George Barber - waterside contemporarywaterside-contemporary.com/artists/george-barber/George...CGI...

waterside contemporary

George Barber

2 Clunbury Str, London N1 [email protected]

waterside-contemporary.comtel +44 2034170159


'Akula Dream' set on an oldRussian submarine armed withballistic nuclear missiles,blends Barber's familiarediting style with a feature-film approach.The sub has a new captain whoseems to care very little forpractical matters orprotocol. He feels thesubmariners’ jobs are a wasteof time and prefers to leaddiscussions groups aboutspiritual matters. On thisstrange, unspecified mission,the crew begin to project outinto the world to see theirfuture and everything above thewaves in sharp clarity. Ratherthan getting to know the worldby travelling vast distancesand meeting people, they cometo understand it just by sitting in the dark holdinghands; precisely by beingdenied sight of the world, theycome to see it in more clearly.Shot on a real submarine, thework has impressive originalCGI sequences which referenceRussian art rather than theclassic torpedoes firing out ofsubmarine tubes. The crew‘journey’ outside the hull, andmake shamanic visits to strangeworlds.

George BarberAkula Dream2015

videoHD videoBAR055/1


'Akula Dream' set on an oldRussian submarine armed withballistic nuclear missiles,blends Barber's familiarediting style with a feature-film approach.The sub has a new captain whoseems to care very little forpractical matters orprotocol. He feels thesubmariners’ jobs are a wasteof time and prefers to leaddiscussions groups aboutspiritual matters. On thisstrange, unspecified mission,the crew begin to project outinto the world to see theirfuture and everything above thewaves in sharp clarity. Ratherthan getting to know the worldby travelling vast distancesand meeting people, they cometo understand it just bysitting in the dark holdinghands; precisely by beingdenied sight of the world, theycome to see it in more clearly.Shot on a real submarine, thework has impressive originalCGI sequences which referenceRussian art rather than theclassic torpedoes firing out ofsubmarine tubes. The crew‘journey’ outside the hull, andmake shamanic visits to strangeworlds.


videoHD videoBAR055/1


'Akula Dream' set on an oldRussian submarine armed withballistic nuclear missiles,blends Barber's familiarediting style with a feature-film approach.The sub has a new captain whoseems to care very little forpractical matters orprotocol. He feels thesubmariners’ jobs are a wasteof time and prefers to leaddiscussions groups aboutspiritual matters. On thisstrange, unspecified mission,the crew begin to project outinto the world to see theirfuture and everything above thewaves in sharp clarity. Ratherthan getting to know the worldby travelling vast distancesand meeting people, they cometo understand it just bysitting in the dark holdinghands; precisely by beingdenied sight of the world, theycome to see it in more clearly.Shot on a real submarine, thework has impressive originalCGI sequences which referenceRussian art rather than theclassic torpedoes firing out ofsubmarine tubes. The crew‘journey’ outside the hull, andmake shamanic visits to strangeworlds.


videoHD videoinstallation view, Chapter, CardiffAdam Chard

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‘Fences Make Senses’ rehearsesand re-enacts prevailingdebates at internationalborders. Contemporary mediareports usually focus on theplight of the forsaken; Barberinstead specifically uses non-refugees to improvisesituations and themesfrequently faced. Buying atotally inappropriate boat froma rogue, for example, or havingthe wrong paperwork at aborder, or on towards morephilosophical notions - likethe moral dichotomy of Captainswho routinely ignore refugees.Created before the recent surgeof disasters in theMediterranean, the exhibition’sfeature video combines foundand made footage to produce amontage anchored on migrantexperience. While thereenactments are at timesabsurd, the artists’ own poeticvoice–over explores theinjustices and paradoxes of thesituation.The work proposes the meetingplace of poetry and philosophyas a site to consider one ofthe world’s biggesthumanitarian and politicalconcerns. Barber’s use of non-refugees to perform ultimatelyreignites and reframes thegrowing condition, stating itin an unexpected way.

