Alex Hetherington Janie Nicoll The Consequence

Our new office......

2007-11-21T02:20:00.000-08:00

CONSEQUENCE(D)

2007-11-18T02:56:00.001-08:00

DJ Gilles Prince/voodoo ray and Jump

2007-11-14T10:47:00.000-08:00

mistakes and desperation

2007-11-07T06:19:00.001-08:00

LANVINCONSEQUENCE

2007-11-06T14:07:00.000-08:00

LANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVINLANVIN

Consequence stills

2007-10-31T03:36:00.000-07:00

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

soon soon 16 November 2007

2007-10-26T10:15:00.000-07:00

stillscomingsoon

2007-10-22T11:00:00.000-07:00

for lowsalt, thank you to becky and krisdy

2007-10-18T17:12:00.000-07:00

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

2007-10-17T02:37:00.001-07:00

Larry Rinder Carrie Harvey Milk Jump

2007-10-07T09:07:00.001-07:00

Drawing

2007-10-04T09:29:00.001-07:00

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

Skull body builder The Consequence

2007-10-03T09:28:00.001-07:00

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

Post Nevada

2007-09-29T20:41:00.000-07:00

Milk 1, 2, 3

2007-09-26T12:50:00.001-07:00

Three Years and Counting, installation shot

2007-09-23T12:42:00.000-07:00

Photo: Anne Colvin, TART San Francisco

Alex Hetherington Vocoder

2007-09-22T10:50:00.000-07:00

Some kind of unstructured modifications/Tart elastics

2007-09-22T10:07:00.000-07:00

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

2007-09-12T15:17:00.000-07:00

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

2007-09-07T04:20:00.000-07:00

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

2007-09-04T13:50:00.000-07:00

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

The Consequence artists

2007-08-30T08:41:00.001-07:00

Female to male sports fanatic

2007-08-29T05:36:00.000-07:00

The Consequence web site in progress nearly there...

2007-08-15T14:40:00.000-07:00

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

2007-08-15T05:27:00.000-07:00

But, new and what else

2007-08-15T00:47:00.000-07:00

Black House/Lights

2007-08-12T10:02:00.001-07:00

Screening at File 2007

decorative#2

2007-08-11T14:58:00.000-07:00

decorative

2007-08-11T14:43:00.000-07:00

rick niebe

2007-08-03T08:40:00.000-07:00

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

thank you

Consequence screening

2007-08-02T06:45:00.001-07:00

We purchased the domain
www.consequencescreening.org

It will go live soon with a holding page

Please standby

Thank You

2007-07-30T08:04:00.000-07:00

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

Raeven Beach

2007-07-29T15:20:00.001-07:00

Janie Nicoll's stills

2007-07-20T13:10:00.000-07:00

jennifer beaton's stills

2007-07-20T11:18:00.001-07:00

Mr.Viper.

2007-07-20T03:51:00.000-07:00

Stills, House/Lights, 19th July 2007 ESW

2007-07-20T01:48:00.000-07:00

stage

2007-07-18T12:53:00.000-07:00

the re-enactment

2007-07-12T12:16:00.000-07:00

suggestions please for artists who have made re-enactments as part of their practice, post suggestions as comments. Thank You. Alex Hetherington

video consequence #1

2007-07-12T12:11:00.000-07:00

Janie and I would like to thank all the artists who have submitted works so far to the call for video; we are impressed with the quality and diversity of the projects, works and videos. When Janie returns from Scandinavia we will look though in closer detail the works for the screenings and the installation we plan. It has been an honor to have so many brilliant works in the selection and we hope we can do justice to the artists who have offered up such an intriguing range of video.

boughtthought

2007-07-12T12:10:00.001-07:00

invite

2007-07-10T07:33:00.001-07:00

19th July Edinburgh Sculpture Workshop

2007-07-09T05:25:00.000-07:00

catalog draft

2007-07-03T14:12:00.000-07:00

Zemos

2007-07-03T02:19:00.000-07:00

Tom of Finland House/Lights - video

Cyclops

2007-07-01T13:10:00.000-07:00

House Lights 1956

2007-07-01T09:03:00.000-07:00

house lights images

2007-06-30T15:02:00.001-07:00

House Lights Edinburgh Sculptue Workshop 19 July 2007

2007-06-28T12:40:00.000-07:00

at 7.45pm, please call to reserve a place, very limited engagement and audience number. Starring ALEX HETHERINGTON, JANIE NICOLL, FINN HOBSON AND LORNA SHIELDS

the devil what the devil what do i care if the devil is there

2007-06-27T01:05:00.001-07:00

house lights

2007-06-26T16:37:00.000-07:00

countdown to the performance; worked on the sound at Banana Row today.

