FormContent

Three by 3

Samuel Dowd, Vicky Falconer, Mark Geffriaud

12 December 2009—7 February 2010

Dear Vicky, Sam and Mark

We hope that this letter finds you well and in good spirits. On our part, we are really looking forward to working with the three of you on the next exhibition at FormContent. In the time remaining before the opening, we are keen to continue our discussion with each of you and, at the same time, on attempting to better comprehend each other’s practice.

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With this project, FormContent would like to tackle an essential element in the development of its own programme: the conditions for the production of new experimental works by artists in different moments of their career. Even though we selected each of you through different conceptual paths, we would like to further establish certain conditions for collaboration, since we feel you three share a similar sensitivity. Moreover, the fact that there will be three of you in the space mirrors the dialogical focus that is at the heart of FormContent’s practice: a constant discussion between three curators. For this project we have multiplied the influences: three by 3, three curators and three artists.

The reason to collaborate with each one of you has a slightly different focus, and it is precisely in these small differences that the interest of the project arises.

Vicky, we were struck and fascinated by the layered quality of your work. We have been discussing between us and with you its formal coherency that draws as source material on a number of inspirations such as architecture, literature or Modernism. The study of and interest in these subjects is then distilled and finds new formations in installation that explore different potentialities: how a window constitutes a boundary between inside and outside, how it sheds light, how a studio is affected by it and how many different materials’ configurations contribute to create new compositions. We are very curious to see how you will balance at FormContent the outputs of your research - both playful and abstract - in a very tight dialogue between space, objects and materials.

Sam, after many discussions we became intrigued by your thorough research into the Arts and Crafts movement - the Bauhaus, visionary architecture etc. Being at the moment in Berlin for a residency, your research seems to evolve in a slightly different direction and as such our exhibition comes at the right time. The work you are pursuing consists of drawings and models of sets, props and costumes based on a film by Frederick Kiesler that was never realized. The unfinished material that is your starting point gives you the possibility to engage with the specific moment in-between initial concept and final outcome. We are curious to see how this fictional collaboration finds its materialization and how you see this intermediate space negotiated.

It was not just due to a common formal sensitivity that we arrived at your work Mark. If it is indeed true that the three of you share a certain attraction for lightness, instability and incompleteness in both the materials you use and the final result you obtain, then your personal research has the value of an empiric experiment always in need of the right conditions to happen. So we wanted to set up these conditions at FormContent, allowing you to work towards a new piece in a free and experimental environment, yet keeping in mind the proximity with Sam and Vicky’s practices. In your work you seem to apply a subjective take onto rational decision-making, allowing (or even provoking) accidents and arbitrary choices to create inadvertent but yet valuable knowledge. In this sense, the possibility to spend some time at FormContent to test new ideas seems the perfect method of creating a new gesture, a new attempt to point at the feeble breath of knowledge.

Taking all of this into consideration, we are also planning for January 23rd a day devoted to the exploration of different strands of your individual practices through a dialogue with other artists, curators and thinkers that, on the one hand, could have something interesting to say about your research, and on the other will bring their own experience of similar issues around different conditions for the production of new works.

We look forward to seeing you soon at FormContent and beginning to work together

Sincerely

Francesco, Caterina and Pieternel

FormContent


January 23rd from 4 to 6 p.m.
A day of activation with invited guests

Vicky Falconer invites Lisa Marei Schmidt for an exchange of ideas
The artist and the curator will read out to each other passages from different sources they have been collecting and exchanging. Lisa Marei Schmidt is a German curator who graduated in 2009 from the MA Curating  Contemporary Art at the Royal College of Art, London. She has worked as an assistant curator at the Museum Folkwang in Essen and is currently working at K20K21 Kunstsammlung NRW in Düsseldorf.

Mark Geffriaud invites Elodie Royer and Yoann Gourmel to present Slidomacy
An off sinc spoken and performed preface to slidomancy and other contemporary art practices coming to the conclusion that will eventually have happened. Dedicated to the nostalgic memory of Hollis Frampton.
Elodie Royer and Yoann Gourmel are writers and independent curators based in Paris. They both work at gb agency.

