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Press Release: For Immediate Release

Can’t Operate Properly ‘Til Eyes Refocus

an exhibition by Alan Butler

Location: CAKE CONTEMPORARY ARTS, Curragh Camp, Co. Kildare, Ireland
Preview: 23^rd April 2010 6.30-8.30pm
Exhibition Continues: 24^th April to 19^th May
Open Hours: Monday: 1 – 8pm; Tuesday – Wednesday 1 – 5pm; Thurs – Saturdays by appointment. (Please ring ahead: 086 390 5216)
Press Contact: Cake Contemporary Arts
PLEASE DO NOT AT ANYTIME CONTACT THE ARMY BASE. CAKE IS AN INDEPENDENT ORGANISATION WITHIN THE CURRAGH CAMP.

Web: http://www.cakecontemporaryarts.com
T: 086 390 5216 E-mail: hello@cakecontemporaryarts.com

Cake Contemporary Arts is pleased to present Can’t Operate Properly ‘Til Eyes Refocus (COPTER), a solo exhibition by Alan Butler. Butler’s work challenges the ways in which we experience global culture. Butler makes use of appropriation, remixing cultural artefacts and icons by taking these items that possess specific lineages and combining them with disparate elements to create new ideas and truths. Much of his work is heavily laden with iconoclasms and ubiquitous imagery and artefacts. Cross-referencing, repetition and re-interpretation within the work produce dynamic and evolving meanings.

This solo exhibition of Butler will fill both the main upper gallery space and unrenovated lower gallery at Cake with a large body of interdisciplinary artworks that were created between 2008 and 2010, none of which have been shown in Ireland before. The lower galleries will contain works which contrast greatly with the space, with vibrant handmade graphical landscapes featured throughout the exhibition.

Large-scale ink and adhesive vinyl drawings will feature prominently in the exhibition. For these works, the logos of cultural forces (ranging from ‘Metallica 2’ (2008) to Deepak Chopra’ (2009)) are digitally augmented and transfigured into alternative or farcical versions of the originals. The vinyl logos are fabricated in adhesive and placed in the centre of 200cm x 150cm pieces of paper. Butler then manually highlights the logos, tracing their outlines with brightly coloured inks, leaving the paper entirely covered with reinterpretation after reinterpretation of the original augmented logo’s form. While ultimately the nauseating colours and the laborious handmade process are an attempt to distract from their origins, the bold vinyl logos highlight the impenetrability of these signs.

The dizzying, optical illusionary aesthetic of the drawings is mirrored visually and conceptually through the video works ‘Aggrandize to Downfall’ (2009) and ‘9119’ (2009). The first features appropriated motion picture footage of a space shuttle ‘disaster’, and 3D animated Motion Picture Association of America logos. The logos take the form of debris falling from the wreckage of the space ship, which is suspended in a perpetual looping plummet with no resolve. The video ‘9119’ (2009) is digitally augmented Youtube footage of the second plane hitting the Twin Towers. In ‘9119’, the original document has been carefully, but dramatically manipulated to depict a situation, not as a uniquely closed part of history, but as a looping, recurring and transient event.

In addition to a selection other video and sculptural works, COPTER will also feature three new works created in 2010. An ink/vinyl drawing ‘Spongebob’ is part of the ink/vinyl series, and a new drawing work ‘If you are going to say nothing, say it in rainbows’, is a rendering of a computer-generated colour wheel composed of ‘Lorem Ipsum’ placeholder text (a faux-Latin script used in graphic design to fill areas reserved for text in a preliminary layout). Finally, the absurd video sketch ‘Proposal for a three-minute primetime commercial break’ (lasting 2 min 15 secs).

The exhibition itself takes its name (COPTER) from a suffix to the internet acronym ROFL, ‘ROFLCOPTER’ an absurd, but widely used phrase to express laughter online, which stemmed out of a single event on an online multiplayer game. Although COPTER initially referred to a helicopter, through mimetic evolution, the words ‘Can’t Operate Properly Til Eyes Refocus’ were eventually imposed so that it became an acronym. The title, like the rest of the works in this exhibition interleaves networks and relationships between the mimetic transfer of ideas, art history, socio-political and economic ideologies to create a body of work where specific meanings are redundant. While often humorous, COPTER ultimately aims to suggest that meaning in history and language cannot exist as definite and discreet entities, but are constantly evolving artefacts open to further interpretation, remixing, manipulation and distribution.

