!["ah nostalgia...." Jacqueline Utley - Tim Greaves](https://www.premioceleste.it/indi/_pics/9/8/invitation_3986_2005.jpg ""ah nostalgia...." Jacqueline Utley - Tim Greaves")
Exhibitions, Italy, Bari, Terlizzi, 07 June 2014
AH NOSTALGIA…
Jacqueline Utley
Tim Greaves
Opening, June 13 2014. start 8.30 pm
June 14 – July 20, Galleria Omphalos - July 28 – August 30, LALDspace (by appointment only)
Like a little disaster and Omphalos are glad to present “AH NOSTALGIA…”, a new project curated by Giuseppe Pinto that will involve, national preview, a set of works by two young English artists: Jacqueline Utley and Tim Greaves.
The word nostalgia born in 1688, was coined by Johannes Hofer, a nineteen Alsatian who appropriates “nostalgically” of two Greek words: nòstos (homecoming) and àlgos (pain) to describe a disease considered to be also mortal. It hits Swiss soldiers dismissed by their mountain landscapes and sent to garrisons where they felt “in grief for the impossibility to homecoming”.
Coined in the medical environment the word immediately broke and beyond the narrow limits of the "exact science", to trespass in the territories of abstraction. The longing does not want return to a space, but to a time, when there was an open field for the possibilities; the “recall” entails the comparison-collision with the concept of irreparable and irreversible, with the sense of limit.
In the switch from treatable pathology to incurable mood, from "disease of province" to existential condition, the prospective of nostalgia moves towards more and more evanescent and unresolved fields. We can find: “Nostalgia for the Infinte” (Carducci), for a city never seen before (Baudelaire), for things never existed” (Pessoa), or – as in an oxymoron – Nostalgia for the future” (Musil), as well as an “anticipated” nostalgia, towards a time that we wouldn’t pass or loose” (Proust).
The contemporary Ulysses goes beyond the Pillars of Hercules and enters the Ocean without border: “who leaves home has already came back” (Borges). This is a one-way trip towards the future, not only towards the past.
The “nostalgic attitude” brings together the works of two artists but with aims and outcomes really different. Utley presents little conceptual paints in which the irony and pictorical skill to quote and allude to past times or far away “worlds”. The paintings appear dusty and oil colors seem barely stand on the canvas, as if also the time - in the fiction of representation - has left his sign. “Cronos” doesn’t appear, the works in themselves are nothing more than an image of time.
Emerges a particular pathos, which consists in recognizing in things and objects a cours of time felt as individual, then present this objects with pathetic pleasure: an attitude that comes from the awareness of a historical discontinuity.
Jacqueline Utley’s small jewel - flowers, birds, little compositions of common and minimal objects and some human figure - are invaded by a conceptual reflection on cultural and visual stereotypes, they are an odd mixture of references, languages and styles ranging from tachist painting of 50s to Giorgio Morandi's still lifes, from the flowers by Henri Fantin Latour - in small version - to popular culture, all wrapped in a lyricism that smacks of mockery, of wistful falling back.
Small dimensions draw the viewer into the examination of the fiction of painting, the gaze must to go beyond the initial ornamental sense to reach the trace of colors, the stains and the blurs of the unreal. By painting the not real masquerading as authentic, Utley is metaphorical revealing the artifice of painting itself.
Tim Greaves work is a visual response to the current global condition dominated by frenetic nomadism on one hand, and by the desire of autenticity and beonging on the other. This reflects his current private condition: a Londoner artist in Berlin, the city that in recent decades has welcomed babelic cultural waves accompanied by a sense of endless mutation in which it is impossible to imagine any assumption of permanence. His works contains many historical references to the past through use of materials, processes, images and ideas. In recent works references are from the context of the English bourgeois society; its spaces, its decoration and its ornaments that employ an aesthetic rooted in the nostalgic desire.
The notion of nostalgia is examined critically: it's sense of longing for permanence in the past, its balance between sentimentality and reverence and how like tradition, it is marketed and re-marketed for commerce or status.
