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陈列您的艺术作品给每天无数的访客观看
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| C Clarke | |
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Born in St. John's, Newfoundland, Canada |
| 关于此艺术家 | |
'I use words in a sense that makes them meaningless, and of course the only way you can make something meaningless is to present it in all of its possible meanings.' |
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| 按此以放大图像 (假如你已上传更大的图像) | |
Untitles
2000 |
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| This piece is a room-sized sculptural installation (installed here at Exchange Buildings, Cork, Ireland) consisting of several hundred books which can be looked through, read and taken away by the gallery visitor. These books vary in content and size, yet are all stripped of their front and back covers, forcing the viewer to interact with the piece in order to differentiate between titles. In this way, the environment is constantly changing, the sculpture shifting in shape as the books diminish and increase (for the duration of the exhibition, books are added to the original quantity. It is less about making a work that becomes the remains of an event than the site as an ongoing, fluctuating space). The work thus has no permanent shape or size, but is affected through the attention of the visitor, who literally makes the piece. On a conceptual level, the gallery visitor also makes the piece through the selection of some titles over others, picking and choosing books which reflect their own inherent interest.
The title of the work, Untitles, refers to the absence of covers on the books, which, as a structure, are indistinguishable. While it is also a play on the traditional untitled art-object, this site contains a variety of works, both in the number of books which make up the mass and the range of subject matter contained in these titles.
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ibid
2006 |
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| This piece consists of a shelf installed in the gallery space containing a number of books turned around so that the title isn't visible. These books all refer to ideas of intertextuality and conceptual art, referencing the work itself in their content. As such, the work acts as a sort of bibliography to its own making. |
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Un Identity
2002 |
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| This project is an essay (originally shown online at www.recirca.com) composed entirely out of quotations lifted from other texts, and fitted together to form a (loosely) coherent article about authorship and subjectivity after modernism. It uses 66 different sources, including writers such as Fredric Jameson, Kate Linker, Laura Mulvey, W.G Sebald, Julia Kristeva, Lawrence Weiner, Joseph Kosuth, Sophie Calle, Pierre Klossowski, Richard Foreman, Paul Virilio, Sadie Plant, etc. |
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De-Composition (Luigi Russolo)
2006 |
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| In this work, an audio cassette has had the magnetic tape removed from the cassette, which has been discarded. This tape is stuffed within a transparent plastic tape case which is affixed to the gallery wall. In a similar way to other, earlier works, the actual information of the piece is cut off from the spectator, leaving only the aesthetic appearance of the object and the suggestion that there is something unseen and unsaid, something out of view of the visitor.
The tape itself carries a recorded reading of Luigi Russolo's essay The Art of Noises, in which the author and futurist artist proposes the expansion of the musical field to incorporate incidental noise, background static, the din of factories and machines, and "all those [noises] that can be made by the mouth of man without resorting to speaking or singing." This reading was recorded on June 2nd, 2006.
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Selected Writings
2002 |
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| The poor man's copyright explained in point format:
i) Place the work that you want to copyright, into an envelope (music, scripts, websites, software, architecture etc.)
ii) Seal the envelope
iii) Mail the envelope to yourself through your country's postal service
iv) Do not open the mail when it arrives
v) Keep the mail that arrived, unopened and safe - in case you need to prove it was your work.
This work consists of 10 letters, each containing a handwritten transcript of writing, sealed and mailed to my (former) home address in Cork, Ireland. These letters, postmarked and copyrighted (see above), address issues of originality, authorship and intellectual property. However, the excerpts are, according to the poor man's copyright, now registered in my name. The letters contain copies of excerpts from the following texts:
1. Kathy Acker, "Writing, Identity and Copyright in the Net Age"
2. Roland Barthes, "From Work to Text"
3. Walter Benjamin, "The Task of the Translator"
4. Jorge Luis Borges, "The Nothingness of Personality"
5. Jorge Luis Borges, "Pierre Menard, Author of the Quixote"
6. Victor Burgin, "Re-reading Camera Lucida"
7. Ciaran Carson, The Star Factory
8. Michel Foucault, "What is an Author?"
9. Julia Kristeva, Revolution in Poetic Language
10. Robert Menasse, Wings of Stone
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Trajectory
2006 |
','Image'))
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| This sculptural installation was made at Porch Gallery, Manchester. It consisted of several drawings, on A4 paper, crumpled and piled on the floor of the exhibition space. Starting from a single sketch of a crumpled piece of paper, drawn from imagination, this work accumulated in a straight progression. That initial drawing / sculpture was used as a model for the next drawing, which, upon completion, was crumpled and discarded onto the gallery floor, where it was used as a model for the next drawing, and so on... Following the performative aspect of the work, the installation remained as the physical documentation of a number of illustrations which were left invisible to the viewer.
