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Impermanent Durations: On Painting and Time (Part 3)

Research output: Exhibits, objects and web-based outputsExhibition

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Publication date13/10/2017
PublisherPeter Scott Gallery, Lancaster Arts
Media of outputPainting
Original languageEnglish
EventImpermanent Durations: On Painting and Time: Symposium - Peter Scott Gallery, Lancaster University, Lancaster, United Kingdom
Duration: 13/10/2017 → …

Conference

ConferenceImpermanent Durations: On Painting and Time
CountryUnited Kingdom
CityLancaster
Period13/10/17 → …

Abstract

This exhibition was the third in a series of interlinked events presenting a collaboration by artists specializing in contemporary painting: Professor Beth Harland, Lancaster Institute for the Contemporary Arts, Lancaster University; Professor Laura Lisbon, Ohio State University, Columbus; Professor David Thomas, Royal Melbourne Institute of Technology University; and Ian Woo, LASALLE College of the Arts, Singapore. The exhibition venue was the Peter Scott Gallery, Lancaster. The project was fully funded by the Singaporean Arts Council, Royal Melbourne Institute of Technology and Lancaster Arts. A public symposium was held in the exhibition, attended by 45 people. The artists formed the panel which was chaired by David Ryan, editor of the Journal of Contemporary Painting. A review of the exhibition appeared in arts magazine Corridor 8. The book of the project was available, published by the Institute of Contemporary Arts, Singapore, including documentation of the process and previous exhibitions, texts by the artists and an essay by Guo Liang Tan. A journal paper ‘Considering Impermanent Durations’, authored by David Thomas, including a transcript of the previous symposium discussions (parts 1&2), was published in the peer-reviewed Journal of Contemporary Painting, Issue 4.1 Painting and Time (October 2017). The issue was launched at this symposium event and several of the journal board members attended. The exhibition built upon the method established by the two previous ones, the artists working together over the period of a week to collectively hang elements made individually along with new interventions in the gallery into a single installation. The project therefore involved intuitive method as the artists responded to each other’s work and the space. This followed an intensive period of discussion by email and skype on the ways in which the audience might interact with the works to encounter different materialisations of time and interact with various types of painted and photographed image to engage with experiences of flux, impermanence, ‘slow time’, the temporality of colour etc. In order to change the dynamic of the collaboration and further extend the project’s global discussion of painting and time, Professor Laura Lisbon from the US was invited to join the original group for this third iteration.