Visit to UCL’s Astronomical Observatory in Mill Hill.
Thanks to knowledgeable hosts Mark Fuller and Thomas Schlichter for a wonderful tour of the UCL observatory and to Lumen London for organising.
Shame it was cloudy but I enjoyed seeing the telescopes and hearing the history of this beautiful site. Looking forward to future collaborations.
We didn’t see the stars outside but an archive image and a loop lens proved fascinating.
In the studio back after a busy year I have been tidying up, building mezzanine storage shelves and planning new work looking at cosmic planes, thinking about star HD70642 – a possible home from home and what lies beyond the horizon that I can never reach.
New Doggerland at Thames-side Gallery presents a future imagining of physical and cultural re-connection between Britain and the European mainland.
Doggerland was an area of land that once connected Britain to continental Europe. At the end of the last ice age a warming climate exposed land for habitation but gradually the lowlands were flooded as temperatures rose further then about 8,200 years ago, a combined melting of a glacial lake and a tsunami submerged Doggerland beneath the southern North Sea. Great work including these from Jane Millar, Oona Grimes and Sarah Sparkes.
It was the place to be on 31/01/2020.
Nam June Paik at Tate Modern. Amazing pioneer of technology in art. Colliding nature, entanglement, connectedness, meditation, transmission.
Trevor Paglin From ‘Apple’ to ‘Anomaly’ (Pictures and Labels) at The Barbican Curve.
The long wall is filled with thousands of pinned photographs taken from ImageNet, a publicly available data set of images, which is also used to train artificial intelligence networks. ImageNet contains more than fourteen-million images grouped into labelled categories which include the unambiguous ‘apple’ along with such terms as ‘debtors’, ‘alcoholics’ and ‘bad persons’. These definitions applied to humans by AI algorithms present an uncomfortable future of machine induced judgement.
‘Machine-seeing-for-machines is a ubiquitous phenomenon, encompassing everything from facial-recognition systems conducting automated biometric surveillance at airports to department stores intercepting customers’ mobile phone pings to create intricate maps of movements through the aisles. But all this seeing, all of these images, are essentially invisible to human eyes. These images aren’t meant for us; they’re meant to do things in the world; human eyes aren’t in the loop.’ Trevor Paglen
Interestingly there was no photography allowed in the Trevor Paglen show. So I tried Image net for an image to post. I searched for ‘artist’ but ImageNet is under maintenance so I tried Google and this is the first image I got.
Another great show from Kathleen Herbert, A Study of Shadows at Danielle Arnaud. Using the cyanotype to interrogate the history and science of Prussian Blue and discover what emerges from the shadows through process and research. We learn – ‘Prussian Blue has a unique chemical structure and was originally created through the cyanotype process. It was the colour used to measure the blueness of the sky and was also used in the UK during the Chernobyl disaster as an antidote to radiation poisoning, preventing Caesium 137 from entering the food chain. Prussian Blue also has the ability to heal itself; if the intensity of its colour is lost through light-induced fading, it can be recovered by being placed in the dark.’
The sound and video work Everything is Fleeing to its Presence relates a narrative of impressions and scientific facts while the visuals of varying tones of blue appear and disappear in hypnotic succession. Together the effect is of immersion, like the chemically coated paper, in a pool of blue.
Mary Yacoob Schema at Five Years Gallery. Also using cyanotypes, but here exploring the architectural roots of this process through precise silhouettes, detailed drawing, structure and form which is then exposed to the unpredictable chemistry to produce beautiful outcomes.
Anselm Keifer at White Cube Bermondsey. Superstrings, Runes, The Norns, Gordian Knot all tied together in characteristically monumental paintings thick with stuff in an attempt to connect complex scientific theory with ancient mythology.
William Blake at Tate Britain. What visions, such torment. So much mortal flesh.
Anne Hardy The Depth of Darkness, the Return of the Light winter commission for Tate Britain, a sort of after party dystopia with an impressive soundscape of rain, thunder, birds and insects inspired by pagan descriptions of the winter solstice – the darkest moment of the year.
We sit together for a minute at Thames-side Gallery. Alex Simpson and Alice Hartley share a similar sensibility making dynamic and intuitive works. The gallery is alive with gestural forms, captured fragments and movement held momentarily in stasis, both fragile and immediate.
