Ania Bas is an artist who works with people not canvas. Ania’s practice is social, dialogical, interdisciplinary and inspired by everyday life of everyday people. The collaborators in art-doing and art-making change, depending on the context of the work, and the contributions take various forms. Her work investigate connections with places and people and take the form of events, performances, actions and interventions. The works often have their second life as texts, visual essays and publications.
|Isles of Silly, Ania Bas|
Ania was resident artist at Whitechapel Gallery London, The New Art Gallery Walsall, Ridley Road Market in London, Disonancias, Bilbao in Basque Country, Vestas Blades on the Isle of Wight and Yorkshire Artspace in 2012. She is currently working with Tate Modern on the turbinegeneration project and with Whitechapel Gallery on a co-mentoring programme.
The BRG collective is a practical investigation and research group focusing on collaborative processes. BRG aims to build on its relationship with creative practitioners around the UK to extend and develop a strong network of collaborators and a greater understanding of the means and benefits of synergy.
BRG is made up of Samuel W Aldridge, Nigel Bowles, Ed Elliott, Shaun James, and Jason Pinder.
Past BRG projects include: 'Good evening, we are BRG', a two week residency culminating in a social closing event at The Lombard Method, Birmingham; 'The Judge' an exhibition of works made alongside short-story author Tom Sinclair at Elysium Gallery, Swansea; and 'The spacial development think tank', an installation in which the public were invited to join in a collaborative effort to make plans for a fictional space as a part of the festival of failure at Chapter, Cardiff.
Freya Dooley lives and works in Cardiff. She graduated from Cardiff School of Art and Design in 2011 and has since exhibited across the UK and in Berlin. Recent exhibitions include Mall-Walkers, a solo exhibition and residency at Arcadecardiff, shortlisted for the BEEP Painting Prize, Elysium Gallery, Swansea, Marking Diction at Milkwood Gallery, Cardiff, Fresh Paint at Newport Museum and Art Gallery and (I am the space where I am), a self-curated project for Site Festival 2012 in Gloucestershire.
Freya’s interdisciplinary practice is concerned with social relationships, body language and observation. During the Intercourse project, she will be exploring ways in which an experience can be documented. With a particular emphasis on the discrepancies between first and second-hand experiences, her work responds to events that an audience has chosen to participate in, and those they have not. Unreliable documentation is manipulated using film, drawing and text.
Tiff Oben graduated in 2012 from MA Art Practice focusing on participatory and immersive installations in which the antagonized viewer becomes key to the development of the work. Alongside her individual practice she has developed several long term collaborative works most notably the Chav series (2010-2012) with Tom Goddard, shown at the Tate Modern in the summer of 2012; and Helene Roberts with whom she creates immersive installations across Cardiff, ambitiously flooding the basement of g39 in 2011 and turning the Milkwood Gallery into an operational valley’s Workings Mens' Club for the recent Made in Roath festival. Oben teaches Contexts and Methodologies and the Histories of Art at BA and MA levels at the University of Glamorgan and is currently undertaking a 3-year fellowship with the Welsh Group.
Oben’s early performances of identity alerted her to the prejudice, suspicion and hostility that difference and otherness potentially stirred in the viewer. This awareness encouraged the artist to focus upon public engagement and participation which soon developed from a strategy for art making to the focus of the artwork itself. In response Oben began to specifically investigate viewer interaction with situations, with space and with one another. Influenced by Claire Bishop, her writing on antagonism and her critique of Nicolas Bourriaud’s Relational Aesthetics(1998), Oben began to develop strategies that aimed to create division between participants whilst investigating the ethical limits of what can and cannot be done to an audience. In doing so the experiences and levels of participation for viewers intentionally became widely different with some being welcomed into the work through invitation, contingent inclusion or simple knowingness whilst others were kept firmly on the outside both physically and/or metaphorically.