Last Wednesday Gasket had the opportunity to curate an exhibition for a private event held at a prestigious architectural firm within the City. Installed for a single night only, Gasket’s role was to select and curate a group of artists whose work reflected the event theme of ‘Momentum.’ Celebrating a key moment in both the firm’s history and future, the exhibition provided an opportunity for the client to show their commitment and collaboration with other creative fields and their willingness to take inspiration from many sources

‘As part of our celebrations tonight, we have curated a photography exhibition featuring some of London’s most exciting photographers. Each has been challenged to capture the concept of momentum in our cities—and each has done so in a way that speaks to the urban issues and challenges we grapple with every day in our work.’ 
(From the event programme)

Momentum – curated by Gasket

Momentum – curated by Gasket

Momentum – curated by Gasket

The work chosen for the event reflected a diverse range of subjects from artists with very different positions and visions. Drawn from Gasket members themselves, previously exhibited artists and new work, the exhibition looked at the concept of Momentum from the perspective of a city’s inhabitants, the way people inhabit space and the way they move through it.

Michael Frank exhibited work from his project 23/05/2007

For the first time in mankind’s history, more people live in cities than outside, nearly 3.3 billion clustering on only 3% of global surface. This body of work gives us a unique insight of the everyday “mask” we put on while exposed to the gaze of others.

Michael Frank at Momentum – curated by Gasket

Michael Frank at Momentum – curated by Gasket

A selection of work from Nora Alissa’s Epiphamania provides an exploration of cultural momentum within the diversity of modern cities

Nora Alissa at Momentum – curated by Gasket

David Kendall exhibited Gone but Not Forgotten, an exploration of movement in cities over time, its connections with transport and flow elegantly reflecting the theme of the event.

David Kendall at Momentum – curated by Gasket

The beautiful work of artist and photographer Diego Ferrari captures a frozen moment where nature, architecture and the body are all held in balance. We Are Water juxtaposes the fluidity of water against the geometry of the built form, articulating their unique characters and our relationships to them.

Diego Ferrari at Momentum – curated by Gasket

The exhibition fittingly concluded with Johannes Rigal’s Nightworkers. Exploring the lives of those who work to a different timetable than the majority, Rigal’s work provides a window into an often unseen process and nightly rhythms, vital to the smooth running of our cities

Johannes Rigal at Momentum – curated by Gasket

We have been delighted with the response to both the event and the work, and greatly value opportunities where we get to present artists and projects of such quality to a new audience.

We hope to continue to explore opportunities for presenting photography in exciting, alternative locations and would welcome any enquiries if you have an event or venue in mind. For further enquiries please contact us here

The fields of photography and sociology seem to be enjoying a growing awareness of the ways in which they can both enrich and strengthen one other. This is typified by the wide range of events that are appearing within the academic and arts landscape, events which are bringing together practitioners from diverse backgrounds but with a shared interest in exploring and representing the changing world around them.

One such event is the upcoming Uncanny Landscapes, organised by organised by researchers from Royal Holloway, University of London, and supported by Landscape Surgery (RHUL) and the Centre for Creative Collaboration.

Uncanny Landscape

‘Uncanny landscapes is a week long series of events consisting of workshops, symposiums, a conference and exhibition, bringing together artists and academics whose work addresses the ambiguity between subject, object and landscape relations.’

4th-8th March 2013
The Centre for Creative Collaboration
16 Acton Street,
London,
WC1X 9NG

The event opens on Monday 4th of March with an exhibition and afternoon of artist talks featuring Mariela Cvetic, Niklas Fanelsa, Rachel Sarah Jones, David Kendall, Phil Legard, Ben Murphy, Sarah Sparkes and Annie Stogdale.

Following the opening event will be a series of workshops and conference sessions the programme of which can be found here. Entry to events is free but registration is recommended as numbers are limited.  The organisers can be contacted at uncannylandscapes@gmail.com for any additional enquiries.

Firstly a huge thank you to all who came our inaugural exhibition last month. We were proud to be able to put together such a strong collection of artists and were gratified both by how many of you came to see it and the positive feedback we received. We’ll post more in the coming weeks about the response to the exhibition and also future plans for both Gasket and the Adrift exhibition.

As those of you who came to the exhibition will know, part of our commitment to the work and artists was the creation of a series of books to accompany the show. Rather than the more traditional group catalogue, Gasket decided to create a small publication for each artist. In some cases this allowed the artists to present additional work to that which was exhibited, in others it provided a chance for them to include essays or responses from other artists to enrich their projects.