George BarberFences Make Senses2015

installationHD video, found objects26’56”installation view, waterside


‘Fences Make Senses’ rehearsesand re-enacts prevailingdebates at internationalborders. Contemporary mediareports usually focus on theplight of the forsaken; Barberinstead specifically uses non-refugees to improvisesituations and themesfrequently faced. Buying atotally inappropriate boat froma rogue, for example, or havingthe wrong paperwork at a border, or on towards morephilosophical notions - likethe moral dichotomy of Captainswho routinely ignore refugees.Created before the recent surgeof disasters in theMediterranean, the exhibition’sfeature video combines foundand made footage to produce amontage anchored on migrant experience. While thereenactments are at timesabsurd, the artists’ own poeticvoice–over explores theinjustices and paradoxes of thesituation.The work proposes the meetingplace of poetry and philosophyas a site to consider one ofthe world’s biggesthumanitarian and politicalconcerns. Barber’s use of non-refugees to perform ultimatelyreignites and reframes thegrowing condition, stating itin an unexpected way.


installationHD video, found objects26’56”


‘Fences Make Senses’ rehearsesand re-enacts prevailingdebates at internationalborders. Contemporary mediareports usually focus on theplight of the forsaken; Barberinstead specifically uses non-refugees to improvisesituations and themesfrequently faced. Buying atotally inappropriate boat froma rogue, for example, or havingthe wrong paperwork at a border, or on towards morephilosophical notions - likethe moral dichotomy of Captainswho routinely ignore refugees.Created before the recent surgeof disasters in theMediterranean, the exhibition’sfeature video combines foundand made footage to produce amontage anchored on migrant experience. While thereenactments are at timesabsurd, the artists’ own poeticvoice–over explores theinjustices and paradoxes of thesituation.The work proposes the meetingplace of poetry and philosophyas a site to consider one ofthe world’s biggest humanitarian and politicalconcerns. Barber’s use of non-refugees to perform ultimatelyreignites and reframes thegrowing condition, stating itin an unexpected way.


installationHD video, found objects26’56”installation view, waterside


‘Fences Make Senses’ rehearsesand re-enacts prevailingdebates at internationalborders. Contemporary mediareports usually focus on theplight of the forsaken; Barberinstead specifically uses non-refugees to improvisesituations and themesfrequently faced. Buying atotally inappropriate boat froma rogue, for example, or havingthe wrong paperwork at aborder, or on towards morephilosophical notions - likethe moral dichotomy of Captainswho routinely ignore refugees.Created before the recent surgeof disasters in theMediterranean, the exhibition’sfeature video combines foundand made footage to produce amontage anchored on migrantexperience. While thereenactments are at timesabsurd, the artists’ own poeticvoice–over explores theinjustices and paradoxes of thesituation.The work proposes the meetingplace of poetry and philosophyas a site to consider one ofthe world’s biggesthumanitarian and politicalconcerns. Barber’s use of non-refugees to perform ultimatelyreignites and reframes thegrowing condition, stating itin an unexpected way.


installationHD video, found objects26’56”


In ‘Basement Pool,’ a companionpiece to ‘Fences Make Senses’,Barber monologues to get'underneath' the water, takingon an anxiety of hypotheticalneighbours excavating basementpools in more affluent areas ofLondon. The indulgent andsuperficial unease is in starkcontrast to problems manyothers face across the globe.

George BarberBasement Pool2015

installationvideo installation 2’25”installation view, watersidecontemporary

BAR056/1


In ‘Basement Pool,’ a companionpiece to ‘Fences Make Senses’, Barber monologues to get'underneath' the water, taking on an anxiety of hypotheticalneighbours excavating basement pools in more affluent areas ofLondon. The indulgent andsuperficial unease is in starkcontrast to problems manyothers face across the globe.

George BarberBasement Pool2015

installationvideo installation2’25”BAR056/1


‘The Freestone Drone’ follows adrone mission from the point ofview of the machine. Thedrone’s camera surveyscityscapes, encountersindividuals, reports, and in flight becomes aware of its ownutility and destiny. The videocombines found and made footageto produce an uneasy, seductivemontage, anchored on thedrone’s private thoughts.Barber brings together war,love, life, death, and sendsthe drone over not onlyWaziristan, but also to NewYork and a London suburb. Thedrone then travels throughtime, projecting images of thepast and possible futures. ‘The Freestone Drone’ proposesthe meeting place of poetry andphilosophy as a site toconsider contemporary ethicaland political concerns.Ultimately, Barber’s workunderlines the fact thattechnologies, and in particularmodes of warfare, aresymptomatic of the way weunderstand ourselves at ourmoment in history. Much nowdone in our name is at oddswith democratic tradition:hidden, inhuman and robotic.