The connection with the past, with the history, that becomes a paradigm of belonging, is especially evident in craft processes of his work and in the materials used and in his longing for a work that requires a long time. The handicraft is opposed to the reproducibility through a continuous oscillation in which he alternating current and obsolete technologies.
The historical references of the works come from his cultural past, from England of 19th century , with particular emphasis from the Victorian era. Quotes and appropriation from the visual culture of that time, from the works of William Morris and Art and Crafts. As in the case of the series in the exhibition "Two Pattern the Same", in which two Morris floral motifs were overlapping, intertwined, sedimented - like memory - in a new aesthetic solution, through acetone manual print processes and pencil drawing.
In revisiting the ideas of Morris, of Art and Craft, as well as those of Pre-Raphaelites in the contemporary context Greaves is interested in their heritage in the public consciousness; looking back, refer to the past are acts that already attempt to create a sense of belonging and permanence in the present.
In this sense Greaves is also interested in the modalities of resurfacing of history and of visual history, on its reproduction over the time and how the contemporary subjectivity perceives and rethink this in the present.
BIO
Jacqueline Utley
2013 Suppose An Eyes touring exhibition/project , Apha Nova Kulturewerkstatt und Galerie Futura, Berlin, De, Transition Gallery, London UK and Vane Gallery, Newcastle UK - This Me of Mine, curated by Jane Boyer, Ipswich Art School Gallery UK- “A smile spreading, like a secret...”, Harts Lane Studio, London - Fleeting Resonance, St Paul’s house Project space, London UK- GHost club, B& B Project space Folkestone Fringe Triennial, Kent - 2011, Creekside Open selected by Dexter Dalwood, APT Gallery, London UK - 2010, Stardust Boogie Woogie, Version 4, Monika Bobinska, London UK - Prognostic Bridewell, APT Gallery, APT Bursary Exhbition, London UK - Fringemk, Mk Gallery, Myllton Keynes, UK - Creekside Open, Selected by Mark Wallinger, APT Gallery, London, UK.
MA Drawing, Camberwell College of Art. BA (Hons) Fine Art Painting, Chelsea School of Art.
Tim Greaves
SELECTED SOLO EXHIBITIONS; 2014, Fantasia, Praterstrasse 48, Berlin, DE - 2011, Jalousien, Praterstrasse 48, Berlin, DE– 2009, This Twilight Could be Right, Kotti-shop, Berlin, DE - SELECTED GROUP EXHIBITIONS; 2013, Suppose and Eyes, Alpha Nova Kulturewerkstatt und Galerie Futura, Berlin, DE – 2012, Zu Hause. LoBe, Berlin, DE - Detail, Ohne Titel. Hobrechtstrasse 26, Berlin, DE - Omnia Mea Mecum Porto, Kotti-shop, Berlin, DE – 2011, My Own Private Leitkultur, Parkhaus Projects, Berlin, DE - This is what happens with that kind of thing Historischen Gewölbekeller, Spandau, DE- From the nipple never satisfied, Nadania Idriss Contemporary, Berlin, DE - The Knot (A-maze-ing), Parcul Carol I, Bucharest, Romania - Reduxdelux, Parkhaus Projects, Berlin DE - The Knot (A-maze-ing), Marianneplatz, Berlin, DE - 2008 Enter the Diarama, Extrapool, Nijmegen, Netherlands - Oxford Open, Modern Art Oxford, Oxford, UK – 2006, Then + Then, Shoreditch Town Hall, Caretakers Lodge, London, UK.
Post Graduate Diploma Fine Art, Chelsea College of Art, London, UK. BA Fine Art, University of Newcastle, Newcastle upon Tyne, UK.