The Velvet Cell – Adrift Publications

In creating these publications, Gasket had the pleasure of working with London-based independent publishing house, The Velvet Cell. We hope to host a post from The Velvet Cell here in the future which talks about their work and process, but we’re grateful for their collaboration in the creation of what we feel are a beautiful set of stand alone publications.

As we hope those who have seen them can attest, the quality of paper and printing of the publications is excellent and you can preview a number of pages from each of the publications via The Velvet Cell.

We’re delighted to be able to announce that the publications are now available for purchase from The Velvet Cell individually for £7 each or as a set of 10 for £50. These can be posted to locations both here in the UK and the rest of the world.

We hope that you take the chance to collect what will be a limited run of these publications as either a reminder of the exhibition or as an introduction to the work of an exceptional group of artists.

On Monday evening, Gasket were proud to host an amazing opening event which we hope did justice to the exceptional quality of work produced by the exhibiting artists. Held at Shop 14 in the Old Truman Brewery, the exhibition will run until Sunday 14th October and is part of Urban Photo Fest and Photomonth 2012

We’d like to extend our thanks to all of you who came along to the event, especially the artists, some of whom travelled great distances to enjoy the evening with us. We’d also like to thank the many people who gave up their time to help us both set-up and run the event on the night.

Reviews of the exhibition have already started appearing and we’ll share them with you as they are published.

In the coming days, we’ll also introduce the artist publications produced in conjunction with the exhibition, by ourselves and the talented Velvet Cell. We’ve already had an amazing response to the books which are currently for sale from the exhibition at Shop 14 and will continue to be sold by Velvet Cell after the conclusion of the exhibition.

Gasket are delighted to be working with Claire Levy who’s produced the film of the event with music by Vincent Dalschaert.

*Please note that the panel discussion scheduled for Wednesday 10th Oct at 7pm has had to be cancelled. The Adrift exhibition continues until Sunday 14th October and will open from 11 – 7pm Wednesday to Saturday and on Sunday from 11 – 3pm*

*UPDATE 09/10/12* Unfortunately due to unforeseen circumstances the Panel discussion that Shaun was to be a part of has been cancelled

We’re very disappointed not to be able to bring you this event and we hope to re-schedule the presentation and discussion for a future date

Shaun’s work is very much part of what the Adrift exhibition represents and we hope you’ll explore his writing and workshops further 

Making photography part of a wider discussion with other creative and academic fields is something that’s always been integral to Gasket’s aims, and it’s in this spirit that we approached the writer and teacher, Shaun Levin, to be part of our discussion.

‘Shaun Levin is the author of Seven Sweet Things, A Year of Two Summers, and Snapshots of the Boy. His most recent work is a fictional biography of the London-born painter, Mark Gertler. He has taught writing for twenty years, and run workshops in cafes, art galleries, bookshops, parks, a cemetery, and a zoo. Shaun is passionate about exploring the landscape, the sea, the urban environment, as well as other art forms to enrich our stories and take writing to new and unexpected places. He has lived in London for the past fifteen years and has made the city an integral and important part of his work.’

Seven Sweet Things. Shaun Levin.

Shaun’s practice and relationship to people and the city offers a chance to explore ideas about the how we use and view public space, and how it becomes part of both of visual and written culture.

You can see Shaun’s published work here, or join him on one of his fascinating workshops exploring writing and the city.

In support of our exhibition Adrift, we’re asking our exhibiting artists four questions to help you get to know a bit about them and their work.

Gesche Würfel is a German visual artist who currently lives and works in New York City, NY. She received her BSc.+MSc. in Urban Planning from the University of Dortmund, Germany, and her M.A. in Photography and Urban Cultures from Goldsmiths, University of London, UK.

Her work has been exhibited nationally and internationally. In 2007, Würfel was selected as one of the Bloomberg New Contemporaries showcasing the best emerging talent from UK art schools. Some of her recent exhibitions include solo shows at Wolk Gallery, Massachusetts Institute of Technology (MIT), Cambridge, MA; Civilian Art Projects, Washington, DC; Goldsmiths, University of London, UK; Underground Gallery, London and Field Projects, NYC . Her work has been shown among others in group shows at Tate Modern, [space], Photofusion, all in London, UK; The New Art Gallery Walsall, Walsall, UK; Cornerhouse, Manchester, UK; Kokerei Zollverein, Essen, Germany; Curator’s Office, Washington, DC; and THE FENCE at PHOTOVILLE, New York. Her work is included in the MIT Museum’s Collection, along with many private collections in Germany, Italy, the United Kingdom, and the United States. (bio from forthcoming Gasket and The Velvet Cell publication)

What can a photo do that other representations can’t? What is it that made you choose photography over other media as a way of communicating?

