Raven Row: Recent Episodes
Raven Row
Raven Row is a non-profit contemporary art exhibition centre in Spitalfields.
Raven Row’s programme is intended to appeal both to a specialist audience and a broader, curious public. It is led by a desire to test art's purpose outside the market place. It exhibits diverse work of the highest quality, often by established international artists, or those from the recent past, who have somehow escaped London's attention. However, the programme will remain improvisatory and un-dogmatic, and the qualities that might constitute Raven Row’s success, its ‘cultural value’, will remain open to question
Revisit a conversation between artist Tam Joseph and art historian Dr Anjalie Dalal-Clayton, celebrating the publication of Four Corners Books’ I Know What I See, the first major survey of Tam Joseph’s career.
‘With the wry observations of his concerted, determined and engaging international reach, Joseph is in so many respects the absolute embodiment of diaspora. But perhaps we’d do better to simply describe Joseph as a world citizen, one who is as deeply engaged with history as he is with geography, and formidably engaged with artistic innovation.’
— Eddie Chambers, Introduction to Tam Joseph: I Know What I See, 2023
For over 40 years, Tam Joseph’s work has taken him in many different directions, but it is grounded in a sensibility which revels in the connections between things, as well as the creative possibilities of human perception.
Some of Joseph’s paintings reflect on his own history and the history of injustices faced by African Caribbean people in Britain. Other works draw inspiration from diverse sources including cinema, music, and sport, as well as the natural world and the history of painting itself. Whether his subject is landscape, portrait or history, Joseph employs his deep knowledge of paintings of the past to create work which invites viewers to consider these genres afresh.
Tam Joseph lives and works in London. His work has been exhibited internationally and is represented in many public collections including the Arts Council Collection, Tate and V&A.
Dr Anjalie Dalal-Clayton is an art historian, focusing on British artists of African and Asian descent. She is based at University of the Arts London’s Decolonising Arts Institute, where her research focuses on collecting, interpretation and display practices in public museums and heritage organisations.
Four Corners Books is an independent publisher and charity, which shared space with Raven Row between 2009 and 2020.
Listen back to a conversation between artist Ibon Aranberri, art historian and writer Miren Jaio, and Raven Row’s director Alex Sainsbury, exploring what underpins Aranberri’s wide-ranging practice, how his complex research projects are generated, and how they unfold and intertwine, especially in relation to the works in Unequal Diameters.
Miren Jaio (born 1968) is a member of Bulegoa z/b, an office of art and knowledge based in Bilbao. She teaches Art History at the University of the Basque Country, Bilbao.
Ibon Aranberri (born 1969) has exhibited in numerous European institutions including in solo shows at Kunsthalle Basel (2007), Fundació Antoni Tapies, Barcelona (2011), Fondazione Sandretto Re Rebaudengo, Turin (2011), and Secession, Vienna (2014). He participated in documenta 12 (2007), Sydney Biennial 2008, and Busan Biennial 2012. A survey exhibition of his work will open at Museo Reina Sofia, Madrid and Artium.Museao, Vitoria-Gasteiz, in November 2023.
FESPACO and the Archiving of African Cinema
With June Givanni (chair), Mohamed Challouf, Jihan El-Tahri, Aboubakar Sanogo and Keith Shiri
Since its establishment in 1969, the Pan-African Film and Television Festival of Ouagadougou (FESPACO) in Burkina Faso has been considered one of the most important festivals of the African, and later the African diaspora’s, filmic imagination. Chaired by June Givanni, this panel charts and explores FESPACO’s histories and legacies.
Between Accessibility and Art Criticism: African/Diasporic Film Culture Today
With Awa Konaté (chair), Anthony Badu, Liz Chege, Abiba Coulibaly and Rōgan Graham
Increasingly the division between cinematic forms and materials produced for art galleries have blurred and created new forms of creative collaborations and questionings of the screen-based image. How does this context speak to legacies of the pioneers of African cinema and the challenges and opportunities for contemporary African film makers? The panel aims to explore the role and relevance of writing about and curating African/Diasporic films and to identify new ways to foster and develop ideas about accessibility and institution building in the contemporary moment.
Sisterhood
With Suzanne Scafe (chair), Wangui wa Goro, Sindamani Bridglal, Ruhi Hamid and Haja Fanta
This panel explores Black women’s filmmaking as an important voice in the development of Black independent film in the UK, the African diaspora and on the African continent in the 1980s. Black female directors, producers and programmers share their experiences of overcoming obstacles to produce their films and bring Black women’s experiences into the cinematic frame.
Please note, at 1.01.15 there is a section of 40 seconds with low audio quality during a microphone changeover.
Third Cinema in the Era of Channel 4
With Imruh Bakari (chair), Gaston Kaboré, Hudda Khaireh, Rod Stoneman and Parminder Vir
The first ten years of Channel 4 (1982–92) fundamentally transformed British film and television, and also witnessed the emergence of a Black British independent cinema. This intergenerational panel brought together key individuals who were part of that moment, with creative professionals who have encountered and reframed the complex legacies of Black British independent media production.
This event was part of PerAnkh – The June Givanni PanAfrican Cinema Archive at Raven Row.
Black on Europe
With Juliet Alexander (chair), Felix de Rooy (Zoom), Cecile Emeke, Colin Prescod and Onyekachi Wambu
Black on Europe was a landmark BBC television series produced to signal the establishment of the European single market on 1 January 1993. In 1991, Black British filmmakers Colin Prescod and Onyekachi Wambu documented the lived experiences of Black people and communities living within the EU across six countries: the Netherlands, France, Germany, Italy, Portugal and the UK. Thirty years on, this panel united the original filmmakers with filmmakers from the UK and Europe, exploring the meaning of being Black in Europe and our changing understandings of notions of belonging, race and identity.
Listen back to the second panel discussion from our event ‘Public Access Television, the Community Programme Unit and the BBC’, in partnership with the Bishopsgate Institute, exploring the Community Programme Unit’s role in bringing public access television to the UK, and the legacies and tentacles of its achievements.
The event took place on 25 March 2023, and was part of our exhibition ‘People Make Television’ 28 January–26 March 2023, an exhibition of DIY television from the 1970s curated by Lori E Allen, Matthew Harle, William Fowler and Alex Sainsbury.
This panel brought together Mike Bolland, Sue Davidson, Tony Laryea and Giles Oakley for a conversation chaired by Jo Henderson.
Revisit the first panel discussion from our event ‘Public Access Television, the Community Programme Unit and the BBC’, in partnership with the Bishopsgate Institute, exploring the Community Programme Unit’s role in bringing public access television to the UK, and the legacies and tentacles of its achievements.
The event took place on 25 March 2023, and was part of our exhibition ‘People Make Television’ 28 January–26 March 2023, an exhibition of DIY television from the 1970s curated by Lori E Allen, Matthew Harle, William Fowler and Alex Sainsbury.
This panel brought together Selma James, Mike Phillips and Maggie Pinhorn for a discussion chaired by Clive Nwonka.
Listen back to the first panel from our event ‘Community Cable Television in the 1970s’ in partnership with the Bishopsgate Institute, where we were joined by former cable channel producers, station managers, volunteers, artists and activists to discuss the history and legacy of community cable TV in the UK.
The event took place on 11 March 2023, and was part of our exhibition ‘People Make Television’ 28 January–26 March 2023, an exhibition of DIY television from the 1970s curated by Lori E Allen, Matthew Harle, William Fowler and Alex Sainsbury.
This discussion brought together Peter Lewis, Martin Parry, Alex Sainsbury and other former cable channel producers and volunteers, as well as participating community media artists and activists to consider the role community cable television played within the world of community media and arts.
An introduction by Gianfranco Baruchello will be followed by a discussion between Baruchello, Luca Cerizza, Alex Sainsbury and Carla Subrizi, considering this exhibition and the surrounding works, his overall production and the broader culture in which this was made.---Luca Cerizza is an art historian and curator, living in Turin and Mumbai. He is responsible for the Research Institute at Castello di Rivoli Museum of Contemporary Art.Carla Subrizi is Associate Professor of Contemporary Art History at Sapienza, University of Rome. She is President of the Baruchello Foundation.---Although Gianfranco Baruchello (born 1924, Livorno, Italy) has been exhibiting internationally for over fifty years, this will be the first show in the UK to survey his work. A polymath and self-taught artist, Baruchello was in dialogue with experimental writers (for instance Italo Calvino and Gruppo 63) while producing sculptural work and then exhibiting paintings, first in Rome and then New York from the mid-1960s. As well as films, he has since made happenings, published poetry, fiction and essays, engaged in radical politics, launched a para-business and run an experimental farm.Baruchello developed his pictorial vocabulary through a process of fragmentation and miniaturisation. Applied on canvas, acrylic and aluminium, a multitude of objects, shapes and characters, from history, politics and high and low culture circulate in decentralised, non-hierarchical space, creating a sort of mental cartography. Even if, as the artist’s friend Marcel Duchamp suggested, his works are ‘viewed from close up over the course of an hour’, their narratives remain elusive.The exhibition presents works made between 1959 and this year, including large early canvases, paintings on layered acrylic sheets and on aluminium, boxed assemblages, and a selection of film and video. These will plot a map through Baruchello’s excessive imaginary, where a form of storytelling, critically engaged and often absurd, is constantly re-invented.The exhibition is curated by Luca Cerizza. An art historian and curator, living in Turin and Mumbai, Cerizza is responsible for the Castello di Rivoli Research Institute.---Image: Exhibition view, Gianfranco Baruchello: Incidents of Lesser Account, Raven Row 2017. Photo by Marcus J. Leith.
