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Interested
collectors please contact info@residence-gallery.com
for details on acquiring work in archive.
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 2007
S p e
c t r e .v
s . .R e c
t o r
FROM:
Rev. MARC VAULBERT de CHANTILLY
TO: Dear Parishioner
ALL HALLOW'S
EVE. I'll rip your fat body to pieces. Do NOT lock me out. I was NOT
born in Hampshire. I am NOT M. R. James. I am THE RECTOR. Do NOT lock
me out. I am a BONONIAN. My HATE is CRISP. I am SOAKED in BLOOD. I AM
The Rector and I AM SOAKED IN BLOOD. Douglas Park is THE DEACON. Ranga
padem. I am The Rector. Unlock your doors and bring me FLOWERS. I wash
EVERY DAY and I AM THE RECTOR. You are UNCLEAN. Bring me FLOWERS. Do
NOT lock me out. I am The Rector AND I am THE CURATE. Raúl Piña
Pérez is THE SPECTRE and Mark McGowan is THE INSPECTOR. Simon
Ould is THE HERO. Ranga padem. I am The Rector. You are UNCLEAN. You
are THE DRUDGE NATION, A NATION OF NO IMAGINATION. Take those flowers
away. You are UNCLEAN. Your DECADENT SINS will REAP DISCIPLINE. I am
a BLACK BONONIAN BEAST. Do NOT lock me out.
HERE
IS FUNERAL DECORATION FOR THE DRUDGE NATION. HERE IS MY CURE OF SOULS:
Elaine
Arkell / Majed Aslam / Anna Barratt / Luke Brennan / Martin Brown /
Vanessa Brown / Sam Burford / Gail Burton /
Blair Butterfield / Luis Carvajal / Cedric Christie /
Toby Clarkson /Patrick Coyle / Clem Crosby / Richard Crow / Sohrab Crews
/ Adrian Dannatt / Dædalus / Daisy Delaney /
Oliver Dungey / Jack Duplock / Deej Fabyc /
Bern Roche Farrelly / Jon Fawcett / Tim Flitcroft / Laura Oldfield Ford
/ Karl French / Gaia Giacometti / Jason Gibilaro / Polly Gould / Anthony
Gross / Mark Hammond / Michael Hampton / Pauline Hoare / Lucinda Holmes
/ Jenny Holt /Robin Holt
/ Marc Hulson / Chris Humphreys / M. R. James / Jonni Jemp / Calum F.
Kerr / Damian Le Bas / Delaine Le Bas / Adrian Lee / Harry Levene /
Alan Liddiard / Cathy Lomax /
Mandy McCartin /Mark McGowan / John McLeod / Lee Maelzer /
Nicky Magliulo / Micalef / Alex Michon / Alex Gene Morrison / Jason
Mountolive / Phil Mullett / Richard Niman / Jurgen Ots / Simon Ould
/ Russell Oxley / Douglas Park / Jay Patel /
Tony Peakall / Cath Pearson / Raúl Piña Pérez /
Jon Pigrem /Rachel Potts / Zak Reddan / Claudia Reyes /
Jill Rock / Aeon Rose / Geraldine Ryan / Kurt Ryslavy /
Paul Sakoilsky / Steve Schepens / Liam Scully / Niki Sehmi /
Bob and Roberta Smith / Dave Smith /Rose Smith / Sarah Sparkes / Matthew
Stradling / Peter Suchin / Carina Thorén and John Chantler /Mike
Watson / Katsunobu Yaguchi / Yog Sothoth (David C. West) / Ingrid Z
FROM:
1 NOV. to 1 DEC. 2007, every THURS, FRI, SAT and SUN, 1 TO 5 PM. R.S.V.P.
for OPENING PARTY (with EXORCISM) on HALLOWEEN (31 OCT.), 6 till 10
PM. YOG SOTHOTH WILL LURK. THE APATHY BAND WILL PLAY. LUIS CARVAJAL
WILL FEED THE FIVE THOUSAND. TIM FLITCROFT WILL SLEEP OVER. Accompanying
booklet and CD.
