Megan Rudden: Joy and Nostalgia Are the Same Rose Tinted Thing
Megan Rudden鈥檚 video and text commission was initially planned as part of Sweet 16, a proposed programme in 2019/20 that aimed to celebrate the histories and ongoing work of Embassy Gallery by centring on its archive. Now, a year on, we are delighted to present a new work by the artist, joy and nostalgia are the same rose tinted thing (2021).
In early March 2020 the artist spent one day exploring EMBASSY鈥檚 archive: just before lockdown, when EMBASSY鈥檚 activities began to wane, and the project momentarily came to a halt. To reflect upon this commission is to search for many different ends and beginnings, and to look to the times between them: the pauses.
EMBASSY gallery鈥檚 archive is made up of sixteen years of posters, accounts, receipts, technical instructions, cashed cheques, artist correspondence, minutes, stickers, tapes, an invigilation jacket, and objects or ephemera that evade categorisation. What these materials and artefacts attest to are the undocumented labours and memories of those involved with EMBASSY: a testament to the 鈥榖ack-end鈥� workings that roll and transform quietly. Megan then concentrated her interest on the undocumented labours and memories of an organisation such as EMBASSY, which are attested to through such materials and artefacts. joy and nostalgia are the same rose tinted thing is a love-letter to the artist-led, to support structures, expectations, and obligations. It recalls a shapeshifting entity.
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Megan Rudden鈥檚 video and text commission was initially planned as part of Sweet 16, a proposed programme in 2019/20 that aimed to celebrate the histories and ongoing work of Embassy Gallery by centring on its archive. Now, a year on, we are delighted to present a new work by the artist, joy and nostalgia are the same rose tinted thing (2021).
In early March 2020 the artist spent one day exploring EMBASSY鈥檚 archive: just before lockdown, when EMBASSY鈥檚 activities began to wane, and the project momentarily came to a halt. To reflect upon this commission is to search for many different ends and beginnings, and to look to the times between them: the pauses.
EMBASSY gallery鈥檚 archive is made up of sixteen years of posters, accounts, receipts, technical instructions, cashed cheques, artist correspondence, minutes, stickers, tapes, an invigilation jacket, and objects or ephemera that evade categorisation. What these materials and artefacts attest to are the undocumented labours and memories of those involved with EMBASSY: a testament to the 鈥榖ack-end鈥� workings that roll and transform quietly. Megan then concentrated her interest on the undocumented labours and memories of an organisation such as EMBASSY, which are attested to through such materials and artefacts. joy and nostalgia are the same rose tinted thing is a love-letter to the artist-led, to support structures, expectations, and obligations. It recalls a shapeshifting entity.
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