{"id":7596,"date":"2019-09-10T11:40:48","date_gmt":"2019-09-10T10:40:48","guid":{"rendered":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/?p=7596"},"modified":"2019-10-21T10:37:10","modified_gmt":"2019-10-21T09:37:10","slug":"truthlielie-cotterrell-exhibition","status":"publish","type":"post","link":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/truthlielie-cotterrell-exhibition\/","title":{"rendered":"‘truth.lie.lie’ – Professor David Cotterrell’s sixth solo exhibition opens at the Danielle Arnaud gallery – 13 September 2019"},"content":{"rendered":"

truth.lie.lie<\/strong><\/a><\/p>\n

13 September 2019<\/strong><\/p>\n

For his sixth solo exhibition at\u00a0Danielle Arnaud Gallery<\/a>, David Cotterrell<\/a> presents a selection of recent and new works considering the mediation of evidence. Installations devised in eclectic contexts in collaboration with artists, actors and news agencies, are brought together within one exhibition to consider common threads of media scepticism, narrative betrayal and structural prejudice.<\/span><\/p>\n

\n

At a time of deep uncertainty and eroded confidence in local and global politics, Cotterrell has continued his long-term collaboration with Sri Lankan playwright, Ruwanthie de Chickera<\/a> to create a range of speculative investigations into the mediation of truth.<\/p>\n<\/div>\n

truth.lie.lie<\/strong><\/a>
\nDanielle Arnaud Gallery, 123 Kennington Road, London SE11 6SF<\/a>
\nSaturday 14 September – Saturday 12 October 2019<\/b>
\n(Thursday, Friday & Saturday 2PM-6PM or by appointment<\/span>)
\nPrivate viewin<\/strong>g on Friday 13 September, 6PM – 9PM<\/b><\/p>\n

\"Image<\/a><\/p>\n

\n

About the works<\/strong>:
\nMirror IV: Legacy<\/em>\u00a0(2018)<\/a> explores the dynamics of inherited memories of violence through the performances of six young Rwandan actors who belong to the post-Genocide generation. Three of the six actors are told that their character\u2019s father was a victim of the Genocide. The remaining three actors are told that their character\u2019s father was a perpetrator. They were not aware what the other actors had been told. When watching these performances, we question if it is possible to distinguish between the actors playing the children of victims and the children of perpetrators, in turn raising questions of memory, empathy and intergenerational storytelling.<\/p>\n

Reverse Images: Brexit\u00a0<\/em>(2019) considers the evolving meaning of evidence. The installation involves the presentation of one of Getty Images\u2019 most syndicated images of the polarising referendum campaign – the image of Boris Johnson speaking in front of his pledge, promise or aspiration to return \u00a3350M per week from the EU to the NHS. The exhibit features extracts from over 100 articles that claimed the same image as their evidence for diverse and divergent editorial comment. The continuous referencing and recontextualisation of this image has reflected the anguish and anger of a contemporary struggle for truth. The exhibition provides an audio snapshot of a Machiavellian narrative of manipulation and populism.<\/p>\n

Shock and Awe\u00a0<\/em>(2019) is a short video work constructed from the collated documentation of a seminal media(ted) event. The breathless documentation of the long-anticipated commencement of the second Gulf War was broadcast globally on March 20-23, 2003. The narrative overlay and ident branding of this display of \u2018neo-con\u2019 power varied from network to network, but there was a strange limitation of view demonstrated as the majority of networks carried footage recorded from the roof of the Al-Rasheed Hotel in Baghdad. Flocking to recreate the CNN exclusive views of the 1991 bombardment, global outlets found themselves mirroring each other with near identical claims to unique testimonies. The abstraction of the horror of the bombardment was made palatable for live-viewing international voyeurs through the abstraction of its illumination of the night sky.<\/p>\n

\"Image<\/a><\/p>\n

Mirror V: Translation<\/em>\u00a0(2019) is the latest of the Mirror installations (2015-present). It offers an experiment in partial translation. Two Sinhala monologues, filmed in Sri Lanka, are presented consecutively in the gallery. The ambient noise of Colombo and the original voices of the actors is audible. Orientated around the space, ultrasonic speakers create zones of sound, which present a translated narrative to the gallery audience. Three similar but distinct translations are available to recontextualise the direct-to-camera monologues. Through, error, omission and interpretation, the installation focussed on the subjectivity of translation, the power to objectify and our ability to perceive threat.<\/p>\n

Blue\/Green\u00a0<\/em>(2019) is a modest experiment with contradictory framing of identity. Artists and friends from Palestine and Israel have volunteered their travel documents and identity cards to form part of a compromised transitionary format. New lenticular identity cards have been produced, which allow the access and agency of the subject to shift with the angle of view. The subtle changes of serial number, symbolism and colour offer a modest aesthetic study of profoundly impactful institutional shifts in enfranchisement and trust. Musing on the enduring societal acceptance of the abstraction of invented categorisation, value and solidarity, this work forms part of a series of transitionary domestic and international documents of power.<\/p>\n

