An exhibition of paintings by Jeffrey Cortland Jones and Tom Wilmott
Saturday 9th December 2017
3.30 – 6pm
6th – 10th December 2017
Open Wednesday to Sunday 12-6 pm
An exhibition of paintings by Jeffrey Cortland Jones and Tom Wilmott
Saturday 9th December 2017
3.30 – 6pm
6th – 10th December 2017
Open Wednesday to Sunday 12-6 pm
10-13 January 2018
MA Fine Art Students at UCA Farnham
Deborah Davies (Dd) * Chris Horner * Bianca Hendicott *
Mirta Imperatori * Nerys Joseph
Open 10 – 13 January, 12 – 6pm | Private view Friday 12 Jan, 6 – 9pm
Lewisham Arthouse, 140 Lewisham Way, London SE14 6PD
The distinction within this group of artists is apparent. With their varying subject matter and methodologies, this show makes for an exciting exhibition, rich with ideas and concepts. The exhibition incorporates a diversity of multidisciplinary artwork. An array of mediums is combined, including photography, sculpture and installation.
Deborah Davies (Dd)
Dd’s work is a mixture of art and technology. Fascinated by conversation and feedback loops she combines electronics with textiles, wood and LEDs producing work that is both interactive and participatory.
Chris Horner graduated with a BA Honours in Fine Art from the UCA 2012 and is currently studying for his Masters in Fine Art. His work has been exhibited broadly most notably in May 2017 at the HLS Gallery for an International art show, and in September 2017 and an international arts festival in Venice, Italy.
Bianca Hendicott explores conceptual platforms such as the sublime and the digital aura through iPhone, film, software, fabric and installation. The work explores how light can be such a ‘body’ that affects the soul metaphysically.
This work reclaims experiencing the world through taking photographs. In an age where humans are pushed to be constantly connected through digital media, we are not experiencing the world directly any longer. Imperatori is concerned how we are more isolated than we have ever been.
Nerys Joseph is revisiting a place filled with memories as a photographic artist and documents what she sees. Curiously still, this is a place that has barely changed in four decades and is somewhat frozen in time: like a living photograph, breathing you in and exhaling you out.
30th November – 3rd December 2017
‘The Machine For Saying Sorry’ is an installation work by four people from different practices and interests. In this sense it may appear to link art, design, technology and music. However, it was not driven by any pre-determined purpose, issue, crusade, or funding requirement. So, what might this artwork be ‘about’? Well, perhaps a clue is in the title, although art often defies meaningful description, or categorization.
Since the 1970s, while economic growth has been immense, more than half of the vertebrate animal population has been lost. Some experts believe that the human species itself may go the same way. At the same time, the hype surrounding developments in robotics, AI (artificial intelligence) and ‘Big Data’ is getting as much attention as global extinctions. We are very confused. While some welcome a technological revolution that will save us from the drudgery of work, others fear that robots will, in some fiendish way, enslave us all.
Recently, it has become fashionable for AI experts to claim that machines will become empathetic. But this reveals a failure to grasp the difference between living systems and machines. Similarly, we often hear calls for politicians to apologise. But how many people know that apologising and saying sorry have almost opposite meanings? The ancient Greek word ‘apologia’ (ἀπολογία’) referred to the public defence of a religious belief. This is very different from expressing heartfelt remorse (i.e. as in saying ‘sorry’). Never mind, we might still need someone (or some thing) to excuse us, once we’re gone…
John Lunn composer
Sara Willett artist
John Wood curator
Private View on Thursday 30th November at 6.00pm, when the Machine will give its debut ‘performance’.
Thursday 30th November 2017
30th November – 3rd December 2017
Open 12-6 pm
UrbanPhotoFest will take place from 10-15 November 2017 and the theme is Cartographies. The festival aims to provide an engaging and culturally relevant programme that reflects on visual approaches to contemporary urban life and the image of the city. The programme of events includes the Urban Encounters conference, exhibitions, seminars, workshops, urban walks and portfolio reviews; all of which are overseen by a steering group of lens-media artists and urban researchers. The festival collaborates with a number of international arts and academic institutions, established and emerging artists, urban theorists and researchers. Together their work addresses critical urbanism within its varied and diverse forms, and explores how photography plays an important role in opening up debates about urban change, voice and the condition of the city.
10-15 November 2017
Open daily 12–6pm
Private view: Monday 13 November 2017, 6-9pm
12 October – 5 November 2017
DISTURBED, HACKED, REASSEMBLED
12 October – 5 November 2017, Wed-Sun 12-6pm
Opening: 11 October 2017, 7-10pm
Lewisham Arthouse, 140 Lewisham Way, SE14 6PD
Disturbed, Hacked, Reassembled explores how artists today are employing technology to stage, interrogate and celebrate the digital female body. Disturbed, hacked, and reassembled, the body is being experienced in new ways digitally and virtually.
Central to feminist critiques of sex and gender, the body is the site of visual difference and it is through the body that difference is experienced and lived. The development of technology and the inception of the Internet have opened up online spaces and virtual worlds that are inhabited by interactive avatars, orbiting 3D body parts and user generated identities. Disturbed, Hacked, Reassembled reflects on these developments and our enduring fascination with the posthuman. Are new technologies helpful for our understanding of gender or do they perpetuate traditional concepts of masculinity and femininity? Are subject and object fixed positions or can they be challenged by embodying the virtual? What do new imaging technologies mean for the representational and the real? By exploring a range of subjects including 3D digital modelling, the virtual body, the dissemination of the female image and digital healing, the project asks, what are the limits and freedoms of the digital body?
The exhibition presents new and existing works by three artists and an artist collective spanning moving image, virtual reality, animation and video installation. ‘Paradise Found’ (2017) by Lisa Carletta uses 3D scanning technology and animation to explore the disintegration and reconstruction of identity, the body and the digital self. She presents a digital avatar of herself which resists the body image ideals that are advanced online in 3D CGI image libraries. The reality of representation is also explored in Suzannah Pettigrew’s ‘IC€Y’ (2017), a four channel video installation that explores the fragility of social currency. Hierarchical systems and iconographies of the female experience are investigated and dissected using footage sourced online. Content is reassembled and assigned new forms, the video of a video of a video, information on information on information. Keiken present ‘Silicone_Animism | The Birth of Mother Digital’ (2017), an interactive installation where the cybersoul contracts in the interuterus. VR, video and sound trace the birth of the digital, a giant networked space fused with human interaction and technology. Advancements in technology are also investigated in ‘Sugar Walls Teardom (Homage To Dark Labia)’ (2016) by Tabita Rezaire. The work explores the contributions of black women’s wombs to the advancement of modern medical science and technology. The work attempts to heal exploited and abused female bodies and celebrate womb technology through an account of coercive anatomic politics.
Disturbed, Hacked, Reassembled also plays host to a programme of performance, discussion and workshops. Speakers from a range of backgrounds will exchange ideas surrounding the posthuman, the cyborg, digital eroticism, feminist digital art practices and the augmented body, as well as the gender gap in the world of technology, female representation online and the importance of digital exchange. Workshops led by artists and tech professionals give participants an opportunity to use the latest technology to reassemble, recreate, repurpose or resist their own ideas around gender, race, sexuality and the body.
By presenting these works together, alongside a programme of performance, discussion and workshops, Disturbed, Hacked, Reassembled demonstrates how the site of the female body, in a digital era, continues to pose important questions around commodification, gender binaries, representation, sexuality and race. As the discourse surrounding these subjects continues to develop, the project creates a space for reflection, a platform to disturb, hack and reassemble existing conditions and newfound knowledge.
Disturbed, Hacked, Reassembled is curated by DRIVE-THRU with thanks to Lewisham Arthouse.
We are super excited to have four performances/lectures over the course of the Open Studios weekend on 30 September to 1 October.
Please meet in the foyer and we will take you to the location of the performance.
Saturday 30th 1pm
We have the very talented Kerri Jefferis and Sophie Chapman, last year’s graduate studio award winners and they now have a membership with us. The two artists will embark on Behavioural Training for Astronauts for Earthlings. They describe it as ‘ an experiential situation, hosted on our dear planet, aimed at outer space. It introduces and prepares rookies to new notions not often present on earth such as; supporting others, avoiding or negotiating high risk environments, elements of self care and hygiene as well as vital space skills such as communicating across cultural differences.’
Saturday 30th 6.30pm
We have the debut performance of 4 Brown Girls Who Write – please join us in the garden for a reading of poetry by 4 brown girls, who er… write!
Saturday 30th 7pm
A live performance by Heart of Steel, a South-East London based steel band who will be there to warm us up before the garden party in the evening, where we will have music and jerk chicken being served!
Sunday 1 October 2pm
We have Chris Alton delivering a short performative lecture in his ground floor studio, on 1960s rhythm ‘n’ blues band Trident, drawing on the blog of Ben Ford. Trident were popular in Central America and the Caribbean from the mid-60s through to late-80s, when they vanished under mysterious circumstances. Ford’s blog traces their story and investigates their disappearance.
Sunday 1 October 3pm
Ruth Beale will do a reading from FFWD the Revolution (2014) which charts the the history of the Lewisham Arthouse building, the uses of each space, and the political ambitions of its occupants. Combining new writing and archive material, the work encounters presence and absence, ambition and legacy, from the Carnegie endowment to 75 years of public library service, from a brief occupation in the early 90s as a venue for raves to community protest, and the last 20 years’ tenure as an artists’ studio cooperative.
Combined with timed tours at 2pm and 4pm each day by artists to the artists where you are free to ask questions and explore the building!
Hope you can join us!
23rd September – 1st October 2017
Sam Austen makes 16mm films that create new worlds and landscapes by filming objects he’s made in the studio, often floating or moving somehow through specially-made rigs, utilising a range of in-camera effects, superimpositions and mattes. The process is much like a collage yet allows an element of chance into its construction and tempo.
He said of his work: ‘My interest is in looking and how humans see themselves, how the gaze is locked into our being, how the image in our mind with eyes open or closed is constant, and never really switches off.’
Sam Austen was nominated for Platform 2017 by writer and curator Attilia Fattori Franchini.
DEPTFORD X FESTIVAL 2017
Founded in 1998 as an artist-led project rooted in Deptford’s creative communities, Deptford X has grown to become one of the UK’s leading festivals of contemporary art. From 22 September to 01 October, we present a series of ambitious commissioned artworks within Deptford’s varied public spaces, as well as presenting the work of a wider community of mostly local artists through the Deptford X Fringe.
Friday 22nd September 2017
23rd September – 1st October 2017
Open Wednesday to Sunday 12-6 pm
SLAM Friday 29th open till 8.30pm
30th September – 1st October, 2017
Explore over 30 studios, meet the artists, buy art at affordable prices or just have a look around. There will be an ‘I Spy’ children’s activity trail, café, guided studio tours and a programme of exciting live performances throughout the weekend. We’ll have a pop-up café and jerk chicken stall to keep you going, and a bar in the evening.
Deptford X Platform artist Sam Austen will be presenting his exhibition Run!! For The Present in our Project Space.
Sam Austen makes 16mm films that create new worlds and landscapes by filming objects he’s made in the studio, often floating or moving somehow through specially-made rigs, utilising a range of in-camera effects, superimpositions and mattes. The process is much like a collage yet allows an element of chance into its construction and tempo. He said of his work: ‘My interest is in looking and how humans see themselves, how the gaze is locked into our being, how the image in our mind with eyes open or closed is constant, and never really switches off.’
Lewisham Arthouse supports artists and arts-based learning through creative workspace and specialist facilities. We run an exhibition and events programmes of visual art and experimental music. This echoes the original intentions of the Carnegie library building we occupy – to enrich communities by nurturing their creativity.
Saturday 30th September 12-8 pm Sunday 1st October 12-6 pm
13th – 16th September, 2017
Beecroft Garden School will be hosting an event at Lewisham Arthouse where all the art sold raises money for developing a special outside space and training for the children to revive Brockley’s tradition of bee-keeping!
Special Preview to reserve art work:
Wednesday 13th September 10am – 5pm
Visitors to Beecroft Garden School enter a reception area that has been designed as an open plan gallery and library space that is filled with works by children working both collaboratively and individually.
“The fact that art work is framed and exhibited around the school with a professional level of care clearly indicates the value placed on pupils learning and outcomes, fostering respect and self – confidence amongst the children” (Charlie Salter, Co-chair of The National Society for Education in Art & Design (NSEAD) South East Region)
All the works in this exhibition will be for sale in order to raise money for developing a special outside space for the children that will revive the local area’s tradition of bee-keeping. Beefriendly plants, hives and sculptures will all feature. The exhibition has already gained the support of art critics, gallerists and even the occasional collector eager to get work early.
“It’s great to see a school that understands bringing to fore a child’s innate creative spirit is of paramount importance. Who knows…perhaps one day one of the children from Beecroft Garden Primary School will be showing in the Tate, building architectural icons or writing life-changing novels.” (Oliver Basciano, Editor, International, of ArtReview)
Putting the arts at the centre of a Primary School’s ethos is a bold thing to do – but that’s exactly what Beecroft Garden Primary School has been doing since the school re-opened in 2012.
“The way you have developed the children’s creative skills and techniques, working on large scale cross-curricular projects, while maintaining outstanding academic results and Ofsted judgements, is truly inspiring! I always use your school as an example when teachers tell me that they do not have time to do arts projects due to needing to raise standards in English and maths.” (Philippa Beagley, Arts Award Trainer, Advisor, Moderator)
0208 692 2762
13 – 14 September
Lewisham Arthouse Project Space, 140 Lewisham Way, London SE14 6PD
13 and 14 September, 2017
14:00 – 22:00 (13 September); 10:00 – 13:00 (14 September)
Borders are a concept and a reality that restrict and permit people in different measure. Physical, social, psychological, they hold slow and they hold fast.
Creative Unions: Free Movement of Culture is a two day international artist gathering where the only desire is to make space to ask questions and share different forms of knowledge about what is proximate to us now; culturally, socially, historically, geographically, personally and politically. And it invites you. In fact, it invites you plus one.
CUFMC is a platform and exchange where individuals occupy space/s, sound and listen. It welcomes self-defining recent graduates to produce, provoke and participate in a convivial space where discussion around cooperation and cultural agency foreground any objects, images or situations we might create.
CUFMC is an open forum for sharing and debate rooted in the experience of cultural producers as active, global citizens with common insights, intentions and senses that unite; even when interpretations are undecided or conflicted.
The hosts, (Sophie Chapman and Kerri Jefferis, Paul Haywood and Basia Sliwinska) actively welcome marginalised voices and those interested in maintaining and extending cultural freedoms beyond the reach of political institutions.
CUFMC asks you to:
Bring a friend, colleague, family member or associate based in/from another country than you. You can bring them: in person, through social media, on the other end of a phone, through collaboratively produced content, an effigy or any objects you want to bring or any other way you can think of that might represent them in the space.
Plan something to share. Such as: a game, a rant, a movement, a song, a story, an image, an art, an object, a recipe etc. It could be something you want to say, or to try out with others. It should be something that allows you and others to gain knowledge or experience and bring you into contact with new ideas, concepts, realities etc – responding to the ideas raised in the blurb. You can specify what this is in the registration form.
Be available 13/14 September, 14.00-22.00 and 10.00-13.00 respectively.
Participants are asked to register before 5th of September for the event via an online form here:
Creative Unions: Free Movement of Culture – Registration now open!
13 and 14 September, 2017
14:00 – 22:00 (13 September); 10:00 – 13:00 (14 September)
15th – 19th August, 2017
Zoe Richardson and Vanessa Omer’s exhibition “Me, Myself ’n’ You” provides an experience for the viewer that they will never forget. This experience is dependant on the after affect that will be created for the viewer, in how it’s possible for the self and one’s body to be constructed in fragments. The work proposed will be installations such as projections and audio pieces, as well as some prints.
The self, the mask and ideas of identity form the conceptual axis of Zoe Richardson’s practise. Working mostly in film and photography to explore these ideas, Richardson takes herself as the subject, and within this exposes vulnerabilities and anxiety. The self (herself) presented masked or unmasked, hidden or revealed creates a highly personal viewing experience, but one in which collective contemporary concerns about identity and self-image are raised. While the work can make for an uncomfortable and challenging watching, the viewer becoming implicated as a possible voyeur, they also captivate and hold ones attention, leaving a lasting image that can haunt.
Vanessa Omer’s practise displays a heavy interest in the anatomical body with the use of functions and movements. Her work often is presented as a sensory based experience that aims to mesmerise and physically ‘affect’ the viewer within the space. With this sensory experience and atmosphere it provokes the essence of the familiar but also alienation of the body. Omer displaces the viewer from the environment in which the work is exhibited.
Thursday 17th August 2017
15th – 19th August 2017
20th – 23rd July, 2017
The web was meant to be our way out but has just become more corporate than the real. But what is real anymore anyway? The past is now the present. The press has always been biased but is BuzzFeed really that different than the Daily Mail or the Sun? And why is it now that we have the possibility to be free that we are locking ourselves up? We had a glimpse of hope but it’s far away now. Politics has become just another word for perception management. The definitions of truth and knowledge have changed within our lifetimes – but nobody can quite pin down their new meanings. Whistle blowers are becoming this generations rock-stars. But what does it all mean? Meme’s replace movements. Witchcraft over science. A collapsing façade. A coherent picture that doesn’t add up. Things are good good, double good. Or are they?
Thursday 20th July 2017
21st – 23rd July 2017
Open Friday to Sunday 12-6 pm
12th – 16th July, 2017
In 2015 artists Susan Beattie and Charlotte Law spent two weeks in semi-isolation on a petrified lava field at Fljótstunga, Iceland.
Now as we collectively slide through once unimaginable shifts they reconvene to collaborate on an exhibition of work inspired by that expansive landscape.
Lead by visions of the living dead love child of John Carpenter and Marilyn Monroe.
By material mythologising.
Opening on the 12th of July with a performance at 8pm, this site specific installation featuring new works – made from earth, fire, objects, guitars – will be in-situ for five days.
Beyond the opening performances are scheduled for 2pm and 4pm each day, with a special extended set in collaboration with invited sound artists for the closing on Sunday 16th from 2pm-3pm.
Wednesday 12th July
12th -16th July 2017
Open Wednesday to Saturday 12-6 pm
27th – 6th August, 2017
tempo process + grass investigates the connections between spaces and processes. Exploring themes of colour, material, environment, artefact and documentation, Gabb’s continued interest in re-contextualising ‘conventional’ fine art painting practices, considers it within the experience of installation through performative actions.
Manoeuvring in and out of systems and processes, and in and out of fine art and rudimentary materials and methods, tempo process + grass seeks to invert traditional notions of formal abstraction and material contextualisation: The limits of process art are explored in the internal volume of Lewisham Arthouse which seeks to explore and fill the gallery space with a diverse composition of materials, tempered by identifiable references in pivotal points.
Jonathan’s recent work black + multiple 24, was selected by Alison Wilding for the APT Creekside Open 2017. He has been recipient of a number of highly-coveted and competitive awards, including the WW SOLO Award in 2012, and winner of the international 2014 Saatchi Art Colour Showdown competition. Following his first solo exhibition SYSTEM at the WW Gallery in January 2013, Jonathan’s second solo show at A Brooks Art Gallery in November 2013, entitled Opera Rose, was met with critical acclaim and listed in the top 5 shows to visit in Whitechapel Gallery’s First Thursdays. Jonathan has also had works exhibited at the Griffin Gallery, and at the Affordable Art Fair, London. He was nominated by AxisWeb in 2013 as one of ten contemporary artists to watch and invest in, confirming his status as one of the UK’s most exciting emerging artists.
Friday 28th July 2017
27th July – 6th August 2017
Open Monday to Sunday 12-6 pm
Sunday 6th August 12-4pm
22nd June – 2nd July, 2017
The Precariat seeks to explore themes of risk and resistance through architectural form. Emerging artist Karen Mc Lean will present an installation that invites and reveals the darker harmonies of historical and contemporary occupation. Questioning the physical structures of everyday life, Mc Lean seeks to create a charged and highly distinct site, responding to the ever present fear of dispossession.
We hope to see you there!
Julie Bentley & Nick Scammell
The Precariat Press Release
Karen will suspend twenty sugar houses, each made from a reﬁned molasses solution that slowly transforms from solid to liquid throughout the course of the show. A multi-channel sound installation, evoking the toiled land, will accompany the transforming houses.
The Caribbean landscape is scattered with makeshift housing illustrative of creativity, tenacity, poverty and a landless peasantry. Using the material inheritance of Caribbean colonialism, Karen explores the historical forces that have kept this form alive into the present day. The Precariat aims to open a new dialogue between freedom and servitude.
