SMART Project Space | 1e Constantijn Huygensstraat 20, Amsterdam, +31 (0)20=
427 5951
JAMMED
Opening Saturday 18th October, 21:00.
Exhibition open 19th October until 23rd November 2003
Participating artists
Dave Allen
Jonah Freeman
Dara Friedman
Martin Kersels
Mathieu Mercier
Amy O'Neill
Jorge Peris
The exhibition Jammed takes its name from the term jamming as used in music=
sessions and also refers to objects crammed or wedged against something, o=
r confined within a space.
Jonah Freeman forces the viewer to follow a determined direction through in=
terlinking passageways within a mirrored labyrinth constructed from aluminu=
m and Plexiglas. In the installation The Ground Floor, Freeman examines a v=
ariety of ideas and emotions surrounding contemporary architectural systems=
focusing on such topics as architecture and theatrical experience, where e=
very part of living, (air, light, sound, etc.) is tailored to the desires o=
f the inhabitants, the voyeuristic/exhibitionistic relationships that exist=
and the play between the psychic states of fear and safety.
Mercier's works are invested in the negotiation of construction, decoration=
and obstruction. In Drum and Bass 2 white pedestals set off black and silv=
er Plexiglas sculptures mimicking the form and dimensions of a record, lase=
r disc, 45". CD and mini-disk, rendering them as abstract relics that signa=
l a techno-cultural chronology. He reassesses both use and value. Plastic A=
nchors Wall is a monumental wall drawing fashioned from a stencil pattern a=
nd articulated by plastic anchors placed in the wall surface. The apparatus=
for hanging work is aestheticized and becomes the work. This year Mathieu =
Mercier has been awarded the prestigious Prix Marcel Duchamp.
Dave Allen deconstructs the lineage of music tradition in his sound install=
ation R.P.F. (for recorded instrument). On a small table, 4 CD players rand=
omly play four music scores simultaneously. Each Cd player has a recording =
of ninety-six notes and rests. Allens composition recalls the chance and si=
lence experiementations of John Cage.
Amy O'Neill presents a large-scale installation where she recreates a bombe=
d out shooting gallery (Paradice City) - the misspelling is intentional. Ha=
ving primarily focused her attention on the cultural idioms of America's va=
st no-man's land of highways and small-town fairgrounds, the artist (an Ame=
rican living in Switzerland) has recently begun to weave local folklore int=
o her other worldly scenes.
Jorge Peris creates a site-specific work that negotiates the architectonic =
space of the exhibition. With an installation developed at the entrance - a=
long the corridor - Peris's formal structure of doorways regulates the flow=
of people and controls the spectator who enters.
In the super 8 film Whip Whipping the Wall, Dara Friedman herself appears, =
she is lashing a whip against the wall of a red room. The wall becomes cut =
and lacerated by the continual rhythm, marked by the cold sound of the whip=
. It is an attempt to unseat reality, to shake it out of the fixedness of r=
outine, to permeate it with emotions that vaporise our defenses and open a =
communication channel. Sounds and images are the tools that Friedman uses t=
o communicate experiences and sensations, the film becomes an order-giving =
paradigm, driving away chaos, giving substitute, cerebral sensations. Dara =
Friedman experiences reality via the senses and tries to communicate these =
perceptions via other sensory experiences.
Martin Kersels' video Pink Constellation of a teenage girl's bedroom, uses =
the old-fashioned cinematic trick of the 'tumble-room', a revolving set wit=
h a fixed camera that allows actors to walk up walls. Here it's employed in=
a sinister scenario evocative of the supernatural terror of Poltergeist or=
The Shining.
Sound Performance during the opening at 22hrs in Smart Cinema
DJ Elephant Power
An experimentation with African drill'n bass and real time turntables, vest=
ex horns, scratch a ressort, rip pop'n flutes, .aka Nicolas Baudoux, is o=
ne of the members of the well known Fan Club Orchestra, which have been def=
ined as the 'very first electronic live improvisation orchestra in the worl=
d'. Working with his brother Laurant he created the 'scratch pet land' a st=
range childish creature that they said 'was born in a big surface carpet st=
ore'. Based in Brussels and having played all over Europe, he also started =
a radio broadcast in radio panik called 'electro sold'. He describes his so=
unds as 'Africa drill'n bass with spring and are gonna bell the needles'
Sponsored by: Gemeente Amsterdam, Mentrum, Mondriaan Stichting, Brand Bier,=
Beam Systems
For further information please contact info@smartprojectspace.net
SMART Project Space | www.smartprojectspace.net
Exhibition Space & Cinema: 1e Const. Huygensstraat 20
Opening times: Tues-Sat from 12.00-22.00, Sun from 14.00-22.00 hrs.
Mail to: P.O.Box 15004, NL-1001 MA Amsterdam
Phone: +31 20 427.5951
Fax.: +31 20 427.5953
mail: info@smartprojectspace.net
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