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Join Art Assassins youth collective at South London Gallery

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Join Art Assassins youth collective at South London Gallery

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The Art Assassins is the South London Gallery's youth collective. They work with contemporary artists, designers, filmmakers and each other to create a programme of exciting events.

Free workshops offer opportunities to develop creative and practical skills in event management, production, filmmaking, project management and communications. The group leads on events and workshops that they want to be a part of.

Art Assassins are a diverse group of young people aged between 16-21 years old who meet every Tuesday at the South London Gallery.

As part of the group, young people gain can:

Make friends in a creative environment

Create and pitch ideas and proposals for events

Learn and build event and project management skills

Get an introduction to marketing and communications

Explore and develop creative practices, (om sculpture to photography and film making to graphic design

Gain an insight into creative careers

Art Assassins build their own network of creatives, meet arts professionals , receive ongoing mentoring and get exclusive access to events and career opportunities.

WANT TO APPLY TO JOIN?

Registration for Art Assassins is currently closed and will reopen in September 2024.

Who's On It, 2023. Photo: Lucien Ebongue.

Read More

Read More

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Art Assassins: The SLG Youth Collective - South London Gallery

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The SLG's youth collective, the Art Assassins, for ages 16-21, work with contemporary artists, designers, filmmakers and each other.

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Rachel Maclean is an artist based in Glasgow, Scotland.

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Hew Locke: The Procession | Tate Britain

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A procession is part and parcel of the cycle of life; people gather and move together to celebrate, worship, protest, mourn, escape or even to better themselves. This is the heart of Hew Locke’s ambitious new project, The Procession.

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Hew Locke | Artist | Royal Academy of Arts

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Hew Locke is a Guyanese-British sculptor and contemporary artist. Born in Edinburgh in 1959, he spent his formative years (1966-80) in Guyana before returning to the UK with an ambition to study art. He comp…

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Marguerite Humeau is a French artist living and working in London. Her research led process usually takes the form of large scale installations involving sound and sculpture in which she challenges key issues of the day using complex narratives that synthesise the past with the present.

Humeau's installation is conceived as a confrontation between life and death, with the gallery transformed into part temple, part laboratory for the industrial production of an elixir for eternal life. At the heart of the space, two semi-abstracted white polystyrene sculptures based on Ancient Egyptian gods, Wadjet (King Cobra) 2015 and Taweret 2015, merge the organic nature of the human body with biological engineering.

Accompanied by the synthetic sound of Cleopatra's ethereal voice, this hypnotic yellow environment devised from poisonous black mamba python venom, evokes Cleopatra's death and acts as a reminder of nature's lethal powers.

Art Now is a series of free exhibitions at Tate Britain focusing on work by emerging artists.

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Marguerite Humeau: Echoes | Tate Britain

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Marguerite Humeau is a French artist living and working in London. Her research led process usually takes the form of large scale installations involving sound and sculpture in which she challenges key issues of the day using complex narratives that synthesise the past with the present.

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Shenece Oretha has been commissioned to create an intervention inspired by Wakefield's art collection. Since September 2022, Oretha has been working at The Hepworth Wakefield as artist-in-residence as part of 20/20 - a large-scale commissioning initiative led by University of the Arts London Decolonising Arts Institute.

During the residency, Oretha explored the relationship between sculpture and sound in modern British art. She researched how artists including Barbara Hepworth and Henry Moore engaged with music, instruments and ideas that have a 'sonic resonance' and recorded sounds made by touching the sculptures with different materials. Based on these recordings and her research, Oretha has created a multi-channel sonic composition which will be played through specially devised speaker-sculptures placed among works from the collection that have inspired her composition.

Shenece Oretha artist residency with The Hepworth Wakefield is part of the 20/20 project, led by the UAL Decolonising Arts Institute and supported by funding from Arts Council England, Freelands Foundation and University of the Arts London.

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Shenece Oretha: TOLLED Listening With/In Wakefield's Sculpture Collection | The Hepworth Wakefield

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The Hepworth Wakefield is delighted to be part of 20/20, a large-scale commissioning initiative led by UAL Decolonising Arts Institute which will support 20 emerging ethnically diverse artists of colour to take up residencies with 20 public art collections across the country, leading to 20 new permanent acquisitions and a joint online exhibition.

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Animation, graphic design

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Welcome to the latest portfolio for creative artist, Djofray Makumbu.

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Animation & puppets

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Nathaniel Mellors (b. 1974, UK) studied at the Ruskin School, Oxford University (1996-99) and the Royal College of Art, London (1999-2001). In 2007-09, Mellors was resident at the Rijksakademie van beeldende kunsten, Amsterdam. He lives and works in Amsterdam & Los Angeles.

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Nathaniel Mellors (b. 1974, UK) studied at the Ruskin School, Oxford University (1996-99) and the Royal College of Art, London (1999-2001). In 2007-09, Mellors was resident at the Rijksakademie van beeldende kunsten, Amsterdam. He lives and works in Amsterdam & Los Angeles.

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Digital illustration, graphic design

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Janette Parris | Artist | Peckham Platform

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A contemporary artist who uses everyday people as the basis for much of her work, often reflecting the pathos behind an individual’s desire to become successful and well known.

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Throughout the entirety of 2020, Charlie Goodall committed to making a mask a day

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Never skipping a day, each mask took around six-to-eight hours to complete. We chat to the London-based artist to hear more about this lengthy but joyful project.

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Biography

Nick Cave (b. 1959, Fulton, MO; lives and works in Chicago, IL) is an artist, educator and foremost a messenger, working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance. Cave is well known for his Soundsuits, sculptural forms based on the scale of his body, initially created in direct response to the police beating of Rodney King in 1991. Soundsuits camouflage the body, masking and creating a second skin that conceals race, gender and class, forcing the viewer to look without judgment. They serve as a visual embodiment of social justice that represent both brutality and empowerment.

Throughout his practice, Cave has created spaces of memorial through combining found historical objects with contemporary dialogues on gun violence and death, underscoring the anxiety of severe trauma brought on by catastrophic loss. The figure remains central as Cave casts his own body in bronze, an extension of the performative work so critical to his oeuvre. Cave reminds us, however, that while there may be despair, there remains space for hope and renewal. From dismembered body parts stem delicate metal flowers, affirming the potential of new growth. Cave encourages a profound and compassionate analysis of violence and its effects as the path towards an ultimate metamorphosis. While Cave's works are rooted in our current societal moment, when progress on issues of global warming, racism and gun violence (both at the hands of citizens and law enforcement) seem maddeningly stalled, he asks how we may reposition ourselves to recognize the issues, come together on a global scale, instigate change, and ultimately, heal.

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Nick Cave " Artists " Jack Shainman Gallery

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Nick Cave (b. 1959, Fulton, MO; lives and works in Chicago, IL) is an artist, educator and foremost a messenger, working between the visual and performing arts through a wide range of mediums including sculpture, installation, video, sound and performance.

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Sculptor, paper maché structures, architectural and playful

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Press Release VIII - Storage: A Tribeca Art Gallery

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Storage is pleased to announce Press Release (Cycle VIII) , presenting artists Aristotle Forrester, Kathryn Goshorn, Louisa Owen, Marcus Leslie Singleton, Wen Liu, Sebastian Burger, Elizabeth Flood, and Michiko Itatani. This exhibition is held in extension of the gallery's ongoing, rotational exhibition survey, Press Release (2022-present), featuring international and overlooked artists.

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Maps (of desire), walking, psychogeography, abstracted lines/arrows linking things together.

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Story telling through multi-media. Works with materials in a collage like process.

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Marie-Claire Messouma Manlanbien was born in 1990 in Paris, where she lives and works. She graduated in 2016 from the École nationale supérieure d'art de Paris-Cergy. She had a number of solo exhibitions, notably at the Orangerie du Sénat, Jardin du Luxembourg (Paris, 2021) and at the CAC La Traverse (Alfortville, 2020). Her work has also been presented in group exhibitions, including the 13th Rencontres de Bamako (2022) and Tactiques du rêve augmenté at La Verrière Hermès (Brussels, 2022). She has also been awarded the FoRTE #2 grant (2019) and a residency at the Cité internationale des arts (2019), and is a laureate of the Prix 1% Marché de l'art. She is represented by the Galerie Cécile Fakhoury (Abidjan, Dakar, Paris).

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Marie-Claire Messouma Manlanbien graduated in 2016 from the École nationale supérieure d'art de Paris-Cergy

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Transforming London into fun bouncy castle during the Olympics - humorous, ironic, poking fun at the pomposity of the Olympics and also British history - community artwork

@jeremydeller

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Remember the heady summer of 2012? London was briefly transformed from its usual, greyish perma-grump into something resembling sun-dappled optimism for the Olympics. I'm a fairly cynical person, with about as much interest in sport as I have in, say, Red Dead Redemption, or taxidermy (none, to the point of active dislike.) Yet even this sport-hating miserablist was out there with the best of them, clutching a mug of wine and careering about the streets of Hackney trying to get a look at a torch.

One of the very best things about that summer though? Not all the abnormally fast running, massive tellies in parks, and so on, but a massive bouncy castle in the shape of Stonehenge. That gargantuan inflatable, of course, is Jeremy Deller's Sacrilege . "I just wanted to make the most stupid artwork ever made," the artist said of the commission in his recent Desert Island Discs interview. Deller named the piece Sacrilege to beat any naysayers at their own game. "Some people will be very annoyed by it... so I just thought, well, you might as well just get the criticisms in first," he said. The piece was daft, sure, but it wasn't stupid: it was smart, fun and genuinely engaging.

The piece debuted at the 2012 Glasgow International Festival of Visual Art before travelling to London during the Olympics-I had a bounce during its stint at Lee Valley Park in glamorous E10, and it was a truly joyful experience to see the hoards of grinning kids (and many, many adults) bounding about on art and history. No one really cared, of course, that the piece was art, or history: it was a huge bouncy castle, the sun was out-it didn't need a wall text or impenetrably worded pamphlet to explain what was going on here.

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The Most Stupid Artwork Ever? Jeremy Deller's Bouncy Castle Stonehenge

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"I just wanted to make the most stupid artwork ever made," Jeremy Deller has claimed of his 2012 commission. But fun doesn't have to mean stupid.

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Process-based, subconscious led making

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Automatism as a term is borrowed from physiology, where it describes bodily movements that are not consciously controlled like breathing or sleepwalking. Psychoanalyst Sigmund Freud used free association and automatic drawing or writing to explore the unconscious mind of his patients.

Freud's ideas strongly influenced French poet André Breton who launched the surrealist movement in 1924 with the publication of the Manifesto of Surrealism. In the manifesto, Breton defined surrealism as

'Pure psychic automatism ... the dictation of thought in the absence of all control exercised by reason and outside all moral or aesthetic concerns'.

Breton and others produced the earliest examples of automatism in their automatic writings, aiming to write as rapidly as possible without intervening consciously to guide the hand.

Surrealist collage, putting together images clipped from magazines, product catalogues, book illustrations and other sources, was invented by Max Ernst, and was the first form of automatism in visual art. Ernst also used frottage (rubbing) and grattage (scraping) to create chance textures within his work. Various forms of automatic drawing and painting were developed by artists such as Joan Miro, Andre Masson as well as Ernst.

Later automatism played some part in the abstract expressionism of Jackson Pollock and others and was an important element in the European movements of art informel and arte nucleare.

While the term automatism is specifically associated with twentieth-century artists, and particularly surrealism, earlier artists such as Alexander Cozens used some elements of chance to create works, while others reportedly tapped into visionary or trance states.

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Tate glossary definition for automatism: In art, automatism usually refers to the accessing of material from the subconscious or unconscious mind as part of the creative process - as seen in the art of the surrealist movement

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Playful sculptures often taking on performative/ figurative traits

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A painter who uses textiles, ceramics and small sculptures from paper mache to work in the 'expanded field' of painting.

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Acrylic, graphite, wax pastel, embroidery, found object and collage on canvas, 72"H x 108"W x 2.5"D

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Painter working across different media to 'expand' her paintings into the three dimensional, looking at story telling.

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Marie-Claire Messouma Manlanbien

Marie-Claire Messouma Manlanbien's work is infused with the various cultures that make up her identity. Of Guadeloupean and Ivorian heritage, she discovered manual craft techniques from a young age alongside her mother and her grand-mother. She grew up in Ivory Coast until the 2004 civil war, when she returned to France and later began to work by drawing on the traditions of matriarchal akan societies in Ghana and Ivory Coast as well as those of her Creole culture. Each of her syncretic works combines elements from these different universes, whose symbols she explores through an interrogation of the spaces and the expressions of femininity and the relationships between craft traditions and a modernized, industrial society.

Through installations that blend textiles and sculpture composed of what she describes as "encounters between industrial materials such as aluminium, copper and brass with natural materials such as raffia fibre, rope, tree sap and shells", Marie-Claire Messouma Manlanbien produces ecosystems where materials enter into relation and cohabitation with one another. In this way, she creates landscapes or maps which dialogue with practices of cartography and with what she calls her "vêtures" ["vestments"], as well as everyday with objects. In a poetic form that interlaces words and materials, combining text and textiles, her works question the bonds that human beings cultivate with their environment and with the living world as a whole.