Samuel Dowd presents, with invited writers, Aphrodite’s Left Turn
A reading of a film-script inspired by an unrealised scenario from Frederick Kiesler.
“To my astonishment he told me he [Kiesler] had composed a choreography and structured a film. Long after his death I found both, as working projects, in his archives. There were scripts and many drawings for both. The choreography was entitled “Ballet Massacre d?art”; the film “Aphrodite?s Left Turn”, For the film he had carefully worked out shot-by-shot drawings, sound descriptions, etc., and he had selected the cast.” (Lilian Kiesler)

writers and readers:
Rebecca Bligh: The Young Man (Edwin Denby)
Ben Cain: Aphrodite (Elisa Landi)
NaoKo TakaHashi: The Cat (‘sing-sing’ the cat)
Isabel Waidner: The Choir Boy (John Latouche)
Musical accompaniment: Natsue Ikeda

 

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FormContent: , Invitation

Invitation

FormContent: , Installation view

Installation view

FormContent: , Installation view

Installation view

FormContent: , Vicky Falconer, Side-lines, Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

Vicky Falconer, Side-lines, Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

FormContent: , Vicky Falconer, Side-lines (detail), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

Vicky Falconer, Side-lines (detail), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

FormContent: , Vicky Falconer, Side-lines (detail), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

Vicky Falconer, Side-lines (detail), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

FormContent: , Vicky Falconer, Side-lines (still from video), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

Vicky Falconer, Side-lines (still from video), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

FormContent: , Vicky Falconer, Side-lines (still from video), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

Vicky Falconer, Side-lines (still from video), Single chanel projection; metal table; c-type print; wood, glass and formica frame installation. Courtesy: the artist

FormContent: , Vicky Falconer, Slight tilt towards… facing, Wood, glass and Formica frame (left) and Untitled, Plywood, Formica, glass (right)

Vicky Falconer, Slight tilt towards… facing, Wood, glass and Formica frame (left) and Untitled, Plywood, Formica, glass (right)

FormContent: , Sam Dowd, Objects in-between, The primitives (mask and collage), Steel, collage, wooden shelf. Courtesy: the artist

Sam Dowd, Objects in-between, The primitives (mask and collage), Steel, collage, wooden shelf. Courtesy: the artist

FormContent: , Sam Dowd, Objects in-between, The primitives (mask and collage), Steel, collage, wooden shelf. Courtesy: the artist

Sam Dowd, Objects in-between, The primitives (mask and collage), Steel, collage, wooden shelf. Courtesy: the artist

FormContent: , Sam Dowd, Objects in-between, Model for an endless scenario, Brass, plywood. Courtesy: the artist

Sam Dowd, Objects in-between, Model for an endless scenario, Brass, plywood. Courtesy: the artist

FormContent: , Sam Dowd, Objects in-between, Model for an endless scenario, Brass, plywood. Courtesy: the artist

Sam Dowd, Objects in-between, Model for an endless scenario, Brass, plywood. Courtesy: the artist

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

Mark Geffriaud, ‘Good Heavens,’ he said to himself. ‘What trouble a man can get into if he takes a walk in a wood after the Queen’s bitch  and the King’s horse have passed by! How dangerous it is to sit at a window, and how difficult to be happy in this life’. Discussion. Courtesy: the artist and GB Agency (Paris)

FormContent: , Vicky Falconer in conversation with curator Lisa Marei Schmidt

Vicky Falconer in conversation with curator Lisa Marei Schmidt

FormContent: , Vicky Falconer in conversation with curator Lisa Marei Schmidt

Vicky Falconer in conversation with curator Lisa Marei Schmidt

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Mark Geffriaud during Elodie Royer and Yoann Gourmel ‘Slidomacy’

Mark Geffriaud during Elodie Royer and Yoann Gourmel ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

Elodie Royer, Yoann Gourmel and Mark Geffriaud present ‘Slidomacy’

FormContent: , Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

FormContent: , Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

FormContent: , Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

Samuel Dowd presents, with invited writers, ‘Aphrodite’s Left Turn’

Supported by

Arts Council England
Institut Francais