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Jordan Baseman: Online: A Different Kind of Different 14, 21 & 28 January 2021 | Online: MattFlix 26 June–10 July 2020 | Radio Influenza 1 November 2018–31 October 2019 | Offsite: Close-Up Film Centre: DisObey 12 September 2017 | Deadness 29 May–21 July 2013 | 1973 at Genesis Cinema E1 4UJ Tuesday 29 November 2011 7–9pm | Blue Movie 4–25 July 2009 (Sat and Sun only) | don’t stop ’til you get enough 13 April–12 June 2005 | Editions | Artist’s Website

Jordan Baseman | Blue Movie 2009

Jordan Baseman, Blue Movie , 2009 (16mm film still)

Jordan Baseman, Blue Movie , 2009 (16mm film still)
Jordan Baseman, Blue Movie , 2009 (16mm film still)

Press Information
Blue Movie is Jordan Baseman’s second exhibition at Matt’s Gallery and features a 16mm film that incorporates found pornographic footage (originating from the early 1940s during Nazi occupied Belgium) with an original soundtrack based on academic enquiry and discourse. The voiceover for Blue Movie has been created from interviews with the cultural commentator Pamela Church Gibson, Reader in Cultural & Historical Studies at the London College of Fashion.

In Blue Movie the main body of the found film is replaced with clear leader footage: allowing only a few seconds per edit, following the existing structure of the source material. Without censoring the original footage, the replacement material creates a charged space that is actively occupied by the soundtrack.

We hear the narrator simultaneously discussing the history of pornography and its relationship to feminism from the right channel of a stereo system, while describing and analysing the Belgian made film document from the left. The merging of the two soundtracks, spoken by a single voice, creates a poetic and layered narrative for the film. Blue Movie expands Baseman’s recent focus on voice-propelled narratives, creating a synthesis between the aural and the visual.

Through the restoration and subsequent use of the original film and the recording, transcription and construction of the interviews with Pamela Church Gibson, Blue Movie deals with ideas of power, patriarchy, feminism, authorship, the history of film, and voyeurism.

This work contains explicit material.

To see the build for this exhibition click here

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Studied 1986–1988 MA Fine Art, Goldsmiths College, University of London; 1979–1983 BA (hons) Fine Art, Tyler School of Art, Temple University, Philadelphia, Pennsylvania, USA Solo Exhibitions 2017 1977, House of St. Barnabas, London 2016 2 22 92, Dolph Projects, London; Veil, Temporary Arts Projects, Southend 2015 Tape 1 Tape 2, PS1, University of Lincoln; July the Twelfth 1984, Matt’s Gallery at Hospital Club, London 2014 Nobody Likes Us But We Don’t Care, Kunstverein Freiburg 2013 Deadness, Matt’s Gallery, London; A Cold Hand on a Cold Day, Fabrica, Brighton 2012 Green Lady, Modern Art Oxford at Story Museum, Oxford 2011 1973, Matt's Gallery at Genesis Cinema, London; Nasty Piece of Stuff, Aberdeen Art Gallery, Aberdeen 2010 The Most Powerful Weapon in this World, Baltic Centre for Contemporary Art, Gateshead; Nature's Great Experiment, Modern Art Oxford and Catalyst Arts, Belfast 2009 Blue Movie, Matt's Gallery, London; Dark is the Night, Artsway, Hampshire & The Photographers' Gallery, London; a hypnotic effect, Collective Gallery, Edinburgh 2008 Inside Man, Aberystwyth Arts Centre, University of Wales; The Documentary Imperative, Manchester Museum, Manchester 2007 Joy on Toast, Manchester Museum, Manchester; (I Can't Get No) Satisfaction, Hatton Gallery, Newcastle; Nature's Great Experiment, Wellcome