the sun went in

7/26/2019 The Sun Went In

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The sun went in, the fire went outis an exhibitionlocated in the landscapes of practice: the incorporeal zonesof activity configured and made real by the artist.

The exhibition is comprised of works by threeartists Annabel Nicolson, Carlyle Reedy, and Marie Yates who were vital in the development of key avant-gardemovements within London in the s and s. Theirworks have often explored ideas of land, site, duration,and representation. Through the use of film, performance,image, and text, this exhibition privileges certain ephemeralpractices, displaying art works that are iterative, morphicand responsive. Indeed, past works have here been re-

configured, shifting across different time periods, unsettlinghistoric interpretations and, consequently, the strategiesof documentation and their use within exhibition making.

The sun went in, the fire went outis a quotationtaken from a notebook of the archaeologist and writerJacquetta Hawkes, now held in the Hawkes archive at theUniversity of Bradford. It was a desire to excavate the workof Hawkes that provided the motivation for this exhibition,not least how such a prominent figure in pre- and post-war

cultural life, had become so marginal.Born in , Jacquetta Hawkes read archaeology

and history at Cambridge, and in she formed part of anexpedition that unearthed the first Neanderthal skeleton to bediscovered outside of Europe. This proved a formative experience:

I was conscious of this vanished being

and myself as part of an unbroken stream of

consciousness, as two atoms in the inexorable

process to which we all belonged.

This realisation is activated within her firstspeculative work,A Land(). Described as a difficultbook to classify [] not a work of science or the imagination,but rather the combination of the two, A Landis a fusionof art, geology, archaeology and literature, and draws into asingle continuous process the durational existence of Britain.


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In it, Hawkes gaze ranges from the emergence of theCumberland hills, as described by the Lakeland poets,to the formation of Hornton stone and its subsequent shaping

at the hands of sculptor Henry Moore. The book explores howgeological events shaped the structure of Britain, and how thisstructure in turn determined the lines of human settlement,with humans shifting from place to place in pursuit of theirevolving needs and desires. Hawkes also wrote film and TVscripts, including the dystopian The Lonely Shore(),directed by Ken Russell for Monitor, andFigures in a Landscape() for Barbara Hepworth. She was one of the foundingmembers of CND, marching regularly from Aldermaston and

organising, with other prominent female writers andacademics, the CND Womens Committee. Like many at thetime, Hawkes was influenced by the writings and teachings ofC G Jung, and developed a dramatic quartet with J B Priestleytitled The Dragons Mouth(), the plays four charactersrepresenting Jungs four functions of sensation, intellect,intuition, and emotion.

Up and down the country, whether they

have been set up by men, isolated by weathering,or by melting ice, conspicuous stones are commonly

identified with human beings. Most of our Bronze

Age circles and menhirs have been thought by

the country people living round them to be men

or women turned to stone. The names often help

to express this identification and its implied sense

of kinship; Long Meg and her Daughters, the Nine

Maidens, the Bridestone and the Merry Maidens.

It is right that they should most often be seenas a women, for somewhere in the mind of everyone

is an awareness of women as earth, as rock, as

matrix. In all these legends human beings have

seen themselves melting back into rock, in their

imaginations must have pictured the body, limbs

and hair melting into smoke and solidifying into

these blocks of sandstone, limestone and granite.2


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Similarly, the Modernist writer Mary Butts spoke ofthe material effect of landscape within her works. In the CrystalCabinet() Butts described the profound impact on her of the

Badbury Rings, three prehistoric earthworks in Dorset, which shesaw as a place of enchantment and transcendental knowledge:

Without the rings I know what would have

happened to me whirled away in the merry-go-round

of the complex and the wish-fulfillment and the

conditioned reflex, with Jung and Pavlov,

Julian Huxley and Bertrand Russell, in a group

consciousness of post-war young. On those rocking

horses I might have pranced forever, with the restof us, at our own version of Vanity Fair.

