Collaboration between Karin Ruggaber and Sarah Staton. Shorts consists of 9 episodes of collided footage shot on various formats slid cut and sliced together with an amalgam of stock edit techniques and gimmicks. Shorts was conceived as ambient footage, shorts that slot in between other films and divide a showreel. It was made for Tegel: Flights of Fancy Screening at Babylon Cinema, Berlin. Shorts is looped background content. Directed and filmed by Karin Ruggaber and Sarah Staton. Produced by David McLeavy. Editor Catriona Mackie and Soundtrack Konkrete Mickza.
HMI research residency held jointly with Jane Simpson. Simpson and Staton selected work from the Leeds City Collection for display in the small ground floor gallery at Henry Moore Institute. From the Collection Staton looked for works that were made from planes of material along with works that were formed from blobs. And Staton created display structures from planes of material in triangular form on which and in which the selected artworks sat. Simpson looked within the collection for works that came with narrative elements. And Simpson looked with in the archive for material for the artists book that is another record of the residency. kissingcousins and its precursor Daddy Pop 2004 were conceived of as a search for art parents in the form of an exhibition.
‘Shopping is melting into everything and everything is melting into shopping’ from The Harvard Guide to Shopping ed. Chung, Ineba, Koolhaus, Leong. 2001.
Sarah Staton’s SupaStore Iterations…SupaStore93, Charing Cross Road London. 1993; SupaStore boutique, Laure Genillard Gallery, London, 1994; SupaStore West, Phoenix Hotel, San Francisco, 1995; SupaStore, Norwich Gallery, East Anglia, SupaStore Manc, Cornerhouse Gallery, Manchester; SupaStore Tour, Arnolfini Gallery, Bristol, UK. SupaStore NYC, Very&Co, Tribeca, NYC. Supastore East, Rontgen Kunst, Tokyo, Japan. 1996. SupaStore SupaStars, Tomato Gallery, Soho, London, 1998; SupaStore in the Mountains, Kunsthaus Bregenz1999; SupaStore Kiosk, Tate Modern, London, 2000. Multipication with SupaStore British Council Touring Exhibition launched in November 2001 at the National Museum of Art in Bucharest, Romania and toured to Croatia, Poland, Slovenia, Czech Republic during 2002. And CYPRUS Municipal Arts Centre, SLOVENIA Nicosia Mestna Gallery Ljubljana, Contemporary Arts Gallery, Celje; KIBLA Centre Maribor ESTONIA Tallinn Town Hall 2003 CZECH REPUBLIC Husova Street Gallery, Czech Museum of Fine Art, Prague, YUGOSLAVIA Podgorica Art Pavillion, BelgradePOLAND Awagarda Gallery, Wroclaw CROATIA Muzej suvremene umjetnosti, Galerija umjetnina Narodnog muzeja, Zadar, Galerija umjetnina, Split; Palača Sponza, Dubrovnik; 2002 And further venues in Slovakia, Albania, Bulgaria and Macedonia in 2004, before the exhibition toured to South America in 2004 and 2005.
SupaStore artists include:
Franz Ackermann, Ricci Albenda, United Aliens, John Armleder, Carel Balth, Tord Boontje, Lauri Bortz, Fiona Banner, Alex Bag, Lolly Batty, Huma Bhabha, Simon Bill, Graw Bokler, Christine Borland, Philippe Bradshaw, Angela Bulloch, Ellen Cantor, Merlin Carpenter, Maurizio Cattelan, Jake & Dinos Chapman, Andy Cohen, Keith Coventry, Cedric Christie, Micheal Cohen, Ray Cooke, Meg Cranston, Martin Creed, Debra Curtis, Pauline Daly, Jeremy Deller, Tracey Emin, Vanessa Farseid, Sylvie Fleury, Devon Dikeou, Rebecca Early, Jason Fox, Gilbert & George, Wade Guyton, Simon Henwood, Matt Freedman, Anya Gallaccio, Liam Gillick, Nan Goldin, Wayne Gonzales, Joseph Grigley, Rachel Harrison, Stephen Hepworth, Andrew Herman, Matthew Higgs, Damien Hirst, Georgie Hopton, Rachel Howard, Gary Hume, Michael Joo, Simon Josebury, Jonathan Horowitz, Jason Wallis Johnson, Alan Kane, Adam Kay, Ali Kayley, Brad Kalhammer, Karen Klimnick, Micheal Landy, Abigail Lane, Cary Leibowitz, Sol Lewit, Pam Lins, Hilary Lloyd, Christina Mackie, Adam McEwen, Elizabeth le Moine, Jonathan Monk, Takashi Murakami, owada, Peter Newman, Seamus Nicholson, Paul Noble, Tim Noble, Chris Ofili, Kirstie Ogg, Claus Oldenberg, Aurora Papafava, Graham Parker, Simon Periton, Hadrian Pigott, William Prophet, James Pyman, Josephine Pryde, Graham Ramsey, Barry Ratoff, Tessa Robins, Michelle Segre, Kenny Schacter, Mike Salle, Adrian Searle, Lesley Smailes, David Shrigley, Ross Sinclair, Jane Simpson, Nancy Spero, Georgina Starr, Jemima Stehli, Lily van der Stokker, Max Schumann, Adrian Searle, Lesley Smailes, Sarah Staton, Mike Stevenson, Rikrit Tiravanija, Jude Tullichet, Gavin Turk, Keith Tyson, Nicola Tyson, Jessica Voorsanger, Andy Warhol, Sue Webster, Toby Webster, Stephen Willats, Richard Woods, Cerith Wynn Evans, Anand Zenz, Andrea Zittel.
Mount Stuart Isle of Bute. Organised by Simon Bill & Sarah Staton. Contemporary works in historic setting. Artists: Eva Berendes, Simon Bill, Enrico David, Karin Ruggaber, Sarah Staton. Modernity has two faces, one is sleek, frictionless and inhuman: its look is redolent of the production line – aerodynamic and unvarying, with the potential to be infinitely reproducible. The other is its near opposite. It is post industrial; grainy and irregular; among its technologies are the handloom and the potter’s wheel. The influence of the unique and the bespoke is paradoxically, most evident is the constructivist and non-representational tendencies of the 20th century, and becomes more evident with the passing of time. Paintings that may well have seemed passionless to their first audience now look human and hand crafted – Mondrian, Malevich, early Bomberg. An artist we think about often who explored the cross current of craft and modernity is Sophie Tauber Arp. Not only did she make works of fine art whose look signaled an awareness of the crafts, but she understood craft; weaving and woodworking were part of her oeuvre. Sophie Tauber Arp was Rustic Modern. As a setting, Mount Stuart stands in polar opposite to the sterile tabula rasa of the white cube. It is a gigantic and confident showcase for lavish materiality, the expertise of gothic revivalist craftsmen, and for the taste of their patrons. The works in this exhibition cannot confront this Victorian self- confidence, but will set the rich legacy of early 20th century modernism is subtle counterpoint to it, with works characterized by an inflected symmetry, fragile surfaces and a quiet sense of play.