Uk-based artist Clare Strand filled a suitcase with selected artefacts spanning her engagement with research and personal collections throughout her 30-year career, and brought them to the NOUA project room.
These rarely-seen objects and exhibition souvenirs combined with narrated texts offer a ‘behind the scenes’ look of Strand’s process of making as well as her diverse interests.
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At the request of Les Cahiers du musée national d'art moderne, Pompidou, I invited poet, critic and founder of Ubuweb, Kenneth Goldsmith to chat about the acquisition of my recent work, Discrete Channel with Noise. This took place during the Covid lockdown of 2020. Click through to read.
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“Music creates a cybernetic circularity as it nourishes the body with vibrations while awaking the mind. Music illuminates the inner darkness of our black boxes. When listening to music, we feel that the separation between man and world disappears; we transcend our skin and our skin transcends us” (1)
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In 2020 Clare Strand and Steffi Klenz met at a Private view. Strand commented on Klenz’s over complicated top and in response, Klenz remarked on Strand’s boring grey jumper.
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All that Hoopla is an endeavour to decentralise the dynamics of conservative and hierarchical art market structures. It also highlights the variables of chance, luck, loss, fluke, risk and the vagaries of fortune, all of which are the central themes of Strand’s ongoing practice.
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“one of arts distinctions is to provide maximum emotion using minimum means, something in which photography excels. And when the photo in question shows nothing. Hidden under next to nothing Then you feel you are nearing the goal..”
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“We don’t want women readers. We won’t have women readers..’
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‘To the Edge of Time’ illustrates the congruence of modern and contemporary works of art and scientific objects, depicting the key stages of the Big Bang theory and modern cosmology’s development. It sheds light on concepts such as space, time, dimensions, geometry, and the size of the universe.
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“Between 1886 and 1903 booth surveyed the life and labour of the people in London, moving from street to street and interviewing the residents. The Booth study resulted in, amongst other things, colour-coded maps of London ranging from yellow to black, with blues, pinks and reds in-between.”
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