Again, like Hawkes, Mary Butts has become arather marginalised figure, better known for her associationwith Aleister Crowley than her published works.Born in at Salterns on the Dorset coast, Butts great-grandfather hadbeen the patron of William Blake, and the family retained asubstantial collection of paintings and engravings at Salterns.

The sale of the house and its contents in came to symbolisea kind of death and became bound up with the destruction(as she saw it) of the landscape in which she had grown up,and to which her attachments were profound, mystical, andmythical. Her relationship to the land, and her grief and angerover the loss of patrimony, become embedded within her prose.The intense reaction to this displacement had a great effectupon Butts life as an itinerant writer, socialite, and thinker.

It is in thinking through both Hawkes and Butts,

their work and their lives, that we have developed our ideasabout the presentation of the artists within the exhibition Annabel Nicolson, Carlyle Reedy and Marie Yates.

Originally we wanted to think about the siteof withdrawal, or retreat, within their practices as a poten-tially radical position; a line was to be traced throughoccupation (political or otherwise) and its relationship tosite or landscape, as performed within their artworks.


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Photographic documentation of The Good Wind, (retitled A Poets Narrative) a performance involving

multiple voices at Riverside Studios, 1977 (image by Topham Vickers, courtesy of Carlyle Reedy)


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These sites may have had different durationalqualities, and they may have also explored the tensionbetween public and personal space, between introspection

and action; they were developed, often collaboratively,to produce a private meditative space within the art galleryor performance environment.

In this exhibition, we have used the personalcollections of each artist, working with documentation, notes,reviews, and texts, as well as film and photography, as meansto present ephemeral performance works. Using the imagereproduced opposite as a starting point, we discussed withCarlyle Reedy the process of working through various

performance documents, and also the use of shelter and spacewithin her performance works. The conversation whichfollowed overturned completely our preconceived ideas:what happens when you look at a mountain and see a shelter?Our attempt to construct a narrative around a specificperformance (The Good Wind) was undone in one comment and provides a healthy reminder when attempting to addressthe contexts of practice of artists whose work remains outsideof art historical discourse.

We came to realise that the issues we facedrelated to classification, most especially the need to producea vocabulary to describe the material we encountered.For example, are we describing the artworks withdrawalin tandem with the artist? Whats the afterlife of either if wehave no iconography of these subjects? The art historianMaria Tamboukou has described the archive as a trace ratherthan a repository, as an assemblage of interactive phenomena.This idea has proved especially useful when considering

works (and lives) that are iterative, episodic, and disjointed.In her essay Farther Afield Lucy Lippard described Overlay() as:


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a book I wrote in the late 1970s, inspired

by a year on a farm in Devon, near Dartmoor, about

contemporary art and the mostly megalithic art of

prehistory [] It changed my way of thinking about

art because it was the first time Id had the guts

to cross disciplinary barricades outside of left

politics, that is. Enthusiasm rather than knowledge

or critical analysis was the fuel for Overlay.5

Similarly, Peter Kiddle, an artist whose workfeatures in Overlay, described the contingent process ofwriting at that time as a process of development, where

past and future seem scrambled into an insistent present.

It is in this scrambled, insistent present that our exhibitiontakes place, and in which we ask how an artist can now mediateand understand past works through documentary materials.There is situated, within these materials, a stratification oftimes. Their significance to the artists is myriad and everchanging, especially after a significant period has passedand a sense of legacy comes predominantly to mind.

A legacy is what is passed on, whether it is aninheritance, or how people and works are remembered.How do artists acknowledge legacy in its residual sense withintheir own practice? The works of these extraordinary artistsresist categorisation they complicate the collection that wantsto separate books from works, and pots from words.They arelandscapes, all of them, symbols of an interior world that reachtowards the beyond gestures that cut across time and space.

