Artists: Andrew Lacon and John Robinson
In collaboration with The Chapel, Harrogate, UK.
- Redact, Sample, Reboot -
- Sculpted Images, Painters Painted, Rerun Work -
- Mexico, Rotterdam, Madrid -
REDACT: The legal term from the Latin 'redactus' meaning "bring into organised form," Censor or obscure for legal or security purposes. Both Lacon and Robinson use the invisible hand of the censor when dealing with the imagery in their work. Lacon applies this methodology in the creation of Sculpted Image works; Sculpted Image #1(2013) by Andrew Lacon, limited numbered edition of 12+1AP (few left) mediated experiences of sculpture through the photograph, the edited studio photo. Lacon’s early encounters with antiquity and classical art was not in the flesh in Rome, not in the V&A or the British Museum but in Dudley museum and library, in photos from books, always many steps from the real, the images of sculptures isolated from surrounding noise by the early 20th century act of painting on the plate, obscuring and denying the site of display and isolating, elevating the sculpture. Lacon adds a new obscurity, screen printed masks in Blue Yellow and Red elevating the cloth and drapery.
SAMPLE: Introduction from 'Postproduction Culture as Screenplay: How Art Reprograms The World'; Nicolas Bourriaud published by Has & Sternberg, NY; follows;
[Postproduction, Introduction, Postproduction is a technical term from the audiovisual vocabulary used in television, film, and video. It refers to the set of processes applied to recorded material: montage, the inclusion of other visual or audio sources, subtitling, voice overs, and special effects. As a set of activities linked to the service industry and recycling, postproduction belongs to the tertiary sector, as opposed to the industrial or agricultural sector, i.e., the production of raw materials. Since the early nineties, an ever increasing number of artworks have been created on the basis of preexisting works; more and more artists interpret, reproduce, re-exhibit, or use works made by others or available cultural products. This art of postproduction seems to respond to the proliferating chaos of global culture in the information age, which is characterised by an increase in the supply of works and the art world's annexation of forms ignored or disdained until now. These artists who insert their own work into that of others contribute to the eradication of the traditional distinction between production and consumption, creation and copy, readymade and original work. The material they manipulate is no longer primary. It is no longer a matter of elaborating a form on the basis of a raw material but working with objects that are already in circulation on the cultural market, which is to say, objects already informed by other objects. Notions of originality (being at the origin of) and even of creation (making something from nothing) are slowly blurred in this new cultural landscape marked by the twin figures of the DJ and the programmer, both of whom have the task of selecting cultural objects and inserting them into new contexts.]
REBOOT: The term is thought to originate from the computer term for restarting a computer system. Reboots remove any non-essential elements associated with a franchise by starting the franchise's continuity over and trimming it down to the core elements and concepts. For consumers, reboots allow easier entry for newcomers unfamiliar with earlier titles in a series. A trimming it down to the core elements and concepts. For consumers, reboots allow easier entry for newcomers unfamiliar with earlier titles in a series. Reboot is an exhibition of paintings by John M Robinson, taken from three different serial fictions by the artist over a period of six years. Curated by Ned James, Robinson has been invited to respond to a selection of previous series works borrowed from the artists own, and various private collections, added to which over the course of the show new performances and new paintings and drawings will see older works rebooted.
- [ “A reboot is a system for removing non-essential elements associated with a franchise or canon of work. For the audience, reboots allow for new-entry as a filter to the core elements and concepts, reboots support new audiences and consumers unfamiliar with earlier works in a series. By interrupting the continuity of older works through a new arrangement and a new formulation of an established series, new timelines, characters, backstories can begin again. A reboot can destroy or merge fictions, they can offer some or no explanation and can be free from chronology and create new opportunities for fictional series. Reboots are also considered to be safe projects popular with an au courant fan-base, and open to series virgins - they are less risky with opportunities for new profit.” ] ; internet