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Mixing it up - Painting Show at Hayward Gallery

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Mixing it up - Painting Show at Hayward Gallery

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An exhibition of 31 artists whose works entrance, transfix and challenge us, Mixing It Up celebrates paintings that bring together diverse images and ideas.

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Mixing it up- Painting Show at Hayward Gallery review

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Mixing it up- Painting Show at Hayward Gallery review

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stunning image opens this show: of a small woman balancing on a towering stool to paint a substantial canvas on the wall. Look twice and you see that she is working on a picture of herself, larger than life and clearly made without any use of a mirror. Her shadow on the rear wall is larger still, and so gracefully painted by the South African artist Lisa Brice as to amount to a third portrait of this woman, namely the Dutch painter Charley Toorop (1891-1955), whose art has only recently received its due.

Brice's triple portrait of Toorop, painted in hazy monotones, literally raises her up, enlarging upon her gifts, her self-knowledge and struggle. It is a highly intelligent hymn of praise, a spellbinding commemoration.

It is also the ideal herald for what follows, which is nothing less than a show of enormous and lifelong devotion to painting by 31 contemporary artists, many born elsewhere but who all now live in Britain. The oldest is in her 80s, the youngest under 30. There are painters of renown - Rose Wylie, Peter Doig, Lubaina Himid - and newcomers lately out of art school. Painters known abroad more than here, and painters whose star ought to have risen long ago, such as the Grenada-born Denzil Forrester, whose visions of the dub and reggae scene in south London reprise futurism in chemical colours.

Since each artist is represented by several works, beautifully displayed with plenty of radiant thinking space in architectural enclaves, there is the feeling of seeing many small shows. Yet there is a constant and unifying energy to the whole experience - rich, absorbing, eventful, and as connected to the life of our times as anything in contemporary fiction.

The Iraqi artist Mohammed Sami paints a door ajar in the corner of a room, its shadow falling on a picture of an arm upraised, instantly recalling Saddam Hussein. In the foreground, a spider plant throws its shadow on the door, in turn conjuring a monstrous black widow slipping into the home. A double horror, and made this year, the painting's title is Infection.

'The wispy paint arrives on the canvas like a phantasm': Hysteria, 2020, by Sophie von Hellermann, . Photograph: Achim Kukulies/Courtesy the artist/Sies + Höke

The Zimbabwean artist Kudzanai-Violet Hwami, a recent graduate of the Ruskin School of Art, assembles four panels in a grid - a still life of banana plants, the rear view of a man walking away, two lovers embracing, a painted facsimile of a family photograph, possibly featuring the artist. Perhaps they are connected, related; certainly, a story seems to beckon. Whatever it is, the connections are both private and entirely public, like the grid of scrolling images on an Instagram account.

The German artist Sophie von Hellermann paints dreams, figments, tropes. A lone figure marooned beneath scarlet skies on a desert island. Some strange memory of a woman running through fields as a plane hunts her down. A girl in a long dark dress, arms outflung in horror as she overturns a chair, with the title Hysteria, and painted under lockdown. The wispy paint arrives on the canvas like a phantasm.

Narrative prevails. An egg rolls perilously close to the edge of a table. A girl's palm is read. A woman opens a door, breathing blue smoke at the viewer. On Anywhere Street He Slips Unnoticed... is both the title and the story of Caroline Coon's sardonic painting of a man furtively visiting a London brothel.

Matthew Krishanu 's small paintings of two little boys evolve into a poised but disturbing sequence of freeze-frames. Here they are on the prow of a boat in high water, or suspended on a log above rushing torrents. Now they are way up in the mountains, reading books in deckchairs outside their tent. Why - how - are they always out there alone in the world? Krishanu's paintings are a meticulous balance of tension and meditation.

Two Boys (Church Tower), 2020 by Matthew Krishanu. Photograph: © Matthew Krishanu (2021)

Although there is mercifully no curatorial agenda in Mixing It Up: Painting Today - other than the belief of the Hayward Gallery's director, Ralph Rugoff, that the UK currently has one of the world's great painting scenes - there are definitive groupings in the presentation. An upstairs room is concerned with illusion, specifically the paradox of depicting the 3D world in two dimensions, notably in the optical trickery of the German artist Daniel Sinsel's painted reliefs, which send the eye in and out of space, and sometimes into deep black holes. And in the Chinese painter Vivien Zhang 's scintillating collages of digital pixellations, video glitches and old-fashioned scrolling ribbons: the millisecond speed of the computer age rendered in slowest paint.

One space is devoted entirely to abstract painting, and most particularly the huge dragged and mauled canvases of the Colombian-born Oscar Murillo. And a downstairs room gathers together all the coarsest and most eye-jabbing works in the show, mainly overwrought or hyperreal paintings involving creatures. (It is on the right as you enter.) But the proportion of duds in Mixing It Up is unusually low.

'Dragged and mauled': Manifestation, 2019-2020 by Oscar Murillo. Photograph: © Oscar Murillo/courtesy the artist/David Zwirner

The manner of making is as diverse as the content. Paint is applied by airbrush, rags or fingers; there is faux-fresco, spatter, wash and drip; a kind of painting that shows all its own workings and a kind that seals over everything below the surface.

And so many paintings look backwards. Not just Brice's exceptionally intelligent homages, but the lovely reprise of Piero's Resurrection as a Calypso paradise by Tasha Amini and the paintings of Louise Giovanelli. Her diptych of two gleaming satin shirts is built up using Renaissance techniques, including the application of gold leaf beneath the paint. A portrait of Alfred Hitchcock's muse Tippi Hedren, glancing sideways in something like open-mouthed fear, has the glacial flawlessness of a Gerhard Richter painting (there is, incidentally, a group of Richter's austere graphite drawings in an adjacent gallery).

Nothing comes of nothing in art. No painter works entirely alone. What is so special about this particular lineup at the Hayward Gallery is precisely what unites these painters: their sincerity and integrity, none of them despising their medium, conceptualising its value, character or past, or using pigment for secondary purposes. That Rugoff could put on such an absorbing and dynamic exhibition even without involving so many other contemporary stars - Tomma Abts to Michael Armitage to name only the As - is a testament to the pure strength of these paintings.

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Mixing It Up: Painting Today review - a showcase of devotion to an age-old medium

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stunning image opens this show: of a small woman balancing on a towering stool to paint a substantial canvas on the wall. Look twice and you see that she is working on a picture of herself, larger than life and clearly made without any use of a mirror.

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The first major London exhibition by Mumbai-based artist Shilpa Gupta highlights the fragility of one’s right to expression whilst raising urgent questions of censorship, confinement and resistance.

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Victoria Miro is delighted to present Give Me Love, the gallery's first solo exhibition by Doron Langberg. The exhibition features panoramic works alongside the chromatic depictions of figures in interiors for which the New York-based painter has become widely known.

An increasingly prominent voice among a new generation of figurative painters, Doron Langberg has gained a reputation for works that hinge on a sense of closeness. Langberg's paintings, luminous in colour and often large in scale, celebrate the physicality of touch - in subject matter and process. His intimate yet expansive take on relationships, sexuality, nature, family and the self proposes how painting can both portray and create queer subjectivity.
View press release View list of works

Langberg's masterful treatment of textiles, clothing, and exterior and interior patterns creates environments that move in or out of focus, in which figures emerge from or recede into their surroundings. In works such as the large-scale painting Bather, flesh, water and the geometry of a tiled bathroom dissolve into a high-key luminescence. Here, a chromatic range - related to the world but not quite 'of' it - serves to enshrine the everyday.

The flow between inner and outer worlds or emotional and perceptual realities, speaks not only to those occupied by the subject of the painting, but by the artist and viewer as well. These breathing spaces might encourage us to consider painting, in the artist's words, 'as a place where experience originates'. The work of Pierre Bonnard, Edvard Munch or Alice Neel exemplifies this idea - it does not only represent emotional turmoil or tender intimacy, it is emblematic of it. Inspired by the empathic work of queer artists and writers such as James Baldwin, Felix Gonzalez-Torres, Agnes Martin or Ocean Vuong, Langberg asks how he might represent a queer experience in a way that is as far reaching.

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Building on Langberg's commitment to creating space for queer experiences through his work, Victoria Miro and the artist will donate a portion of the proceeds from the exhibition to the Ali Forney Center in NYC, supporting queer homeless youth, and to Queercircle, an LGBTQ+ led charity working at the intersection of arts, culture and social action in London.

Give Me Love - a walkthrough of the exhibition

About the artist

Born in 1985 in Yokneam Moshava, Israel, Doron Langberg currently lives and works in New York City. He received his MFA from Yale University School of Art, holds a BFA from the University of Pennsylvania, a Certificate from PAFA, and attended the Yale Summer School of Music and Art, Norfolk. Langberg has attended the EFA Studio Program, Sharpe Walentas Studio Program, Yaddo artist residency, and the Queer Art Mentorship Program. He is the recipient of the American Academy of Arts and Letters John Koch award for painting, the Elizabeth Greenshields Foundation Grant, and the Yale Schoelkopf Travel Prize.

Works by the artist are currently on view in Any distance between us, which explores the power and significance of intimate relationships in works of contemporary art, at RISD Museum, Providence, Rhode Island (until 13 March 2022), and in Breakfast Under the Tree, a group exhibition curated by Russell Tovey, at Carl Freedman Gallery, Margate, Kent (extended until 5 September 2021). Langberg's work was recently on view at the Schwules Museum, Berlin (until 30 August 2021) and will feature in a major group exhibition at the Institute of Contemporary Art/Boston in 2022.

Previously, his work has been shown at institutional venues including the LSU Museum, American Academy of Arts and Letters, Leslie-Lohman Museum and The PAFA Museum. His work is in the collections of The PAFA Museum and RISD Museum.

To learn more about this artwork, please provide your contact information.

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An increasingly prominent voice among a new generation of figurative painters, Doron Langberg has gained a reputation for works that hinge on a sense of closeness. Langberg's paintings, luminous in colour and often large in scale, celebrate the physicality of touch - in subject matter and process.

