Three Artists, Two Days, One Room



Site Gallery, Sheffield

24-25 May 2016





Three mixed-media works made for the upstairs Studio at Site Gallery. This project was generously supported by the Gallery:

  Louise K Wilson - Record Project: Aged 11-30 - installation views 2016 Louise K Wilson - Record Project: Aged 11-30, - installation views 2016  

Louise K Wilson

Record Project: Aged 11 - 30


At the centre of this installation is an audio composition made for GSW's Gift Exchange (2015-16), drawing on interviews that Louise began recording in childhood.


Here the composition is played through a special loudspeaker suspended in water, in a large transparent vessel. Two hydrophones pick up the audio passing through the water, and relay it, via an audio mixer, to a second loudspeaker in a partially open vacuum container. A nearby transcript on a clip-board offers a way to decode the speech parts in detail. A visual footnote is appended to the whole work in the form of a layered amalgam of several family photographs projected at the foot of one plinth.


The installation clearly includes worn and improvised parts. The scale and volume of the cylindrical vessels, the particular height of the plinths, and a visual suggestion of viscera in the mass of tangled cables between the plinths, all invite comparisons with a schematised anatomy: with the equivalents of vital fluids, sensory organs, and nerve fibres gathered in and around a temporary apparatus.


Here, the artist's self-reflexiveness is exercised within a quasi-experimental framework with multiple aspects. The interview extracts incidentally reveal traces of the artist's own existence in various places, at various times; the sound collage plays repetitively and unbidden (like a persistent pattern of memory) within a body of water. The work might be testing whether or not the audible sound has been altered by the apparatus used to detect and relay it, or by the water it has passed through. This, in turn, is a reminder that what we take to be the objectivised world could also bear the characteristics of all the devices –human and technological– by which we seek to know its form.


A nearby wall card gives details of the audio used in the main composition:


1) Interviews with Pat Wilson (mother) and Colin Wilson (father) made at 9 Brenton Avenue, Adelaide, Australia sometime in 1976/1977 (made with first portable cassette recorder), recorded at age 11 or 12

2) Singer: Tanja Kuntze, recorded in Dortmund, Germany in 1992 (recording made on a Fostex Four Track), recorded at age 27

3) Interview with Don Eigler, IBM Almaden Research Center, California, USA in 1994 (recording made over the phone from Montreal), recorded at age 29

4) Interview with Paul Virilio (translator: Rania Stefan), made in Paris, France in 1994 (recorded on portable cassette recorder), recorded at age 29

5) Interview with tENTATIVELY, a cONVENIENCE, USA in 1994 or 1995 (recording made over the phone from Montreal), recorded at age 29 or 30


Louise K Wilson - Record Project: Aged 11 - 30 - Installation views 2016



Andrew Stones

SEV-CIQ (Sexual Entertainment Venue - Cultural Industries Quarter)


The main structural element of this site-specific installation is a wall made from twelve black and white CCTV monitors, and all the packaging that originally protected them as goods in transit.


Behind and above the improvised video wall, a semi-transparent blind covers the large picture window; and behind this, a CCTV camera, on a tripod with one leg removed, leans against the window glass. The camera relays a live image of the lap-dancing club across the street to one of the central monitors in the wall.


A neighbouring screen shows a theatrically-lit 'hula dancer' toy in constant motion. The relentless ticking of the toy is routed to a loudspeaker on the floor, beside the detached leg of the tripod. A "punter's chair" is placed at this central position, offering a clear view of the dancer, the live CCTV image of the premises across the street, and the detached tripod leg (a telescopic prod, a club, a phallus..?).


The remaining screens show scrolling texts. These are from four different sources associated with a long-running debate about the presence of a Sexual Entertainment Venue in Sheffield's Cultural Industries Quarter.


If the viewer moves around the work, perhaps to decode the technical, visual and situational tactics behind it, they must also engage with a variety of perspectives on the acts of looking and not-looking, on intimate and deferred interpersonal engagement, and on what might be thought about the close coexistence of a contemporary art gallery and a lap-dancing club.


Text sources are declared on the nearby wall-card:


Scrolling horizontally:
Planning Application History, 1998 to present
re. 60 Brown Street, Sheffield S1 2BS [now Spearmint Rhino]
Complied via on-line search, Sheffield City Council Planning & Development

'Object to Sheffield City Council about the renewal of Spearmint Rhino's Licence'
Statement in support of petition, 2016

Scrolling vertically:
Sheffield Forum: 'Anyone Visited Spearmint Rhino Yet?'
On-line forum/chat-room thread, 2003 to 2009

Sexual Entertainment Venue Licensing Policy
Sheffield City Council, 2011
Section 7: 'Location of Licensed Premises' and
Appendix C sub-section: 'The Protection of those Engaged in Relevant
Entertainment/Prevention of Crime and Disorder'


Andrew Stones

SEV-CIQ (Sexual Entertainment Venue - Cultural Industries Quarter).

Installation views 2016

Andrew Stones - Sexual Entertainment Venue - Cultural Indistries Quarter - installation view 2016

Andrew Stones - Sexual Entertainment Venue - Cultural Indistries Quarter - installation view 2016
  Stefan Gec - untitled installation 2016 Stefan Gec - untitled installation 2016  

Stefan Gec

Untitled installation


At the centre of this installation is a double-sided card bearing the word 'Chernobyl', along with the date of the nuclear accident that took place at that facility, and the date of its 30-year anniversary. Two 1990s camcorders are directed at the card, from opposite sides. These relay live images to two colour CRT monitors facing outwards from the overall structure.


Each of the monitors bears a 'burned-in' screen image of a door and interior entryway, acquired as a result of prior, long-term use in a surveillance installation. Momentarily, these ghosted images can seem like some detail of the gallery interior: they remain sharp and stable, whilst the live camera images layered with them flicker in and out of focus, as the camcorder auto-focus systems seek to resolve a sharp image.


Each of the relayed, on-screen images shows only one of the dates on the card, omitting the key word 'Chernobyl', prompting a comparison between the totality of the information present on the card, and the mediated images of it.


The work presents a microcosm of traces, transmissions, inversions and omissions, in which an entirely accessible memorial object (the inscribed card) is scrutinised via electronic systems that offer only a selective representation of it. The normal expectations of a 'closed circuit' video image are further disrupted by the marks of prior exposure of some kind, borne by the monitors: ineradicable traces ingrained into the fabric of the screens themselves.



Stefan Gec


Installation views 2016














All content copyright © the artists and authors

Main text: A.S. 2016