Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Memory Device, 2004 by Spencer Anthony, 2015, Euro containers and pigeon spikes

 


A selection of Euro containers, stacked in a composition taken directly from the pages of a mail order
catalogue, the tops of which have been modified with the addition of bird spikes.

Memory Device, 2004 by Spencer Anthony, 2015, Euro containers and pigeon spikes
 

Memory Device, 2004 by Spencer Anthony (detail), 2015, Euro containers and pigeon spikes

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Growth Market, 2015 by Spencer Anthony, 2015, Cafe seating and artificial screens
 

 

A row of hand built replica flat screen monitors that are turned off, attached to the wall above a grey leatherette bench as you may find in a museum cafe or lobby area.

We crossed you out, 2015 by Spencer Anthony, 10000 poker chips hand numbered by Vivi Enkyo

 

 

A work consisting of 10,000 all black, circular casino chips, each with a number written on them in
white marker by the same hand. Thrown over the gallery floor.
 

We crossed you out, 2015 by Spencer Anthony, 10000 poker chips hand numbered by Vivi Enkyo

We crossed you out, 2015 by Spencer Anthony, 10000 poker chips hand numbered by Vivi Enkyo

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Agile Thinking, 2012 by Spencer Anthony, 2015, Plastic poetry on notice boards

 

 

A series of works produced from multiple peg notice boards that are hung butted against one another
on the gallery wall, and across which are displayed fragments of concrete poetry.

 

Agile Thinking, 2012 by Spencer Anthony, (detail) 2015, Plastic poetry on notice boards

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

A title that is more than a title, 2015 by Spencer Anthony, 2015, Recording studio window broken from the inside out

A title that is more than a title, 2015 by Spencer Anthony, 2015, Recording studio window broken from the inside out

A title that is more than a title, 2015 by Spencer Anthony, 2015, Recording studio window broken from the inside out

A title that is more than a title, 2015 by Spencer Anthony (detail), 2015, Recording studio window broken from the inside out

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Use untitled, 2015 by Spencer Anthony, 2015, Erotic dancer's pole and cable ties

 

 

Silver dancers pole, with cable ties attached from starting 1m from bottom for 3m. The balck cable ties are spaced 1 cm apart and each is turned one cm from the last so they make a gradually twisting pattern up the pole.
 

Use untitled, 2015 by Spencer Anthony, 2015 (detail), Erotic dancer's pole and cable ties

Use untitled, 2015 by Spencer Anthony, 2015 (detail), Erotic dancer's pole and cable ties

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Pep Work, 2016 by Spencer Anthony, 2015, Framed photograph

 

 

A photograph taken form a bird’s eye view perspective of a nude female model reclining on the mattress that constitutes the artwork, I finally got my head together, and now my body is falling apart, 2011.

Pep Work, 2016 by Spencer Anthony, 2015, Framed photograph

 

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony, 2015, Installation photo

Agile Logic, 2010 by Spencer Anthony, 2015, Plastic poetry on notice boards

Ryan Gander, The Canter of Edward de Bono – new works by Spencer Anthony

August 14 – September 26, 2015

Spencer Anthony interviewed by Ryan Gander.

 

Ryan Gander: It sounds embarrassing but I’ve been a massive fan of your work since I first saw a show by you in Sittard when I was a student in Amsterdam, it was a long time ago but I remember it really well. The main piece was three terracotta decorative fireplaces… The work you are making now looks like a different person could have made it, can you tell me about that?

 

Spencer Anthony: That would be the currency of form then! You probably think you can tell if a female or a male artist has made a work by just seeing it also? Am I right?

 

RG: I don't know, I’ve not really thought…

 

SA: …We don't make work like that, we make work with the infinite vocabulary we have learnt, we are fluent… so why would anyone speculate they could unravel something about a person’s real being from their constructs? The only artists that make work that aren’t constructs are bad ones. I’m not interested in truth, I am not a documentary photographer, I am a liar, I can be whoever I want to be.

 

RG: I see, so do you mean that you are a different person to who you were when I saw your Sittard show when I was a student?

