Gallery North, Northumbria University, Newcastle upon Tyne.
8 Dec 2013-10 Jan 2014
TheGallery @ The Arts University, Bournemouth.
31 Jan-29 Feb 2014.
University of Lincoln.
The Gallery, Norwich University of the Arts.
16 Sept-18 Oct 2014
Transition Gallery, London
31 Oct-23 Nov 2014
Contemporary fine art practice engages with the notion of mechanisation in a sophisticated range of ways; from artists who exploit the materials, processes and techniques of machine production, incorporating machined materials into their work, to those who do not engage physically with machines at all, but adopt a mechanised methodology in the process of manufacture, disciplining their minds and bodies to behave like machines. The latter approach recognises and exploits the extent to which the human condition is predicated upon mechanisation, but acknowledges that we are only part machine. Artists make machines to make their work for them, the creative act being pushed one or more steps from the actual moment of production, raising fundamental questions concerning the status and primacy of the creative act and the relationship between it and the art object. In some cases the art machine is the art object.
In addition the notion of mechanisation may refer to the process of reception of the art object by the viewer. The demands that some works of art make on the viewer in their apprehension can be formidable. The manner of a work's execution may demand an analogously mechanistic process in its apprehension.
A Machine Aesthetic will attempt to explore the various manifestations, uses and influences of different aspects of mechanisation within the practice of a diverse range of contemporary artists.
Andrew Bracey, Eric Butcher, David Connearn, Robert Currie,
Paul Goodfellow, Simón Granell, Emma Hart, Dan Hays,
Natasha Kidd, Tim Knowles, Michael Roberts