Dual Mirage is an independent publication in both Korean and English organised by Hyemin Son. It explores the identity of the Mirage that appears and disappears in urban spaces, with various participants: artists, architects, designers and theorists. Dual Mirage consists of three parts, and incorporates events spanning from Seoul to London, and in–between, that are related to each part of the publication.

Here comes the summer! You are planning to travel this summer. In your everyday working life, it is the most fantastic and entrancing moment when you’re biting into your sandwich during your lunchtime and searching for the tourist agents. You haven’t yet decided where to go. You may go for an ancient temple in the east, a gothic castle in the west, an emerald sea in the south or even a beautiful mountain in the north. In front of your computer monitor, you’ve found the right tourist agent, but suddenly the advertisement of the tourist agent is slightly changing. All the words from the advertisement make a billowy wave that starts spinning in your mind.

Dual Mirage Part 2

Tourists Dream

Dual Mirage Part 2: Tourists Dream begins by presenting the moment when we are dreaming of travelling somewhere and what the engaging free and enchanting moment interprets in the global society. The place that we want to travel is somewhat in-between idealised and practical space, artificial and natural space. The moment longing for somewhere else other than here is as an instantaneous escape and is done in search of other utopia. It is presented as future and nostalgia. It is a mirage.

Tourists Dream also explores the mirage generated at the point at which the service industry circulates, within the ‘transitional space’. This is achieved by considering industries such as the tourism and hospitality industry, financial sector and real estate business, all of which are highly entangled with each other.

Dual Mirage Part 2  Tourists Dream Contributors: Mora Bendesky, Hyunjoo Byeon, Oksun Kim, Uin Kim, Jungmin Kwon, Eunu Lee, Jeong-Hoo Lee, Sôm Lee, Hyemin Son, Gee Song, Juhee Youn

Part 2 Event

The event of Dual Mirage Part 2 consists of the launch of the book and also the video screening. The launching of the publication of Dual Mirage Part 2: Tourists Dream will be introduced by artist Hyemin Son. It is then to be followed by the video screening Tourist’s Dream by the invited curator Hyunjoo Byeon. Both the book and the video screening share and develop the idea of transitional movement in various aspects of global society, reinforcing the theme of tourists’ dream.

Artists: Kyungah Ham, Yang Ah Ham, Stuart Hawkins, Adrian Paci, Lisl Ponger, Jaye Rhee, Hiraki Sawa, Bo Kyung Suh
Curated by Hyunjoo Byeon

Accompanied by the launch of the book Dual Mirage Part 2: Tourists Dream, the video screening Tourist’s Dream draws into varied tourists’ dreams and the underlying political, cultural and socio-economical elements that construct the migratory movements in this age of global mobility. Through the artworks by eight international artists, Tourist’s Dream navigates how global mobility transforms the way to perceive the world and expands geographies by positioning oneself in a space away from everyday life; examining also the effects it has on the diverse migratory movements in our time. In addition, it explores mirages which tourism provides by rebranding spaces in a capital-saturated society and interrogates a fantasy to consume a given culture.

The artists emerged from their common interests in the issues surrounding today’s migratory movements such as tourism, the tourist industry, territoriality, cultural identity, mobility, dislocation, migration, and global communication initiate an essential convergence in Tourist’s Dream. Kyungah Ham’s Travel & Journey (2003-05) investigates a fantasy to experience exotic cultures and cultural hierarchies in tourism by exploring the phenomenon of theme parks in Asia which replicate the symbolic monuments and landmarks of Europe and America. In her Tourism in Communism (2005), Yang Ah Ham travels to the only possible tourism area in North Korea, Mount Kumgang, developed by South Korea’s Hyundai Group. The artist depicts that tourism can be only a superficial exploration which is isolated from ordinary life, as the video was also shot on a touristic horse-drawn carriage. Stuart Hawkins playfully illustrates the artificiality of a touristic approach through her journey in search of the anthropologically perfect native CoCoMan in Souvenir (2006).

The journey reveals the pervasiveness of globalisation that is profoundly connected with the media culture, and it has caused a strange reaction in that it seeks out notions of pure cultural authenticity. Lisl Ponger´s déjà vu (1999) captures our desires for distant lands with its documentary sequences. This collective cliché of exotic otherness, combined with a series of narrations in various languages without subtitles, exposes the western-centered mode of perceiving the world and its hidden colonialism, consequently raising the awareness of our limited perception of reality. In Centro di Permanenza Temporanea (2007), which is named after an Italian refugee camp, Adrian Paci transforms an airport, a symbol of global mobility in our time, into a displaced space. A group of people standing on an aircraft boarding staircase represent migrants who are stranded “in between”, yearning for a better life, and thus an inhumane side of our ever-globalising world is revealed. Whilst Paci draws into the harsh reality of migratory movement in this age, the tiny humans and animals wandering around in the artist’s flat in Hiraki Sawa’s Migration (2003) poetically represent a restless journey in our lives and portrait our nostalgias in the global age. In Mediterranean (2009), Jaye Rhee creates her own Mediterranean setting in her studio with objects which embody images of the location of the Mediterranean. Rhee discloses how tourism and its industry construct common desires through distributing a signified image by envisaging the place with objects that can be found in daily life. In the work Citydel (2005), two separate videos parallel the passers-by looking at a girl in a bikini and a girl who enjoys her vacation on the artificial island in the Han River, which is located in the middle of Seoul. By creating a subtle rupture between them, Bo Kyung Suh questions what we dream for through traveling and where mirage exists.

Project Space 2:
Friday 6 August 2010, 6-9pm
Rivington Place
London EC2A 3BA UK

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Currently exhibiting at The National Gallery is an east London artist depicting real life stories taken from The Hackney Gazette.

Tom Hunter tells these stories using carefully staged, large format photographs, restaging them in compositions that often directly refer to classic paintings of the past, many of the paintings to which Hunter has referred for his compositions can be found in the National Gallery. Using his friends as models, Hunter directs them to use gestures, body language and facial expressions in the same way as the characters seen in paintings by historic artists.

Left: The Fight between the Lapiths and the Centaurs piero di cosimo c. 11500-15 (The National Gallery, London)

Hunter first came to public attention in 1998, when he won the John Kobal Photographic Portrait Award, with a photograph entitled Woman Reading a Possession Order. With its meticulously arranged composition and sensitively captured light, it is a direct quotation from Vermeer’s painting, A Girl Reading a Letter by an Open Window (Staatliche Kunstsammlungen, Gemäldegalerie, Dresden). Hunters reputation was further established with a series of engaging, puzzling and compelling photographic re-workings of other paintings from the past. They provoke thoughts about issues that are relevant in our everyday lives, however shocking.

Girls’ Sex Acts in Club: Court. Cop ‘It can only be described as having sex through clothes’

Living in Hell and Other Stories continues Hunters’ interest in the stories of inner-city life that take place in his own locality, having lived in Hackney since the age of 19. Tom Hunter is not a photo journalist. His photographs are not literal reconstructions of the actual events. It is not the specific details of the story that attract him; rather it is the idea of a story that is provoked by the eye-catching headline. The idea of turning to his local press as a source for inspiration was suggested by the example of Thomas Hardy. Thomas, like hunter, was born and brought up in Dorset and would trawl through back copies of his local paper to find the stories of public hangings, wife selling and other unlikely events that he eventually wrote about in his novels.

