studio 1.1
london e2


present show 

past shows 


gallery details 

  Artist in residence 2009 - Jordan McKenzie

Jordan McKenzie will be punctuating the timetable of shows at Studio 1.1 with a series of events throughout the year.

Having started our series of studio1.1 Artists in Residence in 2008 with Russell Martin, whose work centres upon dialogue and the social interface, (and whose practice is never documented or in any way recorded), we  move firmly into the corporeal realm with the (literal) enthronement of  Jordan McKenzie as Studio 1.1 Artist in Residence 2009. What started with a conceptual (even tongue-in-cheek) project - an artist in residence who operates in semi-secrecy - now evolves into a physical interruption of the workings of the galleryspace.

McKenzie's practice is hard to define, straddling (sometimes literally) liveart and sculpture/drawing. But always driven by the body's engagement with the world outside it, drawing the physical world into his performances (and into question) - whether through loving parodies of 'minimal'  art ('Serra Frottage', 'Andre Dance', 2008) or absurd yet touching repetitions of everyday disregarded activity ('Q' 2008).

With approximate costumes and primitive structures which can (we hope) support the weight of metaphor/ extravagant gestures which mock and mirror vacuous expectation... the audience will be left open-mouthed.

Whatever form McKenzie's action takes, whatever corner of the world it illuminates (the sun shines out of where, exactly?) a sardonic critique of the art world is never far behind.

Special guests will be introduced during the season, bringing their own extra layer of fantasy or hard(-ish) fact.

(Each of the performances will be filmed and presented soon after each event on Youtube.)

Red Haring
Sunday 29th November, 1:30-4:30pm

In the last of his events as studio1.1 Artist in Residence 2009, Jordan McKenzie turns back to an explicit art historical referent. In ‘Red Haring’ he will be inhabiting the persona of Keith Haring’s ubiquitous crawling baby.

Covered head to toe in red glitter and wearing a red nappy, the path of allusion is complex. Illuminated in the pitch black gallery only by a single torch in the grasp of an audience member, this overgrown baby will be threading his way through the last day of Jay Cloth’s exhibition 'Beheaded'.

In handing over the torch (the literal source of enlightenment) to a member of his audience (and for it to be passed in turn from one viewer to another) the weight of critical interpretation which could so easily crush this sequinned innocent incarnadine is shared, divested of its power and we are left each with our own febrile glimpses of either cliche or poetry. At the crux of interpretive possibilities between artist and audience, we are all in the dark trying to catch sight of a bloodied ‘Everybaby’.

Video on

Squatting Beckett (Bingo! 4)
Sunday 20th September, 3–6pm

The fourth in Jordan McKenzie’s presentations as studio1.1 artist in residence 2009, he joins with Emma Hart in 'Squatting Beckett'.

'Squatting Beckett' An exercise in challenging copyright and license (sic) - how far beyond verbatim can authorship still extend?  Using Beckett as the paradigm here, is there a no-man's land (to quote Beckett's late heir non-apparent) within which a work can exist, recognisable but free of ownership? - pertaining to the world and yet  released back into the wild from which it was untimely ripped?

At what point does pastiche or the brute force of parody contaminate the source?

Given that Beckett wrote his plays in French and they were first and foremost knockabout absurdities – how much have they already been translated beyond their origin (and a joke). And given the Beckett estate’s iron hand the irony is not lost on those who wish further to traduce the sainted author. How unlike the admirable Richard Foreman whose plays and even his notebooks are deliberately placed outside copyright so that new work can be created out of them.

in the beginning was the what? - the wholly writ - where does it extend? - whither translation? - you know what i mean? - 'I gotta use words when I talk to you' (T.S. Eliot, 'Sweeny Agonistes')  

as Mckenzie himself  proposes - 'Here it is in its vagueness. One of the ideas is around authorship and control as the Beckett Foundation polices productions to see if they are Beckett enough. We are thinking  of doing a kind  of  'best of' medley and telling them about this and when it will be to see if they come and shut us down or at least send a  snooty letter. We also are looking at the idea  of the theatricalisation of failure and how upon reading his plays this almost seems campy and hilarious and does  not at all have any of the nihilism in the work that  people talk about. I think that Emma and I are tired of the privilege of failure and how artists  always bang on about it... so we are going to bang on about it some more  but hopefully in more of a critical and humorous way. That really is all that we have as we have not really met yet to test stuff out. I think most of the materials that we will use will be cardboard and maybe torches and overhead projectors, it will be very low tech. Fail more! Fail better!

Tired Old Fruit (Bingo! 3)
Sunday 12th July, 1–4pm

Slumped at his table the artist can no longer support the weight of expectations. Hopes have been syphoned off into a tank somewhere out of reach. Even Tantalus has given up. Rather than ripeness, dissipation is all.

A dissipation that is the destination of all living things, in short.

The dregs are drained, the Bacchanal has ended; our Revels too, only the last Penny Chew is left.

And even the sleep of reason is a fond memory, the Monsters themselves no longer up to scratch.

The cut and pose flanelleur is dead.

Gallery Termites (Bingo! 2)
Sunday 29th March, 2-6pm

A Collaboration between: Edwina Ashton, Jordan McKenzie and Aaron Williamson.

The modern gallery of art should be warned that, historically, countless art objects and paintings have been ruined through being eaten by moths, woodworm and termites and their greedily destructive ilk. As the British Museum recently discovered, it is desirable to take out financial insurance against such an eventuality, but that may cost more than the art is worth.

Video on

Sunday 1st March, between 2-4pm.

Video on

Artist in residence 2011 - Joshua Raffell

Artist in residence 2010 - Damian Griffiths

Artist in residence 2008 - Russell Martin