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Love Is In Action: Black History Panel

29 October 2020

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VR — The Time We Call Our Own

3 September 2020

Exhibitions Future Exhibitions

Exhibition: L— A City Through Its People

5 November - 13 December 2020

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Harold Offeh — When Was The Time I Could Call My Own?

15 October 2020

Projects

Mirjam Wirz — Sonidero City

8 October 2020

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Open Rooms #9 Access to Art: Who is art for? (w/ Mike Pinnington and Larry Achiampong)

13 October 2020

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PLATFORM ISSUE 2: THE NEW NORMAL

7 October 2020

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‘Practice as Research’ – Socially Engaged Photography Network, North West

18 November 2020

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Weekend Exhibition: Illustrating Anthropology

12 November - 15 November 2020

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Laurence Westgaph: Liverpool Slavery Virtual Tour

27 October 2020

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Mirror Mirror: Online Film Screening & Q+A

12 November 2020

Exhibitions Open Source Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #18 – KELEENNA ONYEAKA

1 October - 31 October 2020

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Tobias Zielony — Maskirovka

27 August 2020

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Save Some Space (The Time We Call Our Own Online #4)

20 August 2020

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Andrew Miksys — Disko (The Time We Call Our Own: Online #3)

6 August 2020

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Oliver Sieber: Imaginary Club (The Time We Call Our Own: Online #2)

30 July 2020

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Getting Ready: Amelia Lonsdale and Her Mum (#1)

23 July 2020

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DIGITAL WINDOW GALLERY: OPEN SOURCE #17 – SAMANTHA JAGGER

3 September - 30 September 2020

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you out tonight?

10 August 2020

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folio20: Hugh Baird University Centre

10 August 2020

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Sarah Eyre (Untitled)

10 August 2020

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Activity Packs for Older People

20 July 2020

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Young People + Family Activity Packs

20 July 2020

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Open Rooms #3: Photographing the Internet (w/ Mishka Henner)

7 May 2020

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Open Rooms #2: Separated Together

30 April 2020

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Open Rooms #7: Photography Does Not Love You (Katrina Sluis w/ Jacob Bolton)

2 July 2020

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Open Rooms #8: Photography and Racialisation

9 July 2020

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Open Rooms #5: Class of 2020 — Seba Kurtis in conversation with Mariama Attah

18 June 2020

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Love is an Action

11 June 2020

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OPEN ROOMS #4: INDEPENDENT (PUBLISHING W/ COLIN WILKINSON)

21 May 2020

Open Eye Stories

4 May 2020

Open Rooms

4 May 2020

Exhibitions

Online Programme

15 March 2020

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DIGITAL WINDOW GALLERY: OPEN SOURCE #16 – PAULINA KOROBKIEWICZ

1 March - 31 March 2020

Main Exhibition

Exhibition: The Time We Call Our Own

3 September - 23 October 2020

Exhibitions Past Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #15 – JONATHAN LYNCH

1 February - 29 February 2020

Projects

PLATFORM Issue 01

21 January 2020

LAUNCH: THE DARK FIGURE*

20 February - 20 February 2020

Past Exhibitions

DIGITAL WINDOW GALLERY: OPEN SOURCE #14 – SAHAN NUHOGLU

16 January 2020

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VISUAL RIGHTS

16 January - 22 March 2020

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THE DARK FIGURE*

20 February - 22 March 2020

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EXPOSED

3 April 2020

Exhibitions Past Exhibitions

DIGITAL WINDOW GALLERY: NOW, FOR THE FUTURE – OPEN SOURCE X SHUTTER HUB

1 November - 30 November 2019

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Brilliant City 中文

30 October - 16 November 2019

Tong Yan Gai — Chinatown—中文

7 October - 24 October 2019

Exhibitions

HE 中文

17 October - 21 December 2019

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JUMP! 中文

4 October - 26 October 2019

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A Room of Our Own: a Fast Forward Women in Photography Exhibition 中文

17 October - 21 December 2019

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DINU LI: ANATOMY OF PLACE — (中文)

17 October - 21 December 2019

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Peer to Peer 中文

17 October - 22 December 2019

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Sarah Eyre (Untitled)

Open Eye Gallery How Will We Remember Covid-19 Art Commission

Gif 5205 Version 1, Sarah Eyre, 2020. (Please note: the above image is an animated gif, it may take some time to load on some internet connections!)

Twitch, shift, jerk, slip, repeat. These are words that describe this series of GIFs made in response to the How Will We Remember? commission. They are also words that might summon up the now familiar feelings of dealing with life during a global pandemic. 

The starting point for these digital works was the impact of Covid-19 on women. Research has shown that statistically women are more likely to suffer economically and many women have effectively been ‘re-traditionalised’ – confined to the domestic space of the home. But, we are all navigating unfamiliar terrains, constantly re-drawing our boundaries as our physical presence and visibility in the world continually slips and changes. Many of us find ourselves existing in an in-between place, somewhere between virtual and physical worlds, communicating through barriers, windows and screens and having to negotiate the unexpected materialities of this new space including the disruptive buffering, freezing and glitching of our virtual lives.     

There is a feeling of being on the cusp; of being suspended between different spaces and states, and the feeling of fragmentation as we sit at home looking out of the window whilst our digital doppelgängers play in virtual space has informed my choice of using GIFs as the output for this commission. There is a feeling when you view the GIFs that their surfaces could slip at any moment. GIFs can make us loose the awareness of our own edges as we get sucked in to their never ending loop. The repetition, at first comforting, can quickly become uncomfortable. The analogies with our current situation don’t end there – GIFs are open, endlessly adaptable – and of course, they can go viral. 

My use of paper and digital collage – an artistic method already associated with disorientation –  when merged with the jerky animation caused by the GIF process, makes the original source photographs unfamiliar. Combining different digital and analogue textures and effects suggests uncontrolled slippages and uncanny movements. The five GIFs are all different yet similar motifs, colours and textures repeat and dissolve across all of them – a subtle acknowledgement of the repetition of daily life under lockdown and partial lockdown. The colour palette is subdued, monochrome at times, however the colour blue features most frequently as blue is the colour most associated with liminal states – it is the colour of twilight and also the colour associated with cleanliness and protection – disinfectant bottles, PPE gloves and masks. The recurring silhouette motif alludes to the continual multiplication and dematerialisation of our bodies, as we flit between different physical and virtual spaces and states and protect ourselves behind layers of surfaces and screens.  

This commission is part of How Will We Remember?, a programme of commissions from Open Eye Gallery and University of Salford Art Collection that seeks to identify gaps in the public consciousness around who is affected by the global health crisis, and create opportunities to document the lived experience of those who have found themselves especially vulnerable. 

Open Eye Gallery How Will We Remember Covid-19 Art Commission

Gif 5205 Version 1, Sarah Eyre, 2020. (Please note: the above image is an animated gif, it may take some time to load on some internet connections!)

Twitch, shift, jerk, slip, repeat. These are words that describe this series of GIFs made in response to the How Will We Remember? commission. They are also words that might summon up the now familiar feelings of dealing with life during a global pandemic. 

The starting point for these digital works was the impact of Covid-19 on women. Research has shown that statistically women are more likely to suffer economically and many women have effectively been ‘re-traditionalised’ – confined to the domestic space of the home. But, we are all navigating unfamiliar terrains, constantly re-drawing our boundaries as our physical presence and visibility in the world continually slips and changes. Many of us find ourselves existing in an in-between place, somewhere between virtual and physical worlds, communicating through barriers, windows and screens and having to negotiate the unexpected materialities of this new space including the disruptive buffering, freezing and glitching of our virtual lives.     

There is a feeling of being on the cusp; of being suspended between different spaces and states, and the feeling of fragmentation as we sit at home looking out of the window whilst our digital doppelgängers play in virtual space has informed my choice of using GIFs as the output for this commission. There is a feeling when you view the GIFs that their surfaces could slip at any moment. GIFs can make us loose the awareness of our own edges as we get sucked in to their never ending loop. The repetition, at first comforting, can quickly become uncomfortable. The analogies with our current situation don’t end there – GIFs are open, endlessly adaptable – and of course, they can go viral. 

My use of paper and digital collage – an artistic method already associated with disorientation –  when merged with the jerky animation caused by the GIF process, makes the original source photographs unfamiliar. Combining different digital and analogue textures and effects suggests uncontrolled slippages and uncanny movements. The five GIFs are all different yet similar motifs, colours and textures repeat and dissolve across all of them – a subtle acknowledgement of the repetition of daily life under lockdown and partial lockdown. The colour palette is subdued, monochrome at times, however the colour blue features most frequently as blue is the colour most associated with liminal states – it is the colour of twilight and also the colour associated with cleanliness and protection – disinfectant bottles, PPE gloves and masks. The recurring silhouette motif alludes to the continual multiplication and dematerialisation of our bodies, as we flit between different physical and virtual spaces and states and protect ourselves behind layers of surfaces and screens.  

This commission is part of How Will We Remember?, a programme of commissions from Open Eye Gallery and University of Salford Art Collection that seeks to identify gaps in the public consciousness around who is affected by the global health crisis, and create opportunities to document the lived experience of those who have found themselves especially vulnerable. 

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