George BarberThe Freestone Drone2013

videoHD video installation13’video still

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‘The Freestone Drone’ follows adrone mission from the point ofview of the machine. Thedrone’s camera surveyscityscapes, encountersindividuals, reports, and in flight becomes aware of its ownutility and destiny. The videocombines found and made footageto produce an uneasy, seductivemontage, anchored on thedrone’s private thoughts. Barber brings together war,love, life, death, and sendsthe drone over not onlyWaziristan, but also to NewYork and a London suburb. Thedrone then travels throughtime, projecting images of thepast and possible futures.‘The Freestone Drone’ proposesthe meeting place of poetry andphilosophy as a site toconsider contemporary ethicaland political concerns.Ultimately, Barber’s workunderlines the fact thattechnologies, and in particularmodes of warfare, aresymptomatic of the way weunderstand ourselves at ourmoment in history. Much nowdone in our name is at oddswith democratic tradition:hidden, inhuman and robotic.

George BarberThe Freestone Drone 2013

videoHD video installation13’installation view at watersidecontemporary, 2013

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‘The Freestone Drone’ follows adrone mission from the point ofview of the machine. Thedrone’s camera surveyscityscapes, encountersindividuals, reports, and in flight becomes aware of its ownutility and destiny. The videocombines found and made footageto produce an uneasy, seductivemontage, anchored on thedrone’s private thoughts.Barber brings together war,love, life, death, and sendsthe drone over not onlyWaziristan, but also to NewYork and a London suburb. Thedrone then travels throughtime, projecting images of thepast and possible futures. ‘The Freestone Drone’ proposesthe meeting place of poetry andphilosophy as a site toconsider contemporary ethicaland political concerns.Ultimately, Barber’s workunderlines the fact thattechnologies, and in particularmodes of warfare, aresymptomatic of the way weunderstand ourselves at ourmoment in history. Much nowdone in our name is at oddswith democratic tradition:hidden, inhuman and robotic.

George BarberThe Freestone Drone2013

videoHD video installation13’video still

BAR044/1


George BarberThe Rhinestone Drone2013

sculpturebalsa wood, crystals58x38x33cmBAR051


Observed from an overheadcamera, a man stops by theroadside one morning andempties the contents of anumber of large cans of paintover the tarmac. As the lightrises, along with the level of traffic, the cars spread thepaint along the surface of the road, creating an abstract smear of vibrant colour.Fundamentally, the piece is apainting done by traffic.Automotive Action Painting isan ironic comment on AbstractExpressionism and shows that a work containing emotion andpassion can be created bypeople driving to work. Nobody has ever thought this. Rationalbeings driving cars engage withcolour and become the brushesproducing a very lush ‘action’canvas by the end.Automotive action painting wonFirst Prize at the 24th HamburgInternational Short FilmFestival and has been shown atTate Britain in London.

George BarberAutomotive ActionPainting2007

videofull HD video6'03"BAR001/1



George BarberAutomotive Action Painting2007




George BarberAutomotive ActionPainting2007



Barber’s appropriation of AndyWarhol’s appropriation of anicon of popular cinema. Barbertakes on Warhol’s famousMarilyn paintings andscreenprints, but brings the(then) new technology of videodissolves of colour and addsnew layers of deconstruction tothe image. Curtain Tripresulted from the artist simplyhanging three pieces ofcoloured silk from a ceiling,lying on the ground and lookingup at them as they moved in thebreeze. Then, he hit on the idea of doubling it all up tocreate a kaleidoscopic effect.The fabric itself was shot onfilm; the rest is videoediting. Kite is a mesmerisingjourney through a saturatedfield of colour.

George Barber2001 Colours Andy Never Thought Of1996

videoDV video4'35"BAR004/1


Barber’s appropriation of AndyWarhol’s appropriation of anicon of popular cinema. Barbertakes on Warhol’s famousMarilyn paintings andscreenprints, but brings the(then) new technology of videodissolves of colour and addsnew layers of deconstruction to the image. Curtain Tripresulted from the artist simply hanging three pieces ofcoloured silk from a ceiling,lying on the ground and looking up at them as they moved in the breeze. Then, he hit on the idea of doubling it all up tocreate a kaleidoscopic effect.The fabric itself was shot onfilm; the rest is videoediting. Kite is a mesmerisingjourney through a saturatedfield of colour.