THE RESIDENCE: NOT at Whitminster, but AT THE VERGER'S COTTAGE, through
black wooden gate to the RIGHT of St Mary of Eton Church, Eastway, Hackney
Wick, LONDON, E9 5JA. PHONE: 020 8986 2324. BUSES: 26 (Waterloo), 30
(Marble Arch), 236 (Finsbury Park), 388 (Blackfriars). TRAIN: Hackney
Wick.
FROM:
CHORAZINA
FOR: THE UNFALLEN. And meanwhile and meanwhile. You can only tell stories
nowadays if it's all down on paper, so we're breaking it in easy for
you. Listen to the song 'Spectre vs. Rector' by Mark E. Smith and The
Fall, on the albums 'Dragnet' (1979) and 'Totale's Turns' (1980). It
concerns Montague Rhodes James (1862-1936), Provost of Eton College,
and author of "Ghost Stories of an Antiquary" (1904). Eton
College founded the Eton Mission at Hackney Wick in 1880, to bring Christianity
and Charitable Works to the poor of the East End. The result is there
for all to see. In 1890 the foundations of the Church of St Mary of
Eton were laid.
I HAVE
WAITED SINCE CÆSAR FOR THIS.
HAIL
THE NEW PURITAN.
RIGHT.
RAPE
ME, LORD.
---------------------------------------------------------
ROSALIND
DAVIS
WE
WERE HERE ONCE
8
SEPT - 7 OCT 2007
Inspired
by a rich variety of locations from London to Cameroon, Rosalind Davis
presents an ominous, threatening and romantic world.
Davis juxtaposes manmade structures with organic forms, combining painted
post-industrial scenes with the use of embroidery and appliqué.
The only evidence of human existence is rendered through her use of
embroidery. Notions of textiles are subverted to find new freedoms and
expressions in painting. Its use contrasts and highlights the delicate,
ephemeral beauty of the subject matter.
Davis is
an MA graduate of The Royal Collage of Art. Her paintings are featured
in public and private collections. She has exhibited extensively nationally
and internationally, and recently joint exhibitions in London and Whitstable.
Davis has just become a member of the Bermondsey Artists Group associated
with Café Gallery Projects. m
Artist
Talk: Rosalind Davis and Freddie Robins
Rosalind
Davis and Freddie Robins will be conducting an artists' dialogue to
coincide with Davis' solo show at The Residence. Both Davis and Robins
are graduates of the Department of Textiles at the Royal College of
Arts. Davis was one of Robin's students.
Both Robins
and Davis use textiles in fine art contexts, exploring contemporary
issues such as identity and social conditions.
They will
discuss their work and their experiences of subverting traditional craft
techniques wihtin their work, as well as the increasing use of textiles
within fine art.
The floor
will be open to a Q&A session afterwards.
Rosalind
Davis is an MA graduate of The Royal Collage of Art. Her paintings are
featured in public and private collections. She has exhibited extensively
nationally and internationally, and recently joint exhibitions in London
and Whitstable. Davis has just become a member of the Bermondsey Artists
Group associated with Café Gallery Projects.
Freddie
Robins is an artist, curator and tutor in the Department of Textiles
at the Royal College of Art.
Freddie
is an anarchic knitter, producing conceptually led knitted textile pieces.
She has built up an extensive and innovative body of medium and small-scale
figurative works that cross between the categorisations of art and craft.
By using knitting to explore pertinent contemporary issues Freddie continues
to disrupt preconceptions of the medium as being feminine and non-threatening.
In 2002
she was shortlisted for the Jerwood Applied Arts Prize: Textiles and
had her first major solo exhibition, 'Cosy', at firstsite at the Minories
in Colchester. In 2005 she curated 'Knit 2 Together: Concepts in Knitting'
for the Crafts Council and "Ceremony" at the Pump House Gallery,
Battersea Park, London.
