JONATHAN ALLEN | JOSEPHINE BAKER | FRANCES BURDEN | AN GEE CHAN | MARION COUTTS | PHIL COY | TIM DAVIES | JUDITH DEAN | ALEC FINLAY | GRANT FOSTER | ANA GENOVÉS | JEFF GIBBONS | ADAM GILLAM | ANDREW GILLESPIE | OONA GRIMES | LUCY GUNNING | LUCY HARRIS | REBECCA LOWETH | JEFF MCMILLAN | DAMIEN MEADE | SIMON MORLEY | HAROLD OFFEH | ROSE O’GALLIVAN | KIT POULSON | CLUNIE REID | AURA SATZ | KATE SQUIRES | PAUL TARRAGÓ | ROY VOSS | JOHN WALTER | JOBY WILLIAMSON | MICK WILLIAMSON
1d for Abroad – contemporary artists invent, disturb, dissect and perform with postcards.
1d for Abroad is one of four linked postcard shows on in London this Spring; The World Exists To Be Put On A Postcard: artists’ postcards from 1960 to now at the British Museum; Jeremy Cooper and kennardphillipp at Danielle Arnaud Gallery; and Political Postcards of the 1980s and 1990s at Bookartbookshop.
Much has been written about the cheap accessibility, and compact democratic ubiquity of the postcard – and as the other shows testify, the postcard has provided a rich springboard for artists to re-invent, radicalise and appropriate the postcard form. Jeremy Cooper asserts that “Artists’ work with postcards from the 1960s onwards is a concealed element in the history of contemporary art.”
Unlike the other exhibitions, Tintype’s 1d for Abroad does not solely present postcards. Roughly three-quarters of the work has been made specifically for the show and includes film, sculpture, print, painting, photographs, a wall-text, embroidery, collections, posters, drawings – and postcards.
With thirty-two artists participating, 1d for Abroad is a playful postcardian offering – a response to the role postcards play in people’s lives; an experiment with the formal elements of a simple postcard; postcards as documenters and disseminators of fugitive events; postcards as significant visual markers or references; their function as containers and carriers that have a throwaway temporality as well as a role as keepsake or record; their efficient composition of image, message and text – how their flatness stores short-hand, symbolic information, gestures of love, duty, or tenderness – feelings which the postcard seems to hold so resiliently.Courtesy of the artists and Tintype, London