22 November - 21 December 2014
The 'Instance' exhibition took place at 101 Reykjavik Icelandic Kaffibar, between 22nd November and 21st December 2014.
‘INSTANCE’ featured work by Kristina Collender, Stella Asia Consonni, Anastasios Gaitanos, Johnny Horgan, Christopher Lanaway, Georgie Mason, Joseph Mayers, Robert Nemtanu, Dainius Sciuka, Russell Squires, Jennifer Welton and Luisa Whitton. It was the first exhibition to be presented within Vagabond.
The photographic exhibition is themed on identity, the humanity revealed and the connections between new media and technology, art and artificiality. An indirect dialogue is formed between the artworks, and it correspondingly projects the thematic in subject. The projects share a tendency to tribute new media art and technological advancements, at the same time as evaluating social issues and concerns.
Kristina Collender’s series is an exploration into contemporary Irish female identity. Using self-portraits, the face of the artist is stripped away and replaced with an intervention that interrogates and questions their supposed Irish identity.
Stella Consonni’s work explores the deterioration through time driven by unconscious hunger for instant happiness of a deviate group of friends. The story is set in the London suburbia, where everything is available to fulfill the noxious need for 'more', to the point the need turns into delirium.
Anastasios Gaitanos’ series of typological photographs respects the performative skill and nature of the Gurn, encouraging/allowing the viewer to judge the quality of the performance.
Johnny Horgan is interested in the individual’s use of visual culture as a tool in identity construction and social gain. In particular he is looking to explore the relation between self and group identity. By constructing social spaces stripped of visual clues, he hopes to capture moments of self reflection, unburdened by pre-subscribed stereotype.
Since the industrial revolution in the UK, manufacturing has been stuck in a downward spiral with economies of scale pushing mass production over to the far-east, a process that has contributed to social instability and mass unemployment. Christopher Lanaway’s “Reynolds” series documents the factory and it's almost unchanged process, along with the skilled workforce that is needed to work the machinery.
“Death Row” is a body of work by Georgie Mason, based on animal rescuer Niall Lester. Death Row is a term used in animal rescue when an animal is to be destroyed, either due to their breed, behavioural or health issues, or having not found a home in time. The project revisits the locations in which Niall rescued these dogs, putting both him and the animal back in that situation once more.
“Being is existing” series stems from Joseph Mayers’ own personal understanding of the world we live in; a society conditioned by science, technology, consumerism, globalisation and multiculturalism.
Robert Nemtanu is a Romanian photographer based in London. With a long background in photography and new media art, he focuses his practice on self portraits that conspire to trigger contemporary concerns as well as experimental portraiture series.
Lithuanian photographer Dainius Sciuka’s series contemplates on appearance and gender issues. The triumph of the beard movement is felt strongly amongmediums such as fashion, art or health.
Nowadays it seems that the great getaway requires the practice of photographing everything quite compulsively. Russell Squires’ “A lone tour” project speaks of how nothing escapes capture, from the food that is about to be consumed to the local public transport; the holiday is photographically assimilated in a near forensic manner. Snapping loved ones posed in front of statues, grabbing awkwardly posed ‘selfies’ of the group to then trusting strangers to take a shot of all concerned, it is a undeniable element.
“Dark paradise” is an exploration into the unconscious mind. Jennifer Welton’ work explores the irony of the minds natural healing process combined with the forced, un-natural curing of homosexuality.
Luisa Whitton’s ongoing long-term project portrays a niche of the Japanese robotics, and how the industry is developing humanoid robotics as a research tool to understand: “what does it mean to be human as technology progresses?” Whitton's images are often accompanied by transcribed interviews between herself and the scientists, which she asks questions on the philosophy and role of religion in creating such robots.