Friday, 29 July 2016
Last week I decided it was time to escape London and spend a long weekend discovering and enjoying the delights of the brilliant city, Berlin. Having flown into Berlin, many times, but only spending 12 hours in the city altogether, it was about time to really immerse myself, so that is exactly what I did!
Flying in on Thursday morning I was greeted with beautiful sunny skies and hot temperatures as the heat wave in London travelled with me to Germany. Stepping off the plane at Tegel and heading into the centre I was automatically struck by the huge sense of relief, I had left London. I haven't posted much in the last month, to be honest, I haven't had many words to describe the events of the past month, but as I put my first step onto European soil (Airport tarmac), I felt like I was home. A warm openness embraced me, a feeling London had lacked for sometime now and it made me realise just how far as a city we need to grow, I really was having a Brexit holiday!
Everyday was filled with a wealth of walking, research and inspiration. From the moment I arrived into the city to the moment I left, I soaked up everything Berlin had to offer. Thursday and Friday saw days full of culture, visiting many exhibitions, CO Berlin, with its excellent show by Adam Jeppesen to the Martin-Gropius-Bau Berliner Festspiele, and the out of this world No It Is! show by William Kentridge. The Kentridge exhibition was more than words can explain. It is as if you are transported into his mind, pushed and pulled in every direction, every sense touched and expanded. There is such energy to his work, a fluidity that is hard to beat and an awareness of how sound and visuals interlink, they draw out the deepest depths of your psyche. I was taken beyond inspiration, into a world where everything was possible. Astounding.
Saturday and Sunday saw many a breakfast, lunch and dinner with friends in the sun. From Mitte, to Kreuzberg to Brandenburger Tor to a trip to Berliner Fernsehturm I walked the city and enjoyed the wide open streets, gazed into the distant histories still present and took time to really contemplate the dark days that city had seen, through the concrete columns of the Denkmal für die ermordeten Juden Europas. It was a trip that was filled with all the things that make me feel alive and reminds me of how dark days still linger closer than we'd like. It's why tolerance, inclusion and solidarity are ever more important in our changing political landscape. Berlin you are beautiful.
Posted by Melinda Gibson on Friday, July 29, 2016
Wednesday, 20 July 2016
Delighted to show you some installation shots from my current group exhibition, Second Hands at Galerie Binôme. Only a few days left to see this lovely show in Paris as it closes on Saturday 23rd July, don't miss it!
Posted by Melinda Gibson on Wednesday, July 20, 2016
Tuesday, 19 July 2016
This is the last week to see the exhibition Second Hands in Paris at Galerie Binome, closing on 23rd July. The exhibition is attracting good press with articles featured in Next Liberation, L'Oeil De La Photographie, Photo Mag, France Fine Art and Paris Art, which is great to see. As the sun continues to shine, I look forward to seeing the transformation of the colours, the silver nitrate and the new marks that will have appeared on the prints, as they continue to twist and turn in their organic state.
Press articles can be found here:
Excerpt taken from L'Oeil De La Photographie;
"Ces fragments de photos retournés sont littéralement utilisés comme de la peinture et déposés au pinceau sur la toile. Un effet pictural que l’on retrouve dans les images à quatre mains de Melinda Gibson et Thomas Sauvin. Les photographies de la collection Silvermine1, sauvées de la ruine, sont reconsidérées au seuil de leur disparition. Elles sont comme gelées entre deux états, une partie étant sauvegardée et une partie détruite par les composants mêmes, acides et nitrates d’argent, qui proviennent des cuves de recyclage qui devaient les dissoudre. Le résultat final aléatoire est le reflet de la nature instable des négatifs, où de la matière organique se développe progressivement en surface.
Posted by Melinda Gibson on Tuesday, July 19, 2016
Saturday, 4 June 2016
Absolutely delighted and extremely proud to say that I was invited by the wonderful Stephen Chambers to participate in the Royal Academy of Arts Summer Exhibition for 2016.