Thanks to Finn Hobson and Janie Nicoll

Video Non Stop, La Isle, Rio

2007-06-19T01:05:00.001-07:00

thanks to Carlo Sansolo, La Isle

Black House Lights edited from The Consequence, 2007

Day For Night; Carrie Car Wreck/White NIght Riots Car Wreck

2007-06-18T13:00:00.000-07:00

Samson Crash Protest Bound To Fail

2007-06-18T02:11:00.000-07:00

Notes on Kill the CCA

Dan White/Carrie White

2007-06-17T16:40:00.000-07:00

Ferre

2007-06-17T15:37:00.000-07:00

Goodbye Ferre. Rest in Peace. So much beauty we will remember.

Ferre

2007-06-16T16:02:00.000-07:00

Get well soon Gianfranco Ferre!

Carrie Endless

2007-06-14T15:30:00.001-07:00

Janie Nicoll, Associates at the Embassy Gallery, Edinburgh

2007-06-14T14:48:00.000-07:00

Documentation of "Carpe Diem", wall painting, and "We Are All Prostitutes", installation of 500 hand cut and laminated digital prints.

Prom night/White Night Riots

2007-06-14T10:31:00.000-07:00

Catherine Sullivan review, Map Magazine

2007-06-13T06:53:00.000-07:00

LA-based video artist's show at CCA, Glasgow
Review online at MAP MAGAZINE
Alex Hetherington

Notes on a new film CARRIE HARVEY MILK

2007-06-12T15:27:00.001-07:00

Notes on a new film

2007-06-12T13:51:00.001-07:00

Late in 1978, Supervisor Dan White, an acrimonious political opponent of Milk's, resigned from the Board of Supervisors. His resignation meant that Moscone would choose White's successor, and thus could tip the Board's balance of power in Moscone's favor. Recognizing this, those who supported a more conservative agenda talked White into changing his mind. White requested that Moscone re-appoint him to his former seat.

Moscone originally indicated a willingess to do so, but more liberal city leaders, including Milk, lobbied him against the idea, and Moscone ultimately decided not to re-appoint White. On November 27, 1978, White went to San Francisco City Hall to meet with Moscone and make a final plea for re-appointment. When Moscone refused to yield, White shot Moscone to death, then went to Milk's office and also shot Milk to death.

White later turned himself in at the police station where he was formerly an officer. Even though he had carried a gun, 10 extra rounds, and crawled through a window to avoid metal detectors, White denied premeditation.

Thousands attended a spontaneous candlelight memorial vigil the night of Milk's funeral. Video of candlelight vigil, accompanied by a message Milk recorded preemptively "to be played only in the event of [his] death by assassination". Milk had foreseen his risk of assassination and had recorded several audio tapes to be played in that event. One of the tapes included his now-famous quote, "If a bullet should enter my brain, let that bullet destroy every closet door."

Carrie White is a shy young girl who doesn't make friends easily. After her class mates taunt her about her horrified reaction to her totally unexpected first period one of them takes pity on her and gets Tommy Ross, her boyfriend and class hunk to invite Carrie to the senior prom. Meanwhile another girl who has been banned from the prom for her continued aggressive behaviour is not as forgiving and plans a trick to embarrass Carrie in front of the whole school. What she doesn't realise is that Carrie is ... gifted, and you really don't want to get her angry. Written by Mark Thompson {mrt@oasis.icl.co.uk}

The story of Carrie White, a girl brought up, almost in isolation, by her psychotically religious mother Margaret. After an embarrassing incident in the showers causes her fellow pupils to tease Carrie ruthlessly, her teacher Miss Desjardin disciplines them severely. Determined to have revenge, the other students hatch a plot against Carrie, which turns horribly wrong when Carrie's strange mental powers are unleashed during the school prom. Written by Goth {brooks@odie.ee.wits.ac.za}

Carrie White is the outsider of her class. She's a mousy girl, all of her classmates hate her, and her mother is a religious fanatic who walks around in a black cape. After she unexpectedly has her first period, she is teased by the girls more ruthlessly than before. The gym teacher punishes the girls that were involved and one of them, Sue Snell, feels sorry for what she did and asks her boyfriend to take Carrie to the prom instead of her. But another girl that has been banned from the prom, Chris Hargenson, isn't so forgiving and hatches an evil plan with her boyfriend that involves Carrie and a bucket full of pig's blood. But what none of the students realize is that Carrie has the power of telekinesis, the power to move things with your mind, and that when you make her mad, she transforms from an innocent girl to a rage-filled monster. And this is gonna be a prom no one will ever forget

Samson, notes on destroying a gallery

2007-06-11T11:01:00.001-07:00

The centerpiece of the exhibition is one of Burden’s most important post-performance sculptures, the gallery-destroying apparatus Samson from 1985.