Karen Di FrancoJanuary


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Unattributed quote from the jacket text accompanying the Cresset Press edition

Jacquetta Hawkes,A Land, Chapter VII: Digression on Rocks, Soils and Men,p. (Cresset Press: London, )

A life-long writer, Mary Butts early work was published in the significant journalThe Little Review. Founded by Margaret Anderson in March , The Little Review

became, over the course of its -year existence, one of the chief periodicals in theEnglish-speaking world for publishing experimental writing and publicising internationalart. Along with publishing many experimental writers such as Ezra Pound and GertrudeStein, it was first to publish Ulyssesby James Joyce in installments, from tountil the Society for the Suppression of Vice charged the magazine with obscenity.

At the eventStories That Matter: Feminist Methodologies, Maria is quoting Karen Barad.

(ICA November, : https://www.ica.org.uk/whats-onstories-matter-feminist-methodologies-archive)

Lucy R. Lippard, Farther Afield,Between Art and Anthropology: ContemporaryEthnographic Practice, ed. Arnd Schneider and Christopher Wright, p.(Berg: New York & Oxford, )

Peter Kiddle, Theatre Papers Archive, -, ed, Peter Hulton.Exeter: Arts Archives - DVD-ROM

In reference to the educational filmPots Before Wordswritten by Jacquetta Hawkes(presented by Ann Birchall) and produced by Ashwood Educational Productions ().


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Documentation of the performance Combing the Fields

published in artists book, Escaping Notice, 1977


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Annabel Nicolson() is an artist film-maker and performer.From - she ran the gallery at the New Arts Lab, Londonand was cinema programmer at the London Film-Makers

Co-op in , - and /. She was a founder memberof Circles - Womens Film in Distribution (Circles mergedwith Cinema of Women in to become Cinenova); editorialcontributor forMusicsmagazine (-); and co-editorand publisher ofReadingsmagazine (). Her film worksand performances have been seen at museums and galleriesincluding Acme Gallery, Hayward Gallery and the LondonMusicians Collective, London, Stedelijk Museum, Amsterdam,Walker Art Gallery, Liverpool; and in film retrospectives and

festivals internationally. Her solo exhibitions include NorwichSchool of Art Gallery () and Chelsea College of Art Gallery(). Recent group shows includeFilm in Space, Camden ArtsCentre () andFilmaktion, Tate Modern (). Her work isin the collection of the Belgian National Film Archive, BritishFilm Institute, Canterbury University, Women Artists SlideLibrary, and her artists bookEscaping Noticeis in the collectionof Victoria and Albert Museum. She has taught at various artcolleges including devising the Women in Art Course at Chelsea

College of Arts (-).

Escaping Notice, Artists book: offset litho with halftone and colour illustration.Hand finished with letterpress, tip-ins, material, leaf, cuttingsand collage. Published by Annabel Nicolson. Printed at theArc Press, Waterside Mill, Yorkshire.

Text from advertisement forEscaping Notice:A handmade book of unseen events including:

HOW TO DISGUISE AN ELM AS AN OAK (to outwit

the Dutch Elm Beetle) REDEFINING THE CONTOURS

OF BRITAIN (seeking to remain inconspicuous)

SLEEPING LIKE A LOG COMBING THE FIELDS

SWEEPING THE SEA etc., etc.,


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The book gathers together material from severalperformances and events made over the years up to ,includingSweeping the Seawhich took place at the Southampton

Festival of Performance Art (). Nicolson used a largebroom to slowly and carefully sweep towards the incoming tide.In Combing the Fieldsshe performed a similar action with a largehandmade comb, raking rough grasses that were white with frost,so that the effects of her efforts were visible in the landscape.

Redefining the Contours of Britaindocuments amarathon walking tour around the southern parts of Englandthrough newspaper reports in local newspapers, frequentlycomical in their level of incidental detail. The report from

Thornage relates that She sat out in a deck chair watchingher neighbour dig potatoes in the plot across the stream whentwo well dressed gentlemen drew up in a car and proceeded tophotograph the cottage. As Miss Nicolson walked to the roadto speak to them she was delayed by the neighbour pushing awheel barrow full of potatoes and the photographers disappeared.

