Category Archives: EVENTS

OPEN MEETING

Self-organisation

14 July 2017, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome, no need to book

Buzzer located to the left of the entrance, we’re meeting in the office on the top floor

[ART&CRITIQUE] Open Meeting. Arch 213 Homerton, 12 May 2017. Photo by Penelope Kupfer.
[ART&CRITIQUE] Open Meeting. Arch 213 Homerton, 12 May 2017. Photo by Penelope Kupfer.
There are two main agenda items for this meeting, both will focus on self-organsiation and our intention to develop collaborative, cooperative and collective practices as part of our pedagogical remit.

In the first part of the meeting we will discuss our proposed research at LARC with a view to submit a proposal in early August 2017. The research is intended to help us learn from the organisational practices of the usergroups at LARC as well as the organisation as  whole. This is also an opportunity to discuss our broader research project on alternative art education, radical pedagogy and self-organisation. For an overview of this project please see our recent unsuccessful research proposal for a residency at MayDay Rooms. We will outline our research objectives, identify actions, distribute roles and compile a schedule.

In the second part of the meeting we will discuss our ongoing plan to distribute and rotate the work that sustains [ART&CRITIQUE]. We will discuss the jobs, guides and handover procedures. After a one-month handover process and one month to practice our jobs do we feel that have learned anything? Have we had enough experience to handover the job to someone else? Have we identified problems or ways of making improvements? Should we extend the rota period to 4 months with 1-month handover at either end? Do we need more training? What skills do we need training in? Should we organise a skill-sharing workshop?

Alternative Art Education & Co-operation

Friday, 12 May 2017, 18:30 – 20:30
Arch 213, Ponsford Street, London E9 6JU, a railway arch next to Dark Arts Coffee
Overground: Hackney Central, Homerton
Free, booking not required

On Friday, 12 May 2017 we’re having an open meeting to lay the foundations of a new alternative art school, co-ordinate future projects and institute co-operative ways of working. If you’d like to get involved please join us! See below for the meeting agenda and if you’d like to add agenda items to the list please use the contact form to email them to us by 10 May 2017.

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.
Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.

AGENDA

1. Report on [ART&CRITIQUE] participation, accounts and current productive tasks.

2. Distribution of tasks that keep [ART&CRITIQUE] running as a collective project. Co-ordination of roles and hand-overs. If there are not enough people to undertake the tasks we will consider adopting a different structure (e.g. yearly membership) so that we can pay people to undertake the tasks.

3. Future [ART&CRITIQUE] projects: book club, art crawl, studio crit and new projects or one-off events and workshops.

4. Discuss plans for an alternative art school running a yearly programme beginning in September 2018. How would this work and how would the participants be recruited? Should we have an application form/procedure or should participants be invited? An open call is more transparent but then we have the problem of selection criteria and having to turn people down. If we invite people we can all invite one person, which is more egalitarian, but then the project risks becoming a clique. In terms of structure, the programme would be a peer support group, meeting 1-2 times per week. To begin, we could incorporate the three irregular [ART&CRITIQUE] events (exactly as they currently run, open to the public etc.) and add seminars, lectures and/or workshops with guest tutors/practitioners, organised by and for participants on the programme, who will be responsible for developing the format of the programme and running it over time. We need to discuss funding (to pay guest tutors and cover  expenses) and find a regular reliable and free venue if The Field doesn’t open again. Come with ideas for a name!

5. Plan to secure an empty building by negotiating a lease with the owners in exchange for maintaining the building. This would offer us a space from which to run all these projects, have exhibitions, run a cafe, workshops, courses, screenings and all manner of events for all ages to make an income to pay people and cover our expenses.

6. Start a workers’ co-op and create a transparent co-operative structure for all the above and any other projects that may develop over time, including an alternative art education network website to host organisations that offer alternative art education in the UK.

