There has been lots of research going on over recent months, seeing as we have had such a lovely time of it we thought it only fair to share just a few of the things that have inspired us most.
Catherine Yass, De La Warr Pavilion, Bexhill.
The moment I found most striking whilst visiting the exhibition, was standing on the balcony of the cafe looking out to sea. Far away on the horizon I could just about make out a tiny lighthouse in front of me. This is the subject of much of the work in this exhibition and a result of Yass’ residency period in the building. Something about that moment bolted me to the floor and connected me to the artist, the landscape, the building in which I stood, where she had undoubtedly stood too, the building I could only just see and of course the vastness of the water between me, her and it.
Daschund UN by Bennett Miller (AU), Fierce Festival, Birmingham.
This piece was a sort of living installation. Miller built a scale model of the famous United Nations office in Geneva. Sausage dogs took the place of world leaders and stood behind miniature microphones and country nameplates. This piece did two brilliant things. Firstly, all the sausage dogs were volunteered by willing and doting owners from the West Midlands and as a result brought a very unique slice of the community together. Secondly, it placed this ridiculous chaotic wriggling thing in front of us and left it there. Initially expecting some sort of grand performance I stood and took it in. The representatives from each country woofed, barged into others’ territory and fell asleep. Their owners failed to keep them under control in a sort of light hearted version of a much more serious and underlying message of messy chaos.
Helvetictoc by Tobie Langel (Switzerland), Lumiere Durham.
‘Oh no it isn’t’, my favourite of all the pieces in this city wide feast of night time light installations was this slightly po-faced live art pantomime. There’s something about its absolute-ness that made me want to rebel.
Out of Tune by AK Dolven, Folkestone Triennial.
A16th-century tenor bell removed for being out of tune with the others is suspended from a steel cable. The bell can be rung by visitors using a traditional rope bell-pull. This piece is so clear in its invitation to play, to be heard across the town, to be loud, to attract attention. This bell doesn’t care that it’s out of tune at all.
Le Jardin Flambeau by Compagnie Carabosse, Brighton Festival.
A complete and natural silence fell over literally hundreds of people as they gazed across and picked their way into this huge and extensive fire installation. Being outside and in the presence of real fire did something very strange to us all and gave us a reason to be together. It felt almost ancestral, ritualistic and satisfied some sort of weird search for a connection with generations gone way before us. The other brilliant thing about this piece was the lack of security. It went along the premise that fire is dangerous and if you don’t know that already then it’s about time you learnt.
Photo Credit. waatp.fr/people/anne-hove
April 25th, 2012 by adamadmin






















