Review: 'Juneau Projects - I Am The Warrior' at John Hansard Gallery Central

Photo: Courtesy of John Hansard Gallery

‘Juneau Projects: I Am The Warrior’ celebrates not just art, but the drive to create it. It focuses on the creativity that exerts itself in countless ways, with countless outcomes and continues to transform day by day. By embracing this, ‘I Am The Warrior’ reflects our desire not only to view, but to create art, to produce it, in any way possible. The way the exhibition changes over time re-evaluates the gallery environment itself. Work is not fixed, but is placed temporarily, on show and then not, or repositioned as new works are thrown into the mix. A force, itching to find something new, drives the project to grow and develop.

There is an air of graffiti art to the curation of the show. Vivid colours are splashed over the walls along with huge blocks of pink and yellow, while the artists’ names are chalked onto the wall. There is a sense of spontaneity, things are in motion, go back tomorrow and there will be more work, more scribbled names, forming an erratic, sensational display of creativity.

For me, the standout work was by Ning-Ning Li. Her line reminded me very much of Warhol’s early illustration work, with the simplicity and pastel palette emphasised by the bold surroundings of the gallery. Literally anything goes here, from written and framed poetry, to model painting, an animal made of empty milk bottles, bracelets and an impressive sculpture by Chris Cudlip, titled ‘Drum Fish’.

Photo: Courtesy of John Hansard Gallery

The show captures the impulsiveness and temporality of street art, but its biggest success comes from its democratic approach to the selection and display of people’s work. The project celebrates art that is made for the sheer joy of making it. It is also important to note that this is the Central gallery’s final exhibition (its main building remains open), so it is clear to see why an exhibition of this style was chosen, as it reflects the galleries own spontaneity in terms of its location and short tenancy.

‘I Am The Warrior’ sends out the Central gallery in a flourish of colour, but the story is far from over. Despite major cuts to budgets across the country, Southampton’s Cultural Quarter looks to grow exponentially. In 2015, work will be completed on the new arts complex, which will play host to the new John Hansard Gallery, as well as new performance spaces and a selection of other related ventures.

Photo: Culture Southampton. Artists impression of the new arts complex

For now, head over to the ‘Juneau Project’ exhibition, then go back after a few days and see what has changed, as new work is being added almost every day. Submissions are open and are still being taken, so if you have anything you would like to show, be it photography, sculpture or hobby craft, be sure to send it over to the gallery (follow the link to the Hansard website for more information).

'Juneau Projects: I Am the Warrior' runs until April 27th at the John Hansard Gallery Central, visit their website for more information on how to submit your work. A new exhibition, 'Performance/Audience/Film' opens at the main John Hansard Gallery on March 26th. 

Joe Rose

Co-Editor

Review: Vinyl Memories Exhibition at Southampton Showcase

Photo Credits: Ed Neal

Vinyl Memories is an exploration of the connection between people and vinyl. It’s been said from the beginning of the deterioration of the vinyl era, that vinyl holds a certain magic with the people that still collect them - the beauty of feeling the disc itself and knowing that there was an artisanship in its creation, gives it a powerful character.

What I found incredible about this exhibition was that it was not the vinyls themselves that stood out, but the meaning they held for their owners. I found it outstanding that some of the people really had a strong bond with their prized possessions; it reminded me slightly of being a youngster with a toy that you just can’t sleep without.

The vinyl that stuck out most for me was a copy of Exodus (Bob Marley, 1977). I find it prudent to mention that I actually own a copy of this same vinyl, so it was not the disc or sleeve that grabbed my attention except, perhaps, for a slight moment of recognition but the story that had been posted beneath...

Lindsey Darking, Consultant Copywriter and Editor, MCS:

“Later on I saw Bob Marley again at a concert at Crystal Palace in 1980. I had a boyfriend from Zimbabwe at the time, who was determined to speak to Bob Marley. I didn't rate his chances, as the band was heavily guarded in a compound with a high wire fence and Dobermans. But my boyfriend – no doubt because he looked like he could be with the band – just walked confidently past the guards and got in. He told me afterwards he had sat down and chatted to Bob Marley and shared a smoke with him. I’ll never know if it was true, but I think it was.”

In our era of instantaneous everything, I find myself unable to garner a connection with anything because of how quickly we achieve gratification. No longer do people spend hours, days and weeks wondering what that song they heard in the shop is – we have Shazam for that. No longer do we spend hours in the record shop flicking through mountains of crap for that one speck of gold we've been searching for – we have iTunes for that.

Having left the exhibition with images of a signed copy of The Queen is Dead (The Smiths, 1986), a picture-disc of Disintegration (The Cure, 1989) and the infamous photo of a cow acting as the sleeve of Atom Heart Mother (Pink Floyd, 1970) spinning circles around my brain in desire – I find myself thinking about my own vinyl collection, and the connection that it holds with me.

(the signature is on the other side,
so you’ll have to go if you want to see it!)

My friend Michael Davies was moving house and we were clearing out the garage, and we found boxes of vinyls stacked up at the back of room. I thought I was going to have a heart attack from happiness, having just been purchased a vintage record player (1973) for my birthday and only owning two vinyls at the time, I asked if I could take my pick. I ended the day with a box of over a hundred vinyls (which once you've experienced vinyl, you know is enough to break a weak man’s back) and a smile so wide that I probably looked like the Cheshire Cat.

My vinyl collection, which has now grown in size, is one of my prized possessions – containing multiple 1^st UK prints in mint condition from Led Zeppelin IV to Genesis: The Lamb Lies Down on Broadway with a message “A Porky Prime Cut” etched by hand into the run-out groove, by the most accomplished record cutting engineer in the business, George Peckham.

In retaliation, perhaps, to modern society and technological evolution in all of its clinical glory – we find ourselves within a war between cultures old and new, as the resurgence of vinyl becomes ever stronger. I’m not one to take sides in a fight, generally attempting to understand both points of view but taking all of this into account, it haunts me to admit that iTunes is the anti-Christ.

Vinyl Memories is exhibited at the Southampton Solent Showcase (Sir James Matthews Building, Above Bar, Southampton SO14 7NN) from 1 March - 20 April to coincide with SMILEfest 2013. Admission free. More info.

Ed Neal

Music/Film Editor