For her project at the Palais de Tokyo, Marie-Claire Messouma Manlanbien proposes to set a series of recent and new works against a large theatre curtain that she previously created for the Beffroi de Montrouge, which will be temporarily rehoused for the occasion. The use of pre-existing pieces is a recurrent practice in her oeuvre, where works are regularly bought into new configurations where forms can borrow from and renew one another, multiplying outwards in an infinite exploration.

FROM 16/06/2023 TO 10/09/2023

Exhibition assistant Natacha Marini

THIS EXHIBITION BENEFITS FROM THE SUPPORT OF

MEDIA PARTNERS

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Marie-Claire Messouma Manlanbien's work is infused with the various cultures that make up her identity.

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Multi disciplinary artist, makes installations based off mythical narratives. Her work has a big set-design element, often activated via performance.

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KM21: OUR HIEROMANTIC OBJECTS OF LOVE — TAI SHANI

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In Shani’s first exhibition in the Netherlands, she presents ‘Our Hieromantic Objects of Love’ an exhibition that promises to be a journey through Tai Shani’s universe, from absurd Madonna figures to magnified candles and crystal balls, from ceramics and glass to satin and velvet: the wide range of materials and details will make this a sensory experience. Architectural forms play a key role in the individual works themselves, and the same will be true of the exhibition space, with a big installation reminiscent of an Egyptian tomb at its centre. Shani connects the spiritual to the political, drawing viewers into a fascinating underworld.

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Melanie Jackson and Esther Leslie present a new iteration of their project Deeper in the Pyramid: Share of Throat in the exhibition Milk at The Wellcome Collection, opening this Thursday.

Milk explores our relationship with milk and its place in global politics, society and culture. Featuring over 100 items, including historical objects, artworks and new commissions, it will survey the complexity of this seemingly everyday substance and how it has come to be seen as so central to our perceptions of nutrition and 'good health.' It will also consider the consequences of scientific reforms in farming and motherhood, and will ask what the future of milk might look like.

Deeper in the Pyramid explores milk's seepage into every aspect of our daily lives; it engages with the bio-economy and its representations through the webs of care, exploitation and collective fantasy that interconnect life forms at every scale.

The work comprises animation, sculpture, and a new version of the publication with writing by Melanie Jackson and Esther Leslie, taking us on a journey of lactic abstractions through the webs of bio-invasion and collective fantasy that interconnect various life forms through milk, its technologies and representations.

A scent for the installation has been created by Ezra-Lloyd Jackson.

The original project was commissioned by Grand Union, Primary and Banner Repeater, London in 2018 and funded by ACE. The original publication is available from our online shop and the new edit will be available at the Wellcome and by request.

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Matt's Gallery - Melanie Jackson and Esther Leslie

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Melanie Jackson and Esther Leslie present a new iteration of their project Deeper in the Pyramid: Share of Throat in the exhibition Milk at The Wellcome Collection, opening this Thursday. Milk explores our relationship with milk and its place in global politics, society and culture.

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Aria Dean: Abattoir

Aria Dean: Abattoir is the New York-based artist's first exhibition in the UK. The exhibition of the artist's recent work explores the foundational relationship between modernity and death on conceptual and material levels. The ICA's main gallery features Dean's Abattoir, U.S.A.!, a site-specific film installation with immersive 8-channel sound. The animated film traverses the interior of an empty slaughterhouse. Rendered using the 3D computer graphics tool Unreal Engine, the film weaves the viewer through corridors and chambers, an imaginary patchwork of 19 th, 20 th and 21 st century architectures. The film is mimicked in the ICA's gallery through physical echoes of the virtual space. Composer Evan Zierk's accompanying score samples field recordings, cinematic instrumentals, algorithmically generated sound, as well as a familiar pop cover.  A new object-based work is presented alongside Abattoir, U.S.A.! in the adjacent gallery.

As an artist and writer, Dean is invested in a theoretical critique of representational systems, analysing how aesthetic theory, image networks and visibility map onto questions of race and power. The works on view continue Dean's interest in addressing Blackness in terms of aesthetics in a way that doesn't rely upon cultural signifiers and lived experience, but rather positions Blackness as a structural force and structural object. Abattoir, U.S.A.! is a response to two tandem questions that intersect concept and form: on the one hand, the literal and allegorical subject of the slaughterhouse as a particular collision of industrialisation, human and non-human actors, architecture, and death; and on the other hand, a response to structural film, which prioritises the processes and materials of filmmaking over narrative content.

The exhibition deliberates on critical functions of cinema and the origins of modernist architectures - topics long-debated within the ICA's walls - and puts them in conversation with histories of industrialisation, anti-Blackness, fascism, and colonialism that demand urgent attention. Against a contemporary backdrop of systemic violence and subjugation, the analogy of the slaughterhouse and the question it poses of structuralised death as a cornerstone of modern life are more relevant than ever.

Thursday 8 Feb - Sunday 5 May 2024

Tue to Thu, 4 - 9pm
Fri to Sun, 12 - 9pm

Tickets £5, valid all day.

Free for ICA Members, some concessions, and on Tuesdays.

Book online, by phone 020 7930 3647 or email sales@ica.art

Wednesday 7 Feb, 6:30pm
Exhibition Preview
Join us for the opening night of the show.

Friday 9 Feb, 6:30pm
Artist Talk
Artist and writer Aria Dean discusses her recent work and the thinking behind her current exhibition at the ICA.

Access Info

* This exhibition is accessible by wheelchair.
* Lightweight chairs with back support and armrests will be available for viewing the exhibition. Please let a staff member know if you require one.
* Large print captions and the introductory wall text will be available from the Box Office.
* If you have other accessibility requirements or want to contact us, go to the Access page

Red Members gain unlimited access to all exhibitions, films, talks, performances and Cinema 3.
Join today for £20/month.

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The New York-based artist's first exhibition in the UK features recent work exploring the foundational relationship between modernity and death through a site-specific film installation and new object-based work.

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When it first appeared in 1990, Library Journal called The Sexual Politics of Meat "an important and provocative work" and predicted it would "inspire and enrage readers across the political spectrum." True to Library Journal's prediction, the book was hailed by CHOICE as a "'bible' for feminist and progressive animal rights activists" and equally reviled by conservative commentators, including Rush Limbaugh.

The Sexual Politics of Meat explains the concept of "the absent referent." Behind every meal of meat is an absence: the death of the animal whose place the meat takes. This is the "absent referent." The absent referent functions to cloak the violence inherent to meat eating, to protect the conscience of the meat eater and render the idea of individual animals as immaterial to anyone's selfish desires. It is that which separates the meat eater from the animal and the animal from the end product. The function of the absent referent is to keep our "meat" separated from any idea that she or he was once an animal, to keep something from being seen as having been someone, to allow for the moral abandonment of another being.

The Sexual Politics of Meat argues that male dominance and animals' oppression are linked by the way that both women and animals function as absent referents in meat eating and dairy production, and that feminist theory logically contains a vegan critique...just as veganism covertly challenges patriarchal society. Patriarchy is a gender system that is implicit in human/animal relationships.

The Sexual Politics of Meat shows how a process of objectification, fragmentation, and consumption enables the oppression of animals so that animals are rendered being-less through technology, language, and cultural representation. Objectification permits an oppressor to view another being as an object. Once objectified, a being can be fragmented. Once fragmented, consumption happens. The consumption of a being, and the consumption of the meaning of that being's death, so that the referent point of meat changes.

An overlap of cultural images of sexual violence against women and fragmentation and dismemberment of nature and the body in Western culture exists. This cycle of objectification, fragmentation, and consumption links butchering with both the representation and reality of sexual violence in Western cultures, that normalizes sexual consumption. This structure creates entitlement to abuse; with the structure of the absent referent the states of objectification and fragmentation disappear and the consumed object is experienced without a past, without a history, without a biography, without individuality.

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When it first appeared in 1990, Library Journal called The Sexual Politics of Meat "an important and provocative work" and predicted it would "inspire and enrage readers across the political spectrum." True to Library Journal's prediction, the book was hailed by CHOICE as a "'bible' for feminist and progressive animal rights activists" and equally reviled by conservative commentators, including Rush Limbaugh.

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Meat Joy embodies Schneemann's concept of "kinetic theater," in which performers engage in scored and improvised movements with a range of disparate materials. Eight performers- including Schneemann-covered in paint, paper, and paint brushes crawled and writhed together, playing with raw fish, meat, and poultry. According to the artist, by using the naked body as a material for art she "exposed and confronted a social range of current cultural taboos and repressive conventions." To make this film, Schneemann combined footage from performances of Meat Joy in Paris and New York and set it to pop music, transforming a live work into a cinematic assemblage of twisting bodies with a soundtrack.

Gallery label from Judson Dance Theater: The Work Is Never Done, 2018

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Carolee Schneemann. Meat Joy. 1964 | MoMA

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Carolee Schneemann. Meat Joy. 1964. 16mm film transferred to video (color, sound). 6 min. Gift of Jerry I. Speyer and Katherine G. Farley, Anna Marie and Robert F. Shapiro, and Marie-Josée and Henry R. Kravis. 69.2009. © 2021 Carolee Schneemann. Courtesy Electronic Arts Intermix (EAI), New York. Media and Performance

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Durational film maker, 'unreal worlds, remote landscape, alien individuals'. Experimental film, often drawing on nature with experimental effects and footage.

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The title of Ben Rivers's film trilogy Urthworks collapses references to Urth, the Norse goddess of the past, and Earthworks, Brian Aldiss's 1965 novel about a postapocalyptic future. This dialectic...

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Sci-fi, feminist, installation, taking inspiration from shapes and reimagining them into sculpture. Colours, landscapes.

@taishani

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YOUR ARMS OUTSTRETCHED ABOVE YOUR HEAD, CODING WITH THE ANGELS — TAI SHANI

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YOUR ARMS OUTSTRETCHED ABOVE YOUR HEAD, CODING WITH THE ANGELS encompasses watercolours, acidic geometries, glass eyes glowing with hunger as well as strained concepts of love, many candles, the sun. (The sun is a ghost here.) What brings these divergent things together in the precarious cosmology of this situation, is a trip. It would be reductive to describe this trip – seemingly induced by a mushroom known as ergot but not only – as either geographical or psychedelic, wholesome or decadent, because it feels like an actual, on-going transition: from individual need to shared heartbreak, to a depersonalized possibility of life beyond survival.

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Places where he grew up, liminal space, urban environment

@georgeshaw_artist

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Tate glossary definition for psychogeography: A term coined by the Marxist theorist Guy Debord in 1955 in order to describe the effect of a geographical location on the emotions and behaviour of individuals

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Flâneur - urban wanderer

Flâneuse - feminist urban wanderer

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Flâneuse by Lauren Elkin review - wandering women

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In this enjoyable memoir-cum-cultural history, Lauren Elkin calls upon the female spirit of idle strolling

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Playful and poetic sculptor whose work is based off semiotics, text, and reimagining the everyday.

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Michael Dean, Under the stairs and by the fire.
June 12 - August 13, 2021, Mendes Wood, Brussels, Belgium

Michael Dean, Under the stairs and by the fire.
June 12 - August 13, 2021, Mendes Wood, Brussels, Belgium

Michael Dean, Under the stairs and by the fire.
June 12 - August 13, 2021, Mendes Wood, Brussels, Belgium

Michael Dean
​October 26 - January 20, 2019, The Hepworth Prize for Sculpture, The Hepworth Wakefield, Wakefield, West Yorkshire, United Kingdom

Michael Dean
​October 26 - January 20, 2019, The Hepworth Prize for Sculpture, The Hepworth Wakefield, Wakefield, West Yorkshire, United Kingdom

Michael Dean
​October 26 - January 20, 2019, The Hepworth Prize for Sculpture, The Hepworth Wakefield, Wakefield, West Yorkshire, United Kingdom

Michael Dean
LOLLOLLOL (Working Title), 2018

Concrete, steel reinforcement, plastic, padlocks, bike locks, cable ties, publications, stickers,

grass

70 x 65 x 35 3/8 inches (177.8 x 165.1 x 89.9 cm)

Michael Dean was born in 1977 in Newcastle Upon Tyne. He lives and works in London. Dean initiates his artistic process with his personal writings, transforming textual elements into sculptures and immersive installations that delve into themes of language, the body, and intimacy. A solo exhibition featuring Michael Dean's latest work, titled Four Fucks Sake, will be on display at the gallery until October 28, 2023.

His previous solo exhibitions are Smittens For Smoticons, Goswell Road, Paris, France (2022), Tendre-Sur-Estime, Yvon Lambert Gallery, Paris, France (2022), Unfuckingtitled at CC Strombeek in Flanders, Belgium (2021), A Thestory of Luneliness for Fuck Sake at Andrew Kreps Gallery in New York (2021), Michael Dean - The End at Converso in Milan, Italy (2020), Tu texto aquí at Museo Tamayo in Mexico City, (2019), Michael Dean: Laughing for Crying at Lismore Castle Arts in Lismore, Ireland (2019), Having you on at BALTIC Centre for Contemporary Art in Gateshead (2018), Teaxths and Angeruage at Portikus in Frankfurt, Germany (2017), Sic Glyphs at South London Gallery, London (2016), and Lost True Leaves at Nasher Sculpture Center in Dallas (2016).

