Gene-George Earle, Joanne Masding, Ultra High Temperature
The first ESP exhibition at Eastside Projects featured in the second gallery programme and showed new commissions by three young Birmingham-based artists working within a variety of forms, processes and adoptive positions in order to access performative spaces of production.
Gene-George Earle (b. 1988, South Africa) employed a local sign holder, working within a specific decimal time code (in order to accumulate more time), to hold a specially designed sign outside Eastside Projects. Negotiating the territory of advertisement between disparate organisations (Subway and Eastside Projects), the work involved itself in the implications of applied models of working in the context of an informal economy.
Joanne Masding’s (b. 1985, UK) projection work took an element of the second gallery as its start and end point referring to the Japanese aesthetic Wabi-Sabi, and its core idea that things are always either devolving toward, or evolving from, nothingness.
Ultra High Temperature #1, initiated by Rebecca Bibby (b. 1986, UK) formed the first in an ongoing project which explores the realms of collaboration, performance, writing and publication as artistic vehicle of production, dispersion and progression. Ultra High Temperature #1 was launched, printed, compiled and distributed as a live performance on the opening night. Rebecca Bibby produced an essay that re-fictions the futuristic projections of technosexuality in Metropolis (1927); artist/designers An Endless Supply designed the essay and the duo’s Risograph stencil printer took residence in the exhibition space throughout the show. As a crude avatar of Rebecca Bibby’s practice UH Thompson, on this occasion, was embodied by Aikon-II, a mechanically programmed signature machine which automatically signed each copy of the essay. The production process was performed, sampled and packaged by London-based electronic noise group Polly Fibre whose ‘flat-pack’ costumes were also on display throughout the exhibition.