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David Osbaldeston: The Top & Bottom of It. Mechanism for a Future Reference June 2015–March 2016 | By appointment only 1 October 2008–30 September 2009 | Your Answer is Mine 30 August–8 October 2006 | Publications | Editions | Artist’s Website



David Osbaldeston | The Top & Bottom of It. Mechanism for a Future Reference | June–ongoing

David Osbaldeston, The Top & Bottom of It. Mechanism for a Future Reference, 2015 (installation view)

David Osbaldeston, The Top & Bottom of It. Mechanism for a Future Reference, 2015 (installation view)

David Osbaldeston, The Top & Bottom of It. Mechanism for a Future Reference, 2015 (installation view)

Press Information

The
Top &
Bottom of It.
Mechanism for a Future Reference

is a new installation of site-specific work by David Osbaldeston. The work is made for, and built into the existing architecture of the Matt’s Gallery office, and includes screen prints, intaglio etchings, and sculpture assembled from a combination of new and existing material within the office and the context it serves.

Click here for essential booking details.

Made for a working situation where daily life is an ecosystem of objects and ideas in constant rotation and transition, the installation is made up of connecting-parts. Active ingredients such as gaps, openings and closings, and a series of graphology reports from previous visitors, offer covert methods of engagement. Central to this and occupying the entire length of the office floor is a fixed railing system upon which effortlessly glides the Mechanism For Future Reference: a tall idiosyncratic wooden-built structure, designed as a moveable sculpture and operational machine.

Held in place by black solid rectangular ‘memory blocks’ the mechanism places the viewer at the behest of technology, enabling them to travel backwards and forwards in space and time. The viewer will have access to the arrangement of artworks displayed in cryptic sequence above and below eye level. (Top & Bottom.) Like some out-of-kilter reference to a future history stuck on repeat, Mechanism For Future Reference inhabits a space between utilitarian working furniture and art-object-as-abstract-machine that kaleidoscopically helps reveal time as a substance folding in and against itself.

In a bid to form a parallel universe somewhere between the physical and ephemeral, images are fashioned into objects and objects are formed into images. The works are presented in an unexpected alignment of physical things to produce new meanings that require the physical act of opening. To transcend the duration of the usual 4-6 week exhibition

The
Top &
Bottom of It.
Mechanism for a Future Reference

has no specified date of closure.

David's work takes the form of installation, posters, and drawings, which evolve out of a continuing engagement with cut-and-paste culture. His work often occurs in sequences, dealing with the appearance of things. Both transient and fixed identities are regular sites for enquiry where the 'familiar' is recycled and re-imagined into a strange image of itself only to unravel into a deceptive game of reiteration between the visual and linguistic. What comes out of this is both intentionally cryptic and puzzling. This happens through disrupting the qualities of chosen media, absurd methods of production, or comic miscommunication, originating new meanings from more than one authorial state.

Booking Essential
Admission free but booking is essential. Call 020 8983 1435 to reserve your place or email events@mattsgallery.org with your contact name and number.

Places are strictly limited to 1 person per half-hour viewing slot.

The work will be available to view every first Thursday of the month between the working hours of 10:30–1pm & 2–5:30pm (closed for lunch 1–2pm).

Matt’s Gallery is generously supported by Arts Council England.


