Vito Acconci, Black Argos, David Blamey, José Arnaud-Bello, Sovay Berriman, Don Celender, Loz Chalk, Rob Chavasse, Adam Chodzko, Patrick Coyle, David Cross, Anthony Gross, S Mark Gubb, David Hall, Rose Kallal, Adam Knight, Frank Koolen, John Latham, Jamie Bracken Lobb, Elizabeth McAlpine, Julie McCalden, Ronan McCrae, David Martin, Nelson Melo and Carolina Rito, Suzanne Mooney, Lawrence Norfolk and Neal White, Graham Parker, Laurence Payot, Anthony Shapland, Barry Sykes, Aron Taylor, Sue Tompkins, Gavin Turk, Mark Aerial Waller, Neal White, Carey Young + more
This November and December LIMBO's project space will co-host To Pay Respect To The Generosity Of The Three-Minute Punk-Rock Song, the fourth exhibition organized by Toby Huddlestone as part of his Exhibition as Medium programme for Crate, LIMBO’s neighbouring artist-led organisation.
This will be a large-scale group show spanning both organisations’ galleries and the outside space between them. An events programme curated by LIMBO will run during the programme.
To Pay Respect to the Generosity of the Three-Minute Punk-Rock Song
November 19 - December 18 2011
Beta –The Sounds of New Life
November 5 - 10 2011
Beta – The Sounds of New Life is a collaborative project between Reid and Hannah Dudley-Peirson which aims to explore the sonification of ‘new life’ through a multichannel audio installation. In sound art, the process of sonification involves ‘many different components that can be altered to change the user's perception of the sound, and in turn, their perception of the underlying information being portrayed.'
Reid and Hannah have used this process to explore the initial stages of our biological development by experimenting with ultrasound equipment, new technologies and innovative computer software.
This exhibition will offer an interactive experience through aural and visual displays, where the viewer can expect to encounter human heartbeats as a compositional element in synchronisation with computer-generated sounds. The visual imagery will be based on a scientific and diagrammatic interpretation of this information.
Reid Dudley-Peirson often works with computer software and new technologies, and for his first exhibition at Limbo, Reid will aim to enhance our understanding of and emotions relating to ‘new life’.
A live performance will take place on Saturday 5 November at 19 00 at Limbo's Project Space to celebrate the opening of the show. All are welcome to attend.
Written by Danielle Gilbert
Margate Photo Festival 2011 at LIMBO: @earth
August 13-14 2011
Peter Kennard presents @earth, a new installation based on the book-work of the same name he developed in collaboration with Tarek Salhany.
Margate Photo Festival takes place yearly in Margate across a number of venues. It comprises commissioned works and works selected from an open call. The theme of this year’s festival is ‘Organic’.
Ampersand/ Weltausstellung/ Zolan Quobble
June 18 2011
South London based noise experimentalists Ampersand return to the Substation on 18 June to collaborate for an improvised live recording with German self-proclaimed non-musicians Weltausstellung and Agit-poet Zolan Quobble.
After playing the at the Substation in 2010, Ampersand found that the sound and aesthetic of the Substation's main industrial chamber perfectly complimented their performance, which employed the reverberating sounds of similarly industrial objects, including scaffolding poles and piano carcasses. They determined to return to the space to record, this time inviting collaborators to expand and adulterate the performance, which will be captured for release later in the year.
Metaphysical Margate: A Photographic Exhibition
May - June 2011
What is the real Margate? Is it the old glories of the famous seaside resort? Is it the new dream of cultural regeneration? Or did we glimpse the real Margate in-between the old and the new?
In 2004 Werner Zellien was commissioned by the architects Snohetta and Spence to provide photographic documentation of the development of their original, controversial proposal for the Turner Contemporary building in Margate. He arrived that winter to take establishing pictures. As the project costs of the proposed building spiralled, Snohetta and Spence's work was cancelled, with Zellien's commission. This left a selection of images of the town's empty spaces, loaded with a sense of what it had been and what it might become.
During the winter months of 2004/05 both the era of the seaside resort and the hope of a burgeoning cultural hub seemed very distant. But, perhaps, the real Margate could be found within the empty streets, the looming dark skies and the barren townscape, when all that was left of the town was the sense of change itself?
In these photographs Margate is seen in all its bleakness - stripped of people, stripped of life - typically taken at dawn and dusk as the famous Margate light played out its dramas. Yet, at its most bleak, Zellien suggests, Margate finds its beauty; the beauty of the limitless possibilities that lay in its future. The real Margate: a town on the edge of Britainalways able to renew itself, where change and transformation are intrinsic to its nature.
