Curating Coventry’s 2019 Highlights

As another year draws to a close, we’d like to take this opportunity to reflect on our highlights of 2019. We’ve enjoyed some exciting and innovative uses of unconventional spaces, exploring new and unexpected venues from a disused NHS facility to a working allotment site. We’ve enjoyed immersive, interactive experiences where we’ve engaged with modern technologies. We’ve visited live art installations, and enjoyed thought-provoking performance-based work whilst confronting issues surrounding the environment in which we live.

So here’s a pick of some of our favourite moments of 2019:

Shrike by Sherrie Edgar
February 2019

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An invitation landed in our mailbox with a number to text on the 28th February. On the date the details of a room at the Britannia Hotel in Coventry were disclosed and time in which to visit.

In this unique, interactive live-art experience, we explored a site-specific hotel room installation, in which you were invited to take on the persona of the occupant. A video of this character played on the TV as we investigated the room cluttered with a variety of belongings. Hidden warning messages about the effects of loneliness could be found printed on discarded cigarette packets and empty wine bottles. Make up and toiletries littered the bathroom, where messages surrounding isolation were scribbled on the mirror in lipstick. The exhibition raised awareness about the impact of solitude and loneliness, and it’s effects on individuals suffering in society.

 

The Knife Angel by Alfie Bradley
March 2019

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In March the famous Knife Angel sculpture by Alfie Bradley came to Coventry where it resided for a month in front of Coventry Cathedral. The 27ft (8m) sculpture was made from 100,000 blades, which have been handed into police across the country. A giant celestial figure composed of shocking weapons used to damage, and to kill. A bitter-sweet work of art highlighting the scale of this worrying epidemic.

The sculpture drew in crowds from across the city and beyond, uniting people who came to pay tribute to victims of knife crime. Hundreds of messages were left around the sculpture’s surrounding enclosure with flowers from loved ones and friends. A real demonstration on how strongly a piece of public art can move a community.

 

Other Worlds at Arcadia Gallery
April 2019

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Other Worlds was part of the Shoot Festival 2019 programme – a festival created as a platform to showcase Coventry and Warwickshire’s up and coming talent. For the Visual Arts strand of the festival, Shoot teamed with Coventry Artspace. Three artists were selected to be featured in this exhibition, which explored imagined and parallel worlds. The exhibition included textiles, drawing and mixed media and featured:

Michala Gyetvai, who created an abstract, undulating textile based landscape (above).

Michael Snodgrass who’s work featured a large scale post- apocalyptic story using ink on paper drawings (below left).

Chidera Ugada’s mixed media paintings reflected contemporary life in Britain and the ever-increasing bombardment of visual information on citizens (below right).

 

Silent Walls by James Birkin at Classroom Gallery
May 2019

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Coventry-based painter James Birkin’s solo show “Silent Walls” opened at Classroom Gallery on 16th May, and featured as series of oil painting of many familiar derelict buildings from around Coventry and the West Midlands. The paintings explored both the interior and exterior of these abandoned sites, which sensitively paid homage to buildings that were once significant to the town or community, but now lay dilapidated and neglected.

Project Coventry curated by Tara Rutledge at Classroom Gallery & Basement
June 2019

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This one-night pop- up projection-based exhibition explored the on-going rebirth and regeneration of Coventry. It brought together 12 artists with a strong connection to the city, some of whom had never worked with projection before, who were paired with experienced projection artists to make collaborative new artworks in response to this theme.

Image by Tara Rutledge

(Image by Tara Rutledge)

This interactive show allowed the audience the opportunity to become involved with the projections, wearing 3D glasses to view stereoscopic images of the city. Poetry was projected onto live performers, and dark spaces of the basement were occupied with light installations and soundscapes – lots of really unexpected surprises made this a fun, unique and memorable evening.

 

Image credits:
2nd left top – Karen Lawrence
2nd left bottom – Tara Rutledge
Large right-hand – Victoria M

 

Wonder at The Herbert
July 2019

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A surreal, futuristic, immersive exhibition that took you away to a dream-like reality which featured augmented reality, an interactive light installation and animated intricate dolls houses inspired by the underworld of Film Noir. You got to step inside a painting to experience a life-sized 3D landscape, and explore insects and animals from the Herbert’s Natural History collection, brought to life through a series of animations. This was an exhibition that all ages could enjoy, and young ones had great fun engaging with the works.

