Downloads

BANNER REPEATER DOWNLOADS, TALKS AND LECTURES VIDEOS.

You will find a selection of artworks that have been made for Banner Repeater by artists associated with the reading room and project space art programme that are free to download, either to print for yourself, or to have as a digital artwork on your desktop.

These are links to the Banner Repeater Vimeo page that holds all the filmed talks and lectures that we have at present.  All video's filmed and edited by Warren Garland, except for Benedict Drew's work Notes on the Dumb Terminal.


THE MAP IS THE TERRITORY

On-line essay.

Notes on the Dumb Terminal. 2012. New work for Banner Repeater by Benedict Drew. Notes on the Dumb Terminal. 2012. Benedict Drew.

On-line html essay, projected in the project space for the duration of the exhibition: The Map is the Territory.

Fourth in the 'notes' series.

Looking through the looking glass for clues about the looking glass, Benedict Drew extracts the reality from behind the phosphorous glow of the screen, the servers, the hard drives, the computers, the projectors, the rare earth metals that these contain, and the enormous energy consumption of the servers required to fuel the vast database that is the internet.

Drew has developed an on-line screen essay that considers the underlying meaning of these mythologies as they converge in the present configuration of late capitalism, with regard to the technology that drives his newly commissioned work for Banner Repeater, that is to be found both present in the project space, but primarily on-line.


TALKS AND LECTURES: VIDEOS.



THE GEOLOGICAL TURN



Gabo Guzzo: artist in residence, Banner Repeater reading room/project space.

Opening night and talk: Thursday 31st May 2012 5-9pm. Talk: 7-9pm.

The work in residency will become a site for discussion from 7-9pm on the 31st May, and can be viewed after this until the 10th June.

Guzzo has invited several noted speakers to join together in conversation on the 31st May, using the diagram as a site for discussion and debate: Paul Crutzen, Rasheed Araeen, Jan Zalaseiwicz, with TJ Demos (chair) to discuss some of the controversial ideas that come of the proposed new geological epoch: the Anthropocene.

Speakers:

Paul J. Crutzen is a Dutch Nobel prize winning atmospheric chemist, and theorist on the Anthropocene.

Rasheed Araeen is a London-based conceptual artist, writer, and art critic. His artistic activity has been complemented since 1987 by the groundbreaking art publication of Third Text. He is the author of ‘Ecoaesthetics: a Manifesto for the Twenty-First Century’.

Jan Zalasiewicz is a lecturer in Geology at the University of Leicester and was formerly with the British Geological Survey. He has published over a hundred papers in scientific journals and is the author of ‘The Earth after us: what legacy will humans leave in the rocks?’

 T. J. Demos - will be chairing the discussion.T.J. Demos writes widely on modern and contemporary art. His published work centres broadly on the conjunction of art and politics, examining the ability of artistic practice to invent innovative and experimental strategies that challenge dominant conventions. (Recent essay: Art after Nature: the Post-natural condition. Artforum, April 2012.)





18th July 2012, 7-9pm, Simon O’Sullivan, who will be talking on his new book: On the production of subjectivity.  Five diagrams of the Finite Infinite relation.
 
"How might we produce our subjectivity differently? Indeed, what are we capable of becoming? This book addresses these questions with a particular eye to ethics, understood as a practice of living, and aesthetics, understood as creative experimentation and the cultivation of a certain style of life. Central to the enquiry are the writings of Felix Guattari and Giles Deleuze separately and in collaboration, as well as their philosophical precursors, Spinoza, Nietzsche and Henri Bergson. Each of these, it is argued, offer powerful resources for thinking subjectivity beyond its habitual and typical instantiations specifically in relation to opening up a different temporality of and for the subject today. Alongside this Deleuze-Guattarian trajectory the book also brings in to encounter the writings on aesthetics and ethics of Michel Foucault and Jacques Lacan, and pitches Deleuze against Alain Badiou's own theory of the subject. At stake in this philosophical and psychoanalytical exploration is the drawing of a series of diagrams of the finite/infinite relation, and a further development of Guattari's ethico-aesthetic paradigm for thinking the production of subjectivity as a speculative, but also pragmatic and creative practice."