Dean was nominated for the Turner Prize in 2016 and for the Hepworth Prize in 2018. In 2017, Dean participated at Skulptur Projekt Münster. His works are featured in significant public collections, including Tate, London; Henry Moore Foundation, Hertfordshire; Walker Art Center, Minneapolis; S.M.A.K. Gent; Arts Council Collection, London; Kadist Art Foundation, Paris; The Hepworth Wakefield, Wakefield; and Nasher Sculpture Center, Dallas.

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Andrew Kreps Gallery is a contemporary art gallery located in the Tribeca neighborhood of New York, representing the works of more than 30 international artists and estates.

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SELECTED WORKS Action>Potential (2023) Lucy (2023) The Betsey-Drake Equation (2022) Andromeda Mission: Betsey Prototype I...

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Mythogeography, radical walking and counter-tourism are related concepts that amount to a potentially transformative approach to exploring the spaces around us. Our Editor spoke with Phil Smith, one of the leading proponents of these ideas, to learn more about how.

Phil Smith wears many hats. He is a playwright, performer, activist, researcher, writer and radical walker. His work uses walking, site-specific performance and mythogeography to encourage people to burrow beneath the official and the obvious. His most recent work includes The Pattern, "a handbook for exploration, embodiment and art making in strange times" produced in collaboration with artist Helen Billinghurst, and , a "dark novel set in the 'Lovecraft Villages' of Devon" inspired by Phil and collaborator Tony Whitehead's disparate discoveries during a series of 'hyper-sensitised' walks in the area. Our Editor Sam spoke with Phil about this work, its implications and whether he classifies it as adventure.
"Well, usually with great difficulty!" laughs Phil when I ask how he describes what he does. "I try to avoid that question if possible."

Perhaps the best summary of his multi-disciplinary work is a desire to unearth "multiplicity of meaning" in places. "I try very much to work against the tendency that some institutions have, but also some practices have, which is to see certain places in a sort of homogenised way. So the heritage industry has a tendency to do this: its institutions tend to look for one story, or one dominant story, of a particular place, and then to simply embroider that story again and again."

This homogenisation hides other possibilities. "Particularly in heritage spaces, the visitor or person in the space is really being addressed as a mind all the time," Phil continues. "There is very little emphasis or invitation to engage sensually with those spaces. Very often there is not much invitation to engage imaginatively with those spaces."

But Phil is doing battle less with institutions than with "ways of seeing." He uses the example of how seeing the countryside through a "romantic bucolic" lens disguises certain features of rural landscapes, like the fact that luscious green fields are often that way not naturally, but thanks to the use of nitrogen.

Phil calls this multiplicity-seeking "mythogeography". Whereas the better-known practice of psychogeography is concerned with the impact of (typically built) environments on psychology, mythogeography "certainly is interested in that, but it adds to that with the narratives of place."

Narratives, to a mythogeographer, might be traditional myths, personal stories, historical accounts or even dreams. Any meaning layered into a place, objective or subjective, is worthy of curiosity. Mythogeography means an "approach to perception which is as much, or perhaps first driven by the anomalies rather than the regularities," Phil explains. "It assumes odd and strange interpretations and meanings. If the evidence doesn't support those odd or strange meanings then you back off from them. But you don't start with the official meaning ... you can make extreme proposals."

Phil references the Starbucks 'mermaid' logo, which is in fact a creature of medieval legend called Melusine - a woman with a serpentine bottom half. The Duke of Aquitaine, so the story goes, begged her hand in marriage. She agreed providing he didn't interrupt her Saturday baths. Unable to resist, the Duke intruded, shocked at what he saw, causing Melusine to turn into a dragon and flee. Designed as a symbol of coffee's seafaring history, the Starbucks 'mermaid' is in fact also a medieval portrayal of the multiplicity of female sexuality; by failing to allow Melusine a part of herself to herself, the Duke loses all of her.

Mythogeography underpins Phil's related idea of "counter-tourism". This idea here isn't anti-tourism. "In counter-tourism," Phil explains, "you're not really doing anything that looks very different necessarily from an ordinary everyday tourist visit to a particular site. But within that conventional activity you can subvert the whole thing."

In practice this means Phil is constantly looking to experience places in disruptive, creative, frankly unusual ways. He might take items like chalk, string or binoculars to engage with an environment as he goes. He has walked the same street every fortnight for two years, occasionally carrying red-and-white sticks and bags and wearing sardine badges to attract curiosity. And he recommends games designed to subvert 'official' viewing experiences of tourist sites, like trying to secretly collect as much dust as possible or trying to make eye contact with all statues in a heritage home.

The central tool in Phil's toolkit, though, is walking. "It's partly to do with its pace," he says. Even a slow cycle feels too fast. "But it is also to do with its extraordinary flexibility. If you're driving along in a car and you suddenly spot something, you often can't just kind of swerve off the road and run back to it."

But walking also opens the senses to an environment. This brings a vulnerability. "Putting your body at the mercy of the terrain: that is the key thing really. So you're not wrapped around with metal armour. If you step into a field full of bullocks that are a bit frisky, then you will feel the fear."

Phil calls this type of walking - sensitive, creative, full of subversive potential - "hyper-sensitised" walking. Hyper-sensitised walking assumes "that a complex webbing is all around you," and aims to tune into that webbing - to make one vulnerable to distraction and surprising turns of events. This, Phils says, is when "things start to happen." He tells stories of stumbling across a tantric history in Italian gardens and 18th century prison cells beneath a hotel, and notes that even picking a deliberately banal suburb has led him to intriguing nooks with the right mindset.

Another distinction of hyper-sensitised walking, Phil says, " would be that we probably wouldn't have a destination in mind. It wouldn't be a walk to go anywhere in particular. And if we had a purpose, that purpose might not last very long." One of his touchwords is MacGuffin: a device that sets a plot (or walk) in motion but really isn't important in itself. Indeed, it is impossible not to be inspired by his endless capacity for curiosity and distraction.

But there is a serious, even radical potential to this curiosity. Phil sees hyper-sensitised walking as a valuable way to challenge certain contemporary tendencies, like what he calls "the war on subjectivity" being waged by algorithms seeking to predict our preferences before we even know them. Hyper-sensitised walking also allows us to "use our bodies to ground our thoughts in the terrain" and resist the idea that we inescapably rely on technology for information.

None of this should be mistaken as an egotistical attempt at self-expression. Phil's pseudonym, Crab Man (which originated when people arriving for one of his performances, which involved a poster of Phil wearing a giant crab claw, began asking after the 'crab man') is in fact in part an attempt to remove his personality from his work. "It's not just removing your ego from it," he explains. "It's also allowing other people a bit more into it. A lot of this stuff is not anything to do with a particular individual vision or anything. It's to do with involving lots of people in lots of vision."

This is in contrast to the often personality-centric forms of adventure we see in adventure sports - a point Phil raises when I ask whether he sees his work as adventure. "I think it's really interesting how little that word comes up" in relation to his work, he reflects.

"It's got some negative connotations in the sense of colonial adventures, military adventures," he continues. He is also sceptical of "a sports take on walking or a sports take on journeying," or adventure based around "thrill in a very disconnected way: leaping off a mountain on the end of a large piece of plastic, which creates enormous emotional and psychic rushes, but is often framed with very little attention being paid to the place that that's happening, or what the cultural significance of doing that thing is."

Having issued these caveats, Phil does acknowledge the adventure in what he does. Indeed, if one idea of adventure is as escape, either physically or through thrill, Phil's work encourages a very different adventure - one concerned with going deeper and differently into places, and with cultivating an everyday mindset that sees places in peculiar but possibly transformative ways. It is difficult to think of a more worthwhile end.
Reading and recommendations

The Mythogeography website has more information about mythogeography, Phil's book of the same name and related concepts.

His Counter Tourism website is also a useful resource.

Phil's Triarchy Press author page is a useful jumping-off point to his many books.

Desire Paths, by Roy Bayfield, is a book about walks the author has undertaken, structured around mythogeographic ideas. Each chapter opens with a quote from Phil's book Mythogeography.

Ways of Making is the doctoral thesis of Helen Billinghurst, one of Phil's collaborators. Based on a series of walks Helen took across England, it explores "the relationship between the activities of walking as art, and making in the studio."

Phil Smith

Phil Smith wears many hats. He is a playwright, performer, activist, researcher, writer and radical walker. His work uses walking, site-specific performance and mythogeography to encourage people to burrow beneath the official and the obvious. His most recent work includes The Pattern, "a handbook for exploration, embodiment and art making in strange times" produced in collaboration with artist Helen Billinghurst, and Bonelines, a "dark novel set in the 'Lovecraft Villages' of Devon" inspired by Phil and collaborator Tony Whitehead's disparate discoveries during a series of 'hyper-sensitised' walks in the area.

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An interview with mythogeographer, radical walker and counter-tourist Phil Smith.

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Marguerite Humeau is a French artist living and working in London. Her research led process usually takes the form of large scale installations involving sound and sculpture in which she challenges key issues of the day using complex narratives that synthesise the past with the present.

Humeau's installation is conceived as a confrontation between life and death, with the gallery transformed into part temple, part laboratory for the industrial production of an elixir for eternal life. At the heart of the space, two semi-abstracted white polystyrene sculptures based on Ancient Egyptian gods, Wadjet (King Cobra) 2015 and Taweret 2015, merge the organic nature of the human body with biological engineering.

Accompanied by the synthetic sound of Cleopatra's ethereal voice, this hypnotic yellow environment devised from poisonous black mamba python venom, evokes Cleopatra's death and acts as a reminder of nature's lethal powers.

Art Now is a series of free exhibitions at Tate Britain focusing on work by emerging artists.

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Marguerite Humeau: Echoes | Tate Britain

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Marguerite Humeau is a French artist living and working in London. Her research led process usually takes the form of large scale installations involving sound and sculpture in which she challenges key issues of the day using complex narratives that synthesise the past with the present.

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French-born artist Marguerite Humeau resurrects an eerie voice from the ancient past at Tate Britain. And she adds in some exotic fluids for good measure

Tate Britain, London
18 November 2017 - 15 April 2018

by EMILY SPICER

A loud, breathy, disembodied voice emanates from the room containing Marguerite Humeau's installation. It is a hissing voice - a woman's voice, a spirit of unknown intentions echoing from within a chamber painted in a vicious, acid yellow. In the centre of the room sits a conundrum. Two abstracted white objects are mounted on frames. One looks like a visualisation of sound waves, and seems to have a tail and a small head resembling a sentient orchid, if you can imagine such a thing. The other seems to be some symmetrical, alien organ. They are fed (or are they being milked?) by thin tubes containing a strange, orange mixture, which lead back to two opaque tanks, one holding a pale white-blue liquid, the other a deep red one.

The more you learn about the work, the stranger it gets. Familiarity with the materials only deepens the intrigue. The yellow paint on the walls has been made from the venom of black mambas, which Humeau sourced from a snake farm in Florida. The mysterious liquids wending their way through the transparent plastic tubes are hippopotamus milk and alligator blood. These substances offer a clue to the identity of the woman chanting hypnotically over the tannoy. This is the voice of Cleopatra, reconstructed synthetically by engineers in a laboratory in Cambridge, and it utters the closest approximation to the now extinct language the tragic queen would have spoken.

Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.

Humeau (b1986, Cholet, France) has worked with scientists before. Her graduate show at the Royal College of Art in 2011 involved the not insignificant task of reconstructing the vocal tract of a species of mammoth with the help of a collection of zoologists, palaeontologists, radiologists and biologists. She then turned her attention to a type of long-extinct "walking whale", a precursor to modern cetaceans and a two-metre-tall prehistoric mammal called an entelodont, sometimes known as a "terminator pig". The challenge lay in the fact that soft tissue (with a few notable exceptions) does not fossilise, so respiratory tracts and vocal chords had to be reconstructed with a healthy dose of educated guesswork. Once the structures were designed and moulded, Humeau forced compressed air through them, so that these long-dead creatures could speak again, albeit with a touch of artistic licence.

Humeau's projects to date aim to create what the artist calls ecosystems, self-contained worlds that draw you in to her alternative realities. They are inspired by the past, real or imagined (or, often, a conflation of the two) and flirt with abstract forms designed to confuse and disorient. When talking about her work, she frequently uses the word "horrific", which might sound a touch sensational, but there are certain facets of her work that do lend themselves to the horror genre.

Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.

