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When you complete the Summer School you are automatically eligible for an interview for an undergraduate Fine Art course at Goldsmiths!

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When you complete the Summer School you are automatically eligible for an interview for an undergraduate Fine Art course at Goldsmiths!

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When you apply, make sure you remember to include a sentence about your participation in the Art Summer School in your UCAS application statement. More information about the courses available at the links below.

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Goldsmiths’ BA Fine Art will develop your practice and hone your skills. Plus you’ll benefit from London’s many art galleries throughout your degree.

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Use these photos in your application portfolios!

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Use these photos in your application portfolios!

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https://drive.google.com/drive/folders/1sDTPhFxojibp9npgIWPpGs_D-Kc8Afzr?usp=sharing

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Opening Event: Thursday 29th June, 7-9pm

Participants: Shadi Al-Atallah, Giulia Cenci, Miriam Cahn, Camille Henrot, Galli, Ebecho Muslimova, Frida Orupabo, Anna Perach, Paloma Proudfoot, and collectively Clémentine Bedos, Verity Coward, Assia Ghendir, Holly Hunter.

'I want to lay claim to the dark power of my monstrous identity without using it as a weapon against others or being wounded by it myself.' [1]

Featuring thirteen women and non-binary artists, Unruly Bodies presents artworks that explore the experience of embodiment today. The exhibition includes work that presents the body as monstrous, abject, grotesque, and liminal. It asks why this kind of figuration has become ubiquitous in contemporary art, where rather than being a negative attribute, the unruly body is a site of resistance in which monstrosity is reclaimed as a subjectivity that disrupts normativity and contests power.

The exhibition follows Paul Preciado's idea of the body as a 'somatheque', or a living archive that records the disciplining forces it has been subject to. Whether through gesture, action, or abstraction, the bodies in the exhibition viscerally evidence the emotional turbulence produced by living under conditions of patriarchy, misogyny, racism and ableism. Against the smooth and unified surface of normativity, the unruly body leaks, breaks apart, and laughs.

Artists in the exhibition draw on traditions of the grotesque, and abject, but shoot through these intersectional realities that expand and revise the terms. Historically held in a 'low' position, the unruly body is implicitly female, Black, crip, queer or other. The adoption of the aesthetic of the monster claims space for lived experiences that do not fit neatly into acceptable social conventions, and for those that are held as less-than-human. Through its liminality, and troubling of categories, the unruly body offers the possibility that the self is not fixed, but rather a complex web of interrelations in a constant state of flux.

[1] My Words to Victor Frankenstein above the Village of Chamounix; Performing Transgender Rage. Susan Stryker. 1994.

SUPPORTERS:
Crozier Fine Arts
Spazio A, Pistoia
Soy Capitan, Berlin
BIOGRAPHIES
Metamorph is a long-term collaboration between Clémentine Bedos, Holly Hunter, Verity Coward and Assia Ghendir. The multi-disciplinary project, which includes 16mm film, along with prosthetics, text, sound and performance-based works, draws on the classical myth of Daphne; the nymph who transformed into a laurel tree in order to escape being raped by the god Apollo. In Metamorph, this narrative - which is traditionally interpreted as resulting in Daphne's 'eternal silence' or 'loss of self ' - is reframed through a queer, transcultural and multi-species lens to consider alternative interpretations around issues of consent and social agency in their becoming-tree, and their relationship to landscape.

Shadi Al-Atallah is a multi-disciplinary artist working between London and Bahrain. Their life-sized distorted self-portraits explore mental health, queerness, and racial identity, inspired by spiritual practices, family history and their childhood in Saudi Arabia. Shadi Al-Atallah's own queer, mixed-race identity is bodied forth in vigorous, complex work that engages boldly with non-normative identities, composite cultural affiliations, spirituality, and mental health. Al-Atallah received their MA in Painting from the Royal College of Art in 2021, their work has been shown at Steve Turner, Guts Gallery, J. Hammond Projects, Cob Gallery, Perrotin, Christie's Auction House, Sadie Coles HQ, Fitzrovia Gallery, Blank Projects, Swim Gallery, Spit and Sawdust, b.Dewitt, 198 Contemporary Arts, and Tate Modern.

Miriam Cahn (b. 1949, Basel, Switzerland) lives and works in Stampa, Bergell (GR), Switzerland. Solo exhibitions include Ma pensée sérielle , Palais de Tokyo, Paris, France. Venice Biennale, 2022, Venice, Italy. t, Foundazione ICA Milano, Milan, Italy, 2022. Me As Happening , The Power Plant, Toronto, Canada, 2021. Me As Happening , Kunsthal Charlottenborg, Copenhagen, Denmark, 2021. Fremd das Fremde , Palazzo Castelmur, Stampa, Switzerland, 2021.In 2022; Being in the world: The Tenth Anniversary of the Long Museum, Shanghai, China. R.A.W. or the sirens of Titan, Kunstmuseum Appenzell+Kunsthalle Appenzell, Switzerland. Résister, encore, Musée Cantonal des Beaux Arts, Lausanne, Switzerland. Edvard Munch. In Dialogue, Albertina Museum, Vienna, Austria. In 2021; Collection François Pinault, Bourse du Commerce, Paris, France Arcimboldo, Centre Pompidou-Metz, France. Crespo Foundation, Museum für Moderne Kunst, Frankfurt-am-Main, Germany Another Energy: Power to Continue Challenging, Mori Art Museum, Tokyo, Japan. In 2020: Is Humanism Dead?, MoMA, New York, USA, My Perversion is the Belief in True Love, Pori Art Museum, Pori, Finland. In 2017; Documenta Athens, Benaki Museum, Greece, 2017.