More information about Alan Butler can be found at http://www.alanbutler.info/

An exhibition trailer can be found here: http://alanbutler.blip.tv/file/3445038/

LOCATION

· In Curragh Camp coming from Newbridge, take left turn by post office.

· Cake is first yellow building after small grey church on your right.

· Parking available in front of building.

Find CAKE CONTEMPORARY ARTS on Google Maps: http://is.gd/bj6D3

TRANSPORT

· By car take exit 12 off M7 motorway. At round about take 2nd exit to Curragh Camp. Continue past church on your left. Take a left at post office. We are on the right.

· 126 Bus Eireann from the Ha’penny Bridge to Kildare, drops off at Curragh Post office.

· Kildare train station, short taxi ride from there to Cake.

· Taxi rank outside Cake.

Some of you may be aware of the Pecha Kucha Nights that have been taking place in Dublin since last year. They are organised by The Irish Architecture Foundation and The Small Print and take place every couple of months at the Sugar Club, Dublin. PechaKucha is a format of presentation/slideshow, originating from Japan, which invites creative people to present 20 slides of the content of their choice and talk about each slide for 20 seconds. So each talk is 6minutes and 40seconds – removing any chance of waffle basically! They are fun nights, so try to check one out if you can.

“PechaKucha Night was devised in Tokyo in February 2003 as an event for young designers to meet, network, and show their work in public.
It has turned into a massive celebration, with events happening in hundreds of cities around the world, inspiring creatives worldwide. Drawing its name from the Japanese term for the sound of “chit chat”, it rests on a presentation format that is based on a simple idea: 20 images x 20 seconds. It’s a format that makes presentations concise, and keeps things moving at a rapid pace…” >>>> Read more at http://www.pecha-kucha.org/

Recently the Irish Architecture Foundation have uploaded video of the past Dublin PechaKucha Nights talks to their YouTube page. Here’s a selection of visual art/illustration/photography based PechaKucha Night talks to give you a taste. The AIF’s Youtube page has many more you can watch.

Enjoy!

PKN Dublin #3 – 5/11/09 – Brian Coldrick

PKN Dublin #4 – 4/02/10 – Ivan Twohig

PKN Dublin #2 – 10/09/09 – Alan Phelan

PKN Dublin #2 – 10/09/09 – Richard Gilligan

PKN Dublin #2 – 10/09/09 – Eoghan Kidney

July 2002, photograph, 10.1 x 15.1 cm. Courtesy of the artist.

This March tank.tv will be exhibiting a selection of nine videos made between 2001 and 2009 by the artist Aurélien Froment.

Without reducing Froment’s work to ineffectual buzzwords it is safe to say that both process and situation both have central roles within his oeuvre. Working through the thematic prisms of play, theatre and architecture Froment allows himself to take a magpie approach to the specifics of art and culture as subject matter. This scope takes in Friedrich Froebel’s building blocks for children, Frank Lloyd Wright, knot-making, Kazimir Malevich and lazy stage prompters, amongst many others. This range of foci is held together by assonance, rather than archetype and the gentle tide is always back to process, learning and the potent pregnancy of situation.

The idea of filmmaking is important to understanding Froment’s work. His recent exhibition at Gasworks in London set the viewer within the potentially fecund space of projection and for him life’s experiences can be understood through the processes of filmmaking – editing, flashback and discarded scenes. With this in mind we are very pleased to bring a selection of his videos to tank.tv, a platform that deals exclusively with the moving image. Of course, we would not reduce this artist’s work to a few words so you’ll simply have to visit www.tank.tv for the full, extended experience.

This exhibition has been generously supported by Arts Council England and Paris Calling.

www.tank.tv