About Karen Mc Lean
Karen Mc Lean grew up on the island of Trinidad shortly after the country had gained its independence as a colony from England. Growing up on a Post-Colonial island, her memories include the many barriers that restricted non-white people that had to be challenged and torn down, and the tumultuous event of the Black Power Revolution that was fuelled by the Civil Rights movement in the USA. The history of colonialism and its legacy continues to be the source of inspiration for her practice.
Karen moved to England in 2000 and embarked on a career change after working with the national airline of Trinidad and Tobago, BWIA, for 20 years. Mc Lean completed her BA (Hons) in Art and Design, at BCU in Bournville, Birmingham, followed by a Masters at Goldsmiths University, London. Karen has exhibited in Birmingham where she lives, regionally, and nationally, as well as in her home country.
Thursday 22nd June 2017
6:30pm – 9pm
23rd June – 2nd July 2017
Open: Wednesday -Sunday 12pm-6pm, and by appointment.
7th – 11th June, 2017
Lulu Ao, Dalia Atteya, Emma Brassington, Lingyan Cao, Abir Mukerjee, Kim Onslow, Nikhil Patel, Mofan Xu, Fengrong Yu, Jayden Zhang and Zedan Zhang
The eleven artists in this Wimbledon College of Arts MA Painting interim exhibition are brought together through a mutual interest in painting’s enduring capacity for invention and reinvention. The exhibition is also testament to the group’s shared dialogues and ideas that centre on subjects such as the informal city, science fiction, body modification, ruins, the architecture of multinationals and anthropomorphism.
This is the second interim exhibition presented by MA Painting at Wimbledon College of Arts at the Art House Project Space following ‘About Space’ April 2016.
Wednesday 7th June 2017
6pm – 9pm
8th – 11th June 2017, 12pm – 6pm
2nd – 5th June, 2017
Other Fiction is an exhibition organised by three students currently enrolled on the MFA programme at Goldsmiths. The exhibition brings together three artists, that have diverse and wide ranging practices and methodologies, into the Lewisham Art House space, where they hope to create a dialogue between these different styles and approaches to their work.
The work is not unified by a mutual thematic narrative but rather address’s a multitude of different areas that overlap and have a shared concern about wider issues and subjects of interest such as place, memory, popular culture and alterity.
This synergy of diverse ideas and treatments is arranged and juxtaposed together in order to create a level of uniformity that also maintains the individual and unique characteristics of each work within a cohesive exhibition structure. The exhibition is made in the spirit of experimentation, it is without a fixed point of finality and showcases work that is open ended, adaptable and still in progress.
PASCAL UNGERER works with a wide variety of media incorporating photography, painting, video, and sculpture in his art making process. He is primarily interested in themes based around social, geo-political or ecological issues.
JOE TWINN’S art practice spans a range of media, such as costume design, collage and painting but his primary concern is with the moving image. For the past two years he has been making short films, utilising lo-fi, D.I.Y special effects.
BYUNGCHAN KIM is a visual artist from South Korea who has recently relocated to London. He works in an interdisciplinary practice incorporating a wide variety of media. His work draws upon a range of diverse references from hip hop and popular culture to war, history, cultural appropriation and misinterpretation.
Friday 2nd June 2017
2nd – 5th June 2017
22nd – 28th May, 2017
Silence Un-scene brings together the works of four artists, each one using the slow concentrated processes of painting to give full attention to the everyday and overlooked. Re-evaluating the scenery and discovering the symbolic qualities, they attempt to still time, silence the chatter and hold on to that moment, to shape it and own it.
Friday 26th May 2017 6pm – 9pm
22nd – 28th May 2017
Open daily 12 – 6 pm
15th – 21st May, 2017
‘Between the secret interior and the public exterior, carrying items to trade: shared knowledge, a shoulder to cry on, insight, fun’ (Hannah Black)
We are Kerri Jefferis & Sophie Chapman and we have been lucky enough to hold the Graduate Studio Award at Lewisham Arthouse for the past year. We are sadly coming to the end of our tether, we mean tenure, and would love to invite you over one last time.
We would like to bring people together, to expose the unseen construction site, prop the supports and acknowledge overlaps, blind spots and differences. Support is usually ‘derided and discarded by authority and depoliticized by the mechanisms of it’ (Celine Condorelli/Gavin Wade) so we are especially OBSESSED with it. We want to take this time to appreciate what has happened, gather and share knowledge, references, materials, have the conversations that we haven’t yet had, and have a wee PARTY! It promises to be a bonanza.
‘In the spirit of coming together to take ourselves apart’ (Kyla Wazana Tompkins) throughout the week we will host the following:-
Monday 15th 6.30pm – 9pm : A SCREENING on social time, how we document & ask questions in/of it
Wednesday 17th 6.30pm – 9pm : A LETTER what writing, diaries & confessions do for history/theory/personhood
Friday 19th 7pm – 11pm : A GIG bringing bodies together to make noise! (unwieldy noise) shit-hot noise makers… NX Panther, Rainham Sheds, Molejoy and more TBC
Saturday 20th 1pm – 6pm : A HANGOUT & CHAT discussing what support structures allow for improvisation, intuition, sounding / listening, the particulars of shared endeavours & the complicated spaces between people – schedule TBA
‘Because they were listening to each other the room felt small’ (Chris Kraus)
27th April – 14th May 2017
‘[The] simple act of tying a knot is an adventure in unlimited space … an excursion that is limited only by the scope of our own imagery and the length of the rope makers coil.’
Clifford Ashley, The Ashley Book of Knots
From 27th April to 14th May, Lewisham Art House will present KNOTS, an exhibition of new work by Shiree Allen, Nancy Edwards, Jo Evans and Liz Workman.
Knots are everywhere in our daily life, often overlooked but always invaluable. Working in print, photography, sculpture and works on paper, each artist has responded to the theme of knots: the literal (tangled, connected, binding, tension, repetition); the psychological and emotional (stomach knots, ‘certain knot of peace’, tying the knot); and the mythological (Gordian knots, Heraldic knots). A collaborative sculpture forms the centre piece of the exhibition.
Shiree Allen’s work is inspired by the tall ship building and the debris of the past that can be found on the banks of the Thames. She contrasts this with the industrialisation of modern London; the tangle of buildings, railways, road and river that can still be seen from high above. Creating intriguing and detailed prints of these aerial views, Allen combines the chaos of knotted roads and buildings with the nails, washers and pulleys, that remain long after the rope that made the ships has decayed.
Nancy Edwards focuses on the connections and constraints of relationships; how these ebb and flow over time, increasing in intensity, wavering as priorities change. Working with paper and thread her delicate and precise works use repetition, order and misplacement to explore the ways these ties are made, broken, strengthened and subverted. Tension sustains the fragile structures she constructs, whilst simultaneously testing their integrity.
For Jo Evans, a rope knot found washed up on the beach, provided the starting point for an exploration of the psychological and emotional associations of knots. She positions the ‘knot’ as a bind, a tangle, a problem to be solved and a metaphor for the process of art making. Through drawing and text-based works she considers the patterns of behaviour we are compelled to repeat.
Liz Workman’s photography looks at repetitive tasks unconsciously performed, mapping and recording these unseen routes taken in our everyday lives. In her work Spider she weaves a giant cobweb around her home while tidying to create something beautiful, fragile and temporary from a necessary but mundane routine.
Further information and images:
Friday 28th April 2017
27th April – 14th May 2017
Open Thursday to Sunday 12-6 pm
27th April 2017
Lewisham Arthouse will be participating in the New Cross & Deptford 2017 Free Film Festival (21st – 30th April).
As a tribute to John Berger who died in January, we are screening episode one of his groundbreaking TV series Ways of Seeing from 1972.
Ways of Seeing helped to re-define our approach to culture and brought Walter Benjamin’s ideas of art in the age of mechanical reproduction to a wider audience. Berger describes how the camera changed the way we perceive reality and Vertov’s 1929 masterpiece uses every trick in the cinematic book to upend our perceptions to dizzying effect.
Dynamic, playful and sexy, Man with a Movie Camera helped to expand the language of cinema in ways that still seem fresh and exciting today.
Screening at 8:00pm
Free (No ticket required – First come first served)
Running Time 30 mins/80 mins
Fri 14 April 2017
Join London Drawing Group as we return to our original home at Lewisham Arthouse for a whole day of Life-Drawing this Easter Friday!
With easels, materials and our wonderful model provided, we will be offering a tutored session inspired by Picasso’s Demoiselles D’avignon, focusing on the themes of human abstraction and the possibilities of how we deal with the human figure in drawing. Tutored by our three LDG artists, the day will begin with a series of short poses and exercises designed to get you to think differently about the way you naturally approach your drawing, building to longer sustained poses in the afternoon that will allow you to create a completed work.
At just £30 for the whole day’s drawing this is a real steal, and trust us, it will be a treat for everyone involved! Book quick – these tickets won’t hang about for long!
DATE AND TIME
Fri 14 April 2017
11:00 – 17:00
5th – 9th April 2017
Townly was a highly accomplished painter and photographer. His paintings, which meld figuration with elements of abstraction, explore the nature of representation in relation to the history of art, with special reference to his favourite art-historical era, Post-Impressionism.
The exhibition will present a selection of Townly’s last works, reflecting his preoccupations at the time of his untimely death. It will include the series of paintings Double Degas, a meditation on the 19th century French artist Townly particularly admired; Darkroom Tent, which poses questions about photography and reality; and on a more intimate scale, some sensitive drawings from his sketchbooks.
Townly Cooke was born in London and graduated from the Slade School of Art, Middlesex University and Goldsmith’s College.
His work has been exhibited widely including at the Serpentine Gallery, the National Portrait Gallery, Cameraworks, Woodlands Art Gallery, Whitechapel Gallery, Lewisham Arthouse Gallery, the Celeste Art Prize in London, and at Photokina in Cologne.
Commissions have included the Tottenham Historical Society, Trinity Laban Conservatoire of Music and Dance, Apprentice Bargees, Smithfield Meat Market and Swan Upping for the Museum in Docklands.
Friday 7th April 2017
5th – 9th April 2017
Open 12-6 pm
21st – 25th March 2017
With an abundance of information and a multi-layered reality – by which we refer to as the world around us – our response is to create within our own terms, taking a reviewing, self-inquiring and self asserting position.
The show places the artists both in the physical present and the anticipated future. We propose a timeless human condition in a world oversaturated with images and digital data, a world that has multiple surfaces.
Without the utopian or dystopian futures, what is left behind is a reality that is suspicious to images, in which we find ourselves drowning.
The show is a reflection of a diversity of practice, perspectives, political and cultural attitudes, with work ranging from painting, where painting becomes a sculptural medium, sculpture as image, the experience of the present under the form of performance, moving image, installation and photography.
21st – 25th March 2017
23rd March 2017
All year groups at Myatt Garden Primary School focused for an entire week on the picture and subsequently all their learning and creative outpourings were inspired by ‘Penelope with the Suitors’.
I am extremely proud of the children’s creativity and the whole schools energy and skill in delivering this project. The exhibition displays not only every child’s work in the school, but the excitement and enthusiasm of their learning.
Well done Myatt Garden!
Art Specialist Teacher
Myatt Garden Primary School
8th – 19th March 2017
Action Time Vision is an immersive exhibition, that fuses installation, traditional representation and live performance. A.T.V. takes its inspiration from events that happened in the immediate area, over half a decade, starting 40 years ago. Some of these occurrences, like the Battle of Lewisham and the New Cross Fire, were of lasting national significance. However this show also celebrates more parochial phenomena, such as the lasting role of Deptford Street Market in promoting social cohesion.
A similar role has been played by the local independent music scene and that too will be a focus, with particular emphasis on the Sound System scene and Rock Against Racism. The largely moribund technology that was used to consume music and promote alternative ideas back then will also be explored. There will be opportunities play recorded media on vintage equipment and to produce mix tapes. Fanzines and other expressions of Cultures of Resistance will be celebrated too.
As a reflection of the importance of Rock against Racism concerts and Sound System dances to this cultural milieu, the Preview Night will feature a live show, at the venue, on 11th March. This will feature live bands, specialists DJs and an environment heavily dressed for the occasion. There will be a follow up event on the following weekend, at The Duke, featuring Tessa (The Slits) and Ras Danny Mosiah.
Contributing visual artists will include: Amanda Knight, Allison Phillips, Fret, Jim Cauty, Other World Arts and Yerman Wax.
Sonic contributors will include The Laura Trombone Band, Rebel Sister Sound, Tom Phobic, Waxy and The Ukadelics.
Local Historian Carol Pierre.
Live Club “Preview”
Saturday 11th March 2017
8th – 19th March 2017
Open Wednesday to Sunday 12-6 pm
8th – 18th February 2017
In exploring particular conditions of fiction that favour narrative and experiment with the alternate, they question binary distinctions between reality and fiction, original and copy, interior and exterior. Through the use of image, object and sound, the works reveal the ways in which translation and plurality are always present in communication.
Funded by the Goldsmiths Annual Fund
Friday 10th February 2017
8th – 18th February 2017
Open Wednesday to Sunday 12-6 pm
17th – 23rd January 2017
This is the third independent exhibition for a collection of emerging artists currently studying Fine Art at UCA Farnham following the success of Chrome at The Lacey Contemporary Gallery and No Ordinary Disruption at The Flying Dutchman.
Tarmac touches upon themes such as cinema, the everyday, the existential, process and perception which all ultimately exist under the umbrella of exploring our reality. The work throughout this show plays with the idea of disrupting and altering that which already exists, whether it be a surface, object or idea; opening viewers up to the possibility that the way we view the world could be wrong, overturning established ideals and conclusions.
Monday 16th January 2017
17th – 23rd January 2017
11am – 4pm
11th – 15th January
An accompanying text by Paul Carey-Kent, ‘Grid Play’, discusses the artists’ methods and motivations for the works exhibited.
The artists will be present throughout the exhibition period.
Etienne de Villiers
Wednesday 11th January
11th – 15th January
Open Wednesday to Sunday 12-6 pm
16th-18th December 2016
Preview: Friday 16th December 2016, 7pm, gig from 8pm
Saturday 17th December 2016, 12-5pm and Sunday 18th December 2016, 12-4pm
“Maybe I have written to see; to have what I never would have had; so that having would be the privilege not of the takes and encloses, of the gullet, of the gut; but of the hand that points out, of fingers that see, that design, from the tips of the fingers that transcribe by the sweet dictates of vision. From the point of view of the soul’s eye: the eye of a womansoul.” – Helene Cixous
We have to live in the future. Anyone practicing politics that goes against the current socio-economic nightmare* is practicing the future. They live in the future, by desire and by necessity. We have to start somewhere. We have to start with the micro.
So what are the gestures of our collective desired future? If language isn’t working for us, can we use our bodies? How can we communicate trust and solidarity to one another through our bodily language? How can we include contradiction within our gestures? Attempt to cover the distance that is perceived and experienced of difference? Include complexity? Seepage and slippage? Overflowing subjectivity? A sense of humour?
Gestures are conceived through metaphor. Bodies signifying, expressing. Therefore we cannot decontextualise movement and we are unwilling to separate discourse and materiality, language and embodiment. Bodies give permission. They alternate power. They co-author. They use shared and marginalised history. They follow desire lines. They identify with the past and with the present. They assemble. They have to unlearn. They change.
“There is a body wherever there is resistance. But their potential to speak is waiting to be mined.” – Zsuzsanna Soboslay Moore
Of The Hand That Points Out, Of Fingers That See will be a collection of works in progress by Sophie Chapman, Kerri Jefferis and others.
23rd November – 4th December 2016
Preview: Friday 25th November 2016, 6-8pm
Exhibition featuring new film and 7” single that celebrate the RAY + JULIE sculpture, once listed by The Guardian as one of Britain’s Top Ten Secret Public Artworks.
In 2009, The Guardian’s Top Ten Secret Public Artworks of Britain included the familiar names of Moore, Hepworth, Cragg, Mach, and Muñoz. Number five on this list was the work entitled RAY + JULIE on London Road in Liverpool. Created by artists Alan Dunn and Brigitte Jurack in 1995 it has remained as a homage to the long faded graffiti on the back wall: RAY + JULIE. Intended to last only six months, RAY + JULIE has since become a symbol of the ebb and flow of urban regeneration in the North. Two minutes from Liverpool’s main Lime Street station, RAY + JULIE has inspired poems, CD covers, photographs, theatre pieces, films, short stories, sound works and billboards. As for London Road’s two original residents, nobody knows who RAY + JULIE were, but these artworks bring them to life.
The ballad of RAY + JULIE, commissioned by Liverpool Everyman and Playhouse Theatre to mark twenty years of the RAY + JULIE sculpture is produced and directed by Nick Bagnall and features an original soundtrack by Philip Jeck, winner of the Paul Hamlyn Foundation Award for Composers.
Tim Brunsden’s film of the event will be screened in the exhibition, along with the release of a limited edition 7” single by Dunn, Heslop & Young entitled LONDON ROAD.
The exhibition is supported by Liverpool Everyman and Playhouse Theatre and Leeds Beckett University.
23rd November – 4th December
Open Wednesday to Sunday 12-6pm except Sunday 4th December 2016, 12-4pm
19th and 20th November 2016, 10am – 4pm
Preview: Friday 18th November 2016, 6-9pm
Craig Coulthard / Peter Donaldson / David Maclean
Abolish Trout is a group show of new work by three Scottish artists, all living and working in London. Originally graduating together from Edinburgh College of Art in 2002, these three friends present new work consisting of sculpture, ceramics, textiles and painting. Taking its title from a doctored piece of anti-immigrant graffiti; (originally reading ‘Polish Out’) Abolish Trout is an opportunity for the artists to exhibit their similarly subtle, humorous and thoughtful creative interventions to a new audience.
Craig Coulthard (b. Rinteln, West Germany, 1981) lives and works in London. He studied at Edinburgh College of Art, and was a co-founder of The Embassy gallery in Edinburgh in 2003. His work has been exhibited at Atelier Hoherweg Dusseldorf, Ingleby Gallery Edinburgh, Camden Arts Centre London and Collective Edinburgh. Recent shows in include The Drummer & The Drone as part of the Edinburgh Art Festival and Generation:TG on the Travelling Gallery. In 2009 Coulthard was awarded the £460,000 Scottish Commission for Artists’ Taking the Lead, part of the London 2012 Cultural Olympiad. His work, Forest Pitch, completed in 2012, saw the construction of a full-size football pitch in the middle of a spruce forest. He also writes and records music as Randan Discotheque.
Peter Donaldson (b. Edinburgh, 1980) lives and works in London. He studied at Edinburgh College of Art, and the Royal Academy Schools, where he is currently a sculpture tutor. He was recently selected for the East London Painting Prize and the ArtWorks Open. His work has been shown at TAP Southend; the Royal Academy of Arts; Modern Art Oxford; the ICA; Mizuma Art Gallery, Tokyo; and Museo Civico di Rovereto, Trento, Italy. He was awarded the Deutsche Bank Award for Fine Art in 2010.
David Maclean (b. Perth, 1980) lives and works in London. He studied at Edinburgh College of Art and in 2003 co-founded the Edinburgh gallery The Embassy. He moved to London to study at Chelsea College of Arts where he formed the music group Django Django in 2007. The band have gone on to record two albums, tour internationally, and in 2012 were nominated for the Mercury Music Award. Maclean often directs music videos and designs record sleeves for Django Django. Recently he has recorded an album with Damon Albarn’s Africa Express in Mali and this year worked on KT Tunstall’s latest album ‘Kin’. In 2014 he founded his own record label, Kick and Clap. He has recently collaborated with artists such as Haroon Mirza and George Henry Longly, and has scored music for the Royal Shakespeare Company and the Film Four feature, Slow West.
3rd – 12th November 2016
Preview: Friday 4th November 2016, 6 – 8pm
Open daily, Monday to Sunday 12-6pm
UPA (Urban Photographers Association) Annual Exhibition
The organisers of the 2016 International UrbanPhotoFest (UPF) are delighted to present Urban Memories, the annual collective show of the Urban Photographers Association (UPA).
The exhibition shows the selected work of 14 UPA members responding to the Festival theme of Photography, Memory and Archive. Cities are living archives and rediscovering their visual history is fundamental to the development of urban photographic practices. Nothing is cast in stone and only interpreted as heritage; the past is illusive and uncanny. How do historical photographs visualise and politicise daily life in order to commemorate and generate specific social histories, public memories, landscapes and pictorial archives? Cities are not merely architectural metaphors; they are mobile, evolving entities projecting memories deep into the social life of urban dwellers. In what way can urban photography break down social stereotypes and offer alternative ocular archives of cities? Urban Memories tries to answer these questions through a variety of selected visual projects.