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Youngsook Choi
Enam Gbewonyo
The Gee's Bend Quiltmakers (Loretta Pettway Bennett)
Basil Kincaid
Eric N. Mack
Althea McNish
Emily Moore
Anya Paintsil
Renee So
Cristina Tufiño
Michaela Yearwood-Dan

curated by
Enam Gbewonyo and Marcelle Joseph

16 September - 30 October 2021
''All that you touch
You Change.
All that you Change Changes you.
The only lasting truth is Change. God is Change.'
- Octavia E. Butler in ' Parable of the Sower' (1993)

Lychee One proudly presents Hapticity: A Theory of Touch and Identity, a group exhibition curated by Enam Gbewonyo and Marcelle Joseph and featuring the work of an inspiring roster of 11 international artists and designers, cross-generational in scope and working across a myriad of material-based practices that interweave the processes of tactile making with the complex intersectional frameworks of race, gender, sexuality and class today. How does touch express lived experience and humanity?

We are slowly emerging from an unimaginable period in which human touch, that inherent form of connection so deeply rooted in human behaviour, was forbidden. Yet it is through touch that we experience and thus connect to the world, its celestial energies and each other on a cellular level. The impact on our collective mental health has been immeasurably taxing to say the least. It is no coincidence that interest in tactile forms of making such as knitting have re-emerged during this period. Art and craft are long hailed for their healing benefits, which are rooted in the nature of the making process. Never has the importance of this sensory experience been clearer. In lieu of human touch, what better than the touch of yarn, clay or fabric against the skin as it is moulded and woven into new forms of function?

On the surface, the works in this exhibition provide an immediate sensory connection but there are other stories buried deeper, metaphysically, within their layered materiality. The artists in this exhibition demonstrate a mastery of materials in which intricate new languages are fashioned. There are those for whom the used clothing and material of others - familial or unknown - tells the story of the whole. For some, their materials are the vehicle with which mythology and prehistoric cultures are reimagined. For others, it is the simple joy of finding new freedom in old ways of mark making. And others still, a visceral exploration of the historical and present-day effects of abuses of power on the Global South and its diaspora. Hapticity: A Theory of Touch and Identity reveals how, for tactile makers such as these eleven artists, touch becomes a core element in their exploration of identity and self. Every fold, stitch and mark made - a nuanced detail of lived experience. The complete work forever cementing these stories in the fabric of global history.

As artists, to create by hand is vital. In truth, it is vital to all. It is how we make sense of the world and our place in it. Yet we live in a world reliant on mass production, whose skewed values have manufactured a materialistic consumerist society. The bedrock of capitalism! In their very act of employing historically indigenous crafts, the artists in this exhibition challenge this way of life. These are acts of rebellion and resistance. Invocations of the ancestral as a pathway to truth. Craft by its very existence negates the limitations placed upon it in the present. Its processes are an unlearning of patriarchal values and a return to an inherently universal form of expression. In the handmade, there is no hierarchy and no barriers to race, gender, sexuality or class. It is being in and of itself. It is an extension of its maker, whose codes (DNA) and energy now lay bound within it. And the made object becomes a symbolic talisman. Making beauty out of the truth and ugliness of our world, a physical manifestation of the experience of the world as it is felt within the body.

Tactile makers are custodians of the tradition and its message, exploring community with or through the products and processes of the sensory. Hapticity: A Theory of Touch and Identity makes known the alchemical power of touch to translate being and consciousness into the very physical so that it can be further transmitted and understood by the consciousness of the many. The works in this exhibition will channel their message through and to the audience just as they did their makers. The viewer needs but go within themselves and feel the energy of the makers' touch.
Text by Enam Gbewonyo
Special thanks to Haringey Council and the Bruce Castle Museum for the loan of the Althea McNish work in this exhibition from their collection.
Artist Biographies
Youngsook Choi is a London-based artist and researcher with a PhD in human geography. Self-described as a woman, mother and migrant of Korean origin, Choi explores the institutional abuse of human labour and nature, often through the lens of working-class women and migrants. Factory Girl (2011), the work featured in this exhibition as well as the artist's first solo show in Korea, is an homage to the young women who worked in the large clothing factories in 1960's and 70's Korea under the dictatorship that institutionalised labour abuse for accelerating export. Provoking conversations around the contemporary value system of human labour, this sculptural work features a mannequin donning a 1970's style woman's dress made of a fabric printed with Bacchus bottles - the Red Bull of Korea. As a quick remedy for physical exhaustion, Bacchus is still much favoured in many working environments where intensive labour is required. As a symbol of blue-collar culture, Bacchus also alludes to the economic system that continuously exploits manual labourers. Factory Girl, standing alone under the disco ball, chronicles the dreams and memories of these young female workers that allowed them to escape briefly from their abusive working conditions for a night or two. Choi also works as a public art practitioner and researcher and is the current recipient of a Liverpool Biennial 2021, a-n The Artists Information Company and Open Culture Research Bursary. Choi has worked on commissions with various institutions and communities, such as Arts Catalyst, Barbican Centre, Rich Mix, Milton Keynes Arts Centre, MK Islamic Arts Heritage and Culture and Heart of Glass, all in the UK. Currently, Choi is the selected artist for Constellations 2020/21 supported by UP Projects and Flat Time House, and the associate artist of Asia Art Activism at Raven Row in London.

Enam Gbewonyo (b. 1980, London) is a British Ghanaian artist and curator who lives and works in London. She began her career as a knitwear designer in New York after completing her BA in Textile Design at Bradford School of Art and Design, Bradford, UK in 2001. Her practice investigates identity, womanhood and humanity through the mediums of textile and performance. Gbewonyo also advocates handcraft's spiritual healing powers, using processes like embroidery, knitting, weaving, print and wirework. By using craft as her portal, the artist pushes us to face the truth of a dark global history and the emotions it brings forth. Performance using movement and the spoken word entered her practice as another vehicle for Gbewonyo to tell the stories and personal epiphanies she was unearthing, creating powerful live spaces for healing, both for the artist and her audiences. Her work will be presented in her first solo exhibition at TAFETA Gallery, London, UK in July 2021. Recent group exhibitions include: Social Fabric, Fold Gallery, London, UK (2021); Memoria,Frac Nouvelle- Aquitaine MÉCA, Bordeaux, France (2021); Antisocial Isolation, Saatchi Gallery, London, UK (2020); GOSSAMER, Carl Freedman Gallery, Margate, UK (2019); BBFA Presents, TAFETA Gallery, London, UK (2018); and The Gallery of Small Things, Centre Culturel Douta Seck, Dakar, Senegal (2018). Recent performances include: We Invoke the Black. To Rest (an activation of the Lynette Yiadom-Boakye exhibition in collaboration with sound artist Liz Gre); Tate Britain, London, UK (2020); Nude Me/Under the Skin: Unbinding a Path to Black Women's Healing One Pantyhose at a Time, Two Temple Place, London, UK (2020); Nude Me/Under the Skin: The Awakening of Black Women's Visibility One Pantyhose at a Time, Carl Freedman Gallery, Margate, UK, Christie's London, UK and The Palace of Ritual, Palazzo Donà, Venice Biennale, Italy (2019); and agbegbɔgbɔ (an activation of the Senga Nengudi exhibition at Henry Moore Institute, Leeds, UK (2019) in partnership with International Curators Forum (ICF)). Gbewonyo is also the founder of the Black British Female Artist (BBFA) Collective, a platform to support emerging Black women artists in building sustainable careers whilst working to advocate for more inclusivity in the British arts landscape. Gbewonyo's curatorial work is dedicated to highlighting artists from Africa and its diaspora. Curated exhibitions include: No Room for Fear, Hogan Lovells LLP, London, UK (co-curated with Nigerian gallery SMO Contemporary and in partnership with the Smithsonian National Museum of African Art) (2019); Crossroads (delivered for Black Shade Projects), Ozwald Boateng, London, UK (2019); DISPERSED (the Arts Council-funded, Ghanaian cross-cultural exchange project), Accra, Ghana (2017); the African and African-Caribbean Design Diaspora Festival (co-curated with artist, designer and curator Abi Wright), Bargehouse OXO Tower, London, UK (2015); and BBFA Projects for TEDxEuston, London, UK (2015).

Basil Kincaid (b. 1986, St. Louis, MO, US) is a post-disciplinary artist based in St. Louis, Missouri who constructs, contemplates and revises self-imposed and conditioned limitations and explores their fixity. Through quilting, assemblage, collage, photography, installation and performance - done with found, salvaged and donated materials - Kincaid discards social mores while drafting alternative cultural fabrics. With an improvisational and community-oriented approach, resourcefulness and freedom of imagination emerge as critical components in the liberation of spirit. The work in this exhibition is a quilted piece. Kincaid's adoption of quilting as an aesthetic technique is inspired by his own heritage, now acting as a quasi-metaphysical adoption of collaboration with his ancestors, allowing him to participate in a legacy that extends both backwards and forward in time. Kincaid studied drawing and painting at Colorado College, graduating in 2010. Kincaid has exhibited works with such galleries as Kavi Gupta, Chicago, IL, Mindy Solomon in Miami, FL, Kravets Wehby in New York, NY, Carl Kostyal in London, UK and Stockholm, Sweden, and others. Kincaid was the inaugural Artist in Residence at JP Morgan and has four works in their permanent collection. Kincaid attended The Fountainhead Residency in Miami, FL in 2017. International, Artist in Residence Program in Boston, MA. In 2019, Kincaid debuted his first museum performance, The Release, at the Pulitzer Arts Foundation in St. Louis, MO. In 2020, Kincaid received the Regional Arts Commission Fellowship. In 2021, Kincaid became a United States Artist Fellow. Kincaid's forthcoming exhibitions in 2021 include Realms of Refuge, Kavi Gupta, Chicago, IL, and three solo shows, at Galleria Leyendecker, Tenerife, Canary Islands; Galleria Poggiali, Milan, Italy; and Kostyal Gallery, Stockholm, Sweden. He is represented by Mindy Solomon Gallery in Miami.