 

SA: No… I mean I have the ability to convince you that I am a different person.

 

RG: You sent David Risley and I some images of works for the exhibition a few months back being assembled in your studio in Falmouth, and when we saw the images a few people who were standing around in the gallery, who saw the email, said the work looked very ‘current’. I hadn’t thought about this before, but the work is kind of ‘now’. Can you talk a bit about that?

 

SA: You mean current as in ‘of its time’, not as in flow - or curren-cy, in terms of its movement through economic systems? I think you are alluding to the post-net-thingy. I don’t have the Internet, so I don't know…

 

RG: Really? You don't have the Internet at all?

 

SA: No, what would a man like me, a man of my age, do with the Internet? I mean I’ve used it, but I don't actually have it. I have to go to Falmouth library and it’s closed Wednesday, Friday, Sunday as well as Saturday afternoon, so it is limited.

 

RG: Sorry I interrupted; you were talking about the ‘current’ aesthetic?

 

SA: No you were actually the one talking about the ‘current’ aesthetic… I was just going to say, as I said earlier, just because it looks like it is, doesn't mean it is, but I know what art by young people looks like at the moment. I am aware of that. But these are just names. When I lived in Mexico City in the 70’s and worked next door to El Eco the guys from there called me a Concrete Poet, and when I lived in Brussels in the late 80’s the Walloons called me ‘British Sculptor’. The problem with names is it leaves you nowhere to go… What am I to you and Risley, and his runners and go-fers? A Post Industrial, Post Corporate Modernist Plastic Poet… without the Internet…? The work looks like it is made now, because it is made now and I decided to make it look of it’s time, that's what we spend our lives preparing for Ryan, to become very good at pretending…

 

 

Extract from a conversation between Spencer Anthony and Ryan Gander,  Falmouth, 29th June, 2015.

 

 

Spencer Anthony

Born 1946, Saint Leven, UK

 

 

Spencer Anthony is a celebrated British playwright and theatre practitioner, as well as an occasional artist. His plays and productions have graced theatres across Europe and the Asia Pacific region for a number of decades. Having travelled the world and been heavily influential in the formation of the Blue Conceptualist art movement centred in Brussels during the mid 1970’s, Spencer now lives and works in Falmouth, UK less than 30 miles from where he was born.

 

 

Education

Falmouth School of Art, 1972 – 1975

 

Teaching

RADA, Kings College, (Lecturer) 1976 – 1981

RADA, Kings College, (Professor) 1981 – 1996

 

Solo Exhibitions

2015  The Canter of Edward de Bono, David Risley Gallery, Copenhagen, Denmark

 

1972  The Accumulative Monological Device, Fishbach Gallery, New York, US

 

Group Exhibitions

2015  Looking for Hammershøi, David Risley Gallery, Copenhagen, Denmark

 

2014  A Story of Presence, Bibliothèque de la Banque nationale, Brussels, Belgium

 

2004  Socha a Objekt ix, Gallerii Q, Bratislava, Slovakia 

  

1996  British Art of the 70's and 80's, The Irish Museum of Modern Art, Dublin, Ireland

 

1992  Nous sommes arrivés (We have arrived), Bozar Centre for Fine Arts, Brussels, Belguim

 

1987  Revelation for the Feet, Mead Gallery, University of Warwick Arts Centre, Coventry, UK

 

1987  Revelation for the Feet, Leeds City Art Gallery, Leeds, UK

 

1984  Murs noire pour chambre blancs, Maison de la Communication, Saint-Etienne, France

 

1982  Niebieskie Konceptualiści, Galeria SK, Łódź, Poland

 

1980  Exposition internationale des Arts solides, Musée d'art moderne de Belgrade, Belgrade, Serbia

 

1976  Du Végétal et de l’Animal, Atelier 430, Brussels, Belgium

 

1973  Troisième Biennale Internationale, Office Central des Expositions Artistiques, Warsaw, Poland

 

1973  L'image de Pie, Palais des Beaux-Arts, Brussels, Belgium