Giulia Cenci (b. 1988, Cortona, Italy) graduated at the Academy of Fine Arts in Bologna, IT (2007-2012), received a Master of Fine Arts at St.Joost Academy, Den Bosch-Breda, NL (2013-2015) and she took part in deAteliers residency, Amsterdam, NL (2015-2017). Cenci participated in the 59th Venice Biennale 2022, The Milk of Dream s, curated by C.Alemani, she was one of the shortlisted artists for the Maxxi Bulgari Prize 2020 and she won the Baloise Art Prize at Art Basel 2019. Giulia Cenci lives and works between Amsterdam and Tuscany. Selected solo shows: equal minds, SpazioA, Pistoia; dry salvages, P/////AKT, Amsterdam, NL (2023); Hijia del aire, Museo Blanes, Montevideo, UY (2022); Giulia Cenci, curated by M.N. Farcy, MUDAM Luxemburg, Luxemburg, L (2020); tallone di ferro, curated by S. Risaliti & E. Francioli, Museo del Novecento, Firenze, IT (2021); Da lontano era un'isola, curated by C. Rekade, Kunst Merano Arte, Merano, IT (2019); ground ground, SpazioA, Pistoia, IT (2019); a través, Carreras Mugica (Hall), Bilbao, ES (2017); Offspring 2017 - DEEP STATE, curated by L. Almarcegui and M. Hendriks, De Ateliers, Amsterdam, NL (2017); Mai, Tile Project Space, Milano, IT (2014). Group shows include: Reaching for the Stars. Da Maurizio Cattelan a Lynette Yiadom-Boakye - Sandretto Re Rebaudengo Collection, Fondazione Palazzo Strozzi, IT (2023); Strange - Sandretto Re Rebaudengo Collection, Centro Andaluz de Arte Contemporáneo, Siviglia, SP (2022); Shapeshifters, curated by Anna Johansson, Malmö Konstmuseum, Malmö, SE (2020); Metallo Urlante, Campoli-Presti, Parigi, FR (2020); 15th Lyon Biennale / Jeune création internationale, curated by Palais de Tokyo curatorial team, Institute of Contemporary Art, Villeurbanne/Rhône-Alpes, FR (2019); Comrades of time, curated by Whatspace, Hardspace, Basel, CH (2019); FutuRuins, curated by D. Ferretti, D. Ozerkov, con D. Dalla Lana, Palazzo Fortuny, Venezia, IT (2018); That's IT!, curated by L. Balbi, MAMBO, Bologna, IT (2018); Figure di spago. Pratiche di narrazione, curated by Caterina Molteni, Fondazione Baruchello, Roma, IT (2018); Hybrids, curated by C. Driessen & D. Jablonowski, Lustwarande, Platform for Contemporary Sculpture, park De Oude Warande, Tilburg, NL (2018); Sessile, curated by J. Minkus, Clifford Gallery, Colgate University, Hamilton New York, USA (2016); Disappointment Island, curated by Galeria Stereo, Griffin Art Space, Varsavia, PL (2016); The Lasting. L'Intervallo e la Durata, curated by S. Cincinelli, GNAM, Roma, IT (2016).

Camille Henrot (b. 1978, France) is recognized as one of the most influential voices in contemporary art today. Over the past twenty years, she had developed a critically acclaimed practice, encompassing drawing, painting, sculpture, installation and film. Inspired by literature, second-hand marketplaces, poetry, cartoons, social media, self help and the banality of everyday life, Henrot's work captures the complexity of living as both private individuals and global citizens in an increasingly connected and over-stimulated world. In 2013, Henrot received widespread critical acclaim for her film "Grosse Fatigue", made during a fellowship at the Smithsonian Institution and awarded the Silver Lion at the 55 th Venice Biennale in 2013. She elaborated ideas from Grosse Fatigue to conceive her acclaimed 2014 installation "The Pale Fox" at Chisenhale Gallery in London. The exhibit, which displayed the breadth of her diverse output, went on to travel to institutions including Kunsthal Charlottenburg, Copenhagen; Bétonsalon - Centre for art and research, Paris; Westfälischer Kunstverein, Münster, Germany; and Tokyo Opera City Art Gallery, Japan. In 2017, Henrot was given carte blanche at Palais de Tokyo in Paris, where she presented the major exhibition "Days Are Dogs." She is the recipient of the 2014 Nam June Paik Award and the 2015 Edvard Munch Award, and has participated in the Lyon, Berlin, Sydney and Liverpool Biennials, among others. Henrot has had numerous solo exhibitions worldwide, including the New Museum, New York; Schinkel Pavilion, Berlin; New Orleans Museum of Art; Fondazione Memmo, Rome; Tokyo Opera City Art Gallery, Japan, and the National Gallery of Victoria, Melbourne, among others. Upcoming solo exhibitions include Lokremise St. Gallen (2023) and Fondazione ICA Milano (2023).

