Jerwood Visual Arts

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Jerwood Visual Arts is a national programme supporting visual arts practice, through which Jerwood Charitable Foundation works with early career artists to commission and present new work. Artist opportunities run throughout the year alongside a programme of related exhibitions, events and commissioned writing taking place online, in London and across the UK.

www.jerwoodvisualarts.org

Venue Type:

Gallery

Opening hours

Monday - Friday 10am - 5pm
Saturday - Sunday 10am - 3pm

Closed Bank Holidays

The Gallery is open until 8pm on the last Friday of every month during exhibitions. Visit the South London Art Map website for further information

Admission charges

Admission free

Exhibition details are listed below, you may need to scroll down to see them all.
Rebecca Beinart, Imagined Geographies (2015). Photo Courtesy of Susan Guy & National Trust

Jerwood Open Forest

  • 2 November — 11 December 2016 *on now

This group exhibition brings together work by the five artists selected for the R&D stage of Jerwood Open Forest in 2016: Rebecca Beinart, Magz Hall, Keith Harrison, David Rickard and David Turley.

Rebecca Beinart’s projects are often collaborative and explore the crossover between art, ecology and politics, taking the form of live events and interventions in public places. For this exhibition she has made a live work using a collection of stories about lost trees, developed through research collected around specific forests. The audience experiences a series of one-to-one encounters, which draw upon connections between personal experiences of loss and wider themes such as deforestation and collective memory.

Magz Hall works with sound and radio. For this exhibition she has developed an interactive trail of radio transmissions through the forest, playfully enabling trees to whisper to each other, and re-engaging with a sense of technological enchantment intrinsic to the early radio experiments that make up much of her research interest. Members of the public will record their secrets and dreams onto simple radio hardware disguised within a tree.

Keith Harrison is fascinated by the potential for the direct physical transformation of clay from a raw state utilising industrial and domestic electrical systems in a series of time-based public experiments. For this exhibition he has created a multi-faceted, performative sculpture bringing together industrial forces within the context of the forest, inspired by his upbringing in the heavily post-industrialized Black Country. Keith constructed a series of mud jumps through the forest, working with BMXers; from the same mud he will build a prototype car to be launched from a monumental ramp as a public event.

David Rickard’s work Returnings is a vast forest installation built with timber collected from across the UK, which explores the cyclical journey of the forests’ trees. Each piece of ‘reclaimed’ wood is imprinted with details of its previous function and location, thereby recording a network of the past lives of timber elements within the depths of their original environment.

David Turley’s work centres on a ‘Men of the Trees Forestry Diary’ from 1947, unearthed at an auction in Australia, which documents the daily life of a man planting trees in Orlestone Forest outside Ashford, Kent. Turley has engaged with the social and cultural events described in the notebook’s pages, exploring the potential for site engagement through its specific historical narrative.

The five artists were selected from almost 500 diverse and ambitious proposals in response to an open call to UK-based artists within 15 years of beginning their practice. Artists were invited to submit bold, broad-thinking proposals that explored the potential of forests as a site for art. Each selected artist receives a £2,000 research and development fee to develop their commission proposals, test feasibility and explore potential sites within England’s Public Forest Estate. One artist is selected to receive a further commission of £30,000. All of the artists also participate in a programme of professional development activities as a peer group, including workshops and advisory sessions alongside one-to-one mentoring sessions, and present a group exhibition at Jerwood Space.

The selection was made by: Katherine Clarke, artist and founding partner of muf architecture/art; Neville Gabie, artist; Shonagh Manson, Director, Jerwood Charitable Foundation; Hayley Skipper, National Arts Development Programme Manager, Forestry Commission England; and Dr Joy Sleeman, writer, curator and lecturer. The initiative was launched in 2013 in response to an opportunity to open up the Public Forest Estate to artists in partnership with Forestry Commission England. It responds to a need to support artists, perhaps working in a forest context for the first time, with the professional skill set with which to realise a large scale work, and with access to experienced professionals throughout. Alumni include Semiconductor and Chris Watson.

