For We Wanted, Etchells takes a phrase from Cat Power’s song Colors And The Kids on the album Moon Pix as the basis for a 15 metre long, 1 metre tall 3D sign made from stainless steel and programmable LEDs. “I’ve always loved the song, and if I’m listening to it it’s this small part of […]
When you write a Pixinote, you’ve only got three lines to say what you need. This week, we’re looking at visual artists who choose their words—or letters—carefully and make them pop, sometimes with a...
Tim Etchells’ new neon is a fragment from Sei Shōnagon’s The Pillow Book (1002) which gathers the writer’s observations made during her time as court lady to Empress Consort Teishi in Heian Japan. The quotation forms the title of one of Sei Shōnagon’s numerous lists, in this case her catalogue of exciting or exhilarating things, […]
DRDH architects has redeveloped Site gallery in Sheffield to open up new, extended gallery space, a café, shop and offices. A ribbed red brick façade is a new face for the gallery, while the interior
Solo artist and theatremaker Tim Etchells will receive a commission for a new work and four productions.
Empty Stages is an on-going photographic project cataloguing empty stages in a variety of contexts – pubs, conference centres, amateur theatres, church halls, city theatres and working men’s clubs. Through these temporarily deserted locations for performance, the work explores stages as spaces of imminence and expectation – inviting the viewer to imagine the different kinds […]
A remarkable journalist helped create community in a small Vermont town.
Everything Is Lost is a new work by the artist Tim Etchells, first presented in Frieze Sculpture 2018, Regent’s Park, London, from 4 July to 7 October. The work comprises a set of powder coated metal letters held on tensioned steel wires and supported in an aluminium frame. The letters are distributed irregularly on the […]
Tim Etchells è un artista inglese e direttore artistico della compagnia teatrale Forced Entertainment ed autore di una serie di installazioni al neon.
Tim Etchells (Regno Unito, 1962) vive e lavora tra Londra e Sheffield. La sua pratica si snoda tra il contesto privato e quello dello spazio pubblico, abbracciando performance, video, disegni e affrontando tematiche legate all’identità contemporanea, al rapporto con la fiction e i media, e ai limiti della rappresentazione soprattutto per quanto concerne il linguaggio. […]
A modified telephone accompanied by a sign which reads, ‘Emergency Phone. Lift Receiver and Follow Instructions’. Upon lifting the receiver, the only thing that can be heard is a continuous recording of birdsong.
Ghosts is a set of 12 drawings, most of them versions of a single phrase – “They Taught Their Children that the Poor were Ghosts and did not Exist” – painted out repeatedly in black acrylic on separate sheets of paper. Alongside the versions of the phrase, the series also contains a number of minimal […]
Wait Here is one of the first neon works produced by Etchells and addresses the viewer directly, using eight words to spell out a phrase implicating us in a narrative whose details remain forever unknown. The identity of the person who has gone to get help, what kind of assistance they are seeking, what reason […]
Tim Etchells (Volta Art Fair - March 8, 2009)
Artists Tim Etchells and Vlatka Horvat rooted out the most curious objects Sheffield’s museum storerooms – and discovered the joy of curating in the process
An ongoing collaboration between theatremaker Tim Etchells and photographer Hugo Glendinning, Empty Stages attempts to capture the elusive magic of theatre spaces without either performers and audiences – from school halls to working men's clubs, world-famous theatres to rooms above pubs. Take a seat and enjoy the view ...
Edited by Ana Janevski. With contributions by Gilles Almavi, Jérôme Bel, Cosmin Costinas, Bojana Cvejic, Tim Etchells, Mark Franko, Gabriella Giannochi, Adrian Heathfield, Noémi Solomon, Peter Tolmie, Christophe Wavelet, and Catherine Wood Boris Charmatz is one of the key protagonists in recent revolutions in modern dance. Born in 1973 in Chambéry, France, Charmatz made his first splash as a choreographer in 1993 with the radical duet À bras-le-corps, a co-creation with Dimitri Chamblas. But it was his 2009 “Manifesto for a Dancing Museum” and the founding of the sui generis Musée de la danse in Rennes, France, that shot Charmatz to the center of global discussions on how dance might break through the ossification of its twentieth-century institutions—how dance of the twenty-first century might not simply persist, but thrive. Featuring original essays, an interview, and a complete list of Charmatz’s projects, this book is the first to explore the many facets of his career—as choreographer, writer, dancer, and founding director of the Musée de la danse. 160 pp.; 40 illus. Modern Dance is a series of monographs exploring dance makers in the twenty-first century. Each volume focuses on a single choreographer, presenting a rich collection of newly commissioned texts along with a definitive catalogue of the artist's projects. View the other titles in the series: Ralph Lemon and Sarah Michelson.
