Meeting with Josh Love - October 30, 2008
Return to Unnamed Collaboration
GSK Contemporary Josh invited to attend the opening of GSK Contemporary, a exhibition at the Royal Academy of Art. Here's some info copied from this website.
The Royal Academy of Arts launches an exciting new contemporary arts season this November. GSK Contemporary features exhibitions, live events, film screenings, performances and much more.
GSK Contemporary in London The GSK Contemporary season provides a new platform for experimentation, discussion and debate. It introduces London to the work of a range of international artists from Europe, Asia and the US.
Curated by David Thorp, GSK Contemporary explores the dynamics of contemporary art and its relationship to other art forms. The packed programme of events includes more than 100 exhibitions plus film screenings, live performances, experimental theatre and music.
GSK Contemporary: Parts I and II
From mid-December, Part II: Collision Course examines visions of a post-apocalyptic world and explores the combination of different art forms and media. Highlights include:
Eating and Drinking at GSK Contemporary: In honour of GSK Contemporary, trendy East London restaurant Bistrotheque is setting up a temporary venue within the Royal Academy. The restaurant, called Flash, promises a unique dining experience in a cool, buzzing space. - There'll also be a special Art Bar on site, which will host its own programme of artist-led performance and exhibitions from a mix of London-based artists.
The private view was stupendous; brilliant exhibition - Josh "teched" the show, installing Catherine Sullivan's fantastic film installations. He had free tickets, +1; I had a free ticket to Dirty Dancing. I know who got the better deal.
Two high points:
31 Oct 2008—19 Jan 2009 Six Sculptures
Part of Event Horizon
Casts of classical female nudes form the basis for this dramatic installation of sculptures, their demure sensuality intensifying the latent eros of the neoclassical environs.
And so Josh and I collected bits from the break. We're thinking they might form the basis of our contribution to Unnamed Collaboration. We share an interest in how the significance these bits shifts as they're smashed free from their cast. They're now pieces of information, abstracted, not easily placed.
Starr's plan was to glue the bits back together. I wonder if she anticipated people taking them away.