CRATE Projects

Lizzy Rose: ARRANGEMENT

17 March - 2 April 2017
Preview: Friday 17 March 6 -8pm
Open: Wed - Sun 12 - 4pm

Public Workshop
venue and time tbc

A layer of living moss forms an indoor landscape in Lizzy Rose’s new audio-visual installation at CRATE.
Incorporating video, sound, hand-made objects and manipulated plant-life, the work explores landscape, form, nostalgia and the pursuit of knowledge between cultures.

Lizzy Rose visited Japan in 2016 to research a form of floristry called Ikebana which has been practised for over 600 years. Rose's interest lies in the hidden culture surrounding this art form, which she examines by drawing parallels between The Art of Flower Arranging, a book produced in the 1950's, and the classes held today in Tokyo by the Ohara School of Ikebana for International students.

The Art of Flower Arranging by Ishimoto is a instructional guide on how to use the simplified principles of Ikebana to decorate your home. Ishimoto encourages the user to observe nature and landscape. Pure Ikebana is more precise, combining geometry and natural forms; the wildness of nature meeting rational aesthetics. By replicating landscape it aims to create a transformative space that evokes the sublime, which is described as a kind of spirituality, or sacred place.

Alongside the exhibition there will be an opportunity to take part in a workshop creating your arrangement from nature. This will be a free workshop. Time and venue to be confirmed. The exhibition was funded by the Arts Council, The Great Britain Saskawa Foundation and CRATE.

About the artist:
Lizzy Rose (b. 1988) is a British artist who lives and works in Margate. Her work explores community, British identity and hidden culture. She has a severe form of Crohns disease. She studied at Central Saint Martins' School of Art and Design. Lizzy Rose was part of artist-led space, LIMBO in Margate from 2012-15 and now is part of the programming team at CRATE.

lizzyrose.co.uk

#arrangementmargate

East Anglia Records: ON TOUR

Sunday 18 December, 2016, 4 - 7pm

East Anglia Records on tour begins with a set at CRATE.

Six East Anglia Records in-house label artists will perform their latest compositions on the evening of Sunday 18th December.

eastangliarecords.com

Harry Chapman: DOUBLE PARALLEL

Wednesday 23 November 2016, 5-9pm

CRATE is pleased to present a new work by artist Harry Chapman to kick-off a series of related events that fall somewhere between offering a methodology and means to re-think the positivised 'full-presence' of the performing body, especially when our current social life is being put to work constantly without value.

Double Parallel is a looped projection work predicated on the axiomatic function of moving-image – being both recorded and played back at the same speed. The material of the work is therefore its composition, rather than the time and space which passes for its content.

As a principle or score, Double Parallel maintains a paradoxical relation to the site at CRATE - in which it is both autonomous and contingent on any given future realisation.

To the extent that this work is concerned with an immediate relation between its realisation and its exhibition, its material is synonymous with that of performance; with the difference that it consists entirely of its own documentation.

About the artist:
Since graduating in July 2012 Harry Chapman (b. 1988, graduated Central Saint Martins (BA Fine Art, 4D)) has worked on an independent basis between London and Europe. Whilst studying, the principal form of his work was performance - concerned in particular with non-mediated processes and simultaneity. During the time since graduating Chapman has realised a number of pieces of work on digital video, recorded directly to tape and played back from tape - as well as exhibiting some of his work at an independent space in central London (a.m., 10 Copperfield St.l, SE1 0EL). There is a direct (as opposed to implicit or biographical) relation between Chapman's earlier work in performance, the work on digital video tape, and more recent work made in relation to a score – as at CRATE.

DELUXE FUN LOUNGE: PARADISE 2016

Clarissa Beveridge, Melisa Erol, Ryan Miles & Sophie Taylor

Open Evening: Friday 11 November, 2016. 6–9pm
Open Studio: Saturday 12 - Sunday 13 November. 12-4pm

Deluxe Fun Lounge: Paradise 2016 is opening to the public, presenting both complete and in-progress work.
Taking place at the end of Crate's Graduate Platform Award, the Lounge seeks to develop conversations and discussions concerning each of the graduate’s practices, and is an exciting opportunity for the viewer to participate in their work. The Lounge is a communal space that embraces collaboration, engagement and participation.