OMPHALOS
Via Toselli 21, Terlizzi, Ba, ITA
+39 080 3512203 - +39 3397313644
cinziacagnetta@gmail.com
LIKE A LITTLE DISASTER
Via Garibaldi 7, Torre Santa Susanna, Br, ITA
+39 3335282796
info@likealittledisaster.com
www.likealittledisaster.com
Jacqueline Utley
Tim Greaves
Opening, June 13 2014. start 8.30 pm
June 14 – July 20, Galleria Omphalos - July 28 – August 30, LALDspace (by appointment only)
Like a little disaster and Omphalos are glad to present “AH NOSTALGIA…”, a new project curated by Giuseppe Pinto that will involve, national preview, a set of works by two young English artists: Jacqueline Utley and Tim Greaves.
The word nostalgia born in 1688, was coined by Johannes Hofer, a nineteen Alsatian who appropriates “nostalgically” of two Greek words: nòstos (homecoming) and àlgos (pain) to describe a disease considered to be also mortal. It hits Swiss soldiers dismissed by their mountain landscapes and sent to garrisons where they felt “in grief for the impossibility to homecoming”.
Coined in the medical environment the word immediately broke and beyond the narrow limits of the "exact science", to trespass in the territories of abstraction. The longing does not want return to a space, but to a time, when there was an open field for the possibilities; the “recall” entails the comparison-collision with the concept of irreparable and irreversible, with the sense of limit.
In the switch from treatable pathology to incurable mood, from "disease of province" to existential condition, the prospective of nostalgia moves towards more and more evanescent and unresolved fields. We can find: “Nostalgia for the Infinte” (Carducci), for a city never seen before (Baudelaire), for things never existed” (Pessoa), or – as in an oxymoron – Nostalgia for the future” (Musil), as well as an “anticipated” nostalgia, towards a time that we wouldn’t pass or loose” (Proust).
The contemporary Ulysses goes beyond the Pillars of Hercules and enters the Ocean without border: “who leaves home has already came back” (Borges). This is a one-way trip towards the future, not only towards the past.
The “nostalgic attitude” brings together the works of two artists but with aims and outcomes really different. Utley presents little conceptual paints in which the irony and pictorical skill to quote and allude to past times or far away “worlds”. The paintings appear dusty and oil colors seem barely stand on the canvas, as if also the time - in the fiction of representation - has left his sign. “Cronos” doesn’t appear, the works in themselves are nothing more than an image of time.
Emerges a particular pathos, which consists in recognizing in things and objects a cours of time felt as individual, then present this objects with pathetic pleasure: an attitude that comes from the awareness of a historical discontinuity.
Jacqueline Utley’s small jewel - flowers, birds, little compositions of common and minimal objects and some human figure - are invaded by a conceptual reflection on cultural and visual stereotypes, they are an odd mixture of references, languages and styles ranging from tachist painting of 50s to Giorgio Morandi's still lifes, from the flowers by Henri Fantin Latour - in small version - to popular culture, all wrapped in a lyricism that smacks of mockery, of wistful falling back.
Small dimensions draw the viewer into the examination of the fiction of painting, the gaze must to go beyond the initial ornamental sense to reach the trace of colors, the stains and the blurs of the unreal. By painting the not real masquerading as authentic, Utley is metaphorical revealing the artifice of painting itself.
Tim Greaves work is a visual response to the current global condition dominated by frenetic nomadism on one hand, and by the desire of autenticity and beonging on the other. This reflects his current private condition: a Londoner artist in Berlin, the city that in recent decades has welcomed babelic cultural waves accompanied by a sense of endless mutation in which it is impossible to imagine any assumption of permanence. His works contains many historical references to the past through use of materials, processes, images and ideas. In recent works references are from the context of the English bourgeois society; its spaces, its decoration and its ornaments that employ an aesthetic rooted in the nostalgic desire.
The notion of nostalgia is examined critically: it's sense of longing for permanence in the past, its balance between sentimentality and reverence and how like tradition, it is marketed and re-marketed for commerce or status.
The connection with the past, with the history, that becomes a paradigm of belonging, is especially evident in craft processes of his work and in the materials used and in his longing for a work that requires a long time. The handicraft is opposed to the reproducibility through a continuous oscillation in which he alternating current and obsolete technologies.