Tuesday November 20th 2012, 7-9pm : New Institutionalism.

 
To coincide with Christopher Kulendran Thomas' exhibition, When Platitudes Become Form, independent curator, critic and course leader of MFA Curating at Goldsmiths, Simon Sheikh, will be in conversation with the exhibition's curator Tom Trevatt.
 
Sheikh diagnoses art's critical role as one that has been historically institutionalised. From his theory of a new institutionalism that, through artistic methodologies, performs a "critique of critique", Sheikh asks the urgent question: "how do we institute?"



WHEN PLATITUDES BECOME FORM

Christopher Kulendran Thomas.

Curated by Tom Trevatt

Sun 7th October - 16th December 2012.

The video is a recording of the talk between curator and writer Tom Trevatt in conversation with Christopher Kulendran Thomas with additional input from the audience.

It was held on Tues Nov 6th, 7-9pm, at the launch of The Allure of Collusion, a new publication by Tom Trevatt to accompany the exhibition: When Platitudes Become Form.

"In August 1940 Gilbert Renault, more famously known by his pseudonym, Colonel Rémy, returned to occupied France to volunteer as an agent in the French Résistance. During his time working for the British Government and the Free French Government in Exile, headed by Charles de Gaulle, Rémy became the most effective agent amongst almost 2000 volunteers. Working for the Bureau Central de Renseignements et d’Action (BCRA) Rémy organised one of the most active resistance networks (an organisation created specifically for military purposes; intelligence gathering, sabotage, espionage), the Confrérie de Notre Dame (Brotherhood of Our Lady). The express purposes of this network were the gathering of information, maps and photographs that aided the Allied armies in their incursions into both occupied France and German territory. Alongside the high profile resistance fighters as many as 400,000 French adults (by some estimates) partook in some form of resistance, be it producing, distributing or consuming resistance literature, committing acts of sabotage, gathering intelligence, housing spies, engaging in guerilla warfare. These activities, the networks created, the espionage, the clandestine publications, the economic resistance, people, relationships, weapons, forged documents, lies, secrets, loyalties made, loyalties broken, lives lost, loves formed, these things, these objects, these contingent materials of the Résistance are what the liberation movement colluded with."
- Excerpt from The Allure Of Collusion by Tom Trevatt


Not dissimilarly, a contingent ecological conception of the work of art is central to When Platitudes Become Form, an ongoing enterprise that exploits both the aesthetic and financial differences between centres of art power and their margins to pursue political affects that are not confined to the relation between artwork and viewer. Itself a target for marketisation, Christopher Kulendran Thomas' work takes as its materials the whole system by which art is distributed, including but not limited to the market, the state and global art imperial power, utilising the tools of distribution in the continual evisceration of the formation of the contemporary.

 


 

 

THE MAP IS THE TERRITORY: BANNER REPEATER PROJECT SPACE TALKS. 17th March, 2012.

How Its Kicking off Everywhere.

Discussion with Paul Mason, Nathan Charlton, and Andrew McGettigan.

Discussion between Paul Mason, financial journalist and economics editor for Newsnight and recent author of "Why It's Kicking Off Everywhere", Nathan Charlton, writer, technologist and director of Big Ideas, and Andrew McGettigan, author of the blog Critical Education and the book "The Great University Gamble" (Pluto, forthcoming) also of the Big Ideas team. We will be considering how the technology that facilitates the vast consumerism of capitalism is at some core level, implicit also in our ability to act politically, and how that affects our understanding of what it is to be politically engaged, with respect to older hierarchical structures and former traditions that may come into question as a result.

Considering ideas relating to new media; social media, and the new technologies that facilitate a new kind of connectivity between people, that allows for an accumulative awareness of social injustice in more immediate terms than ever before, and how this technology might impact upon events involving mass movements of people.