For the Open Studio, visitors are invited to engage with the artist’s practices and processes. Having formed a relaxed and informal environment to aid the generation of their work, the artists have considered how the viewer engages with the space. With no blank white walls, the lounge is a working space crammed with tables, sculptures, films, lamps paintings, desks, drawings, rugs, music and chairs.

facebook.com/ClarissaBeveridgeArtist
facebook.com/SophieTaylorArtist

Machine Room: STRETCHING THE SURFACE

10 - 25 September 2016
Open: Friday - Sunday 12 - 4pm

Machine Room is the research term used in 2006 by artists Mick Finch, Beth Harland, Louisa Minkin and Claude Temin-Vergez. The artists were invited by CRATE to take residence in Margate, and employ the landscapes that they encountered as bases for research. This led to a public display at CRATE, Machine Room: A Blueprint for Painting, and it is this body of research, which is now being responded to for this exhibition. 

This response to that resulting display comes from a group of recent Fine Art graduates, who, for Machine Room: Stretching the Surface, have also considered the dérive, a form of Psychogeography that celebrates the abandonment of intention whilst moving throughout a landscape. 

Clarissa Beveridge, Melissa Erol, Ryan Miles and Sophie Taylor have practices that meet over shared interests in framings, the everyday, material and process, and the viewer’s physical interaction with their work.This exhibition seeks to place the mechanisms and notions of Psychogeography into a contemporary context, placing it within a cultural and technological history of visuality. Utilising their movement throughout Margate and the wider area, the artists have collected pictorial devices embedded in the landscape; look-outs, viewpoints and frameworks.Reading the cultural and architectural ‘eye-catchers’ around the area and building upon their previous experiences and investigations as artists, the four artists are contributing to a broader discussion concerning image seeking and image making.

Clarissa Beveridge defines her practice through attention to material, touch, tone and surface. Seeking to embrace a moment and preserve an action, her work is constantly in process, embracing a visibility of the human hand and forcing the viewer to encounter her decisions in the making.

Melissa Erol employs motifs and gestures that puncture an otherwise colliding combination of ground, colour and form. Working with an archive of objects, images, sketches and collages her work is excited by experience and provoked by the relationship between the frame and the surrounding space.

Ryan Miles explores abandonment and cites this as being key in the beginnings of his work. Responding to the architecture he encounters, works arrive through photography, manipulation and then physical realisation. Using materials such as Perspex and mirrors, there is an allowance for the incorporation of the viewer and the surroundings within the work.

Sophie Taylor responds to everyday visual happenings, approaching an understanding of locations through the patterns and forms that she experiences within them.

Engaging with mundane activities, such as walking or boarding a bus, her work looks to transform these into physical spaces in which the viewer can dwell.
Having employed physical movement to aid the generation of their work, the artists have also considered the way in which we interact with information available to us.
The unending surge of data that we receive, willingly or unwillingly, has formed a new kind of digital landscape throughout which we all pass through.This line of enquiry runs alongisde the original Machine Room research, leading to the development of new works that respond to the physical and the technological world that we inhabit.

Presented as part of the Margate Festival “Sightseeking” 2016

facebook.com/ClarissaBeveridgeArtist
facebook.com/SophieTaylorArtist
margatefestival.org

Emma Gibson: SHELLING OUT

Preview: October 23, 7 - 9pm
October 24 - November 1, 2015

Part of an ongoing series of environments known as "The Other Room", this new exhibition by Emma Gibson uses a
backdrop of the many-worlds interpretation of quantum mechanics to pinpoint a turning of the tide, when things that
were once child's playthings on the beach came to have the price of jewels.

Conchlymania or ‘shell-lunacy’ in the 17th century referred to the hysteria around collecting, acquiring and dealing these ‘works of art from God’. 

Collections became declarations of wealth and faith (the gathering of shells on the beach coffered spiritual status) and the collectors themselves had surprising similarities to dealers and collectors of fine art today- both caring passionately for the status of possessing something strange and unusual from a distant land, preferably before anyone else.

Seashells are naturally occurring and no two shells are ever alike.

Presented inside this parallel universe are two areas, one Production and one Display. Using seashells and their complex and once extremely coveted natural beauty and mythology as a metaphor, it confronts how we consider value and originality today.It is up to you to decide on the origins and meaning of these shells and ultimately, if they have worth.

egibson.co.uk

CRATE Graduate Project Space Award

Photo: Madeline Jones

For three weeks CRATE was occupied by three recently graduated BA Fine Art Students from University of the Creative Arts, Canterbury.

Layla MooreMadeline Jones and Verity Hime were offered the use of our project spaces between the 18th September and the 10th October, to collaborate on the development of work and ideas that emerged during their studies.

Graduates received mentoring sessions with Leigh Clarke, Benedict Drew, Matthew de Pulford and Trish Scott, as well as being supported on-site by Charley Vines and the Programming Team.

There was intermittent public access to the space, including "INTERRUPTION", a projection/collage event on the 3rd October, where participants were invited to bring materials to create immersive and playful outcomes.