Collection, London; Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia 2006 luv is gonna get you someday, Maus Habitos, Porto, Portugal; Sunday Morning, Site Gallery, Sheffield 2005 don't stop 'til you get enough, Matt's Gallery, London 2004 July The Twelfth 1984, Kaliman Gallery, Sydney, Australia 2003 City of Angels, Triskel Arts Centre, Cork, Ireland; EF103 603, University of Dundee, Dundee, Scotland 2002 1 + 1 = 1 / Under the Blood, Art Gallery + Museum, Royal Pump Rooms, Leamington Spa; Under the Blood / 1 + 1 = 1, Wysing Arts, Cambridge 2001 Raceway Queen, The Collective Gallery, Edinburgh; Lonesome Town, The Laing Gallery, Newcastle; The Comedians, The Newman Rooms, Oxford 2000 here, Grizedale Forest, Cumbria 1999 the history of existentialism, Wigmore Fine Art, London 1998 SHUP a screenplay/Performance, The Agency, London; more lies, Mario Flecha Gallery, Girona, Spain 1997 The Party and other things, Richard Salmon Gallery, London; blunt objects, Galerie Eugen Lendl, Graz, Austria; Births, marriages, and deaths, The Serpentine Gallery @ Marylebone Town Hall, London 1996 vox humana, Galerie 5020, Salzburg, Austria 1994 F is for love, Mario Flecha Gallery, London and HeberPercy Gallery, Warwickshire 1993 Galerie Guy Ledune, Brussels Group Exhibitions & Screenings 2017 Out of Body, Irish Film Institute, Dublin; Fargo Film Festival, Fargo; School of the Damned Screening, SuperNormal, Oxford; London Short Film Festival, Picture House Central, London; Montclaire Film Festival, New Jersey 2016 Experimental Animation, Close-Up Cinema, London; Cork International Film Festival, Cork; Aesthetica Film Festival, York; Melbourne Underground Film Festival, Melbourne; New Orleans International Film Festival, Portland; Edge of Frame, DSFL, London; Stories in the Dark, Whitstable Biennale; Flat Death, Open Eye, Liverpool 2015 Essex Road 2, Tintype, London; FUSO International Video Art Festival, Lisbon; Aesthetica Film Festival, York; FILMadrid, Madrid International Film Festival, Madrid; Sequences 7, The Living Art Museum, Reykjavik; London Short Film Festival, Hackney Picture House, London; Freedom Lies, The Collection, Lincoln; Strangelove Film Festival, University of the Arts London, London; Big Muddy Film Festival, Southern Illinois University, Carbondale; MAC International, MAC, Belfast; Seville International Film Festival, Seville; Aesthetica Film Festival, York; See it This, Forde Space, Geneva; Hey, Im Mr. Poetic…, Wysing Arts, Cambridge; Sites of Collective Memory, Animate Project London 2014 Between Subject and Object, University of Cape Town, Cape Town; Art (After) Death, Royal Academy Schools, Lauderdale House, London; 2013 Oxford Film Festival, Oxford (Mississippi); 3AM: Wonder, Paranoia and the Restless Night, Bluecoat, Liverpool; Atlanta Underground Film Festival, Atlanta; Imagina Animation Festival, Lima; 971 horses + 4 zebras, MADA Gallery, Melbourne; Athens International Film Festival, Athens (Ohio); Kansas City International Film Festival, Kansas City; Independent Filmmakers Showcase, Hollywood; Berlin Independent Film Festival, Berlin; Fargo Film Festival, Fargo; 971 horses + 4 zebras, Contemporary Art Spaces Tasmania, Hobart 2012 971 horses + 4 zebras, Tate Modern and Wimbledon Space, London; Light Assembly, Miami Art Basel, Miami; Made in Three Mills Film Festival, London; I Would Breathe Water, Sarah Scout Gallery, Melbourne; COMPASS, Beacon Art Project, Lincolnshire; Audio: Jordan Baseman y Susan Hiller, Fundacio Tapies, Barcelona; Animasivo Festival, Mexico City; Oaxaca International Film Festival, Oaxaca; San Francisco Short Film Festival, San Francisco; Tokyo Story, Tokyo Wonder Site, Tokyo; Independent