The artist describes Samson as simply “a museum installation consisting of a 100 ton jack connected to a gear box and a turnstile. The 100 ton jack pushes two large timbers against the bearing walls of the museum. Each visitor to the exhibition must pass through the turnstile in order to see the exhibition. Each input on the turnstile ever so slightly expands the jack, and ultimately, if enough people visit the exhibition, Samson could theoretically destroy the building. Like a glacier its powerful movement is imperceptible to the naked eye. This sculptural installation subverts the notion of the sanctity of the museum (the shed that houses art).”

In forcing the spectator to pass through the turnstile, Burden assigns them equal culpability in the destruction of the gallery space. The art lover becomes complicit in the destruction of the “temple” that holds the precious objects. This sinister joke, however, is actually embedded in a larger, multi-layered dialogue Burden has been engaged in from the very first performance, namely questioning the necessity of the art object and the role of the artist and the art viewer in contemporary society. The fact that Samson is clearly informed with the minimalist aesthetic that preoccupied Burden’s sculptural work as a student in the late 1960s, is not lost on the historian, nor is the preciousness of the velvet-lined vitrines that encase the relics. As fleeting as the performances were, the objects and documentation Burden gathered, organized and made available to us are thoughtfully preserved.

Call for video works

2007-06-08T01:51:00.000-07:00

http://www.visual-memory.co.uk/amk/doc/0105.html
Call for short video works Deadline 1 August 2007 A video screening selected by Janie Nicoll & Alex Hetherington

Short video works by international artists invited to submit
works dealing with split screens, the montage and the interstice
We are especially interested in video works that use these techniques to
explore gender, the body, violence, trauma, sexuality; and would be very
interested in work that uses found materials and extracts from recent cinema
We are looking for work that reveals the different pace between the body and
the brain and the double composition, between the physical and intellectual

Formats accepted: DVD Length: Maximum 5 minutes
Location, Glasgow, venue to be confirmed
Screenings in August
Send submissions with artists name, duration, country of origin, year
of production and a short statement/biog, contact information, SAE for return to:
The Consequence, Alex Hetherington, 2/1 250 Dumbarton Road,
Partick, Glasgow G11 6TU Great Britain
Information: email - alexander.hetherington@virgin.net

Carrie Sissy Spacek drawing

2007-06-07T08:27:00.001-07:00

Carrie Interstice split screen Carrie// Carrie noosphere

2007-06-07T03:23:00.000-07:00

Suggestions for split screen in cinema please?

Notes:
The Cinema of the Interstice: Jean-Luc Godard's Prénom Carmen and the Power of Montage

it will be defined ideally by a reversal where the image is unlinked and the cut begins to have an importance in itself. The cut, or interstice, between two series of images no longer forms part of either of the two series: it is the equivalent of an irrational cut, which determines the non commensurable relations between images. It is thus no longer a lacuna that the associated images would be assumed to cross; the images are certainly not abandoned to chance, but there are only re-linkages subject to the cut, instead of cuts subject to the linkage.
----------------------
In short, the three cerebral components are the point-cut, re-linkage and the black or white screen. If the cut no longer forms part of either of the two series of images which it determines, there are only relinkages on either side. And, if it grows larger, if it absorbs all the images, then it becomes the screen, as contact independent of distance, co-presence or application of black and white, of negative and positive, of place and obverse, of full and empty, of past and future, of brain and cosmos, of the inside and the outside. It is these three aspects, topological, of probabilistic and irrational. which constitute the new image of thought. Each is easily inferred from the others, and forms with the others a circulation: the noosphere.

house/lights

2007-06-06T02:06:00.000-07:00

With Finn Hobson and Lorna Shields, other contributors TBC. June 2007, date TBC.
Plus drawing for a sculpture
With Mr Viper.