EVENT ARCHIVE

J.R. Eyerman [1952] Audience at the opening-night screening of Bwana Devil, the first full-length colour 3-D movie. Paramount Theatre, Hollywood, 26 Nov 1952.[SYMPOSIUM] BOOK CLUB
Debord: Negation & Consumption in Culture
Friday, 8 December 2017, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Aristotelis Nikolaidis
Suggested donation £2, booking via Eventbrite

[SYMPOSIUM] #21 Adorno Commitment. Flyer by Nat Pimlott.[SYMPOSIUM] BOOK CLUB
Adorno: Commitment
Friday, 10 November 2017, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott
Suggested donation £2

[SYMPOSIUM]#20. Flyer by Dasha Loyko.[SYMPOSIUM] BOOK CLUB
Foucault: Of Other Spaces
Sunday, 15 October 2017, 1:30pm – 4:00pm
Yurt Café, St. Katharine’s Precinct, 2 Butcher Row, London E14 8DS
Facilitated by Dasha Loyko
Free, booking via Eventbrite

FIRST 100% OFFICIAL UNOFFICIAL ALTERNATIVE EDUCATION OPEN-DAY[ART&CRITIQUE] WORKSHOP
School of the Damned’s
FIRST OFFICIAL UNOFFICIAL ALTERNATIVE EDUCATION OPEN-DAY
Sunday, 1 October 2017, 1pm—6pm
Set Space, 76-89 Alscot Road, London SE1 3AW
Booking via Eventbrite

[ARTCRAWL]#13. Flyer by Mandy Wong.[ART&CRITIQUE] ART CRAWL
Marylebone to South Kensington

Saturday, 30 September 2017, 1:45pm—5pm
Meet 1:45pm at Lisson Gallery 27 Bell Street London NW15BY
Curated by Anca Baciu and Mandy Wong

All welcome, booking not required

Tania Bruguera & Anri Sala [2005] Cátedra Arte de Conducta (Behavior Art School), Havana, Cuba.[SYMPOSIUM] BOOK CLUB
Bishop: Pedagogical Projects
Monday, 24 July 2017, 19:00–21:00
Guest Projects, 1 Andrews Road, London E8 4QL
Chaired by Renata Minoldo
Part of School of The Damned‘s Common Room
Free, please book your place

The Other MA (TOMA)[ART&CRITIQUE] ART CRAWL
Visit to TOMA in Southend-on-Sea
Sunday, 23 July 2017, 12:20-18:00
Meet 12:20pm at Southend Central Station, Southend-on-Sea SS1 1AB
Curated by Emma Edmondson

All welcome, please book your place

OPEN MEETING[ART&CRITIQUE] OPEN MEETING
Self-organisation
14 July 2017
18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
All welcome, no need to book

[ARTCRAWL] #11[ART&CRITIQUE] ART CRAWL
Hampstead to Finsbury Park (via Mayfair)
Saturday, 24 June 2017, 14:00 -17:00
Starts 2pm at Freud Museum 20 Maresfield Gardens London NW3 5SX
Curated by Sophia Kosmaoglou
Free, booking not required

Kinki Club, Bologna. Photo courtesy Graziella Ronchi for Spaghetti Disco - Creare Spazio Alle Memorie 1975-85, Red Gallery, London, Oct 2016, curated by Lorenzo Cibrario[SYMPOSIUM] BOOK CLUB
Virno: The Dismeasure of Art
Friday, 9 June 2017, 18:00 – 20:00
Tropics Café, Grow Elephant, New Kent Road, London SE17 1SL
Chaired by Rubén Salgado Perez
Free, please book your place

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn[ART&CRITIQUE] OPEN MEETING
Alternative Art Education & Co-operation
Friday, 12 May 2017
18:30 – 20:30
Arch 213, Ponsford Street, London E9 6JU
Free, booking not required

Claes Oldenburg [1964] Soft Light Switches. Vinyl filled with Dacron and canvas, 119.4 x 119.4 x 9.1 cm.[SYMPOSIUM] BOOK CLUB
Judd: Specific Objects
Friday, 21 April 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Richard Burger
Free, please book your place

Richard Giblett [2008] Mycelium Rhizome. Graphite on paper, 120 x 240 cm.[SYMPOSIUM] BOOK CLUB
Deleuze & Guattari: Rhizome
Friday, 10 March 2017, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Katie Tysoe and Sophia Kosmaoglou
Free, fully booked

