Our new office......

CONSEQUENCE(D)

DJ Gilles Prince/voodoo ray and Jump

mistakes and desperation

LANVINCONSEQUENCE

LANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVIN

Consequence stills

http://www.krisdyshindler.com/lowsalt/consequence.html

soon soon 16 November 2007

stillscomingsoon

for lowsalt, thank you to becky and krisdy

This is jet leg literature: sunshine heat wave words corrupted from and by the Republican military homo bathing beauties and Beecroft-like hygienic military precision and fitness avant-garde complexions in San Diego, South California, the fog bravado and gay/gold chronicles in San Francisco and the abandoned gamblers in Reno, Nevada peddling their luggage and hotel room furniture to afford return flights home: lots of incentives to re-evaluate this programme of work, lots of distractions, lots of thoughts and no conclusions. And no offence to any artist in this programme but we’d like to think it would work just as well in a porno house as a gallery: we sought out work that shimmered and perturbed body against brain, the physical against the intellectual, we watched videos, films and clips to manipulate and modify our thoughts seeking a selection that would re-educate our own approach to this work: for example Cruising with Al Pacino, Carrie with Sissy Spacek, I Spit on Your Grave with Camille Keaton, lots of movie with split screen techniques, brilliant scene fades and the image interstice and missing narrative timelines, film re-enactments and any artist who tore apart cinema like shredding identity theft fanatics, we read Godard, The Cinematic and Gilles Deleuze, listened to Kraftwerk and Happy Handbag House in mono on 78rpm until our hearts bled on a frequency of technological bewilderment. We would have liked to accompany this screening with a hot marine skinhead clad in Galliano underpants working out in the corner.

We are putting online a download file, a longer essay of which this is a sample, for more information: we decided not to create anything longer than 400 words for this paper programme: we watched a great deal of interesting work and responded, with a myriad of distractions and sensibilities with a selection of raw, dirty, sleazy, beautiful, agonising, repugnant, slapstick, unwatchable, violent, sensorial work, and a selection that would define its own consequences on our practice, later down the line when we have sought out the motivations and meanings within these artists work, that said we also created this programme for LowSalt: individual, tight, muscular, burning – perhaps we have our hot marine after all.


DIE YUPPIE SCUM text from Stephen Palmer's Colour Blind video

Cruising Carrie

Larry Rinder Carrie Harvey Milk Jump

Drawing

Drawing in the museum... Glasgow not as hot as San Diego...

Skull body builder The Consequence

Burning up in San Diego. Heading to the beach to feel Pacific.

Post Nevada

Milk 1, 2, 3

Three Years and Counting, installation shot

Photo: Anne Colvin, TART San Francisco

Alex Hetherington Vocoder

Some kind of unstructured modifications/Tart elastics

Three Years and Counting
September 14 - October 12, 2007
Tart, San Francisco
47 Lusk Alley
San Francisco
CA 94107


This show suggests a kind of psychological analytical theatre, a stage set full of poignant props (that quietly talk to each other, their own script, part improvisation, a devise for multiple conversations), a memory time machine flipping between the past and the future. It is, on one reading, a confrontation of the recent history of this gallery space and a springboard for future developments; it is taking stock and moving forward, a new blank page but with erased marks, traces of its past thoughts and ideas, discarded or rewritten or reassembled, rethought to understand the spatial and conceptual and rational dimensions of the gallery, the headspace, connections, impulses and thoughts it generates, the vision it offers, its motivation to present.

Three Years and Counting features a range of artist who have presented at the gallery in its short history, it is a fusion and distillation of its curatorial conclusions and processes, it is shaped by a kind of special interrogation at specific previous shows and hopes to offer up a challenge to their origination and their intent in order to move forward. It is, in short, a kind of internal critique by way of severe scrutiny and self-criticism in order to manifest its future as a gallery. It is a difficult show; it’s a difficult set-up full of tense humor, beautiful anger, flamboyant details, nervous affection but is strengthened by its process of self-deliberation. (It is a model and procedure other galleries might consider before switching themselves on to the next big things, the next fashionable rising stars.)

A number of film and video artists appear on a crown set monitor (as if to suggest the significance the gallery places on video): Graham Fagen, Duncan Campbell, Torsten Lauschmann among other screen work that ripple outwards, voices, songs and images that find root and corresponding values with the objects, drawings, paintings and media works situated around the space. Special mention to Oliver Farley’s performance document and drawings, violent and joyful, restrained and explosive at the same time; to Museum of Viral Memories’ cheap maquette of a silver submarine replete with rubbish handwriting and silly stickers; to Eric Doerenger’s Richard Prince painting, a controlled and respectful fakery; to Daryl Waller’s video animation that pierces the space with rhythmic projectile precision and to Meredyth Spark’s silver tape black and white rock and roll figurative ‘removal’.

There is the sensation of a celebratory mode in this show, which despite it being selections of past presentations, stands on its own merits as a sturdy collage of actions, complexities and experiences. There is also a simmering insistence to the work, from magnifications of near-invisible fleeting moments and surfacing thoughts to profound considerations on themes of war, abuse and death. It, in its convergence, has vibrant texture it’s like elastic: sharp, controlled, flexible, it pulls and stretches back towards the past, springing forward towards to an evocative future.

Milk

Gus van Sant to make film about SF supervisor Harvey Milk. Matt Damon to play Dan White and Sean Penn to play Milk. I would have cast Douglas Gordon as Milk and Sissy Spacek as White.

stack the meaning of this is this is this

House/Lights review Rosie Lesso, an Magazine, September 2007

http://interface.a-n.co.uk/reviews/single/371789

The Consequence artists

Female to male sports fanatic

The Consequence web site in progress nearly there...

graphic using ladies hankies and the blood of Dracula that proves our cultural irrelevance

But, new and what else

House/Lights

decorative#2

decorative

rick niebe

can rick niebe contact me through my web site www.alexhetherington.com

thank you

Consequence screening

We purchased the domain
www.consequencescreening.org

It will go live soon with a holding page

Please standby

Thank You

Thank you to the artists who have submitted work to the Consequence screening. More information soon.

Raeven Beach

Janie Nicoll's stills

jennifer beaton's stills

Mr.Viper.

Stills, House/Lights, 19th July 2007 ESW

stage