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Light Reading series 5
David Cunningham / Martin Creed

Shit Film, Martin Creed

Kingsgate Gallery, London
31 May 2006 | 7pm
Tickets: £5 door / £4 advance
Telephone: 020 7372 3925
Email: james.holcombe |at| no-w-here.org.uk

Booking is essential for this event, as places are limited.

David Cunningham
David Cunningham is an artist and musician whose work has ranged from pop music to gallery installations, including work for television, film, contemporary dance, and a number of collaborations with visual artists. Since his first album release Grey Scale in 1976 he has worked as a composer and record producer, engaging with an eclectic range of people and music. Live work has involved collaboration and performances with John Cage, Kathy Acker, Michael Giles, Scanner and others. Since 1993 David Cunningham has been developing a series of installations based on real time exploration of acoustics including The Listening Room, Biennale of Sydney (1998). He showed two installation works in "Days Like These", The Tate Triennial of Contemporary British Art, Tate Britain, and since then has made installations at ICC Tokyo, Ikon Birmingham, Camden Arts Centre London and elsewhere. Related work has included the production and treatment of sound for installation and broadcast artworks by Martin Creed, Susan Hiller, Joćo Penalva, Gillian Wearing among others.

Martin Creed
Numbers instead of words I started numbering my works because I wasn't happy with titles made of words. They meant too much and added too much extra, and I wanted a way of treating everything the same, big or small, whatever it was made of, whatever it was. Using numbers - just like catalogue numbers - seemed a good way of doing this. All numbers are equal.

When I started numbering my works I went back and gave numbers to old ones. I got quite self-conscious about it - about which numbers I gave to which works - and found that I didn't want to have a 'Work No. 1'. It was too much. I couldn't live with it. WORK NO. 1, MY FIRST WORK! NO WAY! The point of the numbering was to try to give all works the same value - to treat everything the same - but the number one just was not the same. Not all numbers are equal. And so I tried to make a kind of fade-in. I started with 3, put 5 next, and went on up from there. – Martin Creed, 2005



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