Manifest Arts Festival 2015

December 3, 2015

Manifest Poster

Manifest Poster

This July Roger Bygott, John Lynch, and I directed a city-wide (Manchester and Salford) visual arts festival:

Manifest is a visual arts festival, showcasing the talent of North West based artists in a series of exhibitions and events across Manchester and Salford.

It took place 10th-12th July 2015 and during the second weekend of the busy Manchester International Festival. The timing was deliberate so that the festival would give visitors a flavour of the creative activity going on across the two cities all year round.

The exhibitions and events in the Manifest programme were at some of Manchester’s most prestigious institutions, such as Manchester Craft and Design Centre, John Ryland’s Library, and the newly opened HOME. Artist studios across both cities were coordinated for the first time to have open studios during the festival weekend to give a closer look at the scope of art being created across the city.

This year was a pilot festival and run on the passion of its participants, and we’re so thankful for the enthusiasm and support in making it happen. We couldn’t have been more pleased by the reaction of visitors and participating artists.

Our reasons for setting up Manifest:

Roger Bygott: For me the inspiration and spirit of Manifest is about community association, trusting grassroots links and mutual encouragement. As artists practicing within this broad vibrant community we aim to help strengthen those connections and to share more widely and publicly the artistic fruits emerging from it.”

Elisa Artesero: “Many of the artists in Manifest exhibit nationally and internationally but remain based in the North West. We want to show the high standard of contemporary art being produced on our doorstop.”

John Lynch: “Artists want their work to be seen, we present the opportunity to see it.”

We even got a feature interview in a-n

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The festival was a huge success in more ways than we’d expected and we’re still receiving positive feedback about the impact it has had on participating artists’ careers. During the three days and nearly 30 different events/exhibitions artists: sold their work, had in-depth critiques with curators, they gained commissions and potential exhibitions, and were able to show their work to an audience that would not have had the opportunity to see their work otherwise.

Months down the line we got an email from Susan Gunn, one of the artists to present her work at ‘Manifest Calling’ a show and tell at HOME. She had been contacted by contemporary classical composer, Ailis Ni Riain, who was impressed by her work when she presented it at ‘Manifest Calling’, and asked if she would design the album cover for her album ‘Linger’.

The pilot festival gave us a chance to just give it a go, to test the idea of the festival and to see if it would be possible to run. The three of us had an incredibly busy weekend trying to document all the events and ensure they were running as planned. My pet project for the weekend was to try out live streaming the festival with the Periscope app to give online viewers a flavour of parts of the festival. I didn’t know how useful or popular this would be, but it turned out to be surprisingly popular, getting up to 70 live views at a time. Not bad for a fairly new piece of technology and first festival!

We ended with a closing party at media bar, Texture, which was a lovely celebration of the weekend. One of the joys for me (and I’m sure Roger and John, also) was to spend an entire weekend looking around the cities’ arts spaces, seeing fantastic contemporary artwork, having lively conversations about the artistic and cultural scene and the lives and exciting careers of those who are based here.

Although, admittedly, there was almost too much to be able to get around in one weekend, it was brilliant to have it all there to choose from, a snapshot of the kind of things that are going on (often behind closed doors of studios) all year round. To able to facilitate that in some way was an absolute pleasure, and I think we proved what we set out to do – which was to show that we live in a vibrant and thriving cultural space that needs to be showcased every so often.

As for the future of Manifest, well, watch this space.

Manifest Logo

Manifest Logo

 

All photos taken by John Lynch, and the logo and programme designed by the talented Stephanie Hamer. 

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Throughout 2015 I worked on a project with stroke survivors. I ran a set of visual arts workshops and curated the final exhibitions: one at Manchester Central Library, and the other at Manchester Museum. It was a wonderful experience and I feel privileged to have been through the process to help facilitate some of the workshops and to be able to curate the final exhibitions to help to tell these survivors’ stories.

About the project:

The Stroke Association and The University of Manchester ran creative workshops with 15 stroke survivors across a 9-month period in 2015. These focused on creative writing, visual arts and photography. The interactive workshops brought together stroke survivors, artists, filmmakers, clinicians, researchers and students from the University of Manchester and Salford Royal hospital.

Personal and collective stories of life before and after a stroke are told through the survivors’ artistic interpretations. Many of the survivors were shown the brain scan of their stroke. They were talked through their individual scans by leading stroke consultant, Professor Pippa Tyrell and NIHR Clinician Scientist Dr Adrian Parry-Jones, who explained the areas of the brain that were affected by the stroke and answered any questions they had. This was often an emotional moment and many of the survivors used this experience to create artistic responses and explore their feelings towards the journey from having a stroke to the lives they now live.