George Barber2001 Colours Andy Never Thought Of1996

videoDV video4'35"BAR004/1


George Barber2001 Colours AndyNever Thought Of(Marylin Iran)2012

photographyc-type print62x47cmBAR007


Gibberish attempts to interrupt and convey meaning usingnonsense language. Gibberishseems to be sense, yet most ofthe recognisable languagespoken is ludicrous andspontaneously thought up. Thework starts in a garden with adiscussion about lost suitcasesat an airport, and over 5minutes develops throughvarious scenarios into beingabout a loved kitten and theend of the world. Gibberish is fundamentallyabout the voice as an objectand as a presence. Once sensehas been taken away, and theperformers merely make soundsthat we apprehend and makefamiliar to ourselves as'foreign language'. Withoutsense we are left withmannerisms, tone, hand and eyemovements and, of course, ourphysical reaction to thespeaker's voice quality andtone. Language is a logicalstructure, generating meaningin building blocks. Here wesense building blocks but haveto improvise and generate ourown sense to get by. Like listening to someone speaking aforeign language, we have to'insert' bits, fill the gaps. We struggle to predict what theproblems might be that thespeaker is telling us about, welook for hints in the voice.

George BarberGibberish2009

videosingle-screen HD video6’10”


Gibberish attempts to interrupt and convey meaning usingnonsense language. Gibberishseems to be sense, yet most ofthe recognisable languagespoken is ludicrous andspontaneously thought up. Thework starts in a garden with adiscussion about lost suitcasesat an airport, and over 5minutes develops throughvarious scenarios into beingabout a loved kitten and theend of the world. Gibberish is fundamentallyabout the voice as an objectand as a presence. Once sensehas been taken away, and theperformers merely make soundsthat we apprehend and makefamiliar to ourselves as'foreign language'. Withoutsense we are left withmannerisms, tone, hand and eyemovements and, of course, ourphysical reaction to thespeaker's voice quality andtone. Language is a logicalstructure, generating meaningin building blocks. Here wesense building blocks but haveto improvise and generate ourown sense to get by. Like listening to someone speaking aforeign language, we have to'insert' bits, fill the gaps.We struggle to predict what theproblems might be that thespeaker is telling us about, welook for hints in the voice.




Gibberish attempts to interruptand convey meaning usingnonsense language. Gibberishseems to be sense, yet most ofthe recognisable languagespoken is ludicrous andspontaneously thought up. Thework starts in a garden with adiscussion about lost suitcasesat an airport, and over 5minutes develops throughvarious scenarios into beingabout a loved kitten and theend of the world. Gibberish is fundamentallyabout the voice as an objectand as a presence. Once sensehas been taken away, and theperformers merely make soundsthat we apprehend and makefamiliar to ourselves as'foreign language'. Withoutsense we are left withmannerisms, tone, hand and eyemovements and, of course, ourphysical reaction to thespeaker's voice quality andtone. Language is a logicalstructure, generating meaningin building blocks. Here wesense building blocks but haveto improvise and generate ourown sense to get by. Like listening to someone speaking aforeign language, we have to'insert' bits, fill the gaps. We struggle to predict what theproblems might be that thespeaker is telling us about, welook for hints in the voice.




The ten-minute ‘BeyondLanguage’ features twodistinctly unglamorous womenhowling, grunting and whoopingtogether in an elevated gardenoverlooking an urban street –that piece could also beconsidered a summa of Barber’srestlessly impious, comicallyearthy superseding ofconsensual sense.

George BarberBeyond Language2005

videoSD video9’46”BAR030/1


A beautiful woman screams atsomething unseen off camera.Paul Newman appears eatingsalad and soon the famoussequence of Paul Newman closinga car door cut with ahelicopter takes place. Absenceof Satan is probably one ofGeorge Barber's best Scratchworks and is a deft reworkingof cinematic narrative andclichè. George Barber is one ofthe pioneers of Scratch Videowhich emerged in the UK duringthe mid-1980s. Scratch videomakes use of found images fromfilms and television, cuttingseemingly incongruous imagerytogether to make a new meaning.

