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"Intermediate 3: New Art from the North of England"
2005-07-30 until 2005-10-08
Site Gallery
Sheffield, , UK United Kingdom

Site is pleased to announce the third Immediate exhibition, showcasing innovative and experimental practice from new artists from the North of England. Immediate is a bi-annual exhibition, commissioning and publishing programme to support emergent artists, working in lens based and electronic media in the North. Immediate aims to showcase the wealth of new artistic talent currently active within the northern regions.

The exhibition is selected from open submission and comprises existing and specially commissioned works. The group exhibition will take place both in Site Gallery and in Sylvester Works, a temporary warehouse venue in Sheffield and will also include commissions for Site’s projection window.

Existing works:

Stella Capes’s video piece presents a pared down clown performance, minus costume and props and offers a melancholic yet hopefully articulation of an attempt to succeed in a futile endeavour; Robin Close’s work tests out the limits of social convention in a situation where extremity is fast becoming widely acceptable; James Connelly presents a passport drawing booth, in which people can have a portrait drawing done in exchange for telling a story, joke or singing a song; Jason Dee’s digitally animated video splices found film scenes together in a hybrid combination of still and moving imagery, drawing attention to the normally fluid cinematic apparatus; Anne Harrison’s interest in cultural looping is apparent in her video piece Far from all that Heaven Allows, which samples and reworks the last scene from Todd Haynes’ film Far from Heaven which in itself is a loose remake of Douglas Sirk’s All that Heaven Allows, Holden & Dunbar’s film The Colour of Dreams references film noir to depict a man’s search of San Francisco for the red man who appears in his nightmares; Ho Ming Kuei‘s videos of low-fi model towering infernos with no indication of scale rely on the viewer’s knowledge of images from TV news to react to the disastrous action; Eleanor Morgan’s video involves the viewer in an endless looped staring match with a squirrel; David Picard’s Red Traktor is an endless loop, creating a space of reflection in which nature is challenged by the practice of cultivation; Megan Smith’s video installation of herself skating on a river, projected onto a curved wall is reminiscent of following your shadow in the afternoon; Allsopp & Weir’s And While We Were on Air produces stuttered movement and exhaustive rhythms from edited pulses of newsreaders breath, on the brink of speech; Katy Wood’s Reader depicts an unseen character searching through a microfilm reader for newspaper stories ranging from the curious to the sinister, each only glimpsed before insatiably moving on.


Paul Bloomfield will be producing a new work using digital animation, based on the walk cycle, one of the most basic forms of both animation and narrative convention, from Homer onwards. Rose Butler & Kypros Kyprianou’s One Lime Street is a formalized meditation on the architecture of the famous Lloyds of London building and its exoskeleton lifts. Allen Coombs’ Spatial Absurdities explores how we abstract spatial relationships in order to express a visual scene in language. Nisha Duggal ‘s video work Flat like Reflections features a number of participants filmed standing alone on the empty theatre stage performing a simple hand gesture. Steven Gray’s Hymn to Elsewhere is produced from the detritus of Hollywood, in this case, the images are of the Land of Oz, but stripped of narrative, character and guiding presence. Anthony Hall’s work investigates globular vibration and the microscopic details of vibration induced flow, droplet generation and standing wave formation. Maud Haya Baviera‘s series of photographs of the ‘British Riviera’ on the east coast of England, depict resorts whose decaying imperial style seems to cling hopelessly to a deserted coast.  Esther Johnson’s Playback is a looped recording of the movements of Sheffield in one 360° pan, from a high angle above the city, over 24 hours, striving to capture the flux of the everyday through time-lapsed detail. Ben Jones’ Square Leg is a video piece based on local Sheffield residents’ memories of their reactions to Barry Hines disturbing drama-documentary ‘Threads’, portraying the effects of nuclear war on everyday people in Sheffield. Steve Monger’s video works build up and then undermine an illusion of reality as a camera roams a scale stage set of a gallery space. Adam O’Meara’s series of video stills of people frozen in the act of falling, engages with metaphorical themes of the ‘falling down’ of the self : breakdown, loss and death. Prevett & McArthur's Superman is dead! Long live Superman! explores  the Superman through a conversation between artist and artwork.

Selectors of the open submission:  Ben Cook (Director, Lux), Tom Morton & Catharine Patha (independent curators) and Rosalind Nashashibi (artist and winner of Becks’ Futures 2003). Selectors of commissions: Frances Hegarty, Andrew Stones (artists)

Steven Monger

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