Carrie Remake; proposal for Site Platform #3

2007-06-05T06:40:00.001-07:00

Sissy Spacek as Janie Nicoll as Carrie White as Susan Hiller;
trailer for a remake of Carrie

Team Casino; proposal for Site Platform #2

2007-06-05T05:19:00.000-07:00

Alex Hetherington as Nicolle Kidman as Michael Clark

Seance with hamburgers

Fur & trauma; proposal for Site Platform

2007-06-05T05:03:00.000-07:00

Janie Nicoll as Nicole Kidman as Diane Arbus

Leathermen & Chanel for KILL THE CCA

2007-06-05T00:58:00.001-07:00

KILL THE CCA

2007-06-04T13:27:00.001-07:00

JOIN THE CAMPAIGN TO KILL THE CCA
_______________________________
My anti Creative Lab residency at the CCA is
to close the CCA as a non-relevant art space.
Please email messages of support, texts, images
and idea to
alexander.hetherington@virgin.net
Together we can close this deception.
________________________________
________________________________

You are PSYCHO-DELIC... my friend.......

2007-06-03T14:44:00.001-07:00

Image to follow..............

No wonder

2007-06-03T03:06:00.000-07:00

The Consequence Documentation

2007-05-29T15:36:00.000-07:00

Here are some images from the exhibition. Thanks to everyone who came to the opening, the Artists' Talk, who came to see the exhibition, and to all those who helped to make the show - Sarah Smith, Karen Vaughan, Malcolm Dickson at Street Level, Andrea, David, Ben, William Love, Andy, Sam, Harry at Westend Cabinetmakers, Sally Johnston and Colin Barr, Bar Republic, Shona McIvor at Locofoco, The Vultures.. and anyone I have missed out or misspelled..( Alex help me out here) or whose material we have re-appropriated.... We love you all........!!!! Also thanks to all our influences....too many to mention..........work it out !!

Three ideas for Lowsalt proposals

2007-05-28T14:27:00.001-07:00

Sound engineer/artist required

2007-05-27T04:22:00.000-07:00

Glasgow or Edinburgh-based sound engineer or artist required for performance project in June 2007 at Edinburgh Sculpture Workshop.

______________

I am rehearsing for a performance project at ESW during June for a performance of texts from House/Lights. I require a sound engineer or sound artist to collaborate on the delivery of the work which will require live manipulation of my voice and a sound improv using default Apple Mac 'mistake' noises, as well as playback of a soundscape that corresponds to the text.

If you are interested in discussing this more, please email me at alexander dot hetherington AT virgin dot net

Sample of what I mean can be viewed on this blog - http://alexhetheringtontheconsequence.blogspot.com/2007/05/video-online.html

I would be very grateful for any advice and collaboration on the development of the work; tiny fee available!

Drawing for Ben

2007-05-26T06:50:00.000-07:00

Drawing to thank Ben for his generosity of spirit for invigilating the show.

Installation shot, Visions in the Nunnery, Bow Arts, The Nunnery, London

2007-05-25T04:16:00.000-07:00

La Isle Videononstop

2007-05-23T06:00:00.000-07:00

La Isle Video screenings
Laisle vídeo-nonstop will be at galeria novembro on the 2nd of june 2007, 8:00pm.
Alex Hetherington, Leonardo Galvão, Marcello Mercado, Antonella Kurzen, Érika Fraenkel, Keren Golan, Carlo Sansolo, Dirnei Prates, Akiko Nakamura, Rob Tyler, Andrés Senra, Thorstein Fleish, Fernando Alexim, Joacélio Batista, Marco Paulo Rolla, Sabine Gruffat, Augustin Gimel, Nelton pellenz , Mihai Grecu, Nomig, Gerben Kruk, Fernando de La Rocque e Kentaro Taki.

New Kraftwerk song

2007-05-21T12:29:00.000-07:00

nous avons tiré les baises pour faire l'argent
wir schossen die Bumsen, um Geld zu verdienen
お金をもうけるために私達は性交を撃った
tiramos a las cogidas para hacer el dinero
мы сняли fucks для того чтобы заработать деньг

Slogan for a t-shirt that smells of The Wooster Group

2007-05-21T12:20:00.000-07:00

Dream Moment Today: Les Ballets C de la B and Boards of Canada/it's fucking summer so let's party/

Betty Boop on Helium

2007-05-19T11:58:00.000-07:00

Betty Boop on Helium - review on A-N Unedited

Associates

2007-05-17T01:50:00.000-07:00

Edinburgh Embassy Gallery

Dead/End

2007-05-16T10:40:00.000-07:00

Dead/End
The Consequence, Janie Nicoll and Alex Hetherington
Intermedia, CCA, Glasgow May 2007

Five monitors greet the audience as they enter Glasgow-based Nicoll and soon to be San Francisco-based Hetherington's first collaborative installation, four monitors flicker out edits and sequences, dialogue and tones (Stein's 'chorus' from Doctor Faustus Lights the Lights?), while one is left dead, blank and left redundant on the floor. It's a tele-visual dead end motif and beckons the viewer towards the central themes that crash and collide through this deceptively simple but hypnotically complex show.