George BarberAbsence of Satan 1985

video4’46BAR012/1


A beautiful woman screams atsomething unseen off camera.Paul Newman appears eatingsalad and soon the famoussequence of Paul Newman closinga car door cut with ahelicopter takes place. Absenceof Satan is probably one ofGeorge Barber's best Scratchworks and is a deft reworkingof cinematic narrative andclichè. George Barber is one ofthe pioneers of Scratch Videowhich emerged in the UK duringthe mid-1980s. Scratch videomakes use of found images fromfilms and television, cuttingseemingly incongruous imagerytogether to make a new meaning.

George BarberAbsence of Satan1985

video4’46BAR012/1


Selected from Barber’s recentfound footage work, FollowingYour Heart uses off-air advertsand TV films. The centralconceit is to take foundfootage and manipulate it intoa new artistic experience. Theadverts and dramas allessentially present clichéddialogue but by the use ofrepetition, music, the worksrise away from being humdrumtelevision into something moreeffecting.

George BarberFollowing Your HeartCan Lead toWonderful Things2008

video6’03”BAR031/1



George BarberFollowing Your Heart Can Lead toWonderful Things2008




George BarberFollowing Your HeartCan Lead toWonderful Things2008



The first Shouting Match is awell-known work that has beenshown as a single screen workat the Tate Modern, DCA andMiami Basel. The piece is aconceptual work and isdifferent every time it isstaged. So far the artist hasmade three versions - inLondon, Bangalore and Tel Aviv.The next one is likely to beDallas or New Orleans. It wasconceived as a multi-screengallery piece and once all fourversions are complete it willbe ready to be shown.A variety of participants, dueto the power of their voices,determine the length of theirpresence on screen. In orderfor our culture to feel thatsomething is worth watching orgood, all the volume andparameters have to be turned'full up'. Similarly so toexpress yourself in daily life.Nothing is quiet.

George BarberShouting Match2004

video11’BAR032/2


The first Shouting Match is awell-known work that has beenshown as a single screen workat the Tate Modern, DCA andMiami Basel. The piece is aconceptual work and is different every time it isstaged. So far the artist hasmade three versions - inLondon, Bangalore and Tel Aviv.The next one is likely to beDallas or New Orleans. It wasconceived as a multi-screengallery piece and once all fourversions are complete it willbe ready to be shown. A variety of participants, dueto the power of their voices,determine the length of theirpresence on screen. In orderfor our culture to feel thatsomething is worth watching orgood, all the volume andparameters have to be turned'full up'. Similarly so toexpress yourself in daily life.Nothing is quiet.


video11’BAR032/2


The first Shouting Match is awell-known work that has beenshown as a single screen workat the Tate Modern, DCA andMiami Basel. The piece is aconceptual work and isdifferent every time it isstaged. So far the artist hasmade three versions - inLondon, Bangalore and Tel Aviv.The next one is likely to beDallas or New Orleans. It wasconceived as a multi-screengallery piece and once all fourversions are complete it willbe ready to be shown.A variety of participants, dueto the power of their voices,determine the length of theirpresence on screen. In orderfor our culture to feel thatsomething is worth watching orgood, all the volume andparameters have to be turned'full up'. Similarly so toexpress yourself in daily life.Nothing is quiet.


video11’BAR032/2


India Shouting Match is aversion of George Barber’swell-known Shouting Match but newly shot in India. Barbersees it as an infinitelyrepeatable conceptual idea andbenefits from being differentevery time it is staged. Taketwo seated people facing eachother. At the given signal theybegin shouting. They have toput everything into a shortcontest. The harder they shoutthe more they are in the frame,the quieter they are, the morethey are withdrawn. If you fallsilent – you will be out offrame – out of history. IndiaShout Match consists of pureshouting.Visually, India Shouting Matchis made up of the actual vocalcombat and insight intocharacters, how they behave,their faces in pain, anger,struggle, insanity, defeat andvictory. The sheer sound of thepiece is impressive; especiallyas a multi-screen in galleriesand consists of men and womenusing their voice in a totallyirrational, pre-culturalfashion. The howl of madness.

