Posts tagged: 2017

Artist: Liam Young

Title: Where the City Can’t See (Book)

Year: 2017

Medium: Printed Book

Dimensions:

Accession Number: 2017-03f

Artist: Kong Chun Hei

Title: Hand Practice

Year: 2017

Medium: Digital video

Dimensions: 48m 45s

Accession Number: US2017-05

Acquisition info:

Drawing is the starting point of Kong Chun Hei’s artwork and although he also utilises video, animation, sculpture and installation, all relate back to the processes of drawing. In Hand Practice the artist presents the hand exercises that he uses when preparing to create his careful and detailed drawing works. The exercises look deceptively simple, but become difficult over long periods of time, highlighting the physical strength and mental capacity required for his drawing practice. Kong is most well-known for his work in pen and black ink that capture the surfaces of ordinary objects, often mimicking different material textures. Kong has suggested that “His work has no great meaning,… his aim is just learning how to see in an age when the only thing certain is uncertainty.”

Kong created this work while he was Artist in Residence at Centre for Chinese Contemporary Art (CFCCA), Manchester; the work was then displayed as part of group exhibition co curated by Lindsay Taylor (UoS), Ying Tan (CFCCA) and Ying Kwok (Independent curator, Hong Kong) From Ocean to Horizon (July – October 2017).

Kong Chun Hei graduated from the Fine Arts Department of The Chinese University of Hong Kong in 2009. Exhibitions have included: PRESENCE: A Window into Chinese Contemporary Art, St. George’s Hall, Liverpool (2018); Synthesis, New Adelphi Exhibition Gallery, University of Salford, Salford, UK (2017); Stay away from those rocks, Gallery EXIT, 3/F, 25 Hing Wo St, Aberdeen, Scotland, UK (2017); Kong Chun Hei: Back unsay shades can go, ASIAN NOW, Paris, France (2016); Back And Forth // Left And Right, Artissima 2014, Torino, Italy (2014).

Artist’s website: http://www.kongchunhei.com/

Artist: Mishka Henner

Title: Selfie

Year: 2017

Medium: Reflective dye sublimation print on aluminium

Dimensions: 215 x 337 mm

Accession Number:

Acquisition info: Purchased in 2021 to celebrate the launch of Energy House 2, University of Salford.

Henner’s practice ‘navigates through digital terrain to focus on key subjects of cultural and geo-political interest – often reflecting on cultural and industrial infrastructures.

To make Selfie, the artist zoomed all the way out from their studio address in Manchester on Google Earth – and then zoomed out even further.  Using an intentionally reflective surface, the viewer finds their own image superimposed on the small earth – especially when taking a photo or selfie.  The artist comments: “With your reflection in the picture, this is you, the world, and everything you’ve ever known”.

Selfie was acquired to mark the launch of Energy House 2.0, a world-leading new facility on campus. It is display alongside other works chosen from the Art Collection, which all consider how we use technology to understand the world around us.  The University Collection also includes two earlier works by Henner, Wasson Oil and Gas Field, Yoakum County, Texas (2013-14) and Cedar Point Oil Field, Harris County, Texas (2013-14)

Part of our About the Digital collection strand.

About the artist:  Born in Belgium in 1976, Henner now lives and works in Greater Manchester. He exhibits nationally and internationally, and has work held in public and private collections.

Artist: Luke Ching

Title: Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017

Year: 2017

Medium: Pinhole photographs

Dimensions:

Accession Number: US2017-02a

Acquisition info:

Much of Luke Ching’s photographic artwork explores the processes of urbanisation, charting the changing face of the cities in which he has worked. In January 2017, Ching undertook a 10-day residency in Liverpool, transforming a hotel room in the Titanic Hotel (a 200 year old former warehouse), Stanley Dock, into a camera obscura, or pin-hole camera. In the darkened space of room 118, Ching placed a grid of A3 light sensitive paper on the wall, opposite a tiny hole, through which the outside world was captured over a long exposure time. This work touches on the processes of time and the temporary nature of our urban fabric and social interactions. Building a temporary, giant camera within the transient space of a hotel room, Ching’s work prompts a consideration of the durability of places and environments, and an acknowledgement, that although change may be slow, or fast, it does indeed happen. 