 

Co-Op(t) Arty Party 2 – Integrate
West Indian Centre and Classroom
September 2019

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(Image by Ellie Ball)

After the success of the Co-Op(t) Arty Party back in March at Fargo Village, Arty Party 2: Integrate promised an even bigger event which spanned over two venues – the West Indian Centre and Classroom Gallery. It showcased visual art exhibitions, digital projections, spoken word, live performances, workshops and DJ sets. The evening featured the work of over 20 artists from across the world whose work, explored the theme of social integration. Many of the work touched on pressing issues surrounding class and race, with some very moving pieces, which celebrated people’s differences and focussed on gaining a stronger sense of solidarity.

(Images by Ashleigh Brown)

Coventry Biennial of Contemporary Art
October 2019

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The second Coventry Biennial dominated Coventry’s Visual Arts scene throughout October and November and spanned across 21 venues over the city, featuring a selection of local, national and international artists with work that responded to the theme of “The Twin.” Coventry’s newest arts venue The Row – a disused NHS facility featured the central exhibition for the Biennial, with a diverse collection of works from installation, moving image, sculpture and painting. Some of our favourite Biennial shows included the exhibition at Arcadia where a double-sided suspended screen projected films exploring the passage of time. We also loved the immersive exhibition at the Lanchester Gallery, which featured a panoramic photographic installation and soundscape, digital moving image projections, a strobe-lit sculptural installation and a fictional scenario in which two tribes at opposing political, social and economic positions were attempting to communicate.

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(We’ve been sharing our Biennial Highlights on Instagram, so have a nose at more of our favourites on there). 

The launch of underGROWTH by The Pod at The Pod’s Food Union Allotment
October 2019

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underGROWTH is a series of eco-art micro-residencies designed to confront issues relating to Coventry’s environment: the air we breathe, the trees and weeds lining our streets and our human responses to the city’s ecology.

The launch event was a celebration of Apple Day – a day founded in 1990 which was intended to be both a celebration and a demonstration of the variety we are in danger of losing, not simply in apples, but in the richness and diversity of landscape, ecology and culture too.

Co-curated by Lauren Sheerman and George Ttoouli with The Pod and DIALOGUE the afternoon brought together a series of performances, readings and live music around a campfire, bringing everyone back to appreciate nature. Attendees of all ages enjoyed picking and juicing fresh apples whilst recognising the significance to the themes the day explored.

 

 

 

 

 

GUEST BLOGGER – Adam Neal

We’re delighted to welcome special guest blogger Adam Neal. His practice revolves around issues of social class, nostalgia and loss. Neal utilises his experiences, upbringing and ephemera from traditional ‘working-class’ environments. These elements act as a vehicle for his practice, allowing him to generate work about the social, from within it.

Bay Leaves II

A Plebeian, Aware of his Milieu
Adam Neal

 Value

I’m glad I titled this text something convoluted, I like to believe it renders it that little bit more facetious. Facetiousness is a positive characteristic for an artist, and art to have, as everything seems to take itself so seriously.

“Artists are too in the mind of ‘isn’t it good this is happening’ instead of asking whether it should be happening at all, or evaluating it in any way. art doesn’t have inherent value, it’s always worth prodding” (The White Pube, 2018).

Self-reflection should be constant, in that same breath I ask myself, is the work I am making interesting, valuable, and really is it any good? In all honesty, I deem trying to produce artwork that is ‘good’ subjectively unattainable, and the question lies more so in does my work have any value and real life application.

The value stems from the context, the relationship between my Nan and myself, and its application to a way of life. I am using these pre-existing facets of my life as the value, and a way in which I can comment on a way of life that is now fleeting. Whilst, simultaneously, attempting to define how contemporary working class culture manifests itself.

In actuality, I’m still unsure what a lot of this means or how to define aspects of the subject matter. However I deem there value in attempting, in elucidating a way of life that has contributed towards and been affected by our current political and economical standing, as a country.

