Rebecca Jarman – Bias Cut

One Thoresby Street and New Midland Group (NMG) are pleased to present Bias Cut, an exhibition of new work by Rebecca Jarman. Jarman is the recipient of NMG’s UoL Production Bursary, given in partnership with University of Lincoln. Offered exclusively to undergraduates from University of Lincoln’s BA (Hons) Fine Art who graduated in 2020/21, this opportunity was for an emerging artist affected by the Covid-19 pandemic providing them with the tools and resources to produce and exhibit work within a NMG partner venue.

Working in a variety of media including drawing, installation, and sound, Jarman’s practice centers on how art can act as a conduit for social change.

Jarman often takes an analytic and research based approach and has taken Caroline Criado-Perez’s ‘One-Size-Fits-Men’* discussion as a starting point for this project. Perez notes that ‘women have, on average, smaller hands than men’ but very few manufacturers cater to this. Similarly, women’s clothes often have significantly smaller pockets or lack pockets completely. Women are often encumbered more than men and thus have to change their behaviour to fit their surroundings, rather than the design of their surroundings adapting to them. This is highlighted in Jarman’s denim-tapestry work, where we are able to see the significant difference in size of a man’s jean pocket to a woman’s. Often, design marginalises women’s bodies, meaning that both literally and figuratively, women don’t fit in.The unconscious biases that lie behind these misogynistic designs, and the effect they have on the everyday experience of women are further emphasised by the abject, grotesque sculptures in the exhibition. 

“I met Criado-Perez in October 2021 and asked her how she imagined her work would translate into art, her response was ‘I don’t know you’re the artist, you tell me’. This exhibition is my personal response to not only her ideas, but my experience living as a woman in the modern, man-made world.”  -Rebecca Jarman.

*Invisible Women: Exposing Data Bias in a World Designed for Men 2019.

Supported by the NMG Development Programme, an Arts Council England Funded project delivered through New Midland Group, a consortium of three artist-led organisations located in Nottingham: Backlit, One Thoresby Street and Primary. We work together to foster the profile and sustainability of contemporary visual arts in the Midlands.

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New Midland Group Associate Residencies

From January 3rd – 16th One Thoresby Street hosted a series of short residencies by New Midland Group associates Millie Quick, Miffy Ryan and Melanie Wheeler.
 
Millie Quick worked on her project ‘Egregorial: a testament engine’, described as ‘ritual, reflection and revelation in her memory shrine. One Thoresby Street in Sneinton is the perfect place to pause, look back and reach forward.’ Audiences were invited to discuss the power of memory for community building, and take part in the shaping of the egregore: a reflection of people and power.
 

Miffy Ryan activated the space with the Lone Ones Collective, exploring Art Activism, questioning if society can self organise, and thinking about Palle Nielsen’s ‘The Model – A Model for a Qualitative Society’ (In 1968 Palle Nielsen approached the Moderna Museet in Stockholm with a proposal for turning the museum into an adventure playground).

The collective looked at themes of Queer Reproduction and the connections between supernatural, folklore and liminal land in a queer context.

 
Melanie Wheeler focused on creating costumes, votive objects and rituals and inviting the public into the space to participate in reenactments / reenlivenings of ancient water rituals that were practiced by Pre-Christian Water Cults.
 
This work in progress explored; rituals of care, participation, animism and an experiment in thinking about folklore, connections with land and watery bodies, environmental cultures and ‘A new mode of post-human feminist phenomenology that understands our bodies as being fundamentally part of the natural world and not separate from or privileged to it’ developed in – Bodies of Water by Astrida Neimanis 2017
 
Images by Ismail Khokon, Sophie Mackfall, Miffy Ryan
 

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Arit Etukudo Residency

During July and August  OTS hosted Arit Etukudo for a production bursary, in the run up to her first solo UK exhibition ‘The Christening’ at New Art Exchange

Whilst in residence Arit developed a series of resin casts with the assistance of studio holder & art technician. These formed the basis of a mixed media video installation which was ‘inspired by a moment where the artist nearly drowned in a swimming pool and experienced an extreme state of solitude which was confirmed as she reached the surface of the water, as her family did not notice her drowning. The work is a metaphor to existential questions, specifically from the experience of a queer black woman. Consequently, her work overemphasises her presence and stamp on this world through the overrepresentation of her body.’.

Arit Emmanuela Etukudo is a Nigerian-American experimental storyteller whose practice focuses on the ideas of identity and life experience. She recreates the human body in various sculptural forms to symbolize the complexity of identity and tell the stories of the ways in which the black woman’s body is allowed to exist. She has a background in filmmaking, theatre, creative writing, and photography which she combines to create image heavy installation pieces.

The Production Residency was awarded as part of New Art Exchange’s NAE Open 2019, and ran with the support of New Art Exchange. 

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Katharina Fitz – When Seams Become Audible

Opening Saturday 10th of October 12-6pm

Exhibition Continues October 11th – 31st, Tuesday – Saturday, 12-6pm

Booking for October 10th opening event: www.eventbrite.co.uk/e/exhibition-preview-when-seams-become-audible-tickets-122200255253

Booking for general opening hours: www.onethoresbystreet.org/bookings

One Thoresby Street is pleased to present ‘When Seams Become Audible’ an exhibition of new work and the first solo show by Katharina Fitz. The exhibition is a result of Fitz receiving the One Thoresby Street Production Award, given as part of New Art Exchange’s NAE Open 2019, in which she participated with her work ‘Mise en Abyme – Collapse’.

In her show Fitz presents a series of objects responding to the Attic Gallery at OTS, with the works on display being the result of a 6-week long residency. The turned, pushed, pulled and suspended forms work as a reactivation of their surroundings, beginning to interact with the architecture and challenging our understanding of how we experience space and everything that comes with it. Here Fitz offers an invitation to resee these places we inhabit through fresh eyes, creating a new kind of imagined and activated environment. 

The physical engagement of the body is notably present in Fitz’s practice and traces of her creative method draw us into an exploration of the making of the works on display, where tools and jigs become part of the installation. Fitz imports studio arrangements and objects of process into the gallery in order to bring the intimacy of the artist studio into the experience of the audience. In her installations she prompts the viewer to rethink the making of objects, the behaviour of the space and how it could be animated, changed, or extended into something else.

Fitz was born in Austria and has lived and worked in Nottingham since 2016. She completed her MFA at Nottingham Trent University in 2019 and has since been selected for Bloomberg New Contemporaries 2019 and the One Thoresby Street Production Award. In 2020 she was awarded the Gilbert Bayes Sculpture Award organised by the Royal Society of Sculptors and selected for London Bronze New Editions.

https://www.katharinafitz.com/

http://www.nae.org.uk/

https://onethoresbystreet.org/

 

@katharina_fitz

@1thoresbystreet

@new_art_exchange

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STORE

From June to July the ATTIC has been host to artists and architects; Chris Burman, Harry Lawson and Freddy Tuppen from STORE, London.

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