Candice Hopkins 'Sounding the Margins: A Choir of Minor Voices'Saturday 29 April 2017Candice Hopkins presents a new version of her lecture 'Sounding the Margins: A Choir of Minor Voices’, ongoing reflections on protest, Indigenous art and sound-based practices.Candice Hopkins is a curator and writer based in Albuquerque, New Mexico. She has published writing on art and vernacular architecture, was co-curator of the 2014 SITE Santa Fe biennial, and is a curatorial advisor for documenta 14, 2017.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image:
Suzy Mackie | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Suzy Mackie is a member of See Red Women’s Workshop (1974-90). See Red Women’s Workshop was a women’s silkscreen printing collective that produced posters, illustrations, and did service printing for the women’s liberation movement. A monograph on See Red Women’s Workshop was published by Four Corners Books in 2016.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
'Poison the Cure' | Conversation and screening with Jenna Bliss, Alex Fleming and Las Nietas de NonóSaturday 10 June 2017Jenna Bliss and Alex Fleming will discuss the research and production process which informed her new film 'Poison the Cure' (2017), including Bliss' work with artist and actor Michel Nonó of the performance collective Las Nietas de Nonó. They will draw on their previous projects to explore shared interests in narratives of addiction, self-care and pharmacology. A screening will follow of Las Nietas de Nonó’s 'Manifestaciones en periodos de caza' (2016) – depicting four women hunting iguanas in Puerto Rico, a US colony where 80% of the food is imported – as well as a Skype conversation with Las Nietas de Nonó. Jenna Bliss' Poison the Cure (2017) was commissioned by Raven Row for '56 Artillery Lane' and is supported using public funding by Art Council England.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Jenna Bliss, Poison The Cure, 2017. Still from HD Video, 30 min. Courtesy of the artist.
Victor Burgin, 'Now and Then', in discussion with Antony Hudek and Alex SainsburyFriday 3 March 2017Burgin will consider his participation in 'A Survey of the Avant-Garde in Britain' at Gallery House not as a history to be exhumed but as a place in the past from which to view the present.For more information please visit our website: www.ravenrow.org---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
The Centre for Behavioural Art, Gallery House, 1972–73 Sunday 26 FebruaryRound table discussion on the intersections of art and the social sciences, with original participants of the Centre, Kevin Lole, Ross Longhurst, Colston Sanger and Peter Smith in conversation with artist Nils Norman.Please see our website for more information: www.ravenrow.org---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
The Avant-Garde in Britain?Sunday 19 MarchRound table with Peter Berry, Jon Bird, Rachel Garfield, Lucy Reynolds, Paul Wood and Kevin Wright, chaired by Antony Hudek and Alex Sainsbury. Borrowing from the title of Rosetta Brooks' exhibition at Gallery House, this panel will consider the idea of the avant-garde in Britain in the early 1970s, particularly in relation to conceptual art and film.Please see our website for more information: www.ravenrow.org---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.---Image: Susan Hiller, 'Transformer', Gallery House, April 1973
Feminist Domesticities in Art and Art History | Jo Applin, Francesca Berry, Tamar Garb, Teresa Kittler, Catherine Spencer, Amy Tobin Saturday 6 May 2017 A special new issue of Oxford Art Journal titled 'Feminist Domesticities' is the starting point for this discussion. The issue gathers an emerging corpus of feminist research and addresses how we might encounter domesticity as concept, environment and object for art while resisting its oppressive pre-eminence in the definition of femininity. These questions will be considered in the context of '56 Artillery Lane', and open up discussion into belonging, precariousness, aging and activism. The panel will be chaired by Tamar Garb, with Oxford Art Journal editors, Jo Applin and Francesca Berry, and contributors, Teresa Kittler, Catherine Spencer and Amy Tobin.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Ida Applebroog, Monalisa, 2009. Photo by Abby Robinson. Courtesy of the artist and Hauser & Wirth.
'Sick Time is Resist Time' | Khairani Barokka, Richard Fung, Alice Hattrick, Raisa Kabir, Caspar Heinemann & Holly White Friday 26 May 2017, 6.30pm An evening of performance and film exploring creative responses to living with illness. Khairani Barokka will perform her poem 'Sliding Scale' alongside extracts from her recently published 'Indigenous Species' (2016), a Braille and text poetry-art book addressing issues of pollution, consumerism and habitat destruction. Alice Hattrick will read new writing on unexplained illness and familial influence. Raisa Kabir will present a new iteration of ‘You and I are more alike.…’, an intimate weaving performance mapping the intensive labour of textile production; healing trauma held in the body, disability, connection and kinship. Richard Fung’s 'Sea in the Blood' (2000) will be screened, a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. The event is accompanied by food and drink from 'Reader's Digestion, A Health Zine', edited by Caspar Heinemann and Holly White.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
'Sick Time is Resist Time' | Khairani Barokka, Richard Fung, Alice Hattrick, Raisa Kabir, Caspar Heinemann & Holly White Friday 26 May 2017, 6.30pm An evening of performance and film exploring creative responses to living with illness. Khairani Barokka will perform her poem 'Sliding Scale' alongside extracts from her recently published 'Indigenous Species' (2016), a Braille and text poetry-art book addressing issues of pollution, consumerism and habitat destruction. Alice Hattrick will read new writing on unexplained illness and familial influence. Raisa Kabir will present a new iteration of ‘You and I are more alike.…’, an intimate weaving performance mapping the intensive labour of textile production; healing trauma held in the body, disability, connection and kinship. Richard Fung’s 'Sea in the Blood' (2000) will be screened, a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. The event is accompanied by food and drink from 'Reader's Digestion, A Health Zine', edited by Caspar Heinemann and Holly White.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
'I Am Dora' presents ‘Domestic Estrangement’, with work by Chantal Akerman Sunday 30 April 2017 An extended introduction by Jemma Desai to the film 'Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles' (1975; 201 mins) by Chantal Akerman that reveal the filmmaker’s ambivalent relationship with labour, the maternal and the domestic.Jemma Desai is a curator and founder of 'I am Dora', an itinerant feminist film programme, exploring how women relate to one another through film. www.iamdora.co.uk---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for '56 Artillery Lane' alongside a weekly live programme. Participants in '56 Artillery Lane' include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
Nazmia Jamal | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Nazmia Jamal is a member of feminist direct action group Sisters Uncut who have campaigned against life-threatening cuts to domestic violence services in the UK since 2014. She was a volunteer at Lambeth Women's Project between 2007-2011. She is a teacher and organiser.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Fran Cottell And Maisie Richards Cottell | A Piece of Land: Alternative communities and livingSaturday 27 May 2017An afternoon of presentations considering alternative structures of collective living and models of domestic life.Fran Cottell and her daughter Maisie Richards Cottell will discuss 'House Projects' (2001 - present); a series of architectural installations built in the artists' home, a former cemetery lodge in Greenwich. A screening of It Takes a Million Years to be a Woman (2010-14), a film documenting Sisters of Jam's ongoing interdisciplinary art project about Millett Farm; an art colony founded in 1978 by feminist author Kate Millett in Poughkeepsie, USA. Nina Wakeford presents an apprenticeship in queer I believe it was, a performance with 16mm film exploring the capacity of Greenham Common to transform the identities of those who lived there.Fran Cottell is an artist producing installations, public interventions and performance since the 1970s; working collaboratively and individually, on social, feminist, environmental and domestic artworks, and curatorial projects. Fran is a Senior Lecturer in Fine Art at Camberwell College of Arts. Maisie Richards Cottell graduated from Trinity College Dublin (2014) in English literature, before that she studied politics at Queens University Belfast. While at Trinity she was greatly involved in the student drama society 'Players'; winning Best Set Design at the Irish Student Drama Awards 2013. Since graduating she has worked in set design for both theatre and TV in London, and was previously a member of the Soho Theatre Young Company's Comedy Lab.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
Jacob V Joyce | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Jacob V Joyce is a non-binary interdisciplinary artist who makes queer and decolonial interventions into commercial and community spaces. Jacob makes artwork for international human rights campaigns, currently working as an illustrator for Global Justice Now, as well as for comic books and zines. They are a member of the sorryyoufeeluncomfortable collective and front person for the band Screaming Toenail. Jacob has self-published a number of illustrated books, and performs spoken word and solo electronic music.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Harry Giles | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Harry Giles is a performer and poet, based in Edinburgh. Harry makes art about protest and protest about art, co-directs the live art platform ANATOMY and co-founded The Workers Theatre. Their first collection of poetry, Tonguit, was published by Freight Books in 2015. Harry will present Drone, a spoken word and sound art performance about remote technology and anxiety. Drone is a collaboration with the sound artist Neil Simpson which debuted in SHIFT at the Edinburgh Fringe 2015. The book of the show is published in Our Real Red Selves from Vagabond.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Düsseldorf ↔ London, presented by Petra Lange-Berndt, Dietmar Rübel and Max SchulzeFriday 24 FebruaryA foray into the rich exchanges between the Düsseldorf and London art scenes in the early 1970s. Otherwise inaccessible films by the Düsseldorf Film Group will be shown as will a newly digitized anarchic tape slide work by Achim Duchow, Buick Adventures (1974), featuring Sigmar Polke and Gallery House’s director Sigi Krauss.---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
Graham Stevens, presentationSaturday 25 FebruaryGraham Stevens, a pioneer of pneumatic art, presents his work, as Art to Reverse Global Warming including screenings of his key documentary films Desert Cloud (1974) and Hajj Walkway Shade Structure (1983).---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
