Conran, Maia (2014) Here is the Yard. [Show/Exhibition]
Here is the Yard - Installation ... | Here is the Yard - Installation ... | Here is the Yard - Installation ... |
Type of Research: | Show/Exhibition |
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Creators: | Conran, Maia |
Description: | A solo exhibition at Grand Union, Birmingham, entitled Here is the Yard (28 April – 10 May 2014). Maia Conran presented three new works that transform short video recordings of brief moments into a large scale panorama, a sculptural sound installation and a discrete video work. Here is the Yard responded to Grand Union’s light-industrial setting, directly and playfully referencing the architecture of the gallery space and the buildings surrounding it. Documentation of the exhibition is available on the Grand Union website. The three works comprised: Trace, a large scale video projection, which showed a stark, graphic animated rendering of footage of a curtain blowing in the breeze. The title piece, Here is the Yard, is a VHS video on a monitor that used security footage appropriated from You Tube. This featured an intruder scuttling across a loading bay and climbing into a window. The sound installation, Track, features the sound of a mechanical industrial gate opening and closing travelled down harp like, copper wires strung floor to ceiling in the Gallery. |
Your affiliations with UAL: | Colleges > Wimbledon College of Arts |
Date: | 28 April 2014 |
Funders: | Arts Council of England, Grand Union, Flatpack Film Festival, Glynn Vivian Gallery, Swansea, Arts Council of Wales |
Related Websites: | http://grand-union.org.uk/gallery/here-is-the-yard-maia-conran/ |
Related Websites: | |
Related Publications: | Here is the Yard |
Locations / Venues: | Location From Date To Date Grand Union, Birmingham 28 April 2014 10 May 2014 Glyn Vivian Gallery, Swansea 2014 Screengrab, Pinnacles Gallery, Townsville, Australia 2014 |
Material/Media: | Mixed media |
Date Deposited: | 18 Dec 2018 10:12 |
Last Modified: | 19 Dec 2018 11:42 |
Item ID: | 13687 |
URI: | https://ualresearchonline.arts.ac.uk/id/eprint/13687 |
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