Eric N. Mack (b. 1987, Columbia, MD) lives and works in New York. He completed his MFA at Yale University, New Haven, CT in 2012 after finishing his BFA at The Cooper Union in New York, NY in 2010. Mack refers to himself as a painter, yet his works rarely observe the medium's traditional canvas-to-stretcher format. Rather, his tactile assemblages, created from a dynamic combination of used textiles, worn clothes, moving blankets and torn rags, alongside photographs and pull outs from books and magazines, extend and transform the notion of painting. His use of colour, form and material as elements in a compositional lexicon as well as the stained or dyed fabrics which are his principal medium, declare the origin of his practice in the investigation of painting in an expanded field, while the way his compositions occupy and transform space are evidence of their sculptural nature. Recomposed with oil and acrylic paint, fabrics are hung using ropes and rods so that each architectural composition expands into the viewer's space. In this way, Mack interrogates the very nature of painting, opening up a dialogue that explores the performative qualities inherent to his process. With its use of accumulated, found and sourced materials, Mack's work grapples with the schism that exists between fashion and art. From a young age, Mack was fascinated by the world of fashion, sometimes working in his father's discount clothing store. Employing a diverse array of textiles - some aesthetic, some utilitarian, most discarded, their use-value depleted - Mack's paintings investigate how different materials reflect identity. The variety of sources assembled in Mack's artworks leads to the creation of a non-hierarchical system, refusing to privilege the readymade over the hand crafted, or one history over another. Selected solo exhibitions include those at Simon Lee Gallery, London (2021 and 2018); Morán Morán, Los Angeles, CA (2020); Brooklyn Museum, New York, NY (2019); Power Station, Dallas, TX (2019); Baltic Centre for Contemporary Art, Gateshead, UK (2017); and Albright-Knox Art Gallery, Buffalo, NY (2017). Recent group exhibitions include: Unbound, Zuckerman Museum of Art, Kennesaw, GA (2020); Desert X, Rancho Mirage, CA (2019); Grace Wales Bonner: A Time for New Dreams, Serpentine Gallery, London, UK (2019); Whitney Biennial, Whitney Museum of Modern Art, New York, NY (2019); The Vitalist Economy of Painting, Galerie Neu, Berlin, Germany (2018); Sculptures, Andrew Kreps Gallery, New York, NY; Inherent Structure, The Wexner Center, Columbus, OH; Blue Black, Pulitzer Arts Foundation, St. Louis, MO (2017); Ungestalt, Kunsthalle Basel, Basel, Switzerland (2017); Making & Unmaking: An Exhibition curated by Duro Olowu, Camden Arts Centre, London, UK (2016); and Greater New York 2015, MOMA PS1, Long Island City, NY (2015). In 2020, Mack turned his hand to curating with a group exhibition titled Pedestrian Profanities at Simon Lee Gallery in New York, NY. Mack has been an artist in resident at the Kaleidoscope Residency, Milan, Italy (2018); Delfina Foundation, London, UK (2017); Rauschenberg Residency, Captiva Island, FL (2017); and the Studio Museum in Harlem, New York, NY (2014-15). He is represented by Simon Lee Gallery in London and Hong Kong and Morán Morán in Los Angeles.

Althea McNish (1924-2020) was a British textile designer of Trinidadian origin who is considered the first designer of African-Caribbean descent to achieve international recognition. Her designs injected much-needed colour and life into the post-war fashion and textiles industry from the 1950's onwards. Born in Trinidad, McNish moved to London in 1951 with her mother, who was a well-regarded dressmaker and dress designer, to take a place to study at the Architectural Association School of Architecture but instead took courses at the London School of Printing and Graphic Art, the Central School of Arts and Crafts and the Royal College of Art. In her final year at the London School of Printing and Graphic Arts, she became interested in textiles with the encouragement of Eduardo Paolozzi, her night class tutor at the Central School, and chose printed textiles as her subject of study on progressing to the Royal College of Art. On graduating, she immediately won a commission from Arthur Stewart-Liberty, head of the Liberty department store, sending her the same day by taxi to Zika Ascher, who commissioned her to design a fashion collection for Dior. Most of McNish's designs are based on nature, including the textile design featured in this exhibition - Golden Harvest (1957), the bright orange, yellow and black graphic pattern inspired by the wheat fields of Essex, which reminded McNish of Trinidad's sugarcane plantations. Her drawings and sketches fused the rich, tropical colours, flowing shapes and organic textures of the wheat into this repeating fabric design. This textile design was later manufactured by Hull Traders in 1959 as an upholstery fabric manually screen printed on cotton satin using a range of deep colour pigment dyes. This Lancashire-based commercial design company focused on making textiles designed by artists, and their name and designs were synonymous with the Swinging 60's. Hull Traders' lead designer was Shirley Craven who commissioned Althea to create nine designs between 1959 and 1964. The fabric Golden Harvest was put forward as one of the designs, becoming Althea's best-selling design for Hull Traders and their best-selling design of all time. It continued to be manufactured well into the 1970s. In the 1960's, McNish took on jobs for various other fashion and furniture companies including Heal's and Guy Laroche. During this time, she also ensured that she retained her links with the West Indies, becoming a founding member of the Caribbean Artists Movement where she was an active member between 1966 and 1972. In 1966, McNish designed fabrics for the official wardrobe of Queen Elizabeth II's visit to Trinidad. Over the years, her paintings and drawings have been exhibited at the Victoria and Albert Museum, London (1978), the Whitworth Art Gallery, Manchester (2007) and, most recently, at Somerset House, London (2019) as part of the exhibition Get Up, Stand Up Now. Examples of her textile design can be found in the Victoria and Albert Museum and the Museum of Domestic Design and Architecture in London, UK, the Philadelphia Museum of Art, Philadelphia, PA, and the Cooper-Hewitt, Smithsonian Design Museum in New York, NY. In 2018, McNish was named in Architectural Digest as one of 'Five Female Designers Who Changed History'.

Emily Moore (b. 1983, London) is a visual artist based in London where she recently completed her MA in Painting at the Royal College of Art in 2020. Moore has defined her own term 'wildness' in contemporary painting, which she says speaks both to her approach within her practice but also suggests the state of contemporary painting through the lens of art history and its current context within the immediate conversations surrounding painting. She was awarded the Valerie Beston Award in 2020 and will have her debut London solo show at Ordovas Gallery in 2021. Recent selected group exhibitions in London in 2021 and 2020 include: Social Fabric at Fold Gallery, An Infinity of Traces (curated by Ekow Eshun) at Lisson Gallery, Tomorrow: London at White Cube, Grads Now at Saatchi Gallery, Without a Painter at Fitzrovia Gallery, Begin Again at Guts Gallery, Thought Threads at San Mei Gallery, and Snapshot at Hockney Gallery.

Anya Paintsil (b. 1993, Wrexham, Wales) is a Welsh Ghanaian artist based in Chester, UK, working primarily in textiles. She completed her BA in Fine Art at the Manchester School of Art, Manchester, UK in 2020. From rug hooking to embroidery, her assemblages evoke tactile tapestry on the one hand, and constitute semi-sculptural interventions on the other. Frequently using weaves, braids and other hair pieces (as well as her own hair), Paintsil laces debates around race and gender into the very fabric of her work, seeking to promote artistic practices historically devalued due to their associations with femininity and other marginalised groups. Playful and profound, flippant and forceful, her practice engages the language of fibres - of all kinds - with interrogations of materiality and political personhood. Paintsil's work is largely autobiographical, with her body of work consisting of self-portraits and portraits of her family, to communicate her experiences growing up in North Wales, as well as frequently focusing on past trauma and mental health. Following her solo presentation at 1-54 Contemporary African Art Fair at Somerset House, London, UK (2020), Paintsil's first solo museum show was at the Glynn Vivian in Swansea, Wales in 2021, commemorating her receipt of The Wakelin Prize in 2020. Her work featured in Maker's Eye, The Craft Council Gallery, London, UK (2021) and is in the permanent collections of The Whitworth, Manchester, UK; Glynn Vivian, Swansea, Wales; and Tullie House Museum, Carlisle, UK. She is represented by Ed Cross Fine Art in London.

Loretta Pettway Bennett (b. 1960, Boykin, AL, US) lives and works as a third-generation maker of quilts in Huntsville, Alabama after being born and raised in nearby Gee's Bend (officially known as Boykin), a remote Black community of a few hundred inhabitants, many of whom descended from freed slaves from the Pettway plantation (including the artist herself). The geographic isolation of Gee's Bend has fostered a unique environment for both the women's art community and their chosen method of quilting. The experimental processes and compositional language of the quilts have been passed down through generations of Gee's Bend residents, from grandmothers to mothers to daughters. This idea of inherited knowledge is a key part of Loretta Pettway Bennett's work as her mother, Qunnie Pettway (1943-2010), and grandmother, Candis Mosely Pettway (1924-1997), were both notable quiltmakers from Gee's Bend. Uninhibited by the conventions of fine or folk art and created out of necessity to insulate their beds on cold nights, the Gee's Bend quilts constitute a crucial chapter in the history of American art, despite the fact that they were not originally conceived as artworks. The vivid and multi-layered textiles preserve numerous vocabularies and approaches to form and colour; the interplay between symbols and asymmetry refers to histories of African textiles while also evoking the formal qualities of Modernist painting. The work in this exhibition is a quilt titled Human's Jeans (2019-20) that the artist made in memory of her late husband who passed away in 2018. After a two-year hiatus from quilting and after donating all of her husband's clothes to charity, Pettway Bennett took up her needle once again, splicing together scraps of denim that her best friend gave the artist from her old denim skirts and other thrift store finds to make a robust and functional object featuring an asymmetrical abstract design that both pulsates with the vibrancy of the artist's family's lived experience and embeds the Gee's Bend community's darker history of indentured servitude into the very fabric of the work. In the artist's own words, 'My heart and my hands were finally ready to sew again'. During the Civil Rights Movement, the community gained national recognition when they established the Freedom Quilting Bee collaborative and distributed their quilts across the United States. The first major museum exhibition dedicated to the quilts of Gee's Bend was presented in 2002 at the Museum of Fine Arts, Houston, TX, and The Whitney Museum of American Art, New York, NY. In 2006, the book Gee's Bend: The Architecture of the Quilt was launched at the Museum of Fine Arts, Houston, TX; that same year, the U.S. Postal Service issued ten commemorative stamps featuring images of Gee's Bend quilts. More recently, works were shown in History Refused to Die: Highlights from the Souls Grown Deep Foundation at the Metropolitan Museum, New York, NY (2018). The quilts of Gee's Bend are now in many prominent museum collections including Philadelphia Museum of Art, Philadelphia, PA; Fine Arts Museums of San Francisco, CA; The Museum of Modern Art, New York, NY; High Museum of Art, Atlanta, GA; and Museum of Fine Arts, Boston, MA. In the UK, the work of the Gee's Bend Quiltmakers was first shown in 2020 in the exhibition We Will Walk - Art and Resistance in the American South at the Turner Contemporary, Margate, UK and then in 2020-21 at the Alison Jacques, London, UK. She is represented by Alison Jacques in London.

