Real Time

Curated by Damien Roach
20th June – 18th July 2020

Alexander Tucker
Ami Clarke
Anil Bawa-Cavia
Anja Kaiser + Jonas Holfeld
Anna Barriball
Anne Hardy
Armando Andrade Tudela
Boyle Family
Bronze x Jai Paul
Burkhard Meltzer
Caterina Riva
Catherine Wood
Cédric Fauq
Cerith Wyn Evans
Chris Ware
Christopher Orr
Dan Holdsworth
Dan Snaith (Caribou)
David Blandy
David Raymond Conroy
David Wightman
ECOCORE
Eddie Peake
Eleni Ikoniadou
Eloise Calandre
Emily LaBarge
Fennesz
Francesca Gavin
Francesco Pedraglio
Gareth Bell-Jones
Geoff Henman
Gilbert & George
Gordon Cheung
Graham Crowley
Hannah Barton
Hans Ulrich Obrist
Haris Epaminonda
Hatis Noit
Hiraki Sawa
Hisham Bharoocha
Hito Steyerl
Iain Forsyth & Jane Pollard
Isabel Mallet
Isabella Maidment
Jamie Shovlin
Jeanine Woollard
Johnny de Philo
Jordan Wolfson
Juha van ’t Zelfde
Keiken
Larry Achiampong & David Blandy
Laura Mulvey
Lawrence Lek
Lawrence Weiner
Lee Gamble
Liam Gillick
Lisa Oppenheim
Lucinda Chua
Martin Holman
Matt Calderwood
Mica Levi
Michael Oswell
Muntean/Rosenblum
Nabil Ahmed
Nathan Witt
Neil Farber & Michael Dumontier
Nick Luscombe
Nigel Cooke
Pamela M Lee
Paul Kneale
Ram Dass & Justin Boreta
Rosalind Nashashibi
Saskia Olde-Wolbers
Shezad Dawood
Simon Denny & Matt Goerzen
Simon Dybbroe-Møller
Simon Parris
Stephen Willats
Sung Tieu
Tauba Auerbach
Tonje Thilesen
Wade Wallerstein
William Daniels
Yuri Pattison

Real Time is a hybrid, multi-platform project reflecting on time and the present – a deep breath, a slowing down, a taking stock.

Rejecting the anxiety-inducing FOMO of the current livestream drive, Real Time is a slowly unfolding project engaged with a mode of deceleration, instead of ramping up the feeling of ‘constant now’ we so desperately need to leave behind. Consisting of contributions from artists, designers, writers and musicians, this exhibition takes place across various spaces, from gallery website, to radio, social media, playlists, PDF publication and email. Taken as nodes in an organic, reactive network, the constituent parts will collide, overlap, bounce off of each other and the outside world to create refracting frictions and possibly, hopefully, portals for a slow, contemplative meditation.

At its core, Real Time offers an optimistic, progressive vision of art and its reception. The project advocates a change of pace, reversing the trend of an increasingly accelerated response to the now, exploring alternative models of being and comprehension, through the elusiveness of the present.

Damien Roach is a London-based artist, researcher and lecturer. His projects span art, design & creative direction, publishing, sound/music and audiovisual, and he is currently Associate Lecturer for LCC’s Visual Media MA programme. Recent projects include immersive AV performances at London’s ICA and Tate Modern, design for clients ranging from Wysing Arts Centre to Disney, and publishing a journal exploring non-dystopic future visions with a host of contributors including Susan Hiller, Dr Isabella Maidment, Hans Ulrich Obrist, and Liam Gillick. He has exhibited internationally, including at the 51st Venice Biennale, ‘Learn to Read’ at Tate Modern, ‘Housewarming’ at Swiss Institute NYC, and solo presentations at institutions including DRAF (London), Kunst Halle Sankt Gallen (Switzerland), Arnolfini (Bristol), and Neuer Aachener Kunstverein (Germany).

Please note that this exhibition takes place online across a variety of platforms. Works will be released slowly over the duration of the show.

David Raymond Conroy, Ambition, 2020
A4 PDF

Simon Denny & Matt Goerzen, Deutsche Telekom Evernote Berlin Hackathon Intervention, 2013
Single channel video with sound
2 minutes 19 seconds

Chris Ware, Untitled, 2012
From Building Stories
Pencil and ink on board with digital colour

Chris Ware, Untitled, 2012
From Building Stories
Pencil and ink on board with digital colour

Francesco Pedraglio, The Melody is in the eye (words are just the left hand), 2016
HD film
23 minutes 24 seconds

Actors: Sabrina Modenini / Andrea De Manincor
Walking man: Francesco Pedraglio
Cinematographer: Fabio Petronilli
Second camera: Sonia Veronelli
Sound mixing: Filippo Restelli
Colour grading: estudio de producción, Mexico
Location: Como, Italy

The film is a re-enactment for camera of a live performance. Two actors, a man and a woman in their late forties, are portrayed moving around a half-empty villa while enacting an escalating argument.

