|George Barber | Amanda Beech | David Cotterrell | John Gerrard
Gibson/Martelli | Matthew Noel-Tod | Derek Ogbourne | Nonny de la Pena
A group exhibition curated by Fieldgate Gallery that looks at past trauma through the conduit of technology.
20 May - 21 June 2015
gallery open, Wednesday – Sunday from 12 – 6pm.
Preview: Sunday, 17 May from 3 – 5pm
George Barber, The Freestone Drone (2013)
Video projection, 12.30mins
The Freestone Drone responds to unmanned weapons of war. The subject of drones
regularly appears in the media and government, haunting and fascinating all in equal
measure. Objectively, they are no worse than previous weapons of war but they hint at a
dark Sci-fi future of unseen forces, undetected robots in the sky waiting to strike. Barber’s
Freestone Drone is an unusual drone; he can talk - like Thomas the Tank Engine. And like
Thomas too, he disobeys orders and causes confusion and delay. The Freestone Drone
has a conscience. The Freestone Drone is a lyrical reaction to the apprehension that
drones are eliciting worldwide.
George Barber is a well-established video artist. Recent exhibitions include Tate Britain,
London; Waterside Contemporary, London; Dundee Contemporary Arts; Postmodernism,
Victoria and Albert Museum; India: Visions from the Outside, Bruges, Belgium; Royal
Academy Summer Exhibition and Automotive Action Painting, Tate Britain (with Film & Video
Umbrella) in 2006. Barber is represented by Waterside Contemporary and is a Professor at
UCA (University for the Creative Arts).
Amanda Beech, Falk (2006)
Video projection, 15mins
Filmed on location in Stavanger, Norway, Falk stretches over time, crosses continents,
implicates terrorists, the mafia, state, corporate and police organisations, and clandestine
networks of resistance and subterfuge in a mobilized extrapolation on power. The old left
are now the new right, power is increasingly unstable, and private criminal wills are the
authors of communal justice. Justice is achieved when truth is proven. It is here where
politics grounds new truth claims, where the achievement of impact is the getting of power.
Beech is an artist and writer living in Los Angeles. Recent shows include L’Avenir,
Montreal Biennale (2014); EVA International, Ireland’s Biennial, Limerick (2014); Everything
Has Led to this Moment, Xero, Kline & Coma, London; All Obstructing Walls Have Been
Broken Down, Catalyst Arts, Belfast; Final Machine, Lanchester Gallery Projects, Coventry;
Asymmetrical Cinema, Beaconsfield Gallery, London (2013); The Church The Bank The Art
Gallery, Banner Repeater, London and Sanity Assassin, Spike Island, Bristol (2010).
Recent interviews can be accessed via www.urbanomic.com/yarnwork and Talk At Ten,
Marfa Public Radio.
David Cotterrell, 9-Liner (2008)
9-Liner is a three-channel time based work, which explores the dislocation between the
parallel experiences of casualties within theatre. It is a quiet study of a dramatic event: the
attempt to bring an injured soldier to the tented entrance of the desert field hospital. The
three screens show synchronised but apparently unrelated information. JCHAT - a silent
scrolling codified message - runs on a central screen. Interpretation of the message is
enabled through its relationship to one of two radically different, but equally accurate, views
of the same event. To the left we see the Watchkeeper, a soldier manning phones and
reading computer screens in a crowded office. On the right we view the MERT flight, the
journey of the Medical Emergency Response Team in a Chinook helicopter.
David Cotterrell is an installation artist working across media and technologies. Cotterrell’s
work has been commissioned and shown internationally including CodeYellow, UTD
Gallery and Central Trak Gallery, Dallas, Texas; Guardami (Palazzo Delle Papesse, Siena),
The Ostrich Experiments, Danielle Arnaud Contemporary Art, London; Remote Control
(MoCA, Shanghai); War and Medicine (Wellcome Collection, London; Monsters of the Id,
John Hansard Gallery, Southampton; Dislocations, The Museum of Contemporary Art,
Zagreb, Croatia; Wake, Dilston Grove, CGP London; Eastern Standard, Massachusetts
Museum of Contemporary Art, USA; Deutsches Hygene Museum, Dresden; Canadian War
Museum, Ottawa, Canada; Monsters of the Id, John Hansard Gallery, Southampton. He is
Professor of Fine Art at Sheffield Hallam University and is represented by Danielle Arnaud
Contemporary Art, London.
