Made in Goldsmiths will be hosting a two-week residency with the Dharma Collective, an inquisitive collaboration between artists Matthew Welch and Laurence Alan Price. The collective will be primarily investigating notions of production as understood within a contemporary context.

The term contemporary is inexplicably indefinable as is the state of the present with its parameters in continuous motion, comparable to the mechanisms of the Internet, an integral constituent to the contemporary. With the mediation of the Internet alongside the plethoric character of modernism, the Dharma Collective aims to place a magnifying glass on top of their practice and reveal to an audience their understanding of production and process. The work will take the form of an installation, with its structural basis in the centre of the gallery, an island, a laboratory and an artist’s studio – all in one – that may give out the impression of a time machine. It will jump backwards and forwards in time, in a manner similar to that of a click of a mouse, accumulating information and physical mass, spreading into the different rooms of the gallery.

Intellectual discourse around modernism is imperative for the Dharma Collective, an appraisal and nostalgia for a time, which no longer functions. A time in history when utopian thinking still existed and assisted in opening up new vistas of thought, whether it was in literature, architecture or art. To clarify, modernity as praxis is irrelevant and not a question the residency aims to answer, what is of interest is to commentate on the contemporary, a time according to Boris Groys, constituted by doubt, hesitation and uncertainty. Thus modernism becomes the perfect accomplice for an active investigation into modes of production, history, the Internet, space, time and fiction.

The Dharma Collective takes its name from the television series Lost, about a group of survivors on an island after a freak plane crash. The Island in Lost is a complex non-place; it has unusual magnetic activities and unpredictable anomalies. Its transcendental qualities has blurred states of reception and succeeded in creating many myths and interpretations around its mysterious narrative. Conclusively one may say that the mediation of the Internet in the work takes on a similar quality to that of the Island in Lost and makes one wonder the legitimacy of any information that we receive in abundance on a daily basis.

Made In Goldsmiths wishes to invite the viewers during the period of installation, commencing Tuesday 15th March, to join the Dharma Collective and engage with the process of installation as it accumulates into the gallery. People are welcomed to meet and work alongside the artists, in an attempt to promote visibility of the work in all its stages – naked as well as when realised.


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X Presents… Made in Goldsmiths

Private View 1st March, 19:00 – 21:00
Open for 2nd – 11th March,
Excluding weekends, 10:00 – 17:00

‘What is it to Receive? A discussion with the artists (ex-students) concerning the works in the show and their contingent relationship with Goldsmiths’ – Talk chaired by Helen Kaplinsky, 1st March, 18:00-19:00.


When a group of art graduates is offered the opportunity to return back to the institutional space they had left, holding a certificate to prove their enhanced potentiality as artists and a promise of future success within the cultural field, it only seems appropriate to do so by centering suspicions and enquiries about learning spaces on Goldsmiths itself.

As difficult as it may seem to actually calculate the amount of art graduates that this establishment has welcomed and then released upon an international network of diverse practices, the opportunity to investigate it as a mechanism of validation for acquired expertise in a time of socio-economic instability appears critical in examining its status of credibility.

By being able to occupy this platform as a space of collaboration and through the initiation of dialogues around educational concerns, the labeling of an institution as a mere “manufacturing machine” can be expanded into a wider context of enquiries concerning its mode of function.

What is to be “Made in Goldsmiths”,
to produce work in the name of Goldsmiths
and then present yourself again within its vicinity?

Alex Ressel – Andreas Pashias – Cara Nahaul – Claire Robers – Emily Ballard – Emily Whitebread – Kat Mammone – Natalie Marr – Sally Hogarth – Sarah Walters


X Presents… is an artist-led non profit organisation based in the UK, our initiatives are based on the values of collectivism and self-organisation. X Presents… aims to unite artists whose collaborative realisation of artistic and educational projects support creative sector graduates. We are guided by new conditions of learning and discourse outside the art school and established institutions, looking to create new platforms and support networks to voice our frustrations and desires.


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An Evening of performances|25th of Jan. @ Made in Goldsmtihs Gallery

Martin Creed – playing solo

Nine Owls in a Baguette

Rory Buckley

Leslie Deere

25th January 2011

6.30 -10.00pm

This event intends to re-examine our default understanding of genre boundaries, by bringing together a group of artists who perform with sound and music.

Each act will perform after the other. Some performances will take place within a designated area, whilst others will move freely through the gallery. The presence of props independent from the performances preclude or highlight the ensuing activity of the event, and influence our expectations and reflections. With an emphasis on process over result, the artists play on immediacy and their own live role within the work.

