana at The Regency Town House.

Working at the cusp between abstraction and figuration, found objects and images are most frequently the starting point for many of Viana’s paintings. With thinly applied brushstrokes Viana breaks up the image and reconstructs what she sees allowing the paint to uncover a new image lost from its original source, now transformed into a relic of what it once was. Painterly gestures become tools to obfuscate obvious imagery or subject matter.

(Lara Viana’s works) “… radiate a peculiar energy that sits somewhere between the fuzzy warmth of recollection and the alchemical mystery of the re-dimensionalised subject. Viana appears at home within the representational hall of mirrors that connects the world of painting with that of imaging, drawing one’s attention to the innate human desire to render things realistically and the ways that new technologies fracture our understanding of reality.” Rebecca Geldard 2009

Lara Viana was born and brought up in Salvador, Brazil. She graduated from the Painting Department at the Royal College of Art in 2007, she was selected for New Contemporaries in 2008, Whitechapel Gallery’s ‘East End Academy – The Painting Edition’ in 2009 and Studio Voltaire ‘SV10 Members Show’ in 2010. Her work was included in ‘Psychic Geography’ at Workplace Gallery, Gateshead, 2010. Forthcoming shows in 2011 include solo exhibitions at Galerie Conrads, Düsseldorf in June followed by Galerie De-Expeditie, Amsterdam in September. Lara Viana is represented by Domo Baal.

Viana has won a São Paulo Biennial Foundation Award for 2011. A publication has been produced for this exhibition with a new essay on Viana’s work by Laura McLean-Ferris, designed by Alex Rich.

The Regency Town House is a restoration project on Brunswick Square, in Hove, an early 19th century housing development by Charles Busby. In between the periods in which restoration work is carried out the Town House hosts exhibitions and events. In its current state of semi-disrepair, the Town House provides an interesting and potent context in which to view Lara Viana’s work.
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Exhibition Talk
Saturday 19 March, 2011, 3pm
The Regency Town House, Free
Jonathan Miles (Fine Art Critical & Historical Studies Tutor, Royal College of Art) will respond to the exhibition and be in conversation with the artist.

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[1] Walter Benjamin, The Origin of German Tragic Drama, (London/New York: Verso, 1998) p.178

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This exhibition is kindly supported by the São Paulo Biennial Foundation, DOMOBAAL Gallery and The Regency Town House

Sunday 30 January – Sunday 6 March 2011

‘A Cabin Is Burning, is an installation that consists of three elements; a large black and white silkscreen print derived from theme-park imagery suspended loosely against the wall by eight cartoon arrows, and a black ladder-like structure that stands alone before it.
Like a theatrical backdrop the print defines a space for the ladder, and though striking in appearance, the structure becomes an obsolete object on its stage with no performers. Formally the piece was conceived while considering methods of display and arrangement, particularly looking at the methods used in high street shop spaces – the window space in the location that Permanent has just off Western Road provides an opportunity to bring such elements into a contemporary art space, playing with and disrupting the formalities of commercial display.’ – Kitty Clark

Pavement is a series of exhibitions to be viewed from the street, selected through an open call for proposals.

Viewable from the pavement and by appointment (pavement@permanentgallery.com)

To launch Permanent’s open submission series of window exhibitions, Christopher Stevens exhibits ‘Whistling in the Dark’, a large-scale oil painting depicting oil paint accumulated on a paint palette. Taking oil paint itself as the subject of the painting the work is a reflection on the medium of paint and its latent potential to depict anything and everything.

Christopher Stevens was born in 1961 and lives and works in Brighton. Recent exhibitions include ‘Distant Relations’ Mummery + Schnelle (solo), London, 2010, ‘Drawing(s) with Dolphins’ (curated by Marcus Cope and Stephanie Moran), Crimes Town Gallery, London, 2009, ‘Visions in the Nunnery’, Bow Arts Trust, London 2007, ‘Unstable’, Permanent gallery (solo), Brighton, ‘Blink’, Gasworks, London and ‘Beauty and the Beast’, Fieldgate Gallery, London all 2006.