When I started with photography I never considered another medium. It seemed so natural. I like to observe spaces and others, and I like to tell a story with a few photos. The viewer needs to use her or his imagination. Compared to film photography leaves many more gaps for the viewer to fill in. I have worked a bit with film but I found that it created a level of detail that I didn’t feel comfortable with. I don’t like pinpointing every aspect of my work. Now I would like to explore other media like (traditional) printmaking in order to create more abstract images.

Olympic Village 3. Gesche Würfel.

What’s the first thing you remember photographing and why did you choose it as your subject?

I remember photographing my family and friends when I was young as they were the available subjects at that time. I first used my parents camera before I was given my own simple camera when I was about 12 years old. During my teenage years I was mainly interested in photographing people before I started to focus on spaces at a later age.

How does your photographic process work, where do you start? Is it with a theory or idea, or is it driven by aesthetics or a desire to use a certain technique or piece of equipment?

It depends. Sometimes it begins with an idea which I explore through further research before I start to photograph. Sometimes I see something aesthetically inspiring and take photos right away. ’Go for Gold!’ started out as as idea to photograph the future Olympic site for my MA final visual project. With ’Go for Gold!’ I wanted to explore how the 2012 Games contribute to the massive social and geographical transformation of the Lower LeaValley landscape. I took lots of photos, did a lot of research and had conversations with my teachers and class mates, all which helped me to develop the project. I was so inspired by the area that after having submitted the final visual project I decided to continue ’Go for Gold!’ as a long-term project so that I would be able to document the changes in the Lower Lea Valley over time. I have returned to some of the venues during the Paralympic Games, and my intention is to return to the sport venues again in 2016.

Sevice Area 1. Gesche Würfel.

Have you found photography to be an effective research tool? Has it uncovered ideas which have changed the path of your thinking?

Yes.

What’s your favourite f-stop?

That depends on the image but f16 is quite a favourite one.

More of Gesche’s work and writing can be found via the following links

www.geschewuerfel.com

@gewuerfel

Facebook

In support of our exhibition Adrift, we’re asking our exhibiting artists four questions to help you get to know a bit about them and their work.

‘Paul Smith is Course Leader in Photography at Amersham and Wycombe College in Buckinghamshire. He studied for an MA in Photography at Goldsmiths College (MA in Photography and Urban Cultures), a BA (Hons) Fine Art Photomedia at Central Saint Martins and is now studying for a PhD at University of Nottingham researching the British approach to American suburban landscape (focusing on the New Topographics). His weork has been published in several Scottish magazines following a project set in Sighthill (The Soda Waste), Glasgow and at The Exit Gallery, London focusing on European landscape photography.’ (via Photoworks)

What can a photo do that other representations can’t? What is it that made you choose photography over other media as a way of communicating?

Where photography differs from other representations is in it’s ability to describe and represent both the point in time the shutter was released and the slice of reality captured within the image. Photography does this with an aptitude on both an aesthetic and descriptive level. It is this that I believe separates photography from other representations. My choice in using photography over other medias is two way.  Firstly, I enjoyed photography as a technique and how it works in various locations and under differing times and light sources. Secondly, photography has a way of capturing and storing a reality which I could return to and deliberate over at a later date. This, I believe, keeps me coming back for more.

Paul Smith. The Way Ahead.

What’s the first thing you remember photographing and why did you choose it as your subject?

The first photograph I can remember taking was with a fellow BTEC student at night on a foot bridge over a motorway. We were both studying photography in Rochester, Kent and decided to photograph each other. It was our first photography shoot and I wanted to experiment with long shutter speeds. We found ourselves without a tripod or a flash. The results were interesting.

How does your photographic process work, where do you start? Is it with a theory or idea, or is it driven by aesthetics or a desire to use a certain technique or piece of equipment?

The first process, for me, is definitely with an idea. After the idea I research. I start to research the history of the location and form an idea in my mind about a working title. I find through reading theoretical books of photography and researching the work of local artists gives me a better understanding of the place I wish to document. The concept and methodology will follow the initial ideas stage and from this the practical landscape work will follow. Only occasionally will I photograph a place and know nothing of the people, culture or landscape. With the consistent objectivity in my work, the equipment, which includes a Mamiya 7, tripod and spirit level, always seems to follow on behind.

Paul Smith. The Way Ahead.