Piero Manzoni [1961] Artist's Shit (Merda d'artista). 90 tin cans, each filled with 30 grams faeces, 4.8 x 6.5 cm.[SYMPOSIUM] BOOK CLUB
Marx: The Fetishism of the Commodity and its Secret
Friday, 10 February 2017, 18:00 – 20:30
Wimbledon Art Studios, 10 Riverside Rd, London SW17 0BB
Chaired by Sophia Kosmaoglou
Free, please book your place

[ARTCRAWL]#10web[ART&CRITIQUE] ART CRAWL
Mayfair to Fitzrovia
Saturday, 28 January 2017
14:00 -17:00
Curated by Cristina Sousa Martínez
Free, booking not required

Wassily Kandinsky [1923] Circles in a Circle. Oil on canvas, 98.7 x 96.6 cm.[SYMPOSIUM] BOOK CLUB
O’Sullivan: The Aesthetics of Affect
Friday, 13 January 2017, 18:00 – 20:30
V22 Louise House, Dartmouth Rd, London SE23 3HZ
Chaired by Katie Tysoe
Free, please book your place

Penelope Kupfer [2015] Moth (detail). Ink on paper, 1654mm x 2054mm.[SYMPOSIUM] BOOK CLUB
Foucault: The Four Similitudes
Friday, 9 December 2016, 18:00 – 20:30
88 Fleet Street, London EC4Y 1DH
Chaired by Penelope Kupfer
Free, please book your place

Johanna Kwiat [2016] Untitled. Digital image.[ART&CRITIQUE] STUDIO CRIT
Johanna Kwiat: Tampering
Saturday, 3 December 2016
14:00 – 1600
Studio, 19 Farquhar Road, London SE19 1SS
Free, please book your place

[ARTCRAWL] #9web[ART&CRITIQUE] ART CRAWL
Hampstead to Camden Town
Saturday, 26 November 2016
14:00 – 17:00
Curated by Katy Green
Free, booking not required

Josef Albers Preliminary class group critique. Bauhaus Dessau, 1928-29. Photo by Otto Umbehr.[ART&CRITIQUE] WORKSHOP
Critiquing the Crit
Saturday, 19 November 2016, 13:00 – 16:00
The Field, 385 Queens Road, London SE14 5HD
Led by Sophie Barr
£5, please book your place

Isa Genzken [1991] X-Ray. Gelatin silver print, 100 x 80 cm.[SYMPOSIUM] BOOK CLUB
Foster: Post-Critical?
Friday, 11 November 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14 5HD
Chaired by Dasha Loyko
Free, please book your place

[GALLERYCRAWL] #8[ART&CRITIQUE] GALLERY CRAWL
Camberwell to Peckham
Saturday, 29 October 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).[ART&CRITIQUE] STUDIO CRIT
Dasha Loyko: Autonomy and Critique
Saturday, 15 October 2016
15:00 – 17:00
The Field, 385 Queens Road, London SE14 5HD
Free, please book your place

Alain Badiou and Kerry W. Purcell have lunch in 2015.[SYMPOSIUM] BOOK CLUB
Badiou: Art & Philosophy
Friday, 14 October 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14 5HD
Chaired by Kerry W. Purcell
Free, please book your place

[GALLERYCRAWL] #7web[ART&CRITIQUE] GALLERY CRAWL
Mayfair to St James (via Soho)
Saturday, 24 September 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Last Year at Marienbad [1961] Dir. Alain Resnais. France-Italy, black & white, 94min.[SYMPOSIUM] BOOK CLUB
Sontag: Against Interpretation
Friday, 9 September 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14 5HD
Chaired by F. D.
Free, please book your place

[GALLERYCRAWL] #6[ART&CRITIQUE] GALLERY CRAWL
Mayfair to Fitzrovia
Saturday, 30 July 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required.