Gilbert & George, SLEEPY, 1985
Mixed media, in sixteen parts
242 x 202 cm
Courtesy of White Cube, London

Lucinda Chua, Aquarium Music
Playlist

Lucinda Chua, Body Ache
Playlist

 


Iain Forsyth & Jane Pollard, First Kiss, 2010
Single channel video with sound
3 minutes 50 seconds
Courtesy of the artists & Kate MacGarry, London

Fennesz, Endless Summer
Music Publisher: Touch Music [MCPS]


Yuri Pattison, sunset provision, 2020 ~ ongoing
WebGL Game Engine, uRadmonitor A3, live data
Digital Fabrication and Development: Tom Merrell & Rob Prouse

Link to >>>> https://sunset-provision.com/

Mica Levi, Monos, 2019
4 minutes 00 seconds
Taken from the score for “Monos” directed by Alejandro Landes.
Released by Invada Records / Lakeshore Records

Francesca Gavin, Traum and Trauma, 2020
Series of photographs of pages from home bookshelves

Plato saw dreams as the expression of the lower, unreasonable parts of the psyche. In his view, the virtuous were content to dream of what the evil does in life. Our traum (dreams in German) are also a manifestation of our trauma. During my isolation, which still continues, I have been drawn to my bookshelves many times in search of visual imagery that captures something of my emotional state. Pictures of the gaze, of dreaming, of rebirth and perhaps also of trauma. Images that I let my eyes slowly wander over, almost like a form of lucid dreaming.
– Francecsa Gavin.

 

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin
Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

Francesca Gavin, Digital photograph of vintage book page

 

Hiraki Sawa, absent,  2018
Single channel video with sound
4 minutes 37 seconds
Film by Hiraki Sawa
Music by Yuko Ikoma

Dan Holdsworth, Hyperborea 06, 2006
C-type print
122 x 152 cm

Dan Holdsworth, Hyperborea 09, 2006
C-type print
122 x 152 cm

Dan Holdsworth, Hyperborea 08, 2006
C-type print
122 x 152 cm

Cerith Wyn Evans, Neon forms (resembling clouds…), 2014
Neon
67 x 170 x 4.5 cm
© Cerith Wyn Evans. Photo © White Cube (Ben Westoby)
Courtesy White Cube and Marian Goodman Gallery

Cerith Wyn Evans, It is a world in which something is missing., 2012
Neon
Dimensions variable
© Cerith Wyn Evans. Photo © White Cube (Ben Westoby)
Courtesy White Cube and Marian Goodman Gallery

Anna Barriball, Sunrise/Sunset XIII, 2017
Pencil on paper
104 x 58.5 x 4 cm
Courtesy the artist and Frith Street Gallery, London

Armando Andrade Tudela, Billboard #1, 2003/04
35mm C-print
Courtesy the artist

Armando Andrade Tudela, Billboard #4, 2003/04
35mm C-print
Courtesy the artist

Armando Andrade Tudela, Billboard #2, 2003/04
35mm C-print
Courtesy the artist

Armando Andrade Tudela, Billboard #9, 2003/04
35mm C-print
Courtesy the artist

 

Simon Dybbroe Møller, Animate V, 2012
Single channel video with sound
6 minutes 25 seconds

Bronze x Jai Paul
This version of Jasmine by Jai Paul is created using the BRONZE AI engine. On each listen, Bronze performs a unique and infinite playback of the piece. Click through to jaipaul.bronze.ai

 

Nick Luscombe, Japan Sound Scenes, 2020
Audio recording
21 minutes 10 seconds
www.musicityglobal.com

Jordon Wolfson, Untitled, 2012
Not signed or dated
Inkjet print on paper
127.5 x 105.5 x 3.0 cm

 

Keiken, ourmetaverse.live, Ongoing
Clip from website

Head to @_keiken_ ‘s website ourmetaverse.live (best experienced via desktop)

ourmetaverse.live is a live gamified website to store digital assets and as a collaborative space for Keiken’s growing metaverse. OUR METAVERSE contains: INVENTORY of digital assets, GROW YOUR METAVERSE, a collective learning space, PANDO, to explore the collaboration with @sakeemathecrook and her character Pando, and METAVERSE TV where you can watch the film FEEL MY METAVERSE. It is a networked and collaborative space to explore these speculative worlds.

