GILES BAILEY & CIRCA PROJECTS
2016 — 2017
Taking place within the North East of England, Giles Bailey & CIRCA Projects is a co-produced programme examining the possibilities and positions of an independent curatorial organisation, the relationship we hold with our locale and our approach to working with artists.
Within this programme, various platforms from the canon of arts programming and exhibition making will be considered and challenged. CIRCA Projects will continue to work in multiple towns and cities – drawing on both art and ‘non-art’ expertise.
Since 2009, CIRCA Projects have ‘learned through doing’, examining the possibilities of arts programming in a wider and continually updated sense – engaging within regional contexts while contributing to an international discourse of both short-term and abiding issues in arts and socio-politics. These are the guiding objectives behind CIRCA Projects.
Giles Bailey & CIRCA Projects will focus for an extended period on one artist and CIRCA Projects’ three members: Adam Phillips, Dawn Bothwell and Sam Watson. Each bringing their individual interests and relationships into a conversation, they will collectively produce a number of art projects shown across North East England in 2016-17.
Giles Bailey (°1981) works largely with performance, writing or strategically appropriating texts that he performs himself. These works are often conceived to propose alternative approaches to the assembling of histories and set archival footage, narrative video or particular images against experiments with language. Increasingly, he works closely with others to facilitate collaborations in order to explore these themes and is developing longer pieces of experimental writing. At the heart of these interests is an abiding preoccupation with conventions and archetypes, why they persist and how we might challenge the thinking that perpetuates them.
World is Sudden: Parts I and II
Inspired by the collateral, incompatible and sudden world described in Louis MacNiece’s 1935 poem Snow, each World is Sudden event brings together a breadth of live practice, spanning performance, music and sound alongside disparate moving image works, internet video phenomena and archival material. Staged in a specially designed set the works included will be presented as a continuous sequential ow resisting the tyranny of prescribed thematics and embracing “the drunkenness of things being various”.
World is Sudden: Part I
Terry: Inevitably, Terry likes to make a noise. Drums, guitars and all his voices come into play, making a solid raft for Terry’s melancholic musings to navigate the languid rapids. This all unravels at its own pace, conducting a conversation with the commonplace. Divide him into four and you get Al Montfort, Amy Hill, Xanthe Waite and Zephyr Pavey.
Kathryn Elkin: In Dame 3, Elkin looks at a televised event which has historicised mainstream sexist attitudes in Helen Mirren’s early career. Kathryn Elkin works with performance, video and writing. Her work often manifests through siting a referent – for example another artwork/ artist/writer/performer, upon which she applies a set of highly personal methods of translation, transcription and representation.
Giles Bailey: Bailey presents a new performance, 5 or Magic That Hath Ravished Them, developed from a video teaching aid demonstrating training for an experimental student production of Christopher Marlowe’s Dr Faustus from 2008. Attempting to re-stage moments of awkwardness and embarrassment the work seeks proximity and intimacy with the performers in the place of uneasiness or cringes.
Rene McBrearty: Rene McBrearty will perform the new work A lesson in theology. Her performances and installations typically investigate issues surrounding gender identity, power play, race and the idea of the artist as divine. A frustration at the inadequacy of language – words can be misunderstood and body language misconstrued.
Hi-Octane (1994) was a short-lived Comedy Central series created by So a Coppola and Nicoletta Munroe, hosted by Coppola, Zoe R. Cassavetes, Thurston Moore and staring a myriad of walk-on guests. The series was edited on Avid’s Open Media Framework (OMF) – the rst le format that allowed the sharing of video media les digitally.
S I M P S O N W A V E is an internet genre of videos, which began on Vine in October 2015. Less than a year later it was declared dead in a nal video post to Youtube by Lucien Hughes – a British university student who coined the genre. Collaged clips
of Simpsons footage are slowed-down, sped-up or looped, a purple lter added with digitally-made glitches that mimic analogue video and TV distortion.
