Upcoming Exhibitions
After Judy: Campervan Collective (2024)
Predictive Text #1 (2024) is an automatic writing installation of 20 m of tracing paper typed and installed in Wilson’s 1991 Campervan in various locations starting with outside the Judy Chicago exhibition at the Serpentine Gallery. Predictive Text is typed on multiple 20 m continuous rolls of A3 on a modified 1976 wide carriage smith Corona Electric Typewriter, this installation expands Wilson’s exploration of fiction and astrology combining analysis and channelling in an immersive performance of action typing. Predictive Text #2 is a 1 km scroll and the narrative responds to the dawn of the Third Millennium at 00:00:01, on 01.01.3000 on Kiribati Island, Micronesia Region, Central Pacific Ocean.
The Campervan Collective was set up by Frankie Fathers.
The Campervan Collective was set up by Frankie Fathers.
"Date: 08/05/2024 Visual Arts Scotland - 'Now and Then: Dalkeith Palace Exhibition: We’re excited to announce part two of Visual Arts Scotland's Centenary Exhibition taking place in Dalkeith Palace this August 2024. This follows our 4 star annual exhibition Then and Now that took place at Edinburgh’s RSA earlier this year and continues our celebration of 100 Years of Visual Arts Scotland."
600+ VENUS INSTALLATION - Delighted to be exhibiting 600 Venuses at the upcoming Visual Arts Scotland Centenary Exhibition at Dalkeith Palace, Edinburgh! This is almost 3 x the number shown at Enigma of Consciousness, Art in the Docks, Royal Docks, London and the RCA Graduate Exhibition (2024), Battersea, London. Each maquette individually emerges in my hands. The surface is never modelled with tools and reflecting the reality of being human, even flawed and broken ones are never discarded. I tend to make them in batches of 60 and am amazed at how different each 'tribe' is, some elongated, some quite figurative, some cubic and abstract, some quite distorted (like a migraine on a bleak winter's day), some striding, some folding, some huddling, some leaning on each other... The moment I placed the first one in an exhibition space a wave of knowing washed through me that these Venuses want to be seen. This is a new experience to my practice and I've made a lot of work over the years. It isn't about the work being great or perfect or even beautiful, it seems to be something deeply and silently present in the pieces that claims a place in the world. I do not know if this is real or imagined but in the meantime where they go I go it seems! After Dalkeith they will be shown as a group of 1800 Venuses at a upcoming group show at Copeland Gallery in October (more info to follow next week).
The Furies Collective @ Copeland Park Gallery, Peckham, London
The Furies Collective
Each responding in intuitive shamanic ways to uproot patriarchal protectionism, climate ambivalence, and capitalist space colonisation, THE FURIES is a non-binary collective of artists created at the Royal College of Art.
Exhibition
Working between installation and performance practices and occupying all of the Copeland Gallery, THE FURIES will collectively create a continuous art installation in the entrance gallery throughout the exhibition, showing their individual work in the remainder of the gallery. Our vision is to re-visualise the concept of property over people, planet over place, Space over profit. The ambition of the project nods to Mike Nelson’s Extinction Beckons (2023), Thomas Hirschhorn’s In Between (2015) and Doris Salcedo’s Novembre 6 y 7 (2002). The Furies aim is an evolving collaboration and audience facing demonstration of ‘us before me’, as both protest and pathway. An experiment, yes, a test of ambition, ego, community, sharing, leading, following, yielding, holding, yes, a testimony to collaborative creating as a channelling breath.
Working between installation and performance practices and occupying all of the Copeland Gallery, THE FURIES will collectively create a continuous art installation in the entrance gallery throughout the exhibition, showing their individual work in the remainder of the gallery. Our vision is to re-visualise the concept of property over people, planet over place, Space over profit. The ambition of the project nods to Mike Nelson’s Extinction Beckons (2023), Thomas Hirschhorn’s In Between (2015) and Doris Salcedo’s Novembre 6 y 7 (2002). The Furies aim is an evolving collaboration and audience facing demonstration of ‘us before me’, as both protest and pathway. An experiment, yes, a test of ambition, ego, community, sharing, leading, following, yielding, holding, yes, a testimony to collaborative creating as a channelling breath.
Athena Mothership
https://www.instagram.com/athenamothership/?locale=zh_CN Amanda Cornish https://www.amandacornishstudio.com/ https://www.instagram.com/amandacornishstudio/ Suni Mullen https://www.instagram.com/sunimullen/ Lujane Pagganwala http://vaslart.org/lujane-pagganwala-research-grant/ |
ROYAL COLLEGE OF ART MA DEGREE EXHIBITION 2024
Welcome to my black box gallery installation in the CAP Studios, MA Contemporary Art Practice, Studio Buildings, Royal College of Art Post Graduate Exhibition 2024. 20th - 23rd 12 pm - 6 pm daily. The theme is 'portals' as movement without objects, drawing upon Victorian stage illusion techniques (Pepper's Ghosts), perception paradoxes and futuristic teleportal research by US Defence Authority (2006). The black box gallery installation is inspired by L.A.'s Museum of Jurassic Technology
Choreography for Breath in the 6th Dimension (2024)
Choreography for Breath in the 6th Dimension In 2006 the US Defence Authority published a report giving an overview of teleportal research and experimentation undertaken by the world’s superpower nations. Now in the public domain the document is abundant with speculative and quantum theoretical diagrams, equations, and philosophical expositions categorised as ‘Sci-Fi, Psychic, Quantum Entanglement, and Exotic’. Though the artwork is intentionally playful, it prompts conversations around just what would global powers, including the growing body of tech-billionaire space-mercenaries, do with such technologies. What started out as a stage trick performed by snake oil sellers, fraudulent magicians and self-proclaimed mystics, the device of Pepper’s Ghost, a method of light diffraction and simple image projection that creates the illusion of a floating spectre, is revisited here through the lens of present day official and unofficial Teleportal research. The movement is performed by Margot Wilson and filmed by James Merrell. This is a prototype artwork supported by a publication is to be expanded and enlarged in future exhibitions.