How to Disguise an Elm as an Oakrelates a historyof this titular act, performed to outwit the Dutch Elm Beetle;elm trimming scissors could be used to oaken the elm, and Scots

art students are encouraged to spend their final year trimmingelm leavesat [Loch Leven] this ancient home of elm growing.Material in the exhibition includes framed pages from the book,photographs and documents relating to the performances, andcopies of the book itself.

Cries andHidden Sounds, -Crieswas performed at the Festival of Womens Work

in Performance, which took place at the Midland GroupGallery, Nottingham between th-st November, .The performance was later configured asHidden Sounds(titled Crieson the poster) at the Musicians Collective, Londonon May .


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Documentation of the performance Hidden Sounds (originally titled Cries)

at the Musicians Collective, Friday 7 May, 1982

The performance Criesis one of a number of worksmade by Annabel Nicolson between c.- that employan iconography of shelter or fire as a physical and meta-

phorical space for women to gather and speak to oneanother. An account of Criesby Louise Homerwood inPerformance Magazinein relates:


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a sensitive, almost apprehensive atmosphere,

set up by the quiet use of very little light in the

performance space. This, rent by a strange rendering

of an archaic song then questions, what was it?

Where did it come from? This work is about muting,

substitutions, hidden coded meanings, secret languages,

the subterfuges and strategies imposed on womens

speech. Intense and intimate, Annabel Nicolsons

performance defined itself within the same tradition

of poetic substitution, as she showed the audience

some dream notes, read a message from a friend addressed

to her but directed, in terms of meaning to another

friend present during the performance (in factparticipating in it), and played some favourite tapes,

women imitating bird calls, and the cries of herd girls

in the Swedish countryside. She showed a few slides,

and attention was drawn to a tent-like shape in the back

of the performance area. The conjunctions were gentle,

leisurely, dreamlike.

Other performance works represented in the

exhibition includePerformance with Dark Edges (, alsoknown asFlyaway Book), Fitzroy Road Studios;Per(forming)(, Acme Gallery); andFire Performancealso known as

Red Words(, presented as part of a programme at the LondonFilmmakers Co-op using the Musicians Collective space adjacent).

Concerning OurselvesandMenstrual Hut, Exhibition at Norwich School of Art Gallery, Norwich,

June July .

At the end of her year-long artists residency at Norwich Schoolof Art, Annabel Nicolson organised an exhibition with six otherwomen artists, the form of which was a celebration of the way inwhich women work together in the most natural way to help eachother in their creative work. The other artists were BeeSanderson, Carolyn Sandys, Jane Warrick, Judith Higginbottom,Patricia Bardi and Valerie Michaels. Lucy Reynolds describes


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Nicolsons work in the exhibition,Menstrual Hut, in her recentessay A Collective Response: Feminism, Film, Performanceand Greenham Common (MIRAJ.&, p.):

She erects Menstrual Hut, a tent-like

construction designed as a gathering space for other

women artists. Edged with bricks and topped with

bulrushes, Menstrual Hut resembles the makeshift

benders of Greenham; at the same time, it evokes

spaces set aside for female reflection in other

cultural contexts, such as in Native American rituals.

Closely related to the exhibition was the WomensSpace issue ofFeminist Art News(FAN), which was guestedited by Annabel Nicolson in .Menstrual Hutfeatureson the front cover and the magazine includes content by all thewomen. Annabel Nicolson writes in a letter to Karen Di Franco:Greenham Common was very much in all our minds and thisis reflected in some of the material in the magazine.

Entrance to Menstrual Hut, Annabel Nicolson, Bee Springwood, Jane Warrick

& Valerie Michaels. From the exhibition Concerning Ourselves, Norwich, 1981


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Carlyle Reedy, slide produced for the performance Living Human Sculpture in Contemplative Time,

The Theatre Upstairs, The Royal Court Theatre 16-20 February, 1972, photograph by Peter Theobald


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Carlyle Reedy() is a poet, performance artist and collagist-painter. Working mainly in the UK since the s, her earlyperformances and readings took place at venues such as

The New Arts Lab, Middle Earth, Gallery House, LondonMusicians Collective and Acme (all London). Her worksin performance and video were included inAbout Time: Video,

