In the spring of 2016, Adam King returned to the area south of Norwich, Norfolk, where he grew up. The semi-rural landscape is currently undergoing considerable road and housing development. Over a period of 14 months, King produced a series of constructions, along with related regular format drawings, to explore and make sense of the changes in the identity of a once-familiar landscape.
Adam King was born in 1971 in Norwich, Norfolk. He received a BA (Hons) Painting from Brighton University (1994) and an MA in Drawing from Wimbledon School of Art, London (2003).
Renee Spierdijk’s work responds to images of young women in formal settings, mainly from found photographs. Spierdijk’s current work is largely set in 19th century America during the civil war and its immediate aftermath; a time of upheaval when many were forced to search for a new identity or had a new identity imposed on them. This is an experience which is both timeless and in an era of continued forced migration as contemporary as ever.
Renee Spierdijk is a Dutch artist, born in Amsterdam, who came to England in 1977. She studied Fine Art at the Byam Shaw School of Art and Goldsmith’s College, and now lives and works in Cambridge.
Exhibition Preview, Friday 9 March from 7-9pm
Performance by Sophie Seita ‘Making Light: In the Temple of Formidable Hypotheses’, at 7:30pm (duration 15mins)
“Truth” is of no small importance to human affairs, yet it has been and remains a contested category. Its status shifts radically through time, place, religion, discipline— and today, social platform. Truth can be definite and mercurial, divine and political. As secularism, cosmopolitanism and positivism enter a moment of crisis, and as information seems to be ever more available – while also subject to algorithmic modification – anxieties about the status of truth and the transparency of information are on the rise.
“Post-truth” was the 2016 Oxford English Dictionary word of the year, denoting “circumstances in which objective facts are less influential in shaping public opinion than appeals to emotion and personal belief.” The crisis in objectivity that this new word unveils has been accompanied by an unprecedented proliferation of homemade images that excel the art of “remixology”, the “practice of recombining preexistent content”. These images result in often-fake contents that circulate both virally and ephemerally online. The “post-truth phenomenon”, however, is not only fuelled by low-tech and intimate creativity, but also by technologically sophisticated and politically driven techniques of image creation, alteration and destruction. These sustain electoral agendas, responses to catastrophe and affective relationships to powerholders.
While fake news has a long history, its contemporary currency has been enhanced by the ways in which new biopolitical regimes, from genetic testing to big data, confront more entrenched epistemes. These regimes are potentially capable of bypassing old forms of expertise and knowledge production. The ethical and aesthetic significance of this shift in the status of “truth” is pending critical debate, as is art’s response to the current wave of iconographic politicization, conspiratorial fears, and data skepticism. Reality Machines addresses this “knowledge controversy” while intersecting it with the work of artists from a multiplicity of countries working as activists, social critics, and human rights advocates. Curated by Mara Polgovsky Ezcurrain.
EXHIBITION RECEPTION & ARTIST TALKS, 30 NOVEMBER 2017, 5.30-8PM
There will always be a question over the photographic image as to whether it can ever truly capture reality. ‘Artificial Things’ explores this idea further, bringing together photographic artists who use the medium to explore and merge the boundaries of the fake, the real, and the in-between.
Artist talks start at 6PM
The More That is Taken Away – Ben Altman
Liquid Images – Clara Turchi
This exhibition has been organised and curated in collaboration with Shutter Hub.