For one exhibition - entitled FOXP2 (2016) - Humeau imagines a moment when elephants develop complex language as part of an imagined future without us. With their newfound abilities, they lament the passing of the herd's matriarch in a mournful chorus. But Homo sapiens do feature in this strange world. Humeau included vats of "liquid human", a mixture of the elemental substances that make up the human body. As strange as it seems, her assistants sourced the constituent parts from eBay and had carpets dyed with the resulting solution. In case you are curious about the colour of liquid human, it is a not-unpleasant pink, although the name might need tweaking for the Dulux colour chart.

Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.

Blurring the line between life and death - an unnerving idea, to be sure - is at the core of her practice. This is where Cleopatra comes in. The ancient Egyptians are known to us largely through their funerary practices, which sought to preserve the body for the afterlife. They believed that the underworld, and the dead souls that resided there, was accessible via liminal spaces at the back of tombs. For the Ancient Egyptians, the end of life on Earth was just the beginning of something more, something eternal. The two abstract structures that form the centrepieces of Echoes represent Wadjet, a protective goddess, who was represented as a cobra, and Taweret, the goddess of childbirth and fertility, represented in statuary as an anthropomorphised hippo. Together, these two beings are producing "an elixir of life", as Humeau calls it. But what is life? What does it mean to be living? The queen's voice has been resurrected, but it is a soulless phantom. Cleopatra the woman can never be brought back and this is part of the underlying tragedy of the work. Fragments of the past only intensify the loss of the whole.

Marguerite Humeau, Echoes, 2018. Installation view. Photograph: © Tate, Joe Humphrys.

Despite the biological origins of Humeau's installations, they always appear clinical and there is undoubtedly an esoteric slant to everything she does. Without reading an explanation, many of the gorier details would remain out of reach, and it is these almost unimaginable facts that contain the real shock factor. But the visceral experience makes seeking information too tempting and in this way Humeau draws us in to her world and fills our heads full of questions, ultimately leaving us disquieted and unsettled. She manages to combine the ancient past with an imagined future; one leaks into another as though the rules of time no longer apply. With Humeau, there are no rules. Anything is possible.

* Echoes is on display as part of Art Now, Tate Britain's programme of exhibitions, which seeks to promote emerging talent. Past exhibitors have included Tacita Dean, Marc Quinn and .

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French-born artist Marguerite Humeau resurrects an eerie voice from the ancient past at Tate Britain. And she adds in some exotic fluids for good measure

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Textiles sculptor, large scale, ecologies and environment.

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Cecilia Vicuña: About to Happen - Art Papers

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Cecilia Vicuña: About to Happen is Vicuña's first major solo show in the US, originally shown at the Institute of Contemporary Art in Philadelphia and exhibited at institutions nationwide. The exhibition featured installations, poetry, video, artist's books, and more than 100 precarios.

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Conceptual artist who works with natural elements such as light and natural landscape. She uses a lot of textiles installations. See her work, for example, 'A Laundry Woman'.

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detail, Pay Locals, 2023, cyanotype on cotton rag, 44 x 88 nches

Farrah Karapetian (b. CA 1978) is an artist and public thinker from Los Angeles. Recognized for her work in haptic, cameraless prints, Karapetian's broader strategy is a research based practice that engages multiple mediums to synthesize narratives of the agency of individuals in the face of personal or political change. Her work since 2015 has focused on the period between the World Wars as a moment at which contemporary vocabularies of anticapitalism, decolonization, and relations between genders were developed in transnational revolutionary creative practice.

Karapetian's artwork is in public collections that include the J. Paul Getty Museum, the Los Angeles County Museum of Art, and the Museum of Modern Art, San Francisco. She is a recipient of a Art Prospect Network 2021 Fellowship, spending June 2022 in Uzbekistan; a City of Los Angeles Individual Artist Fellowship (2020); a Fulbright Fellowship to Russia (2018); a Pollock-Krasner Award (2017); a California Community Foundation Mid-Career Artist Fellowship (2014); and a Warhol Arts Writers Grant (2013); among other honors.

Recent institutional exhibitions include Direct Contact: Cameraless Photography Now, Eskenazi Museum (2023); Sightlines SFMOMA, San Francisco, CA (2022); The Fabric of Felicity, Garage Museum of Contemporary Art, Moscow (2018); Synthesize, MOCA Jacksonville (2017); Light Play: Experiments in Photography, 1970 to the Present, Los Angeles County Museum of Art (2017); and A Matter of Memory, George Eastman Museum, Rochester, NY (2016.)

She holds an MFA from the University of California at Los Angeles and a BA from Yale University. As faculty in the Department of Art, Architecture + Art History at the University of San Diego, she works on reorienting the history and practice of various art mediums for a more critically engaged future. Connecting students to community partners in the Baja California region, she is currently working closely with the IRC San Diego and the Joan B. Kroc Institute for Peace and Justice to emphasize the expertise of refugees through art, film, and humanitarian practice.

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A select view of photograms, sculpture, and installations from artist Farrah Karapetian, who is currently based in Los Angeles.

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Christian Marclay's photograms reinvigorate two nearly-forgotten media: the cassette tapes of the 1970s and '80s and the cyanotypes of the 1840s. The cyanotype process dates to the dawn of photography and was developed by the English scientist Sir John Herschel. Utilizing a light-sensitive chemical mixture, cyanotypes are created by placing objects directly onto the surface of coated paper.

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Len Lye is an artist from New Zealand who is known for his experimental films, photograms and kinetic sculpture. In the ...

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The Metropolitan Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," September 23-December 31, 1989.

San Francisco Museum of Modern Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 28-April 22, 1990.

Los Angeles County Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," May 10-July 15, 1990.

High Museum of Art. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," February 5-April 28, 1991.

Museum of Fine Arts, Boston. "The New Vision: Photography between the World Wars. The Ford Motor Company Collection at The Metropolitan Museum of Art," June 8-August 4, 1991.

The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 1," December 4, 1992-May 4, 1993.

IVAM, Centre Julio Gonzalez, Valencia. "The New Vision, IVAM, Centre Julio Gonzalez, Valencia," January 20, 1995-March 26, 1995.

The Metropolitan Museum of Art. "Johnson Gallery, Selections from the Collection 33," September 23, 2002-February 23, 2003.

Smith College Museum of Art. "Bauhaus Modern," September 26, 2008-December 17, 2008.

Museum of Modern Art, New York. "Bauhaus 1919-1938," November 8, 2009-January 25, 2010.

The Metropolitan Museum of Art. "Reimagining Modernism - Photographs Rotation 4," July 20-October 20, 2015.

New York. The Metropolitan Museum of Art. "Making The Met, 1870-2020," August 29, 2020-January 3, 2021.

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László Moholy-Nagy | Fotogramm | The Metropolitan Museum of Art

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Inscription: Inscribed in ink on print, verso UL: "Moholy-nagy // Kameralose // fotografie (1926)"; inscribed in pencil on print, verso UC: "TOP"; inscribed in pencil on print, verso UC: "2 1/2 [line with arrows to left and right edges] // OVER ALL"; inscribed on circular paper label affixed to print, verso C: "38 3/4"; stamped in ink on print, verso LL [sideways]: "Popular // Photography // 608 S

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Opening Thursday 30th March, 6-9pm

31st March 2023 - 11th June 2023

London-based artist Felix Melia's solo exhibition Money for Nothing brings together the first exhibition presentation of his ambitious 35-minute film Money for Nothing (2021) with selections from Stages (2022 - ongoing), a new series of cyanotype patchworks.

A portrait of Melia's friend Tim Akister, Money for Nothing follows Akister as he looks and finds, trawling scrap metal and salvaging bric-a-brac. Stitching Akister's tall tales to their material traces, Melia excavates and reassembles a story that moves rhythmically from the 1970s to the present. Recovered treasures and the City of London's steel and glass skyline, a looming presence in the East London horizon of Akister's life, shimmer, refracting shifting conceptions of work and value. Cropping close, the camera guides our focus back towards Akister's gestures and expressions.

Accompanying the film, cyanotype patchworks connect waterlogged imagery of undeveloped plots gone to seed, places that no longer exist and other sites of potential. Moments of abstraction in the images signal a different way of looking-a consideration of urban dynamics beyond a place's face value. Exposed using sunlight and sensitive to further transformation the cyanotypes attend materially to cycles of destruction and renewal. A den of snakes slither across the patched scenes. Appearing to move between the canvases they mark thresholds, cross boundaries.

In Cell's Reading Room, archival materials selected from MayDay Rooms' collection by curator Jessie Krish reflect a historical context for Akister's stories. Ephemera from housing struggles in Tower Hamlets during the Thatcher years-marked by the 1980 and 1988 UK Housing Acts which brought an end to majority council tenancy in the borough, and sparked community mobilisations including mass squatting-points to local memory and forgetfulness in relation to housing and community. A public programme will expand on how unequal access to housing shapes experiences of community in East London today.

Felix Melia combines moving image, writing, installation and performance to address notions of public and private space, intimacy and agency. He explores the ways we perceive, move through and dwell in our environments. Selected presentations include Money For Nothing (screening), TOWNER Eastbourne, 2022; Public Displays of Affection, Jupiter Woods, London, 2017; Moving Sickness, De Ateliers, Amsterdam, 2017; Writer in Residence, Whitechapel Gallery, London, 2016; Ozu's Arsehole, Interstate Projects, New York, 2016; The Inhalation Show, ANDOR Gallery, London, 2016; Shoulder Blades (commissioned by Serpentine Galleries), Hackney Picture house, London and Govett Brewster, New Zealand, 2016.

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Opening Thursday 30th March, 6-9pm31st March 2023 - 11th June 202312-6pm Thursday-Sunday London-based artist Felix Melia's solo exhibition Money for Nothing brings together the first exhibition presentation of his ambitious 35-minute film Money for Nothing (2021) with selections from Stages (2022 - ongoing), a new series of cyanotype patchworks.

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György Kepes (Hungarian: [ˈɟøɾɟˈkɛpɛʃ]; October 4, 1906 - December 29, 2001) was a Hungarian-born painter, photographer, designer, educator, and art theorist. After immigrating to the U.S. in 1937, he taught design at the New Bauhaus (later the School of Design, then Institute of Design, then Illinois Institute of Design or IIT) in Chicago. In 1967 he founded the Center for Advanced Visual Studies at the Massachusetts Institute of Technology (MIT) where he taught until his retirement in 1974.

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Artist page for György Kepes (1906-2001)

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A photogram is not a photograph, not really. Sure, it is usually discussed as a subset of photography, and it was born around the same time, from similar chemistry, but is practically and conceptually only remotely related. It is no more a photograph than a photocopy, an X-ray or a digital scan. Photography typically uses lenses to project light on to film, and then on to paper, in order to render an objective representation of a scene or object. It changed the world because of its reproducibility, and because of its capacity for vivid mimesis.

A photogram, on the other hand, is a 1:1 scale negative record of a shadow. It is unique and unpredictable. Photographs tell sweeping, barefaced lies; photograms tell the truth, but only a thin slice of it. Genealogically, photograms have more in common with print-making, or even with the world's oldest known paintings: outlines of hands silhouetted by pigment blown on to cave walls in Indonesia and northern Spain, dating from around 40,000 BCE.

Is this why photograms, and other cameraless photographic techniques, currently proliferate in contemporary art? The ocean of images that surges and swells around us is mainly photographic; we are awash with manipulated half-truths and shameless fictions. Smartphones allow you to edit and enhance images seconds after you shoot them. We are all of us eloquent in the language of photography, from the shallow depth of field of the expensive SLR lens and the all-over focus of the large-format Hasselblad to the vignetted corners of yellowing Polaroid snaps. Even children can interpret the subtly different meanings of Instagram's palette of 20 filters.

Nathaniel Mellors recently embarked on a series of colourful and inexpert photograms of his own sculptures in order to contemplate, as he put it, 'a return to the cave'. They were exposed in complete darkness and developed in his friend's bathtub. Sam Falls has left lengths of hand-dyed fabric out in the sun with objects including tyres and planks laid on them, making basic photograms with exposures weeks- or months-long. Falls has also used coloured light to make luminograms - close cousins of the photogram, records not of shadows but of light itself. In pictures such as Untitled (PP 14) 2011 he emphasises this painterly process by applying acrylic to match the printed colour.

Liz Deschenes and Wolfgang Tillmans have made luminograms, respectively, of moonlight and fairy lights piled directly on photographic paper. Along with influential figures including James Welling and Walead Beshty, they use cameraless processes to reach for a kind of self-reflexive formalism. Beshty and Christian Marclay have both used the old cyanotype process, Marclay in prints of unspooled cassette tapes (another obsolete technology) and Beshty in a recent installation that archived objects from his studio as cyanotypes on chemically treated scraps of paper and card.

Some people contend that photograms came into existence over a century before photographs. The German physicist Johann Heinrich Schulze noted the darkening effect that sunlight had on a jar of silver nitrate solution in 1727. He cut out a paper stencil of letters, and amazed his colleagues by printing a word on to a piece of gypsum soaked in the solution. (It is sadly not recorded what he wrote.) This differed from subsequent photograms only in its impermanence.