Have you found photography to be an effective research tool? Has it uncovered ideas which have changed the path of your thinking?

For me the photograph is the final outcome. Research can inform my photography and influence my technique but the final result is the photograph. Through researching the work of other photographers (e.g.  Robert Adams, William Christenberry, Joe Deal) my approach can be strengthened and technique fixed.

What’s your favourite f-stop?

It has to be f64.

Paul’s website is currently under development however some of his work can be seen on the Photoworks website.

In support of our exhibition Adrift, we’re asking our exhibiting artists four questions to help you get to know a bit about them and their work.

Lene Hald works with visual ethnography and visual communication. Her photographic work explores the meeting between social research and narrative art and adresses issues of fashion, feminism and the phenomenon of trend research.
Lene’s work focuses on both a theoretical and art based practice. She studied for an MA in Photography at Goldsmiths, University of London (MA in Photography and Urban Cultures) and also holds an MA in Visual Communication from The Royal Danish Academy of Fine Arts – The School of Design, where she from 2013 will be studying for a PhD that explores how fashion studies and visual methods can be used as tools to understand, reflect and communicate issues of youth culture and identity construction. The PhD is made in collaboration with KEA Copenhagen School of Design and Technology. 

What can a photo do that other representations can’t? What is it that made you choose photography over other media as a way of communicating?

To me photography is a unique way of understanding and exploring the world. It is also a very immediate way of giving response to a creative need. Photographing is a way of documenting, but it also a way of symbolically representing emotional experiences in that way photography is a way of representing the world in a language, which is more immediate and tactile than words and numbers. I also really like the interaction that takes place with the people I photograph. Photographing may be a way of objectifying, however it is also an effective way of showing how we are all different yet very similar and interconnected. Portraiture is for me a way of seeking out these similarities.

To (Un)Veil and Envision. Lene Hald

What’s the first thing you remember photographing and why did you choose it as your subject?

I have always been drawn to photographing people. I am interested in how people present themselves visually and how this is linked to universal as well as personal stories. Most of my projects have been focusing on the sociology of fashion. How people communicate through clothing and how fashion constitute a primary symbol in the construction of our identities. I am genuinely interested in the lived experience of those that I photograph; their narratives, dreams, and longings and I guess that is part of the reason I have been working with ways to integrate statements from those I photograph in my work. I have also been using participatory visual methods, meaning that I have been inviting those that I photograph to supplement my visual work with their own photographs or drawings.

How does your photographic process work, where do you start? Is it with a theory or idea, or is it driven by aesthetics or a desire to use a certain technique or piece of equipment?

It is quite different depending on the project. However, I often start out by having an interest in a give cultural phenomenon, a group of people or person and their way of life. Photographing is my pass to enter a world else not accessible and a way of documenting and symbolically represent my experience.

To (Un)Veil and Envision. Lene Hald

Have you found photography to be an effective research tool? Has it uncovered ideas, which have changed the path of your thinking?

Most definitely. I am soon starting up a PhD project on visual methods, sociology and fashion studies (a collaboration between KEA-Copenhagen School of Design and Technology and The Royal Danish Academy of Fine Arts – The School of Design). I am very excited about that. I believe that photography is an important way to add another level of representation to a research project. It is also a potentially strong way to address socio-cultural issues and themes of race, class, exclusion and empowerment. In a photograph you are able to encode an enormous amount of information, as well as symbolically reflect themes and concepts. In my research project I will be investigating how fashion studies and visual methods can be used as tools to understand, reflect and communicate issues of youth culture and identity construction.

What’s your favourite fstop?

I do not really have a favourite fstop.

http://lenehald.com/

Johannes Rigal questions curation, exhibition and audience and gives some insight into how Adrift was put together.

Question for an Exhibition

Our exhibition Adrift will open on 9 October 2012. A photographic group exhibition raises questions that have to be addressed by curatorial theory and put into practice. These questions are diverse and manifold, however they are essential for its success:

What do you want to show us?

This question is certainly the essential one for any kind of material that is being made public. Adrift aims to present photographic work and through this, contemporary views on visual / photographic practice. It is important that the work shown in an exhibition is significant, visually attractive and connected to a deeper understanding of the world, society and processes that have an impact on life.

A group exhibition does what its name suggests: show work by individual artists framed first and foremost by the physical limitations of the gallery space. This space has to be viewed as  an empty canvas – the concept of the “white cube” is in this case certainly suitable – and it will be filled by these individuals imaginations and creativity. If the curator is in the lucky position that the bodies of work can stand alone then it is considerably easier to fill the space with exciting visual material.

