Selected Research Outputs - Cian Quayle
Exhibitions/performances
Solo
2005 Silent Film, Foyer Gallery, Camberwell College of Arts (with Richard Elliot). An exhibition of photographs with Richard Elliot, which explores the contemporary urban landscape of London. The notion of colour as a medium is a concern for both artists as is their preoccupation with depopulated spaces of work, retail and leisure in the city.
2005 Photographic Readymades and Other Found Objects, Dagmar de Pooter Gallery, Antwerp. This installation comprised framed and lightbox mounted photographs alongside wall and floor based found objects drawn together from different projects related to artist journeys in the formation of a dislocated visual language. This exhibition was supported by the British Council’s Grants to Artists scheme.
2004 Research Project, Camberwell College of Arts, London. An installation of photographic artworks and found objects formed part of a PhD viva. The thesis Inventory or a Reverse Journey – Photographic Image and Found Object investigates artist travel from the perspective of a voluntary or involuntary form of exile. As a metaphorical journey in space and time, which adopts Mikhail Bakhtin’s chronotope Inventory for a Reverse Journey is an ongoing personal archive, which comprises archive photographs, family snapshots, found photographs, photographic postcards and my own photographs of the same place at different points in time.
2003 Return Ticket, Derby Castle Depot, Isle of Man. This public, site specific artwork of 20, 6 x 8 feet photographic artworks was installed along the boundary wall of the Derby Castle Depot at the end of Douglas Promenade in the Isle of Man. These works are a distillation and condensation of space and time. As a sequence they conform to the topographical layout of the seaward townscape within which they are situated.
Group
2007 Transmission, The Arts Gallery, London. An installation of seven artists work curated by Cian Quayle, which encompasses video, photography, text sound, performance and sculpture. In their work the transmission of information, visual or otherwise, assumes multiple modes of production and reception, which is linked by a concern with the relationship between practice and theory, ideas and materiality and how this might be evidenced. Each in different ways plays on a sense of absence, leaving open a space of interpretation, which leads towards new ways of describing our surroundings.
2007 Repeat Repeat, University of Chester. This exhibition accompanied a conference of the same title where the notions of repetition are manifest in a diverse range of artworks was convened by Maxine Bristow and Elisa Oliver.
2006 O Que Nos Cerca, Dagmar de Pooter Gallery, Antwerp. An international group exhibition of artists represented by the Dagmar de Pooter Gallery.
2005 Night on Earth, Oxford House, London. This exhibition was curated by Harry Pye included 80 artists and writers work which traversed the globe. A triptych of three photographs from a series of images made in Warsaw, Poland in 2000 was accompanied by a short story by writer and journalist Susie Alegre.
2005 Good Morning Herr Schwitters, Guten Abend Mr Ruskin, Brantwood, Coniston. This exhibition of responses to the work of Kurt Schwitters interest in the work of Ruskin, who lived at Brantwood in the Lake District was curated by Jill Rock and Adam Nankervis.
2004 First Assembly, The Ragged School, London. An exhibition of over forty artists work curated by Mat Humphrey and featured a photographic work Early Morning Battersea #2 printed on metallic film in a reworking of an earlier work included in Digital Responses at the Victoria & Albert Museum, London.
2004 Mothers, Oxford House, London was curated by Harry Pye and included works by Jake and Dinos Chapman, Mat Humphrey and Lee Maelzer.
2003 Mnemonic Surfaces in Digital Responses, Victoria & Albert Museum. A series of year-long exhibitions which re-navigate and re-interpret the museum’s collections. The work in this exhibition was based in research of the work of artists and photographer featured in the V&A’s library of prints, drawings and photographs in the Henry Cole Wing. An essay titled Mnemonic Surfaces – Stone to Light was later published in the Journal of Visual Communication. The main body of research focused on J.M.Whistler’s documentation of the city and the transition from realism to aestheticism. Other artists works investigated were drawn together based on their depiction of the city. These included images Bernd and Hilla Becher, Robert Frank, and Henri Cartier Bresson and Joseph Powell.
