Gallery / Exhibition
Landing Site is an online gallery and exhibition programme format.
The Landing Site gallery sees a new artist commission every 6-8 weeks, where we work with an artist to develop and produce a piece of site specific work for exhibition.
The exhibitions will look to focus on interactive works alongside a range of diverse 2D and virtual media. Enabling Landing Site to act as a gallery space will allow SPUR to have a continuous exhibition programme, and further explore the process of working with artists and the experimental development of projects.
The first work on the Landing Site gallery was Clock, by artist and web designer James Maxfield. His digital clock showed time in a continuous cycle, demonstrating how the internet has no sense of defined or set time or duration.
[online] longline  (variable)
Doug Bowen’s work [online] longline  (variable) looked at the whole website front as a space for taking up habitation, changing the cursor, favicon, background and tab header Bowen took a sense of ownership over the site exploring the use of and ownership of websites.
A small video installation looking at the use of technology and the equipment used to turn physical objects into digital files.
Mark Dorf’s work took the guise of a giff, made during a residency in the Rocky Mountains, the giff reduced the solid weight of the mountains into light and moveable flat layers, scaling the mountains in to an image in constant motion.
Candice Jacobs work was part of a larger project at the time which saw her install simultaneous exhibitions in Liverpool and London, INHALE EXHALE was a black out on the screen with the sound of the sharp intake of breath, an immersive and consuming work in which the interaction and decision of duration was left up the the viewer.
As White As A Sheet
A fast moving giff of all the ghost face’s from our As White As A Sheet project. Including the artists Beth Rose, Fred Pepper, James Maxfield, Patrick Creedon, Greg Owen, Alex Sickling and Jay Cover. Followed by the extended video work I’d Rather Smoke Crack Than Eat Cheese From A Tin by Jamie Green.
command-option-escape command-option-escape, 2015
Luke Nairn’s multi giff installation considered the use of screens in our daily life, contemplating how screens and digital content becoming layers that form on top of physical experiences and how these layers ‘foster a feeling of disconnection from tangible reality’.
Internal Broadcast, 2015
The installation sees the work of two distinct creative practitioners put in close conversation with each other; Sophie, an illustrative artist and Ximena, a sound based artist and Research Fellow at the London College of Communication. Internal Broadcast for the Landing Site sees two new works, one from each artist placed together to extend the dialogues formed during the first part of the project; the Radio City residency at Tate Britain.
Apparatus (Nailed it)
A playful exploration of dynamism and form specifically for SPUR’s Landing Site gallery. Typically using a mix of projection and sculpture, Tom’s work seeks to explore the physicality of images, and the increasing ‘imageness’ of objects in the context of digital technologies.
This Place, 2015
Connecting to her Annuale 2015 prose work, Andreou’s new video commission This Place (2015) undercuts systems of place and displacement through image, figure and text.
The Pain Management Programme, 2015
Kadish Morris is a London based poet b. 1990. She has performed her work at ICA, Southbank Centre, Rich Mix and has poetry published in Popshot and most recently in It Wasn’t My Fault.
This new commission took the form of a text piece; a series of instructions, questions and exercises exploring the long-term management of chronic pain.
A wonderful future where you have back up copies, 2015
A wonderful future where you have back up copies is part of an ongoing research project by Georgie Grace into speculative technologies, wishful thinking, and the concept of The Singularity.
The video will explore themes of technology, future-time and screen mediation. Employing a combination of text and image, Grace’s videos reflect on how our embodied minds and technology might intersect. Referencing present modes of digital storage and memory outsourcing, these ideas are taken further to suggest the future possibility of making back ups of the human brain and the potential technological and ethical limits that these processes of capturing and converting of data might pose.
Theis video commission is part of About Time, a programme of contemporary art activity in Leeds over October 2015 to January 2016.