About Eminent Domain
For the inaugural exhibition at our new space in Peckham’s Bussey Building, South Kiosk presents five artists addressing varying realms of landscape. By connecting the physical, the virtual and the distant and imagined, Eminent Domain seeks to consider how notions of place-bound identity, memory and belonging are shifting as both tangible territorial boundaries and the online / offline divide are increasingly eroded.
First presented in 1975 at the Scottish Arts Council Gallery in Edinburgh and the Serpentine Gallery in London, Glen Onwin’s Saltmarsh centers on ten-acre merse near Dunbar on the east coast of Scotland. Originally discovered by the artist in March 1973, Onwin repeatedly revisited the area, photographing it throughout all seasons and at varying tidal levels. Speaking of the piece in the original exhibition catalogue Onwin reflected: ‘I want the work to exist in a microcosmic macrocosmic way: to get as much information from the larger image of the work as you do from the detail. It is important that you know the detail is there but you should stand back from the work and view the whole work with that knowledge’.
Also addressing the Scottish landscape Salvatore Arancio’s Cathedral was filmed and recorded on Fingal’s Cave, a geological formation located on the island of Staffa in the Inner Hebrides. First discovered by naturalist Sir Joseph Banks in 1772 and featured in the work of Keats, Tennyson, Wordsworth and Turner, the cave has long been the source of artistic inspiration. Due to the ethereal and uncanny sounds that can be heard inside as a result of its unique structural properties, the chamber has also been referred to as ‘the musical cave’. Through his film Arancio aims to merge the allegorical with the empirical, juxtaposing elements of past scientific investigations with mythological tales and esoteric studies.
Exploring the tension between the natural world and human influence, Geoff Diego Litherland’s work draws from traditional genres of painting, the rusty surrealism of science fiction and the fantasia of abstraction. Litherland seeks to create a parallel world that not only questions our perception and relationship to nature, but also probes paintings’ current and historical role in forming these viewpoints.
Further interrogating representation, Oliver Binnian’s practice explores contemporary versions of the sublime. Assuming the role of mediator between the ‘real’ and the digital, Binnian is particularly preoccupied with the promise that virtual worlds offer vs. their failure to sufficiently replicate the wonders of nature. In Screen Effect Binnian conflates imagery from Google Earth with his own photographs, proposing a third world situated somewhere between a digital memory and the future. With Prima Facie, what on the surface appears to be a photographic reproduction on closer inspection reveals itself to be paint posing as pixels.
With Volatile Prophesies Patricia Reed employs the intersection between astronomy and the world of finance as a starting point. Depicting a terrain where the stars have been replaced with all of coin-based currencies currently in active circulation, Reed highlights the increasing abstraction of our current economy that has evolved into an entity with a heightened detachment from easily traceable physical manifestations. With this substitution Reed suggests while once we may have gazed into the heavens for prophetic guidance, financial engineers are todays contemporary soothsayers.
South Kiosk will be programming the film programme at this years Resonate festival – 18th to 21st April. More news to follow
The Jump Room
Friday 1st December 7pm South Kiosk presents ‘The Jump Room’ by Richard Whitby. Produced in partnership with The Old Waterworks, Southend
Togetherness: Notes on Outrage, opens September 09 at Kestle Barton, Cornwall.
Visit Kestle Barton this September 09 – November 04 for Togetherness: Notes on Outrage featuring new works by artists Felicity Hammond, Polly Tootal and Shaun C Badham. Alongside temporary works and film screenings from artists Joseph Townshend, Catherine Yass, Jason Wood, Mark Jenkin, Matthew Burgess and Tom Crawford.
Corrupt Blood Incident, Preview 6 July, 6:30pm
South Kiosk is excited to present the Corrupt Blood Incident, a group show exploring the themes of landscape, digital failure, monsters and viral transmission. Join us for drinks at the opening from 6:30pm, 6 July 2017
Event: Susie Browning and Lisanne Goodhue, Saturday 25, 6-7:30pm
Please join us this Saturday for a special one-off performance in Sebastian Kite’s installation by dancers Susie Browning and Lisanne Goodhue, 6-7:30pm. The event is free to attend, no booking required. South Kiosk will also be operating extended opening hours 12-7:30pm for the performance Saturday 25.02.17, 12-7:30pm.
We will meet in the place where there is no darkness
South Kiosk is pleased to announce our next exhibition is Sebastian Kite: We will meet in the place where there is no darkness. A site-specific installation exploring the relationship between space, light and sound – Opening 9th February 6pm.
Preview: 9th February 2017, 6-9pm
Exhibition Dates: 10 February – 04 March 2017
Opening hours: Thurs-Sat, 12-6pm
And the Earth Screamed, Alive
South Kiosk is pleased to present And the Earth Screamed, Alive*, a solo exhibition by Emma Charles, featuring a multi screen expanded installation of her 16mm film White Mountain.
Private View: 20th October 2016, 6-9pm
Exhibition Dates: 21 October – 19 November 2016
Opening hours: Thurs-Sat, 12-6pm
‘Togetherness: Notes on Outrage’ Opens 30th June
South Kiosk is pleased to present Togetherness: Notes on Outrage.
PV Thursday 30th June, exhibition continues 1st through to 21st July
Omgyjer Glusek, Friday 20th May
As part of Peckham 24 Photo Festival, South Kiosk presents an hour long programme of films featuring the work of four visual artists with strong links to the Cornish peninsula. More here
Dark Adaptation Part I
Open now during normal gallery hours also open as part of Peckham 24 late night Friday 20th May