Luke Ching completed a BA Fine Art at The Chinese University of Hong Kong in 1998 alongside a Master of Fine Art, The Chinese University of Hong Kong.  Recent exhibitions include: Taking the Leap, PHOTOFAIR Shanghai, China (2019); PRESENCE: A Window into Chinese Contemporary Art, Liverpool, UK (2018); Culture Shifts Global; LOOK/17: Liverpool International Photography Festival, Liverpool (2017); Connect 4 , Simon Lee Gallery, Hong Kong (2016); For now we see through a window, dimly,  Gallery Exit, Hong Kong, (2016). 

 An interview: The Double Negative with Luke Ching:

http://www.thedoublenegative.co.uk/2017/02/playing-with-time-luke-chings-giant-pinhole-cameras-for-look17/ 

Poems by Charlotte Robson in response to Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017.

A co-commission for LOOK/17 Liverpool International Photography Festival at Culture Shifts: Global, Open Eye Gallery, April – June 2017.

Artist: Luke Ching

Title: Wall: Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017

Year: 2017

Medium: Pinhole photographs

Dimensions:

Accession Number: US2017-02b

Acquisition info:

Much of Luke Ching’s photographic artwork explores the processes of urbanisation, charting the changing face of the cities in which he has worked. In January 2017, Ching undertook a 10-day residency in Liverpool, transforming a hotel room in the Titanic Hotel (a 200 year old former warehouse), Stanley Dock, into a camera obscura, or pin-hole camera. In the darkened space of room 118, Ching placed a grid of A3 light sensitive paper on the wall, opposite a tiny hole, through which the outside world was captured over a long exposure time. This work touches on the processes of time and the temporary nature of our urban fabric and social interactions. Building a temporary, giant camera within the transient space of a hotel room, Ching’s work prompts a consideration of the durability of places and environments, and an acknowledgement, that although change may be slow, or fast, it does indeed happen. 

Luke Ching completed a BA Fine Art at The Chinese University of Hong Kong in 1998 alongside a Master of Fine Art, The Chinese University of Hong Kong.  Recent exhibitions include: Taking the Leap, PHOTOFAIR Shanghai, China (2019); PRESENCE: A Window into Chinese Contemporary Art, Liverpool, UK (2018); Culture Shifts Global; LOOK/17: Liverpool International Photography Festival, Liverpool (2017); Connect 4 , Simon Lee Gallery, Hong Kong (2016); For now we see through a window, dimly,  Gallery Exit, Hong Kong, (2016). 

 An interview: The Double Negative with Luke Ching:

http://www.thedoublenegative.co.uk/2017/02/playing-with-time-luke-chings-giant-pinhole-cameras-for-look17/ 

Poems by Charlotte Robson in response to Window (Day 2): Room 118, Titanic Hotel, Stanley Dock, Regent Road, Liverpool, 2017.

A co-commission for LOOK/17 Liverpool International Photography Festival at Culture Shifts: Global, Open Eye Gallery, April – June 2017.

Artist: Mandy Payne (bb. 1964)

Title: In Limbo

Year: 2017

Medium: Spray paint, oil paint, tape, archival matt varnish on concrete.

Dimensions: H: 30cm W: 30cm

Accession Number: US2018-01

Acquisition info: In Limbo was commissioned by Mark Devereux Projects and the University of Salford Art Collection for the StudioBook Commission to Collect award 2017.

Keywords: Architecture, Salford, City, Concrete, Painting

Artist: Nick Crowe and Ian Rawlinson

Title: Song for Armageddon

Year: 2017

Medium: Digital video

Duration: 50:23

Accession Number: US2018-08

Acquisition info: Song for Armageddon was produced by Forma and premiered at BALTIC, Gateshead, UK in September 2017. The film was created by Nick Crowe and Ian Rawlinson in collaboration with Ophir Ilzetzki in 2016–17; cinematography by Martin Testar. Commissioned by Forma and University of Salford Art Collection, in association with BALTIC Centre for Contemporary Art. Supported by Arts Council England.

Keywords: Video, Landscape, Music

Artist: Shezad Dawood (b. 1974)

Title: Leviathan Cycle, Episode 1: Ben

Year: 2017

Medium: Single Channel HD Video, Colour, Stereo 5.1, 16:9

Duration: 12’52”

Accession Number: 2017-09

Acquisition info: Commissioned by University of Salford Art Collection and Leviathan – Human and Marine Ecology, with support from The Contemporary Art Society