Artvehicle 36 — Editorial

Following on from ArtVehicle 35, I am delighted to announce this month's artists' pages, the second of two collaborative artworks between Phil Harris and Nick Ferguson, where each takes a turn providing an art work for the other to respond to.

In this issue we have reviews of Roy Voss at Matt's Gallery, Martin Beck at Gasworks, Documenting Live, a new publication from the Live Art Development Agency, and a postcard from the Liverpool Biennial.

October is, of course, art fair month... Also on this month, is The Wharf Road Project which brings together more than 20 innovative contemporary art initiatives? The Wharf Road Project is not an art fair, but a large-scale exhibition featuring the best of London's specialist and experimental art spaces, complemented by a programme of performances, screenings, music and guided tours.

The weekend of the 17th - 19th October brings with it all manner of possibilities; two being the Serpentine Gallery's Manifesto Marathon. For the third year running, over Saturday and Sunday a 24-hour, non-stop interview event featuring some of the greatest names in international contemporary culture. Elsewhere, The Brown Mountain Festival will provide a sample of the College of Performing Arts' esoteric activities. With a series of collaborating institutions, co-producers, and artists; 'each evening promises a panoply of textures and timbres, from high-octane satire and wry eccentricity to optical ingenuity and verbal dexterity'.

Cell project Space, presents 'Wild Shapes', a group show of artists who subvert notions of traditional craftsmanship and explore the relationship between humankind and 'the wild. On a similar topic, Camberwell Art College Foyer pace is exhibiting Eleanor Morgan: A Natural History of Desire. The artist's first show in the UK brings together a series of her investigations into the relationship between humans and animals and their attempts and failures to connect with one another.

Rose Lejeune