Love Immersion (2016): is Susie Green & Simon Bayliss’s rst video. Inspired by a shared romantic sensibility and a love of ‘90s dance music, Green performs smooth and commanding vocals over Bayliss’ undulating Acid House basslines. The video ‘Love Immersion’ features the artists dancing in swimwear, together but alone, punctuated by clips of hands smacking bare backsides.
FRIEND, YOU STAND ON SACRED GROUND…
THIS IS A PRINTING OFFICE
Drop in at any time during one of our workshops – into an experimental digital print room within The Northern Charter project space & library.
In the spirit of a famous broadside by Beatrice Warde (1900-1969), celebrating the eloquence and power of the printed word: digital collages will be developed by Giles Bailey & CIRCA Projects with collaborators visiting the print room each day.
Visitors are welcome to spend time browsing research content, videos and a specially curated reading room. Then work with Giles Bailey & CIRCA Projects to re-imagine archival images, texts, and video as digital posters in Photoshop.
These visuals will be projected onto the sculptural stage-set made by artist
Eleanor Wright: an installation changing with the course of the daily workshops. These poster designs will then be printed and distributed around Newcastle in venues, cafes and bars – acting as footnotes for future artworks to be developed by Giles Bailey & CIRCA Projects for the North East.
WORLD IS SUDDEN: PART II
Giles Bailey: Since 2000 Giles Bailey participated in Leeds and Glasgow’s music scenes as part of the collective Nuts & Seeds and the bands Kill Yourself, Triple School, The One Ensemble Orchestra and Dananananakroyd. Bailey will perform a set of new songs with a sampler and vocals.
Susie Green & Simon Bayliss: Live performance by artist/musicians Susie Green & Simon Bayliss. Green leaks moments of intimacy, propositioning you. Her smooth and commanding vocals ow into undulating swells of 808 synth-bass played by Simon Bayliss.
Mia La Metta: Solo project by Kathy Gray (Beards) veers away from jagged post-punk taunts, instead Mia La Metta thrives off drum machines, keyboard and minimal guitar. Kathy’s vocals still make fun, “ah-haha” over layered harmonies.
Sarah Kenchington: Kenchington builds outlandish instruments at her home in the hills north of Glasgow. Made out of leftover pipes and mechanical scraps, refashioned and colour coded. Designed to be played by anyone, when played by Kenchington it is simultaneously a demonstration and invitation to the audience.
Dane Law: Danelaw is a historical name given to the part of England in which the laws of the Danes held sway and dominated those of the Anglo-Saxons. Danelaw contrasts West Saxon law and Mercian law. This is the music of Dane Law — a software patch and current alias of producer and engineer Adam Parkinson.
Head: With Head (1993), Cheryl Donegan ushered in a new era of brash, low-tech performance video. Here she confronts sex, fantasy, and voyeurism in an autoerotic work-out performed to pop music. In this image of sexual “pleasure” and fantasy, Donegan is both subject and object, directing the action and performing for the camera without acknowledging its presence.
Catcher Pressure Pusher
Stage and Set Design
Developed by artist Eleanor Wright as a mutable setting for the ongoing series of events programmed by Giles Bailey & CIRCA Projects, Catcher Pressure Pusher takes the choreographed space that we negotiate every single day as a starting point. Very much positioned within the larger programme of live events, the installation itself consists
of a number of over-sized and human-scale architectural sculptures. Assembled from theatrical rigging and cut pieces of felt, the work moderates the relationships within the space which, as such, dissolves distinctions between stage, set, performers and audience and is instead conceived as one shared space.
The sculptural choreography reacts to the particularities of each space within the programme and what the performers and viewers bring with them each night.
It is animated through the participation of people. Within this arena, the installation generates spaces and situations that allude to both theatrical and architectural sceneries while remaining essentially abstract. During the events the sculptures can be accessed and used by everyone in the room for example as a protective screen, a meeting point, an obstacle or a support structure, to name a few. Catcher Pressure Pusher distributes the attention across the room conjugating a variety of parallel aesthetic experiences rather than pointing towards a singular centre of attention.