Jo Wolf [2016] DATA.0, 3/8. Acrylic on canvas, 5 x 5 inches.[ART&CRITIQUE] STUDIO CRIT
Jo Wolf: DATA
Saturday, 9 July 2016, 14:00 – 16:00
The Field, 385 Queens Road, London SE14 5HD
Free, please book your place

Paul Klee [1920] Angelus Novus. Oil transfer and watercolor on paper, 31.8 × 24.2 cm.[SYMPOSIUM] BOOK CLUB
Groys: Under the Gaze of Theory
Friday, 8 July 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou, Respondent Johanna Kwiat
Free, please book your place

[GALLERYCRAWL] #5 webflyer[ART&CRITIQUE] GALLERY CRAWL
Hackney to Shoreditch
Saturday, 25 June 2016
14:00 – 17:00
Curated by Dasha Loyko
Free, booking not required

Juno Ludovisi plaster cast. Junozimmer, Goethe Haus, Weimar. Photo NFG Library and KG Beyer, Weimar 1975, plate 8.[SYMPOSIUM] BOOK CLUB
Rancière: Problems & Transformations of Critical Art
Friday, 10 June 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Stephen Bennett
Part of Antiuniversity Now!
Free, please book your place

[GALLERYTOUR] #4 webflyer[ART&CRITIQUE] GALLERY WALK
Hackney to Shoreditch
Saturday, 4 June 2016
14:00 – 17:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #3 webflyer[ART&CRITIQUE] GALLERY TOUR
Hyde Park to Shadwell
Saturday, 14 May 2016
14:00 – 18:00
Curated by Penelope Kupfer
Free, booking not required

Raoul Hausmann [1919-20] The Art Critic. Lithograph and photographic collage on paper, 318 x 254mm.[SYMPOSIUM] BOOK CLUB
Sewell: Tate Triennial III
Friday, 13 May 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by Richard Lloyd-Jones
Free, please book your place

[GALLERYTOUR] #2 web-flier[ART&CRITIQUE] GALLERY TOUR
Whitechapel to Liverpool Street
Saturday, 30 April 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Marcel Duchamp [1942] Behind Mile of String. First Papers of Surrealism, New York. Photo by Arnold Newman.[SYMPOSIUM] BOOK CLUB
Duchamp: The Creative Act
Friday, 8 April 2016, 18:00 – 20:30
The Field, 385 Queens Road, London SE14
Chaired by F. D., Respondent Penelope Kupfer
Free, please book your place

Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.[ART&CRITIQUE] STUDIO CRIT
Maria Christoforatou: Displacement
Sunday, 20 March 2016
14:00 – 16:00
The Field, 385 Queens Road, London SE14
Free, please book your place

[GALLERYTOUR] #1 web-flier[ART&CRITIQUE] GALLERY TOUR
Hoxton to Mile End
Saturday, 19 March 2016
14:00 – 17:00
Curated by Sophia Kosmaoglou
Free, booking not required

Lloyd, John Uri & Curtis Gates Lloyd [1884] Plate XXIII. A fresh rhizome of Cimicifuga racemosa. In Drugs and Medicines of North America. Cincinnati: Lloyd & Lloyd.[SYMPOSIUM] BOOK CLUB
Latour: On Actor Network Theory
Friday, 11 March 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Johanna Kwiat
Free, please book your place

[BOOKCLUB] #4 Barthes: The Death of the Author Friday, 12 February 2016, 6:00-8:30pm.[SYMPOSIUM] BOOK CLUB
Barthes: The Death of the Author
Friday, 12 February 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Henrietta Ross
Free, please book your place

Sherrie Levine [1980] Untitled (After Edward Weston). Gelatin silver print.[SYMPOSIUM] BOOK CLUB
Owens: The Discourse of Others
Friday, 8 January 2016, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou
Free, please book your place

Omar Joseph Nasser Khoury [2011] Silk Thread Martyrs. Ccollection of 22 garments, each unique. Embroidered, fabric, coloured and dyed by hand using natural materials (indigo, tea).[SYMPOSIUM] BOOK CLUB
Abu-Lughod: Writing against Culture
Friday, 11 December 2015, 6:00pm – 8:30pm
The Field, 385 Queens Road, London SE14
Chaired by OmarJoseph Nasser-Khoury
Free, please book your place