The historical references of the works come from his cultural past, from England of 19th century , with particular emphasis from the Victorian era. Quotes and appropriation from the visual culture of that time, from the works of William Morris and Art and Crafts. As in the case of the series in the exhibition "Two Pattern the Same", in which two Morris floral motifs were overlapping, intertwined, sedimented - like memory - in a new aesthetic solution, through acetone manual print processes and pencil drawing.
In revisiting the ideas of Morris, of Art and Craft, as well as those of Pre-Raphaelites in the contemporary context Greaves is interested in their heritage in the public consciousness; looking back, refer to the past are acts that already attempt to create a sense of belonging and permanence in the present.
In this sense Greaves is also interested in the modalities of resurfacing of history and of visual history, on its reproduction over the time and how the contemporary subjectivity perceives and rethink this in the present.
BIO
Jacqueline Utley
2013 Suppose An Eyes touring exhibition/project , Apha Nova Kulturewerkstatt und Galerie Futura, Berlin, De, Transition Gallery, London UK and Vane Gallery, Newcastle UK - This Me of Mine, curated by Jane Boyer, Ipswich Art School Gallery UK- “A smile spreading, like a secret...”, Harts Lane Studio, London - Fleeting Resonance, St Paul’s house Project space, London UK- GHost club, B& B Project space Folkestone Fringe Triennial, Kent - 2011, Creekside Open selected by Dexter Dalwood, APT Gallery, London UK - 2010, Stardust Boogie Woogie, Version 4, Monika Bobinska, London UK - Prognostic Bridewell, APT Gallery, APT Bursary Exhbition, London UK - Fringemk, Mk Gallery, Myllton Keynes, UK - Creekside Open, Selected by Mark Wallinger, APT Gallery, London, UK.
MA Drawing, Camberwell College of Art. BA (Hons) Fine Art Painting, Chelsea School of Art.
Tim Greaves
SELECTED SOLO EXHIBITIONS; 2014, Fantasia, Praterstrasse 48, Berlin, DE - 2011, Jalousien, Praterstrasse 48, Berlin, DE– 2009, This Twilight Could be Right, Kotti-shop, Berlin, DE - SELECTED GROUP EXHIBITIONS; 2013, Suppose and Eyes, Alpha Nova Kulturewerkstatt und Galerie Futura, Berlin, DE – 2012, Zu Hause. LoBe, Berlin, DE - Detail, Ohne Titel. Hobrechtstrasse 26, Berlin, DE - Omnia Mea Mecum Porto, Kotti-shop, Berlin, DE – 2011, My Own Private Leitkultur, Parkhaus Projects, Berlin, DE - This is what happens with that kind of thing Historischen Gewölbekeller, Spandau, DE- From the nipple never satisfied, Nadania Idriss Contemporary, Berlin, DE - The Knot (A-maze-ing), Parcul Carol I, Bucharest, Romania - Reduxdelux, Parkhaus Projects, Berlin DE - The Knot (A-maze-ing), Marianneplatz, Berlin, DE - 2008 Enter the Diarama, Extrapool, Nijmegen, Netherlands - Oxford Open, Modern Art Oxford, Oxford, UK – 2006, Then + Then, Shoreditch Town Hall, Caretakers Lodge, London, UK.
Post Graduate Diploma Fine Art, Chelsea College of Art, London, UK. BA Fine Art, University of Newcastle, Newcastle upon Tyne, UK.
OMPHALOS
Via Toselli 21, Terlizzi, Ba, ITA
+39 080 3512203 - +39 3397313644
cinziacagnetta@gmail.com
LIKE A LITTLE DISASTER
Via Garibaldi 7, Torre Santa Susanna, Br, ITA
+39 3335282796
info@likealittledisaster.com
www.likealittledisaster.com
!["ah nostalgia...." Jacqueline Utley - Tim Greaves](https://www.premioceleste.it/indi/_pics/9/1/invitation_29104_41265.jpg ""ah nostalgia...." Jacqueline Utley - Tim Greaves")
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