She currently
has work in "Radical Lace & Subversive Knitting", an international
exhibition curated by the Museum of Art & Design, New York which
is touring in the United States. Her solo exhibition, "Body, Nobody,
Somebody" opens at the West Norway Museum of Decorative Art, Bergen
at the beginning of November.
She has work in the collections of the Victoria & Albert Museum,
Crafts Council, Aberdeen Art Gallery and Nottingham Castle Museum.
Freddie
is a graduate of Middlesex Polytechnic and the Royal College of Art,
graduating in 1989.
-------------------
Christina
Gunter, Untitled (wallpaper collages), Ralph Dorey, Untitled
(helmet), & Carlton Scott Sturgill, drlaura1.jpg (Ralph
Lauren paint chips on panel), wallpaper- Ingrid Z's own 50s vintage
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PRIVATE PROP.
Curated
Art Project by Ingrid Z
Ralph
Dorey, Declan Rooney (IRE),
Lisa Freeman, Simon Reuben White, Cherie-Marie Veiderveld, Lyndsay
Officer, Jubal Brown + Tasman Richardson (Fame Fame, CAN), Shiraz
Ksaiba, Eleana Louka, Ross Taylor, Konstantina Kapanidou, Christina
Gunter, Kristen Healey, Stephen Harwood, Aaron Head, Matthew
Atkinson, Hannah Brown, Cecile Borra, Lucy Swift, Nicole Mollett,
Zuzana Piponi, & Scott Sturgill.
Performance by Simon Leahy
& Richard Jones,
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4
AUG - 1 SEPT
The
Residence rises to sacred ground as it re-launches at The Verger's
Cottage in Hackney Wick, Olympic BangBang E9. Departing from its previous
shop location, the gallery reassigns Director Ingrid Z's living space
as exhibition platform. The inaugural show stems forth from ideas
of private prop(erty) with links to reasonable facsimiles, identity
theft, intellectual property,& paparazzi…, featuring new
work from our favourite artists and latest fancies.
DIRECTOR'S
REPORT:
.
 ago
any self-respecting person of the seventeenth and eighteenth centuries
would house a "wonderkammer" or "cabinet of curiosities."
These wonder-rooms belonged to aristocratic collectors who housed
them to display objects of fascination which were indiscriminate to
both fact and fiction. They declared a highlife of travel, imagination
and superstition. Although these objects were not categorized at the
time, by today's standards they would attribute to labels such as
"natural history," "religious relic," or "art."
These collections paved the way for the modern museum; precursor to
the contemporary art gallery.
Fast
forward to London, August 2007: The Residence (gallery) awakens from
its latest reincarnation as a wonder-room of sorts. Housed in a quaint
church cottage in the speculative confines of Hackney Wick, the space
both relates and contrasts to the well-off wonderkammer of the late
Renaissance age. The Residence seeks status from its ability to make
use of available resources, inciting devotion to a childlike primal
urge over socio-economic privilege. It sets forth to re-visit inter-personal
vehicles of presentation, encouraging community and inter-connectivity.
It is a necessary response to the current social climate where intimacy
is threatened by technological replacement, economic growth, mass
communication and corporate monopoly.
The Verger's
Cottage was originally constructed as part of St. Mary of Eton Church.
The site was erected in 1890 for the neighboring Victorian slums as
a gift from the celebrated Eton Mission boys school. The Residence
does not have any affiliation with the church itself aside from my
tenancy. I intend to realise the cottage's finest assets before its
planned demolition in 2010 when the Verger's Cottage will be redeveloped
into a new block of flats in accordance with the Church's re-vitalization
plans.
Alternating
gallery display convention for residential ideas of presentation,
the first exhibition rejects enhanced lighting or visible labeling
of artwork. As its artist-run initiator, I am attempting to redeem
the notion of art from the mediated anti-social spectacle, to the
intimate confines of the lived in; the home. If a visitor wants additional
information about an object in the room, they ultimately have to ask.