Caroline Knowles, Urban sociologist and Goldsmiths professor, says:
“In their entries to this exhibition the artists raise important questions about how we might think about memory; about how memories manifest themselves in cities and in people’s lives; and about the complex multi-layered relationships memory, cities and people might have with photography. In a mix of found images – whose photographers and their preoccupations must be imagined – and newly created images that dialogue in off-beat ways with people, places and circumstances, the artists in this exhibition show us that multiple truths – not the truth – are in contention in the ways in which we apprehend and remember the individual and collective realities which are significant for us.” (UPV catalogue, p. 5)
Exhibiting artists: Peter Coles, Diego Ferrari, Michael Frank, Gill Golding, Paul Halliday, Tanya Houghton, Rebecca Locke, Bas Losekoot, David Kendall, David Colm Killeen, Luc Pauwels, Galit Seligmann, Gesche Würfel and Kyler Zeleny.
UPA portfolio review, Tuesday 8th November 2016, 11.00-13.00
29th – 30th October 2016
Preview: Friday 28th October 2016, 6-9pm
London being Freddie’s hometown she feels very passionate about it and its ever-evolving changing face. Once a place where everyone could afford to live, it is now a place made for the rich, investing in the rich and kicking out the poor. With house prices rising and rising, people are struggling to live on this little island called London. Once a place where council estates were prominent and communities were generations old, it has now turned into a transient place, people coming and going. The young white middle classes, doing their four years in London and then moving on to affordable places to live. Is this place once built on history and tradition turning into one big airport?
Through the use of banners, textile paintings and script, Freddie discusses London, the fabric of society. With every stitch sewn, with every button sewn on, you can feel her passion hovering behind you like a ghost that will not go away. So immerse yourself in the material, feel its presence because she may not be able to afford to live here anymore but she certainly won’t go away.
The ever popular Lewisham Arthouse Winter Fair is back. Festive decor finely executed by our talented members, festive food and mulled wine, festive tunes, warm welcome and a selection of fine arts and crafts stalls to tempt the happy Christmas shopper.
Stalls available to book by artisans, purveyors of fine hand made foods, designer/makers/artists and crafts people. Stall cost £25 with table or £20 without table.
To book a stall please contact email@example.com
All stalls are now fully booked. Thank you for your submissions.
19th September – 16th October 2016
Lewisham Arthouse is an artist-led cooperative formed in 1992. In April Lewisham Arthouse invited proposals from artist(s)/curator(s) interested in working with us beyond traditional forms of exhibition making.
The London Drawing Group were selected to curate a month long public programme of events aiming to help people engage in the playful, unpredictable nature of making art and promote the joy of drawing through a series of free workshops, talks, walks and exhibitions.
Coinciding with Deptford X art festival and The London Drawing Group will present their programme within the wider context of the festival.
“We believe that when we copy or imitate the work of another artist, we are participating in an act of translation: learning through doing. Taking our starting points from those that have come before us allows us to translate timeless ideas into our own visual language. Through this act of translation, we learn as much about ourselves as artist as we do about our subjects, our processes, and what it is about the work that engages us.”
Their first week of workshops will take as their starting point images from their initial exhibition; with the guidance of artists and tutors the participating group will be encouraged to make art in response to these images, beginning the act of artistic translation. The artworks created in the first workshop will form the basis of our second workshop and continue throughout the month, creating a new series made by members of the community, encouraging and forging links between one group of artists and the next. The workshops will comprise a diverse range of teaching methods and draw from both our collective art history and contemporary art-making techniques, ranging from sculpture, collage and traditional life drawing to live music-scores, performances, film and animation. The work created throughout the residency by members of the community in response to our three exhibitions will be showcased in a final Community Exhibition.
Week 1: Luisa-Maria MacCormack
Exhibition opening Thursday 22nd September 2016
Week 2: Lucy McGeown
Exhibition opening Friday 30th September 2016
Week 3: Frances Stanfield
Exhibition opening Friday 7th October 2016
About The London Drawing Group:
The London Drawing Group is a collective of three contemporary artists living and practising in London. Although our practices are individually varied and diverse, we are brought together by our shared love of and passion for drawing, and our experiences of being taught by
a huge range of practising artists at the Royal Drawing School Central.
16th – 18th September 2016
A double bill theatre and music event by Kyoto-based theatre group BRDG and Deptford-based music duo RABBIT touring Stroud, New Cross and Kyoto. Both pieces are based around an old Victorian house which used to exist at 117 Lewisham Way and the family which used to live there.
117 – one one seven
This is a play based on interviews with a British woman who has been living in Kyoto since 1989. It introduces her life and her old house at 117 Lewisham Way, which used to exist in New Cross. During the play, the recorded voices of interviews are played and Japanese actors interpret them into Japanese and English. As the play unfolds, this act of ‘interpreting’ transforms into ‘acting’. The memory of New Cross travelled overseas with her and now will be re-told to the people in UK as the story of ‘an outsider’.
Directed by Keiko Yamaguchi. Performed by Bridget Scott, Hiromi Demura and Tatsunori Imamura, with sound technician Toru Koda.
Ghost House Gone House
Two simultaneous films documenting 117 Lewisham Way, a Victorian villa and lost local landmark in the year prior to its demolition. The films were shot by David Aylward (drums and percussion) and Tom Scott-Kendrick (reeds, strings and electronics) who will also provide a live soundtrack including field recordings made at 117 Lewisham Way.
Keiko Yamaguchi (director, actor) and Kano Kawanabe (co-ordinator) founded BRDG in 2011 creating works under the theme of Foreigners in Kyoto.
423 (Shitsumi) Art Project based in rural area in Kyoto produce workshops and events for children and local people. http://423art.org
117 – one one seven are performers Bridget Scott, Hiromi Demura and Tatsunori Imamura with sound operator Toru Koda.
RABBIT are Tom Scott-Kendrick (reeds, samplers etc) and David Aylward (drums, percussion etc). They have played together since the mid 80’s, a contemporary, experimental urban folk music, merging and mutating genres in an on-going dialogue of sound and music. For further information go to http://117ukyoto2016.tumblr.com/ or email firstname.lastname@example.org
Friday 16th September 2016, 8pm
Saturday 17th September 2016, 8pm*
Sunday 18th September 2016, 3pm
*On Saturday 17th there will be a special appearance by Nick Doyne Ditmas and Adam Bohman playing with Tom Scott-Kendrick.
£7.50 adv / £8 door (£5 concessions )
Supported by The Daiwa Foundation and the Great Britain Sasakawa Foundation with special support from Bred in the Bone, Rose Bruford College and Lewisham Arthouse.
31st August – 11th September 2016
Preview: Friday 2nd September 2016, 6-9pm
Frederic Anderson, Andrea Coltman, Daniel Curtis, Antony Dixon, Cara Jean Flynn, Sarah Hawley, Jacquelyn Hodges, Benjamin Martin, Tom Waring
The nine artists in this exhibition explore the idea of interventions within the gallery space. Their individual practices, through a variety of different languages and media, are very diverse, yet the artists search to reveal a dialogue, a connection and thread. The group are interested in the relationships between how their works create a visual discourse and how by placing their works within a common space the interventions of their works create yet another layer and language. These artists are searching for hidden dynamics that create new understandings, correlations and connections.
Frederic Anderson’s drawings inhabit the space between figuration and abstraction, between how we believe things to be and how they actually appear – the space in which, under persistent observation, things begin to fall apart.
Andrea Coltman’s paintings muse over societal issues, she regards herself as a social observer. Andrea paints what she sees, the ordinary and expected. Through crosshatchings of realism and abstraction in her paintings Andrea interrogates empathy, space and place exploring how we communicate and interact.
Daniel Curtis’ practice is driven by form. Through composition he explores tensions and relationships between found and low status objects. In recent work Curtis has searched out subtle elements of character or history in these objects and uses that to charge his compositions with a peculiar presence.
Antony Dixon explores the inherent qualities of materials and things. He collects and references fragments of human activity by taking imprints, making casts, assembling and re-assembling. Interested in the linguistic interface between materials and things, Antony describes his activity as “archaeological in nature, exploratory yet rooted in history.
Cara Jean Flynn creates prints, video, sculptures and installations using a combination of natural and man-made materials. Flynn’s work focuses on our relationship with the natural world. She is particularly concerned with our control of the natural environment and our perceived dualistic thinking of ourselves, separated and elevated above it.
Sarah Hawley’s collages have the ability to bring order out of chaos as well as integrate various patterns, colours, designs and materials from different origins that together can create a uni ed composition. This mimics a multicultural society, where a diverse group of individuals of many cultures co-exist within a community.
Jacquelyn Hodges’ subject is in painting and sculpture and where they intersect. She works in a range of mediums because her interest is to take her subject and nd new methods of intersection. Jacquelyn assembles materials that may seem like they have nothing to do with each other but looks to nd the tension and overlap.
Identity is the central axis of Benjamin Martin’s practice, around which revolves notions of childhood, gender and the artificial. Benjamin is interested in how the social and political shape us from an early age and in how the landscapes that surround us create both physical and psychological scars. What shapes us?
Tom Waring’s paintings explore an imagined world where the boundaries between the present and future have disappeared. Projections of the now, into the future, create a fertile ground for exploring our present condition in our real world of unrivalled capitalism and ecological decline.
Preview: Friday 2nd September 2016, 6-9pm
31st August – 11th September 2016
Wednesday to Sunday 12-6pm
The White Pube is tired of white people, white walls, and white wine. So for one night only, we are hosting brown people, white walls and chai. Come and view work by brown artists in a real vacuum, where brown-ness is banal, where you can view the art without the white-iarchy lookin over ur shoulder, askin if they can eat ur Other.
The screening will be held in the Education Space in Lewisham Arthouse.
Screening starts at 7:30pm
There is limited seating so RSVP is essential.
Hosted by Zarina Muhammad & Gabrielle de la Puente @ The White Pube
& Sophie Chapman and Kerri Jefferis.
Cover Photo is a screenshot from work by Sabella D’Souza ♥
Himali Singh Soin
Hassan E Vawda
and the White Pube’s very own
17th – 28th August 2016
Alan Dunn & Peter Suchin, Mark Fairnington, Charles Gray, Charlie Godet Thomas, Susie Green, Sharon Hall, Brigitte Jurack, Bernadette O’Toole, Catherine Parsonage, James Quin, Alma Tischler Wood, Roxy Walsh, Flora Whiteley, Godbold & Wood
Doppelgänger asks the same taxing question that has set alight the heroes of the greatest writers including Baudelaire, Dostoyevsky, Flaubert, E.T.A Hoffman, Heine, Kipling and Wilde: Could there be, through the duplication of the self, the double or the shadow, a different self, a co-equivalent of the human soul?
Doppelgänger focuses on this idea of the double as method and methodology of the artwork, the second work as the reflection, shadow or double of the first. In these artworks, the doubling occurs through the process of observation and making and not by means of mechanical or digital reproduction.
As Jean Paul states through his tragic hero Roquairol’s in Titan: ‘Then I saw you, and wanted to become your You – but that won’t work, for I cannot go back; but you can go on ahead, one of these days you become my Self’. (Titan: A Romance, Volume 2 page 83)
The exhibition is guest curated by Brigitte Jurack (Manchester/Liverpool) and Founder of Alternator Studio. She is also Head of Sculpture/Time-Based Arts at Manchester School of Art and Co-Founder of the artist’s collective Foreign Investment.
For further details, including appointments outside the regular opening hours call 07789 123 735 or email email@example.com
Introduction: 17th August 2016, 5.30pm by Brigitte Jurack
Finissage: Thursday 25th August 2016, 6-8pm
Exhibition dates: 17th – 28th August 2016
Open Wednesday to Sunday 12-6 pm
10th – 14th August 2016, 10-6pm
Preview: 9th August 2016, 6-9pm
Good God is the first solo exhibition by Oliver Campbell (b.1981).
Drawing on tropes from classical literature and rhetoric, this exhibition of paintings and other objects takes seriously the absurdity of some of our most imaginative beliefs, and explores their relation to our everyday experience.
Symposium: Thursday 11th August 2016, 7.30-9pm
In conjunction with the exhibition Good God there will be a full Greek Symposium: an ancient drinking party with entertainment and discussion. There will be wine and a non-alcoholic alternative, entertainment, and three related topics posed for discussion. To reserve your couch please RSVP to: firstname.lastname@example.org
Artist Talk: Sunday 14th August 2016, 2-3pm
Oliver Campbell in conversation with Dr Brian Murray from Kings College London.
10th – 14th August 2016, 10-6pm, or by appointment.
22nd July – 29th July 2016
Preview: Friday 22nd July 2016, 6-9pm
Marion Phillini takes over Lewisham Arthouse and invites you to join Collaboration In Progress.
Amongst the Phillini debris of past installations, multiple screens and a familiar washing line, discover the results of an experimental Marion workshop with Wimbledon MFA Students. Testing the boundaries of collaboration, their work will join Marion Phillini’s exhibition/ installation/ performance/ studio for one week.
Marion Phillini will use the space for production of new work during exhibition opening times. Working on site, Phillini will shift and re-modulate the installation of works in response to viewers’ reactions/ interactions.
More info about Marion Phillini at www.marionphillini.com
22nd July – 29th July 2016
Open Wednesday to Sunday 12-6pm
15th – 17th July 2016
How the Hares are Dying: Private Stocktaking
Work in progress by Ja Ja Ja Ne Ne Ne
The founders and core creative team of Ja Ja Ja Ne Ne Ne are Magdalena Tuka and Anita Wach, two very different performing artists from backgrounds in theatre and dance respectively, who were inspired in 2013 to unite under a name appropriated from the 1968 Joseph Beuys’ artwork to represent the creative combination of opposites.
Through its various mixes of new dramaturgy, contemporary dance, and multimedia experimentation, the work of Ja Ja Ja Ne Ne Ne (JJJNNN) may be located within the notion of a postdramatic theatre. The narrative of a JJJNNN show is never that of a linear cause-and-effect system of events but one open to fragmentation and deconstruction. Fiction is employed as a device for the performer-devisors to confront personal material, though the strategies used to achieve such confrontations are not set in stone but built anew in relation to the content being dealt with. While the initiator of each project may ultimately retain an authorial final word, JJJNNN encourages the idea of a performer’s autonomy and every performance is very much the result of a true collaboration.
From the outset one of the group’s key modus operandi has been the development of co-operations with and support of other international organisations and individual artists. Over the last three years of showing work a network of ongoing connections has evolved throughout Poland and the UK as well as in Slovenia, the Czech Republic and Slovakia. Works presented by JJJNNN have received various funding including Polish Ministry of Culture, Visegrad Foundation, Adam Mickiewicz Institute, Dance Festival in Gdansk 2013; Threecity Dance Cooperation, Body/Mind Foundation, Maat Festival.
‘There were men and women, children and old people, teenagers and babies, rich people, and poor people, black men and white women, white men and black women, Orientals and Arabs, men in brown, and grey and blue and green, women in red and white and yellow and pink, children in sneakers, children in shoes, children in cowboy boots, fat people and thin people, tall people and short people, each one different from all others, each one irreducibly himself…’ City of Glass Paul Auster
How the Hares are Dying: Private Stocktaking is about: war (past, future and now) and identity smeared in the muddy memory’s landscapes, about mnemonic and reaching out to the cellars of that memory to recall girls from grey pre-stressed concrete housing estates, about a sense of destroying everything around and weakness of the will and about the power of drawing by the Great Architect. It’s a combination of different theatre strategies, a stubborn and unstable search for the meaning of the events on stage, giving up and start from the beginning again and again.
Work is devised and performed by Magdalena Tuka and Anita Wach, sound and video by Myles Stawman. Work combines video, live video, sound and live acts.
Friday 15th – 17th July 2016
6th – 9th July 2016
Preview: Wednesday 6th July 7-9 pm
An exhibition and sale of work by children from the school.
An event where all the art sold raises money for developing a special outside space and training for the children to revive Brockley’s tradition of bee-keeping.
Putting art at the centre of a Primary School’s ethos is a bold thing to do – but that’s exactly what Beecroft Garden Primary School has been doing since the school re-opened in 2012.
Visitors to the school enter a reception area that has been designed as an open-plan gallery and library space that is filled with works by children working both collaboratively and individually. The children at the school are always encouraged to talk about art and culture and to understand how the arts can be used to explore the world around them.
The National Society for Education in Art and Design Survey Report 2015-16 reported that 89% of primary state school teachers felt that time allocated to art and design fell before key stages 2 National Curriculum tests. Almost half of key stage 1 teachers thought that time allocated for art and design had decreased in general.
It is with this context in mind, that the exhibition of works by Beecroft Primary School’s children can show what can happen when art is given a key place in a primary school’s ethos. The school’s specialist art teacher, Dilys Finlay, has worked with children to make drawings, paintings, textiles photography and sculpture that are inspired by art movements such as Aboriginal painting or ideas such as Paul Klee’s notion that drawing was “taking a line for a walk”.
All the works in the exhibition will be for sale in order to raise money for developing a special outside space for the children that will revive the local area’s tradition of bee-keeping. Bee-friendly plants, hives and sculptures will all feature. The exhibition has already gained the support of art critics, gallerists and even the occasional collector eager to get work early.
Oliver Basciano, Editor (International) of ArtReview said: “It’s great to see a school that understands bringing to fore a child’s innate creative spirit is of paramount importance. Who knows, perhaps one day one of the children from Beecroft Garden Primary School will be showing in the Tate, building architectural icons or writing life-changing novels.”
Preview: Wednesday 6th July 7-9 pm
6th July, 10am -5pm
7th – 9th July, 10am – 6pm
24th June – 1st July 2016
Preview: Friday 24th June 2016, 6-9pm
Rory Biddulph | Kate Hubbell
Curated by Xenia Langlois
The theme of the exhibition comes from the artists’ combined interest in portraying the effects of social and cultural identification through analogy and absurdity.
Both artists are graduates from the Slade School of Fine Art and have exhibited widely. Rory Biddulph was recently shortlisted for the Adrian Carruthers Award and the Clifford Chance Printmaking Purchase Prize, he was also included in the XL Catlin Art Guide and is a current finalist in the XL Catlin Art Prize. Kate Hubbell has attended numerous residencies including being resident artist at the Atlantic Center for the Arts and the Oxbow School of Art and Artist Residencies. She was also recently shortlisted for the Red Mansion Art Prize and the Sarabande Scholarship.
Rory Biddulph is known for depicting strange, carnivalesque characters using layered print alongside painted imagery. Stemming from a kind of urban gut, Biddulph depicts a crude and elaborate present. In his work iconography, ideology, the spectacle and the social become subject to reproach, plunged into visions of fantasy, metaphor and excess.
Kate Hubbell orchestrates experiences of empathy and connectivity through immersive installations, video and objects. She employs a wide range of materials, including synthetic hair, gelatin, food and makeup to analyse the tensions and anxieties manifested within the dichotomies of comfort and unease.
Xenia Langlois, curator, comments: ‘Fracture is an exhibition in which the taxonomies, ideologies and the habitual infrastructures of contemporary life become subjected to play, depravity, fancy and farce, questioning the role of the self in what is depicted as an arcane, tumultuous time.’
Please see the following websites for more information on the artists and their work.
25th June – 1st July 2016
Open Wednesday to Sunday 12-6pm
8th – 19th June 2016
Preview: Thursday 9th June 2016, 6-9pm
Artist Talk in Conversation with writer Anna McNay: Saturday 18th June 2016, 3pm
Henrietta Armstrong, Miranda Boulton, Fiona Grady, Hayley Harrison, Katya Kvasova
This group exhibition borrows its title The Overview Effect from a term used by Astronauts; described as a cognitive shift experienced when viewing the planets vulnerability and beauty from afar. An altered perspective is the emphasis for each of the artists, this is evident in their method of making the work, or in the work itself, acting as a lens of distortion.
Each artist works with multiples, repetitive marks and processes to obscure and disorientate. This disorientation shifts our relationship with the subject matter, the familiar becoming unfamiliar. This unfamiliarity is also a disclosure from which a new perspective is revealed to the viewer.
For several of the artists perspective is altered within the process of making the work; for Henrietta Armstrong this involves a reconfiguration of familiar structures into alternative architectures and patterned symmetries. Whilst in Miranda Boulton’s work shifted perspective is something that happens cognitively, through memory, and through the reinterpretation of that memory; Hayley Harrison’s half sculptural, half painted works demand a vast oversight of society through its debris. Fiona Grady’s installations are a lens in themselves, asking the viewer to adjust their perspective there and then, within the gallery space. Finally, Katya Kvasova’s work turns this altered perspective both inwards and outwards. Her paintings are a translucent surface or lens between inner and outer worlds.
There is a contradiction here, the singularity of the Overview and those astronauts’ perspectives of the planet – a single view of a single world – compared to the myriad of perspectives exhibited here. Yet the desire is shared, that of a cognitive shift rooted in perspective. The process is also similar – each artist is discovering methods of stepping back from what you know, to see their world anew.