Murder: Two Men Wanted

‘Living in Hell’ was the headline printed in The Hackney Gazette above the story of a 74-year-old woman whose house was infested with vermin. Borrowing from the National Gallery’s Four Figures at a Table by the Le Nain brothers, Hunter composed a photograph with the help of a retired actress and several hundred cockroaches bought over the internet. The Le Nains’ paintings of around 1643 show a woman and children in a modest peasant interior. She has the expression of a care-worn older woman tempered with a quiet sense of self-respect; in Hunters 2005 version the woman has no companions, she is alone. She sits wrapped up against the cold, the electric heater switched off. The sofa is filthy and worn, decaying food lies uneaten. A naked electric light bulb illuminates the room and shows literally hundreds of cockroaches crawling over every surface. This harsh lighting starkly reveals her shocking fate. The Le Nain’s dignified poverty is ripped from its original 17th century context and in 2005, becomes brutally undignified.

A Satyr mourning over a Nymph

National Gallery paintings depict the eternal themes of love, sex, violence, life and death and Tom Hunter has used these and reflected on them in an uncompromisingly contemporary way. He has turned newspaper headlines into commentaries on both the modern world in which we live and the classic themes seen represented throughout the National Gallery.

Cupid complaining to Venus by Lucas Cranach the Elder, c.1525
(the National Gallery, London)
Girls’ Sex Acts in Club: Court. Cop ‘It can only be described as having sex through clothes’

Tom Hunter : Living in Hell and Other Stories
Until 12 March
The National Gallery
Trafalgar Square
London, WC2N 5DN
Tel: 020 7747 2885
www.nationalgallery.org.uk
Admission Free

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Of the many aspiring architects that are part of the renaissance of a new young British Architecture, one name has in recent years begun to appear ever more frequently – David Adjaye.

His name has made the crossover to mainstream media and begun to symbolise a new breed of architect, one whom is at the forefront of young British architecture. He is very much a star in the ascendant and at 38, has already become an architect of international renown despite his youth.

Having set up his own practice in 1994 it was not long before he developed a strong reputation for quality modern design, with an architecture that is easily read and therefore accepted by the general populace and not lost in an egotistical intellectual vagueness. In the 12 years of his practice, his oeuvre has built up from small-scale private commissions (private houses, cafes, bars) on to a wide range of high-profile public buildings, which include libraries, art galleries and theatres. His current project list continues to include his iconic individual residences but now also has an impressive array of all manner of civic and cultural buildings across the globe, a portfolio of work that no doubt is looked on with envy by not only his contemporaries but also the established names, both at home and abroad.

Adjaye’s designs are often radical yet in a manner that allows his buildings to sit well in historical contexts, with designs that provide a new generation of building that is a world away from the pastiche and shallow commercialism that sadly blights much of today’s ‘standard’ architecture.

Adjaye has a uniquely intuitive design approach that allows him to root a building not only to its immediate context but also to imbibe a cultural and historical link that manages to anchor his work to local communities in a familiar and un-patronising manner. A strong sense of materials, texture and light and their interplay, absolutely critical to successful architecture, are all components present in his work.

As an architect he has many artist friends, one of the most prominent of which is Chris Ofili, for whom he designed the artist’s studio (also in the east end of London) and who has collaborated with Adjaye on a number of projects. Much of Adjaye’s work has an artistic flair which is not only due to these close links with the art community but also no doubt from his having studied a fine arts foundation course prior to studying architecture.

Despite his rapidly increasing fame and international stature, Adjaye is rooted in the east end of London and several of his seminal early works (Elektra House, Ofili’s studio) and of late the Whitechapel Idea Store, not to mention his own office, Adjaye Associates, are to be found in the area. As such, the opening of a new two month exhibition (his first major show in the UK) at the Whitechapel Gallery is an absolute must-see.