The private
view is guest list only, and there is a secret room that not even
all the guests have access to. Inspired by the Secret Cabinet housed
in the Naples National Archaeological Museum, it is an updated approach
to reserving a separate area for people deemed of "mature age
and respected morale." While the excavated erotic finds of Pompeii
may have scandalized Victorian audiences, The Residence's secret space
(a.k.a. "Dungeon") ascribes to a more contemporary anxiety.
One must be initiated as a true member of The Residence to view it.
Membership is by natural selection. The rules of Guest selection exist
according to whim, fancy, and social networking, as they would for
any resident civilian. The party is an important element to the proceedings.
There is an element of risk and respect to each event.
The Residence's
first Verger's Cottage exhibition "Private Prop." introduced
the work of twenty-five artists to a packed house.
Some
of the artists have contributed these words in relation to their pieces:
RALPH
DOREY
"Ralph
Dorey is concerned with the formal Imperialist wonder of polarised
heroics. The work strains with Modernist Progress and clamorously
idolises Vladimir Tatlin, Elvis Presely and going over the falls in
an apple barrel."
CHRISTINA
GUNTER
"Personal
space is an emotionally charged zone and is often compared to a bubble;
these spaces play an important role in maintaining privacy. When invaded
it is particularly frightening because it violates the one place that
we think of as our sanctuary. The wallpaper acts as a safe yet idealistic
barrier used as a comforting device whilst viewing these beautifully
decorative yet disordered images."
STEPHEN
HARWOOD
From
stephenart-east.blogspot.com
"I was torn between painting myself as a child dressed as the
fourth Doctor Who, or as an aduIt, and decided in the end that the
picture would be stronger set in the present time. The picture holds
a lot for me, and having only just finished it last night, and having
had to deliver it today, I haven't had time to spend any time with
it. On the surface it's a picture about being an obsessive fan, but
I'm not actually a fan anymore especially, so perhaps it's about remembering
a fanaticism, having left it behind. Although the face is manic there's
a sadness too. I think it's also a picture about seeking solace in
a character, and attaching yourself to a hero to absorb bits of them
in an attempt to escape the trials of life.
Painting
the picture made me remember the descent down the dark stairs of the
BBC's 'Doctor Who Exhibition' in Blackpool, to the loud churning of
the seventies theme tune, feeling mildly terrified but not wanting
to show it.?
I remember once my Dad driving Paul and I all the way there specially
as a birthday treat or something but my brother being so hysterical
at the thought of entering that dark Tardis off the Golden Mile that
we couldn't go in. I was far too young to be allowed in on my own,
and I don't know where Mum was that day but there was no one to leave
him with so we had to come home again. It was probably days and weeks
before I forgave him... "
CARLTON SCOTT STURGILL
Sturgill's
work scratches the surface of suburban pretense, revealing how behavior
can dramatically change once the curtains are drawn and the webcam
is on. His mosaics, which are created using paint chip samples from
the all-American company Ralph Lauren, are based on images appropriated
from postings on swinger websites. Not only do they explore the private
demeanor of others, but they hold a mirror to our own confidential
desires as well.
Sturgill's work raises questions about how much we actually know about
our friends and neighbours, what secrets they possess, and how we
react when information slips beyond the private realm, making us the
keepers of knowledge that we were never supposed to have. More importantly,
it forces us to question why we find that knowledge so fascinating.
TASMAN
RICHARDSON & MICHAEL LANE (FAME FAME)
"America's
Funniest Death Rattle"
A collection
of video diaries taken from hacked American hard drives. The majority
of these were small files, made with extremely cheap, lo-fi recording
equipment. As a result they are heavily compressed and riddled with
artifacts, noise and audio hiccups.
They
also contain a candid portrait of the macho, pornographic, sadistic,
grotesque, vain, mediocre and bizarre. America, America, this is you
Declan
Rooney, Signs
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