Documents, Alternatives #4
Various login views of the self-curating exhibition, 2020
The on-line exhibition ‘Documents, Alternatives #4’, curated by Angela Bartram, aims to isolate, address, find and utilize appropriate means to translate a diverse range of practice digitally whilst remaining true to its artistic intent. It offers a series of responses through the format of an on-line exhibition of ephemeral artworks, that is designed to self-curate with each user visit. The artworks have undergone physical and conceptual change as they have travelled through each of three gallery situated exhibitions as part of the series already, with this being the fourth. Each iteration is an integral part of a conversation, with the artworks adapting and transforming with each exhibition to form a continuing dialogue. With the three previous gallery-based ‘Document, Alternatives’ exhibitions, this online, self-curating (in that it selects the view each viewer gets when loaded), version sets the agenda for how the ephemeral artwork is re-staged via non-tangible means to produce a document that is both virtually static and physically unfixed.
This is #4 in the series of interlinked physical and virtual exhibitions. The archive for the whole project can also be found on this site, including: #1: Airspace Gallery, Stoke on Trent, 17 November – 16 December 2017 #2: Verge Gallery, Sydney, 18 January – 24 February 2018 #3: BSAD Gallery, Bath Spa, 20 April – 1 May 2018.
link to the online exhibition and project archive
Artcore Gallery, online, 2020
The exhibition ANTONYM: Life With and Without Animals presents the work of eight artists from the UK, USA and Iceland. Each makes artwork that engages with the more-than-human world, reflecting on contemporary threats to nonhuman life as well as on the pleasures of our relationships with other species. The exhibition coincides with the online conference Life With and Without Animals at the University of Derby, and both events are organised and curated by Steve Baker and Angela Bartram.
Nottingham Forest Recreation Ground, 2017
Dog walking is often a solitary experience, a time to be alone with one’s fur-coated companion in the park or when treading the pavements. It provides a chance to find clarity, composure and calm, and a space to think and connect with oneself, with the environment and our chosen pet dog. Yet the experience additionally presents opportunities for connection with others, those who may equally be enjoying the same activity, or who may just like animals, interactions that would otherwise perhaps not take place. An open hand offered to a stranger in greeting is a familiar and acknowledged expression of warmth and conviviality, and dogs are often the recipients of such a tender and friendly gesture. For many it is difficult to resist a dog’s approach for affection, and the experience allows for pleasantries and informality between people. For a wet canine nose and wagging tail invites the welcoming touch of a stranger’s hand, and this contact initiates conversation with the humans present. The experience connects more than just human and canine strangers, as it allows people to meet and talk who may not otherwise have had the opportunity.
Dog Walking for Talking is a project to connect those who would not normally meet to talk around a particular theme or subject. This includes artists, local communities, specific demographics, and specific genders, amongst others. We meet, we go for a walk, we talk ; people and their dogs.
Reading to Oscar
Still image, 2018
Reading to Boo and Grebo
Still image, 2020
Reading to Harvey and Star
Still image, 2020
At an animal studies conference in March 2017 I noticed that although discussions were of the subjects being sentient and cognate, the delivery was for humans alone. Essentially, animals have no opportunity to understand the theories written about them, and so I have become engaged in artwork to address that situation. Since that conference I have been reading animal theory to the domestic three, dogs, cats and horses, to provide an opportunity for them to hear (and I hope understand) the writings of which they are the subjects.
A lecture to dogs about dogs in art
Performed as part of Tempting Failure 18 festival (Croydon UK)
Still image, 2018
Angela Bartram Tempting Failure 18
Video and installation stills, 2017
Shown split across two monitors ‘In the Window’ at Airspace Gallery (Stoke on Trent UK) as part of the exhibition Documents, Alternatives #1. This exhibition I curated ran 17 November – 16 December 2017. The original two monitor version was made specifically for the exhibition at Airspace.
This single screen version is intended for online purposes. Follow the link: Santa Dogs 2017
50 of 366 prints from the plate ‘366 Breaths’ installed at Airspace as part of Documents, Alternatives (#1) 2017
61 of 366 prints from the plate ‘366 Breaths’ installed at Airspace as part of Documents, Alternatives (#1) 2017
Detail of number 1 of 366 prints from the plate ‘366 Breaths’ installed at Airspace as part of Documents, Alternatives (#1) 2017
Detail of number 21 of 366 prints from the plate ‘366 Breaths’ installed at Airspace as part of Documents, Alternatives (#1) 2017
Detail of number 61 of 366 prints from the plate ‘366 Breaths’ installed at Airspace as part of Documents, Alternatives (#1) 2017
For the leap year of 2016 I exhaled on an etching plate every day. 366 breaths layered on the same surface, in the same place, and at roughly the same time. The accumulative breaths charted the process of isolating and capturing those layered singular exhalations, and now the act is being reversed through repetitive laborious methods. ‘366:366 (eventually)’ is a work in process, a series of prints made from the etched plate to match the number of breaths which scored it’s image. The work is unfinished and in a state of process itself, growing as more prints are added during its time in a gallery, reaching the full 366 eventually. But will come later, elsewhere, for the work leaves the gallery as much in process as when it entered until it is complete.
Untitled (Speaks for Itself)
Performance for photograph (edition of 5)
10cm x 10cm
Captured daily on an A5 etching plate over 2016