William Henry Fox Talbot 's first 'photogenic drawings', as he called them, made during the 'brilliant summer' of 1835 by placing objects on paper photosensitised with salt and silver nitrate solutions, were mostly botanical records of plants and lichens. (Talbot and his pioneering colleagues were scientists first, and picture-makers second.) Lace and frilly fabric cast appealing shadows too. Although the term was not used until 1859, these were photograms.

Talbot unveiled his refined 'calotype' process in 1841. One year later, another gentleman scientist, Sir John Herschel, announced a competing invention: the cyanotype, which used potassium ferricyanide and ferric ammonium citrate. Cyanotypes are today better known as blueprints, and are noted for their permanence. Though the technique has a beautiful simplicity, it is not as sensitive as silver nitrate so is useless for incamera photography, only capable of generating photograms when exposed to light for long periods.

As with Talbot's photogenic drawings, cyanotypes were primarily used for botanical purposes. Their most famous exponent is Anna Atkins, who was a friend of both Talbot and Herschel, and wasted no time in adopting both men's inventions. Her self-published Photographs of British Algae: Cyanotype Impressions of 1843 is widely considered the first photobook.

As photographic technology advanced through the 19th century, the primitive photogram lay dormant, little used by artists until the First World War simultaneously shattered Europe's faith in the mechanics of the modern world and intensified the pursuit of new kinds of art. Dada embodied this contradiction absolutely: the movement was at once avant-garde and primordial, progressive and regressive. The painter Christian Schad moved to Zurich in 1915, where he associated with dada artists Hugo Ball and Hans Arp. Inspired by Talbot's photogenic drawings, between 1918 and 1919 he produced photograms that he called Schadographs. (Was the pun 'shadow-graphs' intentional for the German-speaking artist?) Instead of flowers and leaves, he arranged torn and crumpled paper, snippets of newsprint, fabric and hairballs - the grimy jetsam of modern city life.

Tristan Tzara, the leader of Paris dada, acquired examples of Schad's experiments and probably showed them to his friend Man Ray, who moved to Paris in 1921. The latter never acknowledged the influence, but produced his own photograms, which he branded Rayographs, in 1922. Man Ray's plagiarism notwithstanding, there is no question that he moved the genre forward from Schad's uncertain efforts. His Rayographs were produced not in daylight but in the darkroom, and his punchy compositions used graphically distinct forms, mainly massproduced consumer goods. They were published in Vanity Fair, and as product advertisements in Harper's. Their material uniqueness - which renders any photogram more akin to a drawing than a photograph - may seem at odds with the way they lent themselves to reproducibility.

This commercially inclined mix of technology, science and art also appealed to László Moholy-Nagy, who began experimenting with photograms in his Berlin studio in 1922. Unlike Man Ray, he employed less easily identifiable objects in his photograms, and used translucent or diaphanous materials to scatter light and imply depth.

In 1930 he hired fellow Hungarian György Kepes as his assistant; they both fled Nazi Germany in the mid-1930s and ended up in Chicago, where Moholy-Nagy established the New Bauhaus School of Design in 1937, appointing Kepes head of the poetically named department of colour and light. Kepes did not consider himself a photographer - he was a painter, a designer and a filmmaker - but the photograms that he made at the New Bauhaus are among the field's most revered. Though aesthetically refined, each of his photograms seems like an experiment with prisms, water droplets and explosions of light. ('I have tried to invent anything and I have never made an experiment,' crowed Man Ray, by contrast.)

The New Bauhaus survived only until Moholy- Nagy's death in 1946, but for under a decade it witnessed intensely inventive experimentation in all kinds of photographic techniques, not just photograms. Henry Holmes Smith, Arthur Siegel, Nathan Lerner, Lois Field and Max Pritikin were all either students or on the faculty at the school. It was Siegel's work that inspired Thomas Ruff to make a series of giant digital photograms - prints using virtual objects, built with 3D imaging software, as light masks over a virtual sheet of paper.

Ruff's photograms feel lifeless and chilly next to the work of artists such as Susan Derges, Jochen Lempert or Adam Fuss, whose pictures are energised by the knowledge that they have actually come into contact with the objects they represent, whether running river water, tiny frogs, rotting sunflowers, or splayed animal intestines. Like Lempert and Fuss, the young Swiss artist Raphael Hefti studied science before turning to art. In a darkroom, Hefti spreads combustible moss spores on photographic paper in his series Lycopodium, begun in 2010 and ongoing, which expose the paper when he sets them alight.

A similar alchemical sorcery is implied in certain photograms of the German photographer Floris Neusüss. After experimenting with body prints in the late 1960s and 1970s, in 1984 Neusüss hit upon a technique he called his 'Nachtbildern', or 'Night Pictures'. He would take pieces of photo paper into his garden during a nocturnal thunderstorm, and allow the lightning to expose impressions of grass, leaves and branches on to them. Around the same time, he produced the dinner table-sized picture Nachtmahl für Robert Heinecken, Kassel 1983, a homage to the gastronomic photograms of his friend, the Californian 'para-photographer' (as he liked to describe himself). Heinecken used the photogram process throughout his career to copy magazine images (usually pin-up girls or advertisements), but in 1983 he made a series of 'Foodgrams' - meals served on colour photographic paper.

The indexical thrill of the photogram lends itself, albeit impractically, to portraiture. The New Zealander Len Lye, known for his abstract films and kinetic sculptures, made a number of photograms in the 1930s and 1940s, when he was living in London. He persuaded notable subjects including Georgia O'Keeffe, Joan Miró and Le Corbusier to lie on the ground and press the sides of their faces to a sheet of photographic paper, sometimes augmented by decorative elements. The contemporary artist Farrah Karapetian also orchestrates photograms with human figures, although in her tableaux - featuring soldiers or riot police, for instance, and inevitably 1:1 scale - the contrivance of the drama is revealed in the painstaking methods that produced it, which include not only stock-still models but also handmade props.

The last word ought to go to Jason Lazarus, who found a more convenient way to capture the human body as a photogram. He discovered that when Robert Heinecken was cremated, in 2006, his ashes were divided into salt shakers and distributed among his friends and colleagues. Lazarus's Heinecken Studies 2010 depict Heinecken's remains as galactic pinpoints of light on coloured grounds. They elucidate their medium's noblest qualities: wacky science-lab experimentalism, auratic power, brass-tacks simplicity, absurdist humour and a reverence towards the chemical wonders of analogue photography.

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Out of the light, into the shadows - Tate Etc | Tate

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The photogram is an image made without a camera by placing an object directly on to the surface of a light-sensitive material and then exposing it to light. Since the dawn of photography it has been explored by various practitioners

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One of Britain's leading contemporary artists, Whiteread uses industrial materials such as plaster, concrete, resin, rubber and metal to cast everyday objects and architectural space. Her evocative sculptures range from the intimate to the monumental.

Born in London in 1963, Whiteread was the first woman to win the Turner Prize in 1993. The same year she made House 1993-1994, a life-sized cast of the interior of a condemned terraced house in London's East End, which existed for a few months before it was controversially demolished.

This momentous show tracks Whiteread's career and brings together well-known works such as Untitled (100 Spaces) 1995 and Untitled (Stairs) 2001 alongside new pieces that have never been previously exhibited.

On the lawn outside Tate Britain a new concrete sculpture, Chicken Shed 2017, will sit during the exhibition.
This exhibition is co-organised by Tate and the National Gallery of Art, Washington.

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Tate Britain's exhibition Rachel Whiteread is on one of the Britain's leading contemporary artists and this exhibition, the most comprehensive to date, celebrates over 25 years of her internationally acclaimed sculpture

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Giorgio Van Meerwijk's sculptures are often made from natural materials that at times are buried and then dragged from the earth like some ancient relic. His work considers ideas of liquidity, transformation, reception and gathering.

Giorgio Van Meerwijk (b. 1998, Toulouse, France) earned his BA in Fine Art and History of Art from Goldsmiths, University of London in 2020 and his MFA in Sculpture from the Slade School of Fine Art in 2023. His work was included in the Bloomberg New Contemporaries 2020 exhibition, hosted by South London Gallery, London and has since featured in group exhibitions in London, Newcastle and Scoppio, Italy.

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Giorgio Van Meerwijk's sculptures are often made from natural materials that at times are buried and then dragged from the earth like some ancient relic. His work considers ideas of liquidity, transformation, reception and gathering. Giorgio Van Meerwijk (b. 1998, Toulouse, France) earned his BA in Fine Art and History...

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Urs Fischer: Wave

In this video, Urs Fischer elaborates on the creative process behind his public installation Wave, at Place Vendôme, Paris.

Now available
Gagosian Quarterly Winter 2022

The Winter 2022 issue of Gagosian Quarterly is now available, featuring Anna Weyant's Two Eileens (2022) on its cover.

Urs Fischer: Denominator

Urs Fischer sits down with his friend the author and artist Eric Sanders to address the perfect viewer, the effects of marketing, and the limits of human understanding.

Awol Erizku and Urs Fischer: To Make That Next Move

On the eve of Awol Erizku's exhibition in New York, he and Urs Fischer discuss what it means to be an image maker, the beauty of blurring genres, the fetishization of authorship, and their shared love for Los Angeles.

Bourse de Commerce

William Middleton traces the development of the new institution, examining the collaboration between the collector François Pinault and the architect Tadao Ando in revitalizing the historic space. Middleton also speaks with artists Tatiana Trouvé and Albert Oehlen about Pinault's passion as a collector, and with the Bouroullec brothers, who created design features for the interiors and exteriors of the museum.

Augurs of Spring

As spring approaches in the Northern Hemisphere, Sydney Stutterheim reflects on the iconography and symbolism of the season in art both past and present.

Uncanny Delights: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray

Catalyzed by the exhibition Crushed, Cast, Constructed: Sculpture by John Chamberlain, Urs Fischer, and Charles Ray, Alice Godwin examines the legacy and development of a Surrealist ethos in selected works from three contemporary sculptors.

Fruit and Vegetables: Francesco Bonami on Urs Fischer

Fruit and vegetables are a recurring motif in Urs Fischer's visual vocabulary, introducing the dimension of time while elaborating on the art historical tradition of the vanitas. Here, curator Francesco Bonami traces this thread through the artist's sculptures and paintings of the past two decades.

Urs Fischer talks about reading during the pandemic lockdown, sharing five books-both fiction and nonfiction-that he has turned to while in self-isolation .

Urs Fischer: Leo

Journalist and curator Judith Benhamou-Huet leads a tour of the exhibition Urs Fischer: Leo at Gagosian, Paris.

Gagosian Quarterly Winter 2018

The Winter 2018 issue of Gagosian Quarterly is now available. Our cover this issue comes from High Times, a new body of work by Richard Prince.

Urs Fischer: Sotatsu

Urs Fischer and Francesco Bonami sat down with the Gagosian Quarterly to discuss Sōtatsu, a new painting in nine parts.

Urs Fischer: Things

In midtown Manhattan, a new sculpture by Urs Fischer, entitled Things, was debuted in May 2018. Fischer and international curator, Francesco Bonami, discuss this unique exhibition with the Gagosian Quarterly.

Derek Blasberg speaks with Diane Brown, president and founder of RxART, and with contributing artists Dan Colen, Urs Fischer, and Jeff Koons about the transformative power of visual art.

Mina Stone and Urs Fischer: Cooking for Artists

For Printed Matter's 2015 LA Art Book Fair, artist Urs Fischer and chef Mina Stone hosted an installation of a kitchen within Gagosian's booth. Here is a recap of the fair.

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Urs Fischer: Dasha, Davies Street, London, September 12-December 15, 2018

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Find our more about the exhibition Urs Fischer: Dasha at Davies Street, London. Installation views, works, editorial content, press, and more.

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Claire Baily (b. 1986) lives and works in London. Baily earned her BA in Fine Art at Goldsmiths College (2010), as well as her Postgraduate certificate in Learning and Teaching from Goldsmiths College (2022).

For Baily, the act of making is a form of cathartic cartography. Embracing both historical and contemporary casting processes, Baily's meticulous interment and patient excavation of biological forms produce works which hold entropy still, through which we might discover something new of time's undulations. Made whilst navigating heartbreak, the metaphorical dissection in 'Rest Now My Melancholic Heart' became a means for the artist to meet herself. The personal imbues the material in this work, exploring the echoes between the underworld and the human heart. What surfaces invites contemplation on both a human and anthropocentric scale; a 'terra incognita' with an elusive familiarity.

Selected exhibitions include: 'Terra Incognita', Castor Gallery, London (2022), 'Doubling Down' Castor Gallery at Leicester Contemporary, Co-curated with Georgia Lauren Stephenson, London (2021), ' The Stable Object in Precarious Times', Castor Gallery, London (2021), 'Habitual', Castor Gallery (2020), ' Habitat', JGM Gallery, London (2019), ' Contemporary Sculpture Fulmer', William Bennington Gallery, Buckinghamshire (2019), ' Reconsider Walls', High Gallery, Warsaw, Poland (2019), ' Ocular Inc', Thames-side Studios, London (2019), ' Skeleton Key ', Castor Projects, London (2018).

