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Territories - The Study Gallery of Modern Art - Poole

An exhibition which uses contemporary, modern and traditional techniques, 'Territories' includes work made using bronze and ceramics, digital prints on canvas, video and performance art.

The exhibition explores the territory of the self, identity and space, objecthood and the space between objects.

Whether it is the self under threat from a political regime, or from a serious road accident, that which defines the self's motivation in society is explored, as well as the serious threats people face.

Paul Coldwell maps the topology of objects, and territories of meaning in 'Kafka's Doll, a set of nine inkjet prints, 2007. In 'Between Bottle and Jug', 2006-7, he describes the transformation space between two objects. And in 'Drawing Two into One', 2006-7, he combines two objects. In 'Object Remembered - Iron', 2006-7, he desrcribes the space occupied by an object.

In 'Tate Modern, A Tantric Viewing', Ajay Kumar explores Tate Modern with a commentary, on video. He focuses on the building itself, The territory of the art gallery seen from a different cultural perspective. "The Turbine Hall is the art work", he says at one point.

This work sits well with works by Disinformation, 'The Analysis of Beauty', 2000, and 'Electrical Artefacts collected by Joe Banks and Poloumi Desai'. Disinformation seem concerned with electricity and what defines the soul, as in 'Spellbound'.

Helix forms in 'The Analysis of Beauty' are echoed formally in Merete Rasmussen's ceramic forms.

In 'Cheheltan', 2005, Sayed Edalatpour uses the Persian word for forty people, to describe a sculpture of forty people sitting in conference.

Finally, in 'The Origin of Painting', Disinformation painted one of the gallery walls with luminous paint. When flash bulbs go off the participants silhouette is temporarily captured on the wall.

The works in this exhibition both test and affirm the nature of the art gallery, and the boundaries of the self. The nature of culture and authorship are sometimes questioned, with participatory works and technology, featuring quite prominently as a subject.

Sarah Thompson

The Study Gallery of Modern Art