Galli (b. 1944, lives in Berlin) established herself in the West Berlin art scene in the late 1970s and early 1980s, when she carved out her own niche amidst the masculine transgression of the painterly style of Die neuen Wilden, by depicting bodies in states of vulnerability, disfigurement and ecstatic joy. From 1962 to 1967, Galli studied painting at the Saarland Art School in Saarbrücken. In 1969 she began further studies at the Hochschule der Künste in Berlin (today UDK). From 1992 to 2005, she taught at the FH Münster. Relevant exhibitions include Museum Frieder Burda, Baden-Baden (2023); Kunstmuseum Schloss Derneburg (2023); Nogueras Blanchard, Madrid (solo, 2023); Spaced Out, Gut Kerkow (solo, 2022); brunand brunand, Berlin (solo, 2021); 11th Berlin Biennale for Contemporary Art, KW, Berlin (2020); Haus am Lützowplatz, Berlin (solo, 2015); Saarländische Galerie im Palais am Festungsgraben, Berlin (solo, 2008); Kunstverein Augsburg (solo, 2005); Saarlandmuseum, Saarbrücken (2003); Museum St. Ingbert (solo, 2004); Musées de la Cour d'Or, Metz (2001); Stadtgalerie Saarbrücken (solo, 1992); Villa Romana, Florence (solo, 1990); Salzburger Kunstverein, Salzburg (solo, 1989); Städtisches Bodensee-Museum, Friedrichshafen (solo, 1985); Gropius Bau, Berlin (1983); Moderna Galerija Ljubljana (1983); Galerie der Berliner Festspiele, Berlin (solo, 1981); Max-Planck-Institut für Bildungsforschung, Berlin (solo, 1980); Modersohn-Becker-Haus, Bremen (solo, 1978).

Ebecho Muslimova (b. 1984, Dagestan) Muslimova received her BFA at Cooper Union in New York, NY in 2010. Muslimova has presented solo exhibitions at Magenta Plains, New York, NY; The Drawing Center, New York, NY; David Zwirner Gallery, London, UK; Galerie Maria Bernheim, Zürich, CH; White Flag Projects, St. Louis, MO and Room East, New York, NY. Her work has been included in group exhibitions at Kunstmuseum Basel, CH; ICA Miami, FL; Renaissance Society, Chicago, IL; Zuzeum, Riga, LV; Hirshhorn Museum, Washington, D.C.; Swiss Institute, New York, NY; Kunsthalle St. Gallen, CH. Her large-scale murals have been commissioned for biennials such as The Dreamers, 58th Edition of October Salon, Belgrade, RS and The 32nd Biennale of Graphic Arts: Birth As Criterion, Ljubljana, SI. In 2022 Muslimova was the recipient of the Borlem Prize, honoring artists whose oeuvre brings awareness to mental health issues & struggles. Her work has been featured in publications such as Forbes, The New York Times, Artforum, Art in America, Mousse, Artnet, Hyperallergic, and Cura Magazine, among others. Muslimova is included in Jeffrey Deitch's book, Unrealism, featuring 27 artists and major essays by Johanna Fateman, Alison Gingeras, and Aria Dean.

Frida Orupabo (b. 1986, Sarpsborg, Norway) and lives and works in Oslo. Selected solo exhibitions include Nicola Vassell Gallery, New York, ny, usa (2022); Fotomuseum Winterthur, Switzerland (2022); Kunsthall Trondheim, Norway (2021); Hours After, Stevenson, Johannesurg, South Africa (2020); Medicine for a Nightmare, Kunstnernes Hus, Oslo; The Mouth and the Truth, Portikus, Frankfurt am Main, Germany (2019); and A House is a House, Galerie Nordenhake, Berlin, Germany (2019). Selected group exhibitions include Kiasma Finnish National Gallery, Oslo, Norway (2022); Hasselblad Foundation, Gothenburg, Sweden (2021); Stevenson, Cape Town, South Africa (2021); Huis Marseille, Amsterdam, the Netherlands (2020); Moderna Museet, Stockholm, Sweden (2019), Serpentine Gallery, London (2017). She has participated in the Munch Triennial, Munchmuseet, Oslo, Norway (2022); 34th Bienal de São Paulo, Fundação Bienal, São Paulo, Brazil (2021); and the 58th International Art Exhibition, Biennale Arte, Venice, Italy (2019).