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Claire Baily (b. 1986) lives and works in London. Baily earned her BA in Fine Art at Goldsmiths College (2010), as well as her Postgraduate certificate in Learning and Teaching from Goldsmiths College (2022). For Baily, the act of making is a form of cathartic cartography.

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Thomas J Price at the V&A - Display at V&A South Kensington · V&A

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"I want people to recognise themselves and feel valued" - Thomas J Price

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Aliaskar Abarkas - The Community Whistling Choir

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Aliaskar Abarkas - The Community Whistling Choir

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Listen to Aliaskar Abarkas | SoundCloud is an audio platform that lets you listen to what you love and share the sounds you create.

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A photo artist whose work focuses on family conflicts, generational gaps and breaking traditions

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Fion Hung Ching-Yan, is a photo artist from Hong Kong, whose works focus on family conflicts, trauma, generational gaps, and breaking traditions.

When and how did you first start getting into photography?

I started getting into photography when I was in high school. At that time, my art teacher built a dark room in his school office and invited us to learn film development. Soon I spent all my lunchtimes in his office working on my films.

What were you first interested in when you started taking photographs, and how did that change over time?

Can you tell us a bit about your project "The Skeletons in the Closet?"

In 'The Skeletons In The Closet' I attempt to subvert my family's filial pressure on me by keeping our family scandals a secret. This is in response to the family trauma that occurred after my grandmother's departure in 2016. My grandmother's death brought huge changes in the relationship between my extended family, my parents, and me. Despite the fact that my extended family has done something terrible to hurt my parents, they still expect me to say nothing because of my role and my gender in the family. I was stressed out immensely and decided to respond to the incident in my own way - through photography. Ultimately this is how the series was born.

You use Chinese Folk tales to speak about the complex relationships within your family. What initially drew you to these folk tales?

The series of folktales I referenced is called "The 24 Paragons of Filial Piety". It is a set of Yuan-dynasty folktales about acts of loyalty from children to their parents. Among them, I am familiar with one story called 'Attracting Mosquitoes To Drink His Blood', which is about a loyal son who removed his upper clothes for mosquitoes to bite him during the middle of the night, so that his parents did not have to suffer. During my childhood, my dad used to tell me this story very often, and he asked if I would always be loyal to my family. This is the reason I chose the series as a metaphor to subvert my family's authority over me for my project.

What are you currently working on that you are excited about?

I am currently extending the idea of family and trauma from the project 'The Skeletons In The Closet' to a new body of work. I am thinking of using salt as a material to destroy images that represent my happy childhood. My grandfather started a family business a long time ago. He exported salt from a local mine in China to Hong Kong. Later on, he could afford to buy a salt mine in Fujian, where my family is originally from, and started a business by himself. He is now in his 80s and can no longer work, so he passed the family business on to my mother. My mother is responsible for the business now but my family has a hidden expectation of me: I should be the next person to take over this business. This expectation has put a huge amount of pressure on me, not only because of the abilities required to take over a business but also because of the connection between my extended family and me. Besides that, my family has argued about the inheritance of my grandfather. This brought even more conflicts between different family members and became a trauma to me. Therefore, I want to use salt as a metaphor of breaking family relationships for my next project. I am thinking about adding salt in the process of film development. I wonder what the final outcome of the images will be like. Besides that, I am redesigning my previous book project 'A Month With You', which is a book about the relationship between my mum and me.

You were born and raised in Hong Kong. How would you describe the art and photography scene there?

In my opinion, people love following trends in Hong Kong. The trends change very fast to suit people's desires, but they disappear as quickly again. I can never catch up with these trends. However, to me, it seems that not many people are interested in discussing the deeper cultural layer within our identities, for example, our original backgrounds and the history of our families. I think this makes me struggle a lot because my family has lived in a totally different way- I was born into a big family, and our relatives all lived very close to each other. My grandparents called their friends and relatives in China every day to catch up with them. Their actions made me feel strongly connected to my family roots, and so I was curious about my past. It feels deeply important to me to trace back my origin and to search for the meaning of my identity and belonging. My friends and I founded a photo book club called PhoBoKo in Hong Kong in 2019. It is a registered NGO now. We gather with our members and friends every month to discuss photography-related issues. We also organize exhibitions together.

Can you tell us a bit about the process you use to create your surrealistic images?

I would describe the process of creating my photo collages as a sort of digital drawing. The photos were taken in hotel rooms. I always chose the same hotel named "The Locke". They have 5 locations in London and I visited all of them! I chose this hotel mainly because of its sense of home, colorful backgrounds, and minimalist settings. The most important part is that this hotel does not include any British decorations, which I found in a lot of other hotels I stayed in. I filled the hotel rooms with objects or my own body. I arranged small quantities of objects and took pictures of them in sessions. Later on, I combined everything in Photoshop and duplicated the objects or myself, when I went home. I repeated the same action every time I started a new shooting until I got a total of 24 images. Sometimes, I had to reshoot the images because the positions of myself or the objects were wrong after combining them in Photoshop. In a later stage, I would test photos at home before going to the hotel rooms, to make sure everything worked for the final outcome.

I feel great and proud to be able to share my deepest feelings towards my family. I cannot seem to find another way to express myself in reality. I only care about how my parents react to my projects because they often seem to be irritated by the content I convey in the images. Most audiences love my images because of their striking colors and surrealist effects, but some people find it difficult to connect with my personal stories without seeing the real settings of my home or my living area. I bet the rest of my family would hate me if they knew what the contents of my projects are about, but I don't care.

If you wouldn't work as an artist, what would you do in life?

When I was small, my dream job was being a mother. It is because I thought mothers would have full authority to control their life. When I grew up, I was disappointed by this idea because in reality my mum was trapped by my family's scandals and traumas. Today, if I wasn't an artist, I think I would be a dog trainer because sometimes I think animals are more humane and easier to understand than humans.

You use a lot of vibrant colours in your work. Do they have a specific meaning to you?

I am sensitive to colors, and I think each color has its own meaning, such as a particular emotion or a symbol of something else. I regard colors as a tool to convey my emotions most of the time.

What kind of symbols do you consider especially important for your work?

The use of red color is especially important to my series "The Skeletons In The Closet" because it represents Chinese tradition to me. My presence in the collages is also an important symbol because it represents my own role and gender in relation to my family. The reason I used myself as the model is that I see the images as my self-portraits- they talk about my personal situation and struggles within my family. If I used someone else, it feels less about myself and more about my point of view towards gender and inequality in traditional Chinese families. I used a lot of repetition in my images. This is due to the invisible reality that I wanted to create. By repeating objects, I want to create a sense of messiness to show the chaotic feelings I have in mind with my family's situation. Some props are references to the Chinese folktale "24 Paragons of Filial Piety", while others are related to objects that are mostly seen in my family.

How do you decide if a college is finished or not?

The advantage of making a collage is that I can always add or delete things in the images. I decide if a collage is finished if I cannot find spare spots to fill in anymore, but a few years later, maybe I will change the compositions again.

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Meet Visual Artist Fion Hung Ching-Yan - Picter Blog

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Fion Hung Ching-Yan, is a photo artist from Hong Kong, whose works focus on family conflicts, trauma, generational gaps, and breaking traditions.

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Sutapa Biswas: Lumen | Kettle's Yard

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Kettle's Yard is the University of Cambridge's modern and contemporary art gallery. Kettle's Yard is a beautiful house with a remarkable collection of modern art and a gallery that hosts modern and contemporary exhibitions.

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Explore John Cage's Personal Library

Cage's personal library, housed at the John Cage Trust, is a reflection of his wide ranging influences and interests. The library, photographed by James Daubney in the Cage/Cunningham loft, has now been carefully catalogued and can be explored here.

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The official site for information about the life and works of John Cage, administered by the John Cage Trust.

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Railings - Musée cantonal des Beaux-Arts

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Francis Alÿs has been walking since 1990. He started his walks in Mexico City, his chosen home since 1986, and has continued in São Paulo, London, Istanbul and Jerusalem, among others. Alÿs is the ‘artist as walker’ par excellence, one who explores and re-imagines the city by the routes he follows through it. In Railings, […]

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Exhibitions

QUALCOSA NELL'ARIA / SOMETHING IN THE AIR
Fondazione Sandretto Re Rebaudengo
Turin, IT
March 17th - June 12th

Current Long Term Commissions

CHISENHALE GALLERY
London, UK
2023

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Editions / Publications

TOMORROW IN YOUR HANDS
Rory Pilgrim
224 pages
Designed by Modern Activity
Mousse Publishing

THE HORSE HAS THE PURSE
Etching and Nail Polish on Paper
Unique Edition of 12
Produced by Kunstverein Für die Rheinlande und Westfalen and Köln Kunstverein

MAXIMUM CRISIS/MAXIMUM CALM
LP
Released by Badischer Kunstverein and Apparent Extent

THE RESOUNDING BELL
Foil Block Print
South London Gallery Editions

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Adaptive Use Musical Instruments (AUMI) Software that enables students who have very little voluntary mobility or other varieties of impairments to create and perform electronic sounds and sequences in order to participate in solo and ensemble electronic music improvisation and composition.
Read more

The Telematic Circle is an interest group that uses and develops applications for telepresent music performances. The group supports the creation of new art that specifically addresses broadband transmission systems as a new medium.
Read more...

The Avatar Orchestra Metaverse is a global collaboration of composers, artists and musicians that approaches the virtual reality platform Second Life as an instrument itself.
Read more...

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Adaptive Use Musical Instruments (AUMI) Software that enables students who have very little voluntary mobility or other varieties of impairments to create and perform electronic sounds and sequences in order to participate in solo and ensemble electronic music improvisation and composition. Read more The Telematic Circle is an interest group that uses and develops applications for telepresent music performances.

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In 2021, New York curatorial platform Blank Forms published Organic Music Societies - a book focused on the interdisciplinary work and lives of avant-garde jazz musician Don Cherry and textile artist Moki Cherry.

The publication, which was edited by Blank Forms founder Lawrence Kumpf and artist and musician Naima Karlsson - Don and Moki's granddaughter - along with Don Cherry biographer Magnus Nygren, formed part of the platform's larger project under the same name. Encompassing two records, an exhibition - curated by Karlsson and Kumpf - and a performance programme, the Organic Music Societies project delved into intersection of Don and Moki's creative works and their collaborative experiments in the art of living.

It's these pioneering communal artistic experiences and experiments of the couple that feed into this June's Terraforma Festival. Where the Italian event's post-Covid return last summer focused solely on the rave - as co-founder and artistic director Ruggero Pietromarchi puts it, "for once, we just danced. It was really about being all together again after two years of social distance" - Terraforma 2023 is centred on the community at its core along with an emphasis also on the non-club programme. As part of this, Karlsson and Kumpf will be giving a talk on their Organic Music Societies publication. This is set to take place in a domed structure inspired by the one at Sweden's Moderna Museet where Don and Moki Cherry spent time both teaching and creating art in 1971 along with their children Eagle-Eye Cherry and Neneh Cherry - who is the mother of musicians Mabel and Tyson as well as Naima.

Ahead of Terraforma - and also the first solo exhibition of Moki Cherry's work in London opening at the ICA later this month - we spoke with Pietromarchi, Karlsson and Kumpf about the enduring relevance of Don and Moki's experiments in the art of living, the regenerative capacity of art and more.

Crack: How did you first meet and end up working together?

Naima Karlsson: Terraforma already had connections with Blank Forms, that was how we ended up meeting the other year - which was after we'd been doing the book project with Blank Forms. We started doing that with them quite a while ago, it became a longer and bigger book because of Covid. We started talking about doing some kind of archiving collaboration with [Blank Forms] in 2018. There's lots and lots of material that I've gradually been working on, organising and cataloguing. When I met Lawrence, he was interested in helping in digitising some of it and then that was what ended up becoming the book project with them and it came out in 2021. Originally, it was supposed to be more like an exhibition and music project. And then because of Covid it became mostly focused on a book.

First of all, Lawrence approached us interested in doing a bigger exhibition in New York. And then the project took a different shape and became a book which is great, there wasn't any proper published book about Don or Moki or the things they've done together. Then we did a concert in Paris. I think that that was the one that Ruggero was interested in, and we talked about doing something then.

Ruggero Pietromarchi: So, as a quick introduction, Terraforma is a three-day festival happening in this stunning venue just outside of Milan in Italy. It started in 2014 the idea was to terraform this space of Villa Arconati - which is a site from the 17th century that was abandoned for more than 20 years - and to start organising a music festival that could also have this potential of activating a regenerative process of the space.

For this upcoming edition I wanted to go back to the roots of the festival, of this communal experience. Through a friend of mine at the Bourse de Commerce I saw this interesting project about the Organic Music Society. So that's how I got into this beautiful universe, which resonates a lot with me through Terraforma's intention of regenerating a space through arts and culture and music. For me, it was essentially this kind of love story between these two souls, Don and Moki. They created this open space for music installations, performances, workshops, education, and a lot of other elements, which rang a lot of bells related to Terraforma for me.

