Collage from material sourced during the working intervention "Superimposure and Adaptation of a Workspace" hosted in the reception area of UCA Canterbury.
Tuesday, 5 June 2012
Cultivation Field
8th - 22nd June 2012
3rd Floor, 42 Market Place, Reading, RG1 2DE
and
The Keep, 571 Oxford Road, Reading, RG30 1HL
Opening: 7th June 2012 17.00-19.00 at 42 Market Place and 19:00-21:00 at The Keep
Open hours: 8th June 12:00-16:00; 9th to 22nd June 12:00-18:00 (42 Market Place is closed on Tuesdays)
Third Thursday event on 21st June 18:00-21:30 at The Keep, presentations by Sarah Lewison, Alexandra MyGlynn and other to be announced
Cultivation Field explores plant and land cultivation through diverse art practices. Plant life could be considered a low-tech material, because it is vegetation, but in the second decade of the twenty-first century plant life is in constant production as part of consumerist high tech industry. Cultivation Field looks at the cracks in land cultivation systems, collective engagement within local communities, plant based objects and methods of production.
Included in this exhibition is a film work about Fritz Haeg’s Edible Estates project in New York. The film tells a historic story of land cultivation on Manhattan Island in relation to contemporary collective engagement with local communities. Brook & Black’s work Plot 16: the Fermenting Room; was developed for their Modern Art Oxford’s allotment residency at Rose Hill. Here brook & black grew hops on a frame that replicated MOA’s building, which was once a brewery. Adi Gelbart’s film Vermin is a vegetable sci-fi. Pil & Galia Kollectiv’s Asparagus: A Horticultural Ballet shows the moment when their dancers dressed as asparagus enter the park to contemplate 1950’s garden furniture. Sarah Lewison’s work with And, And, And on the Monsanto hearings is included in Documenta 13. Sarah Lewison will be talking presenting this work as part of Cultivation Field exhibition. A Rachael Champion installation will be in the grounds of The Keep’s garden. Caitlin Parker’s photographs are images taken at Chernobyl in 2007 where plant life has grown in formerly human occupied space. Julian Perry’s paintings of allotment sheds at Manor Gardens Allotments are reminders of the evictions that took place to make way for this year’s Olympic site.
Reading as a town was once a site of much plant cultivation. The company Sutton Seeds was started there in 1806. One of the exhibition venues is close to the area in which Sutton Seeds was situated until the 1960’s.
Participating artists: Robyn Appleton, Tom Baskeyfield, Shameela Beeloo, Rebecca Beinart, Camilla Berner, brook & black, Rob Carter, Rachael Champion, Andrew Dodds, Maria Deegan, Adi Gelbart, Fritz Haeg, Maria Hofstadler, Tom Ingate, Ulrika Jansson, Pil & Galia Kollectiv, Rosalie Kim, Gayle Chong Kwan, Sarah Lewison, Alexandra McGlynn, Stéphanie Nava, Raquel Estrada-Nora, Phil Newcombe, Francesca Owen, Caitlin Parker, Julian Perry, Minna Pöllänen, Janette Porter, Sneha Solanki, Stih & Schnock, Jo Thomas, Carly Troncale, Charlie Tweed, Jane Cradock-Watson, Elizabeth Wewiora
Cultivation Field is curated by Kate Corder who is a practise based PhD candidate in the Art Department at University of Reading. The exhibition follows on from the Cultivation Field Postgraduate Symposium that took place in September 2011, also organised by Kate Corder.
The Cultivation Field exhibition is support by Arts Council England and the Earley Charity, Reading. Additional support comes from the Art Department at the University of Reading, The Jelly, Open hand Open Space, Office for Contemporary Art Norway, Sutton Seeds and Laura’s Organics.
Cultivation Field
Kate Corder
cultivationfield@gmail.com
www.cultivationfield.org
Monday, 4 June 2012
Fingal's Cave, Staffa. Walking on black stone.
Fingal's Cave, Staffa. Walking on black stone.
In Defence of Sensuality : John Cowper Powys 1930.
Foreword.
The author feels that perhaps some explanation is due to the reader for the rather unusual employment of the word "Sensuality" which serves as the title of this work. The advantage given to the author by the use of this particular expression is that it enables him to proceed from rock-bottom upwards as far as he likes. A more refined title would have cut him off, in his method of developing his idea, from the physical roots of existence; for while it is easy to indicate the overtones and undertones of Sensuality it would be hard to bring a gentle, vague word, like the word "sensuousness" down to the bare, stark, stoically-stripped Life-Sensation which is the subject of this book.
J.C.P.
Dedicated to the memory of that great
and much-abused man
Jean-Jacques Rousseau
Saturday, 2 June 2012
Immateriality in the "process" : Working in the Granary.
Digital image of studio space with work in progress (Panspermia).
Space for Peace (viola and flute) 2012.
Pierced drawing marking the placement and movement of people during the "Space for Peace" event hosted in Winchester Cathedral.
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