Though described as a collaborative process the show is a game of two halves where only suggestions of overlapping and cooperation are indicated, black and white, chalk and cheese, the artists aren't in conversation, they are in confrontation. The 'argument' is based round Hetherington's recital of Kate Valk's dialog from The Wooster Group's House/Lights. Here he speaks Valk's lines using a combination of in-camera techniques and electronic technology to distort his voice from Scottish to American, from masculine to feminine (this performance was filmed over an extended duration so that the texts were spoken slowly with a falsetto US accent so when played back at real-time speed the words and the voice would sound normal). This represents another coda dispersed throughout the show: masculine and feminine made fake and interchangeable and the real presented as counterfeit. The monitors playing in tandem screen scenes of an imagined remake of Fassbinder's Querelle, which is given a soundtrack of tones and songs, while the House/Lights monologue continues to delineate the context of this fake promos giving it a new feminized reading; this video responds, fights back, as embedded in the work is a description given by Kate Valk herself during a radio broadcast about House/Lights and The Wooster Group's work in general; she is simultaneously commenting here on her own performance and that of Hetherington's comic, queer, full-on pastiche. Hetherington's voice again in falsetto mode plays on the eponymously titled video The Consequence; here he employs extracts from lines from the film Olga's House of Shame, House/Lights companion to Gertrude Stein's Dr Faustus Lights the Lights. The lines imply criminality, House of Shame is after all a grindhouse feature film depicting a lesbian narcotics ring hiding out in upstate NY, in a place where jewel theft and S&M torture seem to go hand in hand; these texts are accompanied by gentler descriptions: "how do we give children something more permanent than snow?" he/she says. On-screen beside this are invocations of defunct disco and House music stars, film cinematographers, glamourous German actors, spiritual and feminist philosophers, the gay draftsman Tom of Finland and the soft spoken voice of radical New York theatre Spalding Gray. Hetherington wants the electronic chants and whispers to raise the 'dead' or 'past', remembering and elevating his influences and sources.

The sheer scale of references here is an embodiment of the tensions between known cultural spikes and obscure artistic endeavors, plotting a map that tends towards a literary and visual biography of Hetherington, it begins to 'imitate' a self portrait, all the while, in one video masquerading, as a portrait of Nicoll. The feminine and masculine in collision course.

'Mistaken' identities are reinforced by Apple computer default noises; a technique used in the original House/Lights and here used to remind the viewer of how much that is constructed to make men men and women women is the politics and vocabulary of control and social expectation. This was represented well at the opening: it would seem this pair of artists have a fan base of gay bikers and leathermen, dandy gentlemen and women, social outcasts and of course the expected rough stuff of art school openings and parties. It was redolent of a gay pride march in a hells angels bar inside Fosse's Cabaret.

There is an underlying thread of violence in the project: cars are smashed up, children and dogs are murdered, souls are sold to the devil for electric light, women are poisoned by vipers, riots result in running mobs attacking city hall, glamour is killed for cheap gold rings and bets are made on who will win and who will lose; the defeated sure to die or maybe 'Never Die' as Nicoll suggests. Among the rack and ruins comes glimmers of hope, or suggestions of hope within the torrent of abuse, parties gone wrong, street fights and drunken disasters.

Rings of fire are littered throughout the show: from the gold ring at 4000% on the floor, to Johnny Cash's iconic tome to gay leather men seen blowing cigar smoke rings in Sisyphean absurdity. Equally images of 'seeing' and 'eyes' punctuate the work: from googly eyes representing eyes which don't see and if they do it's all comedy to video camera 'eyes' seeing and recording passively to peacock 'eyes' the sign of the evil eye or masculine showmanship. These images killed of by the statement from Oscar Wilde, mouthed by Jeanne Moreau and sung by Hetherington that: "Each Man Kills The Thing He Loves."