The instinctive and immediate reaction generated by sound differs to the primarily contemplative mode of experiencing visual work. The live performances in this show turn an otherwise sonic experience into a spectacle, and the event begins to work as a paradigm of the now accepted ambiguity of genre and medium margins.

Within the context of the Goldsmiths student union, where one would usually expect music and events rather than an art show, it seems relevant to consider how our experience of this show would differ if it were to take place on the stage upstairs opposite the student bar. Here, the context, audience and format of the event influence our understanding of scenario and the stage.

Relationships between object and sound, movement and perspective are exposed in Glass Bottles, by Leslie Deere. Deere interacts with a staged installation to create a performance where the sculptural objects hide other functions. In this one off work, the objects become instruments and offer a visual aesthetic to sound.

Rory Buckley follows Deere’s performance with his piece Archimede-Movement.8. Playing on the stereotype of a traditional musician, Archimede-Movement.8 experiments with sound, performance and gesture through an absurdist humour and pathos.

Nine Owls in a Baguette work as a collective, choosing to incorporate specific themes tailored to the context in which they perform. Utilising a variety of objects to create sound, in British Mammals and Amphibians Nine Owls embrace humour. The ethos of experimentation and spontaneity result in an amalgamation of genres.

Martin Creed draws on the absurdity and humour of his other works by combining words, music and a visual dimension. The process of making the work, in this instance, is literally put on stage, overtly emphasising the method over the result. The work becomes a theatrical event combined with a staging of social exchange and shared collective experience. With reference to Creed’s other works, music and sound become just another medium – a fittingly open-ended platform that does not need to be classified.

Anne Duffau and Matilda Strang will be interviewing Rory Buckley, Leslie Deere and Nine Owls in a Baguette on Resonance FM (104.4 FM), Friday 21st January 2011, 8.00 – 9.00pm.

Link to hear the radio show:

Made in Goldsmiths, Goldsmiths College, Students’ Union, New Cross, London, SE14 6NW


About the artists:

Rory Buckley lives and works in London and works in a wide range of medium including sculpture, sound, collage and film.  He has recently graduated with a BA in Sound Arts and Design at London College of Communication. Recent exhibitions include part of the ‘Ether Festival’ in the Royal Festival Hall, London, 2010.

Martin Creed lives and works in London. Between 1986 and 1990 he studied at the Slade School of Fine Art. In 2001, he won the Turner Prize. Since then, Creed has participated in numerous group exhibitions and has had several solo exhibitions and projects throughout the world.

Leslie Deere is a London based artist from Tennessee who works with a variety of media.  She has a BA Honours degree in Sonic Art and obtained an MA last year from the Royal College of Art. Leslie has exhibited internationally and has a permanently installed piece in Geneva at the Forever Institut. Most recently she was commissioned to create a new sound piece for Kew Gardens, Spring 2011.

Nine Owls in a Baguette are an artists/musicians collective that come about in 2008. Its main members are David Cranmer and Patrick Furness, both based in London. They have performed collaboratively for various events, notably for the Ether Festival at the Royal Festival Hall, London, 2010, the Sonic Arts Expo, Brighton, 2008, and at the London Festival of Architecture, Trinity Buoy Wharf, London, 2008.

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November Screenings & Talks

WHAT IS IT TO RECEIVE? Or… a bit about Betweenness Centrality

NIS, A Tergo, videostill, 2009

Date: Tue Nov 16, 2010 18:30-19:30

Participants: Craig Cooper and Matthew Stock
Hosted by:  Snejana Krasteva

Made in Goldsmiths Gallery
Goldsmiths College, Students’ Union

This is the first of the series of November Screenings & Talks at the MIG (Made in Goldsmiths) Gallery. Hosted by a different curator each time, the series aims at discerning a variety of approaches to a broad question provoked by the educational context in which the gallery operates: What is it to receive? The invited artists are asked to use the format of video or film to start a conversation on how they understand this question and how issues around it have been formative in their art practice. Although initially inspired by the intrinsic situation of Made in Goldsmiths gallery, the series aims at going beyond these confines and negotiate an expansive set of cultural references.

Artists Craig Cooper and Matthew Stock will kick-off the series with thoughts on New Collaborative Practices. By way of avoiding the question of receiving as a singular process, they suggest “looking at the number of opportunities one has to receive and the situation of having a great density of obligations and rewards from this.”  Although both artists have individual practices, they will focus on their geographically dispersed collaborations with the New International School (NIS) & Madame Wang, and share their observations on other examples of mobile coalitions of artists. By proposing the term Betweenness Centrality, used mostly in graph theory and network analysis, they offer a different way of appreciating the role of each member in the ever changing traffic on the paths between them. The talk with start with two recent videos made with NIS: A Tergo (2009) and A May Night, Or The Drowned Woman (2010).

