new exhibitions

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Feb 19, 2018 7:00pm - 8:30pm talk/event
A talk by Maria Walsh exploring the performative dimension of artists’ moving image works in which therapeutic techniques and discourses are used to generate effects that circulate beyond individual psycho-physiologies and instead enact a critical relation to neoliberal discourses of self-affirmation. This shift towards a social critique of therapeutic discourse in artists’ work contrasts with the reception of therapy discourse in art in the 1990s, whereby art historian Hal Foster bewailed its use by artists such as Sue Williams, comparing it to reality TV chat shows in which trauma narratives of damaged subjectivities were proclaimed as the truth of authentic experience. On the one hand, this situation has exacerbated today as the injunction to speak one’s truth which has devolved into a desirable form of micro-celebrity in which everyone can be an actor or protagonist in their own drama. However, on the other hand, rather than the truth of a damaged body, the therapeutic subject characteristic of our neoliberal era has been deemed to be in control of their desire and will to change, but paradoxically, be in need of cognitive retraining to achieve this transformation.
Artists have both mined and critiqued the ethos of ‘therapy culture’. Artists such as Gillian Wearing walk a fine line between taking a vicarious interest in the pathological public sphere, referred to by Mark Selzter as ‘wound culture’ (1997), taking a more reflective approach to this phenomenon. More recently, Wearing’s 2010 experimental documentary film ‘Self-Made’ posited a productive tension between a performative acting out of trauma and a use of method acting techniques to objectify and/or manufacture experience. In a different but related context, artist Oriana Fox created and hosted her own reality TV therapy chat show, ‘The O Show’ (2011-ongoing), episodes of which were performed live for an art audience and broadcast simultaneously online. Fox claims the work is about the therapeutic potential of performance, yet it also generates a conflictual space in which the neoliberal impetus towards self-improvement is both advocated and critiqued. In straddling a fine line between authenticity and parody, works such as these extend Judith Butler’s 1990s concept of performativity which held that identity norms can be resignified by the repetitive iteration of learned behaviours and rituals. This talk will explore whether moving image works that enact a parodic staging of therapeutic techniques present a manipulative capitulation to norms and or/self-exploitation, or propose a transformative logic that is beyond the neoliberal injunction to perform well.
To accompany the Jerwood/Photoworks Awards, a series of events have been programmed to further explore the themes and issues that are raised in the three artists’ body of works. Maria Walsh’s invitation to talk about performativity and therapeutics in relation to moving image/performative practices has been motivated by Lua Ribeira’s allegorical exploration of the inevitable decay of the human body and psychological ‘heaviness’.
Dr. Maria Walsh is a Reader in Artists’ Moving Image at Chelsea College of Arts. Her monograph Art and Psychoanalysis was published in 2012. She is an Associate Editor of the peer-reviewed journal MIRAJ Moving Image Review and Art Journal and was Guest Editor of the ‘Feminisms’ double issue which included her article ‘From Critique to Resistance to Autonomy: Alex Bag Meets Ann Hirsch’, MIRAJ, Vol. 4:1 & 2, 2016: 13-41. Other peer-review articles on independent cinema, film philosophy and artists’ moving image have been published in Screen, Rhizomes, Angelaki: Journal of the Theoretical Humanities, Refractory and NECSUS: European Journal of Media Studies as well as chapters to a number of books on moving image including Screen/Space: The Projected Image in Contemporary Art, 2011. She is currently working on a monograph on the screen as a performative site of therapeutic encounter and critique.
This event is free to attend. Booking is required via Eventbrite.

May 8 - Aug 25, 2018
Sweet Swollen is a new commission by Holly Graham. Comprising print and audio, these consider historic links between domestic culinary culture and visual culture within Europe.The works take as their starting point a pair of Meissen porcelain sweetmeat bowls that are currently on display in a collection in the Victoria and Albert Museum. These were made between 1765–75 and would have, at the time of their production, been considered an artisanal, luxury good, symbolizing the wealth and status of their owner. Visually, they each depict turfy mounds which prop up bowls to hold sugar or sweetened dried fruits, which are in turn flanked by caricatured ‘blackamoor’ figures who gesture towards the food products in the bowls in front of them. These are part of a wider tradition of similar figurines that embody, and silently testify to, financial gain through processes of colonial exploitation.

Jun 20 - Aug 26, 2018
New works by Rob Crosse, Susie Green and Georgia Horgan presented as three solo presentations at Jerwood Space. Diverse in content and materials, the solo presentations span painting, sculpture, installation, film, and photography, expanding upon the artists’ existing dialogues to position sex, intimacy and desire in a socio-political context.

Aug 18, 2018 7:00pm - 8:00pm talk/event
A performance by Splash Addict within Susie Green’s Jerwood Solo Presentations commission.
Splash Addict is a collaboration between Susie Green and artist Simon Bayliss, inspired by shared romantic, filthy sensibilities and a love of ‘90s dance music. Green performs commanding, melodic vocals over Bayliss’ synth basslines.
Recent performances include Fierce Festival, Birmingham (2017); The Royal Standard, Liverpool (2017); Chisenhale Studios, London (2017). Their music videos have recently been screened at NAWKI, Eastside Projects, Birmingham (2017) and Tate St Ives, Cornwall (2016)
This event is free to attend. Booking is required via Eventbrite.

Sep 6 - 16, 2018
Newly-presented works by artists with a moving image or performance based practice, presented through a series of events.
Jerwood Staging Series is a curatorial project designed to provide a London platform for event-based presentations of work, including film screenings, performances, readings and discussion and was launched in 2016. It is led by Sarah Williams, Head of Programme, Jerwood Visual Arts and Lauren Houlton, Gallery Manager, Jerwood Visual Arts.

Oct 3 - Dec 16, 2018
Chris Alton, Simeon Barclay, Hazel Brill, Flo Brooks, Emma Cousin, Joe Fletcher Orr, Tom Goddard, Ashley Holmes, Lindsey Mendick, Nicole Morris, Milly Peck, Anna Raczynski, Will Sheridan Jr, Rae-Yen Song and Frank Wasser.
A major new survey exhibition presenting new works by 15 early-career artists from across the UK. Survey is the largest review of contemporary art practice in Jerwood Visual Art’s 12 years of programming, spanning a breadth of disciplines. Marking a departure from Jerwood Charitable Foundation’s 17 years of support of the Jerwood Drawing Prize, and coinciding with Frieze London 2018, Survey takes a non-institutional approach to selection with 35 mid-career artists – including Ryan Gander, Andy Holden and Rachel Maclean – nominating the most promising new UK artists working today.


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