Performance and Installation by Women Artistsat the ICA() and Well Make Up a Title When We Meet (LA/London

Lab)at Franklin Furnace, New York (). Recent soloexhibitions and performances includeIcons of a Process,Flat Time House () and The Black Huts Festival, Hastings(). She has exhibited at Peter Biddulph Gallery and England

& Co. (London) and her work is in the Arts Council Collection.She was included in the survey exhibition Out of Actions:Between Performance and the Object, - at MOCA,Los Angeles (). Reedy has devised productions for theRoyal Court Theatre and Riverside Studios and has led twoavant-garde performance groups: Monkey Enterprises (-)and O Production (-). She has taught at Maidstone andSlade schools and was a member of the Artist Placement Group.Her poetry has been included in numerous anthologies and

solo collections.

In the gallery, Carlyle Reedy has responded to the twoperformances referenced here with a newly configured work,The Path().

Living Human Sculpture, also known asHuman Visual Sculpture in Contemplative Time

Performance at The Theatre Upstairs, The Royal Court Theatre, February, . Performers: Tim Platt, Helena Patterson,Peter Dockley, Marion Charles. Director/performer: Carlyle Reedy.Photographs: Peter Theobald.


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From the text featured on the poster advertising the performance:

Carlyle Reedy, a poet and discoverer of events

performed last year at the Royal Court Theatre

the embodied image was a large fish the mystery

of the poet was the work of Gods now she returns

for a ritual meditation the contemplation of the

floor of change may result in the mysterious by what

is ancient and sacred, what discovery is made

if discovery occurs, what follows on the floor of

change is truly great.

This performed meditative work was approximately. hours long. The actors had spent time with Reedy rehearsingin an abandoned church where the photographer, Peter Theobald,took mm colour slides of the performers from a camerapositioned in the rafters m directly above. Each performerhad been selected to look similar in height, shape and colouringto each other, and spent the duration of the performance in afabric bag (similar to a sleeping bag) that covered their entire

body the colours of which were of crocus flowers in spring.The photographs document their movements around the space,delineated by a white square, as well as the change in colourfrom bright and golden to snowy white and blue.

At the theatre the slides were then projected fromthe same aerial position with the performers again assumingtheir placements within their own image. Their movementwas then timed by Reedy who, by using a bell, had instructedthe performers to move in a way that felt natural to them for

the time it took for the sounding of a bell to emerge and fade.

During these 17 seconds, the 4 performers,

with whom I had previously worked on the

existential level permitted themselves to make

whatever move they subjectively ... felt possible

within the situation of being confined within their

bag, their ultimate goal being to be capable of


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a slow, deliberate authentic emergence from their

confinement to take up positions in the theatre,

with their existential being fully felt and fully

emergent. NO ACTING.

We had agreed upon the imperative for each to

understand and retain their presence a living body

sculpture within the theatre. Artefacts (a stick

and one large stone) had been placed at each

performers corner. The ultimate goal of each

performance was that the performer be capable of

(a) deviceless being-in-performance; (b) authority

over their stick, stone and new garb; (c)

formalised self-expression without speech or mime.

(from printed texts by the artist containing notes and instructions on the performance)

The Good Wind, Performance at Riverside Studios, & February,

Contemporaneously retitledA Poets Narrative, by the artist,

which perhaps provides a reflective view of the content ofthe performance. Accumulatively well documented, the perform-ance included a mountain scape produced from fabric anda live music performance and spoken word accompanimentalong with collaged words and images produced by Reedy.Slides were also projected. The artist states in a short textwritten at the time:

The alternative title of this performance

might have been Micky Mouse. I have help inarrangements to pull cloud and move a mountain.

Electricians, fanners, kurago, lightsmen,

enhancers, musicians, and soundsfolk and general

aid take notice of praise. (..). Such work as this

is in process with moments of focus or amazement

or comedy. It may be termed an open rehearsal,

to which Clark Gable, invited, may have attended.