2002 Techniken des Vorueberziehens, Fotoforum West, Innsbruck. www.prairie.at/dossiers/20020708113803/. An exhibition curated by Verina Gfader, which included the work of Juan Cruz, Nils Norman, Martin Evans.
2002 I Love Art, Cubitt Gallery, London. This exhibition of interdisciplinary fine art practices was curated by MA & PhD students from the University of Portsmouth.
2002 Interrogating the Surface, London Institute Gallery, Millbank was curated by Paul Coldwell and Barbara Rauch and emerged from a joint Camberwell College of Arts and Chelsea College of Art research project The Integration of Computers within Fine Art Practice.
2001 Settings, Rochester Art Gallery, Kent. At the invitation of Laura Knight and Liz Kent of Medway Galleries Cian Quayle, Barbara Rauch and Maria Mencia were invited to exhibit at Gillingham and Rochester galleries.
2001 motor : show, Proof, London was curated by Lucy Renton and Rob Flint at Proof, a home and gallery space hosted by Sue Withers and Andrew Moller. This exhibition of video, photography and sound works investigates movement as a structural and physical concept. Other artists included Brian Catling and Hayley Newman.
Catalogues
Transmission, 2007 The Arts Gallery, University of the Arts London (October 17 2007 - November 16 2007) with a foreword and catalogue essay by Cian Quayle and Lee Triming (Contents Unknown). Published by University of Chester (ISBN: 978-1-905929-42-9).
Repeat Repeat, 2007. University of Chester. Instants of Fragmentation and Repetition: A Reprise.
Research Project, 2004. Inventory for a Reverse Journey (PhD thesis). London: Camberwell College of Arts.
Good Morning Herr Schwitters, Guten Abend Mr Ruskin, Brantwood, Coniston
Mothers, 2004. Oxford House, London. London: Harry Pye
Return Ticket, 2003. Foreword and catalogue essay by Cian Quayle (Terra Incognita) and Rob Flint (Cian Quayle’s Return Tickets) Isle of Man: Manx National Heritage. (ISBN: 0901106445) www.gov.im/mnh/heritage/shops/publications.aspx?sectionid=4&publicationid=143
Mnemonic Surfaces in Digital Responses, 2003. Victoria & Albert Museum, London CD Rom (ISBN: 1 85177 414 9) 7 www.vam.ac.uk/vastatic/digitalresponses
Techniken des Vorueberziehens, 2002. Fotoforum West, Innsbruck. www.prairie.at/dossiers/20020708113803/
motor : show, 2001. Proof, London catalogue text by Rob Flint. London: Proof Multiples
Settings, 2001. Liz Kent exhibition essay. Rochester Art Gallery, Medway Galleries, Kent.
Journal articles
‘Bad Carpentry and Other Wilful Misdemeanours’ in Visual Communication, Vol.6 (2), 2007 ISSN 1470 3572
‘Mnemonic Surfaces – Stone to Light’ in Visual Communication, Vol. 2 (3), 2003, ISSN 1470 3572
‘Mnemonic Surfaces’ in Digital Responses. Victoria & Albert Museum, CDRom, 2003, ISBN 1 85177 414 9
‘Terra Incognita’, Return Ticket (catalogue essay), 2003, ISBN 0901106445
‘At Home and Away’ in Source, Issue 31, 2002, ISSN 1369 2224
‘Medium Specificity and Photography in the Digital Age’, Interrogating the Surface, CDRom, 2002, ISBN 1870 540 182
Conference/symposium presentations
Selection
19/04/07 Instants of Fragmentation and Repetition: A Reprise. Repeat Repeat, University of Chester
2/09/06 Reflections on a practice based Ph.D. project 1998/2000 - 2005. University of the Arts London Research Lecture Series
11/07/04 Kurt Schwitters’ Aesthetics of Resistance in Kurt Schwitters in England, Tate Britain conference.