Anna Perach (b. 1985, Ukraine) is an Israeli artist living and working in London, UK. She holds an MFA in fine art (distinction) from Goldsmiths, University of London (2020). In 2022 Anna presented a solo show with Edel Assanti in London and took part in Artissima with ADA gallery where she won the Carol Rama award. She has exhibited internationally at galleries including: Richard Saltoun (London, UK), Sommer gallery (Basel, Switzerland) and Herzliya Museum of Contemporary Art (Herzliya, Israel). In 2021 Anna took part in Arco Madrid 2021 with The Ryder gallery and received the Ingram prize award. In 2020 she received a studio award with Sarabande, The Lee Alexander McQueen foundation as well as the Gilbert Bayes award. Recent publications include Artforum and Art Maze Mag.

Paloma Proudfoot (b. 1992, London) is an artist living and working in London, with an MA (Sculpture) from the Royal College of Art. Recent and forthcoming solo exhibitions include: The Lowry, Salford (2024); Soy Capitan Gallery, Berlin (2023, 2021 and 2019); Bosse and Baum, London (2022); Editorial Projects, Vilnius (2021); Sans Titre, Paris (2019); Cob Gallery, London (2018). Recent and forthcoming performances and group exhibitions include: Unruly Bodies, Goldsmiths CCA (2023); Bold Tendencies, London (2022); Off the beaten rack, Kunst im Tunnel, Dusseldorf (2022); CAPC, Musée d'art Contemporain de Bordeaux, France (2022); Den Frie, Copenhagen (2021); Hannah Barry Gallery, London (2021); Art by post, Southbank Centre, London (2021); Ferine, TJ Boulting, London (2021 and 2019); Sara Zanin Gallery, Rome (2020); Irish Museum of Modern Art, Dublin (2019); Tenderpixel, London (2018); Marso Galeria with Galerie Sultana and Sans Titre for Condo Mexico, Mexico City (2018).

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Opening Event: Thursday 29th June, 7-9pm Participants: Shadi Al-Atallah, Giulia Cenci, Miriam Cahn, Camille Henrot, Galli, Ebecho Muslimova, Frida Orupabo, Anna Perach, Paloma Proudfoot, and collectively Clémentine Bedos, Verity Coward, Assia Ghendir, Holly Hunter. 'I want to lay claim to the dark power of my monstrous identity without using it as a weapon against others or being wounded by it myself.'

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For her long - awaited project with Artangel , New York - based artist Sarah Sze is transforming a large Victorian waiting room on Peckham Rye Station that has lain empty for almost 50 years.

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Join the youth collective at Whitechapel Gallery (for East Londoners)

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Join the youth collective at Whitechapel Gallery (for East Londoners)

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Are you 15 - 24? Interested in creative projects? Come along to the youth collective, Duchamp & Sons Taster Evening to find out about becoming a member!

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Join the youth collective at South London Gallery (for South East London locals)

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Join the youth collective at South London Gallery (for South East London locals)

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Photo: Sam Nightingale

Come along to find out more about Art Assassins, the South London Gallery's young people's collective. Open to all 16-21 year-olds!

As an Art Assassin, you'll work on exciting creative projects with artists, meet other young people, and get an in-depth insight to the world of art and creative careers.

Join us on 12 Sep at the South London Gallery for a taster session with the group, find out more about what we do, meet other young creatives and play games. Refreshments are provided.

Sign up online to attend.

Any questions? Email artassassins@southlondongallery.org

ABOUT ART ASSASSINS

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 exhibitions and events.

ACCESS

Wheelchair Access and Disabled Toilets are available at this site.

Please contact mail@southlondongallery.org with access requirements.

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Art Assassins Taster - South London Gallery

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Join the SLG's collective of creative young people, for 16 - 21 year olds. Come along to our taster session on 12 Sep 2023 and find out more!

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BOLD TENDENCIES 2023: CRISIS

Emory Douglas
Jenny Holzer
Kahlil Robert Irving
Sandra Poulson
Abbas Zahedi

And a special off-site project with Gray Wielebinski at Selfridges

Artwork by Simon Whybray and Oscar Maguire

The Live Programme opens with the Philharmonia Orchestra performing The Planets by Gustav Holst, a spectacular astrological portrait of the celestial world, and closes with Gustav Mahler's psychologically disruptive Symphony No.1, , a powerful meditation on human life and its meaning, the cry of a wounded heart.

We welcome the return of The Multi-Story Orchestra for three new performances led by Kate Whitley, and opera director Polly Graham's production of The Silly Little Mouse , a cartoon-opera for children by Dmitri Shostakovich written under the suppressive thumb of a brutal state, starring a beautiful but dangerous black and white cat played by soprano Claire Booth.

