KEEM is a collaboration between artists Kate Elliott and Emma McGarry. It was established in 2011, as an exploration into the nature of collaboration. Through methodology, ongoing discussion and debate, KEEM produces work which continuously questions subjectivity, materiality and identity.
During the month-long residency at the Farringdon Factory, KEEM have been busy working on two projects - Here I Stand for Five MinutesandLight Map. Each half of KEEM, Kate Elliott and Emma McGarry, initiated one of the two projects, both in relation to their own, independent work at the Factory.
Through creating small photographic
installations made out of light-sensitive paper, in Light MapKEEM document
the movement of light throughout the space. By performing certain acts
and movements, they play with the subtle shifts in light, exploring if and how this can be translated from
three-dimensional objects into two-dimensional forms.
Farringdon Factory is a month long residency, curated by artists Keira
Greene and Natasha Cox. During this time KEEM, along with around 20 other
artists, have unlimited access to a huge, disused office space on Farringdon
Street. An update on our activities to follow soon...
Press Release: 20
Farringdon Street is a seven story building in the City of London. A
structure that has been stripped back to its basic form, it is a
soundproofed expansive space with enormous, lengthy rooms which look out
over the energy of the passing city. The hum of the building's past
activities echoes in this suspended space-in-waiting. 20 Farringdon
Street has six L-shaped floors, identical in dimension and vacuity. Each
is a blueprint of the last - like a strip of film waiting to be
the 25th November to 19th December, this empty space will become the
Farringdon Factory, a seven story open studio complex whereby the
curators and resident artists will plan live events, screenings, and
installations, performances and talks. The
ground floor will be transformed into a constructed cinema, a space
that encourages discursive engagement. The facade is glass fronted, and
passers‐by will encounter screenings and events as they filter down
through the many levels of the building, and will be invited to become
part of the project in this communal and public space. Resident artists,
along with invited speakers, will present events that examine methods
of research and production linked to both film-making and the
temporality of the site. This curated programme will run during the
residency and will seek to connect the studio practice upstairs with
both visitors and the pedestrians on the street, locating the building
itself as a unique site for observation.
Perching, posing. Again, these
angles, when you start to think about the causal chains that led you
to take this exact photograph it seems so unlikely that anything
could ever happen at all.
Are you really closer to the shore?
Or is it the camera? These aren't questions I want answering.
I've thought about shadows and about
how sometimes shiny things leave shadows of light. But they aren't
shadows are they? That's just a misappropriation of the term.
(I want to address this as a sensual
experience. Travel, photography, writing. Photographs are sensual
anyway, the depiction of light bouncing off objects. It seems obvious
when you write it down. All photography is sensual, the shining skin
of the world.)
In the darkness, photographs are
always the product of a battle between light sources. Which one will
make its mark?
There is a separation, in these,
between you as a pair. To be the subject of the photograph is to be
separated off from the photographer by the camera. Space split by the
shutter. You travel together, but the camera keeps you apart.
(I always thought that taking a
photograph of someone in a place makes it obvious that you can't
experience that place in the same way at the same time. It would be
wonderful to be able to somehow forget that either of you ever
travelled as individuals, because once you've left a place, you
aren't there any more, but the things you saw might still be.)
In bed, or under fluorescent light;
carved off spaces, like petrol stations in the night. Driving past.
They spin by. Windows of trains that aren't your train. You can't see
your own window, or you don't think about the glass as you look out.
The above excerpt is taken from a specially commissioned text for KEEM's publication A Chain of Wooded Mountains, written by artist and writer Matthew de Kersaint Giraudeau.
We are currently trying to raise funds to publish a limited edition print-run of the book - to help us do this, whilst getting your hands on a beautifullimited edition print (all proceeds go towards publishing the book), please click here. Plus you'll then be able to read the above text in full!
Emma McGarry from KEEM has been selected to take part in the first ever Night Contact
festival taking place in Dalston, London, on the evening of 27
September 2013 from dusk until midnight.
She will be showing a single channel video of Nice at the Bird Cafe on Bradbury Street, N16 8JP.
Night Contact is London’s new Multimedia and
Photography Festival and includes work by over 50 innovative artists
including Augustin Rebetez, Stephen Gill, Mishka Henner, Clare Strand
and Penelope Umbrico.
This ‘Me’ of Mine
is a touring contemporary art exhibition which looks at self in
relation to context. It presents issues of socialization and the
influence of social groups and our connection to objects as a means to
express emotion and to hold memories. The passage of time, limitations
imposed by circumstance, and the effects of living in a digital age are
also explored in the exhibition.
On Wednesday 10th July, Emma McGarry from KEEM took part in a
public discussion at Camden Arts Centre with artist Adam Walker, and Programme Director at Central
Saint Martins Alex Schady. The discussion marked the opening of an exhibition of new works by students who have taken part in the Get The Message programme at Camden Arts Centre this past year.
Public discussion, 10 July, Camden Arts Centre - photo by Hydar Dewachi
Students on the current Get the Message programme, Camden Arts Centre - photo by Hydar Dewachi
Get the Message
is a collaborative project between young people with learning
disabilities, artists and teachers, and is currently being run by artists Emma Mcgarry and Adam Walker.
Click here for further information. Get The Message Exhibition Dates: 9-14 July Camden Arts Centre Arkwright Road, London, NW3 6DG
Following on from the exhibition A Chain of Wooded Mountains, which took place during Photomonth 2012, KEEM have begun work on their book of the same title. This will form the third and final stage of a lengthy process of discussion, interpretation and collaboration.
We are very excited to be working with writer Matthew de Kersaint Giraudeau, who will be producing a text to accompany the work.
In the process of editing A Chain of Wooded Mountains we were
struck by these seven images, each of them different but all of the
same scene. We question why this scene generated more photographs than
any other in the series.
The sprawling cemeteries, and the black bird on the wire, stand out in
front of us as we look down from the surrounding hills on a city that
suffered the longest siege of any in the history of modern warfare.