Edited by Ana Janevski. With contributions by Gilles Almavi, Jérôme Bel, Cosmin Costinas, Bojana Cvejic, Tim Etchells, Mark Franko, Gabriella Giannochi, Adrian Heathfield, Noémi Solomon, Peter Tolmie, Christophe Wavelet, and Catherine Wood Boris Charmatz is one of the key protagonists in recent revolutions in modern dance. Born in 1973 in Chambéry, France, Charmatz made his first splash as a choreographer in 1993 with the radical duet À bras-le-corps, a co-creation with Dimitri Chamblas. But it was his 2009 “Manifesto for a Dancing Museum” and the founding of the sui generis Musée de la danse in Rennes, France, that shot Charmatz to the center of global discussions on how dance might break through the ossification of its twentieth-century institutions—how dance of the twenty-first century might not simply persist, but thrive. Featuring original essays, an interview, and a complete list of Charmatz’s projects, this book is the first to explore the many facets of his career—as choreographer, writer, dancer, and founding director of the Musée de la danse. 160 pp.; 40 illus. Modern Dance is a series of monographs exploring dance makers in the twenty-first century. Each volume focuses on a single choreographer, presenting a rich collection of newly commissioned texts along with a definitive catalogue of the artist's projects. View the other titles in the series: Ralph Lemon and Sarah Michelson.
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Empty Stages is an on-going photographic project cataloguing empty stages in a variety of contexts – pubs, conference centres, amateur theatres, church halls, city theatres and working men’s clubs. Through these temporarily deserted locations for performance, the work explores stages as spaces of imminence and expectation – inviting the viewer to imagine the different kinds […]
Sandblasted text on the glass of a 1930s seafront shelter, comprising one hundred fragments, notes and observations written on a visit to Weston, a day spent walking the streets, looking and writing. Shelter Piece is a permanent installation, co-curated by Situations and Field Art Projects as part of Wonders of Weston, Weston Super Mare. Commissioned […]
Everything Is Lost is a new work by the artist Tim Etchells, first presented in Frieze Sculpture 2018, Regent’s Park, London, from 4 July to 7 October. The work comprises a set of powder coated metal letters held on tensioned steel wires and supported in an aluminium frame. The letters are distributed irregularly on the […]
Stopped Clocks is an ongoing series of Etchells’ photographs showing dysfunctional clocks in public places, their faces marked, signed or hidden in different ways order to prevent confusion. Taken at airports, in city centres, railway stations and shopping malls in different cities around the world, the pragmatic interventions recorded in the images also open themselves […]
Sandblasted text on the glass of a 1930s seafront shelter, comprising one hundred fragments, notes and observations written on a visit to Weston, a day spent walking the streets, looking and writing. Shelter Piece is a permanent installation, co-curated by Situations and Field Art Projects as part of Wonders of Weston, Weston Super Mare. Commissioned […]
The work comprises a sequence of stills showing a set of letters made from ice, arranged on a concrete floor to spell out the phrase ‘Live Forever’. Through the sequence – manifested as a series of 10 aluminium mounted prints (also shown as a slow motion digital video) – the letters melt slowly, getting smaller […]
Empty Stages is an on-going photographic project cataloguing empty stages in a variety of contexts – pubs, conference centres, amateur theatres, church halls, city theatres and working men’s clubs. Through these temporarily deserted locations for performance, the work explores stages as spaces of imminence and expectation – inviting the viewer to imagine the different kinds […]
All the Things (2020) is a neon sculpture by artist, writer and performance maker Tim Etchells, the full text for which reads ‘All the Things which Could Happen Next’. Here, as elsewhere in his work with neon and LED Etchells’ draw on his broader artistic fascinations, exploring contradictory aspects of language – the speed, clarity and […]
'Out of the entire Shakespearian canon King Lear emerges as both a provoking guide and goad witin contemporary British drama as a vehicle for productive appropriation by dramatists. Like a current day Edgar, Richard Ashby takes his readers from the 'chalky bourn' of Dover Cliff to the gates of Auschwitz and beyond in an authoritative study of the ways in which figures as diverse as Howard Barker, Edward Bond, Tim Etchells, Sarah Kane and Dennis Kelly have reconstituted this puzzling and provoking classical tragedy. King Lear 'After' Auschwitz will rightly take up a prominent place within the growing body of work in Shakespeare studies devoted to the practice of adaptation and appropriation.' Graham Saunders, University of Birmingham 'An intellectually and politically compelling testament to the power of King Lear to fire the imagination of the boldest post-war British dramatists, and a richly rewarding study of the extraordinary plays they forged in the light of Shakespeare's tragic masterpiece.' Kiernan Ryan, University of Cambridge and Shakespeare Institute, Stratford-upon-Avon Analyses appropriations of King Lear in post-war British drama Since the events of the Holocaust, playwrights have variously appropriated King Lear to respond to the catastrophes of modern times. With case studies on the works of Edward Bond, David Rudkin, Howard Barker, Sarah Kane, Forced Entertainment and Dennis Kelly, this book explores a range of theatres of catastrophe in post-war British drama and the role that King Lear has played in new forms of post-Holocaust tragedy and tragic freedom. Plays are situated in a wider critical and cultural discourse around Shakespeare and the Holocaust and the post-Auschwitz philosophical aesthetics of Theodor Adorno, whose influence on post-war playwriting remains profound. Richard Ashby is Visiting Research Fellow at Senate House Library, London, and an Honorary Research Associate at Royal Holloway, University of London. Cover image: King Lear: Edgar, 1963, Kokoschka Oskar (c) Fondation Oskar Kokoschka/ DACS 2020 Cover design: [EUP logo] edinburghuniversitypress.com ISBN 978-1-4744-7798-7 Barcode.
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