Fieldgate Gallery is very happy to present a site-specific installation by Ron Haselden. This will be the inaugural exhibition at the Angus-Hughes gallery as part of a series of three exhibitions curated by Fieldgate:
On Becoming a Gallery
An Exhibition in Three Parts: Curated by Fieldgate Gallery
Part One: Oct 21st – Nov 14th
Ron Haselden ‘October’
Private View: Wednesday, 20th October, 6-9pm
Gallery open: Thursday - Sunday, 12-6pm
26 Lower Clapton Rd (at the junction of Urswick Rd), London, E5 0PD
0208 985 0450 / firstname.lastname@example.org
What Ron Haselden has made is a contingent way of knowing as an object, but what it conjures is the subject who asks in the first place. It’s this subject that fills the room, locates itself in space, rises and drops. It is a happy coming together of a way of asking and a way of knowing, and the sustained suspension of the consistency of the self that this requires. Haselden’s work quietly and persistently transforms the facts of the world and the facts of the strings of thought into a monument to the bodily subject who asks.
- Tim Martin, London, September 2008
Ron Haselden appears courtesy of Domo Baal Gallery
‘October’ is constructed with the assistance and collaboration of Joe Cutts, Richard Ducker, Roy Marsden and Matthew Reeves.
On Becoming a Gallery
When a new gallery space opens does it become into the world in the way an artwork does? The Deleuzian notion of becoming is not linear, but a simultaneous realisation of the constituent parts in the becoming of its nature. It is a perception not a process: “We are not in the world; we become with the world; we become by contemplating it. Everything is vision, becoming”. With a gallery however, there is a process over time too. This happens on many levels: the introduction of artworks, the trace of its former usage, the accumulative history of exhibitions that the space establishes, the history that each participant and visitor brings. All of these elements then create a context in which the artworks and gallery are experienced and understood, and it is this dialogue that then becomes the gallery’s nature.
When Fieldgate Gallery was asked to curate the inaugural three-exhibition residency at the Angus-Hughes gallery it seemed an interesting prospect to approach it from these different notions of becoming. By definition there will be a linear narrative – all processes take place over time (in this case over the three exhibitions), but the analogy of becoming as a curatorial device remains intriguing. With that in mind the exhibition programme addresses these aspects of realising the gallery over its given chronological time-frame, from its state as an empty space. Through this, each of the exhibitions, in different ways, reveals the gallery space as a site of expectations and meanings.
There is no theme, no critical context, no text. It is about filling a space full of stuff over a three-exhibition period and giving it significance. It is about decisions and percepts, it is about “…the organisation of perceptions, affections, and opinions…that take the place of language”, and when words fail, as they will, then all that is left is to do is as Laurence Sterne describes in ‘Life and Opinions of Tristram Shandy’: “When Corporal Trim flourishes his stick, we are given not the words but a twirling line on the page”.
- Richard Ducker, 2010
Part Two: Nov 27th – Dec 19th
Frances Richardson - Gary Colclough
Part Three: Jan 15th – Feb 6th
Aisling Hedgecock – Stewart Gough & Tom Ormond
Paul Eachus with videos by Nooshin Farhid
07957 228351 / email@example.com / www.fieldgategallery.com