Video work from 5 artists installed in the windows of local businesses;
A fringe event for Light Up Lancaster
02 – 03/11/2018
Hannah Catherine Jones
Ayesha Tan Jones
Arteria, 23 Brock Street, Lancaster, LA1 1UR
Journey Social, 59 King Street, Lancaster, LA1 1RE
SWAG, 25 King Street, Lancaster, LA1 1JN
Waterstone’s, 2-8 King Street, Lancaster, LA1 1JN
Who is Saddette Delacroix?, Indrani Ashe (2018)
Indrani Ashe is an American visual artist working with performance and installation whose practice has spanned 10 years and 3 continents. She has exhibited her work in New York, London, Berlin and Jakarta. A graduate of the prestigious Goldsmiths MFA program, Indrani also spent 5 years in self-directed study ‘decolonizing’ her aesthetic in Indonesia, presenting several solo exhibitions and collaborative works there. She creates mythologies around her identity as a survival method and as a vehicle which transports her body into the future; often fingering the interstices between digital and physical realms of existence. Based in Berlin since 2015 she has exhibited bodies of work at Galerie Futura, tête, Spektrum, and Ex-Girlfriend Gallery and most recently exhibited her solo show My Godess Gave Birth to a Goddess at SOMA art space.
“My Goddess Gave Birth to a Goddess
I am fighting two wars.
Women of color are fighting a war of representation that reaches into the past and projects itself into the future. A war over who is visible and who authors what is seen. Women like Matahari took our clothing, our jewelry, and our cultural products, selling them as their own until we became alienated by our own image. Now the world is populated by our absence, and the twisted versions created by these wannabes. Our bodies are being bought and sold all the time, but we still don’t make any money. Like vampires we suffer from being unable to see ourselves in the mirror.
I created Sadette Delacroix to fight the war for me. My inner goddess gave birth to a psychedelic time traveling goddess who seeks to infiltrate the system; to create, distribute, and profit. A brown girl imitating a white girl, imitating a brown girl. I can’t culturally appropriate myself, I’m TAKING IT BACK. Because I listened to my auntie when she told me we didn’t wear blouses under our saris before the British infected us with repression and made the temple dancers into prostitutes. That body is mine, to make, recreate, and multiply.
Artists are fighting a war, with people who want art to exist purely as an elite commodity, alienated both from meaning and a public. They want it to be a dead object, a token of speculation. People need beauty for meaning making, not just industrial consumption. And when we have unearthed all the sexism and bigotry from the world’s religions, will we have anything left… Will we still have space to be spiritual, worship beauty, and connect to each other? Could art be that space? So come to the goddess, buy her icons, perform her rituals. Live in beauty; be connected, blessed.”
Blend In, Jayoon Choi (2012)
Jayoon Choi is a London based artist. Her practices challenge the boundary between traditional drawing and experimental moving image to approach the audience in multifaceted ways. She turns various psychological states into a form of experience, and questions what forms a self.
Jayoon obtained MA Information Experience Design at the Royal College of Art and BA Illustration & Animation at Camberwell College of Art. She is a sessional lecturer at University of the Creative Arts and and an associate lecturer at Worcester University. Her work has been presented internationally, including International Maker Festival, Xi-an China (2016); In Search of the Perfect Sound at the Science Museum, London (2014); the Inaugural Artlacuna Film Festival, London (2013) and a solo exhibition at Jealous Gallery, London (2011)
Are you a woman? a man? non-binary? Eastern? Western? White? Black? Yellow? Brown? or… simply the Other?
‘What are you?’
‘What am I?’
Owed to Bussa, Hannah Catherine Jones (2016 – ongoing)
Hannah Catherine Jones (aka Foxy Moron) is a London-based artist, scholar, multi-instrumentalist, radio presenter (BBC Radio 3 – Late Junction, NTS – The Opera Show), composer, conductor and founder of the Peckham Chamber Orchestra – a community project estabilshed in 2013.