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Biography
Born Northampton, England 1968, Lives and works in Manchester Studied 2000–2002 Manchester Metropolitan University, MA Fine Art, and 1989–1992 Sheffield City Polytechnic, BA Fine Art Solo Exhibitions 2015 The Top & Bottom of It, Mechanism for a Future Reference, Matt’s Gallery (office) London; 2014 Chancellors Fellow, Residency in Art Writing, Edinburgh College of Art & Edinburgh Sculpture Workshop; Annals of the Twenty Ninth Century, Wysing Arts Centre, Cambridge; The Measure of All Things, Collective Gallery, Edinburgh; 2013 Living Matter – Inflection Sandwich, Piper Keys, London; Living Matter – What’s Been Before, Remains to be Seen, Onomatopee, Eindhoven; 2010 Out of Time (The Light of Day, The Action of the Play), Castlefield Gallery, Manchester; 2008 Another Shadow Fight, International Project Space, UCE, Bourneville, Birmingham; 2007 Gest: Future Criticism, Stanley Picker Gallery, Kingston University, London; Frozen Tears III, Koenig Books, London, Dexter Sinister & Creative Time, New York; 2006 Your Answer is Mine, Matt's Gallery, London; Group Exhibitions and Activities 2014 Annals of the Twenty Ninth Century, Wysing Arts Centre, Cambridge; Double Purpose, The CASS, London; A Model of the Serving Library, Tate, Liverpool; 2013 Drawing Biennial, The Drawing Room, London; Life is an Illusion, Love is a Dream, The Royal Standard, Liverpool; Two Way Mirror (on-site work) Wysing Arts Centre, Cambridge; Publish & be Damned, ICA, London; 2012 Marbled Reams, The Modern Institute, Glasgow; What We Have Done and What We Are About to Do, CCA, Glasgow; Publish & be Damned, ICA, London; 2011 Orbitecture 2, Focal Point Gallery, Southend-on-Sea; Suppono Subpono; E:vent Gallery, London; 2010 Rijksakademie Open Ateliers, Amsterdam; Avalon, Embassy Gallery, Edinburgh; 2009 Print Biennial, Laing Art Gallery, Newcastle-Upon-Tyne; Extended Caption / Dexter Sinister, Culturegest, Porto (catalogue); Your Answer is Mine, 4X4, The Bluecoat, Liverpool; Abstract Cabinet, Eastside Projects, Birmingham; 2008 The Pleasure of Your Company, Nought to Sixty, ICA, London (catalogue); 2006 EASTWORK Commission (Non Despatch 124 and a quarter), EAST International, Norwich; 2005 10 Point Plan For a Better Cornerhouse, international 3 and Cornerhouse, Manchester; Not Yet Night, Studio Voltaire, London; Publish and be Damned, Distribution Fair and Touring Exhibition, London, CASCO, Utrecht; Drawing 200, The Drawing Room, London; Social Club, works on and with paper, Grundy Art Gallery, Blackpool; 2004 Artist's Commission for Put About, An Anthology on Independent Publishing, Book Works, London. Romantic Detatchment, PS1 MoMA, New York; Slimvolume, Redux, London and Outpost Norwich; PILOT:1, International Art Forum, Limehouse, London; Friday 13, works on and with paper, Galleri s.e., Bergen; 2003 Copy Cat, Aarhus Art Academy, Denmark and Mess Hall, Chicago; I Am A Curator, Chisenhale Gallery, London; Translator, VANE, The Guildhall, Newcastle Upon Tyne; 2002 Serial Context, Visual Research Centre, Dundee Contemporary Arts, Dundee; Commissions and Awards 2014 Chancellors Fellow, Residency in Art Writing, Edinburgh College of Art & Edinburgh Sculpture Workshop; 2013 ConventionT Residency, Wysing Arts Centre, Bourn, Cambridge; 2010-15 ACME Firesation Residency, London; 2010 Dutch Ministry of Culture, Rjksakademie Van Beeldende Kunsten, Amsterdam; 2004-05 Research and Development Grant, Grizedale Arts; 2003 The Retina's Responsibility, Exhibition Text, Bloomberg New Contemporaries, Cornerhouse, Manchester, then 14 Wharf Rd, London.

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Bibliography
2015 Bob Dickenson, Art Monthly, June; Manifesto for a Photocopier, ARTPAPERS, May/June, Atlanta, Georgia, US; Modern History, Art Monthly insert, May; 2013 Kunstwordtterugkunst, Issue 5, Hertogenbosch, Netherlands; 2012 Fictioneers (Richard Kostalanetz, Bryony Bond), Issue 3, Corridor 8; 2009 Out of Time, cover & chapter commission, MUTE Vol 2, Issue 13; 2008 Michelle Cotton, Nought to Sixty, Art Monthly, Dec/Jan; Art on Paper, 5th Annual Print & Edition Review, Nov/Dec; 5th Annual New Prints Review, Art on Paper, Vol13 No2, Nov/Dec; Angharad Lewis, Case Study Interview, Grafik, Nov; Martin Hopkinson, Print Quarterly, Vol XXV; Dusk Notice Manifesto, Art Review, July/August; Dot, Dot, Dot, Issue 16 A W.A.S.T.E of Ink (after Thomas Pynchon); Dave Freak, What's On Magazine, 9 February; Wayne Burrows, Metro News, 24 February; Another Shadow Fight, International Project Space, University of Central England, Bourneville, Birmingham (Booklet interview with Andrew Hunt); 2006 JJ Charlesworth, Art Monthly, issue 300; Andrew Hunt, Frieze, issue 103; Sarah Kent, Time Out, issue 1881; Jessica Lack, The Guardian, 2 September; Your Guess is as Good as Mine, Richard Dorment, The Daily Telegraph 5 September; MANIFESTO: DUSK NOTICE, Art Review July/August; Charlotte Bonham Carter, Untitled, issue 40; Your Answer is Mine, Maria Fusco, Matt’s Gallery, London; 2005 Thinking Machines V The Big Swap, Maria Fusco, Collections, ten two zero zero five, AN Magazine; Put About, An Anthology on Independent Publishing, Book Works, London; 2004 Aperto Manchester, Feature, Neil Mulholland, Flash Art International, Issue 232; On Communication (Editor), Published and distributed by Cornerhouse; Put About, An Anthology on Independent Publishing, Book Works, London; 2003 Artranspennine 03, Review, Neil Mulholland, Frieze, Issue 79.

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