Filmmakers Showcase, Hollywood; London Short Film Festival, Institute of Contemporary Art, London 2011 Lone Star Film Festival, Fort Worth, Texas; Edinburgh Documentary Film Festival, Edinburgh; Dark Matters, Whitworth Art Gallery, Manchester; Among the Nightingales, Castlefield Gallery, Manchester; When the Dead Help the Living, Light Projects, Melbourne; Volta + Armory, Artprojx Cinema, SVA Theater, New York; London Short Film Festival, London; Moving Portraits, De la Warr Pavilion, Bexhill on Sea; Coming of Age, Great Northern Museum, Newcastle 2010 Los Angeles Animation Festival, California; San Francisco International Short Film Festival, California; ResoVision, Resonance FM @ Frieze Art Fair; The All Sided Game, Edinburgh Film Guild Cinema, Edinburgh; Among the Nightingales, Tatton Park Biennial, Tatton Park; Adding Complexity to Confusion, Late at Tate, Tate Britain; Melbourne Underground Film Festival, Melbourne, Australia; Fools in Print, Berkley Art Museum, California; Voice/Under, Sixes and Sevens, White Box Studio, Nottingham; Glimmer, Hull International Film Festival, Hull; Gstaad Film Festival, Gstaad, Switzerland; Film, Video, Performance, Wimbledon College of Art, London 2009 New Forest Pavilion, 53rd Venice Biennale, Venice, Italy; Leading Lights, Several Pursuits Gallery, Berlin, Germany; Talk Show/Speakeasy, Institute of Contemporary Art, London; Ways of Living, Guest Room, London; Fool Me, drift, New Media Scotland, Edinburgh ; Salon S1, S1, Sheffield 2008 Stop.Watch., British Film Institute, London ; Reading Experimental Film Festival, Rising Sun Art Centre, Reading; Folie A Plusiers, MCO Arte Contemporanea, Porto, Portugal; Drawn Encounters, Wimbledon College of Art, London; Parallel, Salamanca Art Centre, Hobart, Tasmania, Australia; Multi-Channel, ArtSway, New Forest; Art and Strangers, Turnpike Gallery, Wigan ; Alchemy, Manchester Museum, Manchester; Grain, Isle of Grain, Kent 2007 Grain, Isle of Grain, Kent; Heart, Wellcome Trust, London; The Sun Always Shines on the Righteous, Purescreen, Manchester; Alchemy Artists, Manchester Museum, Manchester 2006 Open Video Library, Zaim, Yokahama, Japan; Hospitality, Accademia Tedesca, Villa Massimo, Rome; No Place Like Home, Beacon Art Project, Boston, Lincolnshire; Arcade, ACAVA Studios, London; Vox Pop, Star and Shadow Cinema, Newcastle; Contingency Plan, C.A.S.T., Tasmania, Hobart, Australia; Et Tu Tribute, Embassy Rooms, Edinburgh 2005 Variety, De la Warr Pavilion, Bexhill on Sea; Crossing Borders, Berwick Film Festival, Berwick upon Tweed; Our Surroundings, Dundee Contemporary Arts, Dundee; Size Matters, Yorkshire Sculpture Park, Yorkshire 2004 Six Thousand Chairs, Crystal Palace, London; Bad Behaviour, Yorkshire Sculpture Park, Yorkshire; AGORA, Transition Gallery, London; Feast of Silenus, Embassy Rooms, Edinburgh; Island Art Film/Video Festival, UGC Cinema, Docklands, London; Wonderful/Visions of the Near Future, Arnolfini, Bristol (National Touring Exhibition); Volume, Moving Pictures, St. Georges, Bristol; Brides of March, Embassy Rooms, Edinburgh 2003 La Mostra, British School at Rome, Rome; Radio Radio, The International 3, Manchester; In Good Form, Yorshire Sculpture Park, Yorkshire; Animality, Blue Oyster Gallery, Auckland, N.Z.; The Human Zoo, University of Newcastle, Newcastle; Further Up In The Air, Linosa Close, Liverpool; Spike Open, Spike Island, Bristol; Don’t Look Down, The Nunnery, London; Infallible: In Search of the Real George Elliot, ATP, London; CHOCKERFUCKINGBLOCKED, Jeffrey Charles, London Turpentine, Studio Voltaire, London 2002 Medicate, Art Gallery + Museum, Royal Pump Rooms, Leamington Spa; Somewhere, Angel Row