“I don’t see how this has anything to do with ‘Art and Design’, you’re not designing anything”. Nan usually proclaims as I walk around the house with my camera, or when I ask to borrow things to photograph. Value is added within these interactions. Our relationship becomes a closer one, and she begins to understand what I am (attempting) to achieve within my creative and professional life. I’m not attempting to turn my Nan into an artist, however it’s exposing her to what contemporary art can be (like I’m a bloody Turner Prize winner). I’m aware that at the moment the value can be perceived as personal, and this is an aspect I am attempting to ameliorate and add value to a wider demographic.

Place

“next is location: the centre point in the women’s lives, i.e. where they live. Their physical location becomes ever more important to them struggling to hold on to who they are and how they wish to be known, but so does their social location: where they are positioned in social space: they are always aware of ‘being looked down on’, and situated ‘at the bottom’. (Mckenzie, L, 2009, p.p. 14)

Lisa Mickenzie’s statement resonates particularly in terms of the relationship between physically and social space. ‘Working-class’ communities are seemingly locked into geographic locations, primarily as a result of occupation at the height of British Industry. However, this idea of being locked in or perhaps unaware of one’s social space is a trait often attributed to the ‘working-class’. Being more upwardly mobile is a trait connected often to the middle classes and upward, however with new social classes being formed characteristics are harder to attach to certain groups. We always generalise, I feel.

Analysing this is integral to my own position as an artist producing work of this ilk. Going through an arts education, I immediately become more upwardly mobile; I have access to new social spaces now due to connections made, my occupation and practice. However, where I live still encapsulates idea’s of the ‘working-class’. I am privileged, I acknowledge this privilege, but now feel uncomfortable crossing between these environments. I do not have any answer to this, and perhaps this tension and awkwardness is integral to my practice. It grounds me, allows me to self-reflect constantly, and probes what I do and its value.

Personally, I still deem my practice to be problematic in terms of its scope. Being cemented within academia until last June has resulted in me working only with my own locality. To an extent this was sufficient, but only sufficient relative to my abilities, understanding and position. Locality, and specificity is crucial for closer studies, and more focused methods of thinking, but for my practice I believe cast my net further afield also. Pierre Bourdieu’s approach of studying Kabyle communities in Algeria springs to mind, as I am convinced this level of cultural cross-examination would elucidate the pathway my practice needs to take, and aid in the enhancement of the contextual framework.

Process

Everyone’s a photographer now aren’t they? Whether it’s on your iPhone, or you’ve saved up money to buy a decent DSLR, just point, click and don’t worry about it pal. Joking, and generational generalisations aside, photography as a creative medium has never been so accessible, and equally over saturated.

“In other words, the photograph, as it stands alone, presents merely the possibility of meaning” (Sekula, A, 1984). Constantly, this quote slaps me in the face, and forces me to think deeper about the application of photography. Photography alone, presents the idea or possibility of meaning, Sekula here doesn’t tell us how to create meaning. There is no formula for activating the meaning within photography, this is purposely ambiguous and the space has been left open for personal interpretation.

Photography has a magnitude of applications within creative processes, from documentation to realisation. I do agree with Sekula in that photography, in isolation, is rarely enough especially within contemporary creative practices.

I am not discrediting photographers or photography as an occupation, it’s important to make the delineation between photographers and artists who primarily use photographic processes. As I consider myself an artist who uses photography as a primary process.

Coinciding with this, my stance is that photography needs activation within my practice; it needs another ‘thing’ alongside. Combining photography with disciplines such as sculpture, physical objects, or ready-made objects seemingly creates more dynamic dialogues between the work, which culminates in a more engaging and coherent overall communication of the ideas.

Gavin and Stacey, Series 1, Episode 4. The vicar in Stacey’s hometown church begins to ask the congregation what their favourite sandwich is. Ultimately it boils down to this: “The point is that the bread is the Holy Spirit, the mayonnaise/butter is the Father, and the filling is the Son. We all like different fillings but ultimately the bread remains a constant just like God”.

I’d like to attach this sandwich metaphor to process. Most of us will have our bread, a go to process we are either well versed in or simply enjoy, and this will remain a consistent. We should all, however, consider what our filling is, what accents the bread in a tasty way. What processes should we use to complete our sandwich, and both compliment and challenge our consistent.