Open: Wednesday to Sunday 12-6 pm
Accompanying publication available with introductory essay by Anna McNay
27th May – 5th June 2016
Preview Friday 27th May 2016, 6-9 pm
“it was quick but fun”, speed selected by Jeremy Deller
We are very pleased to present an exhibition of work by 29 Lewisham Art House studio members selected by Turner prize winner Jeremy Deller. Visiting each studio in turn, a piece of work was selected for the show without the studio artist being present.
Friday 27th May 2016, 6-9 pm
As part of South London Art Map Last Fridays as well as the opening of Brockley Max Arts Festival.
28th May – 5th June 2016
Open Wednesday to Sunday 12-6 pm
Saturday 4th June 2016, 12-8 pm
Sunday 5th June 2016, 12-6 pm
17th – 22nd May 2016
Preview: Wednesday 18th May 2016, 6-9pm
“1963: An unknown rhythm ‘n’ blues band called Trident* play at various jazz clubs in London and the home counties. The group come under the management of Michael Ashcroft, a business graduate from Mid-Essex Polytechnic, who sees them play at the Crawdaddy Club in Richmond, Surrey.”
During the mid-1960s, a rhythm ‘n’ blues band called Trident were briefly managed by the non-uk domiciled billionaire, Michael Ashcroft. Ashcroft is a controversial figure, notable for; “opaque tax practices”, “operating in the dark” and his use of “shell companies”. This exhibition imagines that he continued to manage Trident, incorporating feedback from his life into their narrative.
Trident become a vehicle to discuss the exploitation of post-colonial countries as tax havens. Fictitious tours see them zigzag haphazardly between venues, mimicking financial graphs; song lyrics repurpose Latin mottos and tax terminology; and posters advertise performances in notorious centres of tax avoidance (including Belize, where Ashcroft resides).
Chris Alton’s recent exhibitions include; Welcome, Trident; International Stars, THE DOOR (curated by Rice + Toye), London (2016); Under the Shade I Flourish, xero, kline & coma, London (2016); Outdancing Formations, Edith-Russ-Haus, Oldenburg (2015); and each other, Wysing Arts Centre, Cambridgeshire (2015). Alton was recently awarded; the Edith-Russ-Haus Award for Emerging Media Artists of the Sparda Bank 2015; the Lewisham Arthouse Graduate Studio Award 2015; and the Collyer Bristow Graduate Award 2014. He was included in the Catlin Guide 2015.
27th April – 15th May 2016
Preview: Friday 29th April 2016, 6-9pm
Maurizio Trentin – Arte Contraddittoria
Movenze: London Fragments of a Journey has its beginnings in the everyday voyage of a London bus. Using a meditative process, frames from this journey have been transformed by the artist into careful reflections that express aspects of the surrounding reality.
Informed by interests in perception, gestalt, phenomenology and mathematics Maurizio Trentin describes his vision through twenty fragments in a study of the sensitive.
Open Wednesday to Sunday 12-6pm
Thursday 7th April 2016, 8pm
Doors 8pm, Start 8.30pm
Bring your own drinks
LAUSCH II presents an eclectic mix of experimental live performances within the scope of sonic improvisation, drawn from the prevailing London scene. This time we have noise, voice, bells and whispers – electronics, sax and silences with Iris Garrelfs, Artur Vidal + Grundik Kasyansky and Khaled Kaddal.
LAUSCH is a series of performances and events exploring new sounds and experiences. Expect an array of exciting artists and venues, hand picked by Adam Jaro and Rahel Kraft.
Iris Garrelfs is an artist working on the cusp of music, art and sociology. Her practice includes fixed media, installation, improvised voice performance and has been included in major institutions worldwide, for example Tate Britain, National Gallery, Visiones Sonores Mexico, Liverpool Bienale, MC Gallery New York. Elsewhere she is the commissioning editor of the online journal Reflections on Process in Sound and the co-curator and director of Sprawl, a London based experimental music organisation. Iris has a PhD in Sound Art from University of the Arts London where she also works as a researcher and lecturer.
Artur Vidal + Grundik Kasyansky
Artur Vidal is a Spanish-born saxophone player and sound artist who grew up in Paris and currently resides in London. As such, he has performed in Europe, Asia and America. His work is interested in the possibilities of improvisation from the perspective of its implications within the social field. As an active member of the improvised music scene, he has been playing and recording with musicians who include Eddie Prévost, Phil Durrant, Jennifer Allum, Roger Turner and Sébastien Branche, with whom he makes up the improvising saxophone duo ‘Relentless’. He has currently completed an MA in Sound Arts and started in 2013 an MPhil research at London College of Communication about improvisation, the practice of listening and the notion of silence.’
Grundik Kasyansky (b. 1974, Moscow) is a London-based artist and electronic musician who works in experimental improvisation, live installation, audio collage, and designs sound for dance, theatre and film. He wrote poetry before switching to electronic music and it deeply influenced his current practice. grundik.tumblr.com
Khaled Kaddal is an Egyptian musician/sound artist. His work embraces sound/music and mixed medias to create installations and performances. his music/sonic practices are scoping on the social and the political structures, through the exploration of the varieties of Sonic phenomena. Interested in finding new intersection between disciplines, he collaborated in performances, choreography, films and mixed media projects. www.khaledkaddal.com
Friday 25th March 2016
Fusebox invited a diverse range of artists, to talk about heaven, in all of its shapes and forms. Which heaven are you fighting for? Which heaven are you hoping for? What is heaven anyway? Working through media spanning video art, performance and installation, each artist will consider different notions of heaven; deconstructing, challenging and building heaven(s) today. Fusebox curate thematic nights of newly commissioned work from emerging artists, who may not have had the chance to exhibit. Fusebox are committed to showing work from numerous disciplines, creating new connections between artists and audiences.
We’ll be screening a new video work by Wilf Speller. Wilf’s work looks at the politics and ethics of contemporary image culture. Most recently he exhibited in Fresh Faced and Wild Eyed, The Photographer’s Gallery’s annual showcase for emerging talent.
Jasmine Lee’s work sits at a nexus between artist as performer and artist as delegator, bringing audiences together and facilitating their roles as performers through emotional and surreal experiences, as she herself disappears. She is a resident artist at the Roundhouse.
Sara Zaltash is a Bristol-based live artist, known for large-scale interactive projects exploring culture, spirituality and our future. Her recent One Day: Day One crowdsourced questions and answers about the possible outcomes of climate change and notions of sustainability and resilience. She is a research fellow at the Schumacher Institute. sarazaltash.com
Ralph is making a new three-part single channel video piece exploring heaven variously through text, performance and cinematography. Increasingly Ralph’s work responds to concepts with a multi-faceted approach – playing with storytelling using multiple aesthetic perspectives. Ralph has recently screened at the ICA in London and the Whitworth Gallery in Manchester. ralphpritchardfilms.com
Sheaf & Barley
Sheaf & Barley make charms and instructions to change the present through ritual and magic, for everyone to use. For Heaven they will present a new charm, exploring our wishes for a new future. sheafandbarley.co.uk
Gloria is a writer of plays, performance, essay and poetry based in Leeds. She is also a geography researcher with an interest in precarious housing, retail and gentrification. Her main ‘artistic’ interests are the relationship between political organising and lived experience, the politics of death, urban transformation and history. Recently she has been on attachment to West Yorkshire Playhouse developing an original performance around the persistence of bodies and graves in a changing city. She blogs at trespassingassemblies.tumblr.com
Saturday 19th March 2016, 8pm
Two new projects offering distinct and unique sound worlds, and one game structure composition, never the same twice.
nonfictional are Maggie Turner (Voice), David Hunger (Guitar), Ravi Low-Beer (Percussion) and Nick Doyne-Ditmas (Double bass, trumpet). nonfictional are currently engaged in deconstructing the song format via improvisation and psychodrama. Each performance is a vivisecion. Nothing is faked.
Portia Winters; voice Arnold Lane: percussion
Emmanuel Spinelli: electronics and objects
This is a development of a duo of Winters’ vocal improvisations with Lane’s acoustic/electronic percussion mix, combining pure improv with song and spoken word. Tonight they are joined by
Emmanuel Spinelli on electronics and objects.
A simple game structure for 3 or more players, The Bell Agency opens out into a mesmerising slow motion sound world. Somewhere between performance and unfolding, tonight’s realisation, led by Charles Hayward, depends on cluster maths and hive mind and the unique details to be witnessed.
Entry £5 doors 8pm
Bring your own bottle
16th – 27th March 2016
Preview: Friday 18th March, 6-9pm
Open Wednesday – Sunday, 12-6pm
Curated by Russell Terry
Brigitte Parusel, Caterina Lewis, Cedric Christie, Charley Peters, Italia Rossi, Jack Otway, Lucy Harker, Ludovica Gioscia, Paul Robinson, Roland Hicks, Rowena Boshier, Russell Terry, Ryan Terry, Sarah Longworth-West, Simon Liddiment, Tom Hemming, Trevor Simmons
“Destiny takes pleasure in repetitions, variations, symmetries” – Jorge Luis Borges
This collection of work by seventeen artists, showing diverse and unique methods and interests, is waiting for an infinite tapestry of connections to be woven across it.
The title of this show is borrowed from Jorge Luis Borges. The Garden of Forking Paths is a beguiling story about an impossible book that is also a labyrinth. Borges was famous for condensing complex, paradoxical ideas into incredibly short fiction, much of it expressing his attraction and/or frustration with the “muse of impossibility”. He considered the composition of huge books “an impoverishing extravagance” and chose instead to maintain the ambiguity and potential perfection of his ideas, by writing commentaries on imaginary books. Even with such a solution, the inevitable failure to realise an idea before it transforms into a new one, keeps us starting afresh. Our ideas occur so much faster than the process of realising them. From the first step out of imaginary space, they have to contend with unforeseen practicalities and suffer the inconvenience of existing unambiguously. By the time we finish/abandon them, influenced by manual discovery, they are rarely the same idea. Looking back over our finished/abandoned works, we often see that each one contains the seeds and reflections of so many others, made and unmade.
To download press release click here (pdf)
Saturday 5th March 2016
Echomusic presents an evening with…
(digital drones) (cut-up soundscapes) (immersive field recordings)
Bring Your Own
Exhibition Dates: 4th – 13th March 2016
Open daily, 12-6pm
Preview: Friday 4th March, 6.30-9pm
ZOE ANSPACH | ROBERT CARTER | MELANIE COLES | MICHAEL CROWE | PENELOPE DIAZ | JACK FISHER |
VICTORIA FORNIELES | ROBERT FUNG | KYLE GALLOWAY | JAKE KENT | KATE MAHONY | PHILLIP REEVES |
ANASTASIA SHIN | REBECCA TOWNROW | MATT WELCH | MITT WHEELDON | ELISE WORTLEY
Class Of 2016 Manifesto:
The School of the Damned is a free postgraduate art course run by, and for, its students. It provides participants with the critical space to develop and reassess their art practice. We operate without money, without a bank account, without financial obligation. SOTD runs a labour exchange programme with a growing number of guest artists, spaces and lecturers. It exists to promote access to free education as a fundamental right and stand in opposition to the current system of higher education. The student body share roles and the responsibility to aid each other’s education as well as the development of the programme. As SOTD moves into its fourth year its students hope that this network of advocates will continue to grow, allowing the protest to continue into the future.
End of Year will host the work of this year’s 17 students, whose energetic and diverse practices have developed from their involvement in SOTD. Over the past year the class of 2016 have exhibited together extensively, End of Year is their final show and a culmination of their work on the course together. This “degree show” style exhibition echoes the institution in a way that demands SOTD is recognised as a working alternative and demonstrates that this collection of artists can work together to run a school, collectively organise exhibitions and programme events that are outward facing and inclusive. As in the above manifesto, this is something Class of 2016 will pass on to a new cohort of students/ artists.
Continuing the School of the Damned ethos, this year’s final degree show will be hosted by Lewisham Art House. Members of Lewisham Art House share their time, equipment and knowledge with wider communities on a non-profit basis. Besides renting space, each studio member commits at least 5 hours per month in support of the organisation’s wider programmes. There will be talk and discussion with SOTD and guests on Saturday 13th March at 7PM speakers to be confirmed check fbook/website for updates all are welcome to attend.
25th – 27th February 2016
Come and enjoy the Myatt Garden School Children’s artwork at their Take One Picture Exhibition.
Thursday 25th February, 3.30 – 5.30pm
Friday 26th February, 3.30 – 5.30pm
Saturday 27th February 10.00am – 3.00pm
Saturday 13th February 2016
London based improvisers of industrial ambient noise, Ampersand are an improvisational sound ensemble who have performed across Europe over the last nine years. They produce an experience of sound to envelop the audience in the act of the moment and the art of the moment. This uniquely pan-generational group utilises found objects, engineered metal, deconstructed traditional instruments and audio toys.
Ampersand performances are always improvised, they arise thus from the moment, the place, the atmosphere, the occurrences of that day. The sound, and the experience of that sound, are imposed on all the senses, to share with the audience a charged and superlayered emotional state. Ampersand are Brian Bushell, Joseph Oldfield, Stephen Oldfield and Paul Wells.
NGUYEN TRI MAI
Nguyen Tri Mai is a Franco Vietnamese dance artist. For the last 20 years, she has drawn her inspiration from the waters, back and fro between Brittany coasts, salt marshes and the river, pools and canals of the East End of London. Mixing her Butoh dancing spirit with her passion for improvising with live music, Mai loves to express her intense movements in the moment, bring light to a space with her explosiveness. Mai has collaborated with musicians, film makers and photographers and specializes in site- specific and outdoor performances.
VJ FLICKERING LIGHT
WeltAusstellung is a situational alliance of noise-makers, visual artists, improvisers and composers of the absurd, based in Düsseldorf and Berlin: Peter Issig, Anja Lautermann, Uwe Möllhusen, Thilo Schölpen – they work in the field of sound-action, sound-installation, radio-art, music-theatre and soundtrack-ism. They wring unsettled ideas from a wide range of sound-sources of their own invention, varying their approach in order to experiment with a range of methods and standards.“We play each sound object that passes the test of significance: from massage tools to Styrofoam, from selfmade electronics to piano. We are not interested in the latest sound technology but in the raw and direct signal…which is the basic principle of absurd composition. Absurd composition tends to be doomed to failure and delivers an unexpected twist. Our ambition is to transgress from the internal motivation (of the composition) to the point of failure.”
Start 8 – 11pm
Bring Your Own
Thursday 4th February 2016
LAUSCH is a series of performances and events to explore new sounds and experiences.
Expect an array of exciting artists and venues, hand picked by Adam Jaro and Rahel Kraft. This evening brings together five artists/musician to share their interest in sound and voice. The Los Angeles based musicians Archie Carey and Odeya Nini will open up the evening with two solo works that encounter durations, resonance and pure expression.
The Deptford based sound artist David Bloor will perform ‘Care Work’ with a self-made artificial intelligence followed by a duo performance by David Toop and Rahel Kraft.
Archie Carey, Bassoon – SOLO
Odeya Nini, Voice, Movement – A SOLO VOICE
David Bloor, Sounds – CARE WORK
David Toop, guit, objects + Rahel Kraft, voice, electronics – DUO
Bring Your Own
Wednesday 27th January 2016
A Launch Event For The Happy Hypocrite, Issue 8
Edited by Sophia Al-Maria
Film, discussion and reading from www.a-d-g-z.com,
Sophia Al-Maria, Mika Mino-Paluello from PLATFORM, and Fresh Hell contributor Alex Borkowski.
18.30 – A film, streaming live from www.a-d-g-z.com where it runs continuously twenty-four hours a day, depicts characters surveyed remotely, their actions followed, scrutinised and abandoned as they unfold over a sprawl of a desert town. With no clear markers of beginning or end, the work can be encountered multiple times; each meeting a discreet moment of engagement with its disordered storyline.
19.00 – An introduction to ‘Fresh Hell’ by The Happy Hypocrite founder Maria Fusco, and by issue 8 guest editor Sophia Al-Maria, followed by a talk with Mika Minio-Paluello of Platform London on art, oil and power and how oil-sponsored galleries like Tate can break with business as usual and our colonial legacy. PLATFORMLONDON.ORG
20.00 – ‘Vital Plastics’, a reading from The Happy Hypocrite – Fresh Hell by the writer Alex Borkowski.
On 27th January The Happy Hypocrite – Fresh Hell, Issue 8, and a new limited edition print by Sophia Al-Maria will be available at a special price.
The Happy Hypocrite, founded by Maria Fusco, is published by Book Works annually with a new guest editor. Designed by A Practice for Everyday Life.
Saturday 28th November 2015
“There’s nobody quite like Graham Dowdall aka Gagarin“ Boiler Room TV 2015
Graham ‘Dids’ Dowdall aka GAGARIN has been making music on the edges of the musical galaxy for many years in many guises. As Gagarin he works alone crafting instrumental electronica that doesn’t adhere to any particular scene or style and draws on influences ranging from contemporary classical to techno and every point in between and beyond. The music is atmospheric, melodic and sometimes beaty characterised by a combination of field recordings, gorgeous synth melodies, tough abstract beats and a sophisticated yet accessible approach to composition. Gagarin has released several albums on his own Geo imprint as well as contributing tracks and remixes to a large number of compilations and releases by other acts. His latest album Aoticp was released in Summer 2015 and follows the much acclaimed Biophilia in 2011.
As well as Gagarin, Dids is also a member of avant rock legends Pere Ubu for whom he provides digital synthesis, keys and samples , a duo Roshi feat. Pars Radio with Iranian songstress Roshi who create what has been described as “ Welsh-Iranian folktronica “, another duo Low Bias with Rothko leader Mark Beazley and is an occasional member of world beat pioneers Suns of Arqa. He has also released a cassette Outside Broadcast in his given name Graham Dowdall for Touch’s cassette imprint Tapeworm.
WARREN SCHOENBRIGHT is a band, not a person. Their new Ep, (Out of Bounds) Eaten by the Forest, brings live drums and electronics together with minimal acoustic instrumentation to create a disturbing and arresting sound palette. By turns confrontational and meditative, the mercurial textures retain a sense of flow through continual reference to noise, drone and modern improvised idioms.’
LOFE: Driving beats, driven words. jewel carriageway chords. Keyboard plus Ableton (Nik the Deks), Bass (Elwell) and Voice (Zolan Quobble). It’s got that biodynamic, organic whole grain texture and that lively lambic yeasty rhythm. It hits 260°C, when it’s baking.
Bring Your Own
Saturday 12th December 2015, 11am – 6pm
We’re hosting our popular Winter Fair again, featuring an array of original artworks, hand made crafts and seasonal gifts. There’ll be something to fit all sizes of pocket, whether you’re a discerning Christmas shopper or art lover.
We’ll be featuring lots of local talent including our studio artists, producers of Mosaic, felted goods, linocut prints, ceramics and much more.
Come join in the yuletide joyousness, warm your cockles with a seasonal beverage and a mince pie! And if that isn’t enough jingle all the way to the vibrations of our resident DJ.
Welcome One and All!
Full disabled access
For press enquiries contact email@example.com
30th October – 1st November 2015
A pop-up weekend presentation of new and recent paintings by Lewisham Arthouse studio artist Phil Ashcroft. Combining influences from abstract expressionism, British landscape painting, Japanese woodcuts, and graphic street art, Ashcroft integrates gestural, emotive abstraction with flattened out ‘80s style art deco and graffiti influences to present a vision of environmental, financial and political threat, a world of semi-surreal settings, cartoon-like motifs and the detritus of the modernist ideals of the past. The Cave Paintings series of works developed in the artist’s London studio following a speedboat trip around Ramsey Island in Pembrokeshire, Wales in 2014.
Preview: Friday 30th October 2015, 6pm – late
Preview sounds from DJ Monkphat (Gamma Proforma)
For further information email firstname.lastname@example.org
23rd October 2015
Once More with Feeling(s) was an evening of artist’s performance and video, focusing on cover versions.
The cover version opts for rhythm over algorithm, coarse over smooth. By refreshing dormant tracks with renewed urgency (be it political, emotional or otherwise) the cover becomes a vehicle, delivering ideas through a familiar (if corrupted) form. Whether a pastiche or homage, the tangible authenticity of the cover version resides in the merging of art and life, consumer and producer, audience and author. The dissolution of these binaries opens up formerly homeostatic systems. They become permeable – susceptible to new ideas, new interpretations and new mistakes. This permeability can even retrospectively change the original.
Whilst contemporary pop produces track after track of homogenous hits, the cover is an opportunity for subversion. It is a chance to riff on and compartmentalise the perfection of pop – a chance to dent or scuff surfaces buffed with too much polish. Instead of proliferating imagery that warps how onlookers believe that they should look and engage with each other, the cover sidelines flashy golden grills, abdominal augmentations and swollen silicon buttocks.