Over the next four weeks, as part of Real Time, we will be showing and revealing different parts and assets of the gamified site.

-Keiken

Keiken, ourmetaverse.live, Ongoing
Still from website

Keiken, ourmetaverse.live, Ongoing
Still from website

Keiken are a collaborative practice, co-founded by artists Hana Omori, Isabel Ramos and Tanya Cruz in 2015, they frequently work with multiple collaborators. Based between London and Berlin, they come from mixed diasporic backgrounds (Mexican/Japanese/European/Jewish). Keiken, Japanese for experience, create speculative worlds. They merge the physical and digital, “phygital”, using moving-image, CGI, gaming software, installation, virtual/augmented reality, programming and gamified performance. Simulating new structures and ways of existing they explore how societal introjection governs the way we feel, think and perceive.

Keiken, ourmetaverse.live, Ongoing
Still from website

Recent projects include Augmented Empathy at FACT, Liverpool (2020), Feel My Metaverse with gamified performance Behind this Screen I am on the Real Earth for transmediale at HKW, Berlin (2020), Feel(s) 360 for Image Behaviour at ICA, London (2019) and Feel My Metaverse alongside long term collaborator George Jasper Stone for Jerwood Art’s Collaborate!, London (2019), Frankfurter Kunstverein, Frankfurt (2020) and for König Galerie’s The Artist Is Online (2020). Keiken have shown work at IMPAKT Festival, Utrecht; Hervisions at LUX Moving Image; Space Art + Technology, London; MIRA Festival, Barcelona; and Tate St Ives.

Sung Tieu, 51°28’29.1”N 0°04’55.6”W, 2019
HD video and sound
1 minute 56 seconds

The video 51°28’29.1”N 0°04’55.6”W is part of Sung Tieu’s trilogy Loveless, Formative Years on Dearth and Parkstück (all 2019). The coordinates 51°28’29.1”N 0°04’55.6”W lead to two seating units located within Sceaux Gardens Estate, in Camberwell, South London. Situated within the yard of Lakanal House, a social housing complex, Tieu’s video records the Google Earth view surrounding these two dining table units, which display jarring similarities to those in correctional facilities. The camera zooms out; from afar a scaffolding outside Lakanal House can be seen. The scaffold reminds of a fire, which occurred on July 3rd 2009 inside the tower block. The accident killed six people when the fire spread rapidly through several flats of the  twelve-storey high rise. An enquiry into the accident found that the rapid spread of the fire was caused by the exterior cladding panels, which had burnt through in less than five minutes. As in the case of the Grenfell Tower fire eight years later, residents were advised to remain in their homes in the event of a fire. The investigation concluded that renovations had removed fire-stopping material between flats, and safety inspections carried out by Southwark Council had not uncovered this problem. Tieu’s video subtly points towards this history, and within it, links two mundane seating arrangements to wider issues of social class and physical safety.

Sung Tieu,  b.1987 in Hai Duong, Vietnam, is an artist based in Berlin and London. This work is courtesy of the artist, Parrhesiades and Emalin, London.   

Alexander Tucker, World in the Forcefield: The Godhead Saga – Mattheworld
Ink on Bristol board and mixed media

World in the Forcefield: The Godhead Saga – Mattheworld
Ink on Bristol board and mixed medi

 

 

Shezad Dawood, Spacewar!, 2019
Tapestry in teak artists frame
159 x 116 cm
Courtesy of Timothy Taylor Gallery, London & New York

Spacewar!

In the 1980s living in Karachi, I used to raid my grandmother’s handbag for change and spend it in the video game arcade. We were all totally addicted to arcade gaming. A lot has been written about 1950s US sci-fi films as anti-Soviet propaganda and belatedly people started to analyse the video games of the 80s in the same way. Like Defender, Space Invaders — these games are fundamentally about territorial integrity. When you look at similarities in the timeline — in 1977 the CIA back the Zia-ul-Haq coup, in 1979 the Soviets invade neighbouring Afghanistan, and from here we enter the Reagan years. At the same time these video games are flooding Pakistan. It makes me think of the Gil Scott-Heron song about Ronald the Ray gun, and about the Star Wars moment and the space race. I realised that all us kids in Pakistan back in the day were involved in the space race; as much for ideological ground as the ground beneath our feet; we were a US ally. It’s interesting how Pakistan shifts out of the non-aligned movement firmly into the US orbit at that moment, and how the empowering south-south politics of the non-aligned movement start to quickly break down on the back of export contracts and Cold War ‘strategic’ alliances.