John Gerrard , Live Fire Exercise (Djibouti) (2011)
As with the other works in Gerrard’s Exercise series, Live Fire Exercise has been
developed from a single image: a photograph from what is known as a 'live fire exercise'
by the US Military, or an exercise using explosives which 'pre-shocks' troops and
exposes them to blast as part of their training. The photograph was sourced on the US
military media interface site Defence Video and Image Distribution System (www.
The original Djibouti location has been recreated as a virtual space, populated with
military vehicles. Once a day at 2pm (the time the original photograph was taken) the
vehicles in the scene assemble and a blast is triggered without warning. Instead of this
event taking just a few seconds to complete in reality, this exercise is extended over 25
minutes - with the explosion slowly burning out - filling the screen with black smoke that
eventually clears. Once this happens the vehicles leave the scene - leaving a patch of
scorched earth until the exercise happens once again the next afternoon at 2pm
continuing this daily cycle throughout the exhibition.
In line with other examples of Gerrard’s work, Live Fire Exercise also exists as part of a
stage production, in interaction with live performers. This instantiation of the piece was
a response to the commission of choreographer Wayne McGregor, who choreographed
to it a 25-minute performance by the Royal Ballet. The work premiered at the Royal
Opera House, London on May 13th 2011.
Werner Poetzelberger: Producer
Helmut Bressler: Programmer
Matthias Strohmaier: Programmer
Martin Hebestreit: Vehicle / Landscape Modeller
Ulrich Radhuber: Vehicle / Landscape Modeller
Christoph Staber: Lead Vehicle Animator
Patrick Zeymer: Vehicle Animator
Staging Design: Jakob Illera Inseq
Recent solo exhibitions include Solar Reserve, Lincoln Centre, New York City, USA; Sow
Farm, Rathole Gallery, Tokyo, Japan; Exercise, Borusan Contemporary, Istanbul, Turkey;
Pulp Press (Kistefos); a permanent installation at Kistefos Museet, Norway; Modern Art
Oxford, Oxford; Infinite Freedom Exercise, Manchester International Festival 2011; Ivory
Press Madrid, Spain; Institute of Contemporary Art, Perth, Australia; Universal, Void
Gallery, Derry, Northern Ireland; Sow Farm: What You See is Where You're At. Scottish
National Gallery of Modern Art, Edinburgh, Scotland; Oil Stick Work, Art on the
Underground, Canary Wharf Station, London; Directions: John Gerrard, Hirshhorn
Museum + Sculpture Garden, Washington DC, USA and John Gerrard, Animated Scene,
53rd International Art Exhibition, La Biennale di Venezia, Italy (2009). John Gerrard is
represented by Thomas Dane Gallery.
Physics engines sometimes use a type of procedural animation known as ‘ragdoll’ to
replace static death animations in first person shooter videogames. Here, the artists
create an endlessly collapsing ragdoll figure.
Self-adhesive vinyl, dimensions variable
MAN A takes military ‘Dazzle’ camouflage as a point of departure. Unlike traditional
camouflage, which operates on the principle of concealment, dazzle camouflage is a
complex arrangement of high-contrast, interrupted patterns of geometric shapes.
These are intended to confuse the calculation of a ship’s range, speed, and bearing
in an enemy’s optical gunnery rangefinder. MAN A creates a playful dialogue between
machine-readable visual information and the primordial impulse to recognise human
figures in a landscape. Motion-captured dance emerges from the patterns, when
activated by a custom app created by the artists.
Artist Bruno Martelli collaborates with dance and visual artist Ruth Gibson. Gibson /
Martelli create installations and performance spaces using computer games, virtual
reality, print & video. The duo are based in the London and see their practice as an
investigation into figure and landscape, simulacra and the sublime. Until 2010 they
worked together as igloo - their first collaboration BAFTA nominated. They have
received awards and commissions from NESTA, The Henry Moore Foundation, Arts
Council England and the AHRC. They exhibit in galleries, theatres and festivals world-
wide including the 52nd Venice Biennale (Palazzzo Zenobio); Watch-Me-Move &
Digital Revolution Barbican Gallery touring exhibition; Zero1, ISEA San Jose, USA;
Game-Time, Australian Centre for Moving Image, Melbourne; Transmediale, Berlin;
Encontros Acarte - Centre de Arte Moderne, Lisbon; DansenHaus,Oslo; ICA, London
and UNION gallery, London.
