Through its exhibition and event programme and online editorial, South Kiosk explores the way in which rapid technological evolution is changing the way artists. create, exhibit, distribute and archive work.
Whilst being at the forefront of exploring new media, artists also increasingly find themselves as guardians of threatened technologies, defining their future through continued use and reinterpretation. By engaging with the work of practicing artists, South Kiosk investigates this process of technological advancement and the preservation of that which is left behind.
Having previously held events at both cultural institutions and artist-run spaces, South Kiosk opened the doors to its new, permanent gallery space in Flatiron Yard, Southwark on March 19th. Its first exhibition, entitled ‘Fix’, invited four artists to investigate notions of time and land by exploring alternative approaches to the photographic process. The show will be open until the 3rd of May.
On the 14th of May, South Kiosk will be opening “Chronovisor : Archive” it’s second show, bringing together video, print and sculptural works by six artists as a means to suggest an archive made up of problematic evidence.
‘Chronovisor : ARCHIVE’
The Chronovisor was a viewing machine whose eye could travel through time, displaying images and footage of different moments throughout history. It was allegedly created in the 1960s by the Venitian Roman Catholic priest Father Pellegrino Ernetti who worked alongside twelve supposedly world famous scientists. Ernetti described how, crowded around their invention, the group watched speeches by Mussolini and Napoleon, scenes from ancient Rome, even the last days of Christ. However, Father Ernetti slipped away from the public eye, when it was suggested that their photo of Christ on the cross was a reversed image of a postcard from the Santuario dell’Amore Misericordioso. He neither confirmed, nor denied the existence of the machine. Somewhere in the Vatican, could exist an archive of results and research material that might offer clues to the existence and/or mechanics of the Chronovisor.
Having previously attempted to construct an interpretation of the Chronovisior in collaboration with nine artists, South Kiosk intend to return to the thematic of the Chronovisor as a means to explore notions of time and artifice through the suggestion of an archive made up of problematic evidence, obfuscating historical context.
Using a device which is capable, according to it’s creator, to show the life-force or aura of it’s subject, Mirko Smerdel photographs the detail of a publication detailing and describing the Gamma 60 electronic computer, a device that was operating at the same time as Ernetti’s Chronovisor.
Rowena Harris’ sculptural piece, ‘Haul’ is a series of concrete blocks with handprints embedded into the material, suggesting the trace of an imperceptible action. Blurred experiences are also present in Johan Arens’ ‘Manual’, which uses imagery that recalls Google street view, intercepted with a gesture that subverts its functionality. The gesture is somewhat absurd, as is the one-sided conversation that can be observed in Patrick Hough’s “Object Interviews”. Despite the absurdity inherent in interviewing inanimate objects, Hough’s work creates a genuine dialogue, questioning our relationship with historical artifacts and time itself. Notions of time reoccur throughout the show. Whilst Cathy Haynes’ practice explores methods for mapping time, Vertiy Birt incorporates different film stocks and archive footage into her moving image work, creating the sensation of time-travel anchored by repeated gestures and familiar objects.