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Carlyle Reedy, Performance Notes

Reproduced in Readings, issue 3, possibly June 1977, p11.


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From the audio reelRiverside 1977 Two weeks / Performances:

This tape was supplemented by live music,

sound and action, so it cannot be taken as a

complete record of performance and the relative

weakness in the works action was corrected in

performance by the live music interaction with it.

Also the drama in the vocalisation was often altered

by comic juxtaposition of images of Clark Gable

and Mickey Mouse, or unrelated material. During

periods of pop music large scale image was used

sequentially, also shadow, and a noose was hangingabove a chair in the poets sutra study during the

performance.Voices on this tape include: Chris

Auerbach, Topham Vickers, David Gothard, Carlyle

Reedy, Joanna Jones, Nick Chambers, Chris Harris,

Nick Moes, David Toop, PD Burwell.

Hands,

VHS to digital transfer, colour. Camerawork attributedto Oliver Burston from St. Martins School (now CSM).Filmed at Carlyle Reedys flat in West London, a recordingof Glenn Gould playing the piano is in the background.

A durational performance of long takes of the artists handsperforming various processes: drawing and writing on differentsurfaces, with ink on plastic, on snow; using her hands to eraseand re-write words and sentences. Other elements include her

hands in water, passing or examining by touch, a shard of blueglass, a blue marble, foam dissolves as polystyrene chips andred ribbons are scattered upon its surface.There is an unconscious theme running throughout

my work, when its talking about life, philosophy,

in my writing, that comes out in these little films

this is the imagery that I dont expect.

(from a recorded conversation with the artist, January )


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Marie Yates, detail from Field Working Paper 9, 18th June 1972

(Hillsons Ho, Harford Moor, Dartmoor).


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Marie Yates() is known first as a painter, then anenvironmental sculptor and landscape artist, and later forher conceptual projects addressing issues of representation,signification and sexual difference, in the form of installation,

images and text. Her work has been shown widely in the past,in the UK and abroad, including solo exhibitions at theMidland Group Gallery, Nottingham, and Arnolfini, Bristol.She contributed to exhibiting, organising and speaking atconferences and feminist and womens group events acrossthe UK in the s. Significant group shows includeISSUE:social strategies by women artists, curated by Lucy Lippard,ICA ();INNO - Artists Placement Group, Hayward Gallery(); andDifference: on representation and sexuality, at the

New Museum, New York that toured to the University of Chicagoand the ICA (-). Her installation works have appearedin many public sites in Britain and abroad, as well as in thecollections of the Arts Council of England, the British Counciland in private collections. Teaching and lecturing at variousart academies from , she retired in from her role asPrincipal Lecturer in Media at the University of the Arts, London.In she left England, interrupting her former art practice fora time, she now lives and works in Greece.

The Field Working Papers, -()Panels of photographs and text

Field Working Paper July , River Dart, Hembury Woods, Devon

Field Working Paper

April , Nine Maidens, Ding Dong Moor, Cornwall

Field Working Paper April , Chysauster Village, Cornwall

Field Working Paper April , Porthmeor Beach, St. Ives, Cornwall


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Field Working Paper June , Hillsons Ho, Harford Moor, Dartmoor

Field Working Paper June , River Mardle, Buckfastleigh Village, Devon

The works presented in this exhibition are from the initialseries of around thirteenField Working Papers -madeover roughly three years from -. They were basedon journeys made in the West Country by Marie Yates,who was accompanied by musician and writer David Toop.The documents, writings, photographs, and recordings were

made on the journeys to the locations and some simple sculpturalplacements were constructed on the sites using materials,some found and some introduced. They were made from treebranches, cloth, stones, twine. The texts were extracted fromthe written notes which described the location, date, weather,and procedure: sometimes these events were documented ontape cassette or Super film. These temporary placementswere always removed and taken away.

The main intention was to document an eventthat did not happen as it were epiphanously:

we went there, we arrived, we left, the place

remained the same, as if we had never been there.

