International Postcard Show: Set Up

We're nearly ready.

Here at Surface Gallery we are buzzing away painting, sweeping, mopping, curating, folding, hammering, nailing, sanding, typing, photographing, organising and, of course, drinking copious amounts of tea in order to get the International Postcard Show all set up and ready to go for opening night which is this Friday 13th at 6pm.

The International Postcard Show 2017 features over 460 unique pieces of art from artists all over the world. From over the road in Sneinton, Nottingham to the other side of the planet in Western Australia to just over the channel in the Netherlands. 

Opening night will be an opportunity to grab a beer or a glass of wine, chat with artists and other locals whilst perusing these fabulous mini-masterpieces. Some of these mini-masterpieces are for sale and would make fantastic gifts or the start of a budding art collection!

We look forward to seeing you!

 

 A tweet treat

A tweet treat

 Beginning to curate the postcards

Beginning to curate the postcards

 Applying the finishing touches

Applying the finishing touches

 Getting all those shelves up.

Getting all those shelves up.

 Rows upon rows of mini-masterpieces.

Rows upon rows of mini-masterpieces.

Written by Dominique Mitchell (Writer in Residence)

Transpattern: A Reading by Rezső Jarmalov

During the opening for Miklós Ladányi-Tóth's exhibition, Transpattern, we were fortunate to hear a reading by Rezso Jarmalov. The reading was from a text that was specially written for the occasion by art historian, Professor Tamas Aknai. For those of you that where otherwise occupied with EM16: Pulse in the main gallery, and didn't quite make the long journey up to our third-floor Project Space in time for the reading, and for those that didn't attend the opening, but wish you had, we have decided to make Professor Aknai's text available here. For those of you that did hear the reading, it's worth revisiting.

Transpattern

The genesis of or otherwise the absence of experiences principally determines our senses related to our apprehended, encountered or contemplated realities. There are people who say that observation is the grounds of everything. However, expressing these experiences is a lot more serious action to do, and so is seeking the position and formation of experiences among our manifestations that can be communicated as messages. Turning more convoluted logical and conceptual speculations into illustrated forms has been the artists’ task up to now, succinctly and acutely, in an instance, as an efficacious source of experiences. Miklós Ladányi-Tóth is the doctor of arts. As an expert, he is capable of performing analysis and of contemplating things and making reasonable decisions; he is the least satisfied by the preclusive consideration of incentives springing from the guts. The two major pillars of his exhibitions are the act of leaving and of drifting apart, and venues colored by civilization, and the experience of cultural swap intertwined with moral motifs, as well as finding and selecting visual signs and methods of formation of personal genuine efficient for convoluted understandings described just above, and their arrangement into tangible values. He also composed writings that chronicle this exhibition itself, a multi-storey and functionally layered structure resting on two pillars. For the sake of perfection, temper and spirit, to which experiences root, must also be referred to. Whenever doing so, our message will inevitably entail some political implications. Namely, this exhibition is not only an enterprise to convey the aesthetics of recognitions concerning independent visual forms, but also to focus on the most relevant matters of Miklós Ladányi-Tóth’s personal life, including his option to have a family, and moving to the UK with his wife and getting a job there, including that, by becoming part of social processes typical of the globe, their most sensitive problem is now migration of critical importance that concerns everyone these days. Changes occurring in existence: Miklós Ladányi-Tóth’s works performed in the most recent years have become distantly retrospective tokens in this respect most interestingly. Objects that of course evolve into artistic creations wear the gowns of poetic narrative. Punctured, old suitcases lit from the inside; punctured and ragged maps: objects used for the purpose of orientation and the mobilization of personal belongings. Being punctured, their aesthetic function is highlighted primarily, and furthermore they impart the symbolic communiqué of the disposal of consistency. Maps of Hungry that remind us of football pitches refer to the feverous wave of football stadium construction projects of megalomaniac nature according to Miklós Ladányi-Tóth’s concept. As to the pattern of these maps, he conceptualized iconographical data from the logos of political parties that have been elected to the Hungarian Parliament since the profound political changes in 1989. He would never deny that the baseline of his exhibition narrates the current political situation in Hungary, more specifically the perplexing cases of taking up careers abroad that count hundreds of thousands today. This, on the one hand, is compelling and, on the other hand, liberating to him as well. In his writings, Miklós Ladányi-Tóth unambiguously undertakes the direct forms of political debate and he sets his razor-sharp points of view, many of which contributed to their migration to the UK. He creates “not by the aid of documents, photographs or archives, but rather of patterns (laces, embroidery) that visually recall the elements of fairy tales …” Wooing intellectuals who cannot be connected to the fate of the country and nation in a way that would be satisfactory to them on the other side (and I am writing this on “the other side”) and have been released as the symbolization of the European ideology of freedom is the unconditional boon of the receiving society. Here, i.e. in Hungary, one is not able to judge whether particular interest that operates such decisions has ever been satisfactory, or uncompromising, and if yes, in what way. Anyhow, Miklós Ladányi-Tóth exerts efforts to propagate “his Hungarian qualities” toward the British frame of mind in a brand new intellectual milieu and in the “consuming market” of artistic visual conventions that are progressive and mysterious in a different way, not to mention their character that is also different from ours. The darkening of critical nature connected with the texture of retrospect has become an unconditionally accompanying motif of this artistic operation. By the entry of political motifs, this has become inevitable, because change itself would partly become unintelligible, if the attractive and rainbow-like jewels remain to exist. It is interesting to see how radical transfers of meaning take place in the case of Ladányi-Tóth’s particular creations which a few years ago would have been judged as warning symbols close enough to the threshold of shoddiness. It is impossible to judge from here, i.e. Hungary, what ratio of the commixture of the similar (“part of that”) and “other” (“not part of that”) is necessary for acceptance under the circumstances of the British visual culture. As his fellow artists, we can only wish that the conscious transformation of Hungarian genuine will be successful and that the universal values in Ladányi-Tóth’s pieces will be good enough to arouse and to reserve British interest.

Tamás Aknai

EM16: Pulse 4

The project space has begun to empty as our resident artists move their work downstairs and take over the main gallery space. There’s a monster in the middle of the room, black drapes dancing from the rigging and a lace table, that isn’t quite a table, by the stairs… It’s hard to believe that all this has been created in only four weeks. It's harder to believe we're almost at the end of those four weeks! Our artists have shown nothing but dedication and love for their work but it’s not just their exhibited work; they’ve done their own press release, designed their own catalogue and really taken every opportunity to make this their show. At Surface, it’s been a pleasure to watch their work grow and to help in whatever ways we could. I think they can also feel very safe in the knowledge they have some huge fans in all of us (especially me, I can never stop gushing after each interview how excited I am for opening night).  It comes back to what Jane and I talked about, Surface very quickly becomes your home and I think we quickly take in our artists are part of our Surface family.

So what’s next? Well, opening night is the 4th November 6-9pm and we would absolutely love to see everyone there. It’s a celebration of learning, a celebration of growth and just looking at some interesting art. Plus, we have some cracking local beers and I don’t think there’s a much more satisfying Friday night than wandering around Surface with a Roaring Meg. 

After that we have an artist talk and tour on the 12th November at 2pm where you can follow after the artists and ask everything you didn’t get to read in our interviews. You can engage with their work and question their motivations or you can find out their favourite flavour of crisps.

There’s a whole two weeks to explore and enjoy their art and then you can always keep up with them online

Tracey King - traceyking.com / Uta Feinstein uta-feinstein.com /

  Jane Smith janerosesmith.wordpress.com / Tayler Fisher taylerfisher.com

Connie Liebschner  connieliebschner.com / Dave Dent davedentartist.com

Miriam Bean miriambean.comEllysia Bugler ellysiabugler.com

Written by Lucinda Martin for Surface Gallery

Images by Gavin 'Urban Shutterbug' Conwill

EM:16 Pulse

It’s one of the most exciting times of year at the gallery, not only is Halloween just around the corner but the East Midlands Graduate Programme is finally beginning its residency. Our eight resident artists have been chosen for offering a style and project our committee was genuinely excited to showcase; and this year our artists cover a wide variety of mediums and influences so it promises to be a varied and exciting show. There’s something incredibly special about the first project created after graduation when you are beginning to label yourself as an artist without the adage of ‘student’. We’re excited to be part of this transition and hope you are as well.

     Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

   Connie Liebschner, Uta Feinstein, Jane Smith, Dave Dent, Tracey King, Ellysia Bugler, Tayler Fisher, Miriam Bean

Our first planning meeting, this Monday, was the first time we’ve all met in one big group; this could be an incredibly awkward experience with lots of drawn out introductions and ‘ummm’s but everyone’s instantly bonded. We’re all there for the same reason, to create something great. and besides, we don’t have time for nerves, there’s too much to do.

                       The Group Discussing Ideas

                      The Group Discussing Ideas

Our main aim this week is to discuss flyers and names - how the group want to brand themselves and present their debut. The recurring idea is that the design, and name, needs to say ‘Artist’ not Art Student’. The name settled on is Pulse, and the flyer, well, you’ll have to keep an eye out for that.

This week, the group was happy to meet with John Mitchell, of WiT Partnerships, who is conducting an independent evaluation for Surface to follow the residency; it plans to see what the artists hope to gain from the residency, what their plans are and then will reflect back on this once the exhibition has actually begun. John describes it as “more about learning than evaluation,” and it promises to teach us at Surface as much as it does the artists.

Next week, the artists will be having their critique sessions, which was mentioned in our October newsletter. Local artists will be meeting with the graduates, based on their experiences for individual critique sessions, as well as a group critique. Look forwards to reading more about this next Wednesday, when we look back on what’s happening and how the group are feeling for their sessions.

                                                        The Artists known as Pulse            

                                                       The Artists known as Pulse            

This Saturday kicks off our first EM16 workshops, the ‘Noisemaker Workshop’ led by Miriam Bean and ‘Engaging the Senses’ with Ellysia Bugler. I’ll also be publishing some interviews with them on Sunday so make sure to check back and find out how it went!

Written by Lucinda Martin for Surface Gallery

Images by Gavin ‘Urban Shutterbug’ Conwill