It becomes a means for messing with systemic issues, acting as a form through which people can express themselves more fully and in a plethora of ways, which the culture industry fails to accommodate for. Instead of a singular way of existing being pushed or embossed on the mind, there is a redux. The cover is an answer or repost that resists unidirectionality. To cover is to create a dialogue – a feedback loop that resists being told what to think and how to behave. It is a radical rupture, which asserts that there is more than one way to be, to sing and to feel.
So let’s have it…once more with feeling(s).
Curated by Chris Alton and Rachel Hill
Friday 2nd – Sunday 4th October 2015
We’re open again with a bumper selection of ocular delights…
Wander around a warren of studios, buy artwork from source, window shop or simply enjoy the grandeur of a beautiful Edwardian building. Artists will be exploring the touchy-feely side of architecture in group exhibition Caesura et Vide Supra. Intrigued? Feel welcome to stimulate your cerebral bits, by participating in the related discussion. Add a dollop of family fun activities – a pop-up café by GCDA providing scrumptious handmade sweets and savouries + bar and DJ’s on opening night…
Friday 2nd October 2015, 6-10pm
Saturday 3rd October 2015, 12-6pm
Sunday 4th October 2015, 12-6pm
A Public Discussion: Haptic Thinking and Architecture
Saturday 3rd October from 4pm
Part of Deptford X and ArtLicks Weekend Festival
25th September – 11th October 2015
Lewis Betts, Jolanta Rejs, Anna Salamon, Frank Kent, Stephen Cooper and Bernice Donszelmann
Curated by Lewis Betts and Stephen Cooper
A group show exploring haptic thinking in relation to the architecture of Lewisham ArtHouse coinciding with Deptford X Festival, Art Licks Weekend and Lewisham Arthouse Open Studios.
Caesura et Vide Supra brings together new work by artists exploring what the Finnish theorist Juhani Pallasmaa describes as ‘tactile ingredients in our otherwise ocular experience of architecture’.
Exhibiting artists employ playful attitudes towards media-relevant genealogies of viewing and display, re-defining possibilities for the material object-hood of painting and printmaking in relation to architecture. Their new work responds to the characteristic architectural features and scale of the imposing Edwardian Carnegie building of Lewisham Arthouse,originally erected to house a library.
‘Haptic Thinking and Architecture’
Saturday 3rd October 2015, from 4pm.
A Public Touring Discussion In Situ: ‘Haptic Thinking and Architecture’.
Touring around the space, the exhibiting artists will lead a public discussion concerning Haptic Thinking in relation to Architecture.
Also part of the ArtLicks Weekend Festival.
Private View: Thursday 1st October 2015, 6pm-9pm
Friday 25th September 2015, 6-9pm (SLAM Fridays)
26th-29th September, 2-4 October and 7-11 October 2015, 11am-6pm
24th-28th June 2015
Imprints is an exhibition of prints by participants in the Printing without a Press workshop at Lewisham Arthouse. With a focus on monoprinting, but including other forms of relief printing, press free printing encourages great creativity and a remarkable diversity in the work produced.
The exhibition includes experienced artists as well as beginners, some who have been attending the workshop since it began nearly 15 years ago and others who have just started but all the prints demonstrate the exciting possibilities of press-free printing. The work in the exhibition includes a range of printmaking media including monoprints, lino, woodcuts and relief printing but all have been printed by hand.
Artists include: Emma Jo Bairstow, Andrew Cieciala, Lucy Cooper, Hadjira Elkadi, Dick Graham, Anita Gwynn, Craig Hilton, Michelle James, John Jukes Johnson, Joanna Lewis, Rachel Pank, Sarah Perkins, Rosey Prince, Victoria Smart, Heather Steed, Reuben Thurnhill, Eleanor Watson, Robin Stannard, Florence Youngs, Milly Youngs
For more info about the exhibition and Printing without Press workshops please contact
Rosey Prince email@example.com
Lewisham Arthouse presents Singspiel, a solo exhibition by Luke Burton that is the culmination of his year-long residency.
Singspiel will present a rabble of sculptures and drawings, corralled together amidst a sonic landscape, which in turn acts as a stage infused with songs and enunciations. The sound work for the exhibition will develop Burton’s ongoing interest in voice- as an embodied form of direct expression through abstract sound; as used in communication, language and and poetics; as a musical instrument.
Traditionally, a singspiel was a German-language musical play that often had comic and folk elements. It was characterized by having a light tone and containing dialogue interspersed with popular songs, exemplified in Mozart’s The Magic Flute, and later developing into the dominant form of German Romantic opera. Taking the singspiel’s historical slide in form from folk, to classical, to Romantic modes as an exhibitionary thematic, the congregated works seek to productively collapse song and play in its broadest conceptions, with a lightness of touch befitting its form, but in all seriousness.
Luke Burton lives and works in London. Recent exhibitions include Linking, Linking Arms, National Gallery of Modern Art, Edinburgh; Filigree Endings, Bosse and Baum, London (both 2015); Tenderpixel’s Tenderflix, ICA, London; Athens Video Art Festival, Technopolis Musuem, Athens (both 2014); The Uneventful Day, Carroll/Fletcher, London, A Dense Glitter of Alternatives, Vitrine, London and Love/Architecture, Turner Contemporary, Margate (all 2013).
5th – 16th August 2015
Curated by Rebecca Edwards
For his exhibition at Lewisham Arthouse, Alex Tyrrell presents Memories We Made in the Computer Age, a multichannel sound sculpture introducing music from the debut album of the same name.
The work seeks to challenge normative approaches to composition and live performance by presenting the music in the form of an immersive, spacial sound environment, utilising directional speakers and natural acoustic reflections. Emancipated from the concerns of orchestration and harmonic arrangement: Alex’s work problematises the relationship between timbre and space, challenging the listener to explore the physicality of the composition, while homogenising the relationship between sound and materiality.
The installation will also serve as a public launch for the album Memories We Made in the Computer Age, giving listeners the opportunity to experience the work in its intended immersive realisation.
Alex Tyrrell is an artist and composer from London. Recent performances/exhibitions include: 10 Empty Boxes (The Vaults Gallery), Computer Music (Progkunstfestivalen, Oslo) and Improvised Series (The Park Studios, Wembley).
More information: firstname.lastname@example.org
Saturday 6th June 2015
HOUSEWIVES: surly monochrome slowly ascending into a maelstrom of rage and density, an intensity both political, psychological and illogical. Here’s a video for their song Almost Anything: https://www.youtube.com/watch?v=werG8DL-T_w
ADAM BOHMAN & TOM SCOTT: Adam plays the stuff we ignore, toast racks, clothes pegs, styrofoam, upholstery springs, you name it; Tom plays reeds, sampler etc. and the music duets/duels around the sonic subconscious of the everyday. here’s a clip of Adam solo: https://www.youtube.com/watch?v=CKvCxaixheY
CHARLES HAYWARD (begin anywhere): songs at the piano, a sequence of betrayal, paranoia, subterfuge and privilege, as well as a series of sound events and This Heat & Camberwell Now songs in stark, minimal arrangements. here’s 3 songs: https://soundcloud.com/charles-hayward-1/sets/trademark-ground
TOM MOODY: bassist with FIRST eschews loudness for acoustic guitar and songs that disintegrate and haemorrhage language left right and centre.
8 – 11pm
Bring your own
3rd – 14th June 2015
In collaboration with Brockley Max Festival, Lewisham Arthouse presents an exhibition showcasing works from its members.
15th – 17th May 2015
Six UAL students exhibit their work together against their will.
Experience a group show, the outcome of an arranged marriage that these artists would definitely like to share with you. Celebrate the result of our collaboration at the beautiful venue that Lewisham Arthouse has provided us. Exhibiting the works of:
Saturday 21st March 2015
THURSTON MOORE: Since the demise of Sonic Youth Thurston has moved to London and thrown himself into the city’s fevered music underground. Local/global. Makes sense. Tonight he will be performing songs with guitarist JAMES SEDWARDS, currently one of Moore’s closest collaborators and deep with it. Here’s a clip of them getting all site-specific performance like:
ALBERT NEWTON is a long term project of John Edwards (double bass), Pat Thomas (keyboards) and Charles Hayward (drums). Sudden change of direction, spin on a fivepence, pirouette like emergency response team, iron grip, sumo wrestling on speed, we don’t know the result yet, like football. Albert Newton played for 12 years as a quartet with Harry Beckett on trumpet and flugelhorn. At Harry’s memorial benefit, as the last notes faded, John remarked that they had to keep playing this music and so Harry’s absence has thrown them into a new dynamic as a trio: the spirit lives on in the music.
HARMERGEDDON do their thing like nobody’s business. Their thing accesses dreamtime via the off cast, the disembowelled VHS cassette, the bar code check out, the L.E.D. and photosensitivity. Think cavemen, Fred and Wilma, for example.
Doors open 8pm
11th – 13th March 2015
We’re back from our travels in Eastern Africa and have more news. Our cookbook is now available for pre-order on Amazon. It’s exciting to see it up there!
We are also happy to announce that we will be hosting three days of dinners, at Lewisham Arthouse, during the second week of March.
Tickets are £34 per person and advance purchase is essential. Please do reserve a place in good time to avoid disappointment, as tickets tend to sell quickly. Food is served banquet style, and the menu will be revealed in full on the day of the event. As always, we welcome vegetarians and most dietary requirements (but please let us know in advance). The evenings begin at 7pm.
For more information or to see menus and pictures from our past evenings visit thegroundnut.co.uk. If you have any further questions, contact us at email@example.com.
Folayemi, Jacob and Duval
Friday 27th – Sunday 29th March 2015
“As I lay asleep in Italy
There came a voice from over the sea,
And with great power it forth led me
To walk in visions of poesy”
– The Masque of Anarchy by Percy B Shelley
Poesy is a new collaborative project from visual artists Louise Emily Thomas and Nell Loder. The project, based on the poem The Mask of Anarchy by Percy B Shelley, will culminate in a three-day experimental show at the Lewisham Arthouse. The title Poesy – a Middle English term derived from the Greek poiesis ‘making, poetry’; poiein ‘ to create’, represents the premise of the project; exploring boundaries between poetry, art and the moving image.
In the spirit of protest, folk tradition and the process of ‘making’, the artists will endeavor to create an innovative piece of work that re-imagines Shelley’s historical poem in a new language. Craft techniques from around the world will be used to explore a multitude of processes, resulting in a theatrical multi-media installation in the gallery space. Taking a collaborative approach, the artists will work alongside peers within music, art curation and political theory, to re-narrate the poem from various angles, offering a new interpretation of Shelley’s work for a wider audience.
The poem was written on the occasion of the Peterloo massacre, a fatal protest that voiced the lack of suffrage, amongst other issues. Thomas and Loder are interested in re-appropriating the political, social and romantic agendas present in the literature, to demonstrate the virtues of poetic thought that the poem explicitly advocates. The show will result in the production of a moving image work that will be released and screened in May 2015.
The artists met and trained at The Heatherley School of Fine Art in Figurative Sculpture and now work independently in London. Their individual practices have evolved to push the boundaries of the figurative tradition by focusing on the object as multi-functional within the disciplines of puppetry, animation, performance and theatre.
13th December 2014
The Winter Fair returned with renewed spirit!
We opened our doors on December 13th sending yuletide joyousness to one and all! Come and enjoy a wonderful selection of original works, seasonal gifts and artisan foods – all hand made by local artists, makers and designers. Visitors were warmed by aromas of mulled wine & pine, hot drinks and refreshments – all accompanied by the smooth vibrations of our resident DJ Terry ‘Trunkstore’ Humphrey. Full disabled access. Photography by Lynda Laird.
A performance by Skall and Alma Tischler-Wood
3rd – 4th Decemeber 2014
This is the first time that the French artist Skall will be performing in London. His debut presentation IT’S NOT MY F*#*..ING FAULT….!! will take place at Lewisham Arthouse, where he will perform for seven hours over two days consecutively. He has selected four senses to focus on and will prepare for the live performance in collaboration with the London based artist Alma Tischler Wood.
Skall has been performing since late nineties but is equally well known in his native Paris for making beautiful sculptures that mix precious objets d’art with cheap bric-a-brac. A great many of these works raise questions about culture and tradition, passionately informed by a good deal of thought and background research. This does not mean that they work in a didactic, or literal way. Nor do their decorative qualities make them especially easy on the eye. Quite often, their simultaneous allusions to different genres, such as Pop Art, anthropology, or early cubism will place the viewer on an uncomfortable edge between inadequate worlds that bring about a surprising switch of emotions. What, at first, appears to be an impish exercise in kitsch may begin to evoke something darker and more sinister, after a while. This hinterland of duality is Skall’s homeland territory. It is the state of mind that he jokingly refers to as “Skallistan”. It is at its most convincing when he enacts an impromptu ritual wearing some of the physical artifacts taken out of its typical context. Sometimes, the territory of Skallistan seems uncannily unfamiliar, perhaps because it initially seems over-sentimental, infantile or tasteless. This is a subtle portal that entices viewers into the work and enables them to read a fine string of pearls as a signifier of dignity or pathos, depending on whether they make the sculpture seem shockingly large, or whether it somehow seems to be crying.
Skall’s performances allow everyone an infinite amount of freedom to capture its essence. Often, however, the rules change. Perhaps this is his secret. Once an audience has allowed the artist to stipulate new codes of behavior it becomes vulnerable to a succession of unexpected changes in those codes.
14th November 2014
MONKEY PUZZLE TRIO features the words, voice and textures of singer and sound artist Viv Corringham, bassist Nick Doyne-Ditmas (Pinski Zoo, Crackle) and drummer Charles Hayward (This Heat, About Group, Massacre). Together they create a distinctive sound world, both exhilarating and immersive, which relies on the sensitivity and experience of all three musicians, obsessed with song as an ideal, adept and fast thinking improvisers.
The Pattern Familiar is the second album from MONKEY PUZZLE TRIO, a vibrant and energised song cycle that proffers a stark and resonant refusal of despair and the absurd. Just say yes. Brass orchestrations are tightly conceived and highly organised, complementing, while contradicting, the spontaneous funk and sound art of the original improvisations. For tonight’s performance MPT will be joined by the brass and saxes of Tom Marriott, Rob Mills, Tom Scott & Lawrence Wilkins.
A beep is a single tone onomatopoeia, generally made by a computer or other machine.
BEEP are a trio from Glasgow playing their first London gig. They live in a pigeonhole called SPACE POP. Within its small confines (3 x 10 x 12) they seek to explore theatre in music and music in theatre.
space pop. lollipop. pelican pan.
Doors open 8pm
No bar, bring your own, off licenses nearby
29th October – 9th November 2014
The show brings together a collection of Michael McManus’ recent works that explore structure within the motif of a landscape. Referencing virtual spaces’ use of flat, horizontal and vertical planes, there is a distinction between the more representational pieces and those that sit on the brink of an abstract pictorial space. Some are rendered to present a building or empty scene whilst others have been stripped back to reveal geometric forms and a network of overlapping marks.
Each painting serves as a translation of the collages McManus creates in his studio. The fragmented nature of the medium, together with its dramatic juxtapositions are recurring visual themes in his works. Some are rooted in historical appropriation whilst others reference photographs of abandoned spaces.
McManus lives and works in London. He graduated from Wimbledon College of Art (2012) with a BA (Hons) in Fine Art. He won the Prunella Clough Painting Prize and following graduation was shortlisted for Future Map (2013) and awarded the Lifeboat residency (2013) . Recently he has exhibited in UAL Showroom Space and completed the Downstairs Residency in Herefordshire.
Artist Talk: Michael McManus in Conversation with Jessica Rutterford (Artist Talks and Front of House Manager, Flowers Gallery) Wednesday 5 November, 6.45pm
The talk will focus on Michael McManus’ recent experimentations in the studio and the changing use of source imagery within his painting. It will look at the impact of working for other artists whilst reflecting on personal concerns in his practice.
17th October 2014
V4V launch their new album IN / OUT, an 8 CD-R realisation of the same shape/same details constantly re-configured one against another, like 3D chess. A limited edition of 300 with hand-made cover art.
V4V features DJ BPM (breaking out from the Grime mould for which her ResonanceFM radio show is increasingly acclaimed) building flickering ghost storms of sound, meshing with Vern Edwards’ serpentine cartoon guitar. Served on a bedrock of churning and fractured funk from the telepathic rhythmic architectures of Nick Doyne-Ditmas (bass guitar, flugelhorn) and Charles Hayward (drums).
FIRST: In a zone of it’s own with a lovely gallop, First keep the skin free from blemishes and the heart from aching 99.9 percent of the time. First are odd but familiar, animated and fruitfully nihilistic with no added sugar and using raw ingredients when possible. They are open from 7-11 at weekends and are not involved in any terrorist activity to speak of. Blisters, bliss and bananas, tender yet awkward nights at the disco. But don’t panic! First can also mean last…… to leave or to worry; it depends on context. Remember the first beak of a duck, crest of a wave and the first nib of a pencil and you’ll almost actually be there.
No bar bring your own refreshment
Paul Crook, Rae Hicks, Hannah Hood, Abigail Jones, Emmie Mcluskey, Ian Parkin, Will Thompson and Mary Wintour
8th – 19th October 2014
A group show by Garage Projects
‘An aggregate material’ is the third in a sequence of an ongoing exhibition project by eight emerging artists from across the UK. Working under the name ‘Garage Projects’, they collectively look to create works that challenge, debate and comment on contemporary society, using the gallery space as a site to present our continuous discussion.
The title ‘an aggregate material’ refers to a composition of two or more substances that form a ‘sum’ or ‘mass’. Taking this term as a starting point, we would like to propose a collective mixed media exhibition that creates a cohesive structure, which prompts dialogue around the configuration of disparate material.
The title allows the work to be read by the viewer both collectively, as a presentation of artistic practice and independently, as individual narratives.
The artists participating are:
3rd – 5th October 2014
Phil Ashcroft / Chris Barnes / Ruth Beale / Luke Burton / Oliver Campbell / Laura X Carlé / Barry Cunningham / Ali Day / Amanda Francis / Anita Gwynn / Lucy Harker / Tom Hemming / Terence Humphrey / Steve Mihara / Basia Muslewska / Nina Necak / Janine Nelson / Mark Nelson / Stephen Palmer / Rosey Prince / Toby Rye / Anna Salamon / Joyce Saunders-Diop / Fiona Smithers / Heather Steed / Shirley Stewart / Alma Tishler Wood / Eleanor Watson / Sara Willett /
Lewisham Arthouse opens its doors again with a bumper selection of exhibitions and events… Wander around a warren of studios, buy artwork from the source, window shop or simply enjoy the grandeur of a beautiful Edwardian building. After the success of Lounge at the Arthouse, its back to provide a wide selection of scrumptious handmade cakes, savoury nibbles and drinks. Add a dollop of family fun activities – postcard-sized artworks by Arthouse artists, on view and sale in our pop-up café + bar and DJ’s on opening night.
Josh Bilton, Darren Harvey-Regan, Jenny Moore, David Mabb, Steven Ounanian, Kate Pickering, Charlotte Warne Thomas
26th September – 5th October 2014
A Peer Sessions project coinciding with Deptford X, Art Licks Weekend and Lewisham Arthouse Open Studios
Curated by Tom Trevatt & Peer Sessions
Recently, there has been a resurgence in thinking the future. Not only what horrors it may hold, but how we might construct it. This important task had fallen out of favour over the last thirty years, a period of time that could be equated with a general repetition of the logic of the same. If we are now forced to think forward again, to find ways out of impending climate crises for example, we have to find new methodologies by which to construct our shared future. Perhaps the logics of contemporary art, a non-oriented, cyclical exercise, are inadequate for dealing with this project. However, equally, the modernist conditions under which the avant-garde appeared no longer exist. Thus new models need to be constructed. This exhibition asks whether the artist is a figure with whom these tasks can be carried out. Without assuming the privilege usually associated with this exceptional figure, we ask what role the artist has now, and what they should have in the future.
To engage in these questions we will adopt a methodology of synthetic thinking, practised as it is by Peer Sessions, to combine multiple ideas into complex wholes. This practice, something that art is capable of, could be utilised to connect and represent positions across a spectrum, enabling an ecology of ideas to be enacted or engendered. The exhibition will negotiate these concerns, attenuating them through art practice, and start thinking the future.
Talking about Contemporary Art
Free public widening-participation workshops to be held in the gallery, all welcome:
Friday 3rd October 3-4.30pm
Saturday 4th October 4-5.30pm
Sunday 5th October 4-5.30pm
Further information can be found at: peersessions.com
Lucy Harker, Tom Hemming, Trevor Simmons, Russell Terry
10th – 21st September 2014
Preview: Friday 12th September 2014, 6 – 9pm with a performance by Charles Hayward
Repetition is the only form of permanence that Nature can achieve. – George Santayana
In many ways the act of making art can be seen as a means to impose a sense of permanence, to immortalise a moment, person or idea. Or perhaps to create something solid, something treasured, an object to be kept forever. In reality however permanence is a false ideal, the only possible permanent state being a state of impermanence. (Im)permanence brings together the work of four artists whose practices engage with the contradictions of this complex idea. The theme is repeated as an element of each artistsí work manifesting itself in a variety of ways. In bringing the works together we hope to open a dialogue between the individual approaches of each artistís working practice.
