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Annie Bradley, Cellulite Rose, Susie Thomas

There are Film Archive presentations which follow a conventional, cinematic arrangement. Then there are those which belong to the realm of Art Installation. This show is very much the latter. There are three artists presenting here; two of whom have produced works in advance of the show, while the third has made a piece which becomes complete only in relation to the other two works.

All three artists have produced works which deal, very diversely, with the notions of exchange and interaction; be they lessons in whistling, issues of copyright law, or a work to be continued, directly addressing the visitor

Annie Bradley's contribution is something of a departure; known in the past for works which often function at a literally visceral level (the digestive processes of snails; various bacterial forms are also a recurring motif), with Pilot test, couple 1: e + i she presents us with a character study, one dealing with frustration, but also with patience and compassion. A man, completely and hopelessly unable to whistle, sits alongside his female companion, whose anxiety and (perhaps) irritation are increasingly evident as her attempts to coach him prove futile. There is something quite moving about the rapport between the two of them, his embarrassed laughter, her determination to remain positive and encouraging.

Susie Thomas's video begins with a comprehensive rundown of copyright regulations, of the kind found at the beginning of DVDs of films and television series sold or rented out. In this instance, however, the regulations comprise the major component of the showing. Sandwiched between these are a few moments of flashed serial numbers, reminiscent of those relating to legal clauses and sub-clauses, accompanied by a backing track of birdcalls. The legal requirements are arguably the most carefully crafted feature of the work. Thomas' work addresses issues around legal descriptions and licensing; does the detailed, meticulous wording in a patent application become a depiction of sorts? A way of formalising memes.

Cellulite Rose has chosen to remain enigmatic about the physical characteristics of her contribution. What she is prepared to say is that it is a work looking “at itself”, as well as being a work which talks to itself (at one stage in the set-up two monitors facing one another were evident; this may or may not be part of the final install). She has also expressed an interest in the “in-between” times in the work, of a correlation between passive and active, and which of these ends up being dominant. So we have a variable, an unknown quantity, unfolding in this equation of exchanges. We await the results with anticipation!

In making work about exchange and interaction, of course, the artists acknowledge the most important part of the equation; the viewers. In looking at these works it becomes evident that there are no innocent bystanders. The observer is complicit in all these exchanges. And that means you. - Mathew Crookes 2009