I suppose the mayonnaise/butter also remains constant, the vicar didn’t really elaborate on this. Perhaps we should think of it as the theoretical and contextual frameworks. Either way, at this point I think you get the gist.

Book I

Our first #ArtChatCov of 2019

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This month we will be running an extra special Tweet Chat to mark our first #ArtChatCov of 2019! Instead of the usual Wednesday, this month’s will be Thursday 31st January, 7-9pm.

#ArtChatCov will be a two-hour special. During the second hour, Chloe of Curating Coventry will be going live on BBC Coventry and Warwickshire radio to give a live update of the Tweet Chat. This will be great chance for those who are not on Twitter to gain an insight into what goes on during #ArtChatCov. Then those who join the Tweet Chat will have the chance to hear about themselves live on BBC radio!

We’re planning on running the Tweet Chat a little like this…

7-7:30pm – #ArtChatCov will kick off with a live Q & A with Adam from the Blue Door Gallery – find out more about Coventry’s newest art gallery and join the conversation.

Following this from 7:30pm – 9pm – we’ll run our usual monthly networking session. Share with us your latest projects, any news and updates on what’s coming up, plus forthcoming events and exhibitions.

Then from approximately 8:40pm Chloe will be live on BBC Coventry & Warwickshire “The Culture Club” radio show giving a live update from the TweetChat.

You can tune in online here.

Hope you can join us on the night!

So if you have any forthcoming events/exhibitions or want to share what you are working on, be sure to follow #ArtChatCov between 7-9pm on the night to join the conversation!

(We will go back to running #ArtChatCov on a Wednesday night from February onwards.)

Find out more about #ArtChatCov here.

Our 2018 Highlights

As 2018 is coming to an end, we thought we’d take the opportunity to look back at some fond memories of the year. The city has once again enjoyed an incredible mix of visual arts and although we were sad to say goodbye to the CET Pop-Up back in June, it will definitely leave a lasting legacy in the city.

So here our some of our highlights from 2018:

Coventry University Drawing Prize at the CET Building (March)

The annual drawing prize is ran by the faculty of Arts and Humanities and is open to all students and staff of the uni, both past and present. The exhibition was held at the CET, and although called “Drawing Prize” a diverse selection of media was exhibited.

The winner was Michala Gyetvai with this beautiful oil pastel drawing titled “threads”. Michala is currently studying an MA in painting at Coventry Uni and is also well known for contemporary landscape embroidery work.

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“I Migrated” at The Belgrade by Maokwo, founded my Coventry artist Laura Nyahuye in celebration of International Women’s Day (March)

This moving exhibition told the story of migrant women through photography, poetry and handmade body adornments. The exhibition gave an insight into inner struggles, fears, loss, joys and triumphs and aimed to challenge perceptions. The event was opened by Lord Mayor of Coventry and featured some incredibly touching, thought-provoking talks, poetry, music and dance.

Following the event, we interviewed Laura Nyahuye to delve a little deeper into her as an artist and the incredible work that she is doing to empower women.

Read this interview here.

 

John Yeadon “What’s the meaning of this?” at the CET Building (May)

Renowned Coventry-based artist John Yeadon opened his solo show “What’s the meaning of this?” in the Newsroom at the CET Building back in May. This featured a retrospective view of paintings he produced in the 1980s, which, at the time, were deemed shocking and controversial, alongside a collection of his more recent work. This exhibition encouraged the viewer to reflect on the political, ideological, social and economic changes that have taken place in this period.

His selection of older work featured paintings from his “Dirty Tricks” exhibition at The Herbert Gallery in the 80s. A collection large-scale of grotesque-realist paintings, which at the time were branded in the press as “Smut not Art”.

In stark contrast to this, John’s idealistic landscape paintings, from his more recent “Englandia” series were on display. This collection of work challenges myths, preconceptions and contradictions of national identity through landscapes. Then alongside these, the exhibition featured series of digital assisted paintings of Sellafield Nuclear Power Station. The paintings reflected his interest in technology and yet also the way in which 20th century technology dates so fast and so badly.

We chatted to John before the exhibition opened.