It’s good to slow down and analyse these things, for me they are woven into the fabric of our lives and our lived experience. Coming from generations of textile merchants, I see that patterns are not only woven into the blanket of history, if we choose to stop and unpick some of the threads, we can learn other stories and other ways of telling. And of course, the secrets hidden in those patterns are the contracts, exchanges and negotiation of shifting allegiances of trade and militarism, and of the pattern itself and where it ‘originates’. These hybrid pathways are reflected in the fabric of Spacewar! which is produced in a unique combination of a weaving loom and a digital inkjet printer, representing in its very fabric the continuum between the analogue and the digital. The weaving loom as a mode of binary encoding is the proto-digital, concealed in the analogue….things start to reveal themselves when we slow down and see how their form was encapsulated in the object that preceded them.

– Shezad Dawood

Caterina Riva is a curator based in Northern Italy. Riva presents a spoken word recording of the beginning of Can I help you? written by Jia Tolentino, read by Julie Weyland, published in The New Yorker, 18 May 2020 issue. 

Matt Calderwood, Polystyrene (front), 2006
Single channel video
1 minute 58 seconds

The artist insists you view this work in a darkened room.

Boyle Family, Elemental Study for the Barcelona Site (cracked red earth, rivulets and stones), 2000-2008
World Series 1968
Mixed media, resin, fibreglass
183 x 183 x 20 cm (72 x 72 x 8 inches)

Boyle Family, Elemental Study for the Barcelona Site (cracked red earth, rivulets and stones), 2000-2008
World Series 1968
Mixed media, resin, fibreglass
183 x 183 x 20 cm (72 x 72 x 8 inches)

 

Matt Calderwood, Mirror, 2013
Single channel video with sound
4 minutes

The artist insists you view this work in a darkened room.

 

Hatis Noit, A Take Away Show
Filmed by Vincent Moon
Produced by Erased Tapes
Elevate Festival, Petites Planètes

Hatis Noit is a Japanese vocal performer hailing from Shiretoko in Hokkaido who now resides in London.

Lisa Oppenheim, Smoke, 2013
Two channel video, looped
Courtesy of the Artist and The Approach, London.

For further reading see: https://frieze.com/

 

 

Liam Gillick, Pelin Tan, 2019
Single channel video
27 mins 54 seconds
© Liam Gillick. Courtesy Maureen Paley, London

For Matera European City of Culture 2019, Pelin Tan researched labour conditions and the new sense of place and community that began with the Riforma Agraria in 1950: from the exodus from Matera’s Sassi to the newly built neighbourhoods in the decades that followed to the re-occupation of the Sassi by left-wing activists in the 1970s, and the contemporary arrival of migrants via the Mediterranean today.

‘Towards the end of last year I went to the ancient city of Matera in Italy where I made a film about Turkish sociologist Pelin Tan and her work on agricultural reform movements as my contribution to the European City of Culture program there. It is a slow immersive portrait of a person who I was supposed to be making an art project with. Not quite in real time – but at least in a self-conscious relationship to the notion of time. Instead of me rushing to do a show I focused on my collaborator and we spent a lot of time together as I interviewed her… She became the subject and her position in life was given room.’

– Liam Gillick

Pelin Tan is a sociologist and art historian, the sixth recipient of the Keith Haring Fellowship in Art and Activism (2019 – 2020), and research fellow of the Center for Arts, Design, and Social Research (Boston). Tan is involved in artistic and architectural projects that focus on urban conflict, territorial politics, and conditions of labor.

Liam Gillick lives and works in New York City. Gillick deploys multiple forms to make visible the aesthetics of the constructed world and examine the ideological control systems that have emerged along with globalization and neoliberalism.

 

 

 

Emily LaBarge, Pierrot Assassin, 2020
Essay with image

Emily LaBarge is a writer based in London, where she teaches at the Royal College of Art. Amongst other publications, she has written for Frieze, the LA Review of Books, Bookforum, Artforum, the Guardian, Tate Etc., The White Review, and The Paris Review. LaBarge will share two further instalments of her Real Time project over the course of the exhibition.

 

Anil Bawa-Cavia, TMI, 2020

TMI is a collection of minimal ambient compositions taking as their origin the sonority of the Bansuri flute. The ancient Vedic bamboo instrument is given an unapologetically synthetic treatment, drenched in diffusion algorithms designed for immersion. Influenced by the Indian aesthetic notion of Rasa, a multivalent term denoting juice, essence or flavour, each composition is conceived as a single tonal expression arising from a process akin to a ‘pulping’ of sound. AAB is the sound alias of Berlin based computer artist Anil Bawa-Cavia.


Tonje Thilesen, 70/sek, 2020
Photograph
May 1, 2020
Edition of 5

Tonje Thilesen is a Norwegian photographer and visual artist based in Brooklyn, New York.