History or Not: Addressing Omissions in the Retelling of Art's StoriesSaturday 18 MarchWith Felicity Allen, Sonia Boyce, Amy Budd, Susan Hiller, Antony Hudek, Hilary Robinson and Alex Sainsbury, chaired by Alexandra Kokoli. A discussion about how curatorial and art historical work can address and redress the marginalisation of artists of colour and women artists in the recent past; and how curatorial and scholarly reconstructions of the past can make up for its omissions without sacrificing accuracy.---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.---Image: Susan Hiller, 'Transformer', Gallery House, April 1973
John Latham, 'Lectures', performed by Patrick GoddardSaturday 25 MarchContinuous performances, 2-5pmDuring his time at Gallery House, John Latham wrote a number of text scores titled Lectures, each only a few minutes long. These will be performed for the first time since 1973 by artists, writers and performers including Patrick Goddard, Holly Pester, Carlyle Reedy and Sue Tompkins, in a programme devised by Gareth Bell-Jones.---This event was presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven Row.Gallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.---Image: John Latham, Big Breather, Gallery House, 1973
Sigi Krauss, Founder/Director of Gallery House, and Lisa Reneé Newman, in conversation with Antony Hudek and Alex Sainsbury via SkypeSunday 19 MarchA panel of artists and art historians return to the notion of the avant-garde, which Rosetta Brooks invoked in her three-part exhibition 'A Survey of the Avant-Garde in Britain'. Opening with a screening of three films by Stephen Dwoskin, and concluding with a Skype conversation with the director of Gallery House, Sigi Krauss, the discussion will focus on the plurality of mediums and styles featured at Gallery House, and on how the historical category of avant-garde seems ripe for reappraisal.Please see our website for more information: www.ravenrow.org---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.---Image: Susan Hiller, 'Transformer', Gallery House, April 1973
Autumn Chacon 'Noise Cooking'Saturday 29 April 2017, 4pm Autumn Chacon’s Noise Cooking is a performance of cooking with mic’d knives and other utensils. Chacon collaborates with local artists and chefs to perform recipes traditional to the region, allowing audiences to re-experience familiar foods.Autumn Star Chacon is a Diné/Chicana multimedia and performance artist from the Southwestern United States. Chacon looks for traditional philosophy in contemporary stories and experiences. Often using electronic sound and unconventional radio frequencies she creates environments where an audience is free to control how much of her work they wish to receive. Chacon is also a farmer/agriculturist using food as an living medium.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
Nina Wakeford | A Piece of Land: Alternative communities and livingSaturday 27 May 2017 An afternoon of presentations considering alternative structures of collective living and models of domestic life.Fran Cottell and her daughter Maisie Richards Cottell will discuss 'House Projects' (2001 - present); a series of architectural installations built in the artists' home, a former cemetery lodge in Greenwich. A screening of It Takes a Million Years to be a Woman (2010-14), a film documenting Sisters of Jam's ongoing interdisciplinary art project about Millett Farm; an art colony founded in 1978 by feminist author Kate Millett in Poughkeepsie, USA. Nina Wakeford presents an apprenticeship in queer I believe it was, a performance with 16mm film exploring the capacity of Greenham Common to transform the identities of those who lived there.Nina Wakeford is an artist and sociologist, and is Reader in Sociology at Goldsmiths. As an artist she makes work that begins with the unfinished business of past social movements, and the challenges of revisiting the energies that these movements created. Recently, drawing on a personal collection of feminist materials from the 1970s and 1980s, Nina has made a series of film and performance works that involve singing as a way of attaching herself to objects or images. She is the co-editor of Inventive Methods: The Happening of the Social (Routledge, 2012) which explores, amongst other things, how research might better work with openness and ambiguity. Her performances have been shown at BFI, ICA and the Wellcome Collection.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference. A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org
Ego Ahaiwe Sowinski | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Ego Ahaiwe Sowinski is an artist, archivist and organiser. Between 2014-16 she was an artist/archivist in residence at the Women's Art Library, Goldsmiths with art group X Marks the Spot. Sowinski is currently working as archivist and collaborator with artist Rita Keegan and is also developing a project to archive the papers of Fela Anikulapo Kuti (1938-97). She is a committee member for the GLC Story oral history project, and a specialist volunteer for the Equiano Centre.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Dr Alice Correia | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Dr Alice Correia is an Art Historian and Curator. Her research examines issues of home, homeland and belonging in contemporary British and international art, with particular interest in South Asian diasporas, the establishment of migrant homes and the legacies of colonialism. She is a Research Fellow at the University of Salford, and has been awarded a mid-career fellowship from The Paul Mellon Centre in order to undertake a project titled 'Articulating British Asian Art Histories'. She is co-editor of a special issue of Third Text journal titled 'Partitions: Art and South Asia', due later this year.---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Channels | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Channels is an all-female performance collective with an unfixed number of members. The group work experimentally and collaboratively in sound, writing and theatre. Channels will stage a live intervention into Amy Tobin’s essay 'Breaking Down A Woman’s Place’ (2017). ---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Amy Tobin | 'Don't break down, break out' | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).Amy Tobin is Associate Lecturer at Goldsmiths, University of London and teaches at City and Guilds Art School and West Dean College. She is editor of 14 Radnor Terrace: A Woman’s Place (2017).---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference. A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Introduction To 'Don't break down, break out' by Amy Budd | SymposiumSaturday 20 May, 2017A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).---Presented as part of the exhibition '56 Artillery Lane' at Raven Row.For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and the 'domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference. A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Jenna Bliss, Rizvana Bradley, Daniel Brathwaite-Shirley, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Nazmia Jamal (Sisters Uncut), Alice Jones, Jacob V Joyce, Bhanu Kapil, Morag Keil & Georgie Nettell, Sarah Kent, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Hamish MacPherson, Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Darcy Wallace, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.Please see our website for more details: www.ravenrow.org---Image: Soofiya Andry, 'Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood', 2017. Courtesy of the artist.
Screening of 'Resistance' (1976) by Ken McMullen | Introduction And AfterwordsSunday 26 MarchScreening of 'Resistance' (1976, 90 minutes) by Ken McMullen, who will introduce the film along with Stuart Brisley. Resistance uses an assembly of film fragments and a psychodrama, partly overseen by a psychiatrist, to examine the sociological and psychological roots of resistance to military occupation. It includes a soundtrack by Brian Eno, and experimental performances by Stuart Brisley and Marc Camille Chaimowicz, among others.---Presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven RowGallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.'This Way Out of England' seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.---Image: John Latham, Big Breather, Gallery House, 1973
John Latham, 'Lectures', performed by Carlyle ReedySaturday 25 MarchContinuous performances, 2-5pmDuring his time at Gallery House, John Latham wrote a number of text scores titled Lectures, each only a few minutes long. These will be performed for the first time since 1973 by artists, writers and performers including Patrick Goddard, Holly Pester, Carlyle Reedy and Sue Tompkins, in a programme devised by Gareth Bell-Jones.---This event was presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven Row.Gallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
John Latham, 'Lectures', performed by Holly PesterSaturday 25 MarchContinuous performances, 2-5pmDuring his time at Gallery House, John Latham wrote a number of text scores titled Lectures, each only a few minutes long. These will be performed for the first time since 1973 by artists, writers and performers including Patrick Goddard, Holly Pester, Carlyle Reedy and Sue Tompkins, in a programme devised by Gareth Bell-Jones.---This event was presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven Row.Gallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience.Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute.This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
John Latham, 'Lectures', performed by Sue TompkinsSaturday 25 MarchContinuous performances, 2-5pmDuring his time at Gallery House, John Latham wrote a number of text scores titled Lectures, each only a few minutes long. These will be performed for the first time since 1973 by artists, writers and performers including Patrick Goddard, Holly Pester, Carlyle Reedy and Sue Tompkins, in a programme devised by Gareth Bell-Jones.---This event was presented as part of the exhibition 'This Way Out of England: Gallery House in Retrospect' at Raven Row.Gallery House was one of London’s most influential and extraordinary art spaces in the 1970s, directed by Sigi Krauss with assistant director Rosetta Brooks. For only sixteen months in 1972-73, in a vacant mansion provided by the German government next to the German Institute in South Kensington, Gallery House hosted exhibitions, residencies, performances and events as well as pioneering ‘expanded cinema’ and much new film and video work. For many of the featured artists Gallery House would prove a formative experience. Gallery House favoured heterogeneity, colliding the multiplicity of forms and styles co-existing at the time, from performance and experimental cinema to cybernetic, social and conceptual practices. Ultimately, the radical nature of Gallery House’s programme led to its abrupt and contested closure by the German Institute. This Way Out of England seeks to emulate the spirit of Gallery House by inviting a number of artists to rethink their original interventions in the space. The episodic nature of this project acknowledges the impossibility of framing what was an ephemeral experiment. The project is curated by Antony Hudek and Alex Sainsbury.