Gallery, Nottingham; Telling Lies, Forde Gallery, Geneva; Going Continental, University of Applied Arts, Vienna; Hygiene, THRILLER, London School of Hygiene and Tropical Medicine; TV Swansong, THE LAST BROADCAST:; Regards..., Galerie Alain le Gaillard, Paris; it rocks, but gently... Folly Gallery, Lancaster; Second Skin, Henry Moore Institute, Leeds; file sound art, City Space, Birmingham; No Sleep ‘Til Hammersmith, Central Space, London 2001 Interstanding 4:End Repeat, Estonia Center for Contemporary Art, Talin; Project: Film and Video, Pittville Room, Cheltenham; The Great Escape, Grizedale Forest, Cumbria; things are not what they seem to be, Galway Arts Center, Galway 2000 a different kind of show, Whitechapel Gallery, London; ...not enough, Velan Contemporary Art, Turin; The Grizedale Show, Grizedale Forest, Cumbria; Conversation, Milton Keynes Gallery, Milton Keynes; Now Festival, Angel Row Gallery, Nottingham; Brief Encounters Film Festival, Bristol; Visions, City of Westminster Arts Council, London; Art in Motion Film Festival, University of Southern California, Los Angeles; SelfService, 5 Years, Underwood Street, London; John, I’m Only Dancing. Collective Gallery, Edinburgh 1999 The Anagrammatical Body, New Museum, Graz, Austria; East Wing Collection, The Courtauld Institute of Art, London; The Passage, Lincoln’s Inn Fields, London; Saatchi at Sheffield, Mappin Art Gallery, Sheffield; Tension, Greene Gallery, Geneva; Passion, Gasworks, London 1998 Fun de Seicle, Walsall Art Gallery, Walsall; Art Futures, Royal Festival Hall, London; Whitechapel Open, Whitechapel Art Gallery, London; fly, work for the eye to do/King Mob, London; Personal Effects, Spacex, Exeter 1997 Pictura Britannica, Museum of Contemporary Art, Sydney; Craft, Richard Salmon Gallery, London; Oak Repels Lightning, Science Museum, London; The Look of Love, Rear Window, the approach, London Recent Acquisitions, University of California, Berkeley 1996 A Cloudburst of Material Possessions, Purdey Hicks Gallery, London; Young British Artists VI, Saatchi Gallery, London; Plastic, Richard Salmon Gallery, London + Arnolfini, Bristol; Whitechapel Open, Whitechapel Art Gallery, London; love and death and all that, Galerie H S Steinek, Vienna; The Gas Station, The Ruskin School, Oxford; Love at Firstsite, Firstsite, Colchester; British Art Show 4, South Bank Centre, National Touring Exhibition 1996 [95???] Care and Control, Rear Window, Hackney Hospital, London; Real Time, London; composite, adj., Arnolfini, Bristol; Fetishism, South Bank Centre, National Touring Exhibition 1996 [94/93???] Whitechapel Open, Whitechapel Art Gallery, London; The Curator’s Egg, Anthony Reynolds Gallery, London; Vitrines, Galerie Guy Ledune/Acte, Brussels; Miniatures, The Agency, London; 1992 With Attitude, Galerie Guy Ledune/British Council, Brussels; Whitechapel Open, Whitechapel Art Gallery, London; Double Vision, Anderson O’Day Gallery, London; EAST/SOUTH, Norwich Gallery, Norfolk Institute of Art and Design 1991 EAST, Norwich Gallery, Norfolk Institute of Art and Design 1990 Whitechapel Open, Whitechapel Art Gallery, London Commissions & Awards 2017 Visual Arts Residency, Cove Park, Scotland; Research Development Fund, Royal College of Art, London 2016 Best Experimental Short Film, Oregon Independent Film Festival; Artist in Residence, HIAP, Helsinki; Research and Development Fund, Royal College of Art, London 2015 Best Experimental Film, Big Muddy Film Festival, Illinois; Leverhulme Trust, Artist in Residence, University of Lincoln, School of Law; Wellcome Trust Arts Award, Research and Development for Marked; Teton ArtLab, Artist in Residence, Jackson, Wyoming 2014 Visiting