Seasonal Disorder is an artist led, curatorial project initiated by Anna Boggon in 2010.
TAKE TWO is the first of four exhibitions curated by Anna Boggon, artist-in-residence at the historic 7 Dials Club, 2018 -2019
Presented in two sections, this exhibition explores what it means to collaborate, raising questions of ownership, ego and identity.
Take Two Opening reception: Wednesday 16th May 6.30pm-9pm
Exhibition dates: May 17 – June 27 2018
Opening times: Mon –Weds 10am – 5pm, Thurs and Fri 10am -6pm
ANNA BOGGON and ANNA BOGGON
TAKE TWO (namesake) A video-sound installation by Anna Boggon and Anna Boggon.
Fine artist Anna Boggon came across a second Anna Boggon several years ago while researching on the internet. Initially disturbed by the idea of a doppleganger, she found herself wondering what it would be like to meet and perhaps collaborate with this award-winning classical musician. Boggon did not contact her eponymous discovery until she began to think about Take Two. ‘Anna is clearly a talented musician. She is also a composer and in the punk-art band Pete Bentham & The Dinner Ladies - her band name is Sonny Rolling Pin. It was too intriguing to ignore.’
Boggon travelled to Liverpool to meet her namesake, ‘with some trepidation,’ and they talked about their lives. Agreeing that Anna (1) would make a video and Anna (2) would compose the score, the two women began to search for a creative flashpoint. When the musician introduced the artist to the work of Argentinian Tango composer Astor Piazzola, they found it.
Boggon had wanted to make a video work that reflected the community life of the 7 Dials Club and she began to participate in, and film, its weekly tango classes and the relaxed social event that follows. The dancers come from all over London, and often much further afield. Some seem to want to get into character, arriving in sharp suits, vibrant silk dresses, silver shoes and hot pants; others stick to jeans. Either way, Boggon chose not to be distracted by individual personalities and has focused mostly on their footwork. The result is moving and articulate. Each couple is learning how to read and inform one another, developing reciprocity while functioning as a single unit.
Then, Boggon sent the film to Liverpool and relinquished control of the work. ‘Sound is so emotive, it completely alters the way we read imagery. Music creates a narrative; it manipulates the viewer. I know Anna will bring a new interpretation to my film but weirdly, I trust her.’
ANNA BOGGON (musician)
Anna Boggon grew up in Gloucestershire and currently lives in Liverpool. She studied Music at Liverpool University and later at the Royal Welsh College of Music and Drama. She plays the flute and saxophone in various groups and ensembles and has toured the UK and Europe several times. She composes for her own group, Brood, who have performed together on and off for the last 15 years. For the past four years she has played saxophone for garage art-punk band, Pete Bentham and the Dinner ladies. She also works as an instrumental teacher in several schools in Liverpool.
DOUBLE VISION: series of etchings by Colin Wiggins with collaborating artists
‘…the idea was sufficiently ridiculous for me to give it a try.’ Frank Auerbach.
Colin Wiggins is both curator and practicing artist, with a particular interest in printmaking. As Head of Education and Special Projects Curator of the National Gallery (until 2016), he first met Boggon when she brought a group of her Wimbledon Art students to one of his talks. ‘Colin was always a bit rebellious,’ she says. ‘He was the one pointing out that most of the paintings were by men of naked women.’
While at the National Gallery, Wiggins curated exhibitions of work by many leading contemporary artists and Double Vision is the name of the on-going series of dual portraits he has created with some of them. Each of the unique collaborations shown here comprises a portrait by Wiggins of one of the five artists listed above, and a portrait of him by the artist, on the same print, made in etching and aquatint. The outcomes are idiosyncratic, the result of geographic circumstance, individual artistic approach and the flavour of each pairing.
Conversational, humorous and thoughtful, the prints are redolent of wry yet generous collusion and the paradoxical absence and presence of the artist’s ego.
For the collaboration with Frank Auerbach, once Wiggins had made his portrait of Auerbach by working from a photograph, Auerbach insisted that he drew Wiggins from life, directly onto the same plate. This method was also used for the Paula Rego print, The Enchantress, with Wiggins sitting for Rego in her studio. ‘Then I worked from an image of Peter [Blake] taken from a National Gallery publicity photograph, put a new ground onto the plate and left it with him. He worked from a laughing ‘mugshot’ of me taken by my brother and made a very beautiful and elaborate cross-hatched drawing in the empty space I left.’
R.B Kitaj, who died in 2007, was living in Los Angeles, so The Wanderer was created by sending the plates to each other by post. The most recent is The Smoker, made with Maggi Hambling. ‘Maggi was rather Churchillian in the studio, but she kept wanting to be smaller and smaller in the print.’
COLIN WIGGINS BIO
After graduating with a degree in the History of Art from the University of Manchester, Colin was appointed as a Research Assistant in the Department of Prints and Drawings at the British Museum. He moved from there to the National Gallery, where he became Head of Education and Special Projects Curator. He retired in 2016.
He is also a practising artist with a particular passion for the medium of printmaking. Wiggins was delighted when many of the artists he had worked with as a curator accepted his invitation to collaborate with him on plates for his series, ‘Double Vision.’ Works from this series have been acquired by the British Museum, the Fitzwilliam Museum, Cambridge and the Los Angeles County Museum of Art (LACMA) in California. Wiggins is now focused solely on his printmaking.