Renee So (b. 1974, Hong Kong) is a London-based artist who grew up in Melbourne, Australia where she completed her BA in Fine Art at the Royal Melbourne Institute of Technology in 1997. So's work spans numerous traditional craft techniques, including ceramics, knitted and woven textiles and furniture, that refer specifically to representations of the female figure in prehistoric cultures. She bestows monumental grandeur and caricatural qualities to the figures in her works, which weave together a pattern of cross-cultural references. Her fictional personas borrow from ancient ritual masks and military and aristocratic portraiture. Renee So's work has recently been the subject of solo exhibitions at De La Warr Pavilion, Bexhill on Sea, UK (2019-20) and Henry Moore Institute, Leeds, UK (2019). In 2020, she featured in Goldsmiths CCA's exhibition Transparent Things in London, UK. Recent selected group exhibitions include: The London Open, Whitechapel Gallery, London, UK (2018); In Search of Miss Ruthless, ParaSite, Hong Kong, China (2017); One Day, Something Happens: Paintings Of People (curated by Jennifer Higgie), The Arts Council Collection, Leeds Art Gallery, Leeds, UK (2016); Busts, David Noonan, Renee So, Runa Islam, Hopkinson Museum, Auckland, New Zealand (2015); A Conspiracy of Detail, Mackintosh Museum, Glasgow School of Art, Glasgow, UK (2013); Newspeak: British Art Now, Saatchi Gallery, London, UK and The State Hermitage Museum, St Petersburg, Russia (2010-11). Her work is featured in the 2020 Thames & Hudson publication, 100 Sculptors of Tomorrow, the 2019 Phaidon publication Vitamin T: Threads and Textiles in Contemporary Art; and the 2017 Phaidon publication, Vitamin C: Clay + Ceramic in Contemporary Art. She is represented by Kate Macgarry in London.

Cristina Tufiño (b. 1982, San Juan, Puerto Rico) currently lives and works in Caguas, Puerto Rico after completing her MFA in Sculpture from the University of Pennsylvania in Philadelphia, PA in 2013, the Skowhegan School of Painting and Sculpture in Maine in 2012, her BFA in Photography from the Rhode Island School of Design in Providence, RI (2007) and her BA in Art History from the University of Puerto Rico in 2003. Inspired by consumer goods, industrial debris and autobiographical narratives and objects, Tufiño addresses her practice as an archaeologist hoarder rummaging through a broad cultural system of references, with a particular nod to artifacts and museological aesthetics. Her multimedia works arise from a process of assembling, associating and translating images and ideas inspired by seemingly oppositional languages and spaces. Tufiño's ceramic sculptures, installations, drawings, videos, prints and photographic compositions give a new meaning to post-studio practices and the use of social debris of our time. Her work was featured in solo exhibitions at Galeria Agustina Ferreyra, Mexico City, DF (2019) and Jane Hartook Gallery, New York, NY (2018). Recent selected group exhibitions include: El Momento del Yagrumo (curated by Marina Reyes), Contemporary Art Museum, San Juan, PR (2021); The Other Side of Now: Foresight in Contemporary Caribbean Art (curated by Maria Elena Ortiz), Perez Art Museum (PAMM), Miami, FL (2019); Millenium Mambo, Greenwich House Pottery, New York, NY (2018); Gran Turismo, Selena Gallery, Brooklyn, New York, NY (2018); Clay Today, The Hole, New York, NY (2018); The Axis of Evil, Ruberta, Los Angeles, CA (2017); and I GO, YOU GO, GOOD TO GO (curated by Rirkrit Tiravanija & Gavin Brown), Uncleborther, Hancock, NY (2017). She is represented by Galeria Agustina Ferreyra in San Juan, PR and Mexico City, DF.

Michaela Yearwood-Dan (b. 1994, London) is a British artist based in London who completed her BA in Fine Art at the University of Brighton, Brighton, UK in 2016. Working predominately with paint, collage and ceramics, Yearwood-Dan's work reflects on subjectivity and individual identity as forms of self-determination. Whilst her work may be underpinned by an expansive and multivalent repertoire of cultural signifiers borrowing freely from Blackness, feminism, millennial lifestyle, healing rituals, flora and carnival culture, these reference points enable her to present and privilege the variance of her own individual experience. As such, her work refuses to be framed by narrow expectations of racial or gendered notions of collective identity and history. She defamiliarizes many of those reference points in her work, resisting the clichés and strictures of representation. In 2018, she was awarded a one-year Bloomberg New Contemporaries Studio Bursary in partnership with the Sarabande: The Lee Alexander McQueen Foundation in London. In 2019, her work was featured in solo exhibitions at Tiwani Contemporary and the Sarabande: The Lee Alexander McQueen Foundation in London, UK. Recent selected group exhibitions include: In Situ, Marianne Boesky Gallery, New York, NY (2021); Ancient Deities, Arusha Gallery, Edinburgh, Scotland (2020); No Time Like the Present, Public Gallery, London, UK (2020); Clay TM, T.J. Boulting, London, UK (2020); The Green Fuse, Frestonian Gallery, London. UK (2020); 21st Century Women, Unit Gallery, London, UK (2018); Bloomberg New Contemporaries, Block 336, London, UK, Baltic Centre for Contemporary Art, Gateshead, UK and Baltic 39, Newcastle, UK (2017-18). She is represented by Tiwani Contemporary in London.
About the Curators
Enam Gbewonyo (please see her bio above under Artist Biographies)

Marcelle Joseph is an American independent curator based in London. In 2011, Joseph founded Marcelle Joseph Projects, a nomadic curatorial platform that has produced 39 exhibitions in the UK and the rest of Europe, featuring the work of over 200 international artists. Joseph's expertise is in early career artists based in the UK, in particular, female-identifying and non-binary artists, and has an academic specialization in feminist art practice after completing an MA in Art History with Distinction from Birkbeck, University of London. In 2013, she executive edited Korean Art: The Power of Now (Thames & Hudson), a survey of the contemporary art scene in South Korea. Additionally, Joseph is the Vice Chair of the Board of Trustees of Mimosa House, London; and the Secretary and Treasurer of the Board of Trustees of Matt's Gallery, London. She is also a member of the Advisory Board of Procreate Project, London, and the Selection Panel of PLOP Residency, London. She served on the jury of the 2017-2019 Max Mara Art Prize for Women, in collaboration with the Whitechapel Gallery and Collezione Maramotti, and the Mother Art Prize 2018. She also collects artworks by female-identifying artists under the collecting partnership, GIRLPOWER Collection, as well as more generally as part of the Marcelle Joseph Collection. Since 2020, Joseph has acted as Curatorial Consultant for Lychee One, a commercial gallery located in East London.
About Lychee One
Established in 2014 by artist Lian Zhang after her graduation from the Royal College of Art, Lychee One is the first contemporary art gallery in London owned by a person of mainland Chinese heritage. Since its opening seven years ago, Lychee One has successfully presented 45 exhibitions as well as many other events and pop- up shows. In 2018, Lychee One relocated to its current space in London Fields in East London where the gallery continues its programme for showing innovative international artists, both emerging and established, with strong theoretical and aesthetic bases.

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Youngsook Choi Enam Gbewonyo The Gee's Bend Quiltmakers (Loretta Pettway Bennett) Basil Kincaid Eric N. Mack Althea McNish Emily Moore Anya Paintsil Renee So Cristina Tufiño Michaela Yearwood-Dan curated by Enam Gbewonyo and Marcelle Joseph 16 September - 30 October 2021 ''All that you touch You Change. All that you Change Changes you.

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FOLD is pleased to present A Way To Stay a solo show by Desire Moheb-Zandi, her first with the gallery.

Desire Moheb-Zandi integrates personal history and cultural identity in her large-scale, sculptural tapestries. Drawing from memories of her childhood in Turkey, where she passed hours watching her grandmother weave, Moheb-Zandi meshes traditional techniques with modern motifs and media. In addition to including rubber tubing, soft sculpture and synthetic netting in her work, Moheb-Zandi fashions the loom as a sort of analogue computer, where the code is her pattern, and her manipulation of the pattern creates optical resonance and movement. The diversity of material and fabrication techniques that Moheb-Zandi uses function on formal and conceptual levels; her work is visually dynamic and elegant, and it serves as a record of the artist's life and journeys.

"Weaving is a form of digital technology. It operates on a binary code just like a computer, using warp and weft threads instead of ones and zeros. Like a digital image, a textile's pattern or pictorial design comprises a matrix of encoded data written specifically for computation by a loom-a type of computer processor. A textile's physical form and visual elements are the result of a certain combination of threads moving over and under each other at right angles, sometimes intersecting along multiple planes in space." *

Moheb-Zandi approaches the loom as a starting point, using traditional hand-weaving patterns to begin writing code for making textile and creating rhythmic patterns. Although this process gravitates to the "feel" of computing and the look of its output (with shifted proportions and remixed patterns) the finished objects often have the aesthetic of algorithmic, hypnotic landscapes.

In some of her work Moheb-Zandi uses spray-paint on the surface of the textile, creating a new layer of pattern that responds to the underlying weaving. Here the woven textile almost becomes a support for spray paintings, exploring the relationship between the underlying textile and the painted surface. In other work there are objects woven into and across the exterior, like organic takeovers of the digital landscapes, where bulbous forms and protrusions rest on and break up the image and create a sculptural surface.

Moheb-Zandi sees her work as a synergistic space for experimentation and discovery, inviting the viewer to consider the interconnectivity of weaving, painting and sculpture while challenging traditional hierarchies of fine art and craft; to view the binary process of weaving in a new, non- binary way.