The three weeks culminated in a public opening on 10th October, demonstrate the function of the CRATE project spaces, as a site for both work, play and display.

The award is designed as a means for a brief but valuable point between the structures offered within education and independent practice.

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Obscured/Transparent

Sasha Adamczewski, Hannah Mitchell & Christina Symeou

Perview: 27 March, 2015. 6pm-9pm
Exhibition Continues: Friday-Sunday 12pm-5pm, until 12 April

CRATE is delighted to invite three Second Year Fine Art students from the University for the Creative Arts to open an exhibition of recent works.

This exhibition comes as a result of three Second Year Fine Art students having assisted and participated in the recent Jeremy Deller and Fraser Muggeridge exhibition, ‘English Magic Re-Mix’ at Crate.

Obscured/Transparent offers an insight into individual emerging practice, and an exploration between the artists of the crossovers between the themes and concerns that drive their work. Together,  the works investigate the employment of abstraction in the construction of an image or object, whilst presenting a shared examination of structural, natural and material elements.

About the artists:
Sasha Adamczewski, Hannah Mitchell and Christina Symeou have worked together to present new and recent works, developed during their studies at the University for the Creative Arts in Canterbury.

Sasha Adamczewski combines the pictorial, three-dimensional and poetic movement of cinematography to create pieces that incorporate movement, be it filmic, sculptural or performative. Through exposing natural and orchestrated changes of material state, the works offer an insight into processes that are in motion or have previously occurred.

Hannah Mitchell is developing concerns surrounding the dichotomy between urban and natural environments, and the potential conflict of the two co-existing. Using collage as a method to combine materials including paint, paper, varnish and wax, the components and layers present in an image are made visible.

Christina Symeou constructs prints and paintings using organic and abstract shapes derived from her studies of the human form. In dismembering and disorientating impressions of the body, the work exists within the context of painting and image making, and allows for a closer inspection of details that exist as part of a larger assemblage.

Symposium: WORK AND ART: HOW ARTISTS MAKE A LIVING

Presenting:
Tatiana Baskakova, Emma Braso, Collaborative Research Group, Sam Curtis, Rebecca Gordon-Nesbitt, Susan Jones, Hurley and Thornton, Sarah Jones, Shama Khanna, Robert Laycock, Jasmine Pradissitto, Holly Rogers, Angus Sanders-Dunnachie, Tania Skakun and Carlos Noronha Feio.

With a reading room & exhibition* consisting of publications, films and artwork by:
Fani Bitou, Catterall/Martin, Jason Haynes, Alice Kemp, Sophie Mallet, Antonia Meile, Rose Parish and The Public Zine Library.

Thursday 26 March 2015, 10:30 - 5:30pm 
At UCA Canterbury, New Dover Road, Canterbury, Kent, CT1 3AN

This symposium will investigate and examine the multiple ways in which artists, curators and writers sustain themselves economically.

Very few artists work solely as artists and this symposium will focus on the variety of ways in which artists supplement their incomes, looking at the relationship between economic activity and creative output. The symposium provides a space for considering the backsatge aspects of being an artist/arts practitioner, considering the various ways in which artists earn money or labour (as non-artists) to support their artistic careers, and what it means for artists to occupy these multiple roles in society. We aim to sample a breadth of current artistic economic activity, and have invited practitioners to present innovative approaches to survival as an arts practitioner. 

The event is the culmination of Collaborative Research Group, a post-academic programme focusing on the practicalities and pluralities of contemporary visual arts practice. 

Collaborative Research Group is funded by European Inter-regional Culture-led Regeneration and Kent County Council, with support from CRATE Studio and Project Space in Margate and University for the Creative Arts.

Tickets
£10, concessions £5 (full time students, jobseekers allowance)
To book a place please click here to redirect to the eventbrite booking page 

Cick here for the Facebook event

*The Herbert Read Gallery at UCA Canterbury will house a Work and Art reading room and film exhibition running Thursday 26 and Friday 27 March 10am - 6pm, which will be free to attend.

Image:Tatiana Baskakova, Co-Operate or Die,  2014 (photo: Tristan Lathey)

Catharina Golebiowska: Mars One Extended Friday

Open: Friday 20 February, 2 - 8pm
Saturday 21 February, 12 - 6pm
Sunday 22nd February, 10 - 4pm

Mars One Extended is a series of installations and performances accompanied by a livestream.
Catharina Cronenberger Golebiowska is inspired by Mars One, a non-profit organisation that aims to create the first human settlement on Mars in 2024, funded by selling a Big Brother stream of the civillian crew. 

Supported by SHPLive.tv, South Hill Park Arts Centre, the project is launched as part of the GEEK festival in Margate

www.marsoneextended.com 

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