(Video by Rob Barnard)

The Regency Town House, 13 Brunswick Square, Hove, UK
17 November – 1 December 2010

A CINECITY 2010 project in collaboration with Permanent Projects and The Regency Town House

SWANDOWN is both travelogue and odyssey. For the last five or six years film-maker and artist Andrew Kötting (GALLIVANT, THE FILTHY EARTH, IVUL) and writer Iain Sinclair have been formulating a plot to pedal a Swan-shaped pedalo from Hastings to Hackney. As part of the research they have walked the entire route and wherever possible followed rivers, canals, seas and channels. This installation is a work-in-progress and includes photographs, film loops and 7 Swandown Bookworks containing maps, plots, evidence, postcards, correspondence and a website made in conjunction with Anonymous Bosh, Rob Bernard and Julien Lesage. The work might be seen as an endurance test or pedal-marathon undertaken in the spirit of Dada or the psychogeographical meander.

PERAMBULATION: Monday 22 November, 6.15pm

(Photograph by Rob Barnard)

Before the private view a perambulation through The Regency Town House exhibition in the company of Iain Sinclair and Andrew Kötting took place.

A CINECITY 2010 project in collaboration with Permanent Projects and The Regency Town House

11 October – 7 November 2010
Offsite at 30 North Road, Brighton

For Brighton Photo Fringe Tatsumi Orimoto presents a large-scale reproduction of a photograph from his Art Mama series on a billboard at 30 North Road, Brighton North Laines.

This project brings Tatsumi Orimoto’s work directly in contact with the public on the streets of Brighton City Centre. By inserting Orimoto’s playful, moving and deeply personal imagery into the city context the poster provided a temporary disruption to the day-to-day experience of the city’s advertising landscape.

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

Orimoto lives and works with his mother in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

Tatsumi Orimoto is In Conversation with Mark Waugh on 16 October, at 2pm, more information here

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Live in Translation by Tatsumi Orimoto is realised in partnership with A Foundation and is part of the Brighton Photo Fringe

TATSUMI ORIMOTO IN CONVERSATION WITH MARK WAUGH
Saturday 16 October, 2pm
Permanent gallery
FREE

(A clip showing Tatsumi Orimoto performing with Finger Dolls at Permanent gallery during the in conversation event)

(Tatsumi Orimoto speaks to Mark Waugh about Bread Man)

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

In this conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi Orimoto’s recent retrospective in the UK which included hundreds of documentary photos and video works of Orimoto’s recorded performances, Orimoto will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

Orimoto lives and works with his mother in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

This event accompanies Live in Translation by Tatsumi Orimoto: a single billboard poster, at 30 North Road, Brighton, as part of the Brighton Photo Fringe.

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This event is kindly supported by Moshi Moshi Brighton

Live in Translation by Tatsumi Orimoto is realised in partnership with A Foundation and is part of the Brighton Photo Fringe

Sunday 3 October, 12pm
Lotta Antonsson speaks to photographer Jason Evans about her exhibition Experiments in Black, at the Regency Town House, 2 October – 14 November 2010

DOWNLOAD MP3 (Right Click Save As)

(Photo by Amy Knight)

A Permanent Project at The Regency Town House, 13 Brunswick Square, Hove
Saturday 2 October – Sunday 14 November 2010
11am – 6pm Saturdays & Sundays

Preview: Saturday 2nd October, 6.30pm – 9.30pm

EXHIBITION EVENT
Lotta Antonsson was in conversation with Jason Evans on Sunday 3rd October, 12pm, The Regency Town House.
Listen here

Permanent presents ‘Experiments in Black’ at The Regency Town House, Lotta Antonsson’s first solo exhibition in the UK. The exhibition, which incorporates photography, collage and sculpture, has been created specifically in response to the architectural features and restoration work at The Regency Town House.