First page of An Answer to the Question: What is Enlightenment by Immanuel Kant, Berlinische Monatsschrift. Dec 1784, pp. 481-494.[SYMPOSIUM] BOOK CLUB
Kant: What is Enlightenment?
Friday, 13 November 2015, 6:00pm – 8:00pm
The Field, 385 Queens Road, London SE14
Chaired by Sophia Kosmaoglou
Free, please book your place

STUDIO CRITIQUE

Johanna Kwiat: Tampering

Saturday, 3 December 2016, 14:00–16:00
Studio, 19 Farquhar Road, London SE19 1SS
Rail/Overground: Crystal Palace, Gipsy Hill

In December we’re heading to Crystal Palace to view and discuss the work of Johanna Kwiat. After graduating from Anthropology at Goldsmiths College, Johanna studied Fine Art at Working Men’s College in London. She is based in London and currently works from ASC studios. Johanna is a co-founder partner of Art Brixton.

Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.
Johanna Kwiat [2011] Artemisia at IKEA. Photographic print (still from a mobile phone film), 32 x 24 cm.

Most of my practice happens outside of the studio and/or gallery context. My practice is rooted in my everyday life. My work is a material or intellectual explosion culminating a long process of analyses or annoyingly circular thoughts, images and tensions. I work with mixed media, often with what I find available, and select that which is relevant to communicate my ideas. I have been preoccupied with themes of cultural myths of identity, gender and the autonomy of reason, as well as the nature of reality we live in and the possibility of circumventing its constraints. I think a lot about alienation (self and structurally imposed) and especially the persistent and seemingly universal need of private ownership, its relation with everyday violence, specifically the unseen, hidden or unspoken. I am interested in violence as an inherent quality of relationships. And yet my work is most of all an intimate history. I rework my story, parts of which I find echoed in others’ histories: imposed gender, gender roles, sexuality and forms of representation. I look at relationships between people, natural forms, signs of social aspiration and financial standing. I tamper with them. Acting out in social, public space is what interests me, and describes the way I work. I steal estate agents’ signs from real life locations. I invade an environment, space or context and question its familiar set-up.

Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents' signs, acrylic paint.
Johanna Kwiat [2014] OutGrown (detail). Installation, reclaimed estate agents’ signs, acrylic paint.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Sanity – Work In Progress. Performance Crystal Palace – Pimlico, two weeks and two days.
Johanna Kwiat [2016] Untitled. Digital image.
Johanna Kwiat [2016] Untitled. Digital image.

An opportunity for artists, curators, designers, film-makers and other producers to present their work to an audience of peers for discussion and feedback.

This event is free and open to everyone. Please book your place. If you’d like to show your work please scroll down for more information and the event archive.

Please register to book your place
Fields marked with an * are required

Showing your work

STUDIOCRITS typically focus on the work of one artist at their studio or other appropriate venue. There is no standard format however, because everyone’s practice is different.

If you’re interested in showing your work at a STUDIOCRIT please download the infosheet and follow the directions to send us your proposal.

VENUE The venue will most likely be your studio. If you don’t have a studio don’t worry, we can find an alternative. You might have an exhibition on, you might show your work in your flat, community space or temporarily available space. The space needs to be appropriate for the display of your work with a capacity for about 10 people.

DATE & TIME We will set a date and time that is most convenient for you and your venue. Weekends and weekday evenings are convenient times for most people. The crit normally lasts two hours with a break in the middle. Please consider providing snacks and refreshments.

STRUCTURE Think about what work you would like to show and how you would like to structure and conduct the crit. We will discuss this and identify or develop a format that is suited to your work. Think about the practical or theoretical questions that you would like to raise, what aspects of your practice would you like to draw attention to and discuss?

DOCUMENTATION Please prepare a short bio and up to 6 images of your work for the website. This is to give potential audience members an idea of what your work, practice and/or research is about, attracting an audience with common interests. We will work together to present your work in the best possible way.

BIO Please prepare a short bio no longer than 250 words. This should outline your practice, background, education and what you are interested in exploring in the STUDIOCRIT, highlighting the topics and themes that you would like to address in the discussion.

IMAGES Choose up to 6 images that best represent the questions that you would like to raise about your practice. The maximum resolution for images is 923 pixels on the longest side, if in doubt and for the best results please send hi-res images. Please send captions with your images and include the title, date, materials and dimensions/duration for each one.

