Appau Jnr Boakye-Yiadom

This is part of an ongoing learning process. The most recent iterations can be found here.

This is part of an ongoing learning process. The next iteration can be found here.

Frieze London 2024 ‘Artist-To-Artist’ selected by Glenn Ligon shown and supported by Champ Lacombe

Two bespoke mobile room dividers as well as photographic prints, partially obscured from view, and a soundtrack that was recorded using the two pianos in the Kettle’s Yard House, Cambridge, UK. Reflecting on notions of exchange and hidden performativity within the House – from the role of music in the spaces to the weekly arranging of flowers –

Drawing together a web of connections between these aspects of Kettle’s Yard life, the exchange of flowers between protagonists in Hollywood films, visibility and invisibility, flexible domestic architecture, and the practice of piano duelling.

1 to 5 Before: Compliments Photographs Taken at Roberts Institute of Art Live Art Commission RIA 2022_Photo credit © Anne Tetzlaff-

(String Trio Performed by Apartment House)

6 to 11 During: Compliments Taken at Fruitmarket Edingburgh in partnership with RIA 2022

(Musical performance by Richard Bamford (Drums), Steve Kettley (Tenor Sax, Soprano Sax & Flute), George Kypredimos (Piano), James Stuart (Double Bass)

This is part of an ongoing learning process. The next iterations can be found here

This is part of an ongoing learning process. The next iterations can be found here.

Building from ‘After: Many Long Conversations’, a musical composition that interweaves two sets of musical improvisations performed by two pianists, Bruno Heinen and Kerry Yong. Based on sequences of films in which characters are offering flowers – the pianists play differing interpretations of the same scene.

The two photographs were taken at the time of the performance/ recording, and represent the pianos used and the environment the work was created. Both photographs are sandwiched back to back with the full list of film scenes that were screened for the pianist to take turns to respond and the time log from the movie. Making the framed print double-sided where the work can be flipped and changed on the display shelf it sits on.

The audio was played back as x 2 mono tracks on x2 speakers with the pianist heard on different speakers and alternating as per the live recording.

Installation view: Appau Jnr Boakye-Yiadom, Before: Socialized, Circularized, Linearized, Artificialized, Corrupt Time, Southwark Park Galleries, London (2022) © the artist. Photo © Mischa Haller

Works comprising of several parts; Video Installation x2 27"cube monitors sitting above each other, 1 of 2 monitor showing archive film footage from Russ Myer's 'UP!' 1976, 2 of 2 monitor showing Hieronymus Bosch pigment colour pallet used on 'The Garden of Earthly Delight' 1503–1515, x8 C-Type Print, 46 second vinyl, 2-3 blue backed large format printing, 2017; Wooden sculpture crates, LED lights (in relation to The Garden of Earthly Delight colour pallet), shelf speakers, motion sensor, x1 audio field recording x1 backing track/narration, 

Live, concealed & improvised, drumming by Hector Plimmer

7.1 surround sound and visual installation. Incorporating percussion from around the world through live recording taking place within the exhibition space. The musician responding to pre recorded sound and visual movement projected on screen.

Commission for Focal Point Gallery exhibition Receiver 2022

Installation photographs by Anna Lukala

Installation: 4 minutes 6 seconds video (appropriated archive footage) viewed on a Sony 27" cube monitor, a set of 6 sound sensory LED disco lights, amplifier and speakers.