Circuit Wisely

Emily Whitebread: CATALOGUE for DETECTING MYSTERY RIDERS 1985 - PRESENT

2011-10-17T08:15:00.000-07:00

Courtesy of the artist: Emily Whitebread

Emily Whitebread: The Birth and Growth of Worlds

2011-10-17T07:38:00.000-07:00

Emily Whitebread graduated from the Goldsmiths MFA in Art Writing in 2011.

Installation View of The Birth and Growth of Worlds at the Goldsmiths MA Degree Show 2011.

Emily Whitebread: What would have to happen to make nature only be able to survive in artificial spaces?

2011-06-13T04:39:00.001-07:00

Charlotte Gibson: Goldsmith Degree Show 2009

2011-06-13T04:20:00.000-07:00

Work in Progress by Susanna Byrne

2011-06-08T02:03:00.000-07:00

No One Muse

Amelia's Magazine Review Circuit Wisely 2010

2011-06-07T03:37:00.000-07:00

The following review first appeared on Amelia's Magazine and was written by Emily Whitebread.

Flyer designed by Russell Palmer

Two years since their first show in the basement of Shoreditch Town Hall, Circuit Wisely presented 17 Artists in an East London live-work space. This second exhibition asked artists to respond to the location and 'architecture' of a residential building, investigating its scope for possible comment on the contested geography of East London.

Emily Whitebread Stills from a Film (2010)

The artists work (of which I was one) had to be temporal and capable of negotiating the duplicitous communal spaces of the building, such as the car park, balconies, stairwells, lifts and terraces. Circuit Wisely made it explicit that the artwork was not to impinge on the everyday movement occurring within the building, pushing the artists to consider how their work would be installed without marking the building and it's context within the geographical location.

The exhibition began on the ground level of the first stairwell, Mihaela Brebenel’s installation 1 to 7; G to 6A – Loose Ends invited the viewer to follow the woolen thread wrapped around the handrails and architectural piping. Mihaela's work explored the notion of navigating a particular space – through externalising the internal sources of what one does and does not see upon entering a residential building.

Mihaela Brebenel 1 to 7; G to 6A - Loose Ends

Continuing upwards, I passed Richard King's decorative installation and a burning red screen-print by Daniel Wilkins. However my attention was held by Ben Fox’sculptural shanty-town: Sublet City. The contrasting nature of the contemporary East London building and Fox's fragile houses echo the rapid development of East London, where an organic mixture of old and new is being skewed by the rapid destruction of original property in favour of the new. Beautifully made from found materials, it is accompanied by ‘the house shelters day-dreaming, the house protects the dreamer, the house allows one to dream in peace.’

Richard King Untitled

Dan Wilkins Untitled (2008)

Ben Fox Sublet City

The next level was occupied by Will Jennings’ Portfolio. A critical reflection on the building's owner and his vast property 'portfolio'. The publication's investigative text combined with photographic documentation of the property portfolio aimed to create a dialogue between shared landscape and the increasing capitalisation of the concept of home. It is rare that such an opportunity for a piece of work criticising the building is installed in the location that it is criticising. It was interesting to see the interaction and discussion this piece caused with the residence of the building presenting them with the opportunity to re-think their living space. A favourable comparison to make is Hans Haacke's 'Shapolsky et al., Manhattan Real Estate Holdings, a Real-Time Social System as of May 1,1971'.

Will Jennings Portfolio

After reading the Portfolio, I continue to walk up the stairs and see Richard King's second ornamental piece. Hanging in the window, on the level above, the back drop being the East London Skyline, are three beautiful photographs by Alex Ressel.

Richard King Untitled

Alex Ressel A Three Frame Film

Natalie Dray's ‘DIAL 2-2-4-9 AND POINT TO THE SKY’ a vinyl text piece standing opposite a comical 3D image Lost in Space. The image of a famous Robot appears to vibrate from the paper and into a form of hologram – this I am seeing without the help of 3D glasses.