Teleportation Physics Study, Prepared for: Air Force Research Laboratory, US Defence Agency, published by Strange Press. ‘We received this book in electronic form from NASA and present it here as it was scanned in.’ www.strangepress.com
Teleportation Physics Study, Prepared for: Air Force Research Laboratory, US Defence Agency, published by Strange Press. ‘We received this book in electronic form from NASA and present it here as it was scanned in.’ www.strangepress.com
Third Eye Happenings and other Hypnagogia or Midnight Show at the Prisoner’s Cinema
Third Eye Happenings and other Hypnagogia or Midnight Show at the Prisoner’s Cinema (2024) is a triptych oil painting on wood that expresses the phenomenon of internal light called ‘phenomes’. These floating inner illuminations may appear as dot-like, abstract shapes, clouds, figures, shadow warps coming and going, and even a cinematic screen experience perceived in the region of the third eye (this is an imaginary plane extending from the middle of the forehead and forwards into space around 12-20 cm). Phenome based light shows are reported by meditators during intense meditation experiences, by workers such as drivers operating at night, astronauts, and prisoners incarcerated in low light and dark cells, hence the term Prisoner’s Cinema phenomenon. Phenome experience is also connected to vagal nerve activity and imbalance that is connected with the condition of bulimia nervosa and the urge or reflex to regurgitate. The vagus nerve is also linked to rapid addiction behaviour specifically situating bulimia nervosa as a disorder closer to that of addiction than psycho-emotional disorders. This research has proved powerfully insightful for me on a personal level as I suffered from the condition for over 5-years as a young woman to a life-threatened degree that in the early 1980s resulted my 1-year voluntary hospitalisation in a cutting-edge NHS hospital that was once the world’s leading neurosurgery hospital, Atkinson Morley Hospital in London. Once discharged it took a further 2-years with decreasing relapses to full recovery, a process aided by my intuitive seeking out of meditation and philosophical research into freedom and suffering. This artwork visualises the imagery that continues to arise in my personal meditation practice and hypnagogic sampling in the middle of the night and early hours of the morning. An accompanying essay (due August 2024) focuses on the evidence and latest research into the phenomenon of phosphenes and possible parallels in the breath directed light happenings as introduced above, and as an example of the groundless/ground, objectless movement, and Buddhist impermanence. The question explored is 'if binary metaphysics (Cartesian Dualism) never came to be, what non-digital technology might humans have created ... and what world might exist today?' The porcelain figures are borrowed from another installation titled 1800 Days and One Night (2024), relating to the number of days I was in the grips of bulimia before life-changing and successful treatment.
Using oils, wax and kinetic hand painting Wilson orchestrates multiple layers of non-black colours to create a chroma-portal activated by minimal light levels spot lit using a hand-made paper snoot over an iPhone torch. This installation is activated by moving surface light.
Crossing: Death the Horizontal (2023)
Crossing: Death the Horizontal is another playful video installation that invites contemplation of where our breath goes after death. The project speculates breath as circulating continuously in an ever-moving cosmos, asking, do we inhale our ancestors and the long dead kin and foe, might we each inhale protean stardust and life-breath of other planets? I conjecture so and visualise this narrative through the lens of mortality and telemorphosis into and through other dimensions. The image of Rembrandt’s Night Watch (1642), a painting celebrated as possessing astounding qualities and manipulation of light in dark, is my third visitation of the subject of luminance and phosphenes as the artist’s internal gaze. The jellyfish were unexpected visitors at the 2022 Venice Biennale and the large carp swim freely in the canal where I live on a houseboat with my partner and collaborator, James Merrell. James films and photographs all of my work.
We Have Always Walked (Spring Equinox 2024 Ritual), Tynemouth, UK
‘WE HAVE ALWAYS WALKED’ is Breath Quartet’s third collaboration celebrating the season change and performing an improvised ritual for our common ancestors. This project is a special one, speaking directly to all the world’s wanderers, pilgrims, uprooted and displaced souls, searchers, explorers, the curious, the lost, the broken, the found, the confused, those grieving, those weeping, those singing, those praying, those speaking, sharing, laughing, teaching, learning, passing on wisdom, exchanging gifts, cooking, eating, sleeping, sheltering, healing, leading, following, holding hands, holding each other, loving each other, loving, breathing, breathing, loving, smiling, hearing each other, heading towards and from the horizon, heading towards and from the sea, sharing a common ancestral thread, sharing common ancestors, hearing them whisper with every step ‘we have always walked, we have always walked….we have always walked….’ This ritual project was in collaboration with Patrick Ziza (movement), Marcus Herne (sound), and James Merrell (filming).
@margot_wilson_art @patrickziza @jamesmerrellphotography & marcusherne.com @breathquartet. Breath Quartet @ Long Sands Beach, Tynemouth, North Shields on 20th March 2024: Spring Equinox Sunrise: 06:06 am.
@margot_wilson_art @patrickziza @jamesmerrellphotography & marcusherne.com @breathquartet. Breath Quartet @ Long Sands Beach, Tynemouth, North Shields on 20th March 2024: Spring Equinox Sunrise: 06:06 am.
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