The Royal Academy of Arts Summer Exhibition 2016 is coordinated by the leading British sculptor, Richard Wilson RA. This years hanging committee includes Royal Academicians Stephen Chambers, Louisa Hutton, Bill Jacklin, Jock McFadyen, David Mach, Cathie Pilkington, David Remfry, Ian Ritchie and Bill Woodraw.
In the words of co-ordinator Richard Wilson RA, this year’s edition of the Summer Exhibition is set to be “unpredictable, stimulating and startling." Keep a particular look out for work by some of the art world’s most successful artistic duos – specially invited by Richard Wilson RA – whose work will be dispersed throughout. Highlights include a large-scale suspended kite sculpture by Heather and Ivan Morison, sculpture by brothers Jake and Dinos Chapman, and an atmospheric photographic installation from Jane and Louise Wilson.
The exhibition opens on 13th June, running to 21st August. I am delighted to have two pieces from my collaborative project with Thomas Sauvin, Lunar Caustic, part of the Print Room VII. We are certainly in fantastic company with the room full with a wealth of stunning artists that include, Jake and Dinos Chapman, Julian Opie, Yinka Shonibare, Allen Jones and Chris Orr with many more greats. It was certainly a very proud moment yesterday, sipping prosecco, floating through the galleries discovering each and every work.
Posted by Melinda Gibson on Saturday, June 04, 2016
Sunday, 22 May 2016
I am very pleased to announce that my collaborative project, Lunar Caustic will be part of a new exhibition in Paris that opens at Galerie Binome on Thursday 26th May. The exhibition, Second Hands presents artists that look to use the tactility of the found image to push forward ideas surrounding transmission, transfer and transformation within the changing landscape of contemporary visual language. Here is a section from the press release below;
"Sous le commissariat de Sophie Bernard, la sélection réunit des photographes et des artistes, mais également des éditeurs et collectionneurs. À partir de corpus d’images anciennes, négatifs ou tirages, ils font œuvre et établissent d’autres rapports au visible. Détachés d’un pathos matérialiste qui viendrait sacraliser ces images primaires oubliées ou tombées dans l’anonymat, ils reconsidèrent les qualités de ces matériaux, vieillis et un peu sales pour les recycler, les détourner et les hybrider..."
See more about the exhibition here -
Posted by Melinda Gibson on Sunday, May 22, 2016
Saturday, 14 May 2016
I may have been very quiet lately, but I have been in my studio working on some new pieces. I am absolutely thrilled to say that my new works were commissioned for the FT Weekend Magazine, which is live online now and available in print from today - Saturday 14th May!
In preparation for Photo London 2016, the FT Weekend Magazine, official media partner, commissioned four artists to create new work centred around their individual take on My London. I am very honoured to have worked with such an incredible commissioning team and to be situated in the magazine with some truly brilliant contemporary artists that use photography in exciting and inspiring ways. I am in great company with one of my fondest fellow friends, Tom Lovelace, the naughty Juno Calypso and one of great Magnum photographers, Mark Power. It is certainly an issue that shows how photography is shifting, developing and prepares you for what Photo London will offer.
My London, focus on the city as an never source of chaotic inspiration, with it's twists and turns offering up the everyday to the extraordinary. I centre the new works on the role of Instagram and how virtual portals are changing our physical experiences.
Read more on this and others in the FT Weekend Magazine Photo London 2016 special supplement and online here:
Posted by Melinda Gibson on Saturday, May 14, 2016
Saturday, 19 March 2016
Last night saw the London Premiere of Ballet Black's Triple Bill live at the Barbican, with only two nights to catch this astounding performance I was beyond excitement to be there on the opening night! This performance pulls together the company, Ballet Black which is made up of international dancers of black and Asian descent with three bold and inventive choreographers that collaborate to present, as the Barbican states, "an irresistible trilogy of narrative and abstract dance."
