Leah Capaldi // Ross Little // Ani Schulze
16 Nicholson Street
06/07/18 — 28/07/18
Performances will be all day every Saturday and Sunday.
Obeying Durations considers political pressure, temporality, and subjective objecthood to delineate experiences of process and creation.
Leah Capaldi presents ‘Overlay’, a continual performance sculpture about the visible process of objectification through a body becoming a static object. The changing situation of the performance evokes ideas of afterness through the knowledge of the previous spaces the performance occupied. This rupturing of expectations through the renegotiated condition of stasis reflects on the stretching and suspension of time while pressure is exerted on the body and by the body. While connecting with the legacy of twentieth century performance art, Capaldi involves the viewer and the gallery itself in an interrogation of the nature of spectacle and gallery practice. It has previously been exhibited at ICA, London and Crispr, Colombia. Performances will be on Saturdays and Sundays and ‘Overlay’ will travel to a different location in the gallery everyday.
For the group exhibition Obeying Durations Ross Little presents a new film which is the first instalment of an on-going project that will be developed and accompanied by a publication over the course of 2018. This moving-image work has been commissioned by Falte Projects as part of Knots of Resistance, a research-driven project reflecting upon the rehearsal, care, and maintenance of the gesture of protest. Drawing upon the participatory action experienced during the recent Velvet Revolution in Armenia and the collective awareness seen in historical accounts of Faslane Peace Camp, the film investigates zones of alternative governance and productive acts of emancipation, questioning existing choreographies of resistance through dialogical and self-reflective forms. Direct observations, involvement, and encounters, contributed to represent the demonstrations and their inner strategies of alliance, questioning the methods in which we develop forms of resistance and our political imagination.
Ani Schulze’s 'Under Jaguar Sun' is exhibited on the gallery’s top floor. Her film ‘Merchant’s Freely Enter’ explores artifice and the construction of identity through the exploration of agricultural afterworlds and underworlds. In contrast to the volume and the cultivation of modernity in landscapes is examined through the conflation of agriculture and technology to create a dreamlike space of temporal uncertainty. The treatment of environment and body as something undergoing a symbolic assimilation is made bodily through the environment created to view the film on the gallery’s top floor, with hung spacious drawings on a transparent film (playing with transparency and opacity) renegotiating the viewer’s occupation of the space itself. The narrative basis of the film observes the contemporary representation of Western landscapes and agriculture through drone-mounted cameras. It explores new technologies to capture images and their impact on sight and land boundaries.
With thanks to The Hope Scott Trust, Falte, Art and Cultural Studies Laboratory
, and European Cultural Foundation