Irish choreographer Oona Doherty, American bass-baritone Davóne Tines, Japanese pianist Maki Namekawa, Finnish conductor Emilia Hoving, Swedish-Norwegian violinist Johan Dalene and British pianist Nicola Eimer join us for the first time. Returning with new programmes are James McVinnie, George Barton & Siwan Rhys, Jeneba Kanneh-Mason and Isata Kanneh-Mason.

We celebrate the voices and work of Jay Bernard, Caleb Femi, Derek Jarman and Paul B. Preciado in new live productions. Our 'Slope Stage' opens with a programme dedicated to the organ. Perhaps better known in the cathedral or concert hall, the spatial conditions at Bold Tendencies are perfect for its vast, powerful sound and it is inaugurated with music by iconic American composer Philip Glass.

Click here for Information & Tickets.

Photography by Luca Migilore

EMORY DOUGLAS

Veteran Black Panther Party member, Emory Douglas is the former Revolutionary Artist and later Minister of Culture for the organisation, helping to define protest aesthetics in the post-Civil Rights era.

"The most prolific and persistent graphic agitator in the American Black Power movements" throughout the late 60s and 70s, Douglas was responsible for a wide range of media for the Party that addressed social and political issues of the day.

However, it was Douglas' involvement in the weekly The Black Panther newspaper (1967-1980) that established him as one of the 20th century's most influential radical artists.

Photography by Damian Griffiths.

With an international readership of 400,000 at its peak circulation during the 1970s, most issues featured the artist's bold, figurative illustrations. His signature drawing style used thick black outlines, bright spot colours, black and white textures, block text and photomontage.

Striving to create a visual language for and from the people, Douglas' use of clearly rendered, emotive imagery is a hallmark of liberation movements across the world.

Emory Douglas (b. 1943, Michigan, USA) lives and works in San Francisco.
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The former Minister of Culture and Revolutionary Artist for the Black Panther Party, Emory Douglas helped define the aesthetics of protest at the height of the post-Civil Rights era, cementing his status as one of the 20th century's most influential radical political artists.

Throughout the late 1960s and 1970s, the "graphic agitator" was responsible for a wide-range of printed media from posters, notecards, and pins, in particular designing all but one of the Party's weekly newspaper, with each issue marked by the artist's bold, figurative illustrations outlined in thick black line and contrasted with bright colours, block text and photomontage.

The clearly rendered imagery became a hallmark of liberation movements around the world as supporters calling for an end to the oppression and subjugation of Black, Indigenous, and other communities sought to project a spirit of shared struggle through a common artistic vocabulary; a visual language of global liberation movements that continues to this day.

Douglas' work has been shown in institutions across the world, including in the recent major touring exhibition, Soul of a Nation: Art in the Age of Black Power , at The Museum of Fine Arts, Houston (2020), Brooklyn Museum, New York (2019), de Young Museum, San Francisco (2019) and Tate Modern, London (2017). His work is in the collection of MoMA and part of their permanent display, Divided States of America .

Douglas has exhibited widely in America, including at OSMOS, New York (2022), Los Angeles Contemporary (2018), Gregorio Escalante Gallery, Los Angeles (2017), and Cantor Fitzgerald Gallery, Philadelphia (2014).

Now retired, Douglas continues to work as a political artist and activist, producing freelance design works discussing topics such as Black on Black Crime and the prison industrial context. Collaborations include with artist Richard Bell (2011-14), director Spike Lee (2017) and the Black Lives Matter Global Network (2018).

JENNY HOLZER

Displaying a continuous sequence of animated text, selections from Holzer's iconic series are woven together to ask how personal and political meaning is created within various systems of power. These statements run from lyrical and poetic to acidic and incendiary, speaking to a polarised world of desire and politics.

Photography by Damian Griffiths.

They include: - a series of maxims that are variously insightful, aggressive or comic; Inflammatory Essays - provocative 100-word statements that set sometimes fanatical political sermons against the certainties of common opinion; - enigmatic, instructive phrases concerning everyday life; - concise reflections of the fundamental dangers of one's environment; and - a meditation on living with loss.

Viewed in an era of acute ideological debate, where our exchange of words has never been more fraught, contested and misunderstood, Holzer's work stands more powerful and relevant than ever.

Jenny Holzer (b. 1950, Ohio, USA) lives and works in New York.
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For more than forty years Jenny Holzer has presented her astringent ideas, arguments, and sorrows in public places and international exhibitions. Her medium, whether formulated as a T-shirt, carved stone or an electronic sign, is text.

Celebrated for her inimitable use of language to provoke public debate and illuminate social and political justice, she works with both original and appropriated texts to deconstruct how personal and political meaning is created in various systems of power such as patriarchal, heteronormative, imperial or corporate consumer-oriented societies.

Starting in the 1970s with a series of DIY posters, and now through large-scale LED artworks and light projections on landscape and architecture, her practice creates a powerful tension between the realms of feeling and knowledge, rivalling ignorance and violence with humour, kindness, and courage.