Exhibition tour with Peter Kapos Thursday 24 November 2016, 6.30pmCurator Peter Kapos will lead evening tours of the exhibition The Ulm Model.---This event was presented as part of 'The Ulm Model' at Raven Row.The Ulm Model5 October - 18 December 2016During its short life from 1953 to 1968, the Ulm School of Design (HfG Ulm) in Southern Germany pioneered an interdisciplinary and systematic approach to design education – known as the Ulm Model – that was to become universal. This is the first exhibition in the UK to represent the achievements of the school, including the foundation work in drawings and models by the students as well as the radical designs famously commissioned from the school by corporate clients such as Braun and Lufthansa. From radiographs and weighing machines to traffic lights, petrol cans, bed frames and kitchenware, the exhibition gathers and correlates objects designed for diverse industries at HfG Ulm. Braun GmbH has provided the exhibition with the last remaining units of their iconic D 55 display structure, designed at the school in 1955 to exhibit its modernist reinvention of Braun’s audio sets. On the face of it, the HfG Ulm had little to do with art. Design work was mostly collectivised and rationalised, the idea of the designer as intuitive 'artist' emphatically rejected, and the designer's role understood as only one amongst the many specialisms of industrial production. But this exhibition suggests that the school continued the projects of the artistic avant-gardes, especially Constructivism, in that objects were systematically designed to project ideal social relations. The exhibition is curated by Peter Kapos. Its display structures are designed by David Kohn Architects.
A new magazine of contemporary writing on art and other subjects, the second issue of A-or-ist explores the idea of being ‘a kind of care or sustenance’. At a moment when state-provided care is receding, what might it be to ‘take care’ of ourselves or others? What if we’re all past caring – all already polluted, toxic?This event at Raven Row has been organised by the A-or-ist contributor-editors.Jenna Bliss will screen her film A History of Lincoln Detox (excerpt no. 2) (2016), which looks into what society considers to be ‘drugs’, how national legislation, foreign policy and agencies such as the CIA influence their availability, and the turn towards holistic treatments for addiction. The screening will be followed by comments from Arran James, a mental health nurse working in substance misuse and a contributor to the independent media platform openDemocracy.A-or-ist writer Alice Hattrick will read from ‘According to Alice’, her regular column on perfume.Issue no. 2 guest contributor Caspar Heinemann will read two poems in development: one on queer politics, chaos magic and neoliberalism; the other on food, gentrification and tabloid scare stories.For this event, Darren Banks has made a special edit of his film Object Cinema (2015), to which Jamie Sutcliffe responds with a reading from his text published in A-or-ist, 'Mutational Media & Deep Time Thrombosis: On Darren Banks’ Object Cinema'. Writer and publisher Huw Lemmey will present his work Pig Curious, a short visual account of a stake-out of Scotland Yard via the app Grindr, reflecting historical links between surveillance, spying and homosexuality.Saxophonist Seymour Wright will perform a sound work written for the event, responding to the precept that we are all already toxified.Launched in 2015 as ‘a place for the elsewhere unfinished or otherwise disallowed’, A-or-ist is produced by a collective of eight contributor-editors: Amy Budd, Hannah Gregory, Alice Hattrick, Lizzie Homersham, Shama Khanna, Naomi Pearce, Jamie Sutcliffe and Jonathan P. Watts. Each issue features newly commissioned texts by invited contributors; issue no. 2 includes new writing by Caspar Heinemann and Abondance Matanda.A-or-ist is published by Eros Press. Copies of A-or-ist no. 2 will be available to purchase at a special launch price of £5 alongside other Eros Press publications.The event is free. Image:A-or-ist no. 2, cover, Pianpian He & Max HarveyDesign by Traven T. Croves
A new magazine of contemporary writing on art and other subjects, the second issue of A-or-ist explores the idea of being ‘a kind of care or sustenance’. At a moment when state-provided care is receding, what might it be to ‘take care’ of ourselves or others? What if we’re all past caring – all already polluted, toxic?This event at Raven Row has been organised by the A-or-ist contributor-editors.Jenna Bliss will screen her film A History of Lincoln Detox (excerpt no. 2) (2016), which looks into what society considers to be ‘drugs’, how national legislation, foreign policy and agencies such as the CIA influence their availability, and the turn towards holistic treatments for addiction. The screening will be followed by comments from Arran James, a mental health nurse working in substance misuse and a contributor to the independent media platform openDemocracy.A-or-ist writer Alice Hattrick will read from ‘According to Alice’, her regular column on perfume.Issue no. 2 guest contributor Caspar Heinemann will read two poems in development: one on queer politics, chaos magic and neoliberalism; the other on food, gentrification and tabloid scare stories.For this event, Darren Banks has made a special edit of his film Object Cinema (2015), to which Jamie Sutcliffe responds with a reading from his text published in A-or-ist, 'Mutational Media & Deep Time Thrombosis: On Darren Banks’ Object Cinema'. Writer and publisher Huw Lemmey will present his work Pig Curious, a short visual account of a stake-out of Scotland Yard via the app Grindr, reflecting historical links between surveillance, spying and homosexuality.Saxophonist Seymour Wright will perform a sound work written for the event, responding to the precept that we are all already toxified.Launched in 2015 as ‘a place for the elsewhere unfinished or otherwise disallowed’, A-or-ist is produced by a collective of eight contributor-editors: Amy Budd, Hannah Gregory, Alice Hattrick, Lizzie Homersham, Shama Khanna, Naomi Pearce, Jamie Sutcliffe and Jonathan P. Watts. Each issue features newly commissioned texts by invited contributors; issue no. 2 includes new writing by Caspar Heinemann and Abondance Matanda.A-or-ist is published by Eros Press. Copies of A-or-ist no. 2 will be available to purchase at a special launch price of £5 alongside other Eros Press publications.The event is free. Image:A-or-ist no. 2, cover, Pianpian He & Max HarveyDesign by Traven T. Croves
A new magazine of contemporary writing on art and other subjects, the second issue of A-or-ist explores the idea of being ‘a kind of care or sustenance’. At a moment when state-provided care is receding, what might it be to ‘take care’ of ourselves or others? What if we’re all past caring – all already polluted, toxic?This event at Raven Row has been organised by the A-or-ist contributor-editors.Jenna Bliss will screen her film A History of Lincoln Detox (excerpt no. 2) (2016), which looks into what society considers to be ‘drugs’, how national legislation, foreign policy and agencies such as the CIA influence their availability, and the turn towards holistic treatments for addiction. The screening will be followed by comments from Arran James, a mental health nurse working in substance misuse and a contributor to the independent media platform openDemocracy.A-or-ist writer Alice Hattrick will read from ‘According to Alice’, her regular column on perfume.Issue no. 2 guest contributor Caspar Heinemann will read two poems in development: one on queer politics, chaos magic and neoliberalism; the other on food, gentrification and tabloid scare stories.For this event, Darren Banks has made a special edit of his film Object Cinema (2015), to which Jamie Sutcliffe responds with a reading from his text published in A-or-ist, 'Mutational Media & Deep Time Thrombosis: On Darren Banks’ Object Cinema'. Writer and publisher Huw Lemmey will present his work Pig Curious, a short visual account of a stake-out of Scotland Yard via the app Grindr, reflecting historical links between surveillance, spying and homosexuality.Saxophonist Seymour Wright will perform a sound work written for the event, responding to the precept that we are all already toxified.Launched in 2015 as ‘a place for the elsewhere unfinished or otherwise disallowed’, A-or-ist is produced by a collective of eight contributor-editors: Amy Budd, Hannah Gregory, Alice Hattrick, Lizzie Homersham, Shama Khanna, Naomi Pearce, Jamie Sutcliffe and Jonathan P. Watts. Each issue features newly commissioned texts by invited contributors; issue no. 2 includes new writing by Caspar Heinemann and Abondance Matanda.A-or-ist is published by Eros Press. Copies of A-or-ist no. 2 will be available to purchase at a special launch price of £5 alongside other Eros Press publications.The event is free. Image:A-or-ist no. 2, cover, Pianpian He & Max HarveyDesign by Traven T. Croves