\"Image<\/a><\/p>\n

For further information<\/strong>:\u00a0danielle@daniellearnaud.com<\/a><\/p>\n

\n

David Cotterrell<\/a>\u00a0is a Professor in Fine Art in the Art & Design Research Centre (ADRC<\/a>) at Sheffield Hallam University. Follow him\u00a0@davidcotterrell<\/a>\u00a0and on Instagram<\/a>.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

truth.lie.lie 13 September 2019 For his sixth solo exhibition at\u00a0Danielle Arnaud Gallery, David Cotterrell presents a selection of recent and new works considering the mediation of evidence. Installations devised in eclectic contexts in collaboration with artists, actors and news agencies, are brought together within one exhibition to consider common threads of media scepticism, narrative betrayal and structural prejudice. At a […]<\/p>\n","protected":false},"author":8633,"featured_media":7602,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"wds_primary_category":0,"footnotes":"","jetpack_post_was_ever_published":false,"_links_to":"","_links_to_target":""},"categories":[198,139],"tags":[5,1248,891,399,109,1082,1083,892],"class_list":["post-7596","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition","category-news","tag-art-and-design-research-centre","tag-danielle-arnaud-gallery","tag-david-cotterrell","tag-exhibition","tag-fine-art-research","tag-mirror-iv","tag-mirror-series","tag-ruwanthie-de-chickera"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2019\/09\/2019-09-10-COTTERRELL-Truthlielie-at-Arnaud-Gallery-3.jpg?fit=890%2C290&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8oFHo-1Yw","jetpack-related-posts":[{"id":12011,"url":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/cotterrell-danielle-arnaud-venice\/","url_meta":{"origin":7596,"position":0},"title":"Professor David Cotterrell at Danielle Arnaud Venice – 17 May to 26 November 2023","author":"Amy Lander","date":"17\/05\/2023","format":false,"excerpt":"David Cotterrell at Danielle Arnaud Venice (17 May - 26 November 2023 - By appointment only) David Cotterrell\u00a0in Venice\u00a0 WUNDERKAMMERN Camere delle Meraviglie Wednesday\u00a017\u00a0to Sunday 21 May 2023 Join us to discover David Cotterrell\u2019s new work at Danielle Arnaud Venice.\u00a0 The artist proposes a series of impossible assemblages of artefacts,\u2026","rel":"","context":"In "News"","block_context":{"text":"News","link":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/category\/news\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2023\/05\/David-Cotterrell-Wunderkammer-envy-1.png?fit=1200%2C826&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2023\/05\/David-Cotterrell-Wunderkammer-envy-1.png?fit=1200%2C826&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2023\/05\/David-Cotterrell-Wunderkammer-envy-1.png?fit=1200%2C826&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2023\/05\/David-Cotterrell-Wunderkammer-envy-1.png?fit=1200%2C826&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2023\/05\/David-Cotterrell-Wunderkammer-envy-1.png?fit=1200%2C826&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":8357,"url":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/cotterrell-deptford-x-mirror\/","url_meta":{"origin":7596,"position":1},"title":"‘Mirror: Legacy’ – Professor David Cotterrell’s video installation exhibiting as part of Deptford X Festival","author":"Ian Braddick","date":"19\/09\/2018","format":false,"excerpt":"Mirror: Legacy as\u00a0part of the\u00a0Near and Far\u00a0Group show at Borthwick Studios for\u00a0Deptford X - A ten-day free festival of visual arts (Friday 21 - Sunday 23 September 2018) Mirror: Legacy is a double screen video installation\u00a0that explores the dynamics of inherited memories of violence,\u00a0through the\u00a0performances of six young Rwandan actors,\u2026","rel":"","context":"In "News"","block_context":{"text":"News","link":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/category\/news\/"},"img":{"alt_text":"2018-09 COTTERRELL - Mirror - Legacy at Deptford X","src":"https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2019\/12\/2018-09-COTTERRELL-Mirror-Legacy-at-Deptford-X.jpg?fit=890%2C290&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2019\/12\/2018-09-COTTERRELL-Mirror-Legacy-at-Deptford-X.jpg?fit=890%2C290&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2019\/12\/2018-09-COTTERRELL-Mirror-Legacy-at-Deptford-X.jpg?fit=890%2C290&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/blogs.shu.ac.uk\/c3riimpact\/files\/2019\/12\/2018-09-COTTERRELL-Mirror-Legacy-at-Deptford-X.jpg?fit=890%2C290&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":12670,"url":"https:\/\/blogs.shu.ac.uk\/c3riimpact\/cotterrell-guardian-gateway-ii-iwm\/","url_meta":{"origin":7596,"position":2},"title":"‘Gateway II’ – Professor David Cotterrell referenced in the Guardian","author":"Ian Braddick","date":"13\/11\/2023","format":false,"excerpt":"When is it too early to teach your kids about genocide? 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