George BarberShouting Match India2010



India Shouting Match is aversion of George Barber’swell-known Shouting Match butnewly shot in India. Barbersees it as an infinitelyrepeatable conceptual idea andbenefits from being differentevery time it is staged. Taketwo seated people facing eachother. At the given signal theybegin shouting. They have toput everything into a shortcontest. The harder they shoutthe more they are in the frame,the quieter they are, the morethey are withdrawn. If you fallsilent – you will be out offrame – out of history. IndiaShout Match consists of pureshouting.Visually, India Shouting Matchis made up of the actual vocalcombat and insight intocharacters, how they behave,their faces in pain, anger,struggle, insanity, defeat andvictory. The sheer sound of thepiece is impressive; especiallyas a multi-screen in galleriesand consists of men and womenusing their voice in a totallyirrational, pre-culturalfashion. The howl of madness.

George BarberShouting Match India 2010



As in earlier tapes, GeorgeBarber appropriates popularfilm culture and engages withit on his own terms. Hereclines in his bath narrating, in a loosely constructedmonologue, an account of how he survived a plane crash overwater and the events which ledup to it. A montage of 1970sAmerican disaster filmsaccompany and interact with his tongue-in-cheek account.Passing ship is concerned withambiguity in the representation of events. Is he concocting astory inspired by watching toomuch television? Is hecontrasting personal experience against the mass media as acritique of the latter? Thereis no single answer as the tape works at many levels.

George BarberPassing Ship1994



As in earlier tapes, GeorgeBarber appropriates popularfilm culture and engages withit on his own terms. Hereclines in his bath narrating, in a loosely constructedmonologue, an account of how hesurvived a plane crash overwater and the events which ledup to it. A montage of 1970sAmerican disaster filmsaccompany and interact with histongue-in-cheek account.Passingship is concerned withambiguity in the representationof events. Is he concocting astory inspired by watching toomuch television? Is hecontrasting personal experienceagainst the mass media as acritique of the latter? Thereis no single answer as the tapeworks at many levels.

George Barber Passing Ship1994



"Walking Off Court concerns a story I saw in the Times abouta tennis coach called JamesGoodman who had a nervousbreakdown around about the time that a motorway was built rightoutside his house. He spent alot of time aimlessly walkingin circles around new roads androad works. I contacted him andeven ended up playing tenniswith him. The video is looselythe story around his experienceand his changing relationshipto his normal circumstances."GB

George BarberWalking Off Court2003



"Walking Off Court concerns a story I saw in the Times abouta tennis coach called JamesGoodman who had a nervousbreakdown around about the timethat a motorway was built rightoutside his house. He spent alot of time aimlessly walkingin circles around new roads androad works. I contacted him andeven ended up playing tenniswith him. The video is looselythe story around his experienceand his changing relationshipto his normal circumstances."GB




"Walking Off Court concerns a story I saw in the Times abouta tennis coach called JamesGoodman who had a nervousbreakdown around about the time that a motorway was built rightoutside his house. He spent alot of time aimlessly walkingin circles around new roads androad works. I contacted him andeven ended up playing tenniswith him. The video is looselythe story around his experienceand his changing relationshipto his normal circumstances."GB




"Walking Off Court concerns a story I saw in the Times abouta tennis coach called JamesGoodman who had a nervousbreakdown around about the timethat a motorway was built rightoutside his house. He spent alot of time aimlessly walkingin circles around new roads androad works. I contacted him andeven ended up playing tenniswith him. The video is looselythe story around his experienceand his changing relationshipto his normal circumstances."GB




George BarberSchweppes Ad1993



George BarberTilt1983

video5’37BAR011/1


The Very Very End alludes to acommon preoccupation of the1960s, nuclear war. Today weregard this as an outside possibility yet the possessionof these weapons is rising andmany regimes that already holdthem are considered to be farfrom predictable. The film alsoreferences Nevil Shute's novel,'On the Beach' (1957). Shutesketches a haunting picture ofwhat it is like to wait for aradiation cloud; the result ofa conflict far away. Here wefind a group of touriststrapped on holiday by war. Theybecome drawn to a new videocraze, watching films of outerspace, while waiting for theradiation cloud to arrive atthis tropical paradise.

George Barber The Very Very End2013

videoPAL video, 4x58’40”BAR052/1

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