Sam Smith will undertake a multi-stage residency at Baltic Art Center in Visby, Sweden as part of the Spaced 3: north by southeast programme run by International Art Space
Spaced 3: north by southeast is a program centred on an artists’ exchange between Nordic and Australian visual artists. The program will span three years (2016-18) and constitute the core of the third iteration of spaced, a recurring international program of context-responsive art, presented by International Art Space (IAS).
Spaced 3: north by southeast will comprise 12 residency-based projects that will take place in regional, remote and outer-urban locations in Denmark, Sweden, Finland, Iceland and Western Australia. Nordic artists will undertake their residencies in Western Australia, whilst Australian artists will be placed in the Nordic region. These residencies are positioned as the means to develop new works that will be created by each artist in response to their engagement with the social, environmental and historical contexts of the host communities.
Assembly Point is pleased to launch 'Here the Sun does not enter', a new 104 page publication produced by Sam Smith and Andrea Zucchini following their exhibition at the gallery in September 2016. The book features newly commissioned texts and image essays.
Contributions from Nella Aarne, Hanna Laura Kaljo, Karen Kramer, Emily Rosamond, Lisa Radon, Sam Smith and Andrea Zucchini.
7:30pm - E.1027 video performance by Sam Smith
E.1027 is based on the complex history and imagined future of Irish architect and designer Eileen Gray’s eponymous villa. The building is framed as a vibrant entity, alive with the resonances of past events, a sentient narrator of the histories of companionship, obsession, murder and destruction etched within it's material structure.
E.1027 is a new live video performance developed for Whitechapel Gallery by London-based artist Sam Smith. The work is based on the complex history and imagined future of Irish architect and designer Eileen Gray’s eponymous villa, which is framed as a vibrant entity, alive with the resonances of past events. The history of conflict etched within the building’s material structure plays out in episodes of companionship, obsession, murder and destruction.
Smith uses the computer desktop as a staging tool for the performance, interweaving fleeting collages of original and archival moving images mixed with a live script, recorded dialogue and music.
In the temple architecture the main room stands at a considerable distance from the garden; so dilute is the light there that no matter what the season, on fair days or cloudy, morning, midday, or evening, the pale, white glow scarcely varies.
[here the sun does not enter] brings forth an ambience reminiscent of shadows dwelling in quiet alcoves. The exhibition arises from a thoughtful collaboration between two artists, whose distinctive practices become temporarily interwoven within gestures of appropriation, abstraction and inscription. It stages artefacts, extracts and combinations of data from the ancient or recent past; yet as in a moment of reverie, the preceding, the present and the projected lie folded, intimately touching.
Read the full text by Hanna Laura Kaljo here: assemblypoint.xyz
A selection of films and moving image based around themes of architecture, narrative, reality and language.
Coordinated by Assembly Point.
As part of Tableaux — a season of screenings and performances
4–21 May 2016
Assembly Point, London
‘The Horizontal Window’ is conceptualised as a multi-faceted project that explores the window as a framing device in Modernist architecture and how it can be related to the language of the cinematic frame. For his project at The Telfer Gallery, Sam Smith will present a large-scale architectural installation that will act as a site for a new video work and performance.
Part of Glasgow International’s Supported Programme 2016.
Saturday 9 April 2016 6–9pm
Saturday 9 April 2016 7.30pm
Saturday 23 April 2016 4.30pm
After Photography is a three-part exhibition that, by questioning what there is after figurative photography, examines how photography can signify something other than what it shows, freeing itself not just from the heaviness of strict representation, but also from its very condition as a reality reproduction and depiction tool. The exhibition explores forms that enable photography to free itself from—to borrow the words of Barthes—“the fascination of photography as a fascination for what was”, as well as forms that, by means of a reworking of the photographic gesture, endeavour to erase it or recreate it through other mediums.
Artists: Janis Avotins, Dieter Hacker, Nøne futbol club, Estefanía Peñafiel Loaiza, Abigail Reynolds, Sebastien Riemer, Ariane Schick, Joachim Schmid, Sarah Schoenfeld, Sam Smith.
Curated by Pascale Krief.
We know the world by how we see it. In the exhibition Ways of Looking contemporary artists are investigating different ways of looking onto the world. The exhibition focuses not only on how new digital media and their apparatus replace systems of looking manifest in cinema or sculpture. It rather asked what kind of new perspectives can emerge at the interfaces of analogue and digital, and how these forms will change our view of reality, history and ourselves.
Curated by Heidi Brunnschweiler
Exhibition: Sat 5.3.–Sun 10.4.2016
Opening: Fri 4.3.2016, 7.30 pm
Performance Sam Smith 7.30; 8.30; 9.30 pm, Gallery II
Performance Sam Smith, Gallery II
Sat 5.3.2016, 6.30; 7.30 pm
Thu 17.3.2016, 6.30; 7.30 pm
Fri 18.3.2016, 6.30; 7.30 pm
Guided Tour, Thu 17.3. 2016, 7 pm
Talk Fri 8.4.2016, 7.30 pm, Mies’ Bilder, Dr. Lutz Robbers, Architekturtheorie RWTH Aachen, in cooperation with the Architekturforum Freiburg (Kammertheater)