C R E A D M

Centre for Research and Enterprise in Art, Design and Media

Waterlog|

Group exhibition co-curated by Jeremy Millar and Steven Bode for the The Sainsbury Centre for Visual Art, University of East Anglia, Norwich Castle Museum and Art Gallery and The Collection Usher Gallery Lincoln 2007. Including; Tacita Dean, Marcus Coates, Alec Finlay, Simon Pope & Alexander & Susan Maris

Catalogue -Journeys Around an Exhibition

ISBN 978-1-904270-24-9  

Waterlog Moreton

The exhibition stems from the writings of W.G Sebald, the german-born writer who lived near Norwich where he was Professor of modern German Literature at UEA until his untimely death in 2001. It uses Sebald's elliptical and discursive style to set the tone for the project's aesthetic framework, whilst purposefully avoiding following directly in his footsteps. My contribution was a series of landscape photographs of the flooded marsh in Dunwich – the largely submerged town on the Suffolk coast. Sebald often walked in this landscape and referred to it in The Rings of Saturn, a novel/memoir/travelogue about the East Anglian landscape and cultural memory. The project was commissioned by Film and Video Umbrella London, with support from Arts Council England, the Henry Moore Foundation, AHRC, the Gatsby Charitable Foundation, East Anglia Art Fund, UEA, Norfolk Museums and Archaeology Service, and Southampton Solent University. A post exhibition publication was produced entitled Journeys Around an Exhibition, which includes texts by Brian Dillon, Robert MacFarlane, Steven Bode and Jeremy Millar. Other contributors to the exhibition were Tacita Dean, Marcus Coates, Alec Finlay, Simon Pope, Alexander and Susan Maris. The exhibition was reviewed in the The Guardian, The Guardian Guide, Art Monthly, The Times, The Times Literary Supplement, The Spectator Magazine, Eastern Daily Press, Aesthetica Magazine, Artists Newsletter, Art Review Magazine and BBC Radio 4, Front Row. Art Review published a special 'Photography Now' issue (October 2007) which featured an extensive portfolio of my work from Waterlog. Curated by Brian Dillon. In September Tate Britain hosted 'The Printed Path' a one day conference, which discussed the themes raised in Waterlog. Papers were given by Marina Warner, Geoff Dyer, Iain Sinclair, Brian Dillon. Tacita Dean's film 'Michael Hamburger' and my photographs were screened.

 A Beautiful South|

Millais Gallery, Southampton 2006

Group exhibition

Guy Moreton A Beautiful South

My contribution to this exhibition was three large-scale photographs of Romney Marsh in Kent, which were originally produced in 2005 as part of a public art commission and residency funded by Arts Council England, Shepway District Council and Kent Wildlife Trust. The photographs were informed by research into the relationship between landscape and the history of settlement, and an interest in the romantic notion of melancholy in painting, film and photography. The majority of the works adopted an elevated viewpoint, which stems from my research into Dutch landscapes in the Boijmans Van Beuningen Museum, Rotterdam. I was particularly interested in the way in which a detailed description, when viewed from a height allows the viewer to be simultaneously embedded within and deterritorialised from the view. My interest in the marsh landscape is also connected to the phenomenon of change and loss, as described in In Praise of Blandness (François Jullien’s 2004, New York: Zone Books), in which he suggests that a lack of interest or value, or blandness can be considered the undifferentiated foundation of reality ‘the point of origin of all things possible’.

Reviewed in The Guardian. A Beautiful South. Jessica Lack. 29.07.06

Ludwig Wittgenstein – There Where You Are Not

Co-authors: Michael Nedo and Alec Finlay

Black Dog Publishing, London, 2005

ISBN 1-904772-16-1

There Where...Moreton

There Where You Are Not began life in 2001 as a collaborative project with Alec Finlay and was initially funded by BALTIC Centre for Contemporary Art, Gateshead. Our combined interest in the romantic character of 'the wanderer' manifested in Wittgenstein's search for a place to think, and his 'doing philosophy' in the landscape – in Norway and Ireland – encouraged us to make a work about the site of his house in Skjolden, Norway. I made two visits to Skjolden and the resulting photographs of the pastoral landscape take the reader through a Wittgensteinian 'landscape as mindscape' – a remote mountainous place suggestive of the 'quiet seriousness' that he needed in order to work. The culminating motif of the rock foundations where his house originally stood overlooking Lake Eidsvatnet stand for the creative possibility of thought. The first section of the book is titled 'Ludwig Wittgenstein – The Wanderer' and draws upon previously unpublished material from the Wittgenstein Archive, including photographs taken of and by Wittgenstein and reproductions of letters, notes and diaries. The project as a whole, including the photo-biographical album, my photographs and Alec Finlay's prose poem evolved over two years, during which time we worked in close collaboration with Michael Nedo of the Witttgenstein Archive, Cambridge. The publication was reviewed in Tank Magazine, the London Review Bookshop, St Mark's Bookshop New York. March 2006, Photo-Eye Journal. San Francisco. Wittgenstein's Wandering. David Carl. Fall 2006 issue.

There Where You Are Not|

The John Hansard Gallery, University of Southampton 2005

Group exhibition with Jeremy Millar and Alec Finlay

 

there_where

There Where You Are Not was produced in collaboration with the poet Alec Finlay and the filmmaker Jeremy Millar. The exhibition explored through video, photography, poetry and drawing, aspects of the philosophy of Ludwig Wittgenstein and in particular his retreats to the remote landscapes of Connemara Ireland, and Skjolden in Norway. I exhibited twelve large and small-scale photographs, alongside two film works by Jeremy Millar and a wall drawing and language game (word-puzzle) sculptures by Alec Finlay. The exhibition was a counterpart to the work that is published in the book of the same title (see above) and the resulting exhibited photographs of the pastoral landscape took the viewer through a Wittgensteinian 'landscape as mindscape' – a remote mountainous place suggestive of the 'quiet seriousness' that he needed in order to work. The culminating motif of the rock foundations where his house originally stood overlooking Lake Eidsvatnet stand for the creative possibility of thought, and a more general cultural model of a 'house for thought'. Two photographs were purchased for The University of Southampton Permanent Art Collection. Selected by Stephen Foster and Professor Ray Monk (author Ludwig Wittgenstein:The Duty of Genius) the works will hang in the Philosophy Department. The exhibition was reviewed in MAP Magazine, There Where You Are Not. Sherman Sam. Issue 3 Autumn 2005 and The Times Higher Education Supplement. University Art Collections. Paul Hill. 28.10.05. My work from this project was also included in the book Place by Jeremy Millar and Tacita Dean (Thames and Hudson 2005).