Museum of Optography: Objects from the Chamber (2012)
Museum of Optography: The Human Optogram Device (2008)
WDF Warzsawa 72, DVD, (2010) 9mins
Museum of Optography: The Purple Chamber, Part One (2011)
Ogbourne's work is powered by the frenetic and exhilarating ongoing plot of big
themes: physical life, death, violence, beauty and the sublime; landscape and vision.
Pulsing with the strengths and frailties of what it is like to be human, his obsessive
preoccupations result in deeply complex, emotionally engaging artworks. He is best
known for video works such as Gravity and Others, Struggle and Magic Mountain.
Ogbourne's latest works range from his cinematic piece Death and the Monument
and Flesh to his clinically sublime photographs of dissected cows’ eyes and recent
series of large exquisite landscape drawings. His project The Museum of
Optography continues to preoccupy Ogbourne with his latest violent heart stopping
machines adding to an inventory of nearly 300 artworks that compromise his
Derek Ogbourne studied at the Slade School of Fine Art, London (1983-1989) and
since then has exhibited extensively in the UK and abroad. Exhibitions include What
Make You, What Makes You at the South London Gallery, Space International,
Valencia, Spain and the Museum of Optography at Sharjah Foundation, UAE.
Nonny de la Peña, Use of Force (2015)
Sound installation, 4mins
When thirty-five year old Anastasio Hernandez Rojas was beaten and tasered to
death by the border patrol, an incident that the San Diego coroner’s office ruled was a
homicide, he was one of more than a dozen migrants who have been killed by United
States border patrol under questionable circumstances in the past two years. This
piece highlights and creates awareness of the dehumanization of migrants using
revolutionary immersive nonfiction storytelling techniques that employ gaming and
virtual reality technologies to tell the narrative. Wearing fully-tracked goggles and
experiencing a spatial soundscape, the piece takes advantage of sensations of
presence that come with these technologies to make the audience feel like they are
on scene the harrowing night of Anastasio’s death
Nonny de la Peña was named One of the 13 People Who Made the World More
Creative by Fast Company for pioneering immersive journalism and changing the way
she immerses viewers in documentary stories, allowing them to feel an extraordinary
emotional connection as witnesses. A graduate of Harvard University, and a former
correspondent for Newsweek, she has more than 20 years of journalism and award-
winning documentary filmmaking experience. Screenings and showcases around
the globe include the Sundance and Tribeca Film Festivals, Victoria and Albert
Museum, Moscow Museum of Modern Art, LABoral Centro de Arte y Creación
Industrial. In conjunction with her doctorate, she currently heads the MxR Studio at the
University of Southern California’s School of Cinematic Arts.
Matthew Noel-Tod, A Season in Hell 3D (2014)
3D video projection, loop
In a blazing inferno turns a 3D image of the world orbited by four cartoon children.
Encircling the globe is the Latin palindrome; In girum imus nocte et consumimur
igni (We go in circles into the night, we are consumed by fire). The phrase, which is
the title of Guy Debord’s final film, is originally attributed to the behaviour of moths
around fire. In A Season in Hell 3D the children are in constant movement, never
landing, never leaving. Purgatory is overwritten by the ecstasy of the spectacle.
Matthew Noel-Tod (born 1978), selected exhibitions and screenings include: Death,
Project Number, London; A Season in Hell 3D, Banner Repeater, London;
Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, Tate
Britain, London; The Universal Addressability of Dumb Things, Hayward Touring;
The Adverts, Canary Wharf Screen, LUX, London; Bang! Chisenhale Gallery,
London; A Skvader, Norwich Castle Museum with Outpost Gallery, Norwich; Blind
Carbon Copy, Picture This, Bristol and Nought to Sixty, ICA, London. He is Senior
Lecturer in Moving Image at University of Brighton and his work is distributed by LUX.