‘Graphics Interchange Format: 25 Years of Focal Point Gallery’ is a multi-screen installation showcasing a collection made up of hundreds of GIF animations.
GIF (Graphics Interchange Format) is a technology that has been in use for around twenty-five years, it was developed as an early method of compressing digital images for distribution through the internet.
As part of the gallery’s twenty-fifth anniversary celebrations, we have invited every artist who has exhibited or worked with FPG over this period to create one or more GIFs. The collection can be continually added to, and will eventually be archived on the gallery’s new website, launching in 2016.
Participating artists include:
Stephen Sutcliffe, Jamie George, Jeremy Deller, Giorgio Sadotti, Sophie Sleigh-Johnson, Kate Lepper, Simon Biggs, Suzanne Treister, Calvin Laing, Mat Do, James Bowen, Stuart Bowditch, Josh Langan, Fraser Muggeridge Studio, Mike Nelson, Clunie Reid, Benjamin Noys, Jennifer West, Milly Thompson, Renee Vaughan Sutherland, Damien Robinson, Tomoya Matsuzaki, David Charlesworth, Simon Davenport, Zarah Hussain, Bridget Smith, Liz Rideal, Ruth Hazel, Rut Blees Luxemberg, Rick Buckley, Raphael Linsi, Rachel McGivern, Rachael Champion, Peter Bobby, Paul Johnson, Oreet Ashery, Noah Sherwood, The Hut Project, Eleanor Vonne Brown, Miro Svolik, Michael Lawton, Les Bicknell, Brian Robinson, David Mabb, Manuela Gernedel, Karin Felbermayr, Lucy Woodhouse, Richard Whitby, Rachel Cattle & Steve Richards, Phil Coy, Melanie Manchot, Mary Lister, Sunil Gupta, Tim Blake, Michael Eden, Laura Eldret, Margarita Gluzberg, Lee Moon, Laurence Harding, Jonathan Allen, Laura Halsey Brown, Juliette Blightman & Harry Burke, Laura Halsey Brown, Keith Farquhar, Jonathan Kipps, John Timberlake,
Dan Watkins, John Paul Evans, Ella Finer, Alistair MacKinven, Eleanor Wright, Ian Segrave, Benedict Drew, Jack Strange, David Osbaldeston, Graham Fagan, David Burrows, Emma Talbot, Lindsay Seers, Mark Couzens, Paul Eastwood, Sandy Christie, David Panos, Julian Woollatt, Nike Savvas, Fiona Banner, Alice Theobald, OUTPOST feat. Mike Harvey, Amy McKenny, Manalo & White, Nastassja Simensky, Liam Cosford, Eddie Peake, Dave Hanger.
The project is produced in collaboration with Fraser Muggeridge studio.
‘The Bear Pit’ is a purpose-built installation, which simultaneously operates as both studio and exhibiting space. Visitors are restricted to a raised gantry which surrounds and creates a viewing point for an enclosed area below. Three artist-run spaces from around the UK have been invited to curate a programme of events, exhibitions or residencies for a period of three weeks each.
The design for the construction is drawn from a student facility at Middlesex University, which was formerly based in an old industrial building in Wood Green, London, during the late 1990s. Nicknamed for its formal resemblance to the 19th century bear enclosures in parks and zoos, the space consisted of a series of raised walkways over a studio and performance area. This intimidating environment reinforced an intense interaction between audience and performer, shifting the power relationship more typically assumed.
This exploration of the conjuncture between institution, audience and artist will be further unpacked through Focal Point Gallery’s installation, which will also provide access to the
developmental stage of the projects – inviting viewers to observe development, rehearsals and set-up from the gantry. A live-feed from the space will be displayed on the external Public Screen in Elmer Square, adjacent to the gallery.
Focal Point Gallery is pleased to present ‘Chthonic Index’, a two-part project between Focal Point Gallery and Southend’s Central Museum. For the work, Southend-based artist and writer Sophie Sleigh-Johnson investigates the idea of the ‘flicker’, a term used to describe a moment in flux, emphasising the oscillating space between light, inscription and objects.
For the project, Focal Point Gallery’s foyer cabinets are transformed into a closed or hermetic display space, which appear unfinished or in a state of shift.
A series of partly-obscured objects and artworks, placed within the cabinet, reveal shifting connections between temporalities. Fragments of Mesopotamian cuneiform (the earliest known written language) occupy the same space as a library photocopier, which has been used to produce a series of blown-up elements of the artist’s written text, tentatively proposing a hidden archaeology of the present. Reference to the flash of a photocopier simultaneously
instigates a further flickering instant within this moment of inscription, an alternation between appearance and essence; reality and representation.
Stoneage artefacts, which were discovered in the Thames Estuary and are on loan from Southend Central Museum, draw a parallel between the Mesolithic landscape of Doggerland (an area of land now buried under the North Sea), and Mesopotamia, a word derived from the Ancient Greek for ‘land between the rivers’.
A related hour-long audio work will play daily at 12:00 noon, in Southend Museum, while a replacement plinth, bearing some of the artist’s text, has been inserted into the museum space, where the Mesolithic artefacts typically stand; an inversion of sort.
Duh! A Stupid Exhibition
Nov 7, 2015 - Mar 26, 2016 Reception: Sat Nov 7 6pm - 8pm