Tim Barnes

     
Review: Anna Barham – Double Screen (not quite tonight jellylike), Site Gallery, Sheffield - Corridor 8
Barham's installation seems perfectly content to reside in a rift of its own. Her material, spoken words and moving images are collected and conjoined together as though to construct a barricade on the infrastructure and systems of language, an assemblage of component fragments which, when brought together, might either obscure or reveal hidden correlations between visual and oral language.

A Time to Break Silence
Edgar Arcenaux: Video Installation October 2013.

Brain Activity
Considering the Placing of Sound Installations within Brain Activity, an Exhibition by David Shrigley at the Hayward Gallery.

Cerith Wyn Evans
A Critical Analysis of the Installation Untitled (Flute Piece Incarnation White Cube Bermondsey).

IMAGES
Images of previous works and exhibitions.

Laura Buckley: The Magic Know-How
Laura Buckley's exhibition The Magic Know-How reviewed. (September 2013)
Max Eastley
Ideas relating to movement in sound sculpture - Max Eastley.

Mike Kelley - Mobile Homestead Videos
'These fragments I have shored against my ruins' - T.S.Eliot, The Waste Land.

Milton Torres Sees a Ghost
A Critical Analysis of Milton Torres Sees a Ghost, a Sound Installation by Kerry Tribe as part of Dead Star Light, a solo exhibition at Modern Art Oxford – 2011.

Odoodem
Assessing the Accumulative Tendency – An Interpretation of Isa Genzken's Sculptural Installation.
Rebirth
Observations surrounding
Rebirth, an exhibition of Mariko Mori's work at the Royal Academy. – Jan 2013

The Animal Gaze Returned
Video of Group discussion following the exhibition
What Does Your Screen Smell Like? in Hoxton, June 2012

What Does Your Screen Smell Like?
Video of Group discussion following the exhibition
What Does Your Screen Smell Like? in Hoxton, June 2012

Y
Observations surrounding Y, a painting by Alice Wilson as part of Still, an exhibition at Chelsea's old college library.

Zero Hours: S1Artspace
'The work in this exhibition, although largely sculptural, clings to the walls as though the floors were shark infested and it's easy to move around the gallery's perimeter from one piece to the next, observing the artworks like suitcases on an airport conveyor'.