original/ghost/variety/shifted/double/echo;
original ghost compendium
- Submitting institution
-
University of Gloucestershire
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 19
- Type
- M - Exhibition
- Venue(s)
- Museum Haus Konstruktiv, Zurich; Galerie Von Bartha, Basel; Hales Gallery, London.
- Open access status
- Out of scope for open access requirements
- Month of first exhibition
- February
- Year of first exhibition
- 2017
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
-
1
- Research group(s)
-
-
- Proposed double-weighted
- Yes
- Double-weighted statement
- This submission comprises three exhibitions presenting separate bodies of work, without overlap and a 160-page monograph, co-edited by Bick. The latter extensively documents the exhibitions with additional contextual picture research. Writers in the field who are also Bick’s collaborative research partners place his thinking and practice in context. The museum exhibition included a selection of works since 2008 with a new body of painting and drawing. The other exhibitions consisted of completely new works. The complete output is a developmental sequence of practical research from 2017 to 2020. The publication provides a permanent critical document of this extended practical enquiry.
- Reserve for an output with double weighting
- No
- Additional information
- This double-weighted output comprises three solo exhibitions and a monograph. Combined they examine in detail an individual approach to practice research. What Bick describes as a methodology of conversation with overlooked artists and their respective art movements drives his idea of dialogue across history, made live through curation and art works. For Museum Haus Konstruktiv, Bick treated working in a leading international art museum specialising in concrete and conceptual art as being curator of his own practice. The parallel exhibition of under-known artist Marlow Moss, initiated at Bick’s suggestion, is a reference point symptomatic of Bick’s general approach to the re-examination of the canon and of contemporary understandings of art practice. Bick’s exhibition title suggests echoes as a shifting and unpredictable source of information. Subsequent exhibitions at Galerie von Bartha, Baselgate/grid/tree (notes on concrete), and at Hales Gallery, London, concrete disco systems, are further riffs on this form of poetic word play that also accurately reflect the concepts and content of the work. All three exhibitions, along with an examination of Bick’s thirty-year practice development in the context of his curating and writing, form the basis of the 160-page monograph in English and German (Hatje Canz Verlag). The monograph is both a reflection on the congregational aspects of his approach (Jon Wood) and the way that his paintings function like a musical score, or an algebraic equation, indicating abstract combinations in a shorthand but concrete structural polyphony (Jo Melvin). Bick’s detailed conversation with museum director Sabine Schaschl starts with the question: “We had not even started to talk about your work and we were going into the context about the neglect of this group of British artists...and the particular importance of Gillian Wise for you. I think this background and context is very important for your work — isn’t it?”
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -
