Survey

Survey- to examine carefully and thoroughly, and record (in unconventional ways but in particular detail) the features and conditions of (a building) (an area of land) (a sequence of thoughts) (a group of people) (a relation between objects) (what happens next...)

Will Cruickshank makes insouciant objects that react to the viewer with a deep, deadpan comedy. They are faux-scientific experiments in weight, movement, balance and human activity. A shopping basket of pansies, greeting you at the entrance to his 2007 Coleman Projects exhibition, slides up out of reach as you approach - connected by a system of pulleys that stretch up over the roof of the 3-storey building, to a mirror-object in the back yard. Cruickshank is an inventor-artist in the mould of Panamarenko, but responsive to environment and context, and with a generous sense of the absurd. Cruickshank's site-specific activities include converting a broken bicycle into a mobile free hot-chocolate stall in Zhongdian, Yunnan, China. For Standpoint, he will welcome visitors into the building with a tune.

Will Cruickshank's projects and performances include Columbo at Coleman Projects, London and Wheelbarrow Piano, Pallas Contemporary Projects, Dublin, Ireland in 2008; solo show The Shampoo at Studio 1.1, London, and residency at Golden Dragon Street Studios, Zhongdian, Yunnan, China in 2007.

Thomas Haywood's 'Family' is a photographic body of work that has been developing over the last five years, exploring the nature of family relations, associations with place, and ideas of belonging. Although Haywood has never lived in Denmark, his mother is Danish, and throughout his life he has visited often. The series builds a visual affinity with images that are familiar but dislocating. One image has only a tangential relation to the next, but taken together they imply a familiar, damp rural expanse of waiting and looking, with people nearby if not in the frame. This 'knowledge' emerges as much from Haywood's aesthetic debt to the semi-rural surburbia of film and television as it does to the viewer's personal memories. As in the series 'Island" (RCA 2008), Haywood's technique aspires to visual containment of a milieu - the understanding that comes from viewing a thing from all different angles, over and over again.

Thomas Haywood graduated MA RCA photography in 2008, and was awarded the Photographers' Gallery Prize for photography. His series 'Island,' was featured in Source Magazine, Issue 55.

In Measures at Normal Null, Ulrike Mohr calculated the highest and deepest publicly accessible places in Berlin, and redefined the median as Normal Null (the usual orientation being sea level), thus rendering a large part of the city into the negative, minus zone. Mohr's concentration on systems of position location refer as much to sociology as geography - what is my position in this system; what is my place in the ranking, provided I appear there at all; where are the gaps in my network; am I inside or outside again? For the 5th Berlin Biennial, Mohr relocated several scrubby, self-seeded trees from the roof of the the Palast der Republic (former GDR parliament building) to the Neue Nationalgalerie, but this proved (metaphorically, if not aesthetically satisfactorily) impossible; the trees were replanted in the Skulpturenpark and represented by wall-drawings in the gallery space. Working with materials sourced from the local environment, Mohr will be making a new conceptual installation piece for Standpoint.

Ulrike Mohr's recent projects include solo shows at Cluster Gallery, Berlin, and a public art project at Kunsthaus Kloster Gravehorst, as well as featuring in When things cast no shadow - the 5th Berlin Biennial (all 2008); her solo show Definitionen was at Kunstverein Hildesheim in 2007.

Survey
Will Cruickshank, Thomas Haywood, Ulrike Mohr