Wednesday, December 7, 2011

Image: Poppy Lekner, November 2012

Starting to think about filtered intimacy, and experience of distance and proximity. Attempts at reconnecting and finding/observing edges and boundaries in space through points/fields of contact.

Tuesday, December 6, 2011


Translucent Landscapes is searching for space to exhibit in. We are excited by this empty optometry space - tell us if you know an empty space that might be available, we would love to hear about it.

Mature Cumulonimbus

Tuesday, November 22, 2011

Doris Lindstrom

Image: Doris Lindstrom

This work by Doris Lindstrom is a layering of several draiwngs of the landscape surrounding Doris. She says "I am always looking - then seemingly all of a sudden the place I live has changed with shapes, trees, other things...This stuff surrounds you all your life and it enters your subconscious.The tree has organised itself so it goes around beautifully. In winter they are spikey but week by week, once you get to the greenery there are so many shpaes within it... you have to live with it for a while. It is not necessarily cerebral, its a feeling" 

Thursday, October 27, 2011

Glass Room

"Each day I live in a glass room unless I break it with the thrusting of my senses and pass through the splintered walls to the great landscape. " Mervyn Peake

Tuesday, October 18, 2011

Katherine Joyce Kellaway:

My immediate thoughts on ‘Translucent Landscapes’ when Helen invited me to participate where to reflect on a research trip at the beginning of the year to Lake Grassmere, near Blenheim, in the South Island. We we’re fortunate enough to have a very enthusiastic and interested guide and be there in the midst of the annual salt harvest. The title’ Translucent Landscapes’ suggest the visual, bodily and sound scapes that we experienced on that trip and it certainly resonates with the theme and the video and photographic information gathered will possibly appear in processes.

These have little substance just my current ponderings on the theme, are a discourse on our senses as a landscape, as in ‘an extensive mental view; an interior prospect’ ( I am waiting from Australia Paul Rodaway book called Sensuous Geographies, Body, Sense and Place, a theoretical survey into the subject. And I am enjoying the possibilities of the play between the Oxford Dictionaries’ definition of translucent as in ‘permitting light to pass through but diffusing it so that persons, or objects on the opposite side are not clearly visible and then ‘clear; transparent as in translucent seawater.’ Play is the best step forward.

Monday, October 17, 2011

little filter
In the process of filtering, extraction and processing, will update with pieces as material is pushed through system.

Thursday, June 23, 2011

A curatorial position - Hans-Michael Herzog

I was lucky enough hear curator Dr Hans-Michael Herzog late last year. These are some notes I made during his discussion and they are a guide to my approach to curating this.

The so called curator comes with this 'wonderful idea' [from the top] and imposes it on the work. I am interested in an inductive process that works from the art upwards.

Herzog was delightfully scathing about curators - saying the role of the curator had become crazy, with a huge inflation of the role. He also said a person of normal intelligence will leave [most] art related events after 15 minutes because the events are too silly - also damning the whole business of curators indulging in travel related talks, with these becoming the main focus of curator's working lives, rather than the art.

Tuesday, May 31, 2011

Landlords and pop-ups

From an article - Landlords Love Pop Ups in the New York Times

"As the recession drags on and storefronts across New York remain empty, commercial landlords are turning to an unlikely new class of tenants: artists, who in flusher times tend to get pushed out rather than lured in. And the price of entry is not deep pockets, but vivid imaginations and splashy exhibits — anything to lend the darkened buildings a sense of life.

On terms that are cut-rate and usually temporary — a few weeks or months — the artist gets a gallery or studio, and the landlord gets a vibrant attraction that may deter crime and draw the next wave of paying tenants.

“Any sort of activity is better than no activity,” said Jed Walentas, a Brooklyn developer whose company, Two Trees Management, routinely lends space in Dumbo and Downtown Brooklyn for art projects. “As long as it’s short enough and it’s flexible, then there’s no real cost. So the question is who can you find that’s going to make an investment in a space with that level of uncertainty, and often it’s the artist.”

These “pop-up galleries,” as they are known in Britain, where the phenomenon is well established, are increasingly taking hold in New York as development advocates and landlords struggle to keep up appearances where commerce and construction have stalled.

The demand among landlords is so high that Chashama, a group that has been working for almost 15 years to find vacant real estate for visual and performing artists, no longer has to go looking. Its founder, Anita Durst, said she got calls every day from landlords asking her to find art projects for them. "

The New York Times, Diane Cardwell, Published: October 12, 2009

Why Pop Ups?

The BBC on pop up galleries

How to Pop Up

An article on how to pop up an exhibition

An excerpt from Frieze

"What resources do you need to start up a contemporary art gallery in London? You must have inexhaustible reserves of energy, a large helping of missionary zeal, and a healthy dose of chutzpah. A network of friends willing to help out on a voluntary basis probably helps. Surprisingly, though, you don’t need much money.

These are the consistent responses from a disparate group of young gallerists and emerging dealers currently active in London. All have benefited in one way or another from a decline in property values, which has meant that some spectacular venues have been available that would normally have been redeveloped or occupied by commercial operators.

The minimum budget required to put on a show, according to curator and organiser Katie Guggenheim, is zero—provided you can beg, steal or borrow a space. Guggenheim—a former art student who changed her name by deed-poll as an on-going work of art—has two shows on during Frieze week, both in artist-run spaces she has for free"

From Frieze daily edition, 17 Oct 09