Natalie Dray

After the completing the stairwell, I made my way to Charlotte Gibson’s Sitting Room Installation made my eyes pop! The collection of brightly coloured collages, furniture, lamps, china, jelly, plastic and string are arranged in such a way that the space inbetween them becomes more important through the string that attaches them, the water and jelly that resides in the objects and the shadows casted.

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Charlotte Gibson Sitting Room Installation

Natascha Nanji’s A Tail of Two Cities occupied the lift in the second stairwell. The ceiling was covered with punctured black pvc, the work physically inserted itself into the lift, the gaping weight of the shells contained within the black fabric imposing itself upon the lift experience, transforming a banal everyday occurrence into something uncanny. On one journey a chattering couple walked in unaware of what was above their heads, until a shell grazed the top of the man’s head, alarming him and drawing his attention to the ceiling. A scene from a horror film perhaps?

Natascha Nanji A Tail of Two Cities

After coming down in the lift, I returned to the 5th Floor to find the walkway occupied by Zoe Paul’s Buoy and the terrace contained Susanna JP Byrne’s Cy Cartographer No. Sculpture. Standing tall, the sculpture looks out towards the city - reminiscent of a century guard, looking out over the London landscape. The copper wire felt referential of a school science project and the tripod's brightly coloured poles appeared similar to the yard sticks used to measure playing fields during practical geography lessons.

Susanna JP Byrne Cy Cartographer No. Sculpture

Zoe Paul Buoy Photograph by Selvi May

Marnie Hollande’s performance piece Gas wowed the audience on the exhibition's opening night. A figure emerged onto the walkway, her face covered by a shimmering midnight blue mask, the body cloaked in chiffon with attached balloons. Moving onto the terrace to continue the performance, the body and balloons struggled against both the wind and crowd. The exceptionally strong wind increased the movements of the performer moving within the constraints of her costume. At one point, balloons detached themselves from the costume and were carried into the darkness.

Marnie Hollande Gas

On reflection Jennings, Dray, Fox and Bryne's pieces directly tackled the building's geographical location. The other pieces included by Circuit Wisely responded more directly towards the architecture, whereas others echoed the idea of ornamentation. Personally, the importance of the exhibition, lay in tracing perspectives and making connections between the work within the building's parameters. Circuit Wisely shift away from the stress and importance of individual works when umbrellaed into a singular meaning all too common with groups shows.

The exciting thing about Circuit Wisely is not just the diversity of work on display but the transition they have gone through as a collective of curators. The success of CWII were that the visitor appeared to be completely free to move about the building, but were fact deliberately manoeuvred to encounter the work in relationship to the various movements one can make within the space. The curation and choice of art works allows visitors to experience different environments and transports them from a block of flats to an interesting space for creative people to come together and display work. This show is successful as it is not constrained by the gallery space. It is a platform for the viewer to encounter works in different environments heightening their experience of viewing a group show - and this is the success of the Circuit Wisely curatorial team.

All Photographs by Circuit Wisely

Woo Goo Muck by Natalie Dray

2011-06-07T01:43:00.000-07:00

In the future would there be a disaster that would force the human race to live under ground?

2011-06-06T03:21:00.001-07:00

Emily Whitebread.

Dual: Off Modern

2011-06-06T03:15:00.001-07:00

Dual live at Off Modern by Marnie Hollande

Natascha Nanji - Happy Clap

2011-03-18T08:02:00.000-07:00

Happy Clap by Circuit Wisely Founding Member Natascha Nanji

Gas Live by Marnie Hollande

2011-03-18T08:00:00.001-07:00

Earlier this year Circuit Wisely posted pictures of Gas as performed the day after the opening. Today we are posting the documented performance

Marnie Hollande - En Pointe Live

2011-03-18T07:55:00.000-07:00

Circuit Wisely member Marnie Hollande's En Pointe performance was recently performed live at Pedigree