In the beginning, we were thinking of an exhibition, but we didn't feel it was the right way to address the Organic Music Society [at Terraforma]. In the end, we thought of this architecture; Don and Moki were invited by the Moderna Museet in Stockholm to bring their own experience of organic music to the museum within this architecture of a geodesic dome, where they essentially lived for a couple of months or so in 1971. The idea that we're working on is to recreate this infrastructure, this geodesic dome within Terraforma for the three days and to make a space for what was missing last year with panels, workshops, installations and performances. We're working closely with the Domus Academy based here in Milan to make it an open process in rethinking this dome. At the same time, we have this legendary figure Bengt Carling who's the original architect that Naima put me in touch with, who built the original dome in the Moderna Museet. So we are creating this dome for the festival where Naima and Lawrence are going to introduce the Organic Music Societies through presenting the book.

Crack: Are there any parallels between the Organic Music Society and the community created through Terraforma?

RP: Well, there's a lot of different touch points. Mainly, of course, this architecture of the dome and then there's also a lot of music references, because there's [Don Cherry's] record that came out in 1972, Organic Music Society which is a masterpiece. And to me, that was also very interesting and important as a musician for Don Cherry coming from the New York free jazz scene, opening up to a number of sounds and musical experiences from all over the world. That's what I'm also trying to do within the music programme. There's a lot of music expression that, for me at least, resonates within the Organic Music Society. From people touching on the aesthetic of the family in a way, like the legend Dennis Bovell MBE who will play on the Sunday, and Naima will play as Exotic Sin with Kenichi Iwasa and her sister TYSON.

Also Beatrice Dillon, who for me is the perfect example of an artist who's bringing this legacy in contemporary aesthetic. She's going to perform together with this master of tabla percussions Kuljit Bhamra. That's quite an important expression of how these two aesthetics coming from the past and from the contemporary can converge together.

Crack: Is there anything from Don and Moki's work and their Organic Music Society that can be applied to imagining the capacity of art in our current society and how we live today?

Lawrence Kumpf: Naima and I started with the album Organic Music Society, which was really the inspiration of the project that we worked on together; and from that came this idea of making the "society" plural and making it expansive, imagining multiple societies. I think this is really Don and Moki's approach to thinking about 'world music' and thinking about how one can connect with different cultures; and this would include the culture that birthed jazz-which is the culture that Don is coming from-and viewing it on the level with these different musical folk traditions. I don't mean that in a pejorative sense, but in the sense of non-commercial music, these deep culturally specific practices that as a musician he can dive into and really learn and spend time with. And then move to another space, another way of educating oneself, and bringing all of this together in a way that I think is really respectful of these differences. I think that's a really instructive way to think of bringing divergent cultures together in a way that is perhaps meaningful in this current political moment.

NK: And at the time, for a variety of reasons, that came from circumstances and needing to find opportunities. Don and Moki - being visual and musical artists together - really tried to be open-minded and creative about where they could take their art and music together. The ways of combining that and taking it to other places. I also think Moki brought a lot to Don's music as an artist by thinking the two could be theatre or in a museum or in a school, as well as in festivals. That interdisciplinary approach to combining their practices and taking it to all types of different places that was outside of the usual institutions for jazz or for art. They could create these situations and other environments to share their work with the public or with an audience and also learn together. It wasn't so much about performer and audience.

I think that is something - especially now with everything being so corporate - still for artists and musicians, to find other ways of still being able to reach people. But [Don and Moki] were also doing that to find work. They needed to earn money and be creative about where they could take it; in 1972, they did 88 school workshops, travelling around the country to bring their workshops to schools, but they also probably found that through really needing to find work. This combination is still the same now for artists and musicians; it's so difficult to find the space to place your work and also to earn money.

What we can take from that is being open-minded about the kinds of spaces where we could share our work as artists. Iit's still really valid today. Maybe even more so with how corporate most spaces are where music and art is shown. And it's really difficult for many people to access that or it might not even be where we want to share our work. So it's about creating these other environments and other possibilities for experiencing it.

LK: One of the things that's really compelling that gets articulated in the book at different moments, is that across all of these different situations - whether it's Don and Moki working with school children, performing at a festival, Don rehearsing his band or whatever the situation is - there's a consistent approach to teaching the music. Whether it's with a band or a group of children, he approaches sharing and teaching in similar fashion. I think that this is a really compelling part of the practice. The way Don taught music to children was the same way that he taught it to his band members. So they could come together and perform that collectively.

Crack: Thinking about Don and Moki's experiments in the art of living - what does the art of living mean to or look like for you?

RP: I just wanted to kind of subscribe to what was said before about how this transverse model of encapsulating art within life was really essential. This really resonates within the same idea I try to develop with Terraforma, to make it a project with an intention and a meaning in a way.

Like what I was saying earlier, with an event that can regenerate a community space. With Villa Arconati it's a historical monument and there's many in Italy that are completely left alone and they need a reinterpretation. From my point of view only art can give this new life, this new interpretation, otherwise it becomes corporate.

Villa Arconati was private property of a noble family that then went bankrupt and it was acquired by a private owner who wanted to make it a golf club. And they got stopped by the municipality. But then the municipality couldn't handle this huge property. So it was abandoned. I think art and culture in general is the best way to give new life and potential, also on an economic level, to this kind of incredible heritage. But you're an artist Naima...

NK: I was inspired by growing up in my family. So of course, it connects to what we're talking about already, having grown up with a lot of creative people and already thinking that you can create your own world. Living or the art of living and what that can mean to you in your life as an artist, as well as the many things you can imagine and create around you, reflects on what you believe in.

A lot of that is obviously a visual art approach, which is Moki's home, which is still our family home. She's made and created nearly everything in the whole space. If you can imagine it you can create it and you can make it part of your world - whether that's with your philosophies of living with music or more self-sufficience. All of those things reflect a lot in her home. For example, making loads of the things around the house like furniture, clothes, growing vegetables, everything like that also reflects on my ideas of self-sufficiency. And making your art part of your lifestyle, which I think I still, in my own way, definitely value very much. Bringing creativity into your everyday life.

I still live in the house half of the time. So, of course, that influences the way that I think too. A lot of that is about improvisation as well; self-sufficiency and improvisation connects to that very much and so it's bringing that into your everyday life, your approach to living and everything. There are many possibilities, it's like a philosophy. It's interesting to hear Ruggero's ideas about the festival and how this dome space that will be at the festival is inspired by some of the things that Don and Moki did, and how they can connect to each other.

RP: I guess also Blank Forms in a way is such a space...

LK: I think the project that Naima and I worked on together is a really great example of how Blank Forms works as an organisation. Don Cherry is really well known in the United States, as, a pioneer composer and musician, coming out of this free jazz tradition with Ornette Coleman, but I think what we tried to do is really highlight how interconnected and divergent the discourses and communities are that he interacted with as a musician and artist and how that inspired him. So the idea of looking at Don with Moki and their collaborations together was a way to open up and expand the conversation by just taking what's there already but it has never really been highlighted. His work has always been compartmentalised as a musician within another tradition.

NK: For the project that we did together, it was focusing, like Lawrence said, on me basically showing the kind of things that Don and Moki did together, collaboratively. That was the focus of what the Organic Music Societies book is, that collection of material. And showing it was this joint thing and how that together they created all of those different manifestations of it.

In the book we did also share more information about Moki to explain who she was as an artist and how much of the things that people see that they just connected to Don Cherry's music was made by her. There wasn't a lot of that information out there in the world to know that she was actually an artist and making all of this visual material for the project. A lot of people think about the tapestries or record covers as a part of Don's music but don't really know who made it. So it's also important to publish and share the background story. That was the focus of the book, it shows what they were doing from different angles. Showing some parts separately but also how they're connected and their practices. In some parts, it's just Moki's writings and other interviews with Don, but it's all connected to what they were doing together.

Terraforma 2023 takes place in Villa Arconati, Italy, from 9-11 June

Moki Cherry: Here and Now is on at the ICA, London, from 31 May to 27 August

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Experiments in the art of living: Don and Moki Cherry's Organic Music

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Ahead of Terraforma 2023, festival co-founder Ruggero Pietromarchi speaks with Blank Forms' Lawrence Kumpf and Naima Karlsson about Don and Moki's work and their Organic Music

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Painting on ceramics, clay and narrative

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Influenced by a background in experimental filmmaking, Rochlin's paintings on clay have a distinct sense of movement and progression. She weaves together brief scenes with decorative patterns and natural elements, crafting cinematic montages in the round. 'Trans-Siberian Railway' (2023), for example, encapsulates a moment Rochlin captured on Super 8 film during her early travels along the Trans-Siberian Railroad in Russia. Steadying her camera on a man loitering by the tracks, she immortalized the instant he plucked purple irises from the ground and offered them to a woman leaning out of a passing train window. But in transferring this filmed story to a vessel, Rochlin has painted herself as the woman in the window, assuming the dual role of voyeur and protagonist. The train and its succession of windows ascend in a spiral reminiscent of a flickering film reel. Rochlin's inclination toward romance is most evident here; always enlisting others, it serves as a driving force that propels her art forward.

Rochlin likewise draws on her experiences in different parts of the world by incorporating tapestries and carpets encountered during her travels. Geometric patterns and decorative borders appear on such works as 'Green Tapestry with Poppies and Bites' (2024), in which rich green and chartreuse hues and delicate etched ornamentation travel along the wide curves of a bulbous form accented by three orange blossoms and three human bite marks.

In 2018, Rochlin developed the unique method of biting into unfired clay and inviting others to participate in this form of mark making. The resulting imprints, often embellished with touches of purple and gold, resemble both bruises and blossoms. These bites, which appear on multiple vessels on view, indicate a chorus of willing collaborators and reflect Rochlin's ongoing interest in seeking means to express erotic desire in gesture as well as image.

This collaborative impulse continues in other works, too, such as 'Honey Pot' (2024), where more than twenty fellow female Los Angeles artists have intricately etched genitalia onto an imposing clay vessel, or in Rochlin's loving visual quotations paying homage to Matisse and Giacometti. Whether through direct or indirect engagement, collaboration with other artists-both living and deceased-pervades her practice. Thus, Rochlin firmly asserts that she is not solitary in her pursuits but instead a member and beneficiary of a community formed across time.

'Jennifer Rochlin. Paintings on Clay' will include small recent paintings by the artist, each corresponding to a specific vessel on view. Rochlin often makes such paintings of her pots, placing them in the landscape surrounding her house and studio to work plein air, rendering the very plants and colors that envelop the vessels' surfaces. Since Rochlin does not create preparatory sketches for the figural narratives on her pots-she instead makes images spontaneously and intuitively in response to their forms-her vessels become veritable pages of a sketchbook, studies for paintings in a constant circuit of storytelling.

About the artist
Jennifer Rochlin was born in Baltimore, Maryland in 1968 and lives in Los Angeles, California. She received a Master of Fine Art from the School of the Art Institute of Chicago in 1999, participated in an exchange at the Universität der Künste Berlin, Germany in 1998, and received a Bachelor of Arts from the University of Colorado, Boulder in 1991. Rochlin is the recipient of the Individual Artist Grant from the Belle Foundation (2015) and the Durfee Foundation ARC grant (2007). She has had solo exhibitions at Sorry We're Closed, Brussels, Belgium (2022); Shrine Gallery, New York NY (2022); The Pit, Los Angeles CA (2020); Maki Gallery, Tokyo, Japan (2020); and Lefebvre & Fils, Paris, France (2018) among others. Her work is in the collections of the San Francisco Museum of Modern Art, San Francisco CA and The Mint Museum, Charlotte, North Carolina.

Rochlin is represented by The Pit, Los Angeles, and Sorry We're Closed, Brussels

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Jennifer Rochlin - Paintings on Clay - Hauser & Wirth

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Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by Partner and President Marc Payot

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Yinka Shonibare CBE RA - Yinka Shonibare CBE RA

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Yinka Shonibare CBE RA's interdisciplinary practice examines race, class and cultural identity through the media of sculpture, painting, photography, film, textiles and public works.

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Since its establishment more than two decades ago Lehmann Maupin has identified and cultivated the careers of an international roster of visionary and historically significant artists.

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Our major new exhibition explores our relationship with milk and its place in global politics, society and culture.

Featuring over 100 items including historical objects, artworks and new commissions, this will be the first museum survey to consider the complexity of this everyday substance and how it has come to be central to our perceptions of nutrition and 'good health.' It will also look at the introduction of scientific principles into farming and motherhood, and ask what the future of milk might look like.

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Our major new exhibition explores our relationship with milk and its place in global politics, society and culture. Featuring over 100 items including historical objects, artworks and new commissions, this will be the first museum survey to consider the complexity of this everyday substance and how it has come to be central to our perceptions of nutrition and 'good health.'

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Fri 06 Oct - Sun 21 Jan 2024

Tim Spooner is a critically acclaimed artist working across a range of disciplines to create often unpredictable and distinctive work.

He is interested in the ways in which we try to explain the world, such as through creation myths or metaphysics, the branch of philosophy that deals with abstract concepts such as being, knowing, identity, time and space. He experiments with how materials behave in order to better understand them, and from these materials constructs, as he says "collections of sculptures and objects which come together into ideas for possible universes."