(from a recent statement by the artist)

The Field Working Papers - were exhibitedin the solo exhibitions:Recent Field Workingsat the MidlandGroup Gallery, Nottingham and The Field Workings -

at Arnolfini, Bristol (both ). Later works in a similar serieswere included in the Arts Council Touring ExhibitionElementsof Landscape (), and the group showArtists OverlandatArnolfini, Bristol (with Phillippa Ecobichon, Hamish Fultonand Richard Long, ).


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Sound Placements I-IV, Typewritten texts on index cards.

Several scores for aural landscapes; each describes soundsevoking an abstract environment. Natural phenomena likebirdsong, the crunching of rock, or water splashing are layeredwith musical sounds such as a faint drum roll or a soft whistlednote held a little while and repeated.

Marie Yates, Sound Placement I

Detail from Sound Placements 1970, four typewritten texts on index cards.


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Documentation from the field/music/performances, The Midland Group Gallery, Nottingham

and Arnolfini, Bristol, 1973


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the field/music/performances, The Midland Group Gallery, Nottingham and Arnolfini, Bristol.

the field/music/performanceswere durational, improvisedmusical performances which took place within Marie Yates soloexhibitionsRecent Field Workingsat the Midland Group Gallery,Nottingham and The Field Workingsat Arnolfini, Bristol.

A white room installation was constructed frommuslin cloth, branches, a suspended skin drum and othermaterials. Over the course of three or four hours, the performers Rain in the Face (David Toop and Paul Burwell), Marie Yates

(at Arnolfini only) and several other friends and characters played music and sounds based on a score by Marie Yates withreference to material ethnography, primitive forms, sounds andsymbols, and natural phenomena. The small sculptural worksseen in photographs were made during the performance.


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NEW PUBLICATION

We are producing a second part of the publicationThe sun went in, the fire went outwhich will include atext on Marie Yates by Bryony Gillard, a hand-writtencorrespondence between Annabel Nicolson and LucyReynolds, and a conversation between Carlyle Reedy,Karen Di Franco and Elisa Kay. Additional contextualmaterials will also be included.

The publication will be available at the end of the

exhibition from CHELSEA space, however if youwould like to receive a copy by post, please leavethis slip, with your name and address and we willsend you a copy.

NAME

ADDRESS

EMAIL

Alternatively, send an email with these details [email protected]
mailto:[email protected]:[email protected]


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The sun went in, the fire went out

Published to coincide with the exhibition:The sun went in, the fire went out: landscapes in film, performance and text

Annabel Nicolson, Carlyle Reedy, Marie YatesCurated by Karen Di Franco and Elisa Kay

CHELSEA space, London, January March

Director of Exhibitions: Donald SmithProgramme Curator: Karen Di FrancoChelsea Arts Club Trust Research Fellow: Cherie SilverGallery Assistant: Esther Merinero CanoTechnical: Mike IvesonWebsite: Shoko Maeda

Published by CHELSEA space

ISBN: ----

No reproduction in any form is permitted without the express consentof the publisher and copyright holders. Every effort has been made

to identify copyright holders where possible.

Texts: Karen Di Franco & Elisa Kay

Acknowledgements: Jeremy Millar; Holly Antrim; Laura Guy; Irene Revell;Alison Cullingford at Special Collections, University of Bradford;Louisa Fairclough, Dani Landau, Matt Davies, Marco Wilkinson, Snoozieand all at BEEF (Bristol Experimental and Expanded Film); Lucy Reynolds;Steven Ball; Bryony Gillard and Phil Owen at Arnolfini; Julian Warren

at Bristol Records Office; Ben Cook at LUX; the students of MA Curating& Collections, Chelsea College of Arts.

Very special thanks to the participating artists:Annabel Nicolson, Carlyle Reedy and Marie Yates

Design by Modern Activity, printed in the UK

CHELSEA space, John Islip Street, London SWP JU

[email protected] www.chelseaspace.org
mailto:[email protected]://www.chelseaspace.org/http://www.chelseaspace.org/mailto:[email protected]


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the sun went in

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