Inner Landscapes of Time

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every day the urge grows stronger, 2014 Video Still © Courtesy of the Artist and Upstream Gallery
Inner Landscapes of Time

Kloveniersburgwal 95
1011 KB Amsterdam
June 13th, 2015 - July 18th, 2015
Opening: June 12th, 2015 5:00 PM - 8:00 PM

Other (outside main areas)
+31(0)20 428 4284
Wed-Sat 1-6; by appointment


a series of bizarre images of the inner landscapes of time.”
La Jetée: Academy One by J.G. Ballard
Inner Landscapes of Time is a group exhibition that brings together new and existing works by artists based in the UK. Through a particular focus on time and imagination the works in the exhibition remediate found material and imagery, creating new narratives that slip between temporalities.
The works in the exhibition address this through a process of collapsing or stretching time to reframe old and new narratives, re-appropriating collected data, individual stories and collective memories. Reflecting on the construction of reality, through ways in which information is circulated and disseminated, the works expose the intricate layers of temporality behind natural and found material.
The exhibition takes its title from J.G. Ballard’s quote on Chris Marker’s famous film La Jetée (1962) and has been convened in response to the continued construction of an imagined future.

Curated by Frank Ammerlaan, Elsa Coustou and Ned McConnell

Participating artists include;

Salvatore Arancio’s practice, encompassing ceramic and sculpture, photo-etching, collage, video and animation, re-appropriates found images, taking inspiration in 19thcentury books, geologists’ drawings, natural history museums collections, botanical gardens, documentaries and Internet found footage. Reframing these images, Arancio revisits traditional techniques, combined with new technologies, constructing new narratives and creating organic, grotesque, fantastical shapes, or dreamy landscapes in which sense of scale has vanished.
Born in Italy. Lives and works in London, UK
Solo exhibitions include: Une Taxonomie des Sens et des Formes, Centre d’art contemporain La Halle des bouchers, Vienne, France (2015); Project 09: Salvatore Arancio, Contemporary Art Society, London, UK (2015); The Hidden, Ensapc Ygrec, Paris, France (2014); Cathedral, AV Festival, Nothern Gallery For Contemporary Art, Sunderland, UK (2014); Alternating Layers of Contrasting Resistance, Rowing, London (2013).
Recent group exhibitions include: The London Open 2015, Whitechapel Gallery, London, UK (Forthcoming); Data, Rochester Art Gallery, Rochester, UK (2015);Exquisite Collapse, Blip Blip Blip at East Street Arts, Patrick Studio’s Project Space, Leeds, UK (2015); The First Humans, Pump House Gallery, London (2015); Sex Shop, Folkestone Fringe, Folkestone Triennial 2014, UK (2014); Curiosity: Art & the Pleasure of Knowing, de Appel Arts Centre, Amsterdam, The Netherlands (Hayward Touring) (2014); Dreams That Money Can’t Buy, The Independent, MAXXI, Roma, Italy (2014).
Michael Fullerton’s prints, sculptures, and 18th century-inspired oil paintings unravel the powers at stake in the circulation and transmission of information. Addressing the role played by (mis)information within systems of power, and their failures, Fullerton draws his controversial characters from mass media: famous journalists and radio broadcasters, spies and human intelligence gatherers, wrongfully convicted prisoners, figures of political scandals, icons of the media and the Internet… The stories behind these individuals illustrate ideological beliefs, collective rumours, and the failures of regulative systems.
Born in Scotland, UK. Lives and works in Glasgow, UK
Solo exhibitions include: Prussian Blue (Part 2), Carl Freedman Gallery, London, UK (forthcoming); Prussian Blue (Part 1), S1 Art Space and Graves Gallery, Sheffield, UK (2015); Meaning, Inc, Glasgow Print Studio, Glasgow, UK (2014); Meaning, Inc, Greene Naftali, New York, US (2014); Columbia, Chisenhale Gallery, London (2010);Black and White Are Colours, Art Nova, Art Basel Miami Beach, US (2008); Pleasure in Nonsense, Carl Freedman Gallery, London (2007); Get Over Yourself, Greene Naftali Gallery, New York (2006); Art Now: Michael Fullerton, Tate Britain, London (2005).
Recent group exhibitions: Fighting History, 1760-NOW, Tate Britain, London, UK (forthcoming); One Day, Something Happens: Paintings of People: A selection by Jennifer Higgie from the Arts Council Collection, Leeds Art Gallery, Nottingham Castle, Highlanes Gallery Drogheda, The Atkinson Southport, Towner Eastbourne, UK (2015-2017); Jerwood Encounters: The Granchester Pottery Paints The Stage, Jerwood Space, London (2015); It happens without you, Kendall Koppe, Glasgow, UK (2014).