Antonsson uses a collage technique often referencing social, political and artistic movements throughout the 1960s and 1970s, with a particular focus on the relationship of photography to identity and representation.

The installation ‘Experiments in Black’ presents found objects, with original photographs, magazine cut outs and replicas of the architectural features of The Regency Town House. Through establishing passages of association between diverse media, material and imagery Antonsson’s work questions the veracity of the image, deliberately creating confusion around what is original and what is a copy, what is archival and what is contemporary.

Accompanying the exhibition will be a small publication featuring writing by Jason Evans.

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The Regency Town House is a restoration project of a Regency building located on Brunswick Square in Hove, one of the most stunning examples of Regency architecture in the UK. The intermittent exhibition programme runs alongside the ongoing restoration work.

Lotta Antonsson trained at the academy of photography at Konstfack, the University College of Arts Crafts and Design in Stockholm and at the Academy of Art in Copenhagen. Since the early 1990s she has exhibited internationally in New York, London, Paris, Berlin and Stockholm (including a solo exhibition at ALP/Peter Bergman, 2008). She is currently adjunct professor in creative photography in the Faculty of Fine, Applied and Performing Arts at the University of Gothenburg.

This exhibition is part of Brighton Photo Fringe 2010 and is kindly supported by The Swedish Embassy, Arts Council England, South East, Brighton and Hove City Council, IASPIS, The Regency Town House and the generous time of volunteers.

Permanent is pleased to present an exhibition by Susanne Bürner realised through the Platform X residency series.

Susanne Bürner creates works which centre on moments within popular culture which become emotionally charged sites of personal projection.
Using video and photography Bürner constructs scenarios that isolate the tactics employed by filmmakers for generating suspense, atmosphere and psychological drama. By shifting these techniques to centre stage Bürner seeks to draw attention to the artificiality of cinematography and the power such effects have upon the viewer.

Previous work includes a photo series ‘Noir’ which restages the strong cast shadows seen in Film Noir through the use of a household torch and plants. Removed from a narrative structure, the shadows themselves become the point of departure for imaginary stories.

The title of this exhibition, The Miller and the Sweep, is taken from the 1897 short film by Hove-based pioneer of early cinema George Albert Smith. Referring to early film Bürner will produce a slide show installation of photographic images that will feature the naturally occurring shadows from the city’s promenades. Seeing these promenades as stages for a diverse range of people Bürner will create a portrait of a place through the shadows of its inhabitants.

The installation includes an original sound-work by Hamilton Yarns.

Platform X is a series of short residencies held in Permanent’s gallery space, between March and September 2010, enabling artists to freely respond to the space and locale leading to a public outcome.

Susanne Bürner (b. 1970 in Ellwangen, Germany) has had solo exhibitions at South London Gallery, Galerie Giti Norbakhsch, Berlin; The Goethe-Institut, Hong Kong; Galerie Borgmann Nathusius, Cologne; and Galerie Karlheinz Meyer, Karlsruhe. She has also taken part in group shows and screenings at John Hansard Gallery, Southampton, 2009; DEPO, Istanbul, 2008; Videonale 12, Bonn, 2008; Arge Kunstverein, Bozen, Italy, 2008; Kunststiftung Baden-Württemberg, Stuttgart; Zabludowicz Collection, London, 2008; and Kuntsi Museum of Modern Art, Vaasa, Finland, 2008. Publications include ‘Vanishing Point: How to Disappear in America without a Trace’, 2006 and ‘Only You’, 2008.