Nicol 'sees' too, with an impassioned gaze at the invisible, she works with detritus of good nights out turned bad, bad boys making their marks in the world, punk rock hopes that never died, and social behaviours reasserted and reconsidered that turn everyone into prostitutes. Inside this though is a kind of street philosophy that goes beyond anti-social vandalism; she highlights more significant thoughts discarded though the streets but there to be observed. "Never Die" a drawing says, never die, achieve the impossible and live forever or as Hetherington would observe to do that you need to sell your soul and use every modern trick of video technology to keep your heart beating, your lungs working and your brain on.

Her deliverance of We Are All Prostitutes faces us with a dilemma of our core moralities, our identities and how these can turn and change with the wind; that the statement is covered in leaves reiterates this sentiment. That it is also graffiti splendidly underlines its cheapness, its readiness, its casualness while alluding to a more theoretical description of gender and cultural politics not readily found on the 'textbooks' of the street, it's a graphical statement about the correspondence between ideas and their replacement, thoughts and their transience. It also suggests that for good ideas we may need look no further than the street.

Nicoll screens a video piece in response to the devil in Hetherington's House/Lights (where Faustus sells his soul for electricity) her music plays backwards like the myth of 70s rock sending messages from the devil in reverse. The 'dead' theme also continues here with sounds from The Vultures picking over the remains of cultural deposits in green fields and forests where 'bad' things happen, her theatre space, again in response to Hetherington's RGB glamorous video stage, is a nighttime scenario where the forest hides anti-social antics, gangland marauding and suggested brutal or sexual encounters. Here her video flickers the Vertigo logo, the dizzy sleaze of human interactions, the "wild woods everywhere" not just the forest but the streets too.

The Dead/End of this show is an articulation of the devices - social, sexual, gendered, textual, cinematic or artistic - that in reality keep things as they are. The Consequence is an accusation of disquieting actions, of how processes become corrupt, of spiritual and lascivious motivations, of how fate and luck may play a hand in our lives (the giant lucky gold ring, the Tarot Readings), but eventually not everything you see or read or understand, can be trusted.

The dead TV, abandoned there in uncomfortable silence, 'sees' and 'says' it all.

Prudence Howell

Video online

2007-05-15T15:34:00.000-07:00

http://www.alexhetherington.com/consequence.html

Artists Talk

2007-05-15T12:37:00.000-07:00

Invite for artists talk Alex Hetherington and Janie Nicoll, other speaker(s) to be announced. FREE. Please come along. Glass of wine and beer in the installation, join us for a drink afterwards.

Drawing for Sarah Smith

2007-05-13T14:39:00.000-07:00

Collage for Sarah Smith to thank her for writing the catalog essay.

Thanks Sarah.

Its not the end, it's just a new beginning.....................

2007-05-12T04:51:00.000-07:00

Last Blog from Me

2007-05-11T16:12:00.002-07:00

no more.

I know you're talking but alll I can hear is blah, blah, blah

2007-05-10T23:53:00.000-07:00

Opening tonight. Strobes used in videos. Don't touch the work, very delicate.
CCA SIX, Glasgow, 7-9pm, no disco, good night and good bye.

The Consequence, Blow Your Mind

2007-05-08T01:09:00.000-07:00

Announcement, The Catalogue, Shaking Hands with the Devil

2007-05-08T01:05:00.000-07:00

Announcement
The catalogue for The Consequence available for download. 23mB download, 8 pages black and white, with a specially commissioned essay by Sarah Smith, lecturer at Glasgow School of Art. {with thanks to Sarah Smith, Shona Maciver and Falk Meier at design agency Locofoco for their all their support}

Announcement, Black Model Agency #2

2007-05-08T01:01:00.001-07:00

Announcement
The launch of Black Model Agency, # 2, May 2007. Alex Hetherington's Wooster Group fanzine available for download. A series of collages.

Dead Hells Angels

2007-05-07T15:29:00.000-07:00

Dead Hells Angels

Visions in the Nunnery, invite

2007-05-07T11:28:00.000-07:00

Bow Arts, The Nunnery, May 2007

2007-05-07T09:19:00.000-07:00

Video screening at Visions in the Nunnery, includes extract from The Consequence film work, reedited and retitled as Black House/Lights. It will also screen at La Isle, Rio de Janeiro, Brazil, curated by Carlo Sansolo.

Peacock with fetishist and top hat, let the madness continue

2007-05-06T01:43:00.000-07:00

Vertigo Tree mix goes Wonkey Donkey

2007-05-04T03:27:00.000-07:00

Into the vortex...................