Acme, supporting artists since 1972

Acme Project Space

 

The Acme Project Space ran from June 2009 to December 2015. It provided an opportunity for those artists who are part of our Residency & Awards Programme and our International Residencies Programme with a public space within which to develop projects, show new work and engage in a critical dialogue with a wider audience.

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George Charman & Adam Knight

‘The Tiny Lag’ 28.11.2014 - 21.12.2014

 
George Charman
George Charman
'Tiny Lag' at the Acme Project Space. Photo: Julia Lancaster (2014)
'Tiny Lag' at the Acme Project Space. Photo: Calum F Kerr (2014)
'Tiny Lag' at the Acme Project Space. Photo: Calum F Kerr (2014)
'Tiny Lag' at the Acme Project Space. Photo: Calum F Kerr (2014)
 
 

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Thursday to Sunday 1pm to 6pm

Private View: Thursday 27 November, 6pm to 8pm

Using the unique configuration of the Acme Project Space, George Charman (Fire Station Work/Live Programme 4: 2010-2015) and Adam Knight will show a series of recent works that engage with ‘the screen’ as a kind of border. The screen is used to divide the exhibition space through varying axes of installation, video, drawing, sound, writing and sculpture. The screen is deployed as a veil and a threshold allowing for successive works to re-configure relationships with the viewer. The occluded circle appears intermittently as a partial structure, activating an overlapping agency between works.

The exhibition title is taken from an essay of the same name by Mladen Dolar. In his essay 'The Tiny Lag', referencing Wittgenstein, Dolar examines the borders of language on experience. In this instance the border becomes a conceptual marker of limitation and permission.

Central to the exhibition is the split channel audio work Tiny Lag. In the lead up to the exhibition Charman and Knight became interested in the formats of correspondence as a means of organisation, discourse and punctuation between works. Both artists followed YouTube instructional tutorials based upon the children’s puzzle game The Rubik's Snake. The tutorials were often accompanied by users’ nonsensical verbal instructions. Both artists attempted to follow these tutorials exploring the disparity between description and action. The discordant pops, hisses and clicks are direct recordings of the altering Rubik's Snake. The resulting asynchronous stereo soundtrack is played through constructed speakers that distill the modular geometric form of the Rubik's Snake. 

 
 

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