Desire Moheb -Zandi, b.1990 Berlin, Germany. Parsons School of Design New York, NY (2013). Exhibitions include: The Sowers curated by Anissa Touati and Nathalie Guiot, Fondation Thalie, Brussels (current Sept 8-Nov 2021), 'Au fil du temps', curated by Parcours Saint- Germain, Phillips Paris, (2021), 'Fields of Reflections', solo, Superzoom, Paris, (2021), 'Faraway Nearer', solo, The Newsstand Project, Los Angeles, CA (2019), A common Thread: curated by Ashanti McGee, Barrick Museum of Art, Las Vegas, Nevada, USA (2021).Residencies include: Poush Manifesto, Paris, France (September 2020-ongoing), SUPERZOOM residency, Ardèche, France (April - May 2021). CobxPlop Residency, London, UK (August-September 2021).

* Dr Sarah Mills - Painted Threads

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FOLD is pleased to present A Way To Stay a solo show by Desire Moheb-Zandi, her first with the gallery. Desire Moheb-Zandi integrates personal history and cultural identity in her large-scale, sculptural tapestries. Drawing from memories of her childhood in Turkey, where she passed hours watching her grandmother weave, Moheb-Zandi meshes traditional techniques with modern motifs and media.

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Patrick Goddard's solo exhibition Die Biester is currently on view at Galerie Für Gegenwartskunst, E-WERk in Freiburg. The exhibition explores the Anthropocene epoch through a series of installations, videos, sounds works and sculptures that consider the future unknown and human's relationship to animals and nature in our forever increasingly monetised ... Continue reading Patrick Goddard at E-WERK Freiburg

David Blandy has curated an online exhibition for The One Minutes. Live throughout May and June, 'The Field of Algorithms' is a mixtape of poetic machinima lasting exactly one minute. The 23 selected videos include a range of work by the following participating artists: Benjamin Hall Yorgos Papafigos Tessa Garland ... Continue reading David Blandy curates 'The Field of Algorithms'

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Patrick Goddard's solo exhibition Die Biester is currently on view at Galerie Für Gegenwartskunst, E-WERk in Freiburg. The exhibition explores the Anthropocene epoch through a series of installations, videos, sounds works and sculptures that consider the future unknown and human's relationship to animals and nature in our forever increasingly monetised ...

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Sheila Legge as Surrealist 'Phantom', TrafalgarSquare, London, 11 June 1936. Photograph attributed to Claude Cahun. Courtesy Jersey Heritage Collections

Past Exhibition

This exhibition was on 19 May 2021 - 12 Dec 2021

Archive
Phantoms of Surrealism

19 May 2021 - 12 December 2021

On a hot summer day of 1936, a woman dressed in a bridal gown paraded in Trafalgar Square; her head completely covered in roses. The mystery woman puzzled passers-by and later that day made the newspaper headlines.

Artist Sheila Legge 's (1911-49) appearance as 'the phantom of Surrealism' launched the 'London International Surrealist Exhibition', held at the New Burlington Galleries in Mayfair.

The archive exhibition Phantoms of Surrealism will examine the pivotal role of women as both artists and as behind-the-scenes organisers within Surrealism in Britain in the 1930s.

Legge's contribution will be foregrounded alongside Claude Cahun (1894-1954), Ithell Colquhoun (1906-1988), Diana Brinton Lee (1897-1982) and others. In addition, connections between Surrealist artists and the politically active Artists International Association (AIA) will be explored, through the lens of an AIA exhibition held at the Whitechapel Gallery in 1939.

Material from the Gallery's archive, together with items from the National Galleries of Scotland, West Dean College of Arts and Conservation and Jersey Heritage Trust will shed new light on the contribution of women to these important exhibitions.

Podcast transcript available, please click here.

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Phantoms of Surrealism - Whitechapel Gallery

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Sheila Legge as Surrealist 'Phantom', TrafalgarSquare, London, 11 June 1936. Photograph attributed to Claude Cahun. Courtesy Jersey Heritage Collections Past Exhibition This exhibition was on 19 May 2021 - 12 Dec 2021 19 May 2021 - 12 December 2021 On a hot summer day of 1936, a woman dressed in a bridal gown paraded in Trafalgar Square; her head completely covered in roses.

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Survey II is a major touring exhibition led by Jerwood Arts that presents new commissions by ten of the most outstanding early-career artists in the UK. It spans a breadth of disciplines including photography, sculpture, sound, textile, film and installation, providing a distinctive snapshot of current artistic concerns and approaches.

Originally established in 2018, this second edition continues to take a non-institutional approach to selection by inviting over 30 leading artists from across the UK to nominate who they think are the most exciting and dynamic early-career artists making work today.

Nominators include Jonathan Baldock, Jamie Crewe, Sean Edwards, Jade Montserrat, Heather Phillipson, Joanna Piotrowska, Tai Shani, Emily Speed, Wood and Harrison, and Zadie Xa. The final selection was made by artist and Survey 2018 alumni Flo Brooks, together with curators Harriet Cooper (Jerwood Arts), Anthony Shapland (g39) and Angelica Sule (Site Gallery).

The exhibition explores a wide range of subjects, but at its core is a common preoccupation with how we relate to each other and the world around us. The artists consider the balance of control between humans and nature; the representation of queer and marginalised bodies; and the possibility of transformation for both materials and beings. Many works reflect on our relationships with those closest to us, asking where we find points of connection, when we are performing for each other and how we can capture moments of vulnerability and love. Others look at the formation of memory; how we archive and record to create collective touchpoints, or how we can explore diasporic memory through surface, sound and absence.

Exhibiting artists are Saelia Aparicio, Tereza Cervenova, Sadé Mica, Rebecca Moss, Cinzia Mutigli, Shenece Oretha, Katarzyna Perlak, Tako Taal, Nicolaas van de Lande and Angharad Williams.

The exhibition will launch at g39 in Cardiff (3 July - 11 September 2021) before travelling to Jerwood Arts in London (1 October - 11 December 2021) and Site Gallery in Sheffield (12 March - 5 June 2022).

Learn more about the programme and the previous edition of Survey, here.

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Survey II is a major touring exhibition led by Jerwood Arts that presents new commissions by ten of the most outstanding early-career artists in the UK. It spans a breadth of disciplines including photography, sculpture, sound, textile, film and installation, providing a distinctive snapshot of current artistic concerns and approaches.

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Hannah Quinlan & Rosie Hastings.
DISGRACE
Arcadia Missa Gallery
Arcadia Missa
35 Duke Street
London W1U 1LH
Opening times:
Tuesday – Saturday, 12-6pm
FREE

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Studio Voltaire (South West London), William Scott exhibition, Monster Chetwynd: Free Energy, Anthea Hamilton: The Garden, Joanne Tatham & Tom O’Sullivan, The Institute For The Magical Effect Of Actually Giving A Shit (a note to our future self), Conal McStravick, Desperate Living: Queer Care Camp

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Studio Voltaire (South West London), William Scott exhibition, Monster Chetwynd: Free Energy, Anthea Hamilton: The Garden, Joanne Tatham & Tom O’Sullivan, The Institute For The Magical Effect Of Actually Giving A Shit (a note to our future self), Conal McStravick, Desperate Living: Queer Care Camp

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Studio Voltaire reopens with a major exhibition of William Scott - the first significant survey of the artist's prolific 30-year practice.

This expansive exhibition of over 80 paintings, drawings and sculptures, from the early 1990s to present, includes a number of previously unexhibited works. The exhibition is accompanied by a series of works presented in the public realm in the local area around Studio Voltaire.

While deeply rooted in personal history, Scott's paintings address wider questions of citizenship, community and cultural memory. His portraits of predominantly black figures encompass actors, musicians, politicians and civil rights leaders - from Prince, Oprah Winfrey and Maya Angelou to Barack Obama and Kamala Harris - as well as self-portraits, family members, his neighbours and women from the Baptist church he has attended since childhood.

Scott's works can be seen as a form of activism, eloquently describing his desire for social change. Frequently describing himself as an architect, his works reimagine the social topography of his native San Francisco, which re-emerges as the utopian 'Praise Frisco': a safe and gleaming neighbourhood. Scott's alternative proposals for urban development replace penthouses with community centres and revisit the Bayview housing complexes he grew up in; reckoning with the rapid gentrification of the city.

While Scott's works are hopeful and sincere, they equally confront loss, as well as ideas of renewal and rebirth. His long-standing series of invented Skyline Friendly Organisation 'citizen ships' take the form of b-movie flying saucers, designed to bring back those who have died to start a new life. His Another Life series of self-portraits explores the intersections of faith, disability and desire - often depicting a younger version of himself as athletic Los Angeles Lakers basketball star 'Billy the Kid' or a young man happily attending prom. For Scott, painting is a transformative as well as a documentary tool; a way to re-craft his personal narrative and even undertake extraordinary acts.

A special presentation of large-scale public realm works has been selected by Scott to complement this survey. Working with landmark sites in the area local to Studio Voltaire, including Clapham Methodist Church, the presentation will animate Studio Voltaire's neighbourhood and provide unique moments for residents and visitors to encounter Scott's practice in the everyday.

A comprehensive, fully illustrated new monograph will provide the first substantial overview of Scott's practice. Including new critical writing and a wide-ranging collection of Scott's works to date, the monograph will be published later this year as a companion to the exhibition.

Studio Voltaire has partnered with Creative Growth, a noted nonprofit in Oakland, California serving artists with disabilities, to present this exhibition. Scott has practiced at Creative Growth since 1992.

This exhibition will be the first ever solo presentation outside of the US and will travel to Malmö Konsthall, Sweden in 2022.

This commission is supported by:

Marty Eisenberg, Ales Ortuzar, This is Clapham BID and Omni.

With additional support from Art Fund and Aquum.

Studio Voltaire's opening programmes have received support from Cockayne Grants for the Arts (The London Community Foundation).

About William Scott

William Scott (b.1964, San Francisco) has worked with the celebrated Creative Growth Art Center in Oakland, California since 1992. Scott has presented solo exhibitions and projects at Ortuzar Projects, New York (2020); White Columns, New York (2006, 2009), and his work has been exhibited at Hayward Gallery, London (2013), Gavin Brown's enterprise New York (2007), Berkeley Art Museum, California (2011) and Palais de Tokyo, Paris (2008). Scott's work is part of the permanent collections of the Museum of Modern Art, New York; SFMOMA, San Francisco and The Studio Museum in Harlem, New York.