Fellow, University of Cape Town, Cape Town; Sites of Collective Memory, Animate Projects, London; Artist in Residence, Bemis Center for Contemporary Art, Omaha 2013 Artist in Residence, Yarat Contemporary Art Space, Baku; Best Experimental Documentary, Atlanta Underground Film Festival; Best Experimental Film, Kansas City International Film Festival, Kansas City; Best Experimental Film, Fargo Film Festival; ArtSouth Commission, Aspex Portsmouth 2012 971 horses + 4 zebras, Grants for the Arts, Arts Council England; COMPASS, Beacon Art Project, Lincolnshire; Best Experimental Film, Independent Filmmakers Showcase, Hollywood; Research and Development Award, Animate Projects, London 2011 Best Short Film, Lone Star International Film Festival, Dallas; Deadness, Wellcome Trust Arts Award, London; Artist in Residence, Tokyo WonderSite, Tokyo; 1973, Grants for the Arts, Arts Council England; Artist in Residence, St. John's College, University of Oxford 2010 Rough Machine Commission, Animate Projects, London; Best Film (Dangerous Experiments), Los Angeles Animation Festival; Best International Short Film, Melbourne Underground Film Festival 2009 Identity Project Award, Nature's Great Experiment, Wellcome Trust; Blue Movie, Grants for the Arts, Arts Council England, Henry Moore Foundation and Matt's Gallery London; Commonwealth Suite, a hypnotic effect, Collective, Edinburgh 2008 Dark is the Night, ArtSway and Photographers' Gallery, London Stop.Watch., Animate Projects and RSA Film Commission; 2007 Perfume Disco Coma, Widnes Waterfront Commission, Widnes; (I Can't Get No) Satisfaction, Hatton Gallery, Univ. of Newcastle; Tape 1 Tape 2, Monash University Gallery, Melbourne, Australia 2006 Alchemy Fellowship, Manchester Museum, University of Manchester I Hate Boston, Boston Hates Me, Beacon Art Project, Lincolnshire; Nature's Great Experiment, Research and Development Award, Wellcome Trust and Arts Humanities Research Council; Visiting Artist Fellowship, University of Tasmania, Australia; Sunday Morning, Site Gallery, Sheffield 2005 don't stop 'til you get enough, Matt's Gallery, London; Grants to Artists, British Council, London; Life All Over It and More Than Religion, DCA, Dundee, Scotland 2004 Visiting Artist Fellowship, Monash Univ., Melbourne, Australia 2003 Henry Moore Sculpture Fellow, British School at Rome, Italy; CACTASIA! Eden Project, Cornwall; City of Angels, National Sculpture Factory, Cork, Ireland 2002 How to Hover, Further Up In The Air, Liverpool; 1 + 1 = 1 and Under the Blood, Papworth Hospital, Cambridge; THRILLER, London School of Hygiene and Tropical Medicine 2001 TV Swansong, THE LAST BROADCAST: 2000 The Comedians, Arts Council of England Film and Video Awards Commission for DA2, Bristol/The Laboratory, Oxford; Film/Video Bursary, Westminster Arts Council, London; Artist in Residence, Grizedale Forest, Cumbria

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Selected Publications & Catalogues 2012 971 horses + 4 zebras, Lilly Husbands,; 2011 Jordan Baseman, 1973, Matt's Gallery Publication; 2010 Tatton Park Biennial, Danielle Arnaud, Jordan Kaplan 2009 The Body in Contemporary Art, Sally O'Reilly, Thames and Hudson; Adding Complexity to Confusion, Jonathan Griffin, Adam, Sutherland, Grizedale Arts, Cumbria; Dark is the Night, David Barrett, Gemma Seltzer, Jordan Baseman, ArtSway and The Photographers' Gallery publication; Nasty Piece of Stuff, Sally O'Reilly, ArtSway's New Forest Pavilion, 53rd Venice Biennale Exhibition Catalog; Jordan Baseman, Ilsa Colsell, MAP Magazine, issue 17, Spring 2008 Inside Man, Jonathan Griffin, University of Wales, Aberystwyth; 4 Films, Bryony Bond, Jordan Baseman, Manchester