Holzer has presented solo exhibitions at the world's leading cultural institutions and galleries as well as high-profile permanent and temporary commissions that include in major state and corporate buildings, as national monuments and in well-known cityscapes, public and private landscapes.

Recent large-scale projects include at Guggenheim Bilbao, (2019), Rockefeller Center, New York (2019), and Tate Modern, London (2018); recent permanent installations of her work include the National Museum of Modern and Contemporary Art, South Korea (2019), The United States Embassy in London (2018), Louvre Abu Dhabi (2017) and the New York City AIDS Memorial (2016).

Holzer represented the USA and won the Golden Lion for her presentation at the Venice Biennale in 1990. She has received several other prestigious awards, including the Art Institute of Chicago's Blair Award (1982), the Order of Arts and Letters diploma of Chevalier from the French government (2002), and the Barnard Medal of Distinction (2011). In 2023 Holzer received the Whitechapel Gallery Art Icon award in recognition of her groundbreaking and prolific practice.

KAHLIL ROBERT IRVING

Memorial to Labor is an installation of thirteen industrial clay pipes typically used in civic infrastructure, erected vertically and finished with black enamel paint. Together they evoke an ensemble of sooted chimneys or smokestacks.

The pipes are arranged to reflect coordinates of a map compiled by The Centre for the Study of the Legacies of British Slavery, illustrating properties in Peckham, Camberwell and Elephant & Castle that are associated with historical individuals, families and/or business with connections to the history of enslavement.

Photography by Damian Griffiths.

Emanating periodically from the pipes is Irving's first sound work, Bell Tower. Coming from a past of playing saxophone, he interprets a new sound reminiscing on the work of Charles Mingus' "Moanin", with the main solo played by Ronnie Cuber, and Jimi Hendrix's powerful blues track, "A Train's a Comin". Irving combines the salvation train metaphor with personal reflections on the importance of care, love, and memorial in times of loss and a fight for liberation.

Speaking equally to the language of the "Underground Railroad" - the network of brave abolitionists who worked together to engineer the extraction of enslaved peoples from the Southern states in the U.S. during the 19th century - Memorial to Labor offers solidarity to global issues of racism, racial equality and evokes music as a unifying power across past, present, and future.

Kahlil Robert Irving (b. 1992, San Diego, USA) lives and works in Saint Louis, Missouri and abroad.
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Kahlil Robert Irving's referential sculptures, presented as intricate mixed-media objects and large-scale installations, are informed by and reflect the physical and digital debris of Black life in America. Working primarily with ceramic and digital culture, his work is a layered exploration of Black life, death, remembrance, celebration and survival.

Interested in the formal qualities of urban environments, Irving treats his materials as vessels of conflicting social histories and uses his work to explore historical and contemporary processes of colonialism, commerce and white supremacy. These stories, and the communities they entail, are reflected in Irving's references to littered city streets, architectures of control and the overwhelming mediascape of digital life.

In 2018 Irving's first large-scale exhibition took place at Wesleyan University's Centre for the Arts, Middletown, USA. Selected exhibitions include the Singapore Biennial (2019), New Museum, New York (2021) and MoMA, New York - his first museum solo exhibition - in partnership with the Studio Museum Harlem (2022).

Irving is the recipient of prestigious awards including the Louis Comfort Tiffany Foundation Biennial Award (2019) and the Joan Mitchell Foundation Grant (2020). His work is in the collections of institutions such as the Whitney Museum of American Art, New York, USA, the Riga Porcelain Museum, Riga, LV and the Carnegie Museum of Art, Pittsburgh, USA.

In 2023 Irving will present new commissions for the Contemporary Art Centre, Cincinnati, the Modern Art Museum of Fort Worth, Texas, and The Museum of Contemporary Art Los Angeles. He will present solo exhibitions at the Walker Art Centre, Minneapolis, and Nerman Museum of Contemporary Art, Kansas.

SANDRA POULSON

Composed of materials and processes at odds with the true qualities of what is represented - from cast eco-resin to hand-sewn and screen printed fabrics - the daily bustle and human story of the market is brought to life with intimate and caring attention to detail, reflecting the life, labour and aspirations of those who work there.

Photography by Damian Griffiths.

Speaking directly to the escalating climate crisis, Poulson's installation is both an exploration of coal's relationship to class and urban space in Luanda, as well as a broader political provocation.

Sandra Poulson (b. 1995, Lisbon, Portugal), lives and works between London and Luanda.
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Sandra Poulson's work looks at the political, cultural and socio-economic landscape of Angola to analyse broader relationships between history, oral traditions, class and global political structures.

Focusing on the contrasting architectures, livelihoods and infrastructure of contemporary Luanda, Poulson's practice draws heavily on personal research and inherited societal memories of colonial Angola and its civil war to dismantle contemporary narratives through semiotic and archaeological studies.

Poulson is a Masters student in Fashion at the Royal College of Art and holds a Bachelors in Fashion Print from Central Saint Martins. She is the recipient of the MullenLowe NOVA Award and the Central Saint Martins Dean's Award (2020).

