Stadig å fortsette framover; å søke etter
Solen, som slynger sine slående stråler; som forsvinner
Under Brygga, et vesen lever; forråtner
Ved enden av Landet; Sjøen
Det finnes en innside og en utside, et mørkt indre og et lyst ytre. Under huden, inni kroppen, er mye flytende. Dette er stedet hvor det underbevisste virker, fordøyer og prosesserer og samler og skiller substanser.
De lette etter selve begynnelsene av mening og skapelse: for å sammenføye tusener av år tilbake med idag. De ville finne det, men da de ankom, visste de fortsatt ikke hva de skulle gjøre.
I dypene av himmelen fantes ingen speil, og i solens sted gapte et stort blødende hull der kanskje en jeksel hadde blitt vridd ut. Sjøen hadde sannsynligvis blitt tømt, og etterlot seg hulrommet av sin beholder omsluttet av et svimlende stup. Kloden selv hadde forsvunnet, hadde opphørt å være solid.
– Le Clezio, J.M.G., The Book of Flights.
Eleanor Clare og Dillan Marsh bor i Bergen, og har lagd arbeider sammen siden 2013, et samarbeid som begynte som en utforskning av hvordan det å lage kunstverk og å skrive gjensidig kan påvirke hverandre i å forstå mening og utviklingen av form og struktur. Clare har en mastergrad i kunst fra Central Saint Martins, London (2011), og Marsh en mastergrad fra Kunst- og designhøgskolen i Bergen (2011). Sammen har de produsert verk for følgende aktører: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Büro für Problem Basel og Apis Press Bergen.
Prosjektet er støttet av Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune og Norsk Kulturråd.
Archipelago er et lite, fleksibelt visningsrom for å vise enkeltverk og installasjoner i et fokusert, men åpent miljø. Siden rommet ligger i førsteetasje på Hordaland kunstsenter, like ved siden av et større, mer formelt utstillingsrom, åpner Archipelago opp for å undersøke de skiftende egenskapene ved et kunstverk med begrensningene av et lite, fysisk rom, i en tidsalder med virtuelle rom.
Programmet til Archipelago planlegges kort tid i forveien for hvert nye prosjekt, med den hensikt å gjeninnsette kuratorisk smidighet og nåtidig engasjement i institusjonen. Disse utstillingene følger en annen tidsplan enn Hordaland kunstsenters hovedprogram for utstillinger, og er tenkt som en gruppe av «tenkeøyer» som oppstår i tiden.
The hands are scrabbling
The earth is turning
The tide is rising
Constantly forging onwards; seeking
The Sun, casting its glorious rays; disappearing
Under the Pier, a creature lives; decaying
At the end of the Land; the Sea
There is an inside and an outside, a dark interior and a light exterior. Under the skin, in the body, much is fluid. This is where the unconscious is at work, digesting and processing and merging and separating matter.
They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn't know what to do.
In the depths of the sky, there were no mirrors, and in place of the sun a great bleeding hole gaped where perhaps a molar had been wrenched out. The sea had probably emptied, leaving the hollow of its basin rimmed by a dizzy precipice. The earth itself had disappeared, had ceased to be solid.
Le Clezio, J.M.G., The Book of Flights.
Eleanor Clare and Dillan Marsh live in Bergen, and have been producing works together since 2013, a collaboration which began as an investigation into how making artwork and writing can mutually influence one another in the understanding of meaning, development of form and structure. Clare received MA Fine Art from Central Saint Martins in 2011, and Marsh MA Visual Art from Bergen Academy of Art and Design, 2011. They have produced collaborative work for the following organisations: Parabol Bergen, Assembly House Leeds, Edinburgh Sculpture Workshop, Yorkshire Sculpture Park, ASC Gallery London, Deuxpiece/Buro fur Problem Basel and Apis Press Bergen.
Research and development has been supported by Yorkshire Sculpture Park, Edinburgh Sculpture Workshop, Assembly House Leeds, Metal Arts, Bergen Kommune and Norwegian Arts Council.