Onomatopee 51: White Smoke
by Hexaplex
book and website launch
Saturday 21 August 2010
7 – 10pm
Talk at 8pm
Free entry
Pay bar

‘In the White Smoke project man and machine meet: the audience engages a world of colour codes and names. White Smoke lays down poetic and semantic tensions between man and machine and encourages the audience to enter the information society with human, poetical effort!’ – Hexaplex

White Smoke* is an online and offline design project inviting participants to contribute personal interpretations of web-standard colour terms through submission of images and writings. The submissions are collected on to a website. The initial contributions were translated in print form as a limited edition 28 page booklet and poster, published by Onomatopee, Amsterdam, May 2010. Permanent hosts the UK launch of the White Smoke book and website.

The offline publication features especially commissioned texts by Audrey Samson (new-media theorist) on the evolution of colour experiences from the perspective of new media, Freek Lomme (Onomatopee) on the cultural poetry of White Smoke, and a transcript of a conversation between Hexaplex and Steven Pemberton (W3C) about the history of web colours.

http://whitesmoke.hexaplex.nl/

Hexaplex
Hexaplex (Cheryl Gallaway and Micha Bakker) formed in Amsterdam, 2007, to test work methods and deepen insights into their design practice. Hexaplex view the internet as a network of connected texts, images and sites. Without these connections the network can’t exist. Ideas and dialogue within this network change constantly, and content and movement as more determining factors than just aesthetics. The content is the foundation and the internet is a network!

www.hexaplex.nl

Onomatopee
Via its projects, Onomatopee researches and displays the parameters of our (visual) culture. Progressive notions of cultural production arise by professional know-how and wayward stances. Resulting perspectives are offered both via experiences within expositions as in-depth through publications. This way, Onomatopee brings progressive culture to life. Onomatopee negotiates between progressive notions and (professional) audience. Presentation and publication always go hand in hand.

www.onomatopee.net

*White Smoke is a web colour with a hexadecimal value of “#F5F5F” or a RBG value of “245, 245, 245”

Screenings ~
Part 1: The Primitives
Thursday 5 August, 8pm- 10pm, free

Part 2: Scenes in the Desert House
Saturday 7 August 8pm – 10pm, free

(both screenings start at 8.30pm and will be accompanied by a programme of documentaries and found footage)

Closing weekend ~
Saturday 14 & Sunday 15 August, 10am – 4pm
off-site at Weald Allotments, Weald Avenue, off Old Shoreham Road, Hove

Living Rooms is realised through Permanent’s current residency programme Platform X, which enables artists to freely respond to the gallery space and locale leading to a public outcome.

Samuel Dowd’s point of departure is the design of a living structure – a contemporary (sculptural) dwelling whose form draws on the history of visionary architecture, artists’ retreats, self-build co-operatives and related film in 20th C Britain and the US. With a specific focus on these practices in the Sussex region, Dowd has established a light workshop/design studio within the Permanent gallery space. Making forays into this territory, the results of his research will be collaged to form an archive of images – a survey of living experiments, social subcultures and the rise of the environmental movement – juxtaposed, montaged and re-imagined as a utopian topography.

Dowd’s method, in the conception of this project, pursues the notion of the ‘Gesamtkunstwerk’ – the total work of life/art – as a comprehensive approach towards a total (but not totalitarian), evolving system. This method, then, incorporates not only structural design, but also interiors, horticulture, the arts, crafts, environmental and social theory.

From 5th August the gallery space will be open to the public for a series of related screenings and an opportunity to engage with the project. The archive on display forms the basis for material investigations that seek to reinterpret the relationships between both the individual and the collective to aesthetic, spatial, artistic and domestic practices.

During the final week of the residency, which coincides with National Allotments Week, Dowd will be working on site at the Weald Allotments, Hove (see map below), to produce a prototype ‘living’ room. You can visit the Weald Allotments to see this off-site work between 10am – 4pm on Saturday 14 and Sunday 15 August.

View Larger Map

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Samuel Dowd (b. England, 1978)
Recent exhibitions, screenings and events include ‘Sweat Lodge’at Transmission Gallery, Glasgow, ‘3X3’ at FormContent, London, ‘Tipping Points’at HBC, Berlin, and ‘Manifesto Marathon’ at the Serpentine Gallery (with the ‘Sprout’ collective).