Her work has been exhibited internationally, including at ARCO, Madrid (2021) and Lagos Biennial (2019), and has had screenings at the Guggenheim, New York (2021), Salts, Basel (2021), and Boda Boda Lounge (2020), a video art festival that takes place across more than fifteen spaces in the African continent.

In 2021 Poulson exhibited in Bloomberg New Contemporaries , first at Firstsite, Colchester, and later at South London Gallery. In 2022 she presented her first solo exhibition in London at V.O. Curations and a site-specific commission for ACNE Studios in Stockholm.

Poulson will represent the British Pavilion at the 18th International Architecture Exhibition of La Biennale di Venezia 2023 with a new commission as part of the group presentation, Dancing Before the Moon, curated by Jayden Ali, Joseph Henry, Meneesha Kellay and Sumitra Upham.

ABBAS ZAHEDI

Best Before End is a participatory installation centred on a custom fermented beverage, produced in collaboration with East London soft drinks manufacturer Square Root Soda. The vinegar-based drink, or "Shrub", is a remix of the traditional Iranian drink sekanjabin - a nourishing refreshment typically served in summer and featuring locally-sourced honey, orange blossom, mint oil and blackcurrant.

Presented in an adapted shipping container, Best Before End creates a link between Zahedi's life in London with the historic practices of his maternal family, who were ceremonial drinks makers in Iran.

Together colouring stories of movement and cultural exchange with references to international commerce and the instability of global supply chains, Best Before End nods to the increasing effects these abstract networks have on our daily lives.

Open at specific times of the day, Best Before End invites audiences to receive one of these drinks and contemplate associated notions of care, migration, community and ritual in times of crisis. Otherwise locked shut, the installation creates a tension between these conditions and the failure of global systems of economic scarcity to uphold the space for community-oriented practices in our daily lives.

Abbas Zahedi (b. 1984, London, UK), lives and works in London.
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Abbas Zahedi's interdisciplinary practice blends contemporary philosophy, poetics and social dynamics with sound, sculpture and other gestures. With an emphasis on how personal and collective histories interweave, Zahedi's interest lies within the connections found or formed around specific contexts.

Through a non-approximate approach, which foregrounds the multiple specificities of a cite/site, and those beyond sight, Zahedi invites others into an ongoing conversation, enunciating his practice through careful gestures. Having spent time in London's spoken word scene, as well as performing as an MC, Zahedi often utilises sound to forge a connection to a sense of social intercourse.

Zahedi has presented solo exhibitions at Nottingham Contemporary, Nottingham, UK (forthcoming 2023), CAPC - contemporary art museum of Bordeaux, Bordeaux, FR (2022-23), Anonymous Gallery, New York, USA (2022), Belmacz, London, UK (2021), Chelsea Sorting Office, London, UK (2020) and South London Gallery, London, UK (2020).

In 2022, Zahedi was awarded the Frieze Artist Award for his project Waiting With {Sonic Support}. Other selected projects include with Eastside Projects, Birmingham, UK (2022-2023), Barbican, London, UK (2022), Whitechapel Gallery, London, UK (2021), Neurofringe, London, UK (2020 - ongoing), The Mosaic Rooms, London, UK (2021) and Brent Biennial, London, UK (2020).

The recipient of the Paul Hamlyn Foundation's Awards for Artists (2021), the Serpentine Galleries' Support Structures for Support Structures award (2021), SPACE's Artist Award (2021), Artangel's Thinking Time award (2020), and a Jerwood Arts Bursary (2019), Zahedi's works are in public collections including Tate and the Royal College of Art, London.

GRAY WIELEBINSKI

Exhibition, 2023

Commissioned by Selfridges for the 2023 Art Block. Programmed and produced by Bold Tendencies. On display 5 January - 1 October 2023 at Selfridges, Duke Street, London.

Photography by Andrew Meredith

Gray Wielebinski (b. 1991 Dallas, TX, USA ) lives and works in London, UK. In Wielebinski's expansive practice, incorporating installation , video , drawing , performance , collage , sculpture , and more , he explores intersecting themes such as mythology , power , identity , nationhood , desire and memory . Reconfiguring and transforming iconography and visual codes, his work interrogates pre - existing frameworks and belief systems and proposes alternatives.

Recent exhibitions include Love and a solo show at Gallery 12.26 West in Los Angeles, CA (2023) ; Nerves at Hannah Barry Gallery , London (2022) ; Frieze London 2022 with Hales Gallery ; Love at Bold Tendencies , London (2022) ; Testament at Goldsmiths Centre for Contemporary Art , London (2002) ; Oil and Water (2021) , a solo show at Hales Gallery in London; Means, his first curated show at VO Curations in London in 2021; and , a solo show at 12.26 Gallery in Dallas, TX (2020).