Magz Hall, documentation of Jerwood Open Forest 2016 (research and development phase). Image courtesy of the artist

Panel Discussion: Katherine Clarke, Neville Gabie and Joy Sleeman

  • 5 December 2016 6:30-8pm

The selectors for the second edition of Jerwood Open Forest discuss examples from their own practices, and explore how contemporary visual artists engage with the environment today. Chaired by Hayley Skipper, National Arts Development Programme Manager, Forestry Commission.

Katherine Clarke is Director and Co-Founder of muf architecture/art, which was established in London in 1995. The practice has an international reputation for its site‐specific research driven public projects, which negotiate between the built and social fabric; between public and private spaces. muf architecture/art has pioneered innovative projects that address the social, spatial and economic infrastructures of the public realm. They have been nominated for and won numerous prestigious awards in recognition of their ground-breaking work, including the Swiss Architecture Prize, Public Realm Architect of the Year (BD Architect of the Year Awards), Landscape Institute President’s Award, Public Realm Architect: RIBA Award and Camden Arts Centre: Art for Architecture Award. Their ambitious project Villa Frankenstein was commissioned for the The British Pavilion at the 12th Venice Architecture Biennale and publications include This is What We Do: an muf manual.

Neville Gabie was born in Johannesburg, South Africa in 1959 and has an MA in Sculpture from the Royal College of Art London 1986-88. With a background in sculpture, his practice has always been driven by working in response to specific locations or situations caught in a moment of change. Highly urbanized or distantly remote, his work is a response to the vulnerability of place. Recent projects include a residency with the Cabot Institute, Bristol University, a Leverhulme funded project working with a multi-disciplinary approach to climate change research, an eighteen month residency in response to the whole construction site of the 2012 Olympic Park commissioned by the Olympic Delivery Authority, subject of a recent publication Great Lengths 2012 Cornerhouse, 2012 and a British Antartic Survey residency at the Halley Research Station Antarctica, as part of the artists and writers programme. Gabie’s Map Project involves ongoing research based in Richmond, Northern Cape, South Africa. Gabie is represented by the Danielle Arnaud Gallery, London and his work is included in the collections of Tate Gallery and Arts Council England.

Joy Sleeman is Reader in Art History and Theory at UCL Slade School of Fine Art. Her research is focused on the histories of sculpture and landscape, especially 1960s and 70s land art, and she has published widely on this subject. Together with Nicholas Alfrey and Ben Tufnell, she co-curated the most comprehensive exhibition of British land art to date, Uncommon Ground: Land Art in Britain 1966-1979, for the Arts Council Collection and Hayward Touring. It toured to four UK venues in 2013-14. Recent publications have explored relationships between land art in America and Britain and between artists and curators, for example ‘Lawrence Alloway, Robert Smithson and Earthworks’, in L. Bradnock, C.J.Martin and R. Peabody (eds), Lawrence Alloway: Critic and Curator (Los Angeles US: Getty Publications, 2915). Current projects include a book on the sculpture of Roelof Louw (Ridinghouse) and acting as advisor to an exhibition on David Lamelas in Long Beach, California, USA. Since 2000 she has been a member of the editorial board of the Sculpture Journal the leading academic journal for research in sculpture. In 2011 she wrote the catalogue essay for the Jerwood Encounters Exhibition ‘TERRA’ which explored the sensory dimension of sculpture responding to the history of Grizedale Forest, curated by Hayley Skipper.

Admission

This event is free to attend. Booking is required via Eventbrite.

Website

https://www.eventbrite.co.uk/e/panel-discussion-katherine-clarke-neville-gabie-and-joy-sleeman-tickets-28836505765

Jerwood Visual Arts
Jerwood Space
171 Union Street
London
Greater London
SE1 0LN
England

Website

www.jerwoodvisualarts.org

E-mail

jva@jerwoodspace.co.uk

jva@jerwoodspace.co.uk

Telephone

020 7654 0171

All information is drawn from or provided by the venues themselves and every effort is made to ensure it is correct. Please remember to double check opening hours with the venue concerned before making a special visit.
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