Take a read of his artist interview here.

 

Our first ever live #ArtChatCov at The Pod (September)

We teamed up with The Pod Café for a Supper Club back in September, for our first ever live #ArtChatCov. This sell-out event was a wonderful social evening where artists and arts organisations from the city came together for a night of great food, live music and good company. Birmingham based electronic duo EIF performed an amazing live set while people shared delicious vegan dishes sourced from local produce. We also got to find out more about the social activist movements that come under the umbrella of The Pod Café, including The Time Union – a city-wide time bank and Food Union which focuses on connecting people through conversation and action around food. It was a wonderful relaxed evening, connecting like-minded individuals in this absoulte gem of the city. We hope to run some more events like this over the next year.

(For those who haven’t heard of it, #ArtChatCov is our monthly networking TweetChat connecting artists and arts organisations across Coventry. Find out more about it here).

 

Coventry First Thursday at Classroom (October)

A selection of Coventry-based artists were selected for this exhibition for their positive contribution to the perception of the visual arts both inside and outside the city. Upstairs featured a selection of abstract painting, figurative work, photography and digital work. Then as you entered the basement, the smoke-machine bellowed as you explored room by room which hosted installations, moving image work, and painting in this wonderful atmospheric setting. The opening night was absolutely packed and we really loved the way that this amazing space was used!

(Which leads us to our next highlight…)

We Are Luminous launch at Holyhead Basement (November)

We Are Luminous is a Moving Image forum set up my Coventry Artspace trustee and artist Hannah Sutherland along with Artspace studio holder and digital artist Carol Breen. For the launch they put on a cracking event in the basement at of Holyhead Studios ahead of bonfire night. This took inspiration from Cai Guo-Qiang’s One Night Stand: Explosion Event (2013), Andrew Waits Boom City (2012), Shunji Iwai’s episode of the Japanese drama series titled “Fireworks, Should We See It from the Side or the Bottom?”

Once again this atmospheric space was filled with an exciting selection of work from moving image and new media artists based from in and around the city. Holographic glasses were handed out, which gave each piece of work a whole new dimension. The garden was open, and sparklers were lit, drinks were poured whilst ambient electronic sounds from TOPS OFF (Laura Coffin and Jack Carr) echoed around the basement. What a night!

Backbone at Artspace Arcadia Gallery (November)

During the final month or The Art of Coventry programme, artists from The Shared Collective worked alongside curator Anna Douglas exploring “The Art of Curation”. During this 3-day workshop they worked with images of older women by the famous docu-photographer Shirley Baker. Each artist chose a photograph which they felt most connected to, and responded with poetry or their own written piece. The final result was an immersive audio/visual installation displayed at Artspace Arcadia Gallery. This enclosed space was filled with a sea of rose petals, leading to life-size images projected onto the far wall, with the voice recordings of each artist’s response exploring women’s identity in today’s society.

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Coventry Open at The Herbert Gallery and Museum

Over 300 pieces of work were submitted to this year’s Coventry Open, and these were whittled down to 99 artworks, which are all currently on display at The Herbert Gallery until 24th February.

The exhibition features a wonderful diverse showcase of talented artists from across the region with a wide range of media from painting, drawing, photography, sculpture and textiles. If you haven’t already been along yet, we couldn’t recommend this enough!

The judges winner was contemporary painter Jack Foster, for his painting Kite. You can vote for your own winner and the people’s choice winner will be announced when the exhibition closes!

 

 

 

Artist Spotlight: Andy Sargent

We’ve interviewed Warwickshire based contemporary painter, Andy Sargent to find out a little bit more about his creative practice, ahead of his forthcoming solo show (opening 22nd December 2018 and Nuneaton Gallery and Museum). 

The Coombe track

Tell us a little about your history as an artist Andy. When did you first get into painting?