Whilst being mindful of the origins of concepts that took a hold historically during early developments in technology in the 60/70's, and recognising that new technology does not necessitate emancipatory projects in and of itself, but is a tool that provides new methods of communication, we will be looking at how these technological changes impact upon our sense of a collective and political voice.

 


 THE MAP IS THE TERRITORY: BANNER REPEATER PROJECT SPACE TALKS. 24th March, 2012.

Liquid Crystals, Phosphor-fluorescence and the New-Old.


Talk by Esther Leslie, Professor in Political Aesthetics, Birkbeck, University of London.

This talk will range over recent digital screen artworks - from the super-kitsch of nanoart to some of the recent mobilisations of liquid crystals in art. Liquid crystals are considered here as aesthetic objects, or even subjects, spirited points of colour and light that dance across our screens. 

Liquid crystals are the fundamental matter of the screens that pervade our world, in PCs, tablets, TVs. These LCs, which have embedded themselves in our environments, come into visibility in new ways through the processes of art. Liquid crystals conjure up a flexibility in the image - allowing pixel-by-pixel alterations. They also brighten up the rainbow, admixing colour and light to make viewing surfaces with eye-candy appeal.

In this talk fluorescent and phosphorescent screen appeal is considered in the glaucous light of the oceans we once called home - that peculiar gleam is both ancient and modern and entirely natural. It will also think about these screen glows and screen hues as revelatory emanations of futurity - synthetic, chemical and shocking and possibly heralding new knowledge, in the way that X-Rays once did too.


 

BANNER REPEATER PROJECT SPACE TALKS ON THE DIAGRAM: John Cussans 30.4.2011.





If you wish to see this video please send an email request to This e-mail address is being protected from spambots. You need JavaScript enabled to view it and we will send you the password.

 

BANNER REPEATER PROJECT SPACE TALKS ON THE DIAGRAM: Dean Kenning. 30.4.2011.

 

(Filmed and edited by Warren Garland.)

Beginning with Dean Kenning's Metallurgy of the Subject (2010), a diagrammatic allegory of sacrifice based on philosophical re-conceptions of 'community' and ‘communism’, and John Cussans' representation of The Inverted Pyramid (according to Georges Bataille) the artists will engage in a diagrammatic dialogue about the Paradoxical Paereidolic Neoteny of Lacan's Final Schema of Desire.

By way of an introduction to some of these ideas, via the dialogue that has already begun:

Dean Kenning: Metallurgy of the Subject is an allegorical attempt to understand recent philosophical conceptions of 'community' and ‘communism’ by writers such as Jean-Luc Nancy, Alain Bodiou, Maurice Blanchot, Paulo Virno and Giorgio Agamben. It is a didactic tool, which I have used to demonstrate political positions in the world today, and it is an impetus for discussion. I also see it as a contribution to ideas around communism, the individual, the collective and notions of sacrifice. This particular allegory takes the form of a diagram. A diagram as I understand it is not simply illustrative, but is a machine for producing thought by making connections and organising concepts.

John Cussans: For me this has to do with the function of diagrams and visualizations in artistic and pedagogical contexts which have distinct but inter-penetrated raisons d'etre. There is something like an aesthetic surplus operating in the gallery context, which can, and does mitigate against the diagram’s positive pedagogical instrumentality. In a way this dumb/clever excess is at work in the 'Paradoxical Pareidolic Neoteny of Lacan's Final Schema of Desire', which we will explain, all being well.

(JC) What I really enjoy about this work [Metallurgy of the Subject] is that it manages to do what I am speaking about above but in an explicit fine art/gallery context. It manages to do that very rare thing of being both a pedagogical and aesthetic work simultaneously (in one). It visually represents your understanding of difficult philosophical texts and concepts, making them comprehensible in pictorial terms, while at the same time maintaining an aesthetic quality that exceeds (or is perhaps superfluous to or in excess of) their pedagogical function.