A new magazine of contemporary writing on art and other subjects, the second issue of A-or-ist explores the idea of being ‘a kind of care or sustenance’. At a moment when state-provided care is receding, what might it be to ‘take care’ of ourselves or others? What if we’re all past caring – all already polluted, toxic?This event at Raven Row has been organised by the A-or-ist contributor-editors.Jenna Bliss will screen her film A History of Lincoln Detox (excerpt no. 2) (2016), which looks into what society considers to be ‘drugs’, how national legislation, foreign policy and agencies such as the CIA influence their availability, and the turn towards holistic treatments for addiction. The screening will be followed by comments from Arran James, a mental health nurse working in substance misuse and a contributor to the independent media platform openDemocracy.A-or-ist writer Alice Hattrick will read from ‘According to Alice’, her regular column on perfume.Issue no. 2 guest contributor Caspar Heinemann will read two poems in development: one on queer politics, chaos magic and neoliberalism; the other on food, gentrification and tabloid scare stories.For this event, Darren Banks has made a special edit of his film Object Cinema (2015), to which Jamie Sutcliffe responds with a reading from his text published in A-or-ist, 'Mutational Media & Deep Time Thrombosis: On Darren Banks’ Object Cinema'. Writer and publisher Huw Lemmey will present his work Pig Curious, a short visual account of a stake-out of Scotland Yard via the app Grindr, reflecting historical links between surveillance, spying and homosexuality.Saxophonist Seymour Wright will perform a sound work written for the event, responding to the precept that we are all already toxified.Launched in 2015 as ‘a place for the elsewhere unfinished or otherwise disallowed’, A-or-ist is produced by a collective of eight contributor-editors: Amy Budd, Hannah Gregory, Alice Hattrick, Lizzie Homersham, Shama Khanna, Naomi Pearce, Jamie Sutcliffe and Jonathan P. Watts. Each issue features newly commissioned texts by invited contributors; issue no. 2 includes new writing by Caspar Heinemann and Abondance Matanda.A-or-ist is published by Eros Press. Copies of A-or-ist no. 2 will be available to purchase at a special launch price of £5 alongside other Eros Press publications.The event is free. Image:A-or-ist no. 2, cover, Pianpian He & Max HarveyDesign by Traven T. Croves
Chris King: Video Circuits Thursday 2 June, 6.30pmArtist Chris King leads a live demonstration of early media art and video synthesis technologies, working with a selection of different techniques used by the Vasulkas and other video artists during the 1970s and 80s.--- London-based artist Chris King uses electronic video and audio synthesis techniques to perform live visual music. A collector and archivist of early media art periodicals, he also teaches workshops on video techniques and the history of electronic intermedia and visual music practice. His blog, Video Circuits, explores early abstract and synthetic image making practices such as video synthesis, experimental animation, graphic scores and DIY television.---This event was presented as part of the exhibition 'Steina & Woody Vasulka. Machine Vision' at Raven Row.Steina & Woody Vasulka. Machine Vision19 May to 5 June 2016Steina (born 1940, Reykjavík) and Woody Vasulka (born 1937, Brno) are pioneers of electronic and digital image production. In their ongoing dialogue with machines – from cathode-ray televisions to digital computer systems – they consider the electronic signal as artistic medium. Meeting in Prague in 1962, the Vasulkas relocated to New York in 1965 where, by the early 1970s, they began working almost entirely with machine-generated imagery. Their early technical studies were produced in what they described as ‘states of unsupervised performance’, with the artists adjusting and altering sound and image waveforms in real time to create illusory images in virtual space. Often collaborating with a close network engineers, musicians and artists, they invented new electronic and digital devices to realise video environments such as Noisefields (1974). Woody initially worked as a filmmaker, while Steina trained as a classical violinist, and their respective visual styles are seen in their individual practices. In the exhibition, Steina's electro-optical-mechanical installation Machine Vision (1978) implicates the body of the viewer and demonstrates her poetic conception of time, while Woody’s scientific analysis of video technology is evident in his Waveform Studies (1977-2016).At Raven Row, examples of their analogue videos and experiments with lens-based media and digital processors from the early seventies to the early eighties reveal how the Vasulkas’ methods anticipated the virtual modes of image-making that are dominant today.The exhibition is curated by Amy Budd, Deputy Director, Raven Row, and Kristín Scheving, Head of Vasulka Chamber. The exhibition is made in partnership with Vasulka Chamber, Centre of Media Art, at the National Gallery of Iceland.--- Image: Steina, Orbital Obsessions, 1975-77; revised 1988. Still from video, 24:13 min. Courtesy the artist and Vasulka Chamber, The National Gallery of Iceland.
As part of the event 'Ina Blom: Video as collaborator. The new spaces of (creative) work, followed by Steina, via Skype from Santa Fe, in conversation with Amy Budd'Thursday 26 May, 6.30pm Art historian Ina Blom discusses the work of Steina and Woody Vasulka and their emphasis on alternative social models made possible by analogue video, in reference also to her new book, The Autobiography of Video. The Life and Times of a Memory Technology (Sternberg Press, 2016). The presentation will be followed by a conversation via Skype between Steina in Santa Fe and curator Amy Budd in London. --- Ina Blom is a Professor at the Department of Philosophy, Classics, History of Art and Ideas, the University of Oslo, and Wigeland Visiting Professor at the Department of Art History, University of Chicago. She specialises in modernism/avant-garde studies and contemporary art with a focus on the relationship between art, technology and media.---This event was presented as part of 'Steina & Woody Vasulka. Machine Vision' at Raven Row.Steina & Woody Vasulka. Machine Vision19 May to 5 June 2016Steina (born 1940, Reykjavík) and Woody Vasulka (born 1937, Brno) are pioneers of electronic and digital image production. In their ongoing dialogue with machines – from cathode-ray televisions to digital computer systems – they consider the electronic signal as artistic medium. Meeting in Prague in 1962, the Vasulkas relocated to New York in 1965 where, by the early 1970s, they began working almost entirely with machine-generated imagery. Their early technical studies were produced in what they described as ‘states of unsupervised performance’, with the artists adjusting and altering sound and image waveforms in real time to create illusory images in virtual space. Often collaborating with a close network engineers, musicians and artists, they invented new electronic and digital devices to realise video environments such as Noisefields (1974). Woody initially worked as a filmmaker, while Steina trained as a classical violinist, and their respective visual styles are seen in their individual practices. In the exhibition, Steina's electro-optical-mechanical installation Machine Vision (1978) implicates the body of the viewer and demonstrates her poetic conception of time, while Woody’s scientific analysis of video technology is evident in his Waveform Studies (1977-2016).At Raven Row, examples of their analogue videos and experiments with lens-based media and digital processors from the early seventies to the early eighties reveal how the Vasulkas’ methods anticipated the virtual modes of image-making that are dominant today.The exhibition is curated by Amy Budd, Deputy Director, Raven Row, and Kristín Scheving, Head of Vasulka Chamber. The exhibition is made in partnership with Vasulka Chamber, Centre of Media Art, at the National Gallery of Iceland.---Image: Steina, Orbital Obsessions, 1975-77; revised 1988. Still from video, 24:13 min. Courtesy the artist and Vasulka Chamber, The National Gallery of Iceland.
As part of the event 'Ina Blom: Video as collaborator. The new spaces of (creative) work, followed by Steina, via Skype from Santa Fe, in conversation with Amy Budd'Thursday 26 May, 6.30pm Art historian Ina Blom discusses the work of Steina and Woody Vasulka and their emphasis on alternative social models made possible by analogue video, in reference also to her new book, The Autobiography of Video. The Life and Times of a Memory Technology (Sternberg Press, 2016). The presentation will be followed by a conversation via Skype between Steina in Santa Fe and curator Amy Budd in London. ---Ina Blom is a Professor at the Department of Philosophy, Classics, History of Art and Ideas, the University of Oslo, and Wigeland Visiting Professor at the Department of Art History, University of Chicago. She specialises in modernism/avant-garde studies and contemporary art with a focus on the relationship between art, technology and media.---This event was presented as part of 'Steina & Woody Vasulka. Machine Vision' at Raven Row.Steina & Woody Vasulka. Machine Vision19 May to 5 June 2016Steina (born 1940, Reykjavík) and Woody Vasulka (born 1937, Brno) are pioneers of electronic and digital image production. In their ongoing dialogue with machines – from cathode-ray televisions to digital computer systems – they consider the electronic signal as artistic medium. Meeting in Prague in 1962, the Vasulkas relocated to New York in 1965 where, by the early 1970s, they began working almost entirely with machine-generated imagery. Their early technical studies were produced in what they described as ‘states of unsupervised performance’, with the artists adjusting and altering sound and image waveforms in real time to create illusory images in virtual space. Often collaborating with a close network engineers, musicians and artists, they invented new electronic and digital devices to realise video environments such as Noisefields (1974). Woody initially worked as a filmmaker, while Steina trained as a classical violinist, and their respective visual styles are seen in their individual practices. In the exhibition, Steina's electro-optical-mechanical installation Machine Vision (1978) implicates the body of the viewer and demonstrates her poetic conception of time, while Woody’s scientific analysis of video technology is evident in his Waveform Studies (1977-2016).At Raven Row, examples of their analogue videos and experiments with lens-based media and digital processors from the early seventies to the early eighties reveal how the Vasulkas’ methods anticipated the virtual modes of image-making that are dominant today.The exhibition is curated by Amy Budd, Deputy Director, Raven Row, and Kristín Scheving, Head of Vasulka Chamber. The exhibition is made in partnership with Vasulka Chamber, Centre of Media Art, at the National Gallery of Iceland.--- Image: Steina, Orbital Obsessions, 1975-77; revised 1988. Still from video, 24:13 min. Courtesy the artist and Vasulka Chamber, The National Gallery of Iceland.
