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WINDOWS 204

Archive 2010
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For most of 2010 the space was curated by four MA students from UWE, Bower Aston Fine Art. ( see below for some details about 204:2010)  However there were also a few other events;


 

Michael Powell and Emily Swann

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In June 204:2010 took a break for a week to allow for an exhibition for Bristol Festival of Photography:


Hidden in Plain sight

PAT JAMIESON, CAROL LAIDLER & 

DEBORAH WEINREB 

Sun 30th May - Sat 5th June 11am - 5.30pm daily

By examining and analysing the endless flow of visual information we live with everyday, these 3 artists slow down the flow in order to see what is hidden in plain sight.

FFI: windows204@mac.com

A Venice Boat Trip

DEBORAH WEINREB Sat 5th June, 8pm - 10.30pm

Somewhere between the movement of film and the frozen stillness of photography, detail emerges. The unnoticed and the unseen. This work explores photography, aesthetics, motion, detail and a different view of an over photographed location. Images will be pro- jected in the window of the art space.

FFI: dwphotoart.yolasite.com dwphotoart@mac.com

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venice boat trip Deborah Weinreb http://dwphotoart
Venice Boat Trip: Deborah Weinreb: http://dwphotoart.yolasite.com/

Windows 204:2010 Edit Link

For 2010 the director of the art space, Deborah Weinreb,  invited four MA students from UWE to curate the Windows.  They each had a slot of two months to choose a number of artists to show: At the end of each curation there was a final event to discuss the curation and exchange thoughts and ideas. 

The artist/curators were Matthew Douglas, Carol Laider, Pat Jameson and Marcus FitzGibbon.

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d i s t a n c i n g t a c t i c s




Example of the work shown is below


this from Anwyl Cooper in the slot known as 

small science, 204/2010

16/06/2010

The installation, You Count, went into the windows at 204 Gloucester Road, Bristol as part of the 204/2010 artist curation season, the Small Science section curated by Carol Laidler . The piece was made as a result of a very exciting workshop about microcontrollers and robotics. Seemed that the best way to find out about this stuff was to have a go.

An interactive counting machine seemed like something simple to start with. Interrupting the infra red beam on the input would cause the lights to flash. An Arduino was programmed to count up to nine on the first light, then to the second for ten, eleven is one count on the first and one on the second and so on.  The sensor was placed in the window with the tellies, a sort of bait, then people who looked into the window would be counted and the lights in the other window would flash.

Clearly the basis for this installation is surveillance and the benignity or otherwise of  the watcher. A populace watched covertly is thus open to covert control, has surrendered power and the safety of anonymity  by default..  Science brings knowledge;  technology brings ways of  using that knowledge. Once techniques exist they are used. Suddenly roads are awash with speed cameras, but are they in the most dangerous places or the ones where speeding occurs most often? Do security cameras bring security or merely cause nefarious ongoings to move somewhere else? The happy neologism Mission Creep springs to mind; be careful what you wish for.

My favourite quote is from the LAPD outline profile for a terror suspect:

regard as suspicious anyone who, among other things, “uses binoculars, counts footsteps, takes notes, draws diagrams, speaks with security staff, and photographs objects “with no apparent aesthetic value”. This seems to precisely fit me, snooping around empty buildings, photographing electricity substations, chatting to security people. The artist as terror suspect…

White lettering on the telly screens said: You are observed, Your idiosyncracies are recorded, You are not a number, You are not anonymous, You can be recognised.

In a city of strangers the next passer by may be an assassin or a terrorist. A gruesome fate waits around the corner. Trust no one. Go out only when absolutely necessary. Take every precaution; technology can only ameliorate. Fear stalks the streets. Willingly freedoms are traded for protection. Protection from risk assessed through a lens of fear stoked by constant news of tragedy and mayhem. Bad news sells; joy doesn’t.

We  live in the most watched society on earth, but not the most dangerous; ergo it works, like throwing buns out of the train to keep elephants at bay (well do you see any elephants?).

As technologies are refined in use, further possibilities open up.  Efficient surveillance holds out the initial hope of reduced risk, surrendering unknown, unappreciated liberties seems a good bargain.

If you have nothing to hide you have nothing to fear.

At what point do a government’s and a citizen’s interests cease to align?

Do you know when and where you are being observed?

Do you know what constitutes suspicious behaviour?


MONDAY, 20 SEPTEMBER 2010

Windows 204 Gallery, Bristol


At the weekend I installed two pieces of work at Windows 204 Gallery in Bristol. The work chosen for the Twin Reflex curation series has been selected by Marcus FitzGibbon around the theme of gender, the artists have been asked to "...step outside their own sphere of experience and interpret their reactions towards 'the other'."

In my work Pin Dress (2009) and Spoon Apron (2009), the relationship I am investigating is actually one with my own sex – the women of my own family. It is a negotiation of sorts, a discussion about the expectations of our roles in the world. My grandma was born in 1908, the Pin Dress here is hers – it is handmade in silk, and it was her best dress. She grew towards womanhood in the age of women’s suffrage, whilst still being bound by the expectations of an older world. I am thinking about the legacy to me in a post-feminist world, trying to understand what we share, what we have made and what kind of inheritance has been traded. How far have I travelled from her understanding of what it is to be female in the world?

We might like to believe we have slipped the leash of our past, that we are another kind of creature, but in the daylight of our free will – such as it stands - all that we have decided to resist or reinvent revisits us in the quiet patterns of the day.


ArtNoel 2010, this year shows a record 20 different artist.  There really is something for everyone!

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e-mail: windows204@mac.com