Opening Night of Circuit Wisely

2011-02-25T04:27:00.001-08:00

All Photographs Charlotte Gibson

Charlotte Gibson

2011-02-25T04:23:00.001-08:00

All Photographs Charlotte Gibson

Marnie Hollande - Gas

2011-02-25T04:15:00.000-08:00

Photographs by Charlotte Gibson

Marnie Hollande at the Brunswick Gallery

2010-11-02T05:23:00.000-07:00

Marnie Holland's (Co- Founder of Circuit Wisely) performance piece En Pointe at The Brunswick Gallery 2010

The piece was performed by Samantha Agnew and the photographs are by Jacqueline Chang

Charlotte Cranidge

2010-11-02T01:26:00.000-07:00

Will Jennings inside the portfolio

2010-10-29T02:59:00.000-07:00

Zoe Paul

2010-10-25T02:20:00.000-07:00

Buoy

Photograph by Selvi May

Zoe Paul was born in London in 1987 and grew up in England and Greece.
Paul has long been interested in the history of classical sculpture and often
addresses this in her work.

Parodying works of art from bygone eras, particularly classical Greek
sculptures and artefacts, Paul uses geometric abstraction and everyday
material to create unexpected relationships which provoke questions of
value and taste.

Will Jennings

2010-10-25T01:57:00.000-07:00

Portfolio

594mm x 410mm
Printed paper

While many would see the view of London from the terrace of Ability Plaza as a delight, a moment to pick out landmarks and understand a topography, here it is perceived as suggested landscape of capitalist opportunity. The vantage offered broadens horizons and feeds the dream of possession. ‘Portfolio’ switches between photography of selected properties which are or were owned by the developer of Ability Plaza and relevant quotes, feeding into notions of ownership, ambition, development and home.

Will Jennings

Susanna JP Byrne

2010-10-25T01:45:00.000-07:00

Cy Cartographer No.

Enamelled Copper Wire, Wood, Paint

Dimensions variable

Find me at www.unwwwebbed.blogspot.com

2010

Richard King

2010-10-25T01:34:00.000-07:00

Untitled

Natascha Nanji

2010-10-25T01:23:00.001-07:00

A Tail of Two Cities

Site specific installation, Mixed media.

Natalie Dray

2010-10-25T01:09:00.000-07:00

Dial and Point to the Sky

Lost in Space

Marnie Hollande

2010-10-25T01:08:00.001-07:00

Gas

Follow the blue dot...

2010-10-22T06:33:00.001-07:00

Mihaela Brebenel

2010-10-22T05:24:00.000-07:00

1 to 7; G to 6A - Loose Ends

Building on the idea of Ariadne’s thread in its understanding of an

“exhaustive application of logic to all available routes”, the work
investigates the relations between image and text in our journey
through a space.

In a time when the ubiquitous presence of “guided tours”, sat-navs and
e-maps creates a continuous intertwining of images and texts, our
“reading” of the elements that form spaces becomes ambiguous: we skim
images, we scan texts, scan images, skim texts. The logic enacted in
tracing the steps of an experience within a space aggregates both the
“given” and the “visualized”, the actuality of that space and its
potentiality.

By creating an actual thread of the experience and assigning value as
landmarks to different places, it becomes simultaneously a process of
retrospection and projection. On the thread, photographs of the
previous part of the space are followed by texts that express hidden
aspects of what is to be seen next.

Grace Adam

2010-10-22T05:14:00.000-07:00

Twister

Gery Georgieva

2010-10-22T05:03:00.000-07:00

Germanotta Totem

Wood, Yew log, cut crystal, honey roast ham and LEDs

Emily Whitebread

2010-10-22T04:52:00.000-07:00

Stills from a film (2010)

The Goonhilly Satellite Earth Station was a large telecommunications site located on Goonhilly Downs, on the Lizard Peninsula, near Helston, in Cornwall, UK. The Acoustic mirrors, were built in the 1920's as an experimental early warning system for incoming aircraft, and are situated near Dungeness, in Kent, UK. The Crystal set was a very simple radio receiver popular in the early days of radio. It needed no battery or power source and ran on the power received from radio waves by a long, wire antenna.