Art Lands On Alien Landscape
Live Art/Print Programme
Sean Ashton, Lesley Hall, Emma Leach, Stephen McNeilly, Frog Morris, Jessica Voorsanger,
Mark Aerial Waller
April 30 – May 15 2011
Following Dead Season - Live Art and occurring during Turner Contemporary’s opening season, Limbo’s new programme of live and time sensitive works Art Lands On Alien Landscape discusses the idea of alienation, looking at how regeneration interacts with (or perhaps stands apart from) the historical identity of a location.
Margate is still defined by the character of its arcades and Victorian holiday attractions, yet this industry has been in decline for many years. Dead Season pointed to this fact but also highlighted how central these things are to the identity of the town. As this singular identity becomes increasingly estranged and antiquated from the new activities occurring in the town, a feeling of distance occurs that raises the question: which is alien?
The programme, which takes place over three weekends consists of live and time-based events, including performance, film and participatory artworks. Seamonsters will roam the shores and members of the public will be invited to become the crew of the Starship Enterprise.
The live events will be accompanied by a publication containing stories, comic strips, articles and essays generated by the participating artists that expand and support the works in the event programme. The publication will be available throughout the town and at selected other locations in the week preceding the programme.
Curated by Jim Lockey & Katy Norton
Supported by Arts Council England and Kent County Council
Mark Aerial Waller
Superpower – Dakar Chapter + Music intervention from Moogie Wonderland
April 30 2011
Shot in the Senegalese capital of Dakar, West Africa, Superpower - Dakar Chapter (2004) is a science-fiction documentary set amidst the aesthetic and cultural logic of an African Modernist cityscape. The film follows three astronomers, played by local TV soap stars, as they prepare for a futuristic event which is about to become real. An introductory passage to the film presents Jack Horknelmer from the internet show Star Gazers TV, who provides the insights into the constellation 'Orion the Hunter' and light travel, (key astronomic information underpinning the film). Stuart Comer, Curator at Tate Modern, London comments, 'By jamming multiple time streams and technical formats he stages elliptical psychological landscapes in which fantasy and documentary become almost interchangeable'.
For its showing as part of Art Lands On Alien Landscape, Waller has created a new ending for the piece that slowly morphs the viewers experience from one of viewing something to being part of a live music event. Mark has created a special playlist of songs that picks up upon the themes of the film, and these will be mixed and expanded upon with a DJ set by Kent based visual arts and music outfit Moogie Wonderland.
Mark Aerial Waller makes films and videos that reference cinema, both interpreting and interrupting its history. With recourse to technological and narrative mechanisms, Waller stretches, reiterates and at times perverts the mainstream vocabulary of structure and dramatic staging. He selects very particular cameras, stock, transfer processes and camera shots through which to approach narrative time-based work with a painterly, self-referential touch.
Definitions of Concepts Towards a Philosophy of Alienation
14 May 2011
Through a mix of performance and digitally-transferred Super-8 film, Stephen McNeilly will further his Definitions of Concepts Towards a Philosophy of Alienation, which were introduced in his contribution to the Art Lands On Alien Landscape publication.
During the performance the audience will be presented with a number of texts that are read by a performer and simultaneously appear on a video screen as the subtitles for film footage. Each text makes an attempt to define a term in a manner that alludes to the as yet unrealised Philosophy of Alienation referred to in the work’s title.
As the work tentatively makes an approach toward a philosophy of alienation it also creates alienation: Each text is disconnected from the as-yet non-existent thesis that we assume will bind them together, and so in their current state they are estranged from each other. Each text is also accompanied by a piece of Super-8 film footage. Mostly comprising domestic scenes, the shots have no obvious relation to the texts they illustrate and any apparent connection between the footage and text may be only haphazard. The jittery projection and milky, painterly colours of the film stock gives a feeling of history and separation that intensifies the increasing awareness of the space in between each component of the performance
The text, the film, the audience. Each become categorised by how distant they are from each other. Finally the performer, who narrates the work in an accent which will be foreign to most if not all of the audience, creates yet another alien component to the piece.
Stephen McNeilly works in a variety of media and acts as a curator, producer and director of a broad range of projects including publications, films and performance. His current interests include notions of exchange, communis and the uncertain relation between public and private. Recent works and collaborations include: Fourteen interventions (2010); Heaven, hell and other places: a documentary (2010); the Swedenborg Short Film Festival; and an ongoing publishing project entitled the Dedecus Picture Archive. His long-standing interest in the writings of the eighteenth-century mystic Emanuel Swedenborg inform much of his recent writing, and he is currently the curator and senior editor at the Swedenborg Society, London.