So in terms of this idea of ‘Illustrating Theory’ you have managed to do this without, I assume, the response of “Oh, it’s just illustrative”.

I have decided to say something about how I use diagrams in my own thinking-writing practice using illustrations from my (JC) notebooks:

John Cussans: notebook diagram. Dean Kenning: still from Metallurgy of the Subject.

 

 


 

BANNER REPEATER TALKS AND LECTURES.  Cones, Neil Chapman and Nooshin Farhid.   7.10.2011

 


 

BANNER REPEATER ARTISTS TALKS AND LECTURES.  Efficiency Gap.  Julika Gitner: Artists Talk.  31.7.2011.

 


 

DOWNLOADS.

You will find a selection of artworks that have been made for Banner Repeater by artists associated with the reading room and project space arts programme that are free to download, either to print for yourself, or to have as a digital artwork on your desktop.


 

PRESS HERE FOR DOWNLOAD.

Download Steven Ball's pdf: On Being, a PDF.

"On being and a slip of a comma, text and material collide; so we're tumbling through Google, where it lives, to find its being, and to jam these things together, to forge this weird text, which is both object and its trace, but only ever, can only ever be a partially revealed essence, as the invisible whole recedes from view, back into Google, into the network, it’s Read Only, its memory."

Steven Ball  co-curated the artists film and video programme at Banner Repeater:

LIGHT WRITING
2nd December - 23rd January 2011.
Light Writing considers the relationship between word and image in artists experimental film and video

artists: Steven Ball, Ian Breakwell & Mike Leggett, Steve Hawley, Louis Henderson, David Lamelas, Laure Prouvost, Richard Serra, Erica Scourti, John Smith, pete spence, Maria Theodoraki and Ryszard Wasko.

Curated by Duncan White and Steven Ball

Animated text is commonplace in everyday contemporary media, but artists have been experimenting with the interface of word, language, image and movement in film and video for decades through formal exploration. This programme of works by historically significant, established and emerging contemporary artists encompasses a range of approaches to mobilising the visual, semantic and linguistic with puns, palindromes and performance; referencing literature, philosophy, poetry, and media.
The programme is part of 'Light Writing' an event based research project into the relationship between word and image in experimental film and video led by Dr Duncan White based at British Artists' Film and Video Study Collection, Central St Martins College of Art and Design. www.studycollection.org.uk

 

 


 

PRESS HERE FOR DOWNLOAD.

Mark Dennis and Chris Gomersall: self-constructable banner.

Artists Mark Dennis and Chris Gomersall, edited, and launched Gavagai! a journal with contributions from Malcom Quinn, John Russell, and Shahin Affrasiabi, with a focus on the structure of speech and language in art at Banner Repeater in February 2011.

A performance: Writing Scripts For Dreams was held on the night.

The following text is to accompany the banner download you can find above:

This piece has its origins in series of songs entitled ‘Writing Scripts For Dreams’, which we presented at Banner Repeater in February. This was a work which involved, inter alia, the translation (by way of Shelley, Baudelaire and Brecht) of the descriptive and explanatory semantics of an essay on postmodernist textual-politics and political substitutionalism, into some quasi-lyric poetry, of which comprised the songs sung-material. The consequences of what issued was a sort of melancholic, political rhetoric; of which this picture’s textual content is but one displaced, lopped-off instance.

It is worth, very briefly, recalling at this point a little bit of the historical development of the modernist lyric. To recall this history is to recall a history of masquerade, concealment and cross-dressing. Baudelaire’s poèmes en prose involve a complex travestying and deflating of Wordsworthian ‘aura’ - the “escape from the weight of material existence" - ideologically set in opposition to the unreadable morass of commercial corruption. Baudelaire’s lyric, traversed by the speech and language of commodity relations, is an attempt at a critique of commodity-relations and the structuration of speech from within the systematic mystification of meaning under capital. Baudelaire was to make commercialism ‘readable’ via allegory’s denaturalising mechanisms and from within the ‘second-nature’ of the commodity-form itself.

