Grace Schwindt

At Dinner

27th October 2016

Grace Schwindt - At Dinner, 2016

At Dinner, a unique event at Gallery Lejeune – an evening of food interwoven with live interventions of text, language and sound by Grace with opera singer Lisa Cassidy.

Commissioned for Gallery Lejeune, the work develops Grace’s interest in voice as a material, a thing in itself. Unfolding over the evening, the work explores the relationship between language and the physical, language and the emotional and sees what can happen if language and the voice are firstly separated from each other and then again come together.

William Hunt

You're Gonna Pay For It Now. Now You’re Gonna Pay For It

5th March -
23rd April 2016

William Hunt - You're Gonna Pay For It Now. Now You’re Gonna Pay For It, 2016

A soundscape plays throughout the flat – snatches of sound come from different rooms;  quotes and field recordings making a drum roll as you are ushered along the length of the corridor.

The gallery is dark – a large curtain masking off the outside world. Packed up like a parachute, an automobile airbag is fixed to the wall, at head height with red and black wires hanging down from to a car battery and a switch. This switch is a cable release, a weatherman’s remote, a suicide bomber’s trigger. Two photographic lights are positioned either side waiting to create a blinding flash.

Hunt primes his face with paint and, standing at a carefully calculated distance away, he thumbs the switch, simultaneously triggering the airbag, the camera and flash. Striking Hunt in the face the air bag is at once a custard pie and the printing plate, an auto(sic) portrait.

Waiting in the dark, as the image hits the photographic film, it is burnt onto your retina and the exhibition is made.

Emma Hart

Car Crash

20th January -
29th February 2016

Emma Hart - Car Crash. Installation shot at Gallery Lejeune, 2016

Meeting in a pub, a cafe or a restaurant, Emma Hart asked people about car crashes they had been in. If they used objects in front of them to describe the crash, she took a photograph. The resulting work, Car Crash, records these re-enactments which transform the tabletop into a series of carefully choreographed scenes. The landscapes of cutlery, condiments and personal items become a collection of still lives, cradling the violence and chaos of road traffic collisions.

Presented as digital prints for the first time at Gallery Lejeune, Car Crash blurs the found and the made and forcefully combines ordinary objects with extraordinary events. Setting out to close the gap between representation and experience and re-discover the ‘real’, the images produced propel the viewer beyond that of a passive observer and force a situation that needs to be scrutinised, ripped open to reveal the physicality, emotion and trauma that photographs might ordinarily screen off.

Elsewhere in the space, ceramics provide a different way to work behind images and expose raw feeling. In the works white fists extend, bodiless, directly from the wall, they form hugging, bracing and crying gestures. Close to human scale, these arms appear as squeezed out tubes, deflated, over- worked and exhausted. Fraught and emotionally frozen, they physically exhibit an inner trauma and once again attempt, in the artist’s words, “to get the insides on to the outside… to offer a situation where outward appearances are eaten away by inner doubts.”

Joe Moran

Tracks and Lines

8th October -
6th December 2015

Joe Moran - Tracks and Lines - installation shot at Gallery Lejeune

Joe Moran is a choreographer, dancer and Artistic Director of Dance Art Foundation. Tracks and Lines marks a new departure for Moran, presenting for the first time his drawings along with a newly commissioned sound piece.

Through simple line drawings, instructional maps and scores, figurative gestures and utilising a variety of material – ball-point-pen, graphite, crayon, felt-tip, pastel, charcoal and graphite, Tracks and Lines explores Moran’s ongoing drawing processes and the multiple ways in which it informs his choreography. Each different element builds to develop a powerfully and tightly balanced tension between abstraction and human presence.

In particular, the exhibition develops the highly specific choreographic directives of Moran’s dance work Singular into a set of line drawings and a new sound piece. Singular (2011) is a durational performance installation for two dancers whereby highly specific procedures complicate and problematise performers’ subjectivities and their negotiation of a conceptual and perceptual puzzle: the possibility of a single consciousness embodied in more than one form.

It is the same thought, the same feeling, the same idea, the same intention; it is the same thing. It may look the same – and at times it will. It may not look the same. But it is the same thing. 

Letting go of initiating, letting go of following. Letting go of making choices to simply allow the same thing to occur simultaneously…

…the same thought, the same feeling, the same idea, the same intention occurring simultaneously. 

The exhibition, Tracks and Lines, invites the audience to approach destabilising representation through a series of diagrammatic and perceptual propositions overlaid with audio instructions, heard as both a potential invitation to activate the space and a poetic description of movement.

Tracks and Lines allows the complex set of ideas embodied in Moran’s work to mutate across form and conceptual boundaries towards a set of performance directions for the audience themselves. 

 

Joe Moran is a choreographer, dancer and Artistic Director of Dance Art Foundation, through which his performance and curatorial work is produced. Moran’s work has been presented in theatres, galleries and public spaces in the UK and internationally gaining recognition for its ambition, complexity and intelligence.

Singular has been presented at David Roberts Art Foundation (Frieze, 2014) and Nottingham Contemporary (2014), and was also incorporated into A Setup, his collaboration with the sculptor Eva Rothschild at the ICA in London (June 2015), as part of both inaugural Block Universe festival and fig-2 programme.

Other works include The Modulated Body (2013) commissioned by Ordovas for Movement & Gravity, Bacon and Rodin exhibition, and The Place Prize (2013). Dance4 Associate Artist, Sadler’s Wells Summer University participant (2015-2019) and Affiliate Artist with C-DaRE (Centre for Dance Research at Coventry University), Joe works extensively in the visual arts and is a guest artist at a number of institutions, currently at The Place and the Royal Opera House.

Florence Peake

Hall of the Swell

28th May—
31st July 2015

Florence Peake - Hall of the Swell at Gallery Lejeune, installation shot

Created for Gallery Lejeune, Hall of the Swell is a contemporary fresco; a history painting on holographic paper depicting a past performance, Swell the thickening Surface of. Through the unique painted environment, Peake retells the durational realisation of her performance as a single narrative and in doing so conjures a shimmering and previously impossible version of the work.

On a recent trip to Palazzo Colonna in Rome, Peake was inspired by the elaborate and rich frescos –  images of Gods and Goddesses, Angels and Heroes through whom history is dramatised, and myth re-animated.  Within Hall of the Swell, the performers are carved out from a painted surface to expose a shifting underside as an active component, a holographic allegory. For Peake, this combination reveals the intense baroque inner sense of performing.

Through Hall of the Swell, we witness Swell the thickening surface of anachronistically; duets originally performed over a three-month period are seen simultaneously and, as in the Palazzo, events both real, imagined and historically separated are captured and suspended.

Swell the thickening surface of was originally performed at the Hayward Gallery, London as part of the Mirror City exhibition, 2014.

A transcription of the conversation between Florence Peake and Jonah Westerman at Gallery Lejeune on 26 June 2015 can be found here:

Florence Peake and Jonah Westerman in Conversation at Gallery Lejeune FINAL

Orbit my O O my,  originally a section from the performance Shift Construct was developed with musician Desmond Byrne for a performance in the basement of Gallery Lejeune, 28 May 2015. Dancers –  Katye Coe and Rosalie Walhfrid.