I was drawing and being creative before I could read or write! I was surrounded by art as a kid, my grandfather was a talented amateur artist as well as his brother in Llandudno. I remember reading all his big reference books on art, so I got to be aware of the likes of Monet, Van Gogh, Sickert and Singer-Sargent at an early age. My grandfather was also a guide for many years at Coventry Cathedral, and I often got to draw all the amazing artefacts when I was young in the Cathedral’s under croft, and I remember staring for hours at the famous works of art in there, by Sutherland, Piper, Epstein and so on. I was starting to dabble in painting whilst at school (I won an award in the Coventry Building Society’s young artist competition that they used to run each year, I think it would have been around 1980) and then really got into it at College, studying for a BTEC Diploma in General Art & Design, then for a degree in Fine Art at Birmingham Polytechnic.

How has your style changed and evolved over the years?

As I had grown up, reading and being influenced by 19thC French painting and so on, my work changed vastly, especially after I came under the tutelage of Dave Berry-Hart and Geoff Yeomans at “Tech” in Nuneaton. Dave was a fabulous sculptor, but he opened my eyes up to Dada, surrealism, abstract expressionism etc. Geoff was an amazing painter and was a stickler for the traditional craft of painting. This had a profound influence on my painting at the time. I had a terrible time on my degree course, and after gaining my degree I destroyed all my work, vowing never to paint again! In the mid 90’s I started getting commissions for portraits and animal studies, then I started painting for myself again. Since then, my work has often gone from expressive realism into abstraction and back again. I have always been particularly fond of Fauvism, and its experiments with colour, and this is often an influence on my work. I’m always experimenting, and trying new ideas. Since my spinal injury in 2010, my work is often painted in discomfort and pain, hence the reason that some of my works look like they’ve been attacked with a brush, and extreme tonal arrangements have been used, plus vibrancy of colour.

Plain

What themes do you explore in your paintings?

I have for many years dealt with the landscape. Not just in the traditional representation of it, but in different ways it plays on emotions, memories of being in it, things that happen in it and so on. Sometimes the subject is the starting point, but the work itself takes on its own “persona” so to speak, and becomes more about its own composition, technique and materials. Being a disabled artist, I have to paint what is around me, hence landscape is an important subject. I am also developing a body of work, which is a biographical series called “Hidden monster”, and deals with the issues of being a permanently disabled creative in today’s society. It deals with pain, depression, isolation, people’s reaction to you, and being a sort of “phantom” in your own life, not being able to do the things you once did.

What process do you go through when creating a new painting?

I’m very much a spontaneous painter. I don’t hang around. Having said that, some works do take a lot of thought, and juggling with before jumping in with the paint. Due to my physical issues, I can’t spend hours of time on a work, and things like keeping it “fresh”, and not overworking things are important. Some of my work is done in stages, some taking months or years to paint, but that’s only because I’m not happy with something, so I put it away to leave it till the mind clears! I don’t have a proper studio, I paint where I can. That could be out the boot of my car, in the kitchen or in my father’s badly lit and drafty garage! I dream of having a purpose built studio one day!

Chiltern barn

What other artist’s work do you like and why?

I could write you an essay! However to keep it simple, here’s a few to start with! Gustav Caillebotte – simply because the atmosphere he created in his paintings is mystifying! Maurice de Vlaminck – My grandfather met him, so I grew up hearing a lot about him, and his Fauvist works were incredible, as an exercise any painter should try to just have a go at replicating one of his works, it’s not easy, forget traditional colour theory! Frank Auerbach – I have always been interested in his work, his paint application (like the paintings of his friend Leon Kossoff) is almost sculptural, and his story is well worth reading about. Sir Howard Hodgkin – Hodgkin was a painter’s painter (If you know what I mean). He used paint in a different visual language, to the layman Hodgkin’s work seems abstract on first inspection, but to him they were descriptive of a memory, event, or other subject. I had been using the frame around works as an integral part of them way back at college, never having really looked at Hodgkin’s work properly. So to see him doing this in his creations attracted me to his work on purely technical grounds.

What can people expect to see in your forthcoming exhibition at Nuneaton Museum and Gallery?

This exhibition is the culmination of two year’s work (since I became ill health retired from the Civil Service, and I could concentrate on my art without distraction). In those two years, I have explored different ways to interpret the landscape. So visitors will see both traditional and more contemporary/alternative descriptions of it. Not only the landscape itself, but memories of events in it, seasonal references, all sorts of things. Two of the paintings have been seen on television and one of the works was selected for the Midlands Open Exhibition in 2017 at Leamington Museum and Art Gallery. There are over forty works in the show, using a variety of materials and methods, and as with all the work I create, each tells a physical struggle in the making of them if the viewer looks at the mark making contained within the work itself.