National Allotments Week runs from 9 – 15 August.

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Images courtesy of the University of Brighton Design Archives, Emberton & Design Council collections

‘With the Bentley in France and Sweden’ courtesy of Screen Archive South East and The Joseph Emberton Family Film Collection

Saturday 26 June – Sunday 11 July 2010
Open Thursday – Sunday 1pm – 6pm (Saturday 11am – 6pm)

Llaunch Eventy (IN SPIRIT)
Saturday 26 June, performances from 6pm onwards, free

Launch Eventy (IN MIND)
Saturday 10 July, performances from 6pm onwards, free

Platform X is a series of short residencies held in Permanent’s gallery space, between March and September 2010, enabling artists to freely respond to the space and locale leading to a public outcome .

For Platform X (C) KIMI CONRAD propose an extended launch event and ongoing installation that will be complimented by an evolving programme of screenings, performances, and art objects. KIMI CONRAD complicate systems of presentation, contextualisation and myth creation, whereby artworks become projector stands or props for performances, plinths become artworks and invigilators actors.

KIMI CONRAD IN CONVERSATION WITH SIMON O’SULLIVAN
Saturday 10 July, 5pm – 6pm, more information in Events

8 ~ 30 May, 2010

«Cooking is an action that anticipates the consumption and evacuation of food. Similarly, the design, construction, and occupation of a building should be related to its eventual destruction rather than to its functional or aesthetic endurance in the future.» (1)

As part of this year’s House festival and the second Platform X residency, Permanent presents «A boat can fit on a ship, but a ship can’t fit on a boat» by Alex Rich and Markus Bergström.

Alex Rich and Markus Bergström discovered they had both spent their childhoods afloat (Rich sailing around the South coast of Wales, and Bergström around the West coast of Sweden). With a resource of printed matter, film footage and personal accounts, connecting the significance of the sea with aspects of their work they are undertaking a residency to celebrate the importance of adaptation and compromise as a positive activity.

Platform X is a series of short residencies held in Permanent’s gallery space, enabling artists to freely respond to the space and locale leading to a public outcome. Rich and Bergström have used this elastic platform to respond to the spatial and temporal characteristics of ground floor, 20 Bedford Place where the gallery is situated. Choosing to pitch a tent and camp within the gallery, the duo have temporarily embarked upon an alternative daily routine, the conditions of which were set by the architectural and practical parameters of the gallery space. Investigating the possibilities offered by transforming spaces into platforms, prompting discussion and exchange, Rich and Bergström have re-envisioned the gallery as a multi-faceted space, incorporating a library, workshop facility, kitchen and meeting point for exploring ideas and reflections around the human desire to be afloat.

Familiarity and understanding of Permanent gallery through an immersive approach has enabled Rich and Bergström to make a holistic appraisal of the current configuration of the interior space. This process informed a series of revisions and incursions, including the wedging of a wooden canoe where the bookshop once was, the translation of furniture and the construction of a new working environment to record the fragments and tangents of ideas. By incorporating material found within the gallery, Rich and Bergström maintain an awareness of cycles of production (waste, consumption and need). Instigating adaptations to the gallery space which do not claim to endure into the future, they have introduced a kind of architectural state of buoyancy, between the fluid and the fixed.

To coincide with the construction of new works, Rich and Bergström invite the public to engage through a programme of talks, screenings and performances, including:

SOCIAL PASTA 8
(A taste of screening by åbäke, Alex Rich and Markus Bergström)

On Friday 21 May, starting at 7:30pm, åbäke, Alex Rich and Markus Bergström are proud to present SOCIAL PASTA 8
An evening of film screenings accompanied by culinary equivalents.

