Becca Pelly-Fry. Courtesy Griffin Gallery, London
Becca Pelly-Fry is the director and curator of Griffin Gallery in West London, located in the same building as its parent organisation ColArt International, the company for world renowned art materials brands including Winsor & Newton, Liquitex and Conté à Paris. Since her appointment in 2013, Pelly-Fry has increased Griffin Gallery’s focus on ‘materiality in contemporary art’ and create a space for dialogues through innovative exhibitions and events. In our interview, Pelly-Fry talks about her vision and the gallery’s ongoing commitment to support local, national and international emerging talent.
MKOS: Can you tell us more about the history and mandate of the gallery and how it operates? Is this really the case that Griffin Gallery is that part of ColArt International, a global organisation for art materials, and runs as a privately funded not-for-profit space?
Becca Pelly-Fry [BPF]: Yes, that’s exactly right. The gallery was established in 2012, with the overarching aim of creating a space for display and discussion of contemporary art, a space for artists and ColArt employees to gather. When I took on the Directorship in early 2013, we spent the first few months establishing a five year strategy and a vision for the gallery. At that point we realised that what was going to set us apart from all other gallery spaces in London was our strong connection to the art materials industry – we therefore decided to focus (mainly) on emerging artists with an interest and engagement with materials, and aim to put ourselves at the centre of an ongoing dialogue about materiality in contemporary art.
Posted in Interview, Visual Arts
Tagged ACAVA, Becca Pelly-Fry, Charlie Smith London, ColArt International, FACK, Free Radical Centre, Griffin Gallery, Griffin Gallery Open, Lacey Contemporary, London, Saatchi Gallery, Space W10, Trinity Gallery, West Wednesday
Impression from last year’s expedition: John Grzinich working on his project “Listening in Context”. Photo: Joëlle Kost, 2014
CALL FOR PROJECTS
SOUND DEVELOPMENT CITY
ARTIST EXPEDITION 2015
When: 9 – 27 September 2015
Where: Belgrade – Athens
Deadline: 19 April 2015
The Artist Expedition Sound Development City was initiated in 2012 by Sound Development with the aim of providing creative freedom to artists working in various disciplines. Each year in late summer, Sound Development City organizes a three-week expedition to two European cities. Ten selected artists working on individual projects are part of the expedition team.
The fourth edition of Sound Development City is heading towards southeast Europe and will take place in Belgrade and Athens from September 9 to 27.
Sound Development City is looking for independent and dedicated project proposals and work theses that are to be tested and put into practice during a three-week expedition to Belgrade and Athens in September 2015.
We are interested in interventions, installations, performances, experiments, moving images, and artistic research projects and concepts which benefit from being on the road, and probe urban environments as sites of both playfulness and social involvement. The projects should be research-based and developed towards this open horizon.
Schneemann in studio. Copyright: Marielle Nitoslawska 2012
BREAKING THE FRAME (2012, 100 mins.)
Director: Marielle Nitoslawska
Saturday, 28 March 2015 3.00pm
at Concordia University, Room H-110
1455 de Maisonneuve W. Montreal, QC
Director Marielle Nitoslawska will be in attendance. This screening is part of the 2015 SCMS Conference and is co-presented by Radical Queer Semaine. Entrance is by donation.
BREAKING THE FRAME is a feature–length documentary portrait of the New York artist Carolee Schneemann by Canadian filmmaker Marielle Nitoslawska. A pioneer of performance and body art as well as avant-garde cinema, Schneemann has been breaking the frames of the art world for five decades, in a variety of mediums, challenging assumptions of feminism, gender, sexuality, and identity. Read more
In our M-KOS Volta NY report of 2014, we concluded with an open-ended question: “How will Volta take things to the next level?” And the art fair’s answer was to change location. This year it move to Pier 90, adjacent to the Armory Show. A major shift in its eight year history, the fair however retained its distinctive identity by devoting exclusively solo and duo presentations of emerging to established artists. The fair opened to the public on 5 through 8 March in the 75,000 square foot Pier immersed with in day light, a stone’s throw from Armory’s Pier 92 & 94. Volta featured 90 galleries across all six continents, 80% of which were returnees, either from last or previous years, as well as 17 debuting galleries.