About Creative Growth

Founded in 1974, Creative Growth is a non-profit based in Oakland, California that serves artists with disabilities by providing a professional studio environment for artistic development, gallery exhibition, and representation. Creative Growth is home to over 140 artists who work in a variety of media, and artwork made at the studio has been acquired by prominent collections worldwide, including MoMA, SFMOMA, the Smithsonian, the Studio Museum of Harlem, Collection de L'Art Brut and American Folk Art Museum.
creativegrowth.org

Image credits

All images courtesy of the artist and Creative Growth

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Tom di Maria and Matthew Higgs discuss the work of William Scott

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Studio Voltaire reopens with a major exhibition of William Scott - the first significant survey of the artist's prolific 30-year practice. This expansive exhibition of over 80 paintings, drawings and sculptures, from the early 1990s to present, includes a number of previously unexhibited works.

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THE KNOT COMMONS is a new large-scale poly-vocal three channel video and surround sound composition with performance by Rebecca Lennon. It is the annual collaborative commission by Southwark Park Galleries and Matt's Gallery created specially for Dilston Gallery.

Originally planned for March 2020, the show was postponed, re-thought and re-designed over the successive national lockdowns. THE KNOT COMMONS became the second part in a series of works, following on from Liquid i at Primary, Nottingham in 2020/2021, building on themes explored there. Liquid i was accompanied by a text written by Sophie Jung. A new text by Rebecca Jagoe will be published alongside this exhibition.

The exhibition expands a two part spatial composition of vocal loops, textual knots, and imagery inhabiting / moving around two different repurposed civic architectures, a school and a deconsecrated church. The work deals with urgent themes around finance, housing, the body, the voice and the porous nature of selfhood, combining complex and poetic themes arranged linguistically, sonically and visually in an immersive audio-visual assemblage. Characters are decked out in uniform black velour. Percussive vocal sounds, tics and hums build up spatial rhythms like an incantation. Entanglements of bodies unravel; public and private, human and non-human. An aerialist loops in air, mosquitoes spit blood in rhythms, mouths speak multiple voices, while others spit water like fountains.

A key point of departure is a story describing the removal of roof tiles from a house to allow water seepage, causing it to rot from the inside and become derelict. This body of video and sound describe and viscerally conjure this toxic seepage as a movement of liquid: into and out of a body carried by a mosquito; out of the drains of a house, filling the street due to an intrusion of Knotweed, out of the mouth in absence of a voice; into the body of the Vampire, via the demand of a melancholic thirst.

Lennon uses the image of planned dereliction as a way into thinking about ownership and its collapse. She departs, using the house as a stand-in for the body, to think about how the self is constituted physically and through language, how a voice might be allowed or denied its right to speak and how it may also be repurposed for self (and collective) care, a commons.

Performers, voices and characters in the video: Carl Gent, Jennifer Hodgson, Stella Kajombo, Rebecca Lennon, Chooc Ly Tan, Leon Dee and aerialist Mim Wheeler.

Animated fountains by Carla Mackinnon.

LIQUID i the Knot Commons is a new body of work being developed by Rebecca Lennon with Matt's Gallery and Southwark Park Galleries in London, and Primary, Nottingham.

Rebecca Lennon is supported by an Arts Council England, Developing Your Creative Practice Grant. This exhibition is made possible thanks to Southwark Council, Arts Council England and Liverpool School of Tropical Medicine.

Biography //

An artist based in London, Rebecca Lennon works across media to produce large-scale multi-channel sound and video installations, musical releases, performances, texts and visual scores. Using rhythm and musicality within video and sound editing to disturb narrative flow, Rebecca evokes a psychological and neurodivergent relationship to language, words, loops and noise - meditating on memory and its voices, working with spatialised layers of sound, vibrations and visceral texts that fragment and repeat. Recent video and texts focus on entanglements of ownership, forms of housing (and their collapse), embodiment, porosity and questions of what constitutes a voice.

She has exhibited internationally, across contemporary art and experimental music platforms, radio and publishing. Graduating from the Slade School of Art London MFA in 2010, Rebecca is a visiting lecturer at universities such as Arts University Bournemouth and Royal College of Art, London. Upcoming/recent exhibitions include: Cafe Oto, London, 2022, Galeria Duarte Sequiera, Braga, Portugal, 2021, Kaunas Film Festival, Lithuania, 2020 and Whitstable Biennial, 2018 with solo shows at Southwark Park Galleries, London 2021, Primary, Nottingham, 2020, Almanac, Turin, Italy, 2019 and Matts Gallery, London, 2018. Rebecca recently featured in 'On Care, an anthology of artists writing', published by MA Bibliothèque, 2020, BBC Late Junction 2019/2020 and on a collection of artist interpretations of scores by writer Salomé Voegelin, released on vinyl in 2022. She is currently pursuing her PhD at Goldsmiths across departments of Fine Art and Music.

Download the Press Release

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Southwark Park Galleries | The Gallery by the Pool | THE KNOT COMMONS

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THE KNOT COMMONS is a new large-scale poly-vocal three channel video and surround sound composition with performance by Rebecca Lennon. It is the annual collaborative commission by Southwark Park Galleries and Matt's Gallery created specially for Dilston Gallery. Originally planned for March

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Dean Kenning | Evolutionary Love | 2021 | Standpoint | Gallery

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Featuring The Diamond Dogs Educational Unit: Uma Breakdown, Petra Szemán, Larry Achiampong & Zara Truss Giles. Curated by Jamie Sutcliffe.
'Trouble In Outer Heaven: Portable Ops Plus' focuses on the influence and fan cultures of ' Metal Gear Solid', one of the most popular video game franchises of all time.

Originally developed for the MSX Spectrum home computer by Hideo Kojima in 1987, 'Metal Gear's' enigmatic story has been told through multiple installments over the course of three decades. Infamous for its distinct play style based upon techniques of secrecy, concealment and stealth, the franchise has pioneered boundary-breaking experiments in player participation, while building a global fanbase for its complicated narrative and strange characters.

Exploring the unnerving possibilities of biogenetic cloning and military espionage, off-shore para-states and the formation of private task forces charged with seizing power from the world's collapsing democracies, 'Metal Gear's' once bizarre mythos feels disturbingly appropriate to the world we inhabit in 2021.

Just as memes of the game's iconic graphics have found their way into the culture wars surrounding the 2016 US presidential election, its prescient themes of behavioural manipulation, gamification, unstable truths and geopolitical subterfuge have been increasingly explored by academics; suggesting that 'Metal Gear's' atmosphere of conspiracy and separatism has come to both predict and reflect our unstable global political climate.

From Seasteading* to the subcultural fracturing of online communities, difficult themes of social division are strangely encapsulated in the game's martial utopia, 'Outer Heaven', an ambiguous separatist state of renegade soldiers and mercenaries. Confronting both the ecstasies and problems of fandom, this exhibition asks if critical counter-languages might be found within the intricate traceries of 'Metal Gear's' peculiar brand of speculative fiction, its bleak vision of military oppression, and its potent ideas of hope, service, community and friendship.

'Trouble In Outer Heaven: Portable Ops Plus' brings together a group of artists whose early encounters with 'Metal Gear's' unique vision and distinct poetics continue to influence their world-views and artistic practices today. Through performance, sculpture, film, and an education program for young people, the artists explore Kojima's rich yet often troubling games as opportunities for thinking through positions of decolonial critique, ludic defiance, and anti-fascist resistance.

Trouble in Outer Heaven: Portable Ops Plus is made possible thanks to the support of The Paul & Louise Cooke Endowment, Arts Council England and Southwark Council.

Download the Exhibition Handout

Press //

Martin Herbert, Art Monthly 450: October 2021.

Events //

A new covert performance by Sam Keogh will take place during the opening event on September 12th at 4pm. The performance that draws upon Southwark Park's history as a wartime munitions depot. No booking required, but we are limiting capacity to allow for safe social distancing.

Tactical Espionage Action In A Haunted House // Exhibition Tour
3-4pm Sunday 31 Oct // Lake Gallery // Limited capacity, no booking required.

Join exhibition curator Jamie Sutcliffe and exhibiting artist Kitty Clark for a walk-around conversation of 'Trouble in Outer Heaven: Portable Ops Plus'. Covering the show's themes and works, this informal talk will explore the politics of gaming, the awkwardness of making an exhibition as a fan, and each contributors' personal history with the 'Metal Gear' franchise and other video games of note.

Human Planet User Presents: A Live Stream of 'Metal Gear' (1987) // 8pm on Wednesdays 22, 29 Sept, 6, 13 Oct

Watch live on: twitch.tv/human_planet_user

Over the course of the exhibition, Human Planet User a.k.a Kitty Clark, live streams her playing of Hideo Kojima's 'Metal Gear'

The Diamond Dogs Educational Unit //
Saturdays 25 Sept, 2, 9 & 23 Oct // 1-4pm each day // Dilston Gallery
To coincide with the exhibition 'Trouble in Outer Heaven: Portable Ops Plus', this programme for young people (13-19yrs) draws upon the influence of 'Metal Gear' to explore ideas of play, storytelling, animation, sound, and memory and is a fun way to achieve a Bronze or Silver Arts Award.

Led by artists Uma Breakdown, Petra Szemán, and Larry Achiampong & Zara Truss Giles across four sessions, participants will be encouraged to explore their love of films, games, cartoons, and soundtracks, and introduced to ways of making that might help them develop those interests into different kinds of art - from game design, to anime, and music!

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Southwark Park Galleries | Trouble in Outer Heaven:

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Featuring The Diamond Dogs Educational Unit: Uma Breakdown, Petra Szemán, Larry Achiampong & Zara Truss Giles. Curated by Jamie Sutcliffe. 'Trouble In Outer Heaven: Portable Ops Plus' focuses on the influence and fan cultures of ' Metal Gear Solid', one of the most popular video game franchises of all time.