Jackie Raynal: Screening and Conversation Wednesday 27 January 2016, 7pmBest known for her elliptical feature length film Deux Fois (1968), screening every Wednesday within ‘The Inoperative Community’, Jackie Raynal was also the editor of a number French new wave films, including Éric Rohmer's La Collectionneuse (1967). Extending ‘The Inoperative Community’ Wednesday screening programme, which features Deux Fois and two other Zanzibar productions, a one-off screening of Raynal’s rarely seen New York Story (1981) will be followed by a conversation between Raynal and curator Dan Kidner, exploring her varied career. ---Jackie Raynal (b. 1940, France) worked as a film editor in Paris in the 1960s. She moved to New York in 1975 where she became programmer at Bleecker Street Cinema. She continued to make films and appeared in a number of others including Yvonne Rainer’s The Man Who Envied Women (1985). She lives and works in Paris and New York. ---This event was presented as part of 'The Inoperative Community' at Raven Row.The Inoperative Community3 December 2015 - 14 February 2016‘The Inoperative Community’ is an exhibition of experimental narrative film and video that address ideas of community and the shifting nature of social relations. It draws on work made since 1968 for cinema, television and the gallery, reflecting the overlapping and entangled histories of these sites. The exhibition’s title is borrowed from Jean-Luc Nancy’s 1983 essay of the same name, and while this connection did not determine the selection of works, they all bear witness in their own way to what Nancy characterised as the ‘dissolution, the dislocation, or the conflagration of community’. Many concern the limits of political activism and the fate of left political subcultures, and all use narrative as a means to explore social and political issues. Encompassing over fifty hours of material the exhibition can be navigated by means of a printed or downloadable programme. Each visitor will only be able to see a fraction of the works on offer, but connections can be made between works on any particular course through the exhibition, which has been designed to accommodate both prolonged viewing and shorter visits. A screening room will show five daily programmes, in a more structured approach to the exhibition’s historical and political framework. These begin with an Anglo-French focus before expanding to include international filmmakers reflecting on the radical political movements of the 1960s and 1970s. The exhibition focuses on a period that could be described as the long 1970s (1968-84) – all the works were either made during this time, or reflect on the radical social and political movements of the era. The defiant video installation about the Aids crisis, Journal of the Plague Year (1984) by Stuart Marshall (1949–93, UK) has been specially restored for the exhibition. Also included is a new edit – within an installation designed for the exhibition – of Peggy and Fred in Hell (1984–2015) by Leslie Thornton (b. 1951, USA), featuring footage shot whilst in residence at Raven Row; and newly available reels from the epic Five Year Diary (1981–97) by Anne Charlotte Robertson (1949–2012, USA), preserved by the Harvard Film Archive, will be screened for the first time in the UK.Curated by Dan Kidner
A Night at the Pictures: An evening for Larry Johnson at Tate Modern Friday 26 June 2015, 6.30pmAn evening with Bruce Hainley and Wayne Koestenbaum at Tate Modern beginning with a screening of Rosa von Praunheim’s award-winning documentary, Tally Brown, New York (1979), to be followed by a rousing conversation on demi-mondes, queer vocality and stardom. Image: Rosa von Praunheim, Tally Brown, New York (1977/78). Courtesy of Rosa von Praunheim.
Dan Kidner and Leslie Thornton in ConversationThursday 14 January 2016, 6.30pm A screening of a selection of short films by artist Leslie Thornton will be followed by a conversation between Thornton and curator of ‘The Inoperative Community’, Dan Kidner, focusing on her work Peggy and Fred in Hell: Folding (1984–2015). ---Leslie Thornton (b. 1951, USA) lives and works in New York and Providence, Rhode Island, where she is Professor of Modern Culture and Media at Brown University, Rhode Island. She has been working with video and digital media since the 1980s and her works have been presented at the Serpentine Gallery, London, Museum of Modern Art, New York, Tate Modern, London, the Whitney Biennial, New York, and documenta 12, Kassel. Her first solo exhibitions, ‘Binocular’ (2011) and ‘Luna’ (2013), were held at Winkleman Gallery, New York. ---This event was presented as part of 'The Inoperative Community' at Raven Row. The Inoperative Community3 December 2015 - 14 February 2016‘The Inoperative Community’ is an exhibition of experimental narrative film and video that address ideas of community and the shifting nature of social relations. It draws on work made since 1968 for cinema, television and the gallery, reflecting the overlapping and entangled histories of these sites. The exhibition’s title is borrowed from Jean-Luc Nancy’s 1983 essay of the same name, and while this connection did not determine the selection of works, they all bear witness in their own way to what Nancy characterised as the ‘dissolution, the dislocation, or the conflagration of community’. Many concern the limits of political activism and the fate of left political subcultures, and all use narrative as a means to explore social and political issues. Encompassing over fifty hours of material the exhibition can be navigated by means of a printed or downloadable programme. Each visitor will only be able to see a fraction of the works on offer, but connections can be made between works on any particular course through the exhibition, which has been designed to accommodate both prolonged viewing and shorter visits. A screening room will show five daily programmes, in a more structured approach to the exhibition’s historical and political framework. These begin with an Anglo-French focus before expanding to include international filmmakers reflecting on the radical political movements of the 1960s and 1970s. The exhibition focuses on a period that could be described as the long 1970s (1968-84) – all the works were either made during this time, or reflect on the radical social and political movements of the era. The defiant video installation about the Aids crisis, Journal of the Plague Year (1984) by Stuart Marshall (1949–93, UK) has been specially restored for the exhibition. Also included is a new edit – within an installation designed for the exhibition – of Peggy and Fred in Hell (1984–2015) by Leslie Thornton (b. 1951, USA), featuring footage shot whilst in residence at Raven Row; and newly available reels from the epic Five Year Diary (1981–97) by Anne Charlotte Robertson (1949–2012, USA), preserved by the Harvard Film Archive, will be screened for the first time in the UK.Curated by Dan Kidner
Larry Johnson: On Location - Bruce Hainley and Wayne Koestenbaum in Conversation by Raven Row
Larry Johnson: On Location - Bruce Hainley and Antony Hudek in conversation by Raven Row
Larry Johnson: On Location - Bruce Hainley and Lisa Lapinski in conversation by Raven Row
David Toop performs as part of 'Bob Cobbiiiiiiiiing Live' at Raven Row, 20 May 2015In tandem with the Bob Cobbing Symposium, Raven Row hosted a celebratory event of acoustic and vocal performances by Brian Catling, Paula Claire, Beth Collar, David Toop and Hannah Silva, among others. The event was part of Speaking Parts at Raven Row (15–24 May), a live exhibition curated by Amy Budd, which brings together artists who make text, voice and physical engagement an integral part of their medium-unspecific practices.
David Toop performs as part of 'Bob Cobbiiiiiiiiing Live' at Raven Row, 20 May 2015In tandem with the Bob Cobbing Symposium, Raven Row hosted a celebratory event of acoustic and vocal performances by Brian Catling, Paula Claire, Beth Collar, David Toop and Hannah Silva, among others. The event was part of Speaking Parts at Raven Row (15–24 May), a live exhibition curated by Amy Budd, which brings together artists who make text, voice and physical engagement an integral part of their medium-unspecific practices.
Beth Collar performs as part of 'Bob Cobbiiiiiiiiing Live' at Raven Row, 20 May 2015In tandem with the Bob Cobbing Symposium, Raven Row hosted a celebratory event of acoustic and vocal performances by Brian Catling, Paula Claire, Beth Collar, David Toop and Hannah Silva, among others. The event was part of Speaking Parts at Raven Row (15–24 May), a live exhibition curated by Amy Budd, which brings together artists who make text, voice and physical engagement an integral part of their medium-unspecific practices.
Panel discussion held on 25 April 2015 with Jennifer Higgie, Jason Farago and Jo Melvin, convened by Antony Hudek and Alex SainsburyJennifer Higgie (writer and co-editor of Frieze) and Jason Farago (writer and founding editor of the new art magazine Even) join Jo Melvin (curator of Five Issues of Studio International, Raven Row) to discuss some of the motivations, exasperations and ambitions behind art magazines from the 1960s to the present day, broaching such questions as: What conditions compel a magazine to get started and thrive? How do magazines create and serve networks of writers and artists? What does an editor do that a writer and curator cannot? Presented by Raven Row at Whitechapel Gallery, to coincide with the exhibition Five Issues of Studio International at Raven Row, until 3 May.
