11/10/2014 –  10/12/2014

Curated by Peter Lewis, Sharjah Art Foundation presents a selection of artists’ works from the online journal /seconds. (2004-2014), which covers a broad range of issues and art practices from different cultural perspectives. The project was initiated in 2004 and has invited over 1500 artists and writers to contribute over the years. The exhibition features key contributors from the ten year period, in tandem with Lewis’ curatorial projects. Works on display include installations, interactive performance, video, photography and several hundred commissioned posters. The opening will also include performances by French artist and singer Fabienne Audéoud, Al Fadhil’s audience participation of Baghdad Cafe, and a unique screening of Judith Cowan’s film, Angelica. Additionally the exhibition will present the premiere screening of Ah İstanbul by Graziella Rizkallah Toufic and Jalal Toufic.

Participating Artists:

Abdullah Al Saadi, Emily Allchurch, Conrad Atkinson, Fabienne Audéoud, George Bolster, Tony Chakar, Elizabeth Chadwick, Gordon Cheung, Ami Clarke, Stephen Clarke, Judith Cowan, Roger Cremers, Myriam Custers, Shezad Dawood, Sean Dower, Milena Dragicevic, Thomas Draschan, Alan Dunn, Paul Eachus, Laura Emsley, Al Fadhil, Nooshin Farhid, Anna Faushauer, David Ferry, Damian Flores Cortes, Peter Fillingham, Leo Fitzmaurice, Alison Gill, Margarita Gluzberg, Alex Hamilton, Margaret Harrison, Laura Hatry, Dan Hays, Taraneh Hemami, Aaron Hobson, Janet Hodgson, Mandy Lee Jandrell, Mohammed Kazem, Peter Kennard, Uta Kögelsberger, Karen Knorr, Colm Lally, Thaniel Lee, Liliane Lijn, Rut Blees Luxemburg, David Mabb, Ruth Maclennan, Melanie Manchot, Kito Mbiango, Makiko Nagaya, Adam Nankervis, Warren Neidich, Guillaume Paris, Nada Prlja, Annie Ratti, Cullinan Richards, Graziella Rizkallah Toufic, Giorgio Sadotti, Hilary Koob-Sassen, Edgar Schmitz, Hassan Sharif, Lisa Stansbie, Sergei Sviatchenko, Jalal Toufic, Rob Voerman, Jonathan Whitehall, Cindy Wright, Takayuki Yamamoto.

This exhibition also presents a special section composed of selected artists’ video and audio from issues 1-14 with works by:

Asa Anderson, Paul Allsopp, Martyn Blundell, Ben Brierley, Tim Brotherton, Edward Chell, James Chinnock, Rosie Cooper, Patrick Courtney, David Cunningham, James Early, Luciana Farinati, William Furlong, Mark Harris, Véronique Janin Devoldère, Ben Judd, Anne Keleher, Conor Kelly, Peter Lewis, Peter Lloyd Lewis, Katrin Lock, Karl Lydon, Elizabeth McAlpine, Monika Oechsler, Uriel Orlow, Mark Pickles, Adrian Shaw, Marie-Anne Souloumiac, Stuart Tait, Anders Weberg, Cecilia Wee, Robert William, Jo Wonder



30/05/2014 – 22/08/2014

As the region prepares for the grand départ of 2014’s tour de france, the great yorkshire llama invites you on an alternative journey through the county.

here in west yorkshire, we live among the ghosts and relics of a once-thriving textile industry, but for most of us it is only on visits to the likes of saltaire or armley industrial museum that we become conscious of them, and dimly aware of the immense presence they must have once had in peoples’ everyday lives.

combining woven tapestries from elizabeth chadwick’s electroknit studio loosely annotated with stories and stray fragments gathered by thomas theakston from the margins of the official histories, the great yorkshire llama stretches out across the region and down through the centuries, offering a different angle on the traditional image of our looming past.



The nine men presented in the series of knitted portraits are inventors whose innovative work intended the good of mankind. This creative technology has been subsequently destructive, exploited in ways that caused loss of life or impacted negatively on the environment. I wanted to reflect on the ‘hack’ of the knitting machine, how in changing something from its original purpose triggers negative and positive effects. These portraits signify a discrete ambivalence between original intention and interested applications or ‘use’. The legacy of the history of advanced technologies, is carried through machinic inventions. In the present, virtual information or data can be intercepted and re-purposed. The ‘electroknit’ installation interpolates data, superimposing the electronic and conceptual frameworks, to provide the freedom of technical information that can be liberated from its inherent political contradictions .

More pictures can be viewed on the electroknit facebook page

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