Ballet

The video Ballet engages with recent histories of rural filmmaking, linking everyday farming movements with the aesthetics of dance. Starting point for this new work is a series of archival films from the collection of the Museum of English Rural Life (MERL), which provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. These films present a unique vision of rural labour and collective staged action, where extras, rural background actors, are performing 'normality' prior to potential disruption of an imminent crisis. Szuper Gallery's video deconstructs the movements of extras in these rural propaganda films. It features a large cast of dancers and non-dancers in a spectacular rural setting performing a new choreography to a dramatic sound score.

Ballet

This solo exhibition featured Ballet, a filmed performance and video installation by Szuper Gallery and an installation of original archive films. Ballet engages with recent histories of rural filmmaking, with movement and dance, linking everyday farming movements with the aesthetics of dance. The starting point for this new work was a series of archival films from the MERL collection, which were made for British farmers as a means both for information and for propaganda, to provide warnings of contagion and nuclear catastrophe, describing procedure and instruction in the case of emergency. Gestural performances and movements of background actors observed in those films were re-scripted into a new choreography of movement for camera to form a playful assemblage.

Szuper Gallery materials

A portfolio of prints, books and catalogues by Szuper Gallery exhibited at this group exhibition.

The strength of the system and my experiences of it, was that in fact, oddly enough, it was actually a very collaborative enterprise already

Video:35 mins, 2006. The video shows a group of performers in a studio and seminar situation. Individually addressing the camera they offer personal views and experiences of their own art production in relation to the institution, while reflecting on their role as teachers. The performance scripts mainly originate from a series of real interviews with a diverse group of artist teachers, who emphasise the collaborative, performative and subversive nature of teaching. These views may seems symptomatic for contemporary art practices, but are ultimately antagonistic to the ongoing commodification of the system of art education.

Work/Arbeit/Работа

Two photographs from the Artists Studio Project 30x40cm, C-Prints, 2007 (with Shezad Dawood), first exhibited in Szuper Gallery at the Artists' Studio in 2007.

Suck. Swallow. Breathe.

Video, Dur: 7 min, HD DVC Pro 2009 Based on the principle of assembling a series of improvised acts, the performance is driven by a concern for the image, sound and gesture and the staging of both contemplative and active human presences. Featuring a woman and child duo the video performs the élan vital within a fairytale scenery.

Suck. Swallow. Breathe.

Video and Performance, Dur: 7 min s HD DVC Pro, 2 performers 2009 deals

Cellular and molecular investigations into the development of the pectoral girdle

The forelimbs of higher vertebrates are composed of two portions: the appendicular region (stylopod, zeugopod and autopod) and the less prominent proximal girdle elements (scapula and clavicle) that brace the limb to the main trunk axis. We show that the formation of the muscles of the proximal limb occurs through two distinct mechanisms. The more superficial girdle muscles (pectoral and latissimus dorsi) develop by the “In–Out” mechanism whereby migration of myogenic cells from the somites into the limb bud is followed by their extension from the proximal limb bud out onto the thorax. In contrast, the deeper girdle muscles (e.g. rhomboideus profundus and serratus anterior) are induced by the forelimb field which promotes myotomal extension directly from the somites. Tbx5 inactivation demonstrated its requirement for the development of all forelimb elements which include the skeletal elements, proximal and distal muscles as well as the sternum in mammals and the cleithrum of fish. Intriguingly, the formation of the diaphragm musculature is also dependent on the Tbx5 programme. These observations challenge our classical views of the boundary between limb and trunk tissues. We suggest that significant structures located in the body should be considered as components of the forelimb.