12/03/04 Mnemonic Surfaces, Image Forum (Department of History and Theory of Art) University of Canterbury
6/10/01 Bas Jan Ader’s Shadowplay presented at an interdisciplinary conference The City and the Sea, University College London/Princeton University
6/3/01 Kurt Schwitters: The Semiotics of Decay, with a response by Theo van Leeuwen at Semiotic Concepts for Practice-based Research, University of the Arts London.
Critical Writing
Selection
The Fall. Unpublished essay, which investigates a free-fall suspension of object and human form.
Sites of the Habitus and The Filmic. Ongoing exploration of the city and ‘outer-city’ in Michel de Certeau’s terms writing parallel to artworks of same title (ongoing).
Up, Down, Turn Around: Transatlantic: London – New York, John Whapham & Luggage Ticket - Ellis Island, Caroline Allan, 2005.Unpublished essay to accompany an exhibition of video and photography at Kunsthaandel Jorg Maas Gallery, New York.
Kurt Schwitters Aesthetics of Resistance, 2004. Unpublished conference paper presented in conjunction with a paper written by Klaus Hinrichsen, who was interned with Kurt Schwitters. This paper conflates Hinrichsen’s memories of internment with a meditation on time, place and memory manifest through a series of photographic images, which guide the viewer around Douglas where Hinrichsen and Schwitters were interned in Hutchinson Camp.
Against Nostalgia – Concepts of Home: Exile & Return. Unpublished lecture and essay.
Interzone. Unpublished catalogue essay, which adopts Tarkovsky’s film Stalker as its point of departure as a metaphor for a walking journey through the city.
Inventory for a Reverse Journey (The Aesthetics of Distance) 2004. Unpublished PhD manuscript.
Settings, 2002. Short essay which explores the relationship of technology, image and text in the work of Barbara Rauch, Maria Mencia and Cian Quayle.
The Semiotics of Decay, 2001. A critical analysis of processes of decay and transformation of found objects and materials in the collage and assemblage works of Kurt Schwitters with specific attention to works made from the detritus of everyday life.
Chris Killip – Isle of Man Photographs 1980/97 Unpublished
Curation
Transmission, The Arts Gallery, University of the Arts London, Davies Street, London October 17 - November 18. Private View: October 17.
An installation of seven artists work: Gulsen Bal, Rob Flint, Verina Gfader, Maria Moreira, Uriel Orlow & Ruth Maclennan, Cian Quayle. This is the first exhibition of practice-based research of artists who have completed a PhD with the University of the Arts London.
Transmission is an exhibition, which encompasses moving image, drawing, graphics, text and photography. The artists in this exhibition have all followed a course of practice-based research with the University of the Arts London and are now teaching in other universities. In their work the transmission of information, visual or otherwise, assumes multiple modes of production and reception. Their work is linked by a concern with the relationship between practice and theory, ideas and materiality and how this might be evidenced. Each in different ways plays on a sense of absence, leaving open a space of interpretation, which leads towards new ways of describing our surroundings.
The exhibition was accompanied by a catalogue (ISBN: 978-1-905929-42-9) with an essay titled Contents Unknown by Lee Triming, an artist and writer based in New York. The foreword was written by Cian Quayle. The exhibition and catalogue as a project was curated solely by Cian Quayle with the support of Eamonn Maxwell at the University of the Arts and CPaRA, University of Chester.
Reviews
Anne Marie-Poels ‘Photographic Readymades and Other Found Objects’, Zone 3, April 2005
Anna Paterson - Islands: Dream and Reality Unpublished. July 2001
Dominic Luytens, ‘Living Proof’, The Observer, 29th July 2001
Stephen Bury ‘motor : show’, (exhibition review), Art Monthly, June 2001
University of Chester,