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NO:ID Gallery 31 Commercial Road, Fr-Sun 1pm-6pm past exhibitions - no:id gallery janmaat ' no:id ' 4th-14th June 2009 gera urkom ' denying matisse ' featuring sculptural installation piece ' L'escargot Noir ' Gera Urkom (renowned Belgrade-born Painter/Conceptualist) continues his on-going intellectual debate with the history of painting as the Primary forum for the explication of complex meaning in the Post-Modernist 21st Century. 18th - 21st june 2009 alexandra valy 'ONE / THREE' 25th - 28th june 2009 Drawing on the language of mythology, fairy tales, popular culture and everyday life, Alexandra Valy contrasts realistic and symbolic references in order to construct new meaning. http://www.alexandravaly.com/ Alexandra Valy Press pack (.zip) Gguðrún sigríður haraldsdóttir 'known not known' 2nd - 5th july 2009 Guðrún Sigríður Haraldsdóttir is a multidisciplinary artist and designer; born in Iceland and currently based in London. She creates scalable, multi sensual, site-specific, public and private art pieces, installations and designs; - either from client’s briefs or self generated. Primary concerns within Guðrún´s art work are memories and perceptions, spanning from the personal to the universal and examination of our various ways of coping and making sense of our existence. Her work often has an element of history or storytelling. The site specific installations often respond to the history of the site and explore the idea of what “site specific memories” might still linger in the air or be embedded in the fabric of the site. Where as the smaller pieces tend to examine the more personal memories, emotions and state of mind; - occasionally drawing on her own experiences, but more often concerned with the collective passing down of patterns of behaviour, traditions and folklore. In “known not known” at the NO:ID gallery Guðrún exhibits works created during a residency earlier this year, at Breiðdalssetur, a museum on the east coast of Iceland. This body of work is based on an album of early 20th century photographs found at a remote farm nearby and examines the idea of identification and reliability of information. What is identification and who is it for? – how and what do we read into information left to us by our ancestors? The images are digitally printed and embedded in a translucent skin like flakes. Some linger in the air as unclear, ambiguous memories of people from times long gone and others framed, focusing and examining the information left through the methods and materials of the period. http://www.inabundance.co.uk/ steve price "Democracy 2.0" ( screen prints ) July 9th-12th www.plan-bstudio.com www.designweak.com pauline hall ( 16th-19th July 2009 ) geraldine swayne ( 23th-26th July 2009 ) Geraldine Swayne Studied Fine Art in Newcastle upon Tyne. In the late 1990's she won a Northern Arts Travel Award, and moved to New Orleans USA and then on to Languedoc in France for a year, where she was represented by Stanislaw Demidjuk. On her return, she worked in London's growing digital film industry, making special effects for any number of commercials and movies and also directed music videos. In 1999 she made the world’s first experimental super-8 to Imax film about the East End of London, which has been shown in Imax cinemas throughout the world. In 2004 she returned to Fine-Art and exhibited work at numerous venues till in 2007 she was offered representation by L-13 gallery. She is also an experimental musician and currently a member of "...bender", "Bad Servant" legendary Krautrock group Faust". From 2005 to 2007 she assisited Jake and Dinos Chapman rebuilding “Hell” for White Cube Gallery. "Man has been making a fool of himself, proving what is obvious, puffing with pride as he repeats his proofs, and living on that alone!" - Rimbaud. "Sometimes I wake up and I don't know where I am." - Rambo. London based artist Geraldine Swayne is a painter of darkly seductive images that oscillate between real and metaphysical realms, between the imaginary and the deeply familiar. Her unique painterly world is peopled by a cast of strange, lost, and loved characters, present and absent. These are coaxed out of paint or ink in a highly charged manner, toying evocatively with materials and subjects without pandering to the illustrative, the obvious or the sentimental. Geraldine also currently works in collaboration with the legendary Krautrock band Faust, producing experimental music that ties in with her painterly practice such as the 'Fleet River Exorcism' recorded live at The Aquarium L-13 in 2008. She is also a member of ... Bender alongside James Johnston (Gallon Drunk/ex Bad Seeds/ and Husband) and photographer Steve Gullick.Geraldine Swayne displays a genuine interest for human life, for unsung stories that err between history and contemporary society. Her work discloses a dark and tragic penchant, that lies dormant under the surface of her sweet nature, but that render her paintings enticing and intriguing? steve rushton ( 30st-2nd July / August 2009 ) Steve Rushton press pack (.zip) http://steverushton.org.uk Kate Kotcheff (6th -9th August 2009) (Part of Time Out First Thursdays) TRACING IN TIME Continuing on themes concerning Architecture in East London, Kate Kotcheff's most recent work has focused on The Blitz; particularly the very last moment before destruction and what that would have looked like. Archival film footage was sourced from the Imperial War Museum. The films found were mostly shot by the Auxillary Fire Unit and the RAF in 1940/41 during the night raids by the Luftwaffe; who dropped incendiary bombs over London. Stills were taken from the screen which revealed flashes of light where bombs would go off in the sky and light up the screen for less than a second. As film runs at 24 frames a second, images that are normally hidden to the naked eye become visable again. The bombs became 'spectacular' images of light; incendiary bombs were transformed to look like fire flies and ground guns become industrial smoke stacks. The images have a quality all their own; with the blue tones emanating from the digital tv screen, and one is easily seduced by their aesthetics. But this is morally troubling since how could moments in war; just before many hundreds of people were killed - possibly be beautiful? Was this just another example of a part to play in Debord's media enslaved 'Society of the Spectacle'..? There is one image of a woman's face; who appears to work as a shelter warden looking up from some subterranean hideout, she is staring into the distance with a tear in her eye. Kate wondered what is was that fascinated her so about this image. It was something about the dreamy gaze; her expression-was it Kate herself? Was she looking on romantically at these beautiful lights that also destroy?- like the woman in the image? But Kate wants to wake the viewer up from all this dreaming ! ..To the reality of what these images actually represent. The slogan 'Dont Stare So Romantically!' is taken from Bertolt Brecht's theatre theory to take the viewer out of his dramatic reverie, he called it his 'distancing' or 'defamilarisation' technique. Contrasting images and texts are used to show the reality of some of the things that are going on at ground level, particularly in relation to the Blitz shelters. A more human look at the reality. NO:ID is a new space to present contemporary art and art-practices which both fall within and without the boundaries of accepted gallery/curatorial disciplines. NO:ID served as both an actual and virtual shop-window for artists and thinkers who in whatever media seek to question the limited assumptions of artistic platforms. NO:ID is a creative hub for practitioners from as varied and fragmentary a spectrum of the arts - both visual and time-based as we can give a collective umbrella to in one forum. If you have a proposal, you may use this form. Find a floor plan and wall plans here.