The Flickr Kettle’Syardgallery Image Generatr

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

The Science Fiction author Jeff Noon wrote in The Independent, describing a Disinformation sound and light exhibit entitled “The Origin of Painting” [1], observing how “people are fascinated by this work”, which brings “a shudder, a sudden recognition of death, as if we have seen or heard our own ghost” [2].

“The Origin of Painting” installations gave exhibition visitors the opportunity to 'photograph', and then to step back from and physically touch their own disembodied and slowly-fading shadows (cast onto the glowing surface of a huge phosphorescent painting).

Footage from “The Origin of Painting” exhibit [3] was then reversed, played backwards and used as the basis for a Disinformation video artwork entitled “Anti-Matter”, which is offered as “a portrait of an artist consumed by his own shadow”. The “Anti-Matter” video shows a subject walk towards, and then, on touching their own shadow, disappear, annihilated by an explosive flash of light and sound...

Full description - cable-depot.com/disinformation

[1] “The Origin of Painting” - originally exhibited as “Artificial Lightning”, at the Hayward Gallery, London, April 2000
[2] Jeff Noon “A Symphony…”, The Independent, 1 May 2000
[3] Filmed live at Fabrica Gallery, Brighton, November 2001

www.independent.co.uk/incoming/a-symphony-of-the-sounds-t...

Disinformation – “The Rapture” - live video + sound installation

Exhibition dates - 7 June to 31 July 2022
NB: visits by appointment only
Contact - [email protected]

Cable Depot
Off Warspite Road
Woolwich
London SE18 5NX

“Set me as a seal upon thine heart, as a seal upon thine arm, for love is as strong as death, and jealousy is cruel as the grave: the coals thereof are coals of fire, which burn with a vehement flame” – “The Song of Solomon” – chapter 8, verse 6

Full text - cable-depot.com/disinformation

“Drawing attention to the near homonym by which fire (Nār) and light (Nur) “are audio-visually very similar”, the Iranian art historians Somayeh Ramezanmahi and Hasan Bolkhari Ghehi state in their discourse on 'The Manifestation of Fire and Light in the Icons of Mir-Heidar’s Miraj Nameh'”:

“Fire and heat remind always of immortal memories saved in human being’s mind, they have become to a brilliant phenomenon for the exploitation of many ideas, feelings, and thoughts of human. Fire has not only a personal, individual, and internal aspect, but also agential, comprehensive, and general characteristics. It exists in human’s heart, and heaven, blazes from inside, manifested in form of love, and burns inside human… Among all phenomena, fire is indeed the only one that is involved to this extent in the life, thoughts, believes, vision, and feelings of people”.

Photomontage: “Allegorical Portrait of Roger Bacon” by Disinformation © Joe Banks 1997

Disinformation – “The Rapture” - live video + sound installation

Exhibition dates - 7 June to 31 July 2022
NB: visits by appointment only
Contact - [email protected]

Cable Depot
Off Warspite Road
Woolwich
London SE18 5NX

“Set me as a seal upon thine heart, as a seal upon thine arm, for love is as strong as death, and jealousy is cruel as the grave: the coals thereof are coals of fire, which burn with a vehement flame” – “The Song of Solomon” – chapter 8, verse 6

Full text - cable-depot.com/disinformation

“The Rapture montage conjures imagery of the flaming aura that resembles portrayals of the Buddhist deity Batō Kannon - a (male) manifestation of (or attendant to) the (female) “goddess of mercy and compassion” Kannon - the Taoist deity Mǎ Wáng, the Buddhist deity Acala, the Vedic fire god Agni... The Rapture also resembles the Prophet and angels, depicted with burning halos, in the epic Mirâj Namêh (the Night Journey) of the Persian poet Mir Haydar, illustrated by Mâlik Bakshî.”

“Drawing attention to the near homonym by which fire (Nār) and light (Nur) “are audio-visually very similar”, the Iranian art historians Somayeh Ramezanmahi and Hasan Bolkhari Ghehi state in their discourse on 'The Manifestation of Fire and Light in the Icons of Mir-Heidar’s Miraj Nameh'”:

“Fire and heat remind always of immortal memories saved in human being’s mind, they have become to a brilliant phenomenon for the exploitation of many ideas, feelings, and thoughts of human. Fire has not only a personal, individual, and internal aspect, but also agential, comprehensive, and general characteristics. It exists in human’s heart, and heaven, blazes from inside, manifested in form of love, and burns inside human… Among all phenomena, fire is indeed the only one that is involved to this extent in the life, thoughts, believes, vision, and feelings of people”.

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”...

Exhibition Guide (PDF) – tinyurl.com/y4f3z3xe

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.

5 July to 28 July 2019

White Box Gallery
5 Hare & Billet Road
Blackheath
London SE3 0RB

In his essay “Meanings of Landscape” (“Places of the Mind”, RKP 1949) the critic and curator Geoffrey Grigson described how “some people have ignored the personal factor” in writing on landscape art, and have attempted “to deduce from landscape rules of its own aesthetic”, describing the influence on art (and on art writing) of “a romantic pastime of English travellers in the eighteenth century” who sought to postulate “a kind of psychology divorced from the individual soul”. Particularly in response to the work of the painter John Constable, “Places of the Mind” proposed the alternate hypotheses that “landscape is you and me”, discussing how “we project ourselves” into an actual or painted landscape, “which then reflects our own being back to our eyes”.

rorschachaudio.com/2019/04/22/international-lawns-rca-dis...

Special thanks to Domo Baal.