Freedom, to the city

Andy’s solo show “From the Land – Differently” will run at Nuneaton Museum and Gallery from 22nd Dec – January 27th.

Find out more here.

www.andysargentartist.com

Thicket of things

Curating Coventry Instagram Artist of the Week

Back in May 2018 we ran an Instagram Takeover with Coventry 2021 City of Culture Trust. There was an overwhelming response with over 620 images submitted to be featured, showcasing the work of so many talented artists from the city.

Way too many to feature during a one-week Takeover, so following the one-week Insta-Takeover, we decided that each week we will continue to feature an artist a week on our Instagram page, until 2021!

For your chance to be featured, use the hashtag #CuratingCoventry2021 to images your work on Instagram!

In the meantime, we’d encourage you to explore other Coventry artist’s work using the hashtag on Instagram and celebrate our city’s creative talent!

Follow “The Van Trip” Live Art Journey – From East to West with Love

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Thursday the 7th June, we will witness an open top truck loaded with a tonne of bread and salt, depart from Whitley Depot, Coventry on a 1072 mile journey to Łódź, Poland, as part of a live art, transient performance by Coventry-based contemporary artists Rob Hamp and Emilia Moniszko.

The Van Trip is Phase 2 of From East to West With Love – a project which aims to establish unity, dialogue and connections between Eastern and Western Europeans.

You can follow this outreaching trip live via their social media channels, where Coventry-based film-maker Ivan Petkov will provide real-time documentation of the journey.

To put the concept of the Van Trip in better context, here’s an insight into the history of From East to West with Love:

Phase One – The Visitor was a programme of events, an exhibition, public discussions and an artist residency, that took place in September-November 2016 in Coventry, and Łódź, Poland.  The events encouraged arts professionals, academics and the local cultural community to connect and engage with each other whilst identifying and questioning cultural changes. One of Poland’s most radical artists Pawel Hajncel was their artist in residence. He created a performance titled “‘Patriotism for Sale’ in which he addressed the attitudes of migrants who fled their home countries in pursuit of sustainable future.

The objectives of From East to West with Love are to:

  • Place Coventry as a centre for experimental contemporary arts in Britain, free from discrimination resulting from today’s political climate
  • Establish communications between European artists, cultural agents and the general public in order to contribute to a positive image of Europe
  • Attract a diverse range of audiences from different backgrounds in order to release the segregation of the migrant community
  • Create personal development opportunities in curation, communication and event coordination positions
  • Document all elements of the project, to provide material to contribute towards Coventry’s future vision
  • Establish strong relationships between cultural agents and arts facilitators in Coventry and Łódź, in order to create culturally twinned cities.

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SO back to Phase 2 – The Van Trip

Why transport a tonne of bread and salt?

In Poland bread and salt are a symbol of hospitality – a way of welcoming people. Bread symbolises the wish that the recipient will live in abundance, while salt is a reminder of the difficulties that we learn to overcome in life.

Łódź is geographically situated in the centre of Poland, as Coventry is to England. Like Coventry, it is a city with a long-standing industrial history – a connection that is significant to the project, and perfect grounds for twinning the two cities.

Check out this video by the artists to give you more of an insight:

https://www.youtube.com/watch?v=cgCqYFEgE2g

Who knows what experiences, interactions and events they will encounter as we follow this outbound journey, crossing borders, boundaries and undoing the framework of state lines.

Stay tuned to their Social Media Channels to find out, and experience The Van Trip with them:

Facebook: @fetwwl

Twitter: @fetwwl

Instagram: @fromeasttowestwithlove

And follow the hashtag #FETWWL

Join their live departure from Coventry on Thursday 7th June via their Facebook page here: https://www.facebook.com/events/382034575626228/

Watch the arrival approximately two days later at the Punkt Odbioru Sztuki, a Łódź based art gallery where it will then be unloaded:

https://www.facebook.com/events/1637173016403029/

Find out more on the website http://fetwwl.com/

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