In A New Kind of Animal he brings an exciting new commission to the Bluecoat, in the form of a host of furry, quivering animatronic sculptures. On display alongside this new commission will be an impressive body of Spooner's work, including over 190 works in collage, painting, sculpture and objects used in performances over the past 15 years. This survey of work will serve as a blueprint for the new commission; a set of instructions for 'a new kind of animal'.

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See an exciting new commission from critically acclaimed artist Tim Spooner at the Bluecoat, alongside over 190 works in collage, painting, sculpture and...

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B. 1996, Peterborough, England. Based in London, UK
Education
2015-2018 BA Fine Art, University of Derby

2018-2020 MA Painting, Royal College of Art
Solo Exhibitions
2024 Your Cheeks Are Wine, Meyer Riegger, Basel

2022 Dinner with a Show, Meyer Riegger, Berlin, Germany

2022 Manslaughter, Guts Gallery, London

2022 Yowl, Nevven, Gothenburg, Sweden

2021 White Bread, Cob Gallery, London

2021 Episodes, CCA Goldsmiths, London

2021 Clutching at Straws, Volt, Eastbourne

2021 It Clings like a Leech, Guts Gallery, London

2020 A Cure for Nose Bleeds, Marriots Way, Reepham, Norfolk

2018 Who is civilised? Gallery No.1, Repton
Art Fairs
2024 London Original Print Fair, Soho Revue

2024 Art Basel Hong Kong, Meyer Reigger

2023 Art Basel Miami, Meyer Reigger

2023 Art Basel, Meyer Riegger
Group Exhibitions
2024 The Arcadian Dream, Spurs Gallery, China

2024 NEW NOW: Part 2, Guts Gallery, London, UK

2023 Rose Tinted Glasses, Ojiri Gallery, London, UK

2023 Exhibition 01, Particular Ideas, London, UK

202 3 Touch-A-Touch-A-Touch-A-Touch Me, Berntson Bhattacharjee Gallery, London, UK

2023 Rage Comics, Huxley Parlour, London, UK

2023 Out Here, Steve Turner Gallery, LA, USA

2023 Saints and Sinners, Guts Gallery, London, UK

2023 The Object Stares Back, Tube Culture Hall, Milan, Italy

2023 (It's My Party) I Can Cry If I Want To, Guts Gallery, London, UK

2023 The Bioelectric Self Pit LA

2022 Roe, Back Room Gallery, London

2022 Villeggiatura, Nevven, Italy

2022 What Now, PM/AM

2022 Cherry on the Cake, Sothebys, Stockholm

2022 Blob, TJ Boulting, London

2022 In the Land of Cockaigne, Quench Gallery, Margate

2022 An Arcadian Kind of Love, Soho Revue, London

2021 Beano: The Art of Breaking the Rules, Somerset House, London

2021 Black, Bold, British, Christies, London

2021 Don't Go South, Studio Berkhiem, Stuttgart, Germany

2021 Play and the Post Peak, Factory Project, London

2021 Universes 4, Galerie Droste, Paris

2021 A New Art World, Guts Gallery, London

2021 'Introducing' at the Shop, Sadie Coles x Guts Gallery, London

2021 Citizens of Memory, The Perimeter, London

2021 Summer Show, Karen Tronel Gallery, London

2021 Selfhood, Berntson Bhattacharjee Gallery, London

2021 Safe as Milk, Arusha Gallery, Edinburgh

2021 When Shit Hits the Fan Again, Guts Gallery, Online

2020 Curated for Christmas, All Mouth x Bowes-Parris Gallery, London

2020 RCA Black History Online, David Lisbon, Online

2020 Love your symptom, but not too much, Blank Projects, Cape Town

2020 A Rudimentary Education, Art Lacuna, London

2020 London Grads Now, Saatchi Gallery, London

2020 Right Back at You, The Function Suite, London

2020 Begin Again, Guts Gallery, Online

2020 BLACK & WHITE, The Orange Garden, Online

2020 50/50, FOLD Gallery, London

2020 London's New Contemporaries, A Space for Art, Hari Hotel London

2020 Materiality and Connection, curated by Joe Hill, RCA, Online

2020 Optimistic, Singular and New, curated by Jony Ive, RCA, Online

2020 Urgency, Wit and Rigour, curated by John Bloomfield, RCA, Online

2020 I Graduated From My Bedroom curated by Victor Wang, RCA, Online

2020 Slivers and Remnants curated by Esther Leslie, RCA, Online

2020 RCA2020, RCA, Online

2020 Tomorrow: London, White Cube, Online

2020 Without a Painter, Fitzrovia Gallery, London

2020 Snapshot, RCA Hockney Gallery, London

2019 Meet Me in the Kitchen, UCA Farnham, Surrey

2019 Got it for Cheap, House of Vans, London

2019 Painting from the Other Side, Dyson Gallery, London

2018 WIP, Sackler, RCA Battersea

2018 Britannia Mill, Derby

2017 Smoke and Mirrors, Riverlights, Derby, England

2016 Ilam, Staffordshire

2014 Earth without Art, Spalding, England
Residencies
2021 Fores Residency, London

2020 HQI Summer Residency, London

2016 Extended Contexts, National Trust IIam, England
Artist Talks
2021 Olivia Sterling and Charlie Billingham in Conversation, CCA Goldsmiths, London

2021 In-conversation: Olivia Sterling and Sam Kindon, Volt Eastbourne, Sussex

2021 Drawing Around Food, Drawing Room, London

2020 HoP Around with Alexandria Smith, RCA, London

2020 Without a Painter in Conversation with Bolane Tajudeen, London

2019 Artist Talk,UCA Farnham
Awards
2018, Pro Vice-Chancellor / Dean's Award 2018 Degree Show Exhibition

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Olivia Sterling parallels modes of othering through painting cropped domestic scenes. These scenes focus on blackness, whiteness, and racism's small indignities and violence through a "slapstick" sensibility.

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‘Moon Dogs’ sci-fi sculptures

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Sculptural textiles

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@publiclibraryquilts Instagram

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Read about the role quilts & quilters have played in the history of art and agitation for social change.

"Outside of her home, however, Bailey noticed that quilting was often ignored or falsely sidelined as a harmless pursuit of housewives and community sewing groups. "It's a medium that traditionally doesn't serve patriarchal values, and works against normative power structures," she explains. "Quilts are so often community-made, and that's something that really challenges the patriarchal structures of art history."

Written by El Hunt for Bustle.

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Read about the role quilts & quilters have played in the history of art and agitation for social change. "Outside of her home, however, Bailey noticed that quilting was often ignored or falsely sidelined as a harmless pursuit of housewives and community sewing groups.

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Wearable pieces

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Wearable / sculptural textile

Holes for faces (humour?)

How can the viewer interact with the piece?

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Annie Whiles works with a collection of personal icons, gathered from encounters or confusions she has experienced. The images, photographs and objects gather in her studio and may lay dormant for several years until the right time when they are ready for a re-enactment through material imagining. The artist likens these icons to messages or signals, mediating between different worlds. She is interested in who magic belongs to, as a kind of cultural lost property and how magical realism might operate for the disempowered. Her work refers to an emblematic language, ceremonial, ritualistic and social artefacts of affiliation in the form of woodcarving, hand embroidery, and drawing. Whiles describes the process of carving as “a means to an end to see a wooden device in a room,” likening the process to archaeology, engaging with a material both dead and alive. She refers to what she calls a civic object, an object with a role, a shared object, that can be visited as a casual touchstone. The work acts as a test or a probe, travelling without moving, seemingly preoccupied, possibly exceeding its material conditions but unable to escape its own comedy.

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Subtle lighting changes - controlled lighting - capturing Spring light. Creating a sensory space

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Becky Beasley: A Slight Nausea: An Interior, 2013. Installation view at the South London Gallery. Photo Catalina Niculescu.

Sat & Sun 4/5, 11/12, 18/19, 25/26 Jan 2014.

This new live work by Becky Beasley is a purposely designed décor which traces her interest in the relationship between literary images and interiors. Evolving over four weekends, visitors are invited to spend time in the space.

Beasley uses this quote by Italian polymath Carlo Mollino to invoke the work, A Slight Nausea:
"If I were left alone I wouldn't move a single chair; the interior is the most 'neutral' I could wish for: it doesn't disturb me, it doesn't wrongly excite me, but it leaves me free to be alone with my imagination, we might called it my inner landscape, one which gives a certain tone to everything. But there does remain a perceptible on-going sense of slight nausea necessary to prevent acceptance, comfort."

The interior undergoes four subtle lighting changes, varying each weekend. The décor incorporates a linoleum floor design, tables and chairs and revolving newspaper racks containing weekend newspapers, take away copies of Carlo Mollino's essay on interiors, Utopia & Setting, and ring binders containing photocopies of Beasley's archive of newspaper cuttings, A Little History of The Interior: A Personal Archive (1994-2014).

The project is explored in a conversation with the artist on Wednesday 29 January. Please note A Slight Nausea is de-installed on 26 January, in advance of the talk.

Becky Beasley (b.1975) lives and works in Hastings. She graduated with an MFA from the Royal College of Art in 2002. Recent solo exhibitions include The Outside at Tate Britain (2012) and Spring Rain at Spike Island Bristol and Leeds Art Gallery (2013). Group exhibitions include The Narrators: Works from the Arts Council Collection, Walker Art Gallery, Liverpool (2013); Think Twice, Whitechapel Gallery (2013); The Imaginary Museum, Kunstverein Munich (2012).

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Becky Beasley: A Slight Nausea: An Interior - South London Gallery

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Sat & Sun 4/5, 11/12, 18/19, 25/26 Jan 2014. This new live work by Becky Beasley is a purposely designed décor which traces her interest in the relationship between literary images and interiors. Evolving over four weekends, visitors are invited to spend time in the space.

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Clay masks - sculpture - performance/video

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Scorpion 2021, Oct 29, 2021. Zadie Xa and Benito Mayor Vallejo. Curated by Priyesh Mistry. The National Gallery, London UK. Supported by Canada Council for the Arts

Photo by Andrew Bruce

Art Direction: Zadie Xa, Painting installation: Benito Mayor Vallejo and Zadie Xa, Costumes produced and designed by Manuel Vadillo with Zadie Xa. Special acknowledgement to Goom Heo, Paloma Proudfoot and Monica Caudri and Money Wang . Performed and choreographed: Jia-Yu Corti and Yumino Seki, Original Score: Sophie Mallett with jangguu and woodblock excerpts by Jihye Kim, Make up: Ophelia Liu, Wigs: Wigchapel, Wig dresser: Abigail Sansome.

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Scorpion 2021, Oct 29, 2021. Zadie Xa and Benito Mayor Vallejo. Curated by Priyesh Mistry. The National Gallery, London UK. Supported by Canada Council for the Arts Photo by Andrew Bruce Art Direction: Zadie Xa, Painting installation: Benito Mayor Vallejo and Zadie Xa, Costumes produced and designed by Manuel Vadillo with Zadie Xa.

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night mode Spike, 2023 Acrylic, oil pastels, fabric, embellishments, found matter, air dry clay; with embroidery 110 x 136...

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Alvaro Barrington: SPIDER THE PIG, PIG THE SPIDER, South London Gallery, London (2021); Mixing It Up: Painting Today, Hayward Gallery, London (2021); A Taste of Chocolate, Thaddaeus Ropac, London (2018), and through his ongoing Tt x AB collaboration with the painter Teresa Farrell.

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Watson Library’s collection of Afrofuturist books

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Kara Elizabeth Walker (born November 26, 1969) is an American contemporary painter, silhouettist, print-maker, installation artist, filmmaker, and professor who explores race, gender, sexuality, violence, and identity in her work. She is best known for her room-size tableaux of black cut-paper silhouettes.

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Creating prints on fabrics, making clothing

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Yinka Shonibare CBE RA - Yinka Shonibare CBE RA

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Yinka Shonibare CBE RA's interdisciplinary practice examines race, class and cultural identity through the media of sculpture, painting, photography, film, textiles and public works.

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Goldsmiths, University of London - BA Fine Art 2021 Exhibition

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The South London Gallery is free and open to the public Tues - Sun. The SLG presents contemporary art exhibitions, film and performance events and education projects for children, young people and adults.

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Bold Tendencies 2023:
19 May - 16 September
Programme Information Events & Tickets
Established in 2007 Bold Tendencies is a not-for-profit arts organisation based in the rooftop spaces at Peckham Multi-Storey Car Park in South London. Bold Tendencies created a public space in a disused building in the city and over 16 years has transformed the site into an experimental civic space and much-loved place of assembly.

Bold Tendencies celebrates the free enjoyment of public space in the city, welcoming participation in its rich, experimental programme and preserving open access to this special, spectacular place.

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Bold Tendencies 2023: 19 May - 16 September Programme Information Events & Tickets Established in 2007 Bold Tendencies is a not-for-profit arts organisation based in the rooftop spaces at Peckham Multi-Storey Car Park in South London.