The Manchester Central Library exhibition, as part of The Manchester Science Festival, gave a more personal insight into a complex and often devastating condition. It is, however, also to show that there is potential for an enriching and positive life after stroke.

The pop-up exhibition and mask-making workshop at Manchester Museum on World Stroke Day was as a result of a special workshop I led during the project. Participants were given a tour of the Museum’s mask collection then they were given coloured tissue paper, glue and scissors to create masks that would reflect different emotions. Masks were made to represent or cover up emotions and also to promote positive emotions.

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With thanks to the survivors who created these personal and expressive pieces of artwork:

Peter Osbourne, Keila Moore, Peter Wright, Raymond Garner, Paul Edgerton, Mary Davis, Janette Kirkham, Debbie Concagh, Mark Pizey, George Shone, Janet Stoppard, Carol Banks, Ann Williams, Michaela Holden, Graeme Snell

Also many thanks to the other workshop leaders – Caroline Edge for photography, and Janet Rogerson for creative writing. Special thanks to Joyce Booth and the volunteers from the Stroke Association for helping to coordinate and facilitate all of the workshops, and to Dr Stephanie Snow, who has led the project and is using this as research for her work on documenting the History of Stroke.

A video of the project:

 

The words in between

October 12, 2015

I’ve been developing some new poetry recently. I’ve been working with finding new poems within other poems, potential meaning and form from other’s words, often detached from the original meaning and reformed into my practice. This poem was developed from one of Jaume Plensa’s:

 

My shadow spoke.

I imagined you

hiding in the labyrinth.

Break the door

between each word,

close the messages

and speak

from windows:

Concealed shadows

Looking at you.

 

 

 

http://elisaartesero.com/a-solid-wish-scatters

Mondo*Arc Article

I recently exhibited my Arts Council England Supported work, A Solid Wish Scatters at the Enlighten Manchester Festival. It received really good feedback and I’ve just found out that the festival has been featured in leading Lighting Design magazine Mondo*Arc. My work is quoted as a ‘public favourite’ which I’m obviously really pleased about! See the full article on page 100 of the digital edition here.

I interviewed Chris Lowe, Senior Lighting Designer at international architectural firm, BDP. We talked about his work as a lighting designer, his love of Tungsten lamps and guerrilla lighting, all published in The Double Negative. View the full article here.

Subluminal lighting

Snow poems

January 29, 2015

Inspired by the recent cold snap. First came the snow…

 

Snow gazing

From my window

 

Fat flakes

Look like

Feathers

Shaken loose

From pillows

By neighbours

Protesting another

Work day.

 

Then came the hail…

 

Hail

 

Hundreds of

Tiny ice fists

Hammer urgently

At the window

 

 

Light Holds Me Here exhibition (photo credit S.Illes)

Light Holds Me Here exhibition (photo credit S.Iles)

This year I made what only existed in my mind into a reality. There’s not much more an artist can ask for, really! Here’s a recap of my artistic year gone by.

In January my degree piece ‘Leap and the Net Will Appear’ was still on show as part of the Nesta Art Showcase, selected from a national call out to be exhibited in central London at the Nesta gallery space.

Leap and the Net Will Appear

Leap and the Net Will Appear

In February I continued to be part of the DIY Art School, a year-long project by art school graduates wishing to continue the momentum of creative learning in the year after graduation. For this we had weekly meetings and scheduled artist talks, workshops and crits.

March saw the success of DIY Art School continue as I was asked to represent the group by giving a speech at the opening of Castlefield Gallery’s New Art Spaces, Federation House. I was pretty honoured to be speaking along side the likes of Maria Balshaw, Director of the Whitworth Gallery and Manchester Art Gallery.

Jumping ahead to May and I was selected as one of the UK representative artists for the ‘Art of Youth’ Youth in Action European Commission project in MontenegroThe programme brought together participants from across Europe to learn about different contemporary art practices, European Citizenship, and to create collaborative pieces of artwork to be exhibited in the open air amphitheatre in Old Bar, Montenegro. As well as being creatively stimulating and getting to exhibit in such an unusual space, I also made many friends that I’m still in contact with today.

Unity sunlight

Unity sunlight

I was over the moon to get Arts Council England funding in June for ‘Light Holds Me Here a period of research and development of my practice to help to fuse my two creative backgrounds of light art and writing. This project helped to shape the rest of the year as I was working towards a solo exhibition and to show work in the Faroe Islands later in the year. I also started working with Curated Place, who supported my application and my progress throughout the year.