Key building by David Adjaye:
Idea Store, Whitechapel, east London

New Buildings by Adjaye/Associates:
Timber-frame prefabricated house, de Beauvoir Town, Hackney, east London
2007

Rivington Place, Rivington Street, east London – 2007

Manchester gallery project, northern England – 2007-
David Adjaye with Maurice Shapero + Stephenson Bell
£55m: Apartments, gallery, retail, market, bus station

Stephen Lawrence Centre, Deptford, southeast London – 2007

Bernie Grant Centre, Tottenham, east London – 2007

inVIA – Institute of International Visual Arts, London – 2007

Museum of Contemporary Arts, Denver, USA – 2007

Buildings by Adjaye/Associates (alphabetical):
Dirty House, Shoreditch, east London, UK – 2001-02

Elektra House, Whitechapel, east London, UK – 1998-2000

Idea Store, Chrisp Street, Poplar, east London, UK – 2001-04

Idea Store Whitechapel, Whitechapel, east London, UK – 2001-05

Nobel Peace Center – Exhibition Centre, Oslo, Norway – 2002-05

T-B A21 Olafur Eliasson Pavilion – Art Installation, Venice Biennale, Venice, Italy – 2005

Adjaye/Associates – Stirling Prize nominated 2006 for Idea Store
Client: London Borough of Tower Hamlets

David Adjaye reformed his studio in 2000 as Adjaye/Associates

David Adjaye – Teaching Positions:
Architectural Association, London : unit tutor

Previously:
Royal College of Art, London : lecturer

David Adjaye – Awards:
RIBA First Prize Bronze Medal : 1993

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Below the post war redevelopment that characterises Southampton’s city centre lies a labyrinth of over 100 underground vaults dating back to the twelfth century. For the second year seven of these spaces are being opened every weekend through the summer as exhibition venues. Last year the project, organised by ‘a’ space, attracted 15,000 visitors.

Three artists from east London, Alan Bond, May Cornet, and Dawn Shorten have been chosen as lead artists in the Artvaults project which takes place from July 9th to Oct 9th.

These artists have just returned from a showing in Rome and Artvaults is a development of that show. Dawn Shorten and Alan Bond will be sharing the Castle Vault with pieces about Space. Dawn Shorten, whose work is invariably wry, humorous and deadly serious will show ‘Fly Me To The Moon’, a spectacular reconstruction of a rocket launch. Alan Bond has constructed planetarium consisting of a geodesic dome which sits on a circle of doors scavenged from skips. Light penetrates through hundreds of holes drilled in the dome.

The PlanetariumThe Planetarium is a response to the form, dimensions and dark of Castle Vault. It develops ideas about space that have informed Alan Bond’s recent paintings in which eroded, scuffed and perforated painted surfaces parallel the cosmic history of collision, creation, destruction and remaking.

In The Planetarium he uses the cast-offs of the material world and makes reference to the world of advertising and consumerism. Exploiting the aesthetic attributes of these re-cycled materials he transcends their source, to create a mysterious allusion to the ethereal beauty of the night sky

Somewhere in this piece are cryptic references to medieval ideas about the underworld, heaven and earth.

May Cornet will show at 94 High Street. Her installation is reminiscent of a laboratory. The illuminated seed boxes suggest a process of cloning but May sees each of the seedlings having the potential to grow into something unique. Delicate, clinical and beguiling, the work suggests a scientific intervention into the natural processes of creation and germination.

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Ambitious beyond its means, an international line up of some 150 artists, designers, musicians, writers, thinkers and performers wrestle with the theme of utopia in and around the birthplace of William Morris through exhibitions and installations.

News From Nowhere: Visions Of Utopia promises to be one of the largest art events in London this year. A number of public sites in North East London, including The William Morris Gallery, the Changing Room Gallery, The Waltham Forest Theatre situated on an island and surrounded by a moat, Lloyd Park, and a massive building site in the centre of Walthamstow, The Vestry House Museum and Walthamstow Town Hall will be used as stages for exhibitions, interventions, installations, audio visual works, music performances and public art activities during September/ October 2005.

CarnegieBased on the title of the William Morris novel News From Nowhere, and set in and around his birth-place, the project aims to re-examine the legacy of utopianism: upheld by the idealists of the 19th and early 20th century, who believed passionately in the possibilities of radical social change, with visions of a future egalitarian world, it is a distant cry from our post-modern, post-ideological times.