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Linda Stupart, Carl Gent and Kelechi Anucha - and then, a harrowing

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Linda Stupart, Carl Gent and Kelechi Anucha - and then, a harrowing

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Dr Linda Stupart is an artist, writer, and educator from Cape Town, South Africa. They completed their PhD at Goldsmiths, University of London in 2016, with a project engaged in new considerations of objectification and abjection. They are currently a permanent lecturer at Birmingham City University, and have previously worked at University of Reading, London College of Communication, and Camberwell Arts College. They have also run arts education projects at Tate, South London Gallery, Battersea Arts Centre, and Camden Arts Centre. Linda is interested in the possibilities for writing and making discrete grounded encounters with different kinds of bodies (of knowledge, objects, affect as well as corporeal bodies) as a way to think through less alienated ways of living and thinking together. This comes out of encounters with feminist art, postcolonial, ecological, queer, and affect theory as well as embodied and object-based critical institutional encounters. Their current work consists predominately of writing, performance, film, and sculpture, and engages with queer theory, science fiction, environmental crises, magic, language, desire, and revenge. They have recently exhibited at Lisson Gallery, Raven Row, Tate, IMT, Matt's Gallery, and The Showroom in London; as well as Transmission in Glasgow, DISTRICT in Berlin, Kunstverein Dusseldorf, Kunstraum Niederösterreich in Vienna, and Syndicate in Cologne.

They recently produced All Us Girls Have been Dead for so Long with Carl Gent for the ICA London; a play about climate change, queer sex, and Ecco the Dolphin. They will be in residence at Wysing Arts Centre in late Summer 2021.

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Dr Linda Stupart is an artist, writer, and educator from Cape Town, South Africa. They completed their PhD at Goldsmiths, University of London in 2016, with a project engaged in new considerations of objectification and abjection. They are currently a permanent lecturer at Birmingham City University, and have previously worked at University of Reading, London College of Communication, and Camberwell Arts College.

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SE8 Gallery is pleased to present the exhibition Tamesiology by French artist Olivia Guigue, her first solo show in the UK. The work is the result of her residency at the gallery: an extended period that began at the inception of the pandemic during which the artist undertook regular visits to the Thames's foreshore in London to retrieve material gifted by the tidal river. In order to chronicle the exceptional diversity of the site, Guigue classified both natural and artificial substances that reveal the contemporary geological formation of the riverbed.
Guigue's field work underscores the emergence of the Anthropocene - a new unit in geological time marked by humans - through the evidence of identifiable specimens of man-made origin in the strata record. The keystone of this mutable classification is a new taxonomy called Pseudo-mineral which gathers plastic samples that resemble minerals and rocks. Seen alongside natural elements, some of these objects appear almost identical, a mimetic trick of perception that may visually align a four-hundred-year-old eroded bone and a ten-year-old abraded piece of cinder block.
The resulting display using tables and vitrines echoes that of a museum of natural history, but though the taxonomies are precise and exacting, they do not follow established scientific conventions; rather, Guigue asks us to consider her findings in an aesthetic manner as well, perhaps to treat them as marvels that reveal a certain poetic thinking -portraying the march of decay and extinction as a process of crystallization - able to impart new truths to the world of the living.
The displays will undergo subtle but regular changes as the artist continues to work in the gallery, adding and removing specimens. Contrary to exhibitions that feature static displays, her project provides a working, living environment punctuated by an evolving practice.
The exhibition is accompanied by a publication on the project with texts by the curators, which will be launched at the finissage on Sunday the 5th of December from 4pm. There will be a first guided foreshore walk with the artist on Saturday the 30th of October at 12:30 leaving from SE8 Gallery.

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SE8 Gallery is pleased to present the exhibition Tamesiology by French artist Olivia Guigue, her first solo show in the UK. The work is the result of her residency at the gallery: an extended period that began at the inception of the pandemic during which the artist undertook regular visits to the Thames's foreshore in London to retrieve material gifted by the tidal river.

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Sam Keogh - Sated Soldier, Sated Peasant, Sated Scribe

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Sam Keogh - Sated Soldier, Sated Peasant, Sated Scribe

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Running across the basement galleries of the CCA, artist Sam Keogh (b.1985, Wicklow, Ireland) presents a performance, and installation of ceramic sculptures and collaged paintings on paper, that draw on pre-modern motifs and myths of abundance.

The mediaeval myth of Cockaigne; a land of plenty in which food is abundant (it rains cheese), work abolished, and sexuality liberated features in both verse and visual traditions; most powerfully for Keogh in Bruegel the Elder's painting The Land of Cockaigne, 1567, which shows three figures sprawled in a circular motif under a table bearing food and drink in a rural idyll (a wandering pig in the background bears a knife on its back to aid ease of carving).

Keogh mines this image for its utopian radicalism at a time of strict feudal power relations and peasant revolt. The fantasy of rest, pleasure and perpetual feasts depicted here might be read as an important contribution to a proto-communist imaginary. But Cockaigne is also a place where everything is cooked, and so closer to being dead than alive. The main figures are bloated, heavy and immobilised by their gluttony in this world of beige and brown where nothing seems to be growing, but instead slouches toward decomposition as time has slowed or stopped. In this sense, Bruegel's The Land of Cockaigne can be read as a moralising warning to the 'work-shy', that they would end up in a pleasurable but stodgy purgatory rather than Heaven. Keogh see's these contradictory elements of the myth as being part of its persistence as fantasy. Its qualities of nonsense and impossibility don't amount to a workable image of a potential future world, but instead appeal to the libidinal or bodily desires of the audience - things which don't need to be understood to function.

The exhibition will also include large collages from cut out painting and drawing on paper. Keogh made these works as 'cartoons'; 1:1 scale blueprints used by tapestry weavers to reproduce a design in silk. Cartoons were often worked into, cut up and glued back together numerous times before the artist was satisfied with the composition. The 'Lady and the Unicorn' tapestries made in the 15 th century Flanders are an important point of departure for Keogh's collages. The original meaning of the tapestries' complex system of allegorical symbols is lost, but they are thought to depict the five senses, plus a sixth. The main figures of the tapestries are surround by the millefleur ('thousand flowers') motif made up of multiple plants in simultaneous fruit and bloom - time and space again collapsed into an image of abundance.

Together, the physical elements of the exhibition form a phantasmagorical garden of abundance and suspended time, blossoming with images of worried cartoon clocks; sloths; inhalers; videogame avatars; duvets; unicorns and roast chickens that fly into your open mouth. The sculptures and collage will serve as backdrop and props in a performance which pull these ideas through each other in a tangled monologue, extending Keogh's use of objects, images and speech to create environments that coagulate memory, narrative, and history.

PERFORMANCES

Sculptures become props and collage becomes backdrop as Keogh unfolds a story about eating a pig in Stansted airport.

BIOGRAPHY

Sam Keogh (b. 1985, Co. Wicklow, Ireland) works across collage, drawing, sculpture, performance and installation. In recent work, Keogh has built intricate environments in which live performances unfold. These installations incorporate collage, small sculptures and found objects which spillover with idiosyncratic detail and extraneous information; shifting between artwork made by Keogh, props used by the performer and ambiguous technologies made by the characters in the universes he constructs. In this indeterminate space, materials, memories and affects begin to smudge into each other until a sticky cognitive map begins to emerge.

Keogh received an MFA from Goldsmiths College in 2014 and completed the Rijksakadmie residency in Amsterdam in 2017. Recent exhibitions include: Cosmopolis #2, Centre Pompidou, Paris; Knotworm 15th Lyon Biennial; Integrated Mystery House, Eva International, Limerick; Kapton Cadaverine, Glasgow International; Orbital Debris, 1646, The Hague; Eurocopter EC135 Dortmunder Kunstverein, Germany.

SUPPORT

With thanks to the Arts Council of Ireland.

Running across the basement galleries of the CCA, artist Sam Keogh (b.1985, Wicklow, Ireland) presents a performance, and installation of ceramic sculptures and collaged paintings on paper, that draw on pre-modern motifs and myths of abundance.

The mediaeval myth of Cockaigne; a land of plenty in which food is abundant (it rains cheese), work abolished, and sexuality liberated features in both verse and visual traditions; most powerfully for Keogh in Bruegel the Elder's painting The Land of Cockaigne, 1567, which shows three figures sprawled in a circular motif under a table bearing food and drink in a rural idyll (a wandering pig in the background bears a knife on its back to aid ease of carving).

Keogh mines this image for its utopian radicalism at a time of strict feudal power relations and peasant revolt. The fantasy of rest, pleasure and perpetual feasts depicted here might be read as an important contribution to a proto-communist imaginary. But Cockaigne is also a place where everything is cooked, and so closer to being dead than alive. The main figures are bloated, heavy and immobilised by their gluttony in this world of beige and brown where nothing seems to be growing, but instead slouches toward decomposition as time has slowed or stopped. In this sense, Bruegel's The Land of Cockaigne can be read as a moralising warning to the 'work-shy', that they would end up in a pleasurable but stodgy purgatory rather than Heaven. Keogh see's these contradictory elements of the myth as being part of its persistence as fantasy. Its qualities of nonsense and impossibility don't amount to a workable image of a potential future world, but instead appeal to the libidinal or bodily desires of the audience - things which don't need to be understood to function.

The exhibition will also include large collages from cut out painting and drawing on paper. Keogh made these works as 'cartoons'; 1:1 scale blueprints used by tapestry weavers to reproduce a design in silk. Cartoons were often worked into, cut up and glued back together numerous times before the artist was satisfied with the composition. The 'Lady and the Unicorn' tapestries made in the 15 th century Flanders are an important point of departure for Keogh's collages. The original meaning of the tapestries' complex system of allegorical symbols is lost, but they are thought to depict the five senses, plus a sixth. The main figures of the tapestries are surround by the millefleur ('thousand flowers') motif made up of multiple plants in simultaneous fruit and bloom - time and space again collapsed into an image of abundance.

Together, the physical elements of the exhibition form a phantasmagorical garden of abundance and suspended time, blossoming with images of worried cartoon clocks; sloths; inhalers; videogame avatars; duvets; unicorns and roast chickens that fly into your open mouth. The sculptures and collage will serve as backdrop and props in a performance which pull these ideas through each other in a tangled monologue, extending Keogh's use of objects, images and speech to create environments that coagulate memory, narrative, and history.

PERFORMANCES

Sculptures become props and collage becomes backdrop as Keogh unfolds a story about eating a pig in Stansted airport.