Georgie Grace’s video works address the idea of the conscious mind and the act of speech. She collages silent text on screen cut together with a variety of textured imagery taken from early 19th century books, pop cultural scientific references, mineral elements or landscapes of space. By pulling fragments of text from overheard conversations, presentations or lectures, she inscribes within her videos a paranoia about the unknown future.
Born in the UK. Lives and works in Cambridge, UK
Recent exhibitions include: Machines to Crystallize Time, with CJ Mahony, Smiths Row, Bury St. Edmunds, UK (2015); Jerwood Encounters: 3-Phase: this time of day can be dangerous, Eastside Projects, Birmingham, UK (2015); Jerwood Encounters: 3-Phase: Kelly Best and Georgie Grace, Jerwood Space, London, UK (2015); Tenderflix, ICA, London (2014); The Campsite, Curating CambridgeThe Hand that Takes,Cambridge Junction, Cambridge, UK (2014); ESP Showreel, Eastside Projects, Birmingham (2014); Opem 3, The Collection, Lincoln, UK (2014); Invisible Fabrick: An Endless Volume, Lazar House, Norwich, UK (2014); Ride the Judd, Act III: Under the Tongue, Hardy Tree Gallery, London (2014); Demolition, Aid & Abet, Cambridge (2014); Paper Stages, Season launch, Cambridge Junction, Cambridge (2014).
Fabienne Hess works with the discarded materials of society: images digitally recovered from trash folders, the terms and conditions of large companies, text taken from spam emails. This personal and social archaeology addresses issues of waste and consumption, the structures of everyday life that are ignored but whose hand guides our lives, and the unconscious sublimation of the imagination.
Born in Switzerland. Lives and works in London, UK
Recent solo exhibitions: Talbot Rice Gallery, Edinburgh, UK (forthcoming); La Balsa, Bogota, Colombia (2015); Excerpts from the Bastard Series,, online (2014);Replica Sentiments, French Riviera, London, UK (2014)
Recent group exhibitions: The C(h)roma Show, Croma Store, Bangalore, India (2014);DAK’ART, Dakar Biennale for Contemporary Art, Dakar, Senegal (2014); RIFF/T, Baltic Center of Contemporary Art, Newcastle Upon Tyne, UK (2014); Open Day, Lugar a Dudas, Cali, Colombia (2014); Grand Magasin, French Riviera, London (2013);Jungkunst, Halle 52, Winterthur, Switzerland (2013); We are Here: Open Studio Exhibition I & II, The White Building, London (2013); No Sorries in the Circle, Coleman Projects, London (2013); Night Loops, Legion TV, online (2013); The Show House, 9a and 11 Lever Street, London (2012); Off Sight, British Film Institute, London (2012);RCA Degree Show, Royal College of Art, London (2012); Paradise, Salone Internzionale del Mobile, Milan.
Lloyd Corporation’s collage, installation, performance and assemblage practice flows from found material and the arrangement of this material in culture. Addressing the structures of display in a variety of consumer contexts, they redistribute images focussing on the interplay between the personal and amateur aesthetics and design within classified advertising. By re-appropriating the media, they reinstate a sense of personal ownership over the imaginary.
Ali Eisa, born in the UK & Sebastian Lloyd Rees, born in Norway. Live and work in London, UK
Recent solo exhibitions: Competing Temporalities, Carlos/Ishikawa, London, UK (2013), An Idea Once but no longer Fulfilling, Krabbesholm, Denmark (2012), When People Are Silent Stones Speak, Green is Gold, Copenhagen, Denmarck (2012),Connect. Conjugate. Continue, Carlos/Ishikawa, London, UK (2011).
Recent group exhibitions: MIRRORCITY, Hayward Gallery, London, UK (2014); Flow(with Eric Bell and Kristoffer Frick), Peles Empire, London (2014); Consomme, Kinman, London (2013); Archéologies Contemporaines, Musée du château des ducs de Wurtemberg, Montbéliard, France (2012); Other Surfaces, Poppy Sebire, London (2012); Peckham 90210, N/V Projects, London (2011); Loading Spaces, Brickhouse Darbyshire Incarnation 5, Site Festival, Stroud, UK (2011); How Can I (or You) Resist, INIVA, London (2011); Risk Assessment, The Viewtube, London (2011).
Kentaro Yamada looks at the world in terms of temporality; he is interested in the slippage of these temporal states in the universe, in particular in relation to human beings. His choice of materials often balances between the archaic mineral or vegetal and the industrial, questioning the relationship of humans, in their infinitesimal time on earth, with their natural environment.
Born in Japan. Lives and works in London, UK
Recent exhibitions: before breakfast we talked about the furthest possible point before it all disappeared, Tenderpixel, London, UK (2014); b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d.b.d., MARS!, Munich, Germany (2014); All That Is Solid Melts Into Air: From Interactive To Interpassive, Gallery Momo, Tokyo, Japan (2013); Tacit Material, RM, Auckland, New Zeland (2013); MC Live II, Van Horbourg, Zurich, Switzerland (2013); St. Georges Church, London, UK (2012); Open West Award, Gloucester, UK (2012).
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