All photos by M-KOS.
Victoria Miro (London) Booth at the Armory Show 2015, Pier 94 Contemporary. Photo: M-KOS
Under the grim wind and snow of a lingering winter, The Armory Show nevertheless started with great excitement and fanfare, warming up the west shore of Manhattan along the Hudson River, set again on Piers 92 & 94 for a 17th year in a row. Armory’s 2015 program ran from 5 to 8 March, hosting 143 contemporary and 56 modern art galleries, stationed within 28 countries. Totalling 199 booths altogether, the fair in fact accepted a smaller number of exhibitors in comparison with 2014, which comprised 205 art spaces. This year’s leaner edition offered a well balanced agglomeration of first timers and returning galleries – some back from last year, others reappearing after a hiatus of five years or more, such as Andrew Kreps Gallery (New York), Carl Freedman Gallery (London), Galerie Lelong (NY/Paris) and galerie kamel mennour (Paris). Now in his third-year tenure, executive director Noah Horowitz’s attempts to revamp the once struggling art fair seems to have paid off – recapturing the interests of many leading galleries.
Reynold Reynolds “Almost Six Pieces” Exhibition View at Dazibao. Courtesy the artist and Dazibao, Montréal
ALMOST SIX PIECES
19 February – 18 April 2015
Almost Six Pieces brings together, for the first time in Canada, five video installations by the American artist Reynold Reynolds. In a scrupulously controlled chaos, exacerbated by the abundance of references — historical, artistic, scientific, etc. — Reynolds somehow develops an aesthetic of “unease”. This unease is maintained by a persistent confusion between bluff and reality and is fed by unexpressed and unacknowledged torments. Without being apocalyptic or completely dystopian, the five works brought together here foretell a world bordering on disaster, making the very idea of progress the allegory of ruin.
Image courtesy of Tokyo Wonder Site, Tokyo. © TOKYO WONDER SITE
OPEN CALL FOR THE INTERNATIONAL CREATOR RESIDENCY PROGRAM 2015
at Tokyo Wonder Site
Deadline: 31 March 2015
Tokyo Wonder Site Residency program is the platform of creation and research for international creators in diverse fields of creation. Young emerging, middle standing, international leading
creators gather and explore their ideas in the heart of Tokyo, where global creative city with multi-layers of creativity from traditional culture to cutting edge technology. Tokyo Wonder Site Residency program has been organized by the partnership and collaboration with art centers and cultural institutions around the world since its establishment in 2006.
We intend to strengthen the network of creators from Asia. This open call program ‘International Creator Residency Program’ is for established and productive international creators in the field of Visual Art. We provide financial support to allow participants approximately three month work in residency culminating in a presentation and participating TWS art programs. Through this program, creators will expand their activities in Japan, and gain a jumping board to the international art scene. We are now calling for creators who can perform new creative activities during their programs at TWS Residency for three months.
John Akomfrah, still from The Unfinished Conversation, 2012. Collection of the Tate: Jointly purchased by Tate and the British Council, 2013. Courtesy the artist; Smoking Dogs Films; and Caroll/Fletcher, London.
THE UNFINISHED CONVERSATION:
23 January – 18 May 2015
The Power Plant, Toronto
ARTISTS: Terry Adkins, John Akomfrah, Sven Augustijnen, Shelagh Keeley, Steve McQueen, and Zineb Sedira
CURATERS: Gaëtane Verna and Mark Sealy MBE
The Power Plant presents The Unfinished Conversation: Encoding/Decoding in partnership with Autograph ABP. The winter exhibition takes cultural theorist Stuart Hall’s (1932 – 2014) essay “Encoding and Decoding in the Television Discourse” as its point of departure, exploring how meaning is constructed, how it is systematically distorted by audience reception and how it can be detached and drained of its original intent to produce specific or slanted narratives.
Posted in Visual Arts, What's On
Tagged Gaëtane Verna, Installation, John Akomfrah, Mark Sealy MBE, Shelagh Keeley, Steve McQueen, Stuart Hall, Sven Augustijnen, Terry Adkins, The Power Plant, Toronto, Video, Zineb Sedira