UFO Tours and Convention
May 14 - 15 2011
Philip Yancey has devised a second free guided walk through Margate that will amaze attendees with revelations regarding the true nature of flying saucers.
How? Why? Philip has the unique ability to see things that are occurring in other dimensions and spectral realms: As he describes, "I have been granted the power to see in 17D.This allows me to see and discover much more about visitors to our planet than anybody before or since (with the possible exception of the Biblical prophets)."
Is Arlington House a beacon for UFO activity? Do aliens really exist? Is Margate home to a number of clandestine terrestrial organisations investigating UFO phenomena? Are some of these organisations possibly evil? Philip says "YES!!", and to find out why please come and attend one of his UFO tours.
Philip used to write letters to the Ministry Of Defence detailing his findings and theories as they pertain to other worlds. However, as a result of the Freedom of Information Act (FOI), his letters, amongst other UFO correspondence, were released into the public realm through the National Archive. Since the MOD has breached his trust, Philip has been searching for other ways to deal with his obsession and speak to 'the right people' about 'the message.'
The Total Destruction of Margate
May 7 2011
Bizarre and terrible sea devils! Angered by Margate’s new tourist attraction, the gods of the watery underworld have risen-up once more to wreak vengeance on the town…
In the past they destroyed Margate’s pier and burned down Dreamland. This time their algae covered fingers point to Turner Contemporary.
Only The Professor, a genius - though perhaps mad - scientist has the power to stop them and make the sea monsters change their ways. But are his intentions entirely sound, or is his goal is even more sinister than theirs: THE TOTAL DESTRUCTION OF MARGATE??!
Frog Morris’ The Total Destruction of Margate is a series of performances and happenings taking place throughout the town that tries to explain the bad luck that has befallen Margate over recent years. The audience will witness the unfurling of this narrative at the locations specified below, while ‘guerilla performances’ taking place throughout the day will identify and make the case for and against Margate’s newest scapegoats.
Frog Morris celebrates those moments of British culture that leave us unsure whether to laugh or cry. His is a world of woodland animals, bar snacks, pub singers and low budget sci-fi. He has a history of producing work which derives from popular music hall and light entertainment traditions, whilst playing with and ultimately subverting audience expectations. The audience is usually left unsure about what to expect next from him…
May 1 - 15 2011
Jessica Voorsanger has turned part of the Substation into a TV stage-set reminiscent of the strange and often hostile planets visited by the Enterprise's crew in the original series of Gene Roddenberry's much-loved Star Trek. Visitors are invited to dress in detailed replica costumes of the famous Star Trek uniforms and act-out scenes which will be instantly recorded via a genuine replica 1960's TV studio camera and played back via monitors situated throughout the space.
Here nor There
May 1 2011, Hawley Square
For a number of years a giant news ticker was displayed on the U.S. diplomatic mission’s building on Malecon drive, Havana. Streaming news and political messages, the ticker angered the Cuban government because of the anti-socialist statements it displayed. They retaliated by erecting anti-US billboards that blocked the news ticker from view. The event titled Here Nor There explores the tit-for-tat patriotism of political enmity: Follow the movements of the ticker and a flag bearer around Hawley Square to witness this intriguing form of conflict play out and to decide, “Which message is correct?”
Esther Gonzalez & Giulia Azzini
March 5 - 6 2011
Esther Gonzalez (Spain) and Giulia Azzini (Italy) are artists currently taking part in the Erasmus Exchange programme at University for the Creative Arts in Canterbury. For Persona, they present an exhibition of painting, drawing, installation and video which takes as its starting point the word persona, which has a common meaning in both their languages and resonates through both artists’ personal artistic research.
Persona means ‘person’ in both Spanish and Italian. As in English, this word ‘person’ implies a human being (as in ‘chairperson’). However, the common root for both ‘person’ and ‘persona’ is the Latin 'persona', meaning "character in a drama, mask" – the word simultaneously suggests something real and false.
The work of both these artists explores this sense of everyday life as roleplay. In Esther Gonzalez's painted portraits, a direct painterly language seems to level the distinction between celebrities and ‘common people’, while with Giulia Azzini’s installations, Foams and Mirrors, visitors are invited to play in a game of cat and mouse between the real and the represented.