An international line-up of artists, designers, musicians, writers, thinkers and performers will be presenting their work in the context of the various spaces. The events, works in progress and completed pieces will be documented and published on-line in the Visions of Utopia web site. The site will also provide a global forum for open contributions, reports and sightings of utopia.

A special limited edition newspaper, News from Nowhere will be published and distributed, including essays, documentation and interviews with local and global residents, as well as those of the participating artists and organisers. The 18th-century Water House, Morris’s family home from 1848-1856 is now the William Morris Gallery. It is the only public museum in the world devoted to this country’s best known and most versatile designer with internationally important collections illustrating Morris’s life, achievements and influence.

Art Utopia For the first time, a selected group of artists, designers and writers will be given a unique opportunity to place work within the House and permanent displays, resulting in a series of juxtapositions and interventions alongside the work of Morris and the Pre-Raphaelites; featuring the legendary Tony Benn, designers Ralph Ball and Maxine Naylor, architect Meredith Bowles, artists Stephen Williams, Liane Lang, Anderson Inge, Malcolm Barrett, Luis Gonzago Barriera Bras Keith Ball and Steve Wheeler. With sonic work by Isobel Jones and video performance from Claire Robins.

Other Venues
The Changing Room Gallery
Vestry House Museum
Arcadia (a massive building site)
Waltham Forest Theatre, The Moat, Lloyd Park

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Nina considers the musical language of jazz to be one of her greatest inspirations. Her exhibition, Jazz in the City is the culmination of a life’s work for this innovative and unique artist.

It also begins a tour featuring Nina as an artist in residence, to include The International Jazz Festival in Moscow, during which Nina’s work will be exhibited at the State Museum for Contemporary Art, Moscow.

Nina was born in the Russian city of St. Petersburg and obtained a Masters Degree from Moscow’s Gubkin Academy. In 1991 after

she moved to Germany, Nina started her career as an artist where she studied under teacher and artist Margarita Budini. From 1994 to 1998 she established her studio in The Netherlands and in 2000 she moved to London where she has been living and working as an artist. Now based in Richmond, Nina finds artistic inspiration for her paintings in music, poetry and philosophy. The powerful colours and dramatic shapes in her paintings reflect her own experience of living in different cultures, while still infused within her Russian heritage. Nina says of her traveling experience, “I have found the most success in London, because London is a cultural centre and a major port. Kinky-Kalinki Transrussian Express is a tribute to London’s art scene, to show how you can be poor and foreign in London and still be accepted.”

Kinky-Kalinki Transrussian Express is a documentary film charting London’s art, music and club scene from 2000 to 2005, the length of time that Nina has lived here. “I have focused on one east London club in this film,” says Nina, “Rhythm Factory on Whitechapel road where it is possible to have live music, art on the walls and a club night all in one. East London is a buzzing area, that’s not to say that Richmond where I am based is not buzzing, but East London has a modern and contemporary feel.”
Old Vinyl.

Nina has exhibited her work in both solo and group shows and has begun to exhibit her work across Europe and overseas. In December 2003 Nina represented the UK at The Florence Bienniale and in November 2004 was invited to be Artist in Residence for Black History Month at the National Opera Studios in London. Other artistic residencies include River Walk at The OXO Tower and The Players Theatre in The West End.

Carol Cordrey will be in conversation with Nina on the 22nd of September at the Glass House Gallery and comments, “Jazz was once the music of yesteryear. Now, it is growing in popularity in cities the world over. Its powerful rhythm and improvisation have always appealed to performers with strong characters. Using instruments or voices, passion or pathos, they have used jazz to stir the human spirit. Nina Gruschwitz has an expressive personality, loves jazz and imbues all her work with a plethora of emotions. With brushes for instruments, this artist reinforces the contemporary impact of jazz. It is now seen and not just heard.”