As the curtains drew open you could feel the anticipation in the air, the excitement, the intrigue to see what this triple performance had in store. Ballet has always been a draw for me, it brings together so many elements that remind me of the importance of the present moment. The power of the human body, strong and muscular intertwined with classical overtures that leave you breathless, all weighted in a central core narrative that is effortlessly played out. It also reminds me of my youth, when I , myself trained in ballet for over 10 years, ready to move onto point, but later let it drift away. I must admit I was new to Ballet Black and I feel sadly others are the same; where our education is rich in white bourgeois Russian dancers, and lacks the multiculturalism which is modern day living. So Ballet Black and others like it, that championed black and asian dancers is well overdue!
As the first performance started, that effortless delicacy that comes from professional dancers takes hold as they glide across the stage, extended limbs, held positions, lifts and turns, at every point you are in awe of the combined strength that filters through their core. The music, almost sporadic in its nature, heightens the glistering sequins on the ballerina's tutu, while the lights hit a shattered mirrored pendant that hangs down throwing brilliant bright shards of light across the stage. The music slows as the dancers draw back to their starting positions and we prepare ourselves for the second bill.
The light shifts, a cast of blue falls onto the stage and with this a large silk cloth flows over the dancers. It is difficult to express how this one movement of fabric automatically starts an emotive reaction that is impossible to stop. This fluid movement, intermixed with the classical scores from violin and piano was breathtaking, at that very moment I was deeply captivated, almost mesmerised as the tears rolled down my cheeks. Watching so intently, it was if time was standing still, while I was transported into another world, as two dancers intertwined where then later torn apart. This piece was extraordinary, so emotive that you could feel every part of the narrative playing through your veins. As closure approached, my heart was heavy and my eyes full of tears, a breath taking experience that will stay with me for many years.
The finale piece was Storyville, described as, "a bittersweet fable of Nola, a farm girl who falls prey to unscrupulous characters and worldly desires in 1920s New Orleans, set to the haunting music of Kurt Weill," and it surely was that! This piece was full of embrace, power, corruption and distress, lit in crimson and bold in it's style, it was a stunning finale to the triple bill.
I can wholeheartedly say that this has to be one of the best ballet's I have ever seen and an evening that I will never forget. Ballet Black is unforgettable and I shall actively be looking out for more of their performances, they are truly not to be missed!
Posted by Melinda Gibson on Saturday, March 19, 2016
Saturday, 5 March 2016
ASX, (American Suburb X) TV, bring to light the collaborative project I worked on with Brad Feuerhelm for a bespoke SPBH performance event at The Photographers' Gallery in conjunction with Aperture's Photobook Review!
Reworking the text Brad wrote centred on the Richard Peter's book, Dresden: eine Kamera klagt an Dresdener Verlagsgesellschaft Dresden, Germany, 1949. The short film is an appropriation of internet source material backed with audio, text feed into a programme creating the generated script of an American voice. The resulting work is full of programme glitches, archival imagery with an overwhelming odour of destruction. A fast and playful piece that encapsulates Feuerhelm's text, echoing the original source material of the Dresden bombings.
See and read more here - http://www.americansuburbx.com/2016/03/asx-tv-rebirth-negated-by-truant-hope-melinda-gibson-brad-feuerhelm.html
Posted by Melinda Gibson on Saturday, March 05, 2016
Tuesday, 1 March 2016
There are few things in this lifetime that can provide so much visual pleasure to so many, in a manner that seems so effortless it brings joy to the senses. But I can heartwarmingly say that the current Alexander Calder exhibition at the Tate Modern, achieves this and more. The show, if you have not yet had the pleasure to experience it, is bewilderingly beautiful. As I write this now, I feel the hairs on my neck and down my spine stand to attention, as if my fight-or-flight response had just materialised, but not to flee, but to bare witness to the poetic fluidity of Calder's world.
