Uncaptioned image from Revolver II, Part 2: Transverse by Bronwen Buckeridge, Lucia Nogueira, Joëlle Tuerlinckx and X Marks the Bökship at Matt’s Gallery
Bronwen Buckeridge, To the Memory of M A Vorontsova, 2009. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Bronwen Buckeridge, To the Memory of M A Vorontsova, 2009. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lucia Noguiera, No Time for Commas, 1993 and Bronwen Buckeridge, To the Memory of M A Vorontsova, 2009. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lucia Noguiera, No Time for Commas, 1993 and Bronwen Buckeridge, To the Memory of M A Vorontsova, 2009. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Lucia Noguiera, No Time for Commas, 1993 and Bronwen Buckeridge, To the Memory of M A Vorontsova, 2009. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Joëlle Tuerlinckx, GEOLOGY OF A TYPESCRIPT/ ARCHAEOLOGY OF A MANUSCRIPT: from the darkness of a day until the light of another day. A project for Matt’s Gallery - archive and canal, 2014. Installation view, Revolver II (Part 2: Transverse), 2014. Image by Peter White, courtesy of the artist and Matt’s Gallery, London.
Uncaptioned image from Revolver II, Part 2: Transverse by Bronwen Buckeridge, Lucia Nogueira, Joëlle Tuerlinckx and X Marks the Bökship at Matt’s Gallery
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Bronwen Buckeridge, Lucia Nogueira, Joëlle Tuerlinckx and X Marks the Bökship

Revolver II, Part 2: Transverse

15 October – 9 November 2014

Copperfield Road

* Transverse: to pour over, to extend across, crossing borders to make equations, to lay different forms of knowledge across, above and below each other, a textile or lattice which shows and protects.

Joëlle Tuerlinckx, (2014)

Since 1980, Tuerlinckx has developed a rigorous artistic language that incorporates strategies of archives and institutional criticism. Her site- specific practice often focuses on the formal properties of gallery spaces, the role of museums, and the museums’ relationship to their communities. Film projections, video, drawings, collages, photographs and found objects are often combined with subtle alterations to the spaces and gestures that highlight the time and space of the viewing experience.

Bronwen Buckeridge, (2014)

Buckeridge’s audio installations are studies in how sound and memory shape our experience of place. Often made for one person at a time, her work explores the dynamic of live and recorded sound in a fixed lo- cation, inviting the viewer to forge imaginative connections between the mediated sounds of the recording and the free-flowing activity of their immediate surroundings - a kind of 'paracinema' where the miss- ing screen element is experienced through the unfolding live aspect of the location.

These acoustic environments are deliberately unstable; both right now and already past, moored and itinerant, referring at once to the site where they are installed and to elsewhere.

Lucia Noguiera, No Time for Commas (1993)

Before her death in 1998, the Brazilian artist Lucia Nogueira was predominantly known for her sculptural installations using everyday objects, intentionally creating work that left questions unanswered, deferred closure and implicated the spectator in creating meaning by bringing to the work their own memories and imagination.