Our banner involves a risky proximity to that which it itself might hope to represent and do some damage to, a world of performative contradiction and endemic misrepresentation. Are we potentially misrepresented as producers who assent to a world which validates the aestheticisation and instrumentalisation of the political, or indeed as producers who assent to the ironisation of poltical ‘commitment’? This is a problem - we return to the world from which it was issued, to better live with the potential embarrassments involved. This time it is attested to in the form of a quasi-painting that was made in order to be chopped-up and printed off at home, hung as a decoration, for a small gathering of exiles.


 


 

 

PRESS HERE FOR DOWNLOAD.

Download Duncan White's pdf of the lecture for Light Writing, Jan 2011.

LIGHT WRITING

2nd December - 23rd January 2011.
Light Writing considers the relationship between word and image in artists experimental film and video

artists: Steven Ball, Ian Breakwell & Mike Leggett, Steve Hawley, Louis Henderson, David Lamelas, Laure Prouvost, Richard Serra, Erica Scourti, John Smith, pete spence, Maria Theodoraki and Ryszard Wasko.

Curated by Duncan White and Steven Ball

Animated text is commonplace in everyday contemporary media, but artists have been experimenting with the interface of word, language, image and movement in film and video for decades through formal exploration. This programme of works by historically significant, established and emerging contemporary artists encompasses a range of approaches to mobilising the visual, semantic and linguistic with puns, palindromes and performance; referencing literature, philosophy, poetry, and media.

The programme is part of 'Light Writing' an event based research project into the relationship between word and image in experimental film and video led by Dr Duncan White based at British Artists' Film and Video Study Collection, Central St Martins College of Art and Design. www.studycollection.org.uk

 

 


 

 

PRESS HERE FOR DOWNLOAD.

Download: Clunie Reid's artists book (please be patient for this download it takes a little while).

Exhibition: Melanie Griffith's Knee, work by Clunie Reid
19th February - Sunday 3rd April.

Clunie Reid appropriates images, symbols, digital photography and text, found in advertising and the everyday abundance of imagery and text we are surrounded by.

Revelling in the trashy materials of throw away culture, shiny paper, stickers and tape, her drawings implicitly demand a substantial engagement from the viewing audience, using satire to break through normative readings of stereotypical cliches, insisting on an interrogation fuelled by humour.

In a not dissimilar way to a diagram, they allow for

"knowledge of the other circumstances which one does not see". (P. Stewart.)

Reid has put together a publication for the exhibition: 'Melanie Griffith's Knee', which will be on display, and is available for downloading here. There are instructions for printing if desired, we recommend www.servicepointuk.com for 7 pounds.

 

 


 

 

PRESS HERE FOR DOWNLOAD.

Beyond the Ambit is a publication put together on the advent of the artist led space exhibition at Pn4 by Chris Rawcliffe, and includes material by the following people all having been involved in artist led spaces: Jonny Aldous, the two Jonnys’, London, Adam Burton, Vulpes Vulpes, London, Ami Clarke, Banner Repeater, London, Kaavous Clayton, Kaavous-Bhoyroo, Norwich, KIMI CONRAD, OUTPOST, Norwich, and Matt Hale, City Racing, London.

The following text is a result of the questions asked by Chris Rawcliffe of Ami Clarke in June 2011, and published in Beyond the Ambit, available at Banner Repeater

 

Beyond the Ambit is a publication put together on the advent of the artist led space exhibition at Pn4 by Chris Rawcliffe, and includes material by the following people all having been involved in artist led spaces: Jonny Aldous, the two Jonnys’, London, Adam Burton, Vulpes Vulpes, London, Ami Clarke, Banner Repeater, London, Kaavous Clayton, Kaavous-Bhoyroo, Norwich, KIMI CONRAD, OUTPOST, Norwich, and Matt Hale, City Racing, London.

The following text is a result of the questions asked by Chris Rawcliffe of Ami Clarke in June 2011, and published in Beyond the Ambit, available at Banner Repeater

DOWNLOAD

 

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