£5.00 per person (booking is essential)
For reservations, please mail to info@permanentgallery.com

Notes:
(1) Obsolescence and Exchange in Cedric Price’s Dispensable Museum, Lucia Vodanovic, 2007

2–11 APRIL 2010
PREVIEW: THURSDAY 1 APRIL, 6.30–9.30pm

Permanent is pleased to present the first PLATFORM X.

PLATFORM X is a series of short residencies that is taking place at Permanent’s gallery between March and September 2010. For each residency an artist or group will be given the space to develop and present an exhibition, performance, event or other public outcome. PLATFORM X enables a process of intensive experimentation and development, towards an exhibition or event.

Permanent is pleased to welcome Max Mosscrop as the first PLATFORM X artist.

Max Mosscrop (b. 1963) is a painter who experiments with forms and process to generate compositions. Trained initially as an architect, then as a painter at The Royal Academy of Arts, Mosscrop applies chance operations to the traditional medium of watercolour paint. Somewhere between 3D object and 2D surface, his vibrant geometric works are created through a playful use of rules and systems to inform the placement of colour and the formation of shapes.

For the duration of his residency, Mosscrop will experiment with presenting and curating his works in response to Permanent’s ground floor Victorian townhouse space.

Permanent is an artist-run non-profit organisation where all income contributes towards the realisation of the future programme.

The Little Artist, Simon Newby, 2010 (left), In Vogue, Niki de Gruchy, 2007 (right)

Construction Site, Andrew Hladky, 2007 – 2009

Untitled (under IV), Gemma Gore, 2010

Untitled #255, Richard Cook, 2010 (left), Lieber Engel + Lieber Liese, Susan Forsyth, 2010 (right)

Hazard Warning, James Epps, 2010

Richard Cook, James Epps, Susan Forsyth, Gemma Gore, Nikki de Gruchy, Andrew Hladky, Simon Newby, David Sullivan

20 February – 7 March 2010
Preview: Friday 19 February, 6.30pm – 10.00pm
Permanent Gallery
Open: 1–6pm Thurs/Fri/Sun 11am–6pm Sat

For the first project of 2010, Permanent is pleased to present expo2010 – an open submission exhibition selected in collaboration with OUTPOST, Norwich.
The eight exhibiting artists present works in paint, laser-cut acrylic, plaster cast, digital collage and photography.

The work in this exhibition was selected by Permanent and artist-run Norwich based gallery OUTPOST

Current artists in residence KIMI CONRAD in conversation with Simon O’Sullivan, Senior Lecturer in Art History/Visual Culture and course convenor for the MA in Contemporary Art Theory at Goldsmiths College, University of London. He also has a collaborative art practice with David Burrows, under the name Plastique Fantastique.

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KIMI CONRAD
LAUNCH EVENTY
(IN SPIRIT)
Saturday 10 July
6pm ~

Performances and closing event

Both events are free and all are welcome.

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Itchy Scratchy all night
for White Night
Saturday 24 October
6pm – 6am
Permanent Gallery and Bookshop opens all night for this city wide night time festival. Tea, coffee and biscuits on sale.

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In Conversation
JASON EVANS AND CHARLOTTE COTTON
Saturday 31 October, 3.30pm, Free
Permanent Gallery, 20 Bedford Place, Brighton
The initiator of Itchy Scratchy discusses the exhibition with Charlotte Cotton, (author of ‘The Photograph as Contemporary Art’, Thames & Hudson, 2004) whose quote inspired the project.

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Spooky Itchy Scratchy Band Night
The Sticks / ViV / Arthur Brick / The Old Dolphin Brigade
Saturday 31 October, bands on 7.30pm – 10.30pm (doors 7pm)
Westhill Hall, Compton Avenue, Brighton
£6/£5 concessions
Tickets available in advance from Permanent Gallery and Rounder Records
Bands play itchy scratchy sets. Jason Evans djs. Halloween theme. Baked potatoes. Bring your own. Horror projections.
Dress: Spooky itchy scratchy

VIEW ITCHY SCRATCHY IMAGES

Itchy Scratchy is an exhibition of photographs which takes its title from a term coined by Charlotte Cotton to describe a picture which sits uncomfortably within a photographer’s practice, bringing about a change of tack, or turning point. As she puts it, these photographs are ‘the ones that interest and trouble you because there is something that you don’t fully understand about them, as if you unconsciously did something.’ These are the pictures, Cotton explains, that ‘seem to signpost a new direction in a photographer’s practice, they are transitional pieces, and precursors to a new phase or project’.

