C~C explores the coincidental, tangential, formal and informal similarities and links between the Cornish Coast and Pacific Coast (California) as sites for the production of art. The project draws connections and comparisons between art practices and movements, landscapes, geologies and socio-political concerns; spanning time zones and histories.
For one night only a series of artworks and performances will be presented throughout the gallery, overlaying and intervening with The Modern Lens and the fabric of Tate St Ives. The artworks gathered and made in response toC~C explore complicated relationships between peripheral coastal sites and art making; drawing on both the mythic and lived realities of these landscapes.
- C~C exhibition map [PDF, 3MB]
The project presents new commissions from Chris Dyson (UK/USA), Bryony Gillard (UK), Andrew Munks (UK), Rachelle Sawatsky (Canada), Oliver Sutherland (UK), Savannah Theis (Germany). Alongside existing works by Walter De Maria (USA), Elias Romero (USA), Sarah Rara (USA), Gino Saccone (Jersey).
Oliver Sutherland (UK)
Propro 2015 in the Heron Mall
Oliver Sutherland presents a new video 3D scan of a camp fire, originally recorded on the Pacific Coast. The digital render captures the remains of a domestic act, transcribing and scaling a found landscape into both a digital and sculptural object.
Walter de Maria (USA)
Ocean Music 1964 in Gallery 1
In Walter De Maria’s seminal sound piece, Ocean Music, 1964, an improvisation takes place between the ocean and arrhythmic drumming.
Gino Saccone (UK)
Condordino (Jaoul) 2014 in Lower Gallery 2
Using an intricate and layered process combining physical objects, digital processes and stereographic imagery, Saccone flattens and retextures seemingly disparate approaches in the creation of large tapestries.
Andrew Munks (UK)
Letchworth, Margate, Silver End2015 in Upper Gallery 2
A film in three parts, Andrew Munks’ newly commissioned work, Letchworth, Margate, Silver End, 2015, combines the language of documentary film with autobiography and an intuitive approach to art making.
Savannah Theis (Germany)
Over under pore over 2014 in the Courtyard
For C~C, Theis presents a new gestural soundscape of looping phrases and rhythms, made from field recordings and interviews, referencing the craft of basketry and the notion of weaving as a creative approach.
Rachelle Sawatsky (Canada)
Optimization 2013 in Gallery 3
Rachelle Sawatsky’s slide installation references the geometric abstraction of Marlow Moss and the duality of erasure as both a creative and destructive act. Disruptions in the surface of the slides (made by masking or cutting areas) interfere with the photographic image, creating new compositions through obfuscation.
Chris Dyson (UK/USA)
Makers of Certainty (live broadcast) 2015 in Lower Gallery 2
Throughout the evening, a live-streamed performance from the Californian coast will be projected in the gallery. Dyson’s work operates within the landscape – real, fictional and digital – complicating ideas of agency and appearance.
Elias Romero (USA)
Za 1972 in the Studio Resource Room
Best known for his ‘liquid light’ installations, Elias Romero’s film Za, 1972, is a little known work shot in Big Sur, California. Vivid and experimental in its use of colour and sound; the film follows an ‘alchemist poet’ played by Diane Varsi with art direction from the infamous Occult artist, Marjorie Cameron.
Sarah Rara (USA)
The Possible Chronicles 2015 in Gallery 4
Screened for the first time in their entirety, Sarah Rara’s film series, The Possible Chronicles responds to the making of The Possible, an exhibition at Berkeley Art Museum & Pacific Film Archive, California. The films observe the activities of Bay Area artists converging within the museum as studio, classroom, library, gallery and stage.
Bryony Gillard (UK)
Un Waive Edge Ground 2015 in Gallery 5
Gillard explores the potential for visual poetry to exist away from space of the page and the complexities of the territory between text, body and landscape, playing with the organisational grid of language and notions of feminine writing.