Nina Gruschwitz’s exploration of Jazz and its influence on her art is to be exhibited at the Glass House gallery from the 13th of September.

The Glass House Gallery
2-3 Bull’s Head Passage, Leadenhall Market, London EC3, 13 Sept – 9 Oct
In Conversation: Artist talk with Carol Cordrey: Thu. 22 Sept 6 – 8pm
Special event: Kinky-Kalinki Transrussian Express: Wed 21 Sept 8pm-midnight
Rhythm Factory
16-18 Whitechapel Rd, London E1 1EW
info@thecynthiacorbettgallery.com
www.thecynthiacorbettgallery.com

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Carefully selected artists, based in Hackney and the east end exhibit fresh new work in conjunction with Hackney Empire’s Spice Festival. Painting, sculpture, drawing, screen-prints, photography, performance, video and computer generated images from twenty five artists come together in a show that warrants your undivided attention.

Work from Peter Ainsworth, Henrietta Armstrong, Emilie Bell, Claire Brewster, Angela Corcoran, Nicola Cunningham, Charlie Danby, Joel Ely, Kirsty Harris, Richard Hubner, Cheryl Lane, Harry Logan, James Manning, Tracy Neal, Johanna Nilsson, James Ormiston, Cara O’Keefe, Scott O’Rourke, Emily Power, Fiona Przybylski, Sophie Ruderman, Lucie Russell, Ben Twiston-Davies, Liam Williams and Mike Young will be for sale, with a percentage of the proceeds donated to Hackney Empire.

Theme Park Charlie Danby’s woodland constructions tell the story of that which is lost, and that which is to be discovered. Remnants of roller-coasters, references to theme parks, ruins, castles, bridges and fortified walls that separate nothing and safeguard even less. Myth and fairytale bring them into a landscape of synthetic idyll, where objects are both visible and invisible. The works are built on platforms that float like islands, scale and reference shift constantly and mirrors present optical recess and provide strange vistas.

Joel Ely’s paintings have been selected for the BP Portrait Award for the second consecutive year. His practice involves researching and combining disparate elements of the histories, theories and fictions surrounding food, nature and figurative art. This is realised through a bastardised approach to painting, performance and installation.

Kirsty Harris’ breakfast scene installation becomes quite unsettling when a closer look at the egg’s shell reveals it was broken by a bullet. Waking up, every day, to the carefully edited images and news reports is the way we gauge how the rest of the world exists. Reliance on corporations to transmit the truth suddenly seems naïve.

Empirical Emily Power manipulates the surface of wallpaper to include words beneath its pattern. Intermarried with the codes and regulations of the pre-made paper, the text looks towards linguistics and habit forming systems of communication, adopting a freeze-frame of gridded language to suggest an arresting of circumstances.

PRIVATE VIEW: SUNDAY 10th JULY 2005 6-9pm
Performance – 8pm Nicola Cunningham
Photography and Disc Jockeys in the Marie Lloyd bar, 8pm till late

OPEN DAILY 11th–14TH JULY 2005 5-9pm
Hackney Empire’s Exhibition Space
291 Mare Street
Hackney, London E8 1EJ

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‘Catalyst’ is a collaborative mix media project based around poems by London writer and visual artist Cat Miranda aka Cat Catalyst. Cat’s poetry explores spiritual and humanist concepts, embracing emotion and looking for a deeper meaning.

Choreographer Briar Adams creates the movement and composer Danbob Clarke contributes electronic beats, with lyrics by director Cat Miranda.

In addition to Cat Catalysts poetry, there are special guest appearances from active poets David J, Tim Wells, Ramshackle Event, Salina Saliva, Baden, Pom Pom Poets and more.

Rhythm Factory
16-18 Whitechapel Road
London E1 1EW
020 7375 3774

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Tate has announced the four artists who have been shortlisted for the Turner Prize 2005. The artists are Darren Almond, Gillian Carnegie, Jim Lambie and Simon Starling.