 

 

In July I also began a new research project, Manifest, with fellow artists, John Lynch and Roger Bygott. This also received Arts Council England funding and allowed us to look into the feasibility and planning of a festival that supported North West based artists and would run alongside the Manchester International Festival in 2015.

September was a red-letter kind of a month for me. I was honoured to have been selected as Tim Marlow’s Curator Choice for Fine Art for NOISE Festival 2014. I went to the press launch at the House of Commons and found out that my winning entry ‘Sun Scroll‘ was to be exhibited at the Manchester Buy Art Fair, then at the Tetley in Leeds and also a picture of it was placed on a plinth and exhibited on London’s South Bank for nearly 3 months!

I was also awarded ‘Outstanding’ for my ‘Sun Bowl’ and ‘Excellent’ for ‘Leap and the Net Will Appear’ for NOISE Festival by the CEO Denise Proctor.

IMG_0813

Sun Scroll picture on plinth on the South Bank, London

 

Alongside this, I exhibited my final work for Light Holds Me Here developed over the summer in a solo exhibition of the same name at Castlefield Gallery’s New Art Spaces. An absolute dream of an experience and I was really pleased with the great feedback from visitors.

Light Holds Me Here

Light Holds Me Here self portrait in the installation

 

In October I developed and delivered a series of expressive drawing and working with words workshops with stroke survivors for the Stroke Association. This was a new experience for me and I was pleased that the participants enjoyed it too and created some amazing artwork in the process.

Stroke Association Workshop

Stroke Association Workshop

Curated Place took me to Copenhagen and then the Faroe Islands in November. In the Faroes I exhibited a poem installation,Ambiguous Borders together with a poem written in response to mine by Faroese poet, Oddfridur Marni Rasmussen, at the light art and literature festival, Bóka Dagar. I also had the generous support of fellow light artist, Ulf Pederson, as he enabled me to project more of my poetry onto the buildings of the Faroese National Broadcasting house.

'Ambiguous Borders' exhibited in the Faroe Islands

‘Ambiguous Borders’ exhibited in the Faroe Islands

December was another busy month as I was chosen as one of Red Bull Studios’ ‘Red Bull Collectives 2014. For this I got to collaborate with award-winning photographer, Layla Sailor, to creative an exhibition ‘Fragment|Reflect’ at the Red Bull Studios on Tooley Street, central London.

'You Hide in Spaces' at Fragment|Reflect, Red Bull Studios

‘You Hide in Spaces’ at Fragment|Reflect, Red Bull Studios

To end the month and year, I was awarded another Arts Council England Grants for the Arts grant to create new piece of work, A Solid Wish Scatters for the Enlighten Manchester festival of Light Art. I exhibited one of my largest pieces of work yet in the centre of Manchester in Piccadilly Gardens.

I couldn’t have wished for a more positive end to the year and I thank all my colleagues, sponsors and supporters who all helped to make it actually happen.

A Solid Wish Scatters. Photo credit J.Lynch.

A Solid Wish Scatters. Photo credit J.Lynch.

 

 

 

 

 

 

A Solid Wish Scatters

December 11, 2014

A Solid Wish Scatters

A Solid Wish Scatters

I’m really pleased to present a new public realm artwork ‘A Solid Wish Scatters’ supported using public funding by the National Lottery through Arts Council England.

The work is on show now until Sunday 14th December as part of the Enlighten Manchester Festival of Light Art in Piccadilly Gardens run and produced by Curated Place.

‘A Solid Wish Scatters’ is an installation made of concrete blocks to echo the concrete of its surroundings. The words reflect up onto the famous concrete wall in Piccadilly Gardens. The earthly presence of the blocks scatter into an ephemeral light piece on the wall to show all that is solid is still fragile and all that is perceived to be permanent never will be. Its presentation here is using spotlights for the dark winter nights, however it is also a sunlight-activated work when re-located to a South-facing wall.

I’ll update my blog with more pictures and maybe even some video very soon. In the meantime however, pop down to look at the work for yourself!

 

 

 

 

 

 

 

LHMH Elisa Artesero self portrait

I exhibited my Arts Council England supported work ‘Light Holds Me Here‘ at Federation House, Castlefield Gallery New Art Spaces in Manchester 24th-28th September 2014.