Daniel Wilkins

2010-10-22T04:42:00.001-07:00

Untitled 2008

Charlotte Gibson

2010-10-22T04:26:00.000-07:00

Sitting room installation

Furniture, lamps, china ornaments, water, jelly, plastic, string

Ben Fox

2010-10-22T04:18:00.000-07:00

SUBLET CITY (2010)

Found, recycled materials and electricity

Alex Ressel at Circuit Wisely Work Live Space

2010-10-22T03:50:00.001-07:00

A Three-Frame Film - 2010

#1, #2, #3

Alex Ressel

Location Location Location

2010-10-06T00:52:00.001-07:00

Circuit Wisely Presents...

2010-10-05T02:49:00.001-07:00

Press Release

2010-10-05T02:39:00.001-07:00

Circuit Wisely presents,

17 Artists.

The exhibition responds to the building, investigating its scope for comment on the dual roles of architecture and context within the contested geography of East London.

“Exhibiting in this building is unlike other spaces; the work must be temporal in nature, easily moved at the end of each day and easily reinstalled the next. The duplicitous function of communal areas such as the car park, balconies, stairwells, lifts and terraces open up possibilities but also create restrictions.”
(Extracted from instructions to artists).

Friends of Circuit Wisely: Silent City Part Two

2010-06-09T11:24:00.001-07:00

The TV displayed work by Emily Whitebread and Sally Mumby-Croft

The Cod War from sally mumby-croft on Vimeo.

What would have to happen to make nature only be able to survive in artificial spaces? from Emily Whitebread on Vimeo.

Susanna Byrne:

All photographs on the last two pages are by Sally Mumby-Croft

Introducing Friends of Circuit Wisely

2010-06-09T11:12:00.000-07:00

Recently Cara Nahaul, Emily Whitebread and Sally Mumby-Croft established Silent City. An alternative space for addressing social and political concerns.

Sarah Stevens

Natascha Nanji, Susanna Byrne, Sarah Stevens and Claire Roberts (who previously showed at Circuit Wisely also presented their work.) The following images are from that exhibition.

Natascha Nanji

Claire Roberts ...

2010-06-09T11:07:00.000-07:00

Lina Norell took over the old bathrooms...

2010-06-09T11:03:00.000-07:00

Susanna Byrne

New Work: Marnie Hollande

2010-06-04T07:57:00.001-07:00

Dual from Marnie Hollande on Vimeo.

One of the Circuit Wisely Curator's Marnie Hollande's most recent work, filmed with Roman Rappak, here is Dual.

Installation Images...

2010-05-30T13:43:00.000-07:00

The following work is by Marnie Hollande, Susanna Byrne, Antonio Garcia Acosta and Sarah Walters

Natascha Nanji at Circuit Wisely

2010-05-30T13:40:00.000-07:00

Charlotte Gibson Install at Circuit Wisely

2010-05-30T13:03:00.000-07:00

How the Collage looked during the Exhibition..

Shoreditch Town Hall.

2010-05-30T12:51:00.000-07:00

Photo by Charlotte Gibson and the venue for Circuit Wisely

2010-05-30T12:46:00.000-07:00

Charlotte Gibson Installation Images

Natascha Nanji Circuit Wisely Installation 2008

2010-03-11T08:14:00.001-08:00

Alex Ressel, Charlotte Gibson and Henry Mackery-Bull Fanzine pages

2010-03-11T01:27:00.000-08:00

All images courtesy of the artists.

Charlotte Gibson Goldsmiths Degree Show 2009

2010-03-11T01:18:00.000-08:00

In 2009, the participants of Circuit Wisely 2008 graduated from Goldsmiths College. The following is a selection of images from Charlotte Gibson's degree show.

Fanzine Images...

2010-01-25T03:28:00.000-08:00

Gery Georgieva

Antonio Garcia Acosta

Sarah Stevens

Marie Thams and Marnie Hollande

2010-01-25T03:19:00.000-08:00

Marnie Hollande

Marie Thams - 94kg,2008

Circuit Wisely Installation 2

2010-01-20T04:08:00.000-08:00

Susanna Byrne and Sally Hogarth

Sally Hogarth and Becky Moore with Marie Thams in the Picture.

