Andrew Charleson

Contemporary Art

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[andrew4art-blog]

This is Data For Data's Sake #2 (2018) - with thanks to all those who took part - and are now collaborative artists whose work has been shown at Tate Modern! Music and Fine Art Muster Station Whitstable Biennale Music and Fine Art #art #musterstation #universityofkent #contemporaryart

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This Weekend: Tate Modern. Floor 5 Blavatnik Building. ART! Come! #artcollective #musterstation #universityofkent #contemporaryart #fineart #artschool #performanceart #smfacreative #smfa @_musterstation @Whitbienn @UniKentMFA @Tate http://ow.ly/f0hR30i7Tdy

[andrew4art-blog]

[andrew4art-blog]

Tate Modern-Tate Exchange, Performance, intervention, collaboration #artcollective #musterstation #universityofkent #smfacreative #contemporaryart #fineart #artschool #performanceart #smfacreative #smfa Muster Station Whitstable Biennale @tate Music and Fine Art http://ow.ly/wiGz30i7Rzi

[andrew4art-blog]

[andrew4art-blog]

Is it ART yet? We'll be finding out! at Tate Exchange: a varied programme of workshops, interactions and interventions 3rd February 2018 at 12.00–20.00 4 th February 2018 at 12.00–18.00 Tate Modern Blavatnik Building Floor 5 Muster Station Whitstable Biennale http://ow.ly/dOTd30i7PKF

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No #confused We are the same person. Charleson's an actor and Gallacher's an artist. But sometimes we jobshare. Easy to tell apart. We live together. As soon as same-person marriage becomes legal we'll take the next step. We'll be atTate Modern this weekend. http://www.tate.org.uk/whats-on/tate-modern/tate-exchange/workshop/muster-station-school-beginnings

[andrew4art-blog]

No #confused We are the same person. Charleson's an actor and Gallacher's an artist. But sometimes we jobshare. Easy to tell apart. We live together. As soon as same-person marriage becomes legal we'll take the next step. We'll be@Tate Modern this weekend http://ow.ly/GU1P30i8g0O

[andrew4art-blog]

Tableaux monochromes contemporains de Didier MORERES artiste

tableaux monochromes contemporains: Architecte & artiste plasticien, Did Moreres joue des matières, donne formes et vie à ses visions

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Coco is now available for modelling assignments! (photograph taken at Barden Lake near Tonbridge this morning. Chilly but beautiful.) @UniKent @_musterstation @Whitbienn @Tate @unikentmfa #art #artcollective #musterstation #universityofkent #smfa http://ow.ly/GbLV30i5cnR

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I'm giving a tenminute talk:Duchamp's Fountain 3rd/4thFeb 13:30 Tate Modern:Level4 West Gallery10 There's the story, then there's the real story, then there's the story of how the story came to be told. Then there's what you leave out of the story. Which is part of the story too.

[andrew4art-blog]

[andrew4art-blog]

Rhetorical is an oil painting and a related soundscape exploring how rhetoric can be the basis for collective fictions and how those fictions can support populist narratives that bind seekers of comforting illusion into avoiding potentially destructive realities. Those stories can be both useful in, for example, developing common ethics and caustic when, in some cases, those fictions are distorted by fear and greed.

[andrew4art-blog]

The Lil' Corpse: a children's book for grown-ups (2016)

A collaboration with illustrator Nadia Perrotta satirising the parochial response of Western European citizens and their governments to the current Syrian refugee crisis.

The Lil' Corpse is a children's book for grown-ups. It tells the story of The Little Corpse that turned up quite out of the blue. Neither Spotty the dog, Brian the Boy nor The Selfie Girls think there should be a Lil' Corpse there. When a policeman and reporters and the good ol' T-shirt seller arrive they agree that there shouldn't be a Lil' Corpse there. Thank heavens the politicians arrive and take charge of the situation. Dedicated to all the Lil' Corpses who shouldn't be there.

[andrew4art-blog]

Bound (2016) reflects on the de-humanising of The Other as a justifying tactic used by those in pursuit of political power and economic growth.

Bound (2016) connects the abundance of oil and the scarcity of water with the tragedy of conflict and the trauma of migration.

Bound (2016) questions the othering of refugees in our response to their tragedy.

 "Western fighter jets followed that abundance of oil and now Western drones are closely shadowing the lack of water as drought exacerbates conflict in the region. And the story doesn't end there, because just as bombs follow oil and drones follow drought, so do boats follow both: boats filled with refugees fleeing homes ravaged by war and drought."

Naomi Klein. Let Them Drown - Edward W. Said London Lecture 2016.

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