artupdate.com

Sat 1st May – Sat 5th June 2010
Wednesday – Saturday 12pm – 5pm

Berlin and That is the second exhibition at The International 3 to feature the work of Manchester based artist Oliver East.

East has made the act of walking the starting point for a practice that ends as a comic book.

Berlin and That is his third book in the series Trains Are…Mint, it sees the artist walking from Berlin’s Alexanderplatz to Frankfurt (Oder) on the Polish border, keeping as close to the train line as he can without trespassing.  From memory the journey is then documented with each A3 page being exquisitely rendered in ink and watercolour, recording the mundane and ordinary, the beautiful and extraordinary. For this project Oliver then gave one page each to his friends, artists and non-artists, musicians and pro-drinkers alike, to alter as they please.  52 people collaborated on the book and these 52 pages (a third of the finished book) will be on show.

Each book starts with psychogeography, attempts some social commentary before the inevitable autobiographical elements creep in. 

Oliver East started self publishing in 2004 with Looking For Kinder Scout, a guide book, before making his first comic in ’05, The House Of Fire To Black Hill.  This was distributed informally, giving them to friends for free in pubs ‘’and such like’’.  In ’06 with added colour, the first publication in the Trains Are…Mint Series was born. 

Berlin and That is published by Blank Slate Books and will be available form The International 3 at a special exhibition price.

Contributing Artists: Scott Alexander, Gareth Brookes, Chris Butler, Stanley Chow, David Cochrane, Rachael Davies, Joe Devlin, Jenny Discombe, Malcy Duff, Nick Dunn, Clare East, Stuart Edmundson, Dave Garner, Andrew Gannon, Guy Garvey, Annie Gibson, Pete Gilfellon, Tony Gilfellon, Andy Glynn, Liam Guy, Andy Hargreaves, Matthew Houlding, Dean Hughes, Steve Hunt, Emma Jay, Pete Jobson, Karen Jupp, Mia Kiuru, Stuart Kolakovic, Laurence Lane, Gavin Macdonald, David Mackintosh, Steve Manford, Jim Medway, Miquel Navarro, Darren Newman, James O'Hara, Natalie O'Hara, Lee Patterson, Katie Popperwell, David Price, Magnus Quaife, Maeve Rendle, Jarek Salata, Katel Sevellec, Richard Shields, Sarah Thompson, Chris Thorpe, Steven Tillotson, Daniella Watson, Graham Watson, Jo-anne Wright, Emma Unsworth

The International 3 is supported by the Arts Council of England

For further information and images please contact Laurence Lane on 07960 038 063.
 

How It All Worked Out

Steph Fletcher, Ben Grainger, Isaac Holland, Cy Hurst, Donna Kenny, Hannah Dargavel-Leafe, Johnathan Maj, Sean Penlington, Daniel Taylor

Private View: Friday 9th July 2010. 6pm - 8pm
Exhibition Continues: 10th  July - 30th July 2010. Open: Weds - Sat-12pm - 5pm

How It All Worked Out is a group exhibition of work by 9 emerging artists selected by The International 3 from this year's Manchester Metropolitan University, University of Central Lancashire and University of Salford BA graduates.

Steph Fletcher’s miniature ink and pencil drawings on card consider topics such as truth, meaning and reality, with a dark sense of humour.  Isaac Holland’s stop motion animations address human degradation often embodying these ideas through the representation of the feral pigeon and its own evolutionary downfall. Cy Hurst’s sculptural works take the idea of chewed gum as portraiture to consider the traces that we leave behind. Ben Grainger’s sculptural works reference filmic devices where signifiers become a universal learned language to articulate something imminent. Donna Kenny’s (pictured) paintings on waste materials such as envelopes, paper bags and letters depict city back streets that might ordinarily be passed by. Hannah Dargavel-Leafe’s work describes an experience of a football match through a collection of photographic, sculptural and audio representations. Johnathan Maj employs conceptual orientated practices of appropriation and the readymade to open new associations within overlooked objects and processes. Sean Penlington’s series of paintings come from an interest in carnival and ritual in early modern Europe. The quick and direct manner in which he paints allows for a kind of shorthand where one image alludes to a number of others. Daniel Taylor examines the tradition of drawn fabric by exploring the use of illusion and the reproduced image.