The Computer Arts Society, The Lumen Prize and Art in Flux join London Group members at The Cello Factory for a second In The Dark curated mash up of light and technology artworks that overlap and collide in Even darker. Curated by clever duo interactive filmmakers Genetic Moo, artists include Carol Wyss and Sumi Perera.
Bridget Riley at Hayward Gallery. Messing with perception; undulations and vibrations.
Mark Leckey O’ Magic Power Of Bleakness at Tate Britain. Sense of bleakness achieved in synthetic bridge recreation which gave gallery awkward angles. Voyeuristic social commentary, old rave footage. Magic found interspersed in otherworldly images contrast to dank underworld.
Some beautiful artefacts in The Moon exhibition at Royal Maritime Museum Greenwich celebrating 50 years since the Apollo 11 Moon landing.
Astronomicum Caesarean 1540 – rotating paper discs are used to track the moon’s position which the physician would then interpret to predict if the patient might improve or relapse.
Orrery 1823-27 by John Addison includes a special geared section to show the rise and fall of the moon and mimicking the tilt of its orbit.
Selenographia 1797 by John Russell. It models the slight wobble or libration of the moon meaning that over time a little more than half of the side of the moon is visible from Earth.
Moon rocks, encased.
A Distant View III by United Visual Artists. A 3D rendering in wood of original NASA data imaging of the moon’s surface from the Orbiter mission 1966/7
Very lucky to be invited by Rachael Allain for a tour of The Queen’s House at the National Maritime Museum Greenwich led by curator Matilda Pye. We saw the Susan Derges commission Mortal Moon inspired by the Armada Portrait of Queen Elizabeth 1 and a celestial globe, dating from 1551.
The fractal elegance of the Tulip staircase.
Which is also where the Queen’s House ghosts were inadvertently photographed by retired Canadian Reverend R.W Hardy on his visit in 1966. Recreated in situ by Matty with mobile. Apparently photographic experts examined the original negative and found no signs of tampering.
Ending the tour with Tacita Dean’s poignant photos of the desolate shell of the Teignmouth Electron, the yacht that bore Donald Crowhurst to his miserable and solitary death. It looks so small.
Immersive installations inviting a change of consciousness at TRANSFORMER: A Rebirth Of Wonder presented by The Store X The Vinyl Factory. Including Doug Aitken NEW ERA dramatic video-scape looking at the first phone call and future communication highway.
Mark Bradford’s paintings in Cerberus at Hauser & Wirth London recall the vibrant matter of creation, the splitting of the earth in molten rivulets to expose the dark underbelly.
I am reading W. G. Sebald’s rambling Rings of Saturn. Revisiting my home county and local haunts through his eyes. He set off in 1992 but it feels like a journey back further in time as there are so many reminiscences and anecdotes from the past. Among the vaguely defined histories is the story of the demise of the estate of Henstead Hall under guardianship of the eccentric Major Wyndham Le Strange who shunned the outside world and took to a literally underground existence.
These images from 2014 when I visited the abandoned walled garden at Henstead became fragments for my work titled Pairi Daêza, an ancient Iranian word meaning ‘around’ and ‘wall’; the origin of ‘paradise’.
A tenuous link but I discovered Henstead Hall subsequently become home to Douglas Farmiloe a self-described “Mayfair playboy” who had found himself in the scandal pages of the News of the World during the 1930s, after an indiscretion with a hostess from the West End ‘Paradise Club’.
I was taking part in a tour of 
I entered late in the day, there had been a schedule of performances but I had missed most of these. Coming in from torrential rain outside, the place was immediately a sanctuary. People milled quietly and took their seats along the pews. I sat waiting but not sure what for and in the hushed gloom had the uncanny feeling I had inadvertently joined a cult. After a while, strange resonating sounds from Michael Speers performance of distorted feedback filled the space. We sat in quasi religious contemplation.
A leap of faith considers the universe, civilisation and the individual; questioning our existence in rel
Among the artists in this show were Mark Ariel Waller projecting SO-LA, video footage from NASA’s Solar Dynamics Observatory above a bronze cast replicating ‘Sit Shamshi’ a 12thC relic of Iran which depicts two figures in a temple setting performing a ritual to the rising sun.
Susan Eyre 