EXHIBITIONS IN 2004:

David Rushton
Conceptual Art Museum from Memory 1966-79
model (2004)

Exhibition
Terry Atkinson, David Bainbridge and David Rushton
RECONSTRUCTION & FABRICATION
ICIA Art Space 1, University of Bath
19 November – 16 December 2004

In recent years contemporary visual art has been accorded a particularly high profile by the UK media. Within this popular public discourse the term ‘conceptual art’ has come to signify any recent work which does not comply with more traditional practices such as painting, drawing and sculpture. But ‘conceptual art’ refers to a range of ways of making and thinking about art, including many mutually contested positions. This exhibition included works from one of these positions: the artists have exhibited, written and published widely since 1966. Terry Atkinson has continued exhibiting since the mid 1960s, lately with the Jeffrey Charles gallery in London and is a former Turner Prize nominee.
David Bainbridge has continued to exhibit work from time-to-time, most recently at the Tavistock Centre in London. David Rushton has exhibited infrequently since 1979 when Motorshow was shown with Paul Wood at the New 57 Gallery in Edinburgh. The artists were one-time members of the conceptual art group Art & Language in one of its earlier formations.

Read a review of the exhibition on the Helicon website.

Exhibition
PLATFORM
Museum of the Corporation, Bath
presents
Degrees of Capture
ICIA Art Space 1, University of Bath
15 October – 11 November 2004

Degrees of Capture was an installation and discourse addressing the following questions:

• What constitutes an ethical relationship between academic research and a business sponsor or partner?
• To what extent are these relationships between academia and business part of a public relations function, in the same way as companies sponsor cultural and arts events?
• Should academic institutions or individuals develop an ethical policy for engaging with business?
• Has academic freedom always been a myth?

Arts and social sciences group PLATFORM worked with New Economics Foundation and Corporate Watch to research and produce the report Degrees of Capture in 2003 which focuses on the oil industry and climate change. By using the report as its point of departure, the installation placed the viewer at the heart of contested territory.
Museum of the Corporation, Bath asked, what business would you take money from?

The exhibition was organised in conjunction with the symposium, Speculative Strategies 3: Ethics, Interdisciplinary Arts Practice and the Politics of Negotiation

Museum of the Corporation is a PLATFORM production.
www.platformlondon.org
www.museumofthecorporation.org

Artist in Residence
FRANCIS LAMB
Department of European Studies and Modern Languages, University of Bath
Exhibition
A Love Vision
ICIA Art Space 1, University of Bath
30 April - 3 June 2004

Francis Lamb's work in film and video examines the role that still images play in time-based practice, and explores what happens when the line between looking at a photograph and a moving image is blurred. His video montages made out of clips appropriated from films use the editing process as a critical tool to comment on the various histories of cinema. He has a particular preoccupation with European cinema and this exhibition was produced during his residency in the Department of European Studies and Modern Languages, where he entered into dialogue with staff and students. The resulting work draws on his personal collection of Super-8 films to present a succession of images that recall different moments of visual fascination.

Artist in Residence
BECKY SHAW
Department of Social and Policy Sciences, University of Bath
Exhibition
Reception
ICIA Art Space 1, University of Bath
20 February - 19 March 2004

Becky’s brief was to use visual art practice to engage with and respond to the work of the Department of Social & Policy Sciences at the University of Bath.

She installed a reception desk in the then newly established ICIA Art Space 1 at the University of Bath. During her exhibition, she played the role of ‘receptionist’ to the artist in residence (even though in reality they were one and the same person). As the receptionist, Becky always referred to the artist in the third person. People looking for the artist could ask the receptionist for her whereabouts and even make an appointment to see the artist. By playfully querying the whereabouts of the artist, the art and even the exhibition space itself, Reception raised questions about work and the need for the employee’s physical presence or some visible product.

Reception responded to Becky’s role as the Artist in Residence in the Department of Social and Policy Sciences. She attended lectures, met staff and students, studied in the library and followed course reading lists. This caused her to consider the role of the artist and ask what people’s expectations are when an artist enters and engages with a ‘social context’. She could see comparisons between her own situation and some of the sociologists she encountered who employ ethnographic methods in which they attempt to integrate with and be accepted by a particular social group in order to study them. Becky observed that like academics and students, artists have to balance their commitment to intellectual activity and ideals, with an awareness of their own visibility, reputation and output.

See Becky's Static Pamphlet article on Reception.

Exhibitions in 2007 2006 2005 2004 2003 2002 2001 2000