Itchy Scratchy was initiated by Jason Evans (photographer/writer). All exhibitors have been invited to submit a digital file of an itchy scratchy image in a uniform size, to be reproduced on matt paper using an inkjet printer.

During the exhibition visitors can take part in a secret bid to win a photo. Place a bid on the photo of your choice by emailing lauramousavi@permanentgallery.com before 6pm on Saturday 7th November 2009

In the email please state:
1. The name of the photographer you would like to bid on
2. The amount you’d like to pay for their Itchy Scratchy print
3. Your full name, postal address, and contact telephone number.

The highest bidder on each photo will win that print.

To place your bid at the Gallery, come in and ask for a bidding form at the desk. For more information about the secret bid follow this link to the Itchy Scratchy photo gallery

All proceeds made from Itchy Scratchy bids will form a vital contribution to Permanent, enabling us to continue realising high quality experimental exhibitions, events and publications.

Jason Evans is a photographer who writes and teaches.
http://www.jasonevans.info

Permanent Gallery is pleased to present Works for Turntable, an exhibition of amplified kinetic sculptures for used record players by Stephen Cornford.

Stephen Cornford is a sculptor working with music, sound and noise. Borrowing strategies from bricolage, process music, kinetic sculpture and free improvisation, his interests lie in the relationship between the physical attributes and acoustic properties of sounding objects, musical instruments and audio technologies. He has previously reworked electric guitars, pianos, bicycles and other large objects, but with Works for Turntable the site is confined to the spinning twelve-inch record player.

Springs, wire, guitar strings, and elastic bands are fixed between the centre of the turntables and the stylus, forming an intimately constructed sculptural barrier. Flea market trinkets and other found objects, placed on the rotating turntables, strike these barriers and produce sounds both acoustically and through the amplification of the events, drawing the audience’s attention to the tonal and timbral differences between the acoustic and the electric.

Continuing the lineage of turntablism (from John Cage to Christian Marclay et al), Stephen Cornford adds to this discourse his intricate constructions that emphasise the kinetic and sculptural qualities of the work and their determination of sound. Cornford’s intention is to draw the audience into the work, allowing them the space to study the auditory and kinetic minutiae, in order that their navigation between turntables encourages an active mode of both viewing and listening.

To accompany the exhibition, a limited edition 7-inch record has been pressed and is available to purchase.

To purchase Two Works for Turntables record click here:

The record features two short sound pieces composed from recordings of the prepared turntables. Sleeve notes include a commissioned text, written in response to the work by Anne Hilde Neset.

Stephen Cornford studied Fine Art (sculpture) at Slade School of Fine Art (1998-2002) and Visual Performance at Dartington College of Arts (2006-2008). He has recently produced work for ArtEx Sonora, MACUF, La Coruña, Spain (May 2009), Burst Festival, London (May 2009), We Live Here, Arnolfini, Bristol (February 2009) and Asian Gates, Kunsthalle Faust, Hannover, Germany (November 2008). www.scrawn.co.uk

Anne Hilde Neset is Deputy Editor of The Wire magazine and the co-founder of Electra. She has commissioned, curated and produced a number of projects, including the Enter series of permanent sound installations (2008, Stavanger, Norway), Her Noise (2005, South London Gallery), film/performance commission Perfect Partner by Kim Gordon and The Sounds Of Christmas installation and performance project by Christian Marclay (2005, Tate Modern).