No man ever steps in the same river twice, for it’s not the same river and he’s not the same man.
The private view will include a live performance by Charles Hayward adding an additional dimension to the exploration of this theme. The performance will feature two new pieces ‘SHUDDER’ and ‘CHAPELWHITE’, integrating elemental projections of video shot by Hayward, electronics of reconfigured voice samples and resonances of slowed down and manipulated bells, given in-the-moment social context by Hayward’s live drum performance. Sound art with funk backbeat.
Lucy Harker paints with varnish and oil paint. By their nature the materials are hard wearing and solid. In contrast the images are fragile explorations of mortality. Delicate portraits emerge from organic looking forms. Themes of fragility and mortality are undermined by the sculpted relief and careworn solidity of the surface, like treasured fetish objects. The outcome is contradictory, maintaining a conflict between permanence and decay, the synthetic and the organic. She is interested in the tensions created by contradictory relationships in painting and this becomes apparent through the conflicting elements within her work.
Tom Hemming works figuratively in oil paint focusing primarily on portraiture. His paintings attempt to engage with time and movement rather than a direct likeness or static moment. Working from drawings done quickly from life, the paintings are made over a period of time, removed from the subject. The intention is to capture a sort of perpetual flux more closely related to the perceived reality of lived experience. Any likeness is incidental, found through the distortions of time, movement and the painting process. The time described in the image is replaced by the time spent painting and left evident in the mark making.
Trevor Simmons’s heterogeneously accumulative drawings- amass upon the two parallel sides of a clear perspex block. Circumnavigation causes the assemblage of marks (made with coloured inks), ranging from the swift and the observed to the filamentary and the protracted, constitutes of the two opposing sides to alter in relation, without rendering the synchronicity of the object’s non-predetermined image(s) arbitrary. They hover- on the brink of becoming.
Russell Terry shows a large paper sculpture of a sarcophagus alongside a selection of two dimensional, composite paper cuts. Intricately cut and intrinsically delicate the monumental architecture of the sarcophagus creates a tension with the fragile paper. The ephemeral nature of the material and the shifting opacity of the planes contrast the human obsession with permanence and mortality evoked by the sarcophagus itself. The works achieve a particular state of ambiguity that is usually found in drawing – a shifting between solidity and transparency, a ‘state’ that isn’t fixed at all and one that is properly reserved for forms within the imagination.
Charles Hayward Drummer/songwriter with astoundingly prescient prog/industrial/post-punk soundscapers and electronic pioneers This Heat, later working with Fred Frith and Bill Laswell in Massacre and more recently a key contributor to improv kraut/jazz/pop quartet About Group, Charles Hayward has been a tireless collaborator, prolific solo artist and performance artist for well over 40 years. Evidence places his solo sets at the confluence of post-punk abstraction, percussion attack and spoken-word agit-prop; minimalist fragments eked out on drums, loops and voice broken up by spells of hypnotic drumming.
Luke Burton, Jack Tan, Miriam Austin, Andrew Munks, Claire Blundell Jones, Harry Lawson, Stephanie Mann and Claire Poulter
30th August – 7th September 2014
I See I Don’t See is a group show that explores contemporary notions of symbol and ritual, and its relationship with the idea of an artwork’s aura through specifically curated video, sculpture, photography and performance. The works in the show privilege the way ritual is formed through personal mythology or diffuse biography, as well as through the shared and formalised manners and repeated symbols of society.
As Walter Benjamin states, “We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind. It is significant that the existence of the work of art with reference to its aura is never entirely separated from its ritual function. In other words, the unique value of the ‘authentic’ work of art has its basis in ritual, the location of its original use value.”
If an artwork’s authenticity, as Benjamin proposes, is defined by its original purpose as ritual, then how easily can this ‘function’ be located now? How do artists consciously or unconsciously employ this authenticating function?
The exhibition will also include a specially commissioned performance by The Office of Public Ritual for Lewisham Arthouseís centenary, and a panel discussion on ritual convened by The Onion Discussions.
Performances and Events:
2 September 2014, 7pm – ‘Ome’, a performance-lecture by Claire Blundell Jones. ‘Ome’ explores the ins and outs of what a home is – as a comfort or confine – and will be given from within a homemade cardboard house.
6 September 2014, 5pm – Performance by the Office of Public Ritual of a specially commissioned ritual commemorating the 100th year anniversary of the opening of the Lewisham Arthouse building. The ritual will be facilitated by Nina-Shen Poblete, Christopher Minchin and Stephanie Farmer.
6 September 2014, 6pm – A panel discussion on ritual, convened by the Onion Discussions.
For further information, contact Luke Burton at firstname.lastname@example.org, or Jack Tan email@example.com
Luke Burton’s practice works across media and often uses the architecture of urban landscape as a stage to perform a series of estranged or intimate interactions with architectural flourish. These actions appear as a repeated repertoire of gestures, but are elicited rather than pre-determined through paying attention to the particular site or detailís formal qualities and context. Recent exhibitions include Postcodes, Casa Du Povo, Sao Paolo; What do you think of the title: ‘Nothing Lasts’, 37 Gallery, London; Unperforming, Floating Island Gallery; Please Stand By, Chisenhale Studio Space, London; An Uneventful Day, Carroll/Fletcher, London; Love/Architecture, Turner Contemporary, Margate.
Jack Tan makes work that explores the connection between the political or social and art. Prior to retraining as a potter and artist, Jack had a background in law, social policy and the voluntary sector. He currently teaches performance at the University of Roehampton where he is also researching the performativity of political resistance in his PhD. Jack has produced work for contexts such as Modern Art Oxford, Cornerhouse Manchester, the Soane Museum, Stephen Lawrence Gallery and art fairs including Frieze and Art14 London.
Claire Blundell Jones uses humour in her drawings, performances, videos and installations to tickle at subjects which are conventionally associated with gravitas, such as wasting time, alienation, intimacy, death, shame and doubt. Her wobbly-lined drawings or DIY performance props lighten these dour themes and create an interplay of pleasure and engagement. Claire has recently exhibited at Environmental Futures, Cardiff; CGP, London; ANTI – Performance Festival, Finland; Casino Forum d’art Contemporain, Luxembourg; Roam Festival of Walking, Loughborough.
Harry Lawson completed a Sculpture MA at The Royal College of Art in 2013 where he constructed a living room for the objects he collects and artworks he makes. His practice looks into how objects and artists communicate through time, researching how archaeological methodologies might affect the way some artworks are produced. Harry is also a member and contributor to the London based artist and architecture group STORE. Recent projects include: Flow, Store, London and Everything and More, OSR Projects, West Coker. Harry also recently completed a residency at the Bothie Project, Aviemore, Scotland.
Claire Poulter aims to make personal landscapes, and explores different concerns by questioning the perceived value of a given subject with an analysis of its make-up. Using different processes and materials Poulter hopes to remain self-aware and in doing so wants her evaluation of a given environment to be expressed by the result. Poulterís objects strive to describe an experience she thinks of as ëflat-nessí and rely heavily on the use of contemporary technology, historical gleaning and personal construction. Claire has previously exhibited at Cowley Manor, Modern Art Oxford and in a number of artist-led group exhibitions.
Miriam Austin’s practice can be thought of as a kind of shadow play. Whether installation, sculpture, video or performance, the work speaks at once of cyclical organic processes and of a form of corporeal vulnerability. Its material, formal and symbolic properties are devices ñ narrative, performative, psycho-suggestive ñ used to give rise to a suspension of disbelief; even to something akin to hypnotic trance. The works open imagined and hybrid territories whose referents oscillate between landscape, animal and body. Recent exhibitions include: A Sense of Things (Performance), Zabludowicz Collection, London; Elements of Religion, Bold Tendencies, London and The Birth Caul, Vitrine Gallery, London, 2013.
Stephanie Mann works primarily in lens-based media and her practice is rooted in sculptural principles. She graduated with an MFA in Contemporary Art Practice at Edinburgh College of Art in 2013. Recently, Mann was awarded the John Kinross Travel scholarship and undertook a period of development in Florence, Italy. She worked on a short film commissioned by the BBC in Japan as part of the Edinburgh International Art Festival, and has had solo exhibitions in both Summerhall and in the Scottish National Gallery of Modern Art. Mann has work in private and public UK collections including the Royal Scottish Academy.
Andrew Munks is nearly 30 and lives in London. His fish works came out of both watching Jane Eyre and going fishing and also making bonnets for people and reading the page 3 Metro. He has exhibited narrowly and currently runs Watch It gallery with Sophie Michael in the spare room.
The Office of Public Ritual (OPR) is a service that creates bespoke secular rituals for significant occasions or life events.† We work with clients to develop a set of actions, sequence of performances or an order of programme for personal, group or public use.
The Onion Discussions are a series of discussions that seek to peel back ideas within art and culture for a deeper look. Often taking the form of panel discussions or roundtables, the Onion Discussions brings together artists, writers, curators and other producers to consider pertinent issues in contemporary visual, spatial and material culture in an experimental format and in a cross-disciplinary context.
Pop-up Café, 6th June – 13th July 2014
Our gallery becomes a space to relax and refresh for 6 weeks! Greenwich Kitchen will delight your taste buds with a fantastic array of fresh food and drinks, all ethically and sustainably sourced.
Pop in for a quick snack or stay for something more substantial. Thursday nights are Foodie Nights. Bring friends and family and sample internationally inspired cuisine. Guest chefs each week will concoct marvellous menus from hot Caribbean spice to vibrant zest of the Mediterranean.
Side orders are a special programme of events to wet and nourish your appetite including; families craft activities with Arthouse artists, live music from musician Charles Hayward & Friends to Dansette record players politically spun by Rachael House’s Feminist Disco.
Monday – Saturday 9am – 6pm
Late night Thursdays and Fridays till 9pm
Friday Night Programme
6th June Barby Asante’s Open Deck Night
13th June WARNING: A virulent strand is prevalent in South East London noise. Featuring RABBIT, X-AMOUNT and MIREI YAZAWA + CHARLES HAYWARD
20th June Rachael House’s Feminist Disco – Putting the ‘disco’ into ‘discourse’ featuring Silvia Ziranek Colette Rosa
27th June TRANSMÈTIC HERESIARCS
Featuring, MER ROBERTS of 0[rphan]D[rift>], AUDiNT (Steve Goodman, Toby Heys & John Corhs), Plastique Fantastique + More
4th July Independents Day – films From the London Filmmakers’ Co-op Catalogue – as chosen by David Leister.
Featuring; Mike Dunford – LENS TISSUE, Alia Syed – SWAN, Vanda Carter – MOTHFIGHT, Nick Gordon-Smith – O, Michael Maziere – SWIMMER, John, David Leister – DRIVING THE LOOP, Noski Deville – CAROUSEL and more
11th June La Bouffe: A Night of Film with Gordon/Whitty Projects.
Featuring; Joel Blackledge – How To, Regina De La Hey and Sophie Seashell – Nux Vomica, Can Do Films – Wordfood, Jiann Hughes – Sizzling Babes, Fiona Whitty – Conversations Over Food, Tara Manandhar – Lagos is Lovely, Nick Masters – It’ll All End in Tears, WhittyGordon Projects – Vincent
Thursday night Pop-Up Restaurants from;
12th June Mana Greek, Marianna Nikologianni
19thJune In A Pickle
26th June Olly’s Turkish Gourmet
3rd July Taste of Tapas
10th July Roger Poitier
Saturday Drop-in Family workshops
7thJune Family Silhouette Workshop
14th June High Tea; cardboard cake craft
21st June Geodesia: Build a dome
28th June Butterflies & Flowers Mosaic
5th July Kidetopia; Film and Quiz for kids
This project was a partnership between Lewisham Arthouse and GCDA
For further info and photos visit our Facebook page
Saturday 10th May 2014, 10am – 10pm (studios close 8pm)
Come and explore over 30 artist studios within the beautiful Lewisham Art House. We are a voluntary led co-operative organisation, opening our doors to the public in May.
In the gallery Painting, Smoking, Eating a group show curated by Nelson Diplexcito.
Drop by for yummy cakes and a cup of tea at our pop up cafe by GCDA , followed by bar, drinks and DJ in the evening. Take part in the Cardboard Jungle workshop.
To download flyer as a pdf click here
Philip Allen, Jake Clark, Nelson Diplexcito, Freya Guest, Dave Leeson, Tom Rapsey
Exhibition Dates: 8 -17 May 2014
“There is a delicate form of the empirical which identifies itself so intimately with its object that it thereby becomes a theory”.
This statement by Johann Wolfgang von Goethe summarises the pre-occupations of the six exhibiting artists in Painting, Smoking, Eating. The selected artists in this exhibition are painters who are driven by their experience to then reflect that experience through painting.
The artists in this exhibition know their object. They are aware of the histories, the debates and the challenges in making painting today. These artists are in it for the long haul; singularly independent but also marked by a collective distrust of the convenient and anything that would compromise their vision. The place of looking is the studio. It is work, a routine and what begins is a quarrying of the object. If you ask painters how the work begins, you will discover from the responses that there is no single unifying approach. There are always exceptions to the rule and this is perhaps one of the reasons why painting is such a resilient form.
To make paintings is to always be looking. This may seem obvious, however it is the particularity and nature of the looking for the object that is central to the experience of painting. If the painter is fortunate the image will emerge quickly. More often it will never be so immediate. Painters always hope that the next painting made will be carried out more quickly than the last. The painter knows that there is a danger in the image being too familiar, particularly if they have looked too long on a painting. To paint by its very nature is to be close and sooner or later detachment, de-familiarising often through a radical decision is necessary. This combination can awaken the object of the painting. It is a very particular form and condition of the paintings in this exhibition.
In the quarrying of the image – there is always a movement towards this visual dialogue, where truths and lies are expelled between painter and painting. It is difficult to predict, document and know when and if it will happen. It should also never appear to be forced, although there may have been innumerable revisions and detours in getting there. There is no one way to the object. Sometimes the encounter comes from a suspicion or doubt that what has been set down previously does not communicate the ‘tone’ of the object. What is certain is that this encounter can only be revealed through looking intensely at what is present. Experience, tenacity, practicality and time all play their part towards this visualisation. It is only through their combined meeting that the image begins to ‘stick’ and offers a type of resistance. To recognise this encounter is to always live in the moment.
The painting that was once familiar, having been worked, will now appear unfamiliar and will be truer for being so. Only now does the work have the possibility of looking back at the painter. The painting that does this often locates itself between states, being surface and mirror and window and wall, never quite prioritising one above another. The painter will recognise the form, the territory, surface and face as a likeness of the object. The object is a resistant image that has the ability to meet and disarm, transfix and immobilise the painter. It is the myth of the Gorgon and the painters in this exhibition know its stare and the tale intimately.
They are also aware in consolidating the moment by working on and perhaps by doing so, force and lose sight of the presence of that, which was momentarily seen. The paintings in this exhibition talk about this quarrying towards immobilisation. It should never be confused as an end for a painting, far from it. It is an opening-out into the possibilities of painting and very rarely does it happen. To “finish” is too convenient and would only close the image down. Good art is always at work. Robert Frost talks about it at work, in a literary form, and more succinctly. He says that a poem should be like a “ice on a stove – riding on its own melting”. The artists in this exhibition know this. It is the experience and the difference between looking and reflecting that experience through seeing.
There will be an opportunity to meet the artists on Saturday 17 May at 6.00pm in an open discussion and all are welcome. The title of the exhibition is taken from the Philip Guston painting of 1973, Painting, Smoking, Eating (Collection Stedelijk Museum).
-Nelson Diplexcito 7.5.14
Exhibition Dates: 23rd – 27th April 2014
The Mysterious Function of Belief is a meditation; an address to humans responding to chaos in nature, our sacred geographical locations, arctic tundra and visual pleasure. Science attempts to explain chaos logically, but the esotericism present in religious symbology (particularly Catholic) and its rituals that offer their own interpretation of the universe is what appeals to the artist. The artist’s creed is to believe in One Pure Aesthetic Value and the preferred colour is Gold, Pure Gold.
Join us for a culmination of five years immersion in visual pleasure formed from collections made from the exotic detritus of an artist’s life.
The preview on 25 April, for one night only, will feature a new installation in the adjoining room.
Exhibition Date: 16th April 2014
Book Launch: 6pm – 9pm
Tours: 8pm, 8.30pm
In the hundredth anniversary year of the opening of Deptford Central Library, a performative tour and publication by Ruth Beale will chart the the history of the building, the uses of each space, and the political ambitions of its occupants. Combining new writing and archive material, the work encounters presence and absence, ambition and legacy, from the Carnegie endowment to 75 years of public library service, from a brief occupation in the early 90s as a venue for raves to community protest, and the last 20 years’ tenure as an artists’ studio cooperative.
Ruth Beale is the current Graduate Studio Bursary Artist at Lewisham Arthouse.
12th April 2014
SNORKEL South London based collective whose members come from different corners of the alternative scene, bringing together the tactics of improvisation, electronica, and sound art. Propelled by the drums, the band revel in the joy of angular repetition, throwing in elastic interruptions on guitar, trombone, analogue and digital synthesisers and vocals. To date they have released two albums and an EP on Slowfoot Records, with a third in the pipeline.
“…a vital flow of angular energy and unpretentious swagger” [The Wire] “…the missing link between Krautrock and Lee Scratch Perry” [Rock a Rolla) “…the spirit of Ege Bamyasi-era Can looms large” [The Wire]
“ …this is deeply grooved and experimental stuff” – [Clash magazine] “…bathed in the rhythmic propulsion of Can, spiky post-punk Moog/guitar interplay, and the dissonance of This Heat” [Uncut]
BASS DRUM South East London noise and then some from the Vanguard Street and surrounding area as drum dynamo Charles Hayward clashes with the synthetics of new-kid-on-the-block Riley leaving a trail of destruction, taking no prisoners and giving as good as they get, only more so. Music as fever, sound as object. Very physical.
Bass Drum – Frost (video)
ALAN WILKINSON Alto and baritone saxophonist Alan Wilkinson has had a lifelong fascination with the more extreme end of the sonic palette, fuelled by the overloaded guitars of his youth, and by ecstatic free jazz, as well as a firm belief in the undiluted potency of spontaneous creativity. As a consequence he became primarily involved with free improvisation and has played with some of it’s greatest names including Derek Bailey, Peter Brötzmann, and Alex Schlippenbach, as well as in acclaimed groups like the incendiary Hession/Wilkinson/Fell,his current Norwegian quartet Akode and with NYC duo Talibam! The more exposed and personal challenge of solo performance has always presented a welcome departure being documented on Seedy Boy from 1994, and 2011’s Practice.
no bar, bring your own
Lewisham Arthouse presents three films by Alia Syed, Amanda Francis and Lucy Harris – Panopticon Letters, The Making of… and Crossing Points
Thursday 10th April, 7pm – 9pm
Lewisham Arthouse presents three films by Alia Syed, Amanda Francis and Lucy Harris – Panopticon Letters, The Making of… and Crossing Points.
Each film presents uninhabited locations haunted by events long passed. Tides, shifting light and fleeting shadows observe the constant movement of time and a multitude of cultural and historical perspectives. The artists however offer no single point of observation. The shifting horizon disputes its role as a point of reference; figures remain fluid, fixed boundaries shift. From these fluid states the audience is encouraged to examine their own position as observers, observed and witness.
Characteristics and themes shared by these works will be discussed in conversation with curator and writer Paul Goodwin.
Alia Syed’s work examines memory, representation and colonialism through narratives constructed from both personal and historical realities. Panopticon Letters is a single screen work that explores ideas of memory, techniques of the body and colonialism, within the tradition of landscape painting. In the film, footage of the river Thames in London is altered to bring about a false relationship between sky and water. This is set against the technical descriptions of the architectural plans for an ideal prison as read from ‘The Panopticon Letters’ of Jeremy Bentham (1748-1832), who had first identified the Millbank site for the construction of his Panopticon. The darkness of the severed horizon-line allows different modes of address to emerge within a correspondence of letters, reformulating a multitude of narratives of time and place.
Amanda Francis is preoccupied with identity – specifically, how attempts to ‘define’ can be influenced by context. Francis’ is particularly interested in ‘Black’ as a cultural construct, the evolution of a political and social identity within the occident. The Making of… is the culmination of a project inspired by a saint with an identity crisis. Taking the practice of hagiography as a starting point, the film charts the story of Saint Maurice who died along the French/Swiss border in the third Century AD. He later became a cult figure in 15th Century Germany and a popular subject for art of this period. Following the footsteps of other artisans, Francis’ intentions to add to this catalogue were thwarted. The film presents a meandering narrative of the process, conflated with a tale of a man, an object and a legend…
Lucy Harris’s work explores relationships between personal narratives and rereading of the spaces that we inhabit, often shifting the usual/received focus of attention.