Museum 2007 Sunday Morning, David Barrett & Jordan Baseman, Site Gallery and C-I Arts; Human Behaviour, Kit Wise, Monash University, exhibition catalogue 2006 Sotiris Kyriacou, John Plowman, Beacon Art Project, exhibition catalogue; Contingency Plan, Philip Watkins & Kit Wise, C.A.S.T., Tasmania, exhibition catalogue; Responding to Rome,Jacopo Benci & Jenni Lomax, British School at Rome, exhibition catalogue 2005 Crossing Borders, Marcus Coates & Huw Davies, Berwick Upon Tweed Film Festival Catalogue; Size Matters, Natalie Rudd & Marius Kwint, Hayward Gallery Publishing, exhibition catalogue 2004 British School at Rome, Jacopo Benci, BSR Publications, exhibition catalogue; Wonderful: Visions of the Near Future, Maria Fusco, BKD Special Projects, exhibition catalogue 2002 BRUNO a short story, Jordan Baseman, Grizedale Arts, Cumbria; Second Skin, Stephen Feeke, Henry Moore Institute, exhibition guide; Hygiene, Polly Gould, exhibition catalogue: 2000 The Comedians (DVD) Da2 Digital Arts Development Agency, Bristol and The Laboratory, Oxford; Art in Motion, Janet Owen, University of Southern California, exhibition catalogue; Going Continental, Gudrun Bieltz, University of Applied Arts, Vienna, exhibition catalogue 1999 The Annagrammatical Body, Peter Weibel, New Museum, Graz, Austria, exhibition catalogue 1998 SHUP a screenplay, Jordan Baseman, Book Works, London; Fun de Seicle, Paul Glinkowski, Walsall Museum, exhibition catalogue; APersonal Effects, Alex Farquarson, Spacex Gallery, exhibition catalogue; Jordan Baseman’s Hollywood Hell In a Forest of Furry Signifiers, Richard Dyer, Richard Salmon Gallery, exhibition catalogue 1997 Pictura Britannica, Bernice Murphy, Museum of Contemporary Art, Sydney, Australia, exhibition catalogue; Craft, Joan Key, Richard Salmon Gallery / Kettle’s Yard, exhibition catalogue; ‘On the Edge of the Abyss’; blunt objects, JeanPaul Martinon, Galerie Eugen, Lendl exhibition catalogue 1996 British Art Show IV, Thomas Lawson, Richard Cork, Rose Finn Kelcey, South Bank Centre, exhibition catalogue; Young British Artists VI, Sarah Kent, Saatchi Gallery exhibition catalogue; Plastic, Neil Cummings, Richard Salmon/Arnolfini, exhibition catalogue Selected Reviews 2016 Flat Death, Robert Clark, The Guardian, 8 January; Blackout, David Barrett, Art Monthly, No.394, March; Essex Road 2, Sophia Phoca, Art Monthly, No. 393, February; Look at me, I said to the glass in a whisper, a breath, Alice Hattrick, The White Review, 2015 Essex Road 2, Oliver Basciano, The Guardian, 11 December 2014 New Realism, Mark Prince, Art Monthly, No. 376, May; Das Leben der Anderen, Dietrich Roeschmann, Badische Zeitung, 24 March; Jordan Baseman, Dietrich Roeschmann, Artline, May; Erzahlungen von den Schockzustanden des Lebens, Annette Hoffman, Der Sonntag, 23 March 2013 Deadness, David Barrett, Art Monthly, No. 368, July – August; Jordan Baseman, Mark Price, Art in America, October; For Those Left Behind, Jennifer Good, Source, November; Jordan Baseman, Haroon Mizra, Skye Sherwin, Free Range: the week’s art shows in pictures, The Guardian, 24 May; The artist who tried to capture death, Dan Glaister, The Guardian, 29 May; Jordan Baseman: Deadness, Gabriel Coxhead, Time Out, 7 June; Jordan Baseman: Deadness, Ben Luke, Evening Standard, 24 June 2012 971 horses + 4 zebras, Lilly Husbands, 2011 Nasty Piece of Stuff, Skye Sherwin, The Guardian, 5 February; Masterclass on Ageing, Mark Brown, The Guardian, 13 January 2010 Jordan Baseman, Robert Clarke, The Guardian, 6 February; Double Take, Susan McWilliam,; What’s Love Got to Do With It?, Peter Bonnell, 2009 Dark in the Night, Jocelyn Bailey, Blueprint Magazine, April; Jordan Baseman, Ilsa