9 August – 8 November 2020
VITRINE’s 10th Anniversary exhibition ‘Sounding Off 2.0’ launches our new programme at VITRINE, Digital. Each artist has been commissioned to produce and stage new performative and digital work online, including: Nadim Abbas, Nicole Bachmann, Edwin Burdis, Kara Chin, Anaïs Comer, Tim Etchells, Jamie Fitzpatrick, Ludovica Gioscia, Katrin Hanusch, Candice Jacobs, Sophie Jung, Rene Matic, Campbell McConnell, Paula Nacif, Milly Peck, Sam Porritt, Ralph Pritchard, Natasha Rees, Bioni Samp, James Stopforth, and Charlie Godet Thomas, and further collaborating artists listed in full below.
This new digital exhibition space triangulates VITRINE’s activity; Working between the object, performance, and digital offers the artist and viewer a multifaceted platform with a 24/7 programme, where VITRINE can continue to nurture artists and represent the scope of emerging contemporary talent from an international artistic community.
Originally planned as a live 10th Anniversary event on Bermondsey Square in April 2020, postponed and then moved online, ‘Sounding Off 2.0’ shares its name with our original launch event back in March 2010 and celebrates our 10th Anniversary and continued commitment to creativity through the support of artists and the growth of their ideas.
Candice Jacobs has designed the website to consider the site as an artwork in itself. Integrating animations that utilise her voice and mouth, ‘Not me, but it is me, is it me?’ involves an interactive network of nodal lips that activate when hovered over to speak the artist’s name whose work the lips are harbouring. This playful design functions across multiple formats including phone, tablet and computer.
Nadim Abbas has collaborated with artist Erkka Nissinen to produce the short and strange video ‘BANANA 2’. Shot on high-rise rooftops in Hong Kong, the video follows 2 masked individuals teleport, pass a banana to one another and then disappear.
Nicole Bachmann has created a new 40-second single-channel audio work titled ‘under your skin, I imagine, my temporary, refuge, held by, invisible hands, passing me around’. The work stems from Bachmann’s interest in language, which she feels has recently let us down in the face of worldwide misery and injustice. She attempts to break down language and narratives to leave the listener to make sense of their bodies with sound.
Edwin Burdis has collaborated with Thomas Rees and Sam Jordan Richardson to produce 5 short videos. Burdis and his collaborators have musically scored mundane or simply edited scenes resulting in a strangely reassuring series of music videos.
Kara Chin’s animation ‘Fitbit Worship’ is a bizarre video of green figures performing yoga poses to worship Fitbit’s. This humorous critique of the wellness industry divulges its semi-sinister elements of reliance on health technology and societies unconditional devotion to them.
Anaïs Comer’s new series ‘we’ve been listening…we know your secrets’, is comprised of 5 animated crows which subtly whisper short and ambiguous secrets. The artist has animated the crows to speak the words and therefore allow the secrets origin anonymity.
Tim Etchells’ new audio work ‘To Slow Down Time To Slow Down’ follows the lead of Etchells’ ongoing experiments in performance and installation using repetition, transformation and layering of vocal loops. The work explores the phrase ’to slowdown time’ which, through the appearance of mini pauses in performance delivery soon morphs back and forth into the injunction ’time to slow down’.
Jamie Fitzpatrick’s animation ‘The Garden of PiggyMale (Sketch)’ continues the artist’s interest in public sculpture. The video guides the viewer through a scenic garden in which Fitzpatrick has included digital renderings of his proposed public sculptures and narrated the story.
Ludovica Gioscia’s 2 short looped GIFs ‘FEELINGS’ and ‘AFFECTION’ follow the artist’s interest in recycling and reusing to create a collage or material spelling out each words. ‘feelings’ is spelt with clay, torn paper and leaves, whereas ‘affection’ is spelt with ribbon, fabric and her cat Arturo.
Katrin Hanusch’s GIF ‘Wiggle (Dusk)’ has found the artist casting a mould from 2015, produced on a residency at the Scottish Sculpture Workshop. The aluminium cast derives from google maps images of the Scottish landscape which has then been endowed with fabric.
Sophie Jung’s video ‘Under the Bed’ follows her partner Peter trying patiently and less patiently to help his late father Richard Burleigh adjust his former bedside lamp to a very particular position a few months after Richard left his meticulously arranged sanctum to live in care. This footage is superimposed onto extracts of the90’s afternoon tv show that seeks to characterise people by their home decorating choices ‘Through The Keyhole’ (1987).
Rene Matic contributes an audio reading and PDF of their 2020 dissertation ‘this is england and this is england and this is england’. The dissertation is an exploration of Matic’s relationship to Skinhead culture through a “critical examination of Shane Meadows 2006 film ‘This is England’”.
Originally planned as a live performance on Bermondsey Square, Campbell Mcconnell’s surreal video ‘Genetically Modified Aquadvantage Salmon’ is recorded in the artist’s studio. Mcconnell performs a number of odd and exaggerated characters telling the story of a stairway with a fish-tank at the bottom and a gate at the top that the artist has constructed.
Paula Pinho Martins Nacif’s video ‘Butterflies, breathless’ is a collective breath. A breath for the past and the future; before and after breath. A breath for those who can’t breathe. A breath for the times you have lost your breath. Nacif generates exchange, honesty, affinity, interference, interdependence, and strategies of support, affirmation, and infrastructure for all of the above.
Milly Peck’s GIF ‘From a Great Height’ combines multiple of the artist’s sketches of bird faeces landing on various surfaces into a flip booked styled animation. TheGIF is characteristic of Peck’s work which often combines slapstick humour with the mundane or in this case the downright unfortunate.