Fri 17 Sep, 8:30-9pm (Public Opening Event, no booking needed)
Wed 22 Sep, 7-7:30pm
Sat 25 Sep, 4:30-5pm
Wed 29 Sep, 7-7.30pm

BIOGRAPHY

Sam Keogh (b. 1985, Co. Wicklow, Ireland) works across collage, drawing, sculpture, performance and installation. In recent work, Keogh has built intricate environments in which live performances unfold. These installations incorporate collage, small sculptures and found objects which spillover with idiosyncratic detail and extraneous information; shifting between artwork made by Keogh, props used by the performer and ambiguous technologies made by the characters in the universes he constructs. In this indeterminate space, materials, memories and affects begin to smudge into each other until a sticky cognitive map begins to emerge.

Keogh received an MFA from Goldsmiths College in 2014 and completed the Rijksakadmie residency in Amsterdam in 2017. Recent exhibitions include: Cosmopolis #2, Centre Pompidou, Paris; Knotworm 15th Lyon Biennial; Integrated Mystery House, Eva International, Limerick; Kapton Cadaverine, Glasgow International; Orbital Debris, 1646, The Hague; Eurocopter EC135 Dortmunder Kunstverein, Germany.

SUPPORT

With thanks to the Arts Council of Ireland.

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Running across the basement galleries of the CCA, artist Sam Keogh (b.1985, Wicklow, Ireland) presents a performance, and installation of ceramic sculptures and collaged paintings on paper, that draw on pre-modern motifs and myths of abundance.

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Adam Khalil & Bayley Sweitzer with Oba: Nosferasta

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Adam Khalil & Bayley Sweitzer with Oba: Nosferasta

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Please enable JavaScript to experience Vimeo in all of its glory.

Gasworks presents Nosferasta, a Rastafarian vampire film by Brooklyn-based filmmakers Adam Khalil and Bayley Sweitzer starring and co-written by artist and musician, Oba.

Spanning 500 years of colonial destruction, human trafficking and blood sucking, the film reimagines Oba's origin story. In the late 15th century, Oba is seduced by the vampire Christopher Columbus, ensuring his undying allegiance to the colonial project.

Ultimately, the film tackles an uncomfortable question: How can you decolonise yourself, if it's in your blood?

For more information about the exhibition visit: gasworks.org.uk/exhibitions/nosferasta/

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Preview: Wednesday 6 October, 6:30 - 8.30pm
Exhibition continues until 19 December 2021
Open Wednesday to Sunday 12-6pm or by appointment
For special Frieze Art Fair week opening hours please check Gasworks website

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Gasworks presents Nosferasta, a Rastafarian vampire film by Brooklyn-based filmmakers Adam Khalil and Bayley Sweitzer starring and co-written by artist and musician, Oba. Spanning 500 years of colonial destruction, human trafficking and blood sucking, the film reimagines Oba's origin story.

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featuring our very own Tom Hall-Boehringer, who graduated from Reading School of Art last year

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The Foundation's mission is to support artists and cultural institutions, to broaden audiences for the visual arts and to enable all young people to engage actively with the creation and enjoyment of art.

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Small exhibition in Soho

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Opens 9 September 4 - 7pm

9 September - 13 November 2021

This exhibition was inspired by a short text by Joan Jonas, 'Fawn Grove', originally published in an issue of the magazine Art-Ritein 1974. The text recounts a walk that Jonas took through the countryside with her dog Sappho. The content, structure and rhythm of the text reflect numerous elements that have recurred in Jonas's work over a long career: the notion of a journey, circular movement, mirroring, our relationship to animals and nature and the artist's abiding interest in poetry and literature.

The exhibition will be accompanied by a publication with contributions from Éric Alliez, Daisy Lafarge and Caoimhín Mac Giolla Léith.

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Opens 9 September 4 - 7pm 9 September - 13 November 2021 This exhibition was inspired by a short text by Joan Jonas, 'Fawn Grove', originally published in an issue of the magazine Art-Ritein 1974. The text recounts a walk that Jonas took through the countryside with her dog Sappho.

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A really useful interactive map showing which galleries are near to one another and what their current shows are (London and wider UK versions)

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townereastbourne.org.uk

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Helen Marten studied at Central Saint Martins, University of the Arts, London and Ruskin School of Fine Art, University of Oxford (2005-2008). In 2016 she was awarded the Tate Turner Prize. Marten works across sculpture, painting, video and writing to create a body of work that questions the stability of the material world and our place within it. Alluding to ideas, systems and experiences, her work across all media sets out to articulate complex ideas about the way in which we exist in and understand the world around us.

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Helen Marten (b. 1985, Macclesfield, UK) studied at Central Saint Martins, University of the Arts, London and Ruskin School of Fine Art, University of Oxford (2005-2008). Marten works across sculpture, print, video and writing to create a body of work that questions the stability of the material world and our...

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Theaster Gates: Whitechapel Gallery (East London)

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Theaster Gates: Whitechapel Gallery (East London)

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Courtesy of Theaster Gates. Photo: Chris Strong.

Exhibition
Theaster Gates: A Clay Sermon

29 September 2021 - 9 January 2022

★★★★★ - Evening Standard
★★★★★ - The Guardian
★★★★ - The Independent
★★★★ - Time Out

O Lord, thou art our father; we are the clay, and thou our potter; and we all are the work of thy hand.
- Isaiah 64:8

In Christian scripture, the relationship between God and humanity is analogous to the potter working with clay. 'As a potter', according to Theaster Gates, 'you learn how to shape the world'. Clay and religion are foundational to the artistic practice of the Chicago based artist who has received international acclaim for his community and cultural interventions in Black space, particularly on the South Side of Chicago. As a youth, Gates joined the New Cedar Grove Missionary Baptist Church choir and, subsequently, studied urban planning, theology and ceramics.

A Clay Sermon is an exposition of the significance of clay, its material and spiritual legacies. Bringing together research, ideas, process and production, this exhibition surveys works by Gates across two decades from his early hand-thrown pots to his large-scale Afro-Mingei sculptures. It explores craft, labour, performance and racial identity; the use of clay in building communities of knowledge, its role in colonialism and global trade and the ceremonial and ritual use of ceramics.

Alongside his own work, Gates has made a selection of historic ceramics from private and public collections, including the Victoria and Albert Museum, where he has been Emeritus Fellow at the V&A Research Institute. The exhibition also includes a new film by Gates, which takes the form of a sermon on clay, and his most recent body of work: large stoneware vessels installed on custom-made plinths of hand-milled wood and stone.
Transcript available. Supported by:

The Theaster Gates Exhibition Circle:
Gagosian
Jill and Jay Bernstein

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Theaster Gates: A Clay Sermon - Whitechapel Gallery

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A Clay Sermon explores the significance of clay, its material and spiritual legacies by surveys works by Theaster Gates across two decades.

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Julia Crabtree & Will Evans @ Henry Moore Institute (Leeds)

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Julia Crabtree & Will Evans @ Henry Moore Institute (Leeds)

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17 Sep 2021 - 16 Jan 2022

Exhibition in Galleries 1, 2 and 3

Julia Crabtree and William Evans have been collaborating since 2006 and are known for their process-driven sculpture. Slip includes work from the last five years alongside sculptures made for this exhibition.

Julia Crabtree and William Evans' work incorporates a breadth of materials and modes of making from casting and glass-blowing to video-making and printing. For each new body of work they initiate a sequence of contained sculptural experiments. The artists allow the fallibilities of collaborative working and the risk of failure inherent to their materials to inform the final object.

The need to touch and understand the world through its things, when most information arrives via screens, underpins Crabtree and Evans' experimental and playful approach. Entering this exhibition requires walking upon the carpet of Gullet 2016-21. The printed image comes from a simulation of a smoke-filled room, now stripped of its digital slickness and transferred onto a malleable, physical surface. Acting as a threshold to the exhibition, the part-sculpture, part-pedestal also reveals the duo's interest in scenography and the collision of real and digital experience.

Embracing the 'errors' and 'mishaps' of their working processes, along with off-kilter colours, Crabtree and Evans seek an alternative to recognised systems of perfection, taste and the myth of the artist genius. In a new body of ceramics, which appropriate mass-produced goods designed to support the body, the cracks and collapses triggered by casting, firing and glazing have all been retained. In another new series, blown glass sculptures are pushed to their material limits with extreme heat, gravity and the artists' own collaborative decision-making central to their process.

In the video installation Crutch 2017-21, a projection shows bodily indentations being made by an invisible force into a soft, tactile base. Whatever their chosen material, Crabtree and Evans' works speak of the body without ever depicting it. Interested in systems and ecologies, the exhibition as a whole offers a landscape of ecosystems which, as they say themselves, 'is exactly what the body is'.

About the artists

Learn more about the artists in this Q&A with the exhibition's curator, Laurence Sillars (Head of the Henry Moore Institute).

Crabtree and Evans were the recipients of the Nina Stewart Residency award at South London Gallery, the Mary Hofstetter Legacy Scholarship for the New Materiality residency at the Banff Centre, Canada and are Wysing Arts Centre residency alumni.

They are currently working on a garden commission for Flat-Time House with Alice Hattrick. Recent commissions include Gulch, exhibited at the Walter Phillips Gallery, Banff and Crutch shown as part of Maximum Overdrive at Focal Point Gallery, Southend-on-Sea. Solo exhibitions include Cell Project Space, London, South London Gallery and Legion TV, London.

Films

Find out more about the artists, their work and the exhibition in these short films:

Online events

A programme of free online research events accompany the exhibition, investigating process-based sculpture practice. We will be speaking to artists, writers and curators on topics such as the importance of touch, art's relationship with nature, and the necessity of experimentation and risk.

Booking

Booking tickets to visit our galleries is no longer necessary, though we advise groups of six or more book in advance to make sure there is space for you all to visit the galleries at the same time.

You can book for our online events by following the links above.
Venue address Opening times

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Julia Crabtree and William Evans have been collaborating since 2006 and are known for their process-driven sculpture. Slip includes work from the last five years alongside sculptures made for this exhibition. Julia Crabtree and William Evans' work incorporates a breadth of materials and modes of making from casting and glass-blowing to video-making and printing.