Coalesce: The Remix
13th May 13th - June 6th, 2005
Unit 303, Third Floor, Lana House, 116 Commercial Street, London E1 6NF
Coalesce is an on-going exhibitionary project, a mutating environment of overlapping painting, video, and text work in migration, and held at key locations. Works 'coalesce' and co-habit with one other, overlapping and interweaving in the gallery space to create one coalescent whole, yet always as a re-appearance, out of view of the embedded history of its serial mutations.
COALESCE: The Remix
This project curated by Paul O'Neill has, for four weeks, become a complex installation converting ®edux space into a series of 4 exhibitions/projects overlaid onto one another, ranging from interventions, to meeting spaces, to publications, to 'retro-happening nightclub' events with video screenings and DJ sets on the opening launch night of the exhibition.
Week 1: Launch Night May 13th
The production of the “Coalesce” environment within which a programme of related artist' videos and performances was presented, with artists: Kathrin Böhm, Oriana Fox, Jaime Gili, Clare Goodwin, Lothar Gôtz, Anthony Gross, Tod Hanson, Stefan Nikolaev, Harold Offeh, Mark Orange, Eduardo Padilha, Marko Raat, Craig Richards.
Curated by Sarah Pierce, who is based in Dublin, and organises The Metropolitan Complex, a practice embedded in various formal and informal exchanges between people. Pierce lived as resident-guest in Paul O'Neill's apartment in London, while he simultaneously worked in Dublin. Throughout the week, various background materials from the curator's home appeared in Coalesce, selected by Pierce. In addition, Pierce explored the possibilities of Coalesce as a meeting place for a series of one-to-one conversations about surroundings, production and collectivity. This entailed non-public exchanges with invited guests, which were be made public at the end of the week in the form of a CD archive.
Curated by Dave Beech/Mark Hutchinson. Beech and Hutchinson produced a special issue of the occasional journal, The First Condition. For this exhibition it was a photocopied, A5 booklet available free at the gallery. How it was installed in the exhibition was worked out in relation to what was already there at the time. The journal consisted entirely of written texts, which is to say no photographs, illustrations or so on. The texts were also be posted on the website: www.thefirstcondition.com. They invited all the participants who might be involved in the Coalesce project to contribute to the journal. All contributions were expected to deal directly with concerns, ideas, problems, etc., arising from the Coalesce project.
Curated by temporarycontemporary. During the week leading up to the 3rd June, Jen Wu and Anthony Gross of TEMPORARYCONTEMPORARY curated three events, each taking the form of a private poker game. In this metaphorical situation, with the curators as dealers and exhibitors as gamblers, the card playing became a stand-in for the to and fro of socialised culture production. The 'game' forces a strategy through the mechanism of its performance [each game was played for four hours over three days] for potential exhibitions, and through its discursive conversations provides networks that suture the exhaustive adrenalin and power-play of winning and losing [in the art-world] back to the primary 'logic' of competitive play.
The gallery itself was transferred into a gambling lounge with 'drinks tables' by Goodwin and 'rest areas' by Padilha, reading material by Sarah Pierce, Dave Beech and Mark Hutchinson, accumulated leftovers from the first, second and third weeks. The sessions were recorded with techniques familiar from televised poker, with a specially constructed table allowing for under and overhead footage and recordings. This material was edited, projected and combined to be screened on the night of June 3rd, against Leesa and Nicole Abahuni's performative experiments in synaesthesia and collaboration with electronic sound musician Scott Hewitt. By re-ordering their perceptual arrays through mirroring devices and their refractive obstructions to any clear view, an audience may enter into a 'game' of chance where the superfluity of elements leads to a subtraction of the real from within the body of the exhibition. The 'gestalt' of these environmental adjusters is 'soft' rather than 'hard', within the terms of a history of the interactive whose origins are formed in early modernism, amid kinaesthetic works from Duchamp to Takis through the sensorial imaginaries of concrete and electronic music.
Adapted from the press release.