From the moment you enter into the somewhat crowded room, you are immediately struck with a sense of calm, a graceful, almost peaceful aura washes over you as you read the introduction and start to weave through the rooms. Your eyes widening and widening through every exploration of figure, shape, structure and movement. Figures appear out of the walls, spinning and turning with a delicately that is truly stunning. At times it is if you are staring into another world, drop shadowed figures metamorphose right before your very eyes. But all this in the absence of sound. In a day an age that is full of loud, crash, bang, wallops, this silence is a mystifying magic.
As you meander along the journey, for it really does feel like you are being taken on a superlative tour, more visual pleasures are awaiting you. As the audience glide through the exhibition the works move in tandem, responding to the weight and movement of air which are constantly being created and shifted in what seems spontaneity. But of course, is reactionary to the elegant nature of these works. The environment is so paramount to their movements, it is almost as if the works can not exist alone and us without the works.
Room by room you are filled with joy as each movement is unique and each weightless in its nature. Spherical shapes, poignant coloured objects all interlinked with blackened wire frame what could be seen as a new galaxy, a scientific experiment, but all we miss are the scribbles of finds on a piece of paper, to the grand scale mobiles that physically leave you breathless.
Language is powerful, but this exhibit touches your senses, your very humanity in a way that is almost too difficult to describe. It is most certainly one of the best exhibitions I have seen in this country and absolutely a Tate Triumph.
Posted by Melinda Gibson on Tuesday, March 01, 2016
Thursday, 18 February 2016
Continuing my tour of Universities this year, tomorrow see's me talk about my practice, part of the Photography Alumni Event at the London College of Communication, where this year, see's a decade since I graduated!
Although that makes me feel very old indeed, I thoroughly look forward to talking to the students and offering some tips on how to enjoy the journey.
Posted by Melinda Gibson on Thursday, February 18, 2016
Friday, 22 January 2016
"Ever since the earliest photographic technologies, bushwhackers have willfully deviated from marked trails, but never, it seems, have more renegades tweaked convention than in the past decade or two. Digital processes have dematerialized photography, and artists have taken it upon themselves to rematerialize it in inventive, idiosyncratic ways."
Very, very pleased to see that my current group exhibition at ROSEGALLERY has been selected as the Critic'c Choice in the LA Times. The article talks of the exhibition, "Her First Meteorite, Volume 2" at the gallery and Leah Ollman writes about the show.
It articles details, "Melinda Gibson and Thomas Sauvin's "Lunar Caustic" images are the oddly urgent consequences of an act of rescue followed by an act of violation. The prints, made from a salvaged archive of Chinese vernacular negatives, have been bathed in acid, distorting their hues and tones, freckling the surfaces with rusty spots. The records have been preserved, only to be handed over to the forces of entropy."
Read more from the Review here:
See more from ROSE GALLERY here: http://www.rosegallery.net/
Posted by Melinda Gibson on Friday, January 22, 2016
Thursday, 14 January 2016
So 2016 has arrived and I can't believe just how quickly the time is going already, how can November be booked up. Before I know it, I'll be preparing Christmas Cards and writing my wish list to Mr Claus himself! 2015 was an extraordinary year, with many exciting exhibitions and adventures and I have a distinct feeling that 2016 is going to be no different - just the way I like it.
2016 kicks off with talks and lectures. I am very pleased to be continuing my lecturing at Camberwell College of Art, but will also be doing some one off talks around the country at different universities; my first this year will be the wonderful Bournemouth University.
I am very pleased to say that I will be talking at The Photographers' Gallery in February, to the launch a new magazine, Co-Curate, where I contributed a piece of writing to the project. This new limited edition magazine is co-curated by Isabelle Evertse and Aaron Schuman, taking the idea of collaboration and pairing off writers with artists. More coming on the launch and the surrounding events soon.
And very, very, very excitingly, I have another set of Lunar Caustic images awaiting me, as another 300, 000 negatives get sent for my perusal - I can't wait!!! More to come on the next chapter, but I eagerly await the delivery and prepare my hands for the Silver Nitrate!
Posted by Melinda Gibson on Thursday, January 14, 2016
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