I’d been exploring the themes of desire and void through new writing and presented it in a large-scale installation using light and shadow effects. I developed the work as something akin to a dream world, one which tracks a domestic space but is presented in abstract and sculptural form. I wanted the space to be something the visitor could become a part of, to experience the light and shadows for themselves and to follow the loose narrative I presented.

LHMH window reflection EA 2

The windows in the space had been covered with two-way mirror, so you could see out in the day time but at night the work took on a very different quality as the windows turned into mirrors and reflected the whole installation over and over again. The clarity of reflection and the shadow path words reflecting the right way in the mirrored windows gave the effect of many alternative spaces.

I was really pleased with the result of the work as I was never truly going to know how it would look until it was installed in the space, and neither did I know how visitors were going to react to and interact with it. I’m pleased to say that the reaction was positive, I had some interesting conversations during the exhibition and I also had anonymous feedback sheets which contained some wonderful interpretations of the work and most importantly, how it made visitors feel when they walked around it.

Abstract LHMH EA 6

Here is a selection of some of the comments of what people enjoyed most:

“The immersive nature of the light against the shadows. I thoroughly enjoyed the inclusion of text as a sculptural object.”

“A feeling of comfort juxtaposed with fear – beautiful shadows. The use of words in reflection. The sense of vertigo induced by reflection.”

“Light Holds Me Here drew me in, felt slightly uncomfortable in anticipation. Amazing effect at night with reflections in the windows.”

“The reflection that felt like I was teleported in different dimensions then projected.”

“How the sound of the words in my head fit snugly into the sensory experience of the space.”

This post contains some of my own photographs of the exhibition, but on my website you can see all the professional photographs of all the work along with the time lapse video showing the change from day to night in the exhibition. 

View more pictures from the exhibition here.

Shadow walk1 LHMH EA

 

One shelf of an ever-increasing poetry collection

One shelf of an ever-increasing poetry collection

I started my Arts Council England funded project at the beginning of July and it’s been a busy couple of weeks. So far, I’ve been mixing research, writing and experimentation. One of the main objectives of this project is to create a new body of work which will fuse my own writing with my light art. In order to do this, I’ve spent a lot of my initial time writing so that I have content and potential narrative to inspire and lead the visual work.

The themes in my work are addressing ‘desire’ and ‘void’, which may seem a little antithetical at first look, but much of my work has centred on Zen poetry, the transitoriness of our existence and a desire for the intangible. This is, of course, a very short explanation, but should go some way to show my reasons for exploring the two themes. So, to start, I have been reading “Nothingness and Desire” by James W. Heisig, and “Void|In Art” by Mark Levy, PhD. These have been giving me a philosophical and artistic view and history of the themes.

I’ve also started to re-read Haruki Murakami’s “Kafka on the Shore” as it’s one of my favourite books by one of my favourite writers. Murakami’s worlds are surreal, sometimes scary, sometimes magical, and often dreamlike. He writes in such a practical manner about the strangest occurrences, which serve to make them seem unnervingly real. I get so engrossed that I practically feel as if I’m living the story with the characters, particularly in his last book “1Q84”. His works inspire me more visually than in my written work, however.

Poetry-wise I have been reading and re-reading a wide range of poets, many of which are in the Bloodaxe “Staying Alive” series. I also have a collection of poetry books by individual poets that I dip into, too many to list here.

I recently went to the Liverpool Biennial, mainly as a small pilgrimage to the Adrian Henri exhibition. The Liverpool poets, Henri, McGough, Patten and Mitchell were probably the first poets that I read as a child that really got me interested in the poetic form, and I still read and am inspired by to this day. I’m enchanted by their wit, simple and effective observations, romanticism and visual play with words.

I’d never heard Henri read or sing his poems before [shocking] so it was interesting to hear him do this on the recordings. Some were much more lively than I’d imagined when I read them to myself – “Love Is” was much more upbeat than I’d ever read it to be! The artwork that accompanied many of the poems incorporated collage, sketches, paintings and sculpture. Some were placed together with a rough visual humour, whereas others, based on the more serious and romantic poems, were put together with a real tenderness. This allowed space for the poignancy of a symbol, such as a blurry bright pink heart floating close to a black void. Seeing the work in its home of Liverpool did romanticise the city somewhat, but it was a romance I was happy to indulge for the day.

Just a quick recommendation for anyone visiting Liverpool – just down the road from the University is a brilliant second-hand bookshop – Reid of Liverpool. I got five poetry books for very reasonable prices and in remarkably good condition!

Reid of Liverpool

Reid of Liverpool

Poetry books from Liverpool!

Poetry books from Liverpool!