Recent residencies include at V.O Curations and City and Guilds in London in 2021 and 2019 respectively and at the Academy of Visual Arts in Hong Kong in 2018. His work has been written about extensively , including in ArtForum , The Art Newspaper , Tank , AQNB , Ocula Magazine and the Hammer Museum Graphite Magazine . His debut monograph , 100 Baseball Cards , was published with Baron Books in 2022. Wielebinski will have his first institutional solo presentation at the Institute of Contemporary Art in London in Fall 2023. Wielebinski's work is in the collections of Los Angeles County Museum of Art , CA , USA , San Francisco Museum of Modern Art Library & Archives , CA , USA , and the Benton Museum of Art, Claremont. CA.

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Emory Douglas Jenny Holzer Kahlil Robert Irving Sandra Poulson Abbas Zahedi And a special off-site project with Gray Wielebinski at Selfridges Artwork by Simon Whybray and Oscar Maguire The Live Programme opens with the Philharmonia Orchestra performing The Planets by Gustav Holst, a spectacular astrological portrait of the celestial world, and closes with Gustav Mahler's psychologically disruptive Symphony No.1, , a powerful meditation on human life and its meaning, the cry of a wounded heart.

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Image: Adeyemi Michael, Entitled, 2018.

Known as 'Little Lagos', Peckham is home to one of the largest Nigerian diaspora communities in the UK. Lagos, Peckham, Repeat: Pilgrimage to the Lakes is a major group exhibition looking at the connections between Lagos in Nigeria and Peckham in south east London.

The exhibition highlights the relationships, culture, shared history, communities and art that link the two places. Themes explored include transnational exchange, a sense of place and the contemporary metropolis.

The exhibition showcases works by thirteen Nigerian and British-Nigerian artists, bringing together sculpture, photography, sound and film.

"Lagos, Peckham, Repeat fascinates the most when it captures the commonalities between cities and communities across place and time, combining specific and shared experience."
- Joe Lloyd for Studio International

It features several new commissions, a site-specific installation and a collaboration with south London based brewery Orbit. The exhibition will also display work made during artist residencies, one in Lagos and one in Peckham, with an aim to further develop lasting creative relationships between the two places.

Artists include:

The exhibition is co-curated by Folakunle Oshun, founder and director of the Lagos Biennial, together with South London Gallery.

EXPLORE THE EXHIBITION
Find out more about Christopher Obuh and his work in the exhibition in our interview with the artist. Read our interview with Ndidi Dike to explore the themes and visuals of her new installation.
Residencies

The SLG will collaborate with GAS Foundation, Lagos resulting in UK-based artist Chiizii being hosted by GAS Foundation.

The SLG will also be hosting Lagos-based artist Christopher Obuh in the run-up to the exhibition.

Christopher Obuh's residency is supported by the British Council.

Exhibition supported by

Additional support from

Duro Olowu;

James Cohan, New York; Stephen Friedman Gallery; Goodman Gallery;

Art Fund's Jonathan Ruffer Curatorial Grant;

Lagos, Peckham, Repeat Exhibition Supporters' Circle.

Graphic design: Kieron Lewis

Access

Quiet hours with lowered sound will take place every Tuesday and Thursday, 5-6pm

It is dark and loud in the Main Gallery

Do not touch any artwork in the Main Gallery

Seating, ear defenders, ear plugs, magnifying glasses and torches are available upon request

Please contact mail@southlondongallery.org with access requirements.

Content guidance: Gallery 5 contains nudity and photography from the colonial era

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Lagos, Peckham, Repeat: Pilgrimage to the Lakes - South London Gallery

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Lagos, Peckham, Repeat: Pilgrimage to the Lakes is a major group exhibition exploring the connections between Lagos in Nigeria and Peckham.

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some women other women & all the bittermen

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Rehana Zaman is an artist from Heckmondwike based in London. Her work speaks to the entanglement of personal experience and social life, where moments of intimacy are framed against cultural orthodoxies and state coercion. Conversation and cooperative methods sit at the heart of her practice. She has exhibited widely in the UK and Internationally.

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The BA Fine Art & History of Art at Goldsmiths prepares you for a range of careers in the arts. Learn about this London-based fine art and art history degree.

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If you are applying for an Art or Design degree at Goldsmiths, University of London you will need to provide a portfolio as part of your application, find out what to include.

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Goldsmiths, University of London - BA Fine Art 2021 Exhibition

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Email: cherryaribisala@gmail.com

Instagram: @cherry_aribisala

Website: Drive

In Bloom (Red), Acrylic paint and black ink on canvas, 170cm x 120cm, 2021-22.

In Bloom (Blue), Acrylic paint and black ink on canvas, 170cm x 120cm, 2021-22.

A Bushman Can't Hide It, Acrylic paint and black ink on canvas, 200cm x 150cm, 2022.

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Email: cherryaribisala@gmail.com Instagram: @cherry_aribisala Website: Drive In Bloom (Red), Acrylic paint and black ink on canvas, 170cm x 120cm, 2021-22. In Bloom (Blue), Acrylic paint and black ...