Crossing Points, filmed in the 1936 Berlin Olympia Stadium and the Kuppelsaal, exploits the interplay between memory, history and architecture. Through the interweaving of these empty venues with two fencers performing a series of choreographed gestures, a dialogue between distinct architectural spaces disrupted by a legacy of past activity is created. Her background as an artist and international fencer led to investigating the relationships between these two activities, exploring the use of the performance as a means to trigger undisclosed historical narratives.
New work by Liam Kean and Ed Liddle
Exhibition Dates: 2nd – 13th April 2014
“A conversation is a dialogue, not a monologue. That’s why there are so few good conversations: due to scarcity, two intelligent talkers rarely meet.” – Truman Capote
Art is a conversation between the artist and the subject; the work and the viewer; between the contemporary and art history – and in the case of a two person show, between the artists involved. Liam and Ed have made work in close proximity together for over four years and their work deals with similar themes, including what it is to be a painter in the current artistic environment.
Sometimes, the conversations surrounding art can be awkward – Awkward Conversations aims to be a confrontation or clash of two peoples work. It also aims to ask as many questions as it does provide answers – to be a visual conversation between two peoples work, even if that conversation is awkward.
ROSHI FEATURING PARS RADIO ANGLEPOISE
Friday 14th March 2014
GERTRUDE are an alternative 4-piece band based in and around London. Formed as a collective in 1996 Gertrude soon caused a stir in many different London scenes. They enjoy playing gigs in a wide variety of venues – such as onboard the Motorship Stubnitz or alongside ‘punk robots’ at a science/art event at the ICA.
Gertrude weave electric cello, melodica, clarinet and keyboard with traditional rock instruments to create a unique sound. Live, the band is energetic, rhythmic and intense – their set often scattered with droll commentary and surreal musings. Gertrude have been influenced by punk rock’s ‘DIY’ ethos, feminist thinkers as well as numerous other bands, ideas, people and events. The band have toured Europe, Canada and the U.S. and have been asked to perform at various Ladyfest events. A new album LOVE AXE WISH LIST was released in November 2013 on their Urban Missfits label.
ROSHI featuring PARS RADIO is the band built around Welsh-Iranian singer-writer Roshi Nasehi. Their music is a mix of sometimes radical interpretations of Iranian songs she grew up hearing alongside her own evocative and atmospheric songs. Her collaborator is Graham Dowdall who also works solo as Gagarin, is a member of Pere Ubu and former colleague of Nico, John Cale and many others. Roshi feat. Pars Radio have released several records to widespread acclaim. The most recent 3 Almonds & A Walnut (2013) “a beguilingly unclassifiable mix of traditional roots and crunchy avant-garde sound effects and beats”, The Independent (4 stars); “sophisticated cross-cultural urban art-pop… an original creative voice”, Songlines;
“Classic songs that transcend any “exotic” or “culture clash” boundaries…” The Quietus.
The band have gigged extensively in UK and also in Europe – live performances combining Roshi’s incredible voice with keys, vocal looping as well as Graham’s electronic beats, atmospheres and field recordings.
ANGELPOISE is a new project from Jo Thomas and Charles Hayward conjuring a primitive elegance from voice, laptop and drums. Is this electronic circuitry, city traffic or blood flow? A constant play with sense of scale and dynamics invokes a visceral field of mesmeric hypnosis. Earlier they thought to both wear pinstripe suits, but that seems inappropriate now that the sound has stated its stark, stern & unequivocal demands.
Shape Open Exhibition
Exhibition Dates: 12th – 29th March 2014
This exhibition is an annual call-out for disabled and non-disabled artists to submit work in response to a disability-focused theme. The theme for 2013 was Disability Re-Assessed. The winning submission, selected by a panel of arts industry judges, was announced prior to the exhibition showcase at The Nunnery Gallery and was awarded the Shape Open Prize of £500.
REFLECTION, the winning work by Eric Fong represents a reflection on identity and disability in the context of facial disfigurement. This short film plays with perception and moves between abstraction and reality. The piece was done in collaboration with the organisation Changing Faces.
2012 proved a momentous year, in which disabled people dominated sporting events, cultural celebrations and political debate. The focus on categorising, defining and re-assessing disability was, and continues to be, as prevalent as ever – influencing and impacting on the experience and representation of disabled people around the UK.
The Shape Open exhibition showcases work from a range of multi-disciplinary disabled and non-disabled artists, whose work explores and comments on the 2013 theme Disability Re-Assessed. Shape’s Patron Yinka Shonibare was on the shortlist panel and helped select works from 46 participating artists.
‘The Shape Open Exhibition provides a fantastic platform for artists to show their work. Such exhibitions offer great opportunities for artists to be discovered by institutions and large audiences. Similar exhibitions have helped to contribute to the development of my own personal career’.
– Yinka Shonibare MBE, Shape Open Patron
Shape is a disability-led arts organisation working to improve access to culture for disabled people. We develop opportunities for disabled artists, we train cultural institutions to be more open to disabled people, and we run participatory arts and development programmes. We aim for:
a. More disabled people as arts audiences
b. More disabled people employed in, and leading, the arts
c. More disabled people participating in arts activities
d. More high quality practice by disabled artists
For more information please visit www.shapearts.org.uk
For a preview of the winning entry REFLECTION by Eric Fong www.youtube.com/watch? V=wuzq; OAZOjg
For further information about the exhibition please email: firstname.lastname@example.org
Lily Hawkes and Holly Hendry
19th February – 2nd March 2014
‘Domming’ is a graffiti term referring to a colour mixing technique created by spraying one colour over another while it is still wet, then rubbing the two together. The term is derived from ‘condom’, referencing its synonym ‘rubber’ and is sometimes called ‘fingering’ as it is commonly done with one’s fingers.
Domming presents the work of Lily Hawkes and Holly Hendry, whose sculptural installations deal with important notions of process, including the physical manipulation of material and colour. Influences of architecture and scale are employed in both artist’s work, involving the viewer in an experience of simultaneous confrontation and seduction through the sculptures that are presented. Forms from the inner body accompany silhouettes from urban cityscapes, dry and soft materials are placed in juxtaposition with the taught and rubbery, squashed against the framework of the gallery or existing as islands within the space, mimicking the social or physical structures at the core of their creation.
A Retrospective of Nonexistent
24th January – 10th February 2014
I first came across Flamin’ Martians in Glasgow in early 2008. I was scraping together my weekly food budget as a living statue, when someone handed me a deep fried disc wrapped in a greasy flyer… such are the unexpected scraps of life that feed the alternative world of Flamin’ Martians.
Contradictions are their essence. Fine art is renounced, yet fine art fuels the Flamin’ Martians’ unsigned flyers and untagged graffiti. Members identify themselves to each other by wearing leather jackets bearing a symbol. Flamin’ Martians denies its existence as a group, yet leaves its traces everywhere to the initiated. To the uninitiated, however, the traces appear to lead nowhere…
A retrospective is usually expected to bind together various lines of development, to tell a coherent story. Flamin’ Martians shuns the simplicity of Aristotelian dramaturgy: the beginning is not known, the end does not exist, and the confusing middle does not help to construct either one of them. Such fragmentation and inconsistency is what provides the element of surprise and excitement.
Flamin’ Martians is above all a manifestation of the 21st century counterculture. Behind its pseudo-religious rhetoric and symbolism lies a genuinely agnostic world view.
Flamin’ Martians strive for Utopia – or the nonexistent – aiming to create an exciting space for discussion and openness…
Expect the unexpected, we invite the uninvited.
10th January 2014
Doors Open 8pm, Entry £5
OSCILANZ is a new trio formed of Charles Hayward (This Heat, About Group), Ralph Cumbers (Bass Clef, Some Truths) & Laura Cannell (Horses Brawl, LCAB duo).
They came together in 2013 with the intention of interpreting the music of Hildegard Von Bingen, a 12th century nun and mystic, a herbalist and inventor of her own language, who was also a prolific composer of some very beautiful pieces of music.
The group started off using very small fragments, sometimes runs of only 3 or 4 notes, as a basis for improvisations, bypassing any ideas of correct ways of performance and instead connecting with the spirit and magic of the music in a very subconscious and non-verbal way. The melodies took on a life of their own and Oscilanz was born.
Trombone, drums, violin, recorders, voices and electronics all blend together to produce something beguiling and hard-to-pin down. The word Oscilanz is taken from the Lingua Ignota, the language Hildegard invented. It means ‘October’.
HOOFUS based in the undergrowth of rural Norfolk, Hoofus writes and performs electronic music, using visceral ritual rhythms smeared with restless feral yearning and the distant hum of moss covered machinery to express the feelings of living on the borders of ordered civility and untamed wildness, and the uncanny beauty of the intangible, the occult and the arcane seeping through into the post-industrial 21st century world of reason and corporate compliance.
OPEN TUNING is south east London guitarists Terry Edwards (AKA ThE WizarD of New CrOZ) and Holly Victoria Hayes playing a gently hypnotic set of acoustic guitar improvisations.
No bar – bring your own refreshments
Joel Smith, Wesley John-Smith and Victoria Noel
4th – 8th December 2013
Artistic Autistic is an exhibition celebrating and sharing the work of three young autistic students who attend Drumbeat School. They are all very passionate about making art in their chosen medium.
Joel, who is 13, makes models mostly from re-cycled materials. He gets his ideas from watching TV, playing games and using his imagination. He likes to play with the models when he has made them.
Victoria, 14, does photography as an everyday thing and takes a camera where ever she can, photographing herself, friends, family and anything she finds interesting. Editing her images is currently her favourite pastime.
Wesley, 13 years of age, draws because it makes him feel free. He likes detail and precision. Trains and designscapes are his main interest.
27th – 29th November 2013
Firstly we would like to say a special thank you to our guests and hosts at Le Bal Café, Paris, for our last evenings in September. It was a fantastic experience, and we enjoyed sharing our food with a new audience.
We very much emjoyed another run at Lewisham Arthouse in November, after the success of the July series.
We hosted three nights of dinners on Wednesday 27, Thursday 28 and Friday 29 November 2013.
Tickets were £32pp with advance purchase is essential (available from our website – www.thegroundnut.co.uk – or by email). Food was served banquet style, and the menu will be revealed in full on the day of the event.
For more information or to see menus and pictures from past evenings visit thegroundnut.co.uk. If you have any further questions, contact us on email@example.com.
Duval, Folayemi & Jacob
23rd November 2013
8pm to 11pm
CRACKLE: is an off-kilter collaboration between bass player Nick Doyne-Ditmas and drummer Frank Byng, that draws on their extensive experience as musicians and producers working across a wide range of traditions and practices, old and new. Through a series of studio experiments and improvisations the duo explore the frontiers between analog and digital, acoustic and electric, lo-fi and hi-fi, real and imaginary…Recent addition to the band is Ben Cowen [keyboards], one half of electronic duo 7-Hurtz [Output] and also currently plays with Snorkel and Vibration Black Finger.
HOUSEWIVES: I was in Music Complex, Deptford’s rehearsal studios, buying some drumsticks. From along the corridor I could hear an intriguing and dynamic sound, coming from one of the rehearsal rooms.
“Who’s that?’” “Housewives.” “Who are they?” “Local band, playing Bird’s Nest next week.” So I went to the gig, but they went on early and I missed them; total piss off.
Couple of weeks later I’m in Music Complex again, sound along the corridor. “Is that Housewives?” “Finger on the pulse, sir.”
They come along to the reception area for a break, we get chatting. They’re playing 2 weeks time at Old Blue Last, and by the way, here’s a soundcloud link.soundcloud.com/housewivesband
Far out. 2 weeks later I’m at Old Blue Last to hear Housewives. Far out. A sort of monochromatic surliness slowly warms up to a barely controlled anger, hypnotic and building from the simplest elements. Far out. I want to hear more of this music.
NECESSITY: The power trio re-configured for the age of social and emotional collapse. 3 generations of underground noise makers collaborate in the unending struggle with the mainstream subconscious infrastructure.
Alex Ward plays guitar. Eric Clapton was never ever God. And anyway, God is dead.
Nathan Harmer plays found and abandoned sound.
By the way, beneath the pavement, the beach.
Charles Hayward plays drums. It’s a life. Keep going.
Their first CD Strip Search will be released in the new year.
So fresh it’s off the map. Click here for eternal youth.
13th – 17th November 2013
Look explores, semi autobiographically, constructs. How the artist was encouraged to be a girl, a woman and a woman artist. By approaching some of the artist’s past, the hope is to explore through various pieces the impact on her. This often means using found objects that relate to her past. There is a hinted narrative sometimes clear, sometimes more poetic and open.
One event, 3 different approaches to music making
Saturday 19th October 2013, doors open 8pm, entry £5
V4V is group V4V is sound V4V is shape
Shape same, details differ
V4V sci-fi nostalgia
Same shape, different detail
V4V may vary V4V Mayday! Mayday!
V4V deserve the rights and wrongs
V4V so much more than 4 on the floor
Uncommon time V4V do 7/8, 11/4, 24/7, 9/11
V4V learn from city: traffic, buildings and crowds
V4V been Japan and back
V4V been Birds Nest and roundabout (see A-Z)
V4V hearts synapses V4V sound-art funk
V4V DJ BPM, Charles Hayward, Nick Doyne-Ditmas, Vern Edwards
V4V uncertain until box open V4V south-east London noise
THE BALLOONS: Fuelled by passion and commercial indifference in equal measure, The Balloons have evolved from being completely unknown to utter obscurity in a mere 35 years.
With an energy to rival that of terminal invalids at least 25 minutes their junior and a unity of purpose that belies their capacity for persistent squabbling, The Balloons remain the dark and cheery purveyors of juddery, shuddery, jittery, jottery, scuttlesome jat they always was.
Jock? Razz? Who gives a monkey’s makeover!!?
South East London Arts Network
11th – 27th October 2013
South East London Arts Network (SELAN) officially re-launch with a group show at the Arthouse Gallery.
The show features work by SELAN artists, many of whom have exhibited widely in London and beyond, including Phil Baird winner of the Outside In Award 2012.
The eclectic show highlights the talents of our artists who work in a range of mediums including mosaic, glass, painting, drawing and mixed-media.
SELAN – South East London Arts Network is South London’s leading visual arts organisation for people living with severe and enduring mental health support needs.
Friday 4th October 2013, 6pm to 9pm
Saturday 5th October 2013, 12pm to 6pm
Sunday 6th October 2013, 12pm to 6pm
Brian Archer, Peter Baker, Chris Barnes, Richard Buckle, Laura X Carle, Barry Cunningham, Alison Day, Amanda Francis, Anita Gwynn, Lucy Harker, Pat Hextall, Terry Humphrey, Julia McNeal, Nina Necak, Janine Nelson, Mark Nelson, Stephen Palmer, Ben Parry, Sofie Pinkett, Rosey Prince, Toby Rye, Anna Salamon, Rachel Salter, Joyce Saunders-Diop, Fiona Smithers, Shirley Stewart, Alma Tischler Wood, Luigi Vanzan, Ben Varney, Eleanor Watson, Sara Willett
We invite you to come and explore 30 artist studios over three floors of our beautiful Edwardian building, the former Deptford Library.
Friday 4 October, 6pm to 9pm
Saturday 5 October, 12pm to 6pm
Sunday 6 October, 12pm to 6pm
Don’t miss our special programme of exhibitions, events and site-specific works, during and preceding open studios weekend. On the ground floor, Arthouse artists will be demonstrating people power in the group exhibition POWERHOUSE. Back by popular demand is our Ping Pong Tournament with special cocktails to savour. In the gallery artist Rory Macbeth will be showing a site-specific work LOST PRAIRIE, and as a special treat he will be giving an artists talk. And last up, David Aylward and friends will be leading a parade through the streets of Deptford in tribute to our dearly departed anchor. You can catch the parade on route or at the Arthouse where things culminate in a striking crescendo.
Anchor Parade 5 October arrives at 4pm (approx)
Special thanks to Greenwich Kitchen for their sterling work providing scrumptious food in our pop-up café. Greenwich Kitchen is part of Greenwich Co-operative Development Agency (GCDA), a voluntary organisation, established to support the creation of community owned social enterprises focused on food and health.
by Rory Macbeth as part of Deptford X
Exhibition Dates: 27th September – 6th October 2013
During Deptford X, Rory Macbeth will be making a site-specific piece of work in response to the complexities of Lewisham Arthouse as a long-standing co-operative arts organisation.
His performance-driven practice has recently seen him translate a novel by Kafka with no understanding of the original language and no dictionary, write email excuses to a gallery for a poor art show of dog paintings, and to play Beethoven on piano in front of classical music audience, having never played piano before.
For his show at Lewisham Arthouse, Rory Macbeth has built 3 street billboards and rented the space out via a pubic advertising company, Outdoor Advertising Ltd, who have found 3 clients interested in advertising here as part of new publicity drives. As such, all three adverts are fully functioning current adverts, the same as the ones on the buses that drive past the Arthouse or that line local roads, and in this sense a sort of reversal of the ‘80s idea of billboards as a site for Art. Lost Prairie is also a direct response to the particular circumstances and history of the Lewisham Arthouse as an independent and autonomous space, with all the utopian advantages and nightmares that brings with it: forcing the corporate world into the co-operative’s hard-fought independent boundaries temporarily, in a sense to see who wins. Named after a half-remembered song lyric, Lost Prairie is romantic, hopeful, stupid, awkward, funny and wrong.
An evening of music, film and movement
Friday 13th September 2013, doors 7.45pm start 8.15pm
MONKEY PUZZLE TRIO Viv Corringham, electric voice, Nick Doyne-Ditmas, electric double bass, Charles Hayward, drums and keyboards
JO THOMAS will unfold her elegant and mysterious soundworlds
GONE HOUSE, GHOST HOUSE (film plus live soundtrack by RABBIT with butoh interventions/actions by Bridget Scott)
Exhibition Dates: 12th – 22nd September 2013
Following a 6 month residency in Lewisham Arthouse, Nicky Teegan presents a collection of devotional objects, handmade oddities, sounds, texts and footage. Drawing from the every day, science fiction and local stories of mystical phenomena this exhibition will function as fiction rather than a hermetically sealed system of pedagogies.
Teegans’ work deals with the fanatical collecting of things. It specifically focuses on the fetishisation of everyday objects, outmoded technologies and found oddities and their subversion into devotional objects. It examines hidden meanings behind these devotional objects and rituals and their purpose. Underlying this, Teegans’ work draws from dystopian science fiction and ufo cults.
Alongside the exhibition was an event on 21 September, from 6pm. A dusk performative walk with the exhibition as a starting point. The two hour performance was a subversion of objects, science fiction and local stories of mystical phenomena, functioning as a fictional narrative and subverting the location and objects into a place of mystery. Tea and snacks were provided at the end.
An arena of exchange: 5 performance events in 3 hours
30th August 2013, 6-9pm
Bridget Scott makes work that takes movement to expressionist terrain, adapting a variety of approaches to achieve places of vulnerabilty. She lives in Kyoto, which naturally informs her work. http://www.deepkyoto.com/?tag=bridget-scott
Charles Hayward is a musician, songwriter and performer. 40 years at the coalface of the European underground. https://www.facebook.com/charleshayward.official?fref=ts
Harmergeddon is Nathan and Fae Harmer, a duo of sound artists, utilising a hybrid technology from the hinterlands of now.
Merlin is an emerging performance artist, using movement, word, character and costume for her own reasons. She will bring her friends.
The evening will feature 5 performance pieces:
The BELL AGENCY is a study in cooperation and concentration. For 3 or more players. http://www.youtube.com/watch?v=0LXAL4GYPrw
Bridget Scott will slowly unfold an UNTITLED movement piece involving gesture and stillness that takes its cues from the Arthouse gallery space. Nathan Harmer and Charles Hayward will provide live soundtrack.
Harmergeddon will play their sound in semi-darkness, enhanced by the flickering TV monitor and LED devices, music from the dreamtime.
30 MINUTE SNARE DRUM ROLL does pretty much what it says, as Charles Hayward takes the limited sonic palette of the snare drum roll and uses it to build a 30 minute sound world of inflection and structure, a pencil thin line of sound.
