Lucy Woodhouse

Grand Magasin Deux @ French Riviera, Dec 15 – 20

15 December 2015

London’s French Riviera is presenting the Grand Magasin Deux group exhibition at its Bethnal Green space, opening December 15 and running to December 20.

An ongoing collaborative project by gallery founders Samuel Levack and Jennifer Lewandowski, with curator Nat Breitenstein, the first Grand Magasin, with its concept of presenting an exhibition and shop, took place in 2013 and featured the like of Leslie Kulesh, Yuri Pattison and Daniel Kelly of Peckham art space/hair salon DKUK.

Its 2015 incarnation, meanwhile, features several of the same names including Harry BurdenWill Cruickshank and Fabienne Hess, as well as Marie D’Elbee, Ellen Mara De Wichita, Joey Holder, and Lucy Woodhouse.

See French Riviera website for details.**

Grand Magasin (2013). Exhibition view. Image courtesy French Riviera, London.
Grand Magasin (2013). Exhibition view. Image courtesy French Riviera, London.
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Lucy Woodhouse @ Los Angeles 2019 offsite in London, Nov 14 – Nov 20

12 November 2014

Los Angeles 2019 is hosting Edge of Human, a performance project by Lucy Woodhouse, in an offsite exhibition taking place at a pop-up location at 70 Paul Street in London, running from November 14 to November 20.

Los Angeles 2019, the new offshoot of French Riviera developed as a focus on experimental projects and performances, brings Edge of Human as a dynamic, collaborative exhibition that uses a fluid approach to curation. The entire project will be documented and, later, used as material by Woodhouse for a new online work for the Los Angeles 2019 website.

The evolving collaborative project was created by Woodhouse, taking performance as the starting point and incorporating a host of artists, writers, curators and musicians into its week-long fold. Some of the names taking part include Beatriz Olabarrieta, Marie d’Elbee, and Joey Holder, who will DJ the opening party, along with approximately twenty-eight others.

See the exhibition FB page for details. **

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Fabienne Hess, Replica Sentiments (2014) exhibition photos

9 September 2014

A one night only event that went on for longer. Replica Sentiments at London’s French Riviera features luxurious silk wall hangings of pixelated deluxe watches. Rolex. Panerai. Ferrari. Opulence compressed to Kb and filtered through spam into Fabienne Hess‘s terrifying collection of data debris. It’s junkspace in a folder, content catering to the artist’s habits, supposedly, but scraping a browser window full of ideas and images her eyes never noticed.

There are products for the rich and sentiments, feelings, for the poor. A crumpled paint on plastic announcing OH NO! hangs from a wall, the unequal reality of “crisis globalisation” tumbling limply from a wall heater in lowercase: chance. A French Riviera storefront window installation confronts passersby with emotion (“I am very happy”) robotically expressed, fed through an inbox and meticulously collated, edited and displayed on glass. There’s a mantra for August 11: We’re sorry to see you leaving. Or there’s this one from earlier: You are not phobic or autistic. I wonder if said subject is working from a browser history.

Like the artist’s Unknown Face Fragments series (2013) before it, the Replica Sentiments exhibition takes from the trash that most ignore and reinstates it as something one-of-a-kind, limited edition, an artwork, worthy. A brilliant exhibition text by Basia Cummings Lewandowska draws more insipid connections. Taking its title, We’re happy to help and some prompts from the spam calendar window, the writer tracks the history of unsolicited email to the naming of ground-up tinned meat as a portmanteu of ‘spiced-ham’. It’s miscellaneous matter that mirrors what Brad Templeton calls (as cited by Lewandowska) the “real-time multi-person shared environment” of early USENET messaging, now compacted into a “still unwanted, unsolicited – link to a world that is split by neoliberal claims to free markets and democracy, and a desperate politics of economic inequality, conflict, hunger and disenfranchisement”.

Hence the spam filter as a closing off and shutting out of a “more vulnerable, needier, poorer world”, where 419s from South Africa, Nigeria, Benin, Togo, Ghana, Ivory Coast; Kazakhstan, Pakistan and India become a HELP ME! promptly identified and discarded by bots. Out of sight, out of mind. Hess’ Replica Sentiments, on the other hand, makes us look, listen; bringing an inconvenient reality out of the in-between and into full view as a reminder: “My friends are ground in spam”. **

 Exhibition photos, top-right.

Fabienne Hess’ Replica Sentiments was on at London’s French Riviera, running from July 16 to September 7, 2014.

Header image: Fabienne Hess, ‘Chance’ (2014). Courtesy the artist and French Riviera, London. Photo by Kris Emmerson.

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