This piece demonstrates a recurring theme of previous works, that of the interference of the viewer's perception of the image or content (and its simultaneous replacement with a conceptual gesture). Such inaccessibility demands a certain amount of faith in the artist, who after all may or may not be actually drawing these pictures, who may be leaving some of the pages blank. There is also the suggestion of the creative process as one of selection and omission, distilling the image into an eventual complete, finished work (and throwing the waste product over his shoulder). However, this trajectory, which presupposes a destination, is ultimately aimless, going around in circles, repeating the same motifs and ideas. There is only the buildup of refused drawings. A later version of this work was exhibited at In Focus Space, Oriel Davies Gallery, Powys, Wales, 2007.
Photograph: Elina Chauveaux |
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Untitled
2008 |
','Image'))
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| Untitled used the contents of Cornerhouse Gallery Bookshop in Manchester to create a site-specific installation. Throughout the day, the books were wrapped in brown paper, obscuring their titles and covers in order to create a walk-in sculpture. While the shop attemped to function as normal, the materials inside gradually lost their individuality and were rendered indistinguishable. The audience was able to interact with the piece, as spectators and customers, and to discuss the installation with the artist, even as the encroachment of wrappings began to severely limit their options for purchase. While not an attempt to subvert a retail space or to provide any sort of anti-consumerist message, Untitled was intended to complicate the experiences of the public, in their ability to buy books and in the shifting, unstable form of the sculpture. At the end of the eight-hour day, the work was concluded, with only a few patches of exhibition catalogues, artist monographs and art theory texts left uncovered, and a total of 406 volumes wrapped. The installation lasted only for a day, before being disassembled and the shop returned to normal. www.atp08.blogspot.com
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| 教育程度与个人自传 | |
| Solo Exhibitions and Installations: 2008 'Untitled', Cornerhouse Gallery Bookshop 2007 'Trajectory', In Focus space, Oriel Davies Gallery, Powys, Wales, UK 2006 'Trajectory', Porch Gallery, Chorlton, Manchester, UK 'Chris Clarke / Anne Charnock', Cornerhouse Projects, Manchester, UK 2005 'Selected Writings', Marple Public Library Art Gallery, Stockport, UK 2001 'Re-match' (with Carol Brogan), Cork Artists Collective, Cork, Ireland 2000 'Untitles', Exchange Buildings, Cork, Ireland 1998 'Barrier', College of the North Atlantic, Corner Brook, NF, Canada Group Exhibitions and Projects: 2008 'Start Running', Sandbar, Manchester, UK 'Subliminal Seduction', Another Roadside Attraction, London, UK 2007 'Peer Esteem', Five Years, London, UK 'ArtRadio', Cornerhouse, Manchester, UK 'Lost & Found', Brick Lane Gallery, London, UK 'Title tbc', artists text, The Daily Constitutional IV 2006 'Un Identity and Other Essays', publication, Free Press 'Im-Pression', Grafisch Centrum HogeDRUKgebied, Rotterdam, The Netherlands 'Conflux 2006', Brooklyn, NY, USA 'Terror?', Intersection for the Arts, San Francisco, USA 'Open Show', Surface Gallery, Nottingham, UK 2005 Shortlisted for Crosby Homes Manchester Art Prize 2005 2003 '28th International Art Exhibition', Tokyo Museum of Contemporary Art, Tokyo, Japan 2002 'Un Identity', online essay, www.recirca.com 2001 '25', various sites, Lisbon, Portugal 'Monitor', O'Callaghan's TV/Video, Cork, Ireland 1999 'MUN Equipment Control', SWGC Art Gallery, Corner Brook, NF, Canada, Eastern Edge Gallery, St. John's, NF, Canada |
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| 网站: cgclarke75.blogspot.com | |
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