MODEL VILLAGE is a collection of miniatures, song, movement, spoken word and sketches. http://www.youtube.com/watch?v=YTd3kanSXmk
31st July 2013
Nina Davies, Elenor Hellis, Cara Mills, Zoé Nguyen, Anna Pickles Harvey, Michael Peters, Jean-François Santhéo Le Minh, Andrew Smith, Sif Thy, Christian Wright, Charles Verni
“The prefix “post-,” which denotes an immobile state past history, is replaced by the prefix “re-,” which points at repetition or response. We are not after production. Rather we are in a state in which production is endlessly recycled, repeated, copied, and multiplied, but potentially also displaced, humbled and renewed. Production is not only transformed but fundamentally displaced to locations that used to form its outside: to mobile devices, scattered screens, sweatshops and catwalks, nurseries, virtual reality, offshore production lines. It is endlessly edited and recombined.” – Hito Steyerl, Cut! Reproduction and Recombination, e-flux journal (2012)
When I watch a film it exists in numerous tabs. 1channel and Facebook blur into one site. I listen to an album dissected into a Youtube playlist, its narrative deleted by the silence of buffering or the roar of adverts. The tune is interrupted as the BBC News theme tune emanates from my IPhone. I open the app and slip through the top headlines with the haptic touch of my thumb, stories of heterogeneous nature and origin blending into one heterotopian space. A new story emerges and in one smudged swipe of an index finger I’m back at a fleetingly current event. The laptop screen flickers off temporarily and my gaze is brought up from one GUI to another. I’m in a digital composite and it hurts. Apps don’t translate well corporeally and it’s hard to move through a 4D space.
18th – 27th July 2013
The Groundnut was a dinner project founded by Folayemi Brown, Duval Kojo Bankole Timothy and Jacob Fodio Todd. Menus were inspired by their mixed European and African heritage. The food was freshly made and unless otherwise stated all recipes are new creations. Lewisham Arthouse hosted The Groundnut for a series of six pop-up dinners over two weeks in July 2013. Tickets were £30 and advance purchase is essential. For more information, and to learn abot future events visit thegroundnut.co.uk or email firstname.lastname@example.org.
Curated by Katalin Halasz and Polly Card
8th – 10th July 2013
This exhibition has been organised in conjunction with the International Visual Sociology Association Annual Conference 2013 that takes place at Goldsmiths, University of London.
Visualising Affect investigates art-practices and visual research strategies that consider and challenge the affective and emotional dimensions of race, sexuality and gender-constructs in art and society. It provides a compelling argument for an aesthetic engagement with affect and offers an insight into the ways in which social research remains concerned with the role and possibilities of feeling.
The art show and conference talk bring together the most exciting minds from social science and visual arts, both new talent as well as established international contributors to explore these issues. The group show runs over three days and includes sound and textile installations, video-art, photography, film screening and talks from 17 contributors from 10 different countries.
Artists and visual sociologists participating in Visualising Affect are Sutapa Biswas, Sandra De Berduccy, Nirmal Puwar, Yasmin Gunaratnam, Julio Gonzáles Sánchez, Karin Michalski, Laura Cuch and Yvonne Füegg.
Films by Jane Kin Kaisen and Guston Sondin-Kung, Jack Tan, Justin Archer, Martin Bleazar and Rosanna Scott, and by Konstantinos Panapakidis are screened as a special event to the exhibition.
A panel talk with academics Allison Carter and Rachel Clarke and exhibiting visual practitioners Laura Cuch and Konstantios Panapakidis takes place on 9 July as part of the International Visual Sociology Association Annual Conference 2013.
For additional information, images or interview requests please contact: email@example.com
28th June 2013
Ping Pong and Pimms as part of SLAM Last Fridays! Put your name on the board to join the tournament and be in with a chance of winning a one of a kind Gavin Turk signed ping pong ball! Free Entry and donations bar!
19th – 30th June 2013
BIZZARO FILTER is an exhibition of portraiture by a group of emerging artists working in paint and print. Each artist operates as a filter, projecting, delineating and subverting the figure; creating a new perspective rooted both within a tradition of painting and their own personal experience. The results inevitably are bizarre.
Mathew John Atkinson – www.matthewatkinson.co.uk
I create ethereal hinterlands that are eerily constructed and ambiguous in a bid to explore the moral and finite reality that humans have formed. The paintings challenge the viewer to reflect upon and enter into a dialogue concerning their universal vulnerability and empathy. A fusion of techniques influenced by Richter, Polke, Turner, Goya, Doig to name a few are combined to produce paintings that are poignant, calculating, hopeful and otherworldly.
Benjamin Bridges – www.benjaminbridges.com
I see my art practice in parallel with life as a journey of learning and discovery. A journey through which I can produce work that reflects my eclectic interests and that also serves as a tool for the discovery of new ideas. Most of my practice is purposely sombre and unpopulated, but when painting portraits I wanted to make paintings that were human, eccentric and yet light hearted. The painting process for me is about speed, a relaxed touch and the intensity of colour.
Christina Christova – www.inachristova.com
My work is a voyeuristic intrusion into fantasy and secret desires. Using photographs of people as a starting point from which I draw on the mood, infusing them with my own imagination and memories. I aim to create an ambiguous world of escapism and delusion, in a sense an alternate reality. Currently I am painting on uneven or reused boards the surface of which add their own, accidental mark to the work.
Amy Cochrane – www.amycochrane.co.uk
My recent work takes its imagery from Greek and Roman sculpture, where I paint restored marble busts with the colours they may have worn, which raises questions regarding our taste and the kitsch. The ‘Mug Head’ series toys with musicological display practices and directly explores the relationship between object-hood, decoration and the illusory nature of painting. The paintings record the process from object to staged photograph and finally to painting. They then serve as a record of constant metamorphoses: in scale, dimension, and in cultural value.
I am a printer making CMYK halftone screen prints. I treat each print and the process as individual works of art. My work is split into two branches, the first of which I call ‘Funsies’. These are prints that I make purely out of an enjoyment of the process, where I strip away all sense of context to make enjoyable images to look at. The second strand I have labelled ‘Pretentious’. These works explore philosophy, metaphysics, religion, science, art history and theory. These works are purposefully contrived and dense with questions and influences, in which every element serves a specific function.
For more information please contact firstname.lastname@example.org or visit hollowearthlondon.com or facebook.com/HollowEarthLondon
29th May – 9th June 2013
An exhibition of work by members of s-a-l
Take It or Leave It is a mixed media exhibition by the London based collective s-a-l (Spanish Artists in London). The show explores and celebrates the artistic response to changing cultural context and identity. s-a-l aims to promote and exchange experiences with other contemporary art groups and create awareness and interest in Spanish culture.Using various mediums the artists examine their idiosyncrasies and responses to their own personal identities. The exhibition encompasses installation, sculpture, painting, photography and music; featuring: Maria Alverez, Trndad Ball, Marisol Cavia, Loli Cardenoso, Slvia Ramona Estevez, Manuel Noguera, Natalia Rivero.
Event: Friday 31 May kicking off from 6pm as part of SLAM Last Fridays.
Playing live SLEEPLESS KIDS CLUB – indie/folk band from Madrid.
23rd – 25th May 2013
What happens if you ‘Take One Picture’ by a famous artist and explore the creative possibilities of new ideas and exciting journeys…
Myatt Garden Primary School’s Take One Picture at Lewisham Arthouse
24th April – 5th May 2013
Mystique and Mundanity
A study of the fallen Berlin Wall aims to reinvent the mystique of a famous city by elevating the mundane
Press photographer Haydn West and filmmaker Tom Sands spent five nights documenting what they saw over a nocturnal six mile walk along the route of the fallen Berlin Wall, using 35mm black & white film, a DSLR and radio microphones.
Kunst Photo-Projekt used the photographs and film as the starting point for an installation of photographs, film, sound-design and 3D work. The personal vision of the artists investigates the mystique of the Berlin Wall. The photographer used a film camera while being filmed by a cameraman using a digital camera. The two types of media are exhibited side by side, encouraging the viewer to reflect on the reliability of information in our world today.
Townly Cooke & Mary Louise Evans
6th April 2013
I N V I T E 100 was an Event/Exhibition on Saturday April 6th 2013 that marked the 100th anniversary of the laying of the foundation stone for the then Deptford Central Library, now the Lewisham Arthouse Grade II listed building.
In 1913 over 70 people sent RSVP letters accepting or declining their invitation to this ceremony that celebrated this new building which honoured the then progressive idea of libraries open to all.
We invited today’s inhabitants of the same addresses that attended the ceremony on Saturday April 5th 1913. Copies of the letters and archival material will be exhibited alongside new work documenting the process and response to the invitation.
All were welcome to join us to celebrate this building and be part of this event. For further details contact Townly Cooke at email@example.com or Mary Louise Evans at firstname.lastname@example.org
Thanks to Lewisham Local History and Archive Centre.
22nd – 29th March 2013
Duval Timothy presents Mahsiwel, a solo exhibition of new artworks at Lewisham Arthouse Gallery, situated in the heart of the local area of south-London that has inspired many of his works. The exhibition includes video, paintings, sculptures, audio, prints and drawings; a display of Duval’s cross-disciplinary practice. Mahsiwel will be Duval’s first major show since graduating from Central St Martins University, London and Beaux Arts, Paris.
The title of the exhibition, Mahsiwel, is an example of how Duval has recently adopted the use of text and anagrams to his practice to evoke questions about language and a suggested ethnic background inside familiar names and places. This technique was also used in a musical context in The world Is Yours where Duval transcribed the lyrics of the rapper Nas’ hip-hop track by jumbling up the letters in each word and re-rapping the new lyrics over the Pete Rock instrumental.
Duval also continues his exploration of clothing through collars, bow ties and hats. He explored his old school’s photographic archive (also situated in Lewisham borough) as a platform for various collages highlighting elements of the uniform. In his studies, Bow ties for Corbusier, Duval comments on traditional architects attire through the influential modernist architect Le Corbusier. The motif of a continually expanding bow tie is a celebration and critique of the infinite potential of repeated units typically used in modernist tower blocks, something that Corbusier pioneered.
Duval who is Sierra Leonean, Ghanaian and English references the large west-African population that exists in south-London. In Kufi, the artist has taken the logo for Lewisham borough (a crown of yellow figures holding hands) and embroidered the logo in relief around a blue wool kufi hat that he constructed. Fittingly, the name for the traditional west African hat “kufi” translates as “crown” in Yuroba.
A closing event took place on Friday 29 March 6 – 9pm as part of South London Art Map Last Fridays.
Hosted by Ruth Beale
16th March 2013
Community-led initiatives, social enterprises and co-operatives – people continue to seek new ways to work collectively, and to reinvigorate tried-and-tested models. From its noble beginnings in 19th century Rochdale, through to the 20th century labour movement, the co-operative sector is growing again, and bucking the recession trends. But doing things together isn’t always easy, as members face both the realities of home-grown democracy and external bureaucratic pressures.
Following on from 2012’s ‘year of the co-operative’, this event will bring together ten co-operatives and collectives to consider the co-operative from all angles. As well as being a chance to share practical information, it will address the ideological and political reasons behind co-ops. The afternoon will include presentations by a range of organisations, followed by a series of discussions and workshops about democracy, community and ethics, bureaucratic barriers, common strengths and difficulties.
Participants include representatives from: 115 (Kentish Town), Brockley Housing Co-op, Cube Cinema (Bristol), Cubitt (Angel), Lewisham Arthouse, Myatt’s Fields Park Project (Brixton), The People’s Supermarket (Bloomsbury), Voice of Youth (Hackney) and the former London Filmmakers Co-op.
2-6pm discussions, workshops and presentations
6-7pm food and drinks in the newly renovated gallery, and the opening of Arthouse members’ ‘secret show’
7pm screening of ‘Together’, dir. Lukas Moodysson
Free, all welcome. No booking necessary – drop into any part of the day. Step-free access.
Lewisham Arthouse is an artists’ studio cooperative in New Cross, South London, formed in 1994. The Arthouse is currently undergoing organisational change, including the formation of a new charity to run the building – a spectacular Grade II-listed Carnegie Library. Ruth Beale is the current Graduate Studio holder. The Arthouse Gallery runs a selected programme of contemporary art exhibitions throughout the year. If you are a curator or an artist with an idea for an exhibition we’d like to hear from you.
Ongoing from 16th March 2013
Alma Tischlerwood, Brian Archer, Rosey Prince, Luigi Vanzan, Toby Rye, Sara Willett, Pat Hextall, Janet Hyde, Amy Cook, Mark F. Nelson, Gregoire Bouffon, Shirley Stewart, Terence McDonald Humphrey, Tom Hemming, Charles Hayward, Heather Steed, Chris Barnes, Natasha Rosling, Richard Buckle, Jemma Grundon, Phil Ashcroft, Townly Cooke, Anita Gwynn, Fiona Smithers, Alison Day, Laura X Carlé, Duval Timothy, Amanda Francis, David Garcia Pena.
In 1905 Andrew Carnegie promised a sum of £9,000 for a central library in Deptford and commissioned Sir Alfred Brumwell Thomas to design a building. The foundation stone was laid along with other objects and affects; this show is dedicated to that moment in 1913.
Deptford Central Library closed down in June 1991. The building suffered heavily from vandalism, attracted squatters and became a venue for illegal raves. In 1994 local pressure groups, convinced the local authority not to redevelop the building – since then it has remained in community use.
As part of the buildings centenary celebrations, a time capsule lies locked behind the gallery walls evidencing the individuals who currently work and care for the building. Once you enter the gallery, listen out for the bumps, scrapes and murmurings of it’s becoming…
8th December 2012
Taken from One Long Conundrum EP which also features remixes of the album Stop Machine from the likes of Sculpture, Crewdson, Robert Logan and Rome Pays Off. Available at www.slowfoot.co.uk
An avant-whatever collective exploring the nether regions between the groove and free improvisation; sub-aquatic observations of dub, jazz, afro-beat, krautrock and electronica.
Snorkel was formed some ten years ago by drummer Frank Byng in order to explore and develop strategies for improvisation using flexible line-ups. Taking their methodology from legendary bands like Can, Soft Machine and This Heat, they like to play unrehearsed extended sets in non standard venues. Snorkel acts as an experimental workshop for Slowfoot. Ideas and material generated through improvisation often finds its way into other recording projects.
The current line-up uses drums, guitar, trombone, analog and digital synths, vocals and various cheap samplers/drummachines/electronics to create their sound, generating loops from which the tracks are built. Their intense polyrhythmic grooves pull in influences from jazz to african, rock to drum’n’bass, and drag them into a new context. The creative exuberance of the band is rooted in the joy of psychedelic repetition and the states reached when playing continuously and synchroniously; their sonic palette is informed by dub and electronica – live instruments pushed and pulled through effects filters, sculpting in real time a polymorphously perverse and unruly soundscape.
RAF AND O
Raf and O are Raf Mantelli and Richard Smith. The two piece band from South East London deliver a vortex of live electronics, acoustic instruments and fragile, magnetic, strange lullabies married to a pop spirit.
Press have described them as ‘Indietronic delicacy’ (Mixmag), ‘Emotively intense’ (Subba Cultcha) ‘Bewitching’ (Raveline Germany), delivering ‘Really excellently knitted experimental and cinematographic world’ (De-Bug Germany) whilst ‘They display outright pop mastery’ (Flux Magazine).
Raf and O have released 3 records on Geo including their debut album ‘A Giant In The Snow’ and a ten inch vinyl to UK/ European acclaim, have extensively collaborated with Gagarin, are writing tracks with Robert Logan on a separate project and have supported amongst others Alabama 3, Rothko, Nedry and the legendary Faust.
Their new full length second album is due for release in 2013 – many of the tracks have been performed live in 2012 with an exciting live set up comprising a hybrid of electro/ acoustic drums, self-made triggers, pads, samplers, vocals, synths and acoustic guitar.
21st November – 2nd December 2012
Going Backwards Towards brings together four artists working with the materiality of the photographic medium to explore ideas of memory, nostalgia and the unconscious. Alexandra Davenport, Hekla Flókadóttir, India Guthrie and Silje Lovise Gjertsen all work into and beyond the surface of the image, exploring process as a means of excavating the latent desires and memories within each artist’s practice. Addressing notions of craft and the hand-made in relationship to femininity and sisterhood, the works embrace the physicality of the artwork and the artist’s bodily interaction therewith in the processing of making. Defying the speed of image reproduction and consumption within our digital age, the works echo one another formally whilst intertwining narratives and memories to generate new understandings.
Alexandra Davenport’s series of black and white ballet slippers printed on a mottled, leathered surface, recall a mother’s attachment to her daughter’s long outgrown garments, archiving the past to safeguard the future. Davenport works with ideas of the personal archive and a passing on of craft from mother to daughter over generations. Other works include images from family albums of grandmother, mother and the artist herself stitched into to obliterate and highlight aspects of the image. Her practice examines a reclaiming of the feminine through preserving traditional methods of production.
Hekla Flókadóttir’s work explores the relationship between man and it’s environment, often in a dreamlike and nostalgic way. Her surreal like painted canvases and collages invite the viewer into her fantasy world. Flókadóttir’s work explores her relationship to the mother, the organic and reclaimed femininity. Using both photographs and drawings to project her dreamlike state, she uses delicate papers and soft shades to incorporate the female body into the landscape.
India Guthrie’s abstract drawings and paintings scrolled and layered upon one another show process and prepatory material as final works, a never-ending examination of form and materials. Skin tones and cool blues and pinks depict organic shapes that escape the drawings in wax models and sculptures.
Silje Lovise Gjertsen’s distant dreamlike portraits explore the subconscious state of mind; inducing feelings of dreaming, nostalgia, imagination and memory. Her portraits study herself and members of the collective to create an extensive study of this out of mind/body state. Using long exposures, she forces her sitters into a trance-like state — enchanting them into their subconscious. Gjertsen creates a “fetus inside a womb” like effect, exploring this temporary space – a world outside of reality. Her enchanting, vignette portraits hold an ethereal and prolonged presence of the sitter.
Alexandra Davenport is a British-born visual artist, who lives and works in London. With a previous performance background as a classically trained dancer, her practice primarily explores choreographic and performative elements of the body.
Silje Lovise Gjertsen is a Norwegian artist currently based in London. Her work explores questions of identity, family and nature; often with a closer look at the subconscious state of mind, dreaming, nostalgia, imagination and memory. Her practice emphasises experimentation with different techniques and materials in the darkroom.
India Guthrie is an English artist based in London. Working primarily with drawing, India’s practice explores abstraction and form.
Hekla Flókadóttir is an Icelandic London based artist, whose childhood in the Icelandic countryside surrounded by nature has had a huge impact on her practice – imaginary/ surreal, process. This collaboration was formed through the artists working together at London College of Communication.
An exhibition by Clair Tighe and Nina Necak
7th – 11th November 2012
An exhibition by Clair Tighe and Nina Necak
Clair Tighe –
At the age of 7 the Arthouse was like a massive playground for me. I ran around, played with the pottery wheel and explored all the old rooms. At the age of 17 I see it as a haven for artists wanting to live their dreams. Using Photography, this exhibition highlights the artists in their habitat and shows that it is not only who they are, but what they do. The Arthouse is a gateway for creative thinking and you can help it by coming to see my exhibition.
Nina Necak –
At the age of 7, and through The Adoption Service, Clair chose me to be one of her new parents. We instantly bonded, and my work through the media of Ceramics, Printmaking and Painting shares some of the joys of family life.
24th October- 4th November 2012
Cavernous steel structures, intimate bodily forms and a man spending time, watching the clock: Peter Ibberson, Bethany Marett and Godai Sahara team-up to present * new video, pictures and sculptural daydreams about life, play and the imagination.
* F, FA and A
19th – 21th October 2012
An exhibition of work created during the Track Project workshops. The Track Project has now come to an end. This series of workshops for young people which ran at Lewisham Arthouse over the summer to coincide with London 2012, was extremely successful. Led by some inspiring artists, our fantastic young participants produced some great work. To celebrate we are holding an exhibition of the artwork and films produced.
28th September – 14th October 2012
To celebrate our 20th anniversary Lewisham Arthouse invited all the artists who have had studios with us, past and present, to put work into a group show. We wanted to acknowledge the contributions of anyone who has been an Arthouse member over the years.
In the last twenty years we have seen many artists working in very diverse artistic fields ranging from painting, sculpture and installation, print, illustration, textiles and ceramics through to film, video, performance, theatre, music and more. Deptford X was originally conceived at Lewisham Arthouse and our members have organised and curated all kinds of projects from The A6 Show to Chain and The Hallway Projects; events such as Keep and Vampire Night; international exhibitions by artists from South and North Korea, Japan, USA, France, Italy and Germany; local educational projects including The Magic Snake and Mark of Action to Simply Red And Green and The Track Project; artists as diverse as Mark Titchner, Rita Keegan, Walker and Bromwich and Bob Godfrey are just some of the many that have exhibited work at the Arthouse.
We have a lot to be proud of and a lot to thank our members for!
Lewisham Arthouse Open Studios will also be open Friday 5 October 6-9pm and Saturday and Sunday 6 & 7 October 12-6pm.