Darren Almond’s work addresses the themes of time, geography and memory. He uses a wide range of media including film, photography and sculpture to explore the passing of time and the marks that it leaves on both social and private histories. He is shortlisted for his exhibition at K21, Kunstsammlung Nordrhein-Westfalen, Düsseldorf.

Gillian Carnegie explores the properties of painting. She works within the traditional genres of landscape, still life, the nude and portraiture, incorporating a wide variety of subjects and techniques to both celebrate and question the medium. She has been shortlisted for her solo exhibition at Cabinet, London.

Jim Lambie makes exuberant installations and sculptures which make reference to pop music and youth culture. He uses everyday materials including coloured tape and glitter to transform spaces and familiar objects. He is shortlisted for his exhibitions at Sadie Coles HQ, London and Anton Kern, New York.

StarlingSimon Starling transforms and reframes existing objects through a rigorous process of research. In his complex sculptural installations he creates poetic narratives by drawing together disparate cultural and historical references. He is shortlisted for his solo presentations at the Modern Institute, Glasgow and the Fundació Joan Miró, Barcelona.

Last year, Gordon’s increased the value of the Turner Prize to £40,000, with £25,000 being awarded to the winner and £5,000 each to the other shortlisted artists. The Prize, established in 1984, is awarded to a British artist under fifty for an outstanding exhibition or other presentation of their work in the twelve months preceding 11 May 2005. It is intended to promote public discussion of new developments in contemporary British art and is widely recognised as one of the most important and prestigious awards for the visual arts in Europe.Turner Prize Shortlist

Work by the shortlisted artists will be shown in an exhibition at Tate Britain beginning on 18 October 2005. The winner will be announced at Tate Britain on 5 December during a live broadcast by Channel 4.

The members of the Turner Prize 2005 jury are:
Louisa Buck, London Contemporary Art correspondent, The Art Newspaper; Kate Bush, Head of Art Galleries, Barbican Art Gallery; Caoimhin Mac Giolla Leith, art critic and Lecturer, Modern Irish Department, University College Dublin; Eckhard Schneider, Director, Kunsthaus Bregenz; Nicholas Serota, Director, Tate and Chairman of the Jury.

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Two artists dismayed by the Millennium Dome’s corporate presentation of Britain have created their own snapshot of British artistic creativity. Five years after the Dome presented its shiny, clean vision of Britain, there is now a smaller, cheaper and more democratic snapshot of the UK on show at the Barbican Gallery.

A life-size mechanical elephant from Oswestry, trades union banners, snack shop signs, paintings on vans and hot pants from the Notting Hill Carnival can be seen in the gallery as part of a collection looking at the state of British creativity.

Turner Prize winner Jeremy Deller and artist Alan Kane are the masterminds behind the show, which tries to update what we understand as folk art. They have collected images from around the country which are not normally considered art, or shown in galleries.

Some of the works are rooted in the past such as Devon’s Tar Barrel Rolling celebrations or “Well Dressing” from Derbyshire. Others are entirely modern such as homemade web page designs or a collection of fake parking tickets which are left on the windows of unwelcome 4×4 vehicles.

The exhibition reflects Deller’s work as an ‘enabler’ and curator of other people’s work. His staging of a re-enactment of the Battle of Orgreave, the most dramatic conflict between miners and police during the miners’ strike in the 1980s, was one of his most celebrated works.
As an artist who freely accepts he can neither draw nor paint, Deller says his work is to document, enable and “re-direct the flow” of other people’s work. His main work in the year he won the Turner Prize was Memory Bucket, a video documentary of a trip through George Bush’s Texas.

Some of the pieces in the exhibition have appeared before, but much of it is new. It is a reappraisal of the “overlooked and undervalued” objects which have been created by people simply for the love of making something beautiful rather than making a profit.

The Barbican’s Contemporary Popular Art from the UK exhibition runs to 24 July.

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