Sunday 7 March 2010, 4pmJulie Ault, founder member of the New York artists’ collective, Group Material (1979–1996), talks with the exhibition’s curator Lars Bang Larsen, about working with Group Material’s archive, which has recently been made available. Group Material’s exhibitions dealt with political and cultural participation, as well as the AIDS pandemic and other issues. Four exhibitions from the eighties and nineties have been revisited for this exhibition. The discussion focused around ideas of historicising exhibitions and what it means to work with this material again.An event at Raven Row as part of A History of Irritated Material25 February to 2 May 2010
For the exhibition ‘A History of Irritated Material’, Raven Row commissioned the translation into English of part of Suely Rolnik's compendious research project Lygia Clark, from Object to Event, an archive of video interviews on Lygia Clark, focusing on her late project Structuring the Self (1977–87), the culmination of Clark’s life-art. Raven Row hosted a discussion between Guy Brett, close friend of Lygia Clark and one of the key interpreters of her work, and Lars Bang Larsen, curator of the exhibition, who has written extensively about Rolnik's project. The discussion considered Lygia Clark’s radical proposals involving the body in its sensory and sensual capacities, and Suely Rolnik’s attempt to reactivate Clark’s ideas via a ‘living archive’
A Productivist Literature – Esther Leslie, Nick Thurston and McKenzie Wark. Chaired by John Douglas Millar. Wednesday 17 December 2014, 6.30pm Presentations by Esther Leslie, Nick Thurston and McKenzie Wark. Chaired by John Douglas Millar. Esther Leslie is a London-based writer and lecturer. Her most recent book is Derelicts: Thought Worms from the Wreckage (Unkant, 2014). Nick Thurston is an author, artist and lecturer. He is the co-editor of the imprint information as material and was recently artist in residence at the Irish Museum of Modern Art, Dublin. McKenzie Wark is a New York-based theorist whose writings include A Hacker Manifesto (2004), Gamer Theory (Harvard, 2007) and The Beach Beneath The Street (Verso, 2011).__Panel discussion as part of Plastic Words at Raven Row -a series of public events that mined the contested space between contemporary literature and art.
From Situationism to Sabremetrics: Experiments for the Novel in the Age of Big Data – Helen DeWitt Thursday 8 January 2015, 6.30pm Helen DeWitt on her writing practice, with reference to collaboration, works-in-progress, multilingual texts, the concealed dynamics of commodification, the machinery of cultural capital and the pioneering work of Edward Tufte. With a selection from her personal library.---Helen Dewitt is a Berlin-based writer. She is the author of The Last Samurai (Talk Miramax/Chatto & Windus, 2000), Lightning Rods (New Directions, 2011/And Other Stories, 2012), and, with Ilya Gridneff, of Your Name Here (in limbo since 2006).---Event as part of Plastic Words at Raven Row - a series of public events that mined the contested space between contemporary literature and art.
Publishing Models and Technologies of Publication – Chris Kraus, Helen DeWitt and Jeremy AkermanChaired by Antony Hudek Thursday 15 January 2015, 6.30pm Panel discussion with Chris Kraus, Helen DeWitt and Jeremy Akerman about the forms of publication best suited to writing in an expanded field. Chaired by Antony Hudek. --- Jeremy Akerman is a London-based artist, curator, lecturer and co-director of Akerman Daly, an organisation that commissions and publishes writing by artists. Helen Dewitt is a Berlin-based writer. She is the author of The Last Samurai (Talk Miramax/Chatto & Windus, 2000), Lightning Rods (New Directions, 2011/And Other Stories, 2012), and, with Ilya Gridneff, of Your Name Here (in limbo since 2006). Antony Hudek is Curator and Deputy Director, Raven Row, and co-director of Occasional Papers, London. Chris Kraus is a Los Angeles-based writer and critic. She is the author of four novels, most recently Summer of Hate (Semiotext(e)/Native Agents, 2012). ---Panel discussion as part of Plastic Words at Raven Row -a series of public events that mined the contested space between contemporary literature and art.
The Childlike Life of the Black Tarantula: A 20th-Century Fable – Chris Kraus Wednesday 14 January 2015, 6.30pm Chris Kraus on her in-progress critical biography of Kathy Acker (1947–97) and her approach to biography as a literary form that exists in the friction between writer and subject.--- Chris Kraus is a Los Angeles-based writer and critic. She is the author of four novels, most recently Summer of Hate (Semiotext(e)/Native Agents, 2012).---Event as part of Plastic Words at Raven Row - a series of public events that mined the contested space between contemporary literature and art.
Seminar and open discussion about Letterism and its discontents with Iain Boal, Eric Fabre, Catherine Goldstein and Donald Nicholson-Smith.Event as part of Plastic Words at Raven Row -a series of public events that mined the contested space between contemporary literature and art.Iain Boal is a social historian, co-founder of the Retort Collective and founding member of MayDay Rooms, London.Eric Fabre is a Brussels-based collector, whose gallery, Garage Cosmos, frequently holds exhibitions featuring work from his collection.Catherine Goldstein is Director of Research, History of Mathematics, at the CNRS, Paris.Donald Nicholson-Smith joined the English section of the Situationist International in 1965 andwas expelled in 1967. He was a member of King Mob, and is a preeminent translator of Situationist writings.
Event as part of Plastic Words at Raven Row -a series of public events that mined the contested space between contemporary literature and art.Conversation between Peter Osborne and David Cunningham, on the relation between contemporary artistic and literary practices in both historical and theoretical context. Chaired by Luke Skrebowski.David Cunningham is a London-based writer, lecturer and member of the editorial collective for Radical Philosophy.Peter Osborne is a London-based philosopher, lecturer and member of the editorial collective for Radical Philosophy. His book Anywhere or Not at All: Philosophy of Contemporary Art was published by Verso in 2013.Luke Skrebowski is a London-based art historian and lecturer who co-edited Aesthetics and Contemporary Art (Sternberg, 2011).
Saturday 4 August, 5pm The Murderous Idolatry of the Future: Anarcho-Primitivism and the end of Technology John Zerzan was active in the Sixties in San Francisco and Berkeley. A leading participant in the contemporary anarchist resurgence, Zerzan's political project calls for the destruction of technology. He draws the distinction between tools that stay under the control of the user, and technological systems that draw the user into their control. His critical ideas have challenged symbolic thought, mathematics, art and the concept of time. Zerzan has published in the Detroit magazine Fifth Estate and his books include Elements of Refusal (1988, 1999), Against Civilization (1999) and Future Primitive Revisited (2012).This event was part of the exhibition:The Real Truth. A World’s Fair28 July to 19 August 2012For more information go to: http://www.ravenrow.org/exhibition/the_real_truth/
Saturday 11 August 4pm, Recital from Memory of the Universal Declaration of Human Rights by Monica Ross 5pm, Jim ChannonGo Planet! A Strategic Visionary Story and Art for the next Military Century!Jim Channon, a former Lieutenant Colonel in the United States Army, is a futurologist and military theorist. As a professional soldier, he commanded five combat units, with two years in Vietnam, and in 1978 created the First Earth Battalion Field Manual for non-lethal warfare. In his work as social architect, philosopher, and futurist he remains a key adviser to military think tanks and specialises in ‘Natural Security’ and ‘Global Reconstruction’. He has created designs for a global village, a district, several bioregions and the planet connected with a webocracy, ‘imagining the Army's full potential as an instrument for the future.’ Jim Channon’s history was explored in Jon Ronson’s book, The Men Who Stare at Goats (2004).This event was part of the exhibition:The Real Truth. A World’s Fair28 July to 19 August 2012For more information go to: http://www.ravenrow.org/exhibition/the_real_truth/
The Real Truth. A World’s Fair28 July to 19 August 2012A project by Suzanne Treister at Raven Row over four weekends featuring four keynote speeches within a specially designed theatreSaturday 18 August, 5pm A Wilderness of Mirrors: Conspiracy Theories and the Necessary Counter-Intelligence of Everyday Life Richard Thieme speaks professionally about the challenges posed by new technologies and the future, and how we might reinvent ourselves to meet them. Clients range from GE and Microsoft to the National Security Agency, FBI, U.S. Secret Service and U.S. Department of the Treasury. Formerly an Episcopalian minister, Thieme has also spoken for sixteen years at the Black Hat Briefings on intelligence and corporate security, and at Def Con, an annual computer hacker convention. Thieme’s books include: Islands in the Clickstream (2004) and Mind Games, A Collection of Nineteen Stories of Brave New Worlds and Alternate Realities (2010).This event was part of the exhibition:The Real Truth. A World’s Fair28 July to 19 August 2012For more information go to: http://www.ravenrow.org/exhibition/the_real_truth/
The Real Truth. A World’s Fair28 July to 19 August 2012A project by Suzanne Treister at Raven Row over four weekends featuring four keynote speeches within a specially designed theatreSaturday 4 August, 5pm The Murderous Idolatry of the Future: Anarcho-Primitivism and the end of Technology John Zerzan was active in the Sixties in San Francisco and Berkeley. A leading participant in the contemporary anarchist resurgence, Zerzan's political project calls for the destruction of technology. He draws the distinction between tools that stay under the control of the user, and technological systems that draw the user into their control. His critical ideas have challenged symbolic thought, mathematics, art and the concept of time. Zerzan has published in the Detroit magazine Fifth Estate and his books include Elements of Refusal (1988, 1999), Against Civilization (1999) and Future Primitive Revisited (2012).