Jones’ broad practice is connected by a central spine of inclusivity and “decolonization”. The ongoing body of work The Oweds are a temporal form of (self)-reparation, a method of connection with ancestry though sonic ritual using combinations of voice, theremin, stringed instruments and visuals, sometimes orchestrated, predominantly improvised.
Jones is currently an AHRC DPhil scholar at Oxford University exploring the relationship between Afrofuturism and Gesamtkunstwerk through the art-music of Sun Ra and Wagner.
Jones has performed and lectured internationally, including at Oxford University, Trinity LABAN, Royal College of Art, Kingston, Sussex, Teesside, LCC, ECA, Liverpool Biennial (UK), NYU, Harvard (US), Umuzi (SA), Liquid Architecture (AUS), and has exhibited widely including at Serralves Museum of Contemporary Art (Porto) Wagner Museum (Bayreuth), Beirut Arts Centre, Modern Art Oxford, Tate Modern, Serpentine, 198 Gallery, Gasworks, Guest Projects, Vitrine, IMT, Almanac and Whitechapel galleries (London).
Owed to Bussa is an audio-visual ritual to honour Bussa, the enslaved leader of the 1816 rebellion in Barbados. Owed to Bussa depicts a search for diasporic identity online through contemporary and historic appropriated imagery. In live iterations, Jones produces the sound-track live using theremin, loop pedals and voice alongside the video. Jones has re-edited the film twice to include relevant current and ancient socio-political imagery and will likely re-edit the film in the near future.
These Boots Are Made For Walkin’, Eden Mitsenmacher (collaboration with Rebecca Tritschler, 2017)
Eden Mitsenmacher was born in 1987 in the USA, and lives and works in Rotterdam.
Combining performance, video and installation to take a critical yet engaging view of social, political and cultural issues. Embracing the desire to do what you love and occasionally getting embarrassed by it. Finding a form for vulnerability and blurring the lines between sincerity and ambiguity. Using pop culture as a frame of reference for social and personal critique but also as a way to create familiarity and accessibility. Sharing and connecting experiences between an I and a You.
Personal experiences such as love, loneliness and longing are taken at face value but are immediately turned into points of systematic general inquiry. The banal becomes serious, and vice versa. Presenting hyper-worlds, built from cultural stereotypes and clichés, then pushed to the brink of emotional overload. Kitsch is a conscious strategy in my research and practice. My inspirations often come from the observation in daily life and especially the firsthand experiences. As one of the many individuals who are experiencing the confusion and struggles in the current macro environment I am interested in the doubts, curiosity and cognition for the potential new value orientations and its unpredictable future possibilities.
Indigo Zoom, Ayesha Tan Jones (2017)
Ayesha Tan Jones’ work is a spiritual practice that seeks to fuse activism and art to present an alternative, queer, optimistic dystopia. They work through ritual, meditating through craft, and building forms from their dreams. Ayesha approaches activism through art, creating diverse, eco-conscious narratives that aim to connect, enthral and induce audiences to think more sustainably and ethnically. Traversing pop music, sculpture, alter-egos, digital image and video work, Ayesha sanctifies these mediums as tool’s in their craft.
Ayesha is the founder of Shadow Sistxrs Fight Club, a physical and meta-physical self defence class for women, non binary people and QTIPoC, combining Brazilian JuJitsu and magical/medicinal herbalism to create a holistic approach to self defence. Through community ritual and collective healing, the energy created at SSFC is powerful and creative .
Ayesha graduated from Central Saint Martins College in 2016, and was awarded the Yorkshire Sculpture Park’s graduate residency award, giving them space and materials to research and make work on the grounds. This culminated with a show in March 2017. Recent shows include: ‘Wonders Wander’ screening at the ICA.London (2018); ‘Alembic II’ at Res. London (2018); ‘Beacons’ commission at Caustic Coastal, Manchester (2018); and the solo ‘Indigo Zoom’ at LimboLimbo, London (2017).