yinan

hackney documentation
Libby Heaney

More is Different students were asked to use the text ‘Autonomous Art in the Neoliberal City’ by Josephine Berry as a starting point to make research-led works about Hackney Wick.  They used a variety of digital and analogue methods to investigate the systems and networks of Arebyte‘s local area.  This research was presented in situ in the gallery space during the residency, creating a space of fluid meaning and connections that reflected the ever-changing narratives surrounding the area.

The final results of the research and the documentation of the processes were presented over the final weekend of the residency in The Wick in Layers exhibition.

screen-shot-2017-01-26-at-5-30-51-pmWei Lun Chang

Wei Lun Chang’s research catalogued Hackney Wick’s graffiti and used this as a starting point for typographic play around the bylaws of the Olympic Park.

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Annelise Keestra & Franziska Hatton developed an evolving visual conversation looking at the dualism existing between the two areas of Hackney Wick and the Olympic Park.  Investigating language of space and place, as well as the sense of place and non-place, their mirrored research questioned authenticity and supermodernity, the effervescent and the controlled. By looking at historical resonances and finding connections between the past and the present, they opened up a discussion on the future of the area.

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In The Green Screen of the Olympic Park, Yinan Song made Google Street View videos of old graffiti and street art of Hackney, using the green screen technique to project them onto the endless, immaculate green fence surrounding the Olympic Park, where only commissioned art works are allowed.

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Georgia Ward Dyer used reclaimed materials from the local area’s industrial and creative industries to build a communal table for the group to work and eat at together during the residency, culminating in a dinner & discussion with invitations to selected individuals who each played roles in the show’s existence, from Olympic legacy advisers to local artists to landlords.  The menu was themed by the Wick’s industrial past, present, and future, and after the residency ended the furniture built during it was returned to the streets from whence the materials came, to continue as part of a cycle of resources and re-use.

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Jordan Gamble’s piece Foundations looked at the historic foundations of Hackney Wick and how they changed over time and the symbolism behind the term ‘hackney candle’.  Jordan’s work took the form of a time-based installation using wax, silk, brick and other materials relevant to the Hackney Wick’s history.