The artists in Adrift fulfil this preliminary requirement: with an enormous technical quality of their work that serves the viewer’s pleasure of visual experience.

Block of Flats 02. Isidro Ramirez. Image courtesy Of Troika Editions.

How do you present 10 stances of photography?

Once it is established that the pure visual experience is served, one might come to the conclusion very quickly that this is not enough for an exhibition to “work”. Adrift presents 10 very different and diverse bodies of work. They are done digitally, on film, in large format, medium format and small format. The bodies of work will be printed in different formats and each will consists of a different number of single images.

There are a series of options to present these 10 stances / perspectives / bodies of work.

First, the work could be presented and connected within the gallery due to themes. Similar themes and topics can be put next to each other in the space. If there are two bodies of work concerned with social exclusion or urban segregation, etc. they can be put “on the wall” next to each other to present the audience with the opportunity to view them as perspectives on a this theme. The visual aspect of the works would then be predominantly important in the distinction of them and what the viewer would regard as significant in distinguishing them. The visual can be emphasized through this.

Possibly a more exciting way to connect bodies of work is through different / contrasting themes or points of view on the same theme. This will inevitably create tension and atmosphere within the space. Nevertheless it might contribute to confuse the audience. If confusion is not an objective that the curator wants to achieve then this has to be handled carefully.

Second, the work could be connected through purely visual aspects and facets. Colour might play an important role here or the use of a certain technique. This can prove to be a highly successful way to guide the audience through the space and therefore through the collected work. However, anything going further than these visual aspects could be lost along this way of putting together an exhibition.

Thirdly (and certainly not last nor least), an exhibition can tell a story and the big question is, if (especially) a group exhibition shouldn’t aim to tell a story. Think of the exhibition as a book with 10 different chapters where the chapters can be read individually but the full experience will only come from reading them all and viewing them all together. To achieve this kind of story telling is probably one of the hardest tasks for the curator. What is also to be kept in mind is that the curator will / has to / should / can pursue his or her vision. But this vision should ultimately not be self-serving but rather serve the artist, the exhibition and therefore the audience. This third point leads to the next question:

Gone but Not Forgotten. David Kendall.

What do you want to tell us?

Is there something bigger behind the exhibition apart from presenting work? Other than presenting art? Is there something that the collective body of work will show us? Will it take us deeper into a matter, a state of mind, an issue of importance?

The subtitle of Adrift (The Unfamiliar Familiar in Modern Society) tells us that there is something deeper connecting and relating to the work. The individual viewer will have his or her own experience of this by visiting the exhibition. The viewer will be amazed by the quality of the work, will be taken to different places, will be challenged. The audience will leave the exhibition with a feeling of fulfilment and excitement. With answers and questions.

This is the aim of the exhibition.

Thames Town. Haarala Hamilton

Who is your audience?

Who do you want to attract? Is there a limited audience or is what you are showing accessible to everyone and anyone?

The mentioned concept of the gallery space as “white cube” brings certain problems with it. By definition it is sterile, it is clean and full of prohibitions for the audience and it is a geometric form – a cube with borders, physical limitations and a shape that has to be penetrated. The entrance is usually hard and has to be overcome physically as well as mentally. The gallery can be something intimidating, something you might not want to enter if you have to use a buzzer, if the door is locked and you have to knock, if there are security guards and bouncers.

Art should be accessible – the gallery should be accessible as well. To everyone and anyone. If the art work is visible to the “outside world” then it should attract audience. If it attracts audience there cannot be any obstacles for the viewer to enter and experience.

The audience is everyone. Everyone excited by visual work, by photography, by experiencing something new.

Exhibition Details

Adrift – The Unfamiliar Familiar in Modern Society

9th to 14th October, 12pm to 5pm

Shop 14, Old Truman Brewery, 91 Brick Lane, E1 6QL

Private view Monday 8th October, 6.30pm RSVP info@gasket-gallery.com

A reminder that Shop 14 is part of the large Sunday UpMarket complex and is most easily accessed off Hanbury St.

Shop 14 itself is located near the corner of Hanbury St and Wilkes St

View Larger Map

Panel Discussion

Where Did Everybody Go? – Panel Discussion to Accompany Adrift

*UPDATE 09/10/12* Unfortunately due to unforeseen circumstances the Panel discussion has been cancelled

We’re very disappointed not to be able to bring you this event and we hope to re-schedule the presentation and discussion for a future date

See all the posts related to the exhibition here.