Sally Hogarth and Becky Moore

Natascha Nanji and Lina Norrell in the sink...

Circuit Wisely Installation

2010-01-20T04:04:00.001-08:00

Cara Nahual's prints and insect display.

Installation by Kat Mammone

2010-01-19T11:18:00.000-08:00

Early Stages of the Installation by Kat Mammone

Fanzine Image by Natascha Nanji and Anna Noble

2010-01-19T11:11:00.000-08:00

Fanzine Images....

2010-01-19T11:01:00.000-08:00

Susanna Byrne, Lina Norrell and Cara Nahaul

Circuit Wisely Fanzine

2010-01-19T10:44:00.000-08:00

To accompany Circuit Wisely a fanzine was produced to guide the viewer around the space - whilst providing the opportunity for the participants to continue their projects into the printed page and out of the basement of Shoreditch Town Hall.
The idea was loosely based on those children's book in which you could choose your own ending by a variety of choices presented on each page.

The fanzine opened in the middle to a diagram of the interconnections between people's work enabling them to move between a selection of sculpture, video, print, painting and performance.

With thanks to Sarah Stevens, Henry Mackay- Bull and Sally Hogarth for these fanzine images

Dance and Architecture. Baroque and the Liminal Space.

2009-12-03T07:17:00.000-08:00

As artists we have to chosen to use the dancers as material, and they are integral to the collaboration. To conclude, the collaboration seeks to examine the activation of space through the isolation of the various components of an exhibition; how the space determines how work is displayed and the movement of the audience. As dance is a malleable material and the nature of Baroque dance is to actively transport the viewer into a liminal space within the confinement of architecture, the dancers, like an artwork appropriate and transform the space. The dance occurs off the stage, and uses all available space, encouraging the audience to move, to make a choice to which dancer they will give their attention too, and to which part of the story they will follow. The architecture becomes Animated. Dance will be used to connect the different components of the exhibition.

The dance will act as a vehicle to shift the audiences position between the space of spectatorship and the architectural space of Shoreditch Town Hall, the movement of the dancers will activate the space, encouraging encounters between the audience and the artworks, and between the audience and the dancers and the barriers of space created by architecture and the naming of mediums, attempting to encourage the audience to become a dancer, and to actively participate in the space they find themselves, to engage with the work on show. The dancers bring attention to the structure of the building and encourage the space to be explored through enticing the audience to follow them as the dance moves between rooms and into the corridors.

The beginnings of Circuit Wisely

2009-12-03T07:12:00.000-08:00

In 2008 Four Students from Goldsmiths College (now graduates) put on a show in the basement of Shoreditch Town Hall....

Circuit-Wisely.

Twenty-two students from Goldsmiths, University of London, present new art works in the basement of Shoreditch Town Hall.

Circuit-Wisely is curated by four students from the group, working with the knowledge that a viewer's movements through an exhibition space result from the intentions of the curatorial layout. With this in mind, the viewer will at times have freedom to move through the space at will and at other times will find their movements constrained, thereby deliberately conducted to experience staged encounters within the expanse of corridors and dim lit rooms within the basement of the town hall.

The curation of the vast array of art works will produce a series of environments to transport the audience from the dirt and dark of the basement to worlds proposing alternative possibilities of facts and fiction.

Using video, painting, photography, sculpture, sound and action, the works suggest alternative forms of knowledge production and distribution, some explore the idea of regurgitation, the endless recycling of ideas and the seemingly pointless struggle to create something "new" as well as the very notion of looking at an art work. Other works have been created in response the Shoreditch Town Hall basement and its’ vast labyrinthine architecture by formulating specific circuits to guide the audience by way of movement, smell, sight and sound.

Musicians from the Rare Theatrical Company hidden within recesses of the basement will entice viewers to meander via audible circuits.

A limited edition fanzine will be circulated; to be take–away memorabilia and to act as a map with which to explore the space, the route altering with the copy of the fanzine selected.