Made in Goldsmiths (Gallery)
Goldsmiths College, Students’ Union,
Dixon road, New Cross, London, SE14 6NW

Opening Hours: Wednesday – Friday, 2.00 – 6.00 & by appointment

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Cute Guyz Society Launch

6 October, 7.30PM – Cute Guyz Society Launch, Made in Goldsmiths Gallery presented by
Look Both Ways: Isaac Munoz and Miguel Pacheco
Cute Guyz Society aims to promote male cuteness at Goldsmiths and in a broader context, by creating a platform for the contemplation, discussion and creative action in this field of humanized aesthetics.
We seek to gather people who share an interest in understanding what defines a cute guy and how we can make this category more visible in our everyday life.
Although Beauty is no democracy, everyone is welcome in Cute Guyz Society, so please join and feel free to gift us with your contribution.
Made in Goldsmiths Gallery, Goldsmiths College, Students’ Union, New Cross, London, SE14 6NW

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The Man who Tasted Shapes

The Man who Tasted Shapes
6 October – 5 November, 2010
Private View: 6 October, 2010 6.00 – 9.00pm
Alicja Rogalska+ Martin Clarke, Look Both Ways, Jasiek Mischke,
Liliana Sanchez, Nicole Bachmann

6 October, 7.30PM – Cute Guyz Society Launch, Made in Goldsmiths Gallery
21 October, 6.30PM – Current, Installation by Alicja Roglaska + Martin Clarke,
College Green, Goldsmiths College (weather permitting)
28 October, 6.30PM – Performative Tour led by Nicole Bachmann,
Richard Hoggart Building, Goldsmiths College
Beginning in October, Made in Goldsmiths Gallery, will be directed by the Goldsmiths, MFA Curating, Part 2, for the 2010-2011 academic year. The programming will establish a communal atmosphere, defined by dialogue, confrontation, and negotiation. Rotating exhibitions and events will involve intelligible activity with formal practices. Diagnosing key artistic processes situates the exhibition space in a comparable forward thinking position. The Made in Goldsmiths Gallery is conceived as more of a platform/pretext than a space.
For the first exhibition, The Man who Tasted Shapes, curators Anca Rujoiu, Colleen Grennan, and Manuela Schulmpf, utilize this mission as framework and re-imagine the body of the gallery as less individuated and closer proximity to an immersive, unified environment. The context of the exhibition confront the public with the physical characteristics and limitations of the space by including artists works that stimulate sensory and perceptual encounters and have an immediate impact. Works are not meant to segregate one specific sense (ie; sight, hearing, touch etc), rather generate an integral and non-hierarchical network of perception. Weekly events are scheduled to transgress the physical boundaries of the gallery and show works outside the space itself creating a waffling friction between inside/outside.The rupture of the gallery’s borders corresponds to a synaesthetic experience which negates the walls between senses and implies an overlapping of sensory areas.
Synaesthesia is the neurological condition of transformative senses (hearing colours, tasting shapes), and has proven an eminently suggestive field for artists prodding the interface between sense and materials, self and the world. The collaborative workings of Alicja Rogalska and Martin Clarke are a direct experimentation of synaesthesia. Rogalska and Clarke trigger displacing sensory awareness with a performative installation that disjunctions source and sound. Jasiek Mischke’s video piece promotes changing and fractured internal experiences, manipulating the rise and fall of the human-centerdness. Nicole Bachmann will conduct a performative tour of the historical Richard Hoggart building on Goldsmiths campus, an architectural structure that often misguides wandering visitors throughout the corridors. Bachmann parallels the halls of the building to the common betrayals of language. Originating with specialized Japanese Green Tea to a video installation of a sludging pond to the production of miniature gestures, Liliana Sanchez formalizes the transmission of sensory immersion. Look Both Ways, comprised of Isaac Muñoz and Miguel Pacheco, addresses the consciousness of male aesthetics and challenges the structure of campus life with aggrandized strategies.
The night of the private view will include a performance by Look Both Ways launching the official Cute Guyz Society, along with open recruitment.
Made in Goldsmiths Gallery, Goldsmiths College, Students’  Union, New Cross, London, SE14 6NW
Opening Hours: Wednesday – Friday, 2.00 – 6.00 & by appointment  Contact:
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