Ben Cain - Passive Imperative Participation Vibe | Exhibitions

Opening: Thursday 25 January - 6.30-8.30pm

Open: Thursday - Sunday 12-6pm

This solo exhibition by London and Zagreb based artist Ben Cain, brings together a new body of work that responds to John Latham’s thinking on time and the event based nature of objects. Drawing on the domestic spaces of Flat Time House Cain creates an installation throughout Latham’s former home. Cain’s work explores art’s ambiguous relationship to industry, commodification and immaterial labour. He is interested in how artworks might pose questions about what we think they are doing and, by implication, our role as viewers in their social and cultural production. For Passive Imperative Participation Vibe Cain has focused on a subjective experience of time via labour, leisure and domestic living.

Ben Cain, From a Series of Images produced for Passive Imperative Participation Vibe, 2018.

Performance and choreography by Emma Hoette

Performers Olivier Kitenge and Argyro Vlachaki

Ben Cain, From a Series of Images produced for Passive Imperative Participation Vibe, 2018.

Ben Cain in conversation

Thursday 22nd February 7-8pm

Ben Cain will be in conversation with FTHo curator Gareth Bell-Jones on his exhibition Passive Imperative Participation Vibe. Cain will discuss themes that are recurrent throughout his practice and specifically in the installation at Flat Time House. The discussion will place particular emphasis on John Latham and Ben Cain's use of objects as a means to convey duration and the means by which Cain adapted his artwork for a domestic environment.

This event is free and no booking is required.

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Passive Imperative Participation Vibe includes a day of performance with dancer, artist and choreographer Emma Hoette.

17th February 2018 at 3pm and 5pm.

Ben Cain has worked with dancer, artist and choreographer Emma Hoette to bring about a performative intervention in the space of his exhibition Passive Imperative Participation Vibe. For this event Hoette will perform her own choreographed piece in the gallery responding to Cain’s installation and using individual artworks as props and supports for her body. Hoette’s activation of Cain’s artwork makes apparent his intention for these objects to be understood as event based and durational.

Places are free. Limited capacity.

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Ben Cain, Machine No. 7, digital image, 2017.

Ben Cain lives and works in London and Zagreb. He is a tutor on Fine Art at CASS, and Central Saint Martins, London. Cain studied his MA at Jan van Eyck Akademie in 2000, and his BA in Interactive arts at Manchester Metropolitan University, UK in 1997. Throughout his career Cain has worked with sculpture, installation, theatre, sound, performance, and publication. His work has been exhibited internationally including Manifesta 9, Genk; Weils, Brussels, and Busan Biennale, South Korea, and Croatian Pavilion at 57thVenice Biennale and KM Graz (both in collaboration with Tina Gverovic). His work has also been exhibited at several UK institutions including David Roberts Art Foundation, London; Grundy Art Gallery, Blackpool; Turner Contemporary, Margate; BlueCoat Gallery, Liverpool; The Tetley, Leeds; and Site Gallery, Sheffield.

Ben Cain is represented by Supplement Gallery, London.

Ben Cain, A Stage Before, installation view, Supplement, London, 2014.

Ben Cain, Work in the Dark, installation view, Manifesta9. Hand painted (marble), plywood beams, machine, 4 sets of 3 objects-shapes, 1 set of 20 posters, 2012.

Ben Cain, The Conjurer (No. 2), installation view, Janjina Community Centre, Croatia, 2017

Ben Cain, Croatian Pavillion (With Tina Gverović), installation view, Venice Biennale, 2017.

Ben Cain, From a Series of Images: Committed to Productivity - Proposed Arrangement for Objects in Space, 2017

We are grateful for the support of Cockayne and the London Community Foundation toward this project.

Ben Cain, Passive Imperative Participation Vibe, installation view, 2018. Documentation: Plastiques Photography

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