Thursday 20 June 2013, 6.30pmPádraig Timoney led a tour of his exhibition Fontwell Helix Feely in conversation with Alex Sainsbury.For more about the exhibition go to http://www.ravenrow.org/exhibition/padraig_timoney_fontwell_helix_feely/
Christophe Domino (critic and art historian), Fabien Pinaroli (curator of BAXTER&'s exhibition at Raven Row) and Alex Sainsbury in discussion with IAIN BAXTER&. The conversation takes as its starting point the artist's approach to bagging in the context of works in the exhibition –Pneumatic Judd (1965), 1/4 Mile Landscape (1969), vacuum forms and light boxes. This event coincided with the launch of a special issue of the magazine E IL TOPO featuring a commissioned photographic project by IAIN BAXTER&.For more about the exhibition go to:www.ravenrow.org/exhibition/iain_…_adam_chodzko__/
Thursday 31 October 2013, 6.30pmA discussion with Lars Bang Larsen, curator of 'Reflections from Damaged Life. An exhibition on psychedelia' and Alex Sainsbury, Director of Raven Row.
Thursday 8 August 2013, 7pmAdam Chodzko presents Ooze Too, a talk as performance, weaving fact and fiction in a narrative led by image and sound. Assuming the position of narrator and archaeologist of his own ideas, Chodzko attempts to retrieve the elements that led to We are Ready for your Arrival, his installation at Raven Row, in a story that brings together contamination, insects, fires and floods, Steve Martin, greed, folly, flying prisoners, the end of Raven Row and the Art of Memory. For more about the exhibition go to: http://www.ravenrow.org/exhibition/iain_baxter__adam_chodzko__/
Wednesday 4 June 2014, 6.30pmThis discussion addresses how ideas of transcendence, faith and despair relate to the work of Edward Krasinski, Cerith Wyn Evans and others in the exhibition. The starting point is be Søren Kierkegaard’s reflections on the ‘leap of faith’, and how the existential philosopher’s project coerces the reader to experience polarisations of doubt and hope. The panel leading the discussion comprised of Mark Dean (artist and Anglican Chaplain and Interfaith Adviser for the University of the Arts London) Jo Melvin (Senior Lecturer in Fine Art Theory, Chelsea College of Arts), Alex Sainsbury (Director of Raven Row) and Michael Bracewell (curator of Play What’s Not There).For more about the exhibition go to: www.ravenrow.org/exhibition/play_whats_not_there_/
Linder, participating artist in Play What’s Not There, talks to Professor Surinder Singh, musician and founder of the Raj Academy, about the philosophy of Sikh music and its relation to art practice. The ancient tradition of Naad Yoga – a yoga that focuses on sound and its resonance in the body, of which Singh is one of the most eminent practitioners and teachers – seeks to bridge music and the sacred, a key concern in Linder’s work and of this exhibition. For more about the exhibition go to: www.ravenrow.org/exhibition/play_whats_not_there_/
Thursday 29 May, 6.30pmA presentation by Michael Bracewell, writer and curator of Play What’s Not There on the motivations behind the current exhibition. The talk references some of the key authors who inspired the project, including Søren Kierkegaard, Tolstoy and W.H. Auden.For more about the exhibition go to: http://www.ravenrow.org/exhibition/play_whats_not_there_/
Friday 11 July 2014, 7pmTo mark the opening of her show at Raven Row, Yvonne Rainer was in conversation with Catherine Wood, curator of Contemporary Art & Performance at Tate Modern and Martin Hargreaves, Programme Leader, MA The Body in Performance at the Trinity Laban Conservatoire of Music and Dance.For more about the exhibition go to:http://www.ravenrow.org/exhibition/yvonne_rainer/
Monday 19 November 2012, 6.30pmDuring the late sixties and seventies the industrial workplace became the site of considerable social/political tension. APG created a framework that enabled artists to question how they could meaningfully intervene in the workplace and in turn, whether or not host organisations (especially large corporations) could view their interventions positively. Through working within Britain’s industrial landscape and initiating discussions with international CEOs throughout the seventies, APG can also claim to have charted Britain’s transition from ‘heavy’ industry (steel manufacture, coal mining, oil and rail) to the third sector (The Department of the Environment and Peterlee Corporation). This sixth ‘sculpture’ in the series will be moderated by David Hulks and will include Chris Patey (formerly with British Steel Corporation), Peter Byrom (formerly with ICI Fibres Ltd.) and Barbara Steveni. This event was part of the exhibition:The Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to www.ravenrow.org/exhibition/artis…placement_group/
Monday 8 October 2012, 6.30pmAPG emerged at a time, the turn of the 1970s, when speech (or more loosely, discourse) was starting to be recognised as an art medium in its own right. Since then, dialogic exchange in/as art has only increased in prominence, to the point of becoming a fixture in contemporary art spaces. This session will look at APG's pioneering use of the roundtable discussion, and assess its relevance to contemporary discursive art practices. In the spirit of APG's Sculpture – the table at which APG members spoke with industrialists and politicians from 1971 onwards – Raven Row is programming a series of public discussions over the course of the exhibition, of which this is the second.This event was part of the exhibition:The Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to www.ravenrow.org/exhibition/artis…placement_group/
Thursday 13 December 2012, 7pmA composition by David Toop based on John Latham's idea of Flat Time, performed by John Butcher, Aleks Kolkowski, Elaine Mitchener and David Toop. First performed in 2010 at the Whitechapel Gallery as part of a commission to create the soundtrack for the online John Latham Archive, FLAT TIME/sounding is a score of texts and visual elements composed for improvising musicians. The score – which also functions as an opening, a catalyst, or the conditional framework for an eventstructural audio sculpture – draws on John Latham’s Time-Base Theory and Time-Base Rollers. It further draws on David Toop’s 1976 APG placement at the London Zoo, where he focussed on acoustic ecology – or bioacoustics – in human/animal communication. A score for improvisation, FLAT TIME/sounding marks the challenge of attempting to script the eventfulness that characterises animal ‘speech’ and time-based cosmology. In the context of the exhibition at Raven Row, it proposes new ways of interpreting the archival ‘scores’ generated by APG’s past and present.This event was part of the exhibitionThe Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to http://www.ravenrow.org/exhibition/artist_placement_group/
Wednesday 17 October 2012, 6.30pmThis third public discussion based on APG’s discursive format The Sculpture considers the Group’s complex relationship to sculptural practice. From its earliest placements, APG attracted renowned sculptors such as Garth Evans, Barry Flanagan, David Hall and John Latham. The discussion – with Penelope Curtis, Jo Melvin and Barbara Steveni – will address some of the apparent contradictions between APG’s ‘incidental’, non-object approach and the fact that it played host to some of the most progressive sculptors of the day.This event was part of the exhibition:The Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to www.ravenrow.org/exhibition/artis…placement_group/
Tuesday 23 October 2012, 6.30pmThis fourth public discussion based on APG’s discursive format The Sculpture looks at the complex and often problematic position of John Latham within APG. His 'time-based' theories according to which space and objects are displaced by time and events, played a significant role in how APG identified itself and defined his work on placement with the Scottish Office and the National Coal Board. His re-configuration of the artist as an 'incidental person' led to conflict amongst the Group's members. This discussion – moderated by Claire Louise Staunton (Director of Flat Time House) with participants including Clive Phillpot, Gavin Wade, Antony Hudek and Barbara Steveni – will address to what extent Latham's work and ideas have come to shape what we know as APG. This event was part of the exhibition:The Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to www.ravenrow.org/exhibition/artis…placement_group/
Saturday 29 September, 6.30pm APG was from the start outward facing, building contacts with artists and institutions in the US and Europe. Germany stands out as particularly receptive to APG's approach, thanks to key figures such as Joseph Beuys, Jürgen Harten, Drs Reimut and Margarethe Jochimsen and Rolf and Ros Sachsse. In this panel discussion, Barbara Steveni, Rolf and Ros Sachsse and former APG Director Nicholas Tresilian reflect on the deep ties between APG and Germany, which served as a gateway for APG's methodologies to be introduced on the continent.This event was part of the exhibition:The Individual and the Organisation: Artist Placement Group 1966-7927 September to 16 December 2012For more about the exhibition go to www.ravenrow.org/exhibition/artis…placement_group/