Colsell, MAP Magazine, issue 17, Spring 2008 Jordan Baseman, Rachel Withers, 2007 Tape 1 Tape 2, Penny Webb, The Age, 21 February; Untimely Ripped, Tom Shakespeare,; Nature's Great Experiment, Terrie Moffitt,; Grain, Brian Dillon, The Wire Magazine, November 2006 Contingency Plan, Briony Downes, Photofile, Spring Issue 78; Artist’s ‘race hate’ video divides troubled town, Andrew Norfollk, The Times, 19 August; Art project showcases tale of town’s race hate, Catriona Davies, Daily Telegraph, 19 August; Video work reveals racism of Lincolnshire community, Mark Brown, The Guardian, 19 August; Five Best, Robert Clarke, Guardian Guide, 9 June 2005 Jordan Baseman, Sally O'Reilly, Frieze Magazine, Issue 93; Jordan Baseman, Bill Furlong, Audio Arts, Volume 23, No. 3; Found Material and Jordan Baseman, Kathy Kubicki, Filmwaves Magazine, Issue 28; Our Surroundings, Duncan McLaren, MAP, Issue 3; Jordan Baseman, Eliza Williams, Flash Art, Volume XXXVIII No.243; I'm a Believer, Martin Herbert, Time Out, 25 May–1 June, No. 1814 2004 Wonderful: Visions of the Near Future, David Barrett, Art Monthly, No 275, April 2003 Jordan Baseman, Neil Mullholland, Flash Art, Volume XXXVI No. 231 July-September; Sloughing the Human, Zoontologies: The Question of the Animal, Steve Baker, Minneapolis and London: University of Minnesota Press 2002 TV Swansong, Dan Fox, frieze magazine, issue 68, June, July, August; TV Swansong, Michael Gibbs, Art Monthly, No 256, May 2001 Haunted by the Animal, Steve Baker, Tate Magazine, September 2000 Jordan Baseman, Roy Exley, Artpress, No. 255, April; Jordan Baseman, James Lawrence, Untitled, No. 21, Spring; the Holy Grail Doesn’t Rest in the Big Mac, Claire Callow, Pil Magazine, issue 4, April; Jordan Baseman, Martin Coomer, Time Out, No.1533 January 512 1999 Jordan Baseman: The History of Existentialism, Susan Hubbard, The Independent on Sunday, 19 December; Brief Encounter, Cathy Courtney, Art Monthly, No 224 March; And here is the new, Nicholas Royle, Time Out No 1492 March 2431; SHUP, Mario Flecha, Untitled, No 19, winter 1999; Fun de Seicle, David Beech, Art Monthly, No 223 February 1998 Personal Effects, Max Andrews, Untitled No 17, autumn; Personal Effects, John Tozer, Art Monthly, No 220, October; ...just a pack of jokers, Marina Benjamin, London Evening Standard, April 9; Whitechapel Open, Martin Coomer, Time Out, No.1443, April 1522; Whitechapel Open, Martin Herbert, Time Out No.1443, April 1522 1997 Jordan Baseman, Marc Currah, Time Out, No 1426; Opening Lines New Contexts for Artists’ Projects, Alison Raftery, London Arts Board Publications; Jordan Baseman, Sacha Craddock, The Times, 30 December; Von Hosen und Haustieren, Walter Titz, Kleine Zeitung, 30 September; Hundekopf, Phantasie, und das Unbehagen, Franz Niegelhell, Neue Zeit, 8 October; The Look of Love, Izi Glover, frieze, October; Young British Artists VI, James Hall, Art Forum January; Distress signals from lonely hearts, Richard Cork, The Times, 1 October 1996 Young British Artists VI, John McEwen, The Sunday Telegraph, 29 September; Young British Artists VI, William Feaver, The Observer Review, 15 September; Plastic, Sarah Kent, Time Out, No 1358 Aug 28 Sept 4; Best of the Six, Sarah Kent, Time Out, No 1360 September 1118; Plastic, Adrian Searle, The Guardian 2, 27 August; Plastic, Robert Garnett, Art Monthly, No 200 October; Young British Artists VI, John Tozer, Art Monthly No 200, October; Plastic, Jonathan Jones, Untitled, No 12, winter 1996/97; Young British Artists VI, Mary Anne Francis, Untitled, No 12 Winter; Profile: Based on a True Story, John Tozer, Art Monthly, No 197, June

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