Archipelago is a small, flexible platform for showing individual works and installations in a focused but open environment. Located on the ground floor of Hordaland kunstsenter, adjacent to a larger, more formal exhibition space, archipelago works with the constraint of limited physical space in order to explore the changing modalities of artworks in the age of virtual space. Archipelago is programmed with short lead times for each new project, with the intention of reinserting curatorial agility and real-time engagement into the institution. This initiative follows a different schedule to Hordaland kunstsenter's main exhibition programme, and is conceived as a group of 'thought islands' appearing in time.
The Travels of The Toucher, Assembly House, Leeds 2015-12-15
The Travels of The Toucher
Dillan Marsh & Eleanor Clare
Video projection with audio played through a bass amp, 45 sec. loop
Framed digital C-print, 60x85cm
Audio, played through a mini guitar amp, 5.20min. loop
Digital photograph on 32 inch monitor
Stud wall with two poke holes cut through it
Five terracotta clay objects on different sized plinths
Framed painting, acrylic on two 21x15cm sheets of paper
Work lamp, lighting back yard
Publication, in edition of 50
Eleanor Clare & Dillan Marsh: The Travels of The Toucher
With cardboard boxes over their heads, and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The forms were destroyed and remodelled – the possibility to reform them was always there. It was a way to get to the thing.
On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for the winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they found it, they didn’t know what to do next. Not there at the shrine, nor in the studio with the clay.
About Time is a satellite programme of contemporary art running from October 2015 – January 2016. It is curated by a consortium of Leeds-based artists and curators led by Mexico, Pavilion and SPUR with contributions from Assembly House Leeds, Basement Arts, Black Dogs, Leeds Animation Workshop, Left Bank, Pyramid of Arts, Seize, Set The Controls For The Heart of The Sun and many others. Coinciding with the launch of the British Art Show 8, this city-wide initiative features commissioned artworks, texts and events which aim to highlight the work of artists, cultural producers and curatorial projects based in Leeds, alongside their international peers. The programme takes place across a diverse set of venues including artist-led spaces, museums and heritage buildings.
With cardboard boxes over their heads and two holes punched out for their arms, they began with wet clay, and without any other idea than to see what came by handling it. What they arrived at was not a sculpture, but a way to begin. The possibility to destroy and remake was always there: it was just a means of getting to the thing.
On a wet and windy day, they journeyed out to Tigh na Cailleach, home of the Old Woman of the Glen, just before she withdrew into her shelter for winter. They were not sure what they might find, or what to do when they got there. They were walking a path that had been walked for thousands of years. They were hopeful that they would make their destination on time, and fearful of regret, lest they should have to turn back. It was not that time or nature were against them; it was simply that the elements continued, and would continue interminably, before them, after them and in spite of them. The night was drawing closer with every step further into the heart of the glen. Colours were changing to soft and rusty ochres, greens and bluey-greys. The form of the land was becoming gentler and more rounded. The deep, broad loch had now tapered off into a trickling stream; yet the wind raged on, and the rain beat with a stinging patter against against their faces.
They were looking for the very beginnings of meaning and making: to connect thousands of years ago with today. They wanted to find it, but when they arrived, they still didn’t know what to do. Not there at the shrine, nor in the studio with the clay.
- collage with Francois Hugo dans son atelier and a stamp from the Album Nestle, Series 22
- role playing dice with the numbers removed and in the forms of the 5 Platonic Solids
- collage with Bulgari advertisement Eternal Values and bookmark with Vanitas by Jan van Huysum
- RUSH, Yikes and Power Promotions (1992) on a small white stool
- Collage with Odyssey, a Journey into Dance and postcard Urnascher Sylvesterchause
- Trophy, marble base, universal imperial spanner and chocolate wrapper
- Tomorrow is Born, Acidica Productions (Shepton Mallet, 1992)
- postcard of Arosa 1800m, Innerarosa, Alpentobel, Erzhorn
- digital machine timer Red Lion 202/95EC (counting the time in milliseconds)
- NEW AGE (Milton Keynes)
- a toy Halloween pumpkin
- mono-print on paper Mayhem in 1990 printed with an empty black ink cartridge
Incomplete pyramid structure built from powder coated steel tube provisionally fastened together with brightly coloured cable ties and weighted with a pile of used tires. The sculpture is placed outside the exhibition entrance, in a circular arena and opposite the unofficial meeting place for young, local car enthusiasts.