Death Matthew Noel-Tod solo show

&

Drawn and Quartered Liam Gillick light box commission 

April-May 2014

Matthew Noel-Tod’s new project titled, Death, presents a reversed reading of the themes of the artist’s work from the last 3 years. 

Noel-Tod’s recent video work investigated the language of CGI and non-photographic recording of objects and bodies, with a focus on the infantilised self-reproduction of ourselves common in commercial images. 

The work for Project Number presents three anonymous news archive photos that propose ideas of death, nature, violence and society interpreted through the ideas of psychoanalysis. The black and white images, which can also be read as unknown family photos, are filtered from the windows of the gallery with red, green and blue speech bubbles, a spectrum of colours which make up digital images, but which can only filter each image individually in relation to the position of the viewer. 
In relation to speech and language, the exhibition proposes a reverse-psychoanalysis of Noel-Tod’s recent work, where the adult world was represented via children and the disembodied virtual object. Here that reality is ‘regressed’ back to the bodies, objects and images of an adult world. 

Matthew Noel-Tod, (born 1978) Selected exhibitions and screenings include: A Season in Hell 3D, Banner Repeater, London (2014) Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013, Tate Britain, London (2013), The Universal Addressability of Dumb Things, Hayward Touring (2013), The Adverts, Canary Wharf Screen, LUX, London (2012), Bang! Chisenhale Gallery, London (2012), A Skvader, Norwich Castle Museum with Outpost Gallery, Norwich (2011), Blind Carbon Copy, Picture This, Bristol (2008), Nought to Sixty, ICA, London (2008). He is Senior Lecturer in Moving Image at University of Brighton and was a recipient of the Acme Studios Firestation work/live residency 2010.


Liam Gillick has produced the 13th artwork for Pro Numb's series of on-street light boxes. Drawn and Quartered is a quote taken from The Diary of Samuel Pepys, an 17th century member of parliament who kept a diary of his life in 1660s London. Gillick's contribution makes direct links between the light box's on-street presence and Pepys description of east London.