STATEMENT You might want to discuss an artist statement or application/proposal in conjunction with your work. Your statement should be no longer than 500 words, please print 15 copies and bring them along.

ARCHIVE
#01 Maria Christoforatou: Displacement▾

Sunday, 20 March 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.
Maria Christoforatou [2011] Untitled (small house). Balsa wood and china porcelain, 18 x 18 x 18cm.

Maria Christoforatou lives and works in London. Her practice is concerned with the unnerving relation between belonging and unbelonging examined through the notion of one’s home. Maria received her BA (Hons.) in Fine Art from the Athens School of Fine Arts (ASFA) in Greece and her MA in Painting/Fine Art from Wimbledon College of Arts, University of the Arts London. She recently graduated from Chelsea College of Arts, University of the Arts London with an MPhil in Fine Art Practice-based research. Her research focuses on narratives of home and displacement in contemporary art practice. She investigates experiences of displacement through the idea of home, where ‘home’ is identified, mediated and ‘re-made’ through media and materials of different kinds, and how objects both mediate for the artist and become agents of experience for the viewer.

Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015] Constructing spaces series. OHP projector installation.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
Maria Christoforatou [2015-ongoing] Dislocated series. Collage on paper, 21 x 14.8cm.
#02 Jo Wolf: DATA▾

Saturday, 9 July 2016, 2:00pm – 4:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

Based in London, Jo Wolf works conceptually with mixed media. Although her pieces result from an act of inquiry, the consequent material form is equally relevant to the idea. Coming from a DIY culture and maker’s background, Jo studied at Camberwell College then Central Saint Martin’s and after graduating in 2005, has maintained a pre-emerging position of artistic obscurity. From 2008 she took an interest in the cause alongside the impact of the economic crisis and responded by creating a limited collection of 3D design and 2D depictions of mass circulated imagery. Her recent series sees a return to abstract compositions.

DATA: a series of observations, measurements or facts. From Latin: dare to give.

The DATA series consists of two sets of eight canvases, entitled DATA.0 and DATA.1, which were inspired by a reading of ‘The Death of the Author’. Written in 1967, the French literary critic and theorist Roland Barthes proclaimed, ‘a text’s unity lies not in its origin but in its destination’, and that ‘It is language which speaks, not the author’. He states that ‘a text is … drawn from many cultures and entering into mutual relations of dialogue, parody, contestation, but there is one place where this multiplicity is focused and that place is the reader…’

Bathes offers a theory that informs our understanding of this realm of reading and interpretation. Applicable not only to the written text however, which is open to translation and elucidation, it is also considered in the reception of a work of art. Yet the visual text or artwork often conveys information through media with the omission of written language. Our understanding of art is affected by what we know and believe, a perception based on learned assumptions regarding taste, truth, beauty, status, experience, etc. The authority of a work of art and its meaning alters according to the context in which it appears and although artists may give a rationalized explanation of their work, the gap between words and what we see may not be completely settled.

In the art world, critics hold the strongest platform from which to deliver their views of the artwork, beyond the artist, yet their opinions often expand or contradict the original said intentions. This process of presentation and judgment begins in art school, in the critique. DATA tells an abstract tale of one experience of this process, it also raises questions about the role of the crit and the significance of the rhetoric.

DATA.0: Eight relatively small square paintings consisting of the basic elements of painting, in an aesthetically purified abstract form, question the conceptual relationship between the object/canvas, text/title and meaning.

DATA.1: Constructed from silks of unrestricted colours, the larger canvases mirror the geometric compositions of the first series and although removed from the realm of painting, pose the same questions.

#03 Dasha Loyko: Autonomy and Critique▾

Saturday, 15 October 2016, 3:00pm – 5:00pm
The Field, 385 Queens Road, London SE14 5HD
Rail/Overground: New Cross Gate, Queens Road Peckham

I am a London-based artist who is currently in the process of applying to MFA programmes. I was born in 1995 in Minsk, Belarus, and moved to the UK in 2009, at the age of 14. I am now in my third year of BSc in Philosophy at LSE. I received some formal art training in Minsk but have since practised independently and in the recent years my work has taken a much more conceptual turn. My research has been fuelled by the study of philosophy, critical theory and I have recently become fascinated by the notion of the abject. I work across a wide range of media and my practice could roughly be divided into two categories: institutional critique and the art driven by my preoccupation with human autonomy.

Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).
Dasha Loyko [2016] Tips For Designing Your Dream Bathroom (maquette of central fragment).

1. Autonomy

Through painting, video, sculpture and installation, I explore the relationship between subject and object. My departure point is the notion of the border of your own body. I am interested in the construction of psychological and physical barriers and in distancing yourself from the rest of the world as a necessary part of identity formation. Personal space, privacy, autonomy and the sense of your body as having definite borders, as being discontinuous from everything else around you, are some of the concerns which underpin my practice.

Some of the materials I choose to use, such as gloves or shower curtains, have a literal meaning as barriers but I also want them to evoke tactile associations. In the everyday life these are some of the things which are connected with disgust at touching something unpleasant, toxic, sticky, or wet. I want this tactility and also the scale of my work to act as a connecting link between the piece and the viewer, so that she can relate to it and measure it up against her own body.

A few worries arise: Do the tactile associations function in the same way for the audience as they do for me? Does the medium of painting divert the attention away from the conceptual issues and towards the formalist ones?

Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Nude (Grey on Yellow). Oil on canvas, 100 x 110 cm.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.
Dasha Loyko [2016] Maman (video still). Immersive installation. Video, 3-10min independent loops.

2. Critique

In my critical work I address the following questions: What does it mean for a work of art to be a success or a failure? What does it mean for text to be ‘about’ an artwork? How and why is an artwork legitimised through discourse? I reflect on the process of research and the constant chase after innovation. I also wonder whether addressing these worries should necessarily be branded as critique.

Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.
Dasha Loyko [2016] IMG_001. Aliminium print, 101 x 101 cm.

[SYMPOSIUM] BOOK CLUB

Adam Curtis: HyperNormalisation

Friday, 12 January 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
Facilitated by
Neil Lamont
Suggested donation £2, booking via Eventbrite

In January we’re discussing Adam Curtis’ 2016 film HyperNormalisation with Neil Lamont. Please view the film before the book club by following the links below.

HyperNormalisation (2016). Directed by Adam Curtis. BBC, documentary, 2h 46min, 16 Oct 2016 (UK). View on BBC iPlayer or Vimeo.

[SYMPOSIUM]#23 Adam Curtis: HyperNormalisation. Flyer by Neil Lamont.
[SYMPOSIUM]#23 Adam Curtis: HyperNormalisation. Flyer by Neil Lamont.
Adam Curtis’s previous work
Adam Curtis is a documentary film-maker. Born in 1955, he has done most of his work with the BBC. Major previous films include:
– The road to terror (1989)
– Pandora’s box (1992)
– Century of the self (2002)
– The power of nightmares (2005)
– The trap: what happened to our dream of freedom? (2007)
– Everything is going according to plan (2013)
– Bitter lake (2015)

Release, chapters
HyperNormalisation was released on BBC iPlayer in October 2016 i.e. not shown on terrestrial TV or in the cinema. Running time is 166 minutes, 16:9 ratio. It is organized into 9 chapters:
– 1975
– The human bomb
– Altered states
– Acid flashback
– The colonel
– The truth is out there
– Managed outcomes
– A cautionary tale
– A world without power

Principal argument
The documentary makes a wide-ranging analysis of systems of political, institutional, financial and psychological control. Curtis argues that a significant change began in the mid 70s and has advanced headlong ever since. Political and financial leaders retreated from an increasingly complex and morally ambiguous world and began to construct a new narrative that reduced the complexity to simpler (and false) stories capable of engendering a stable state reality that consolidated their power and made protest powerless. These leaders began to manufacture our perceptions of reality through interlinked networks of propaganda and PR, the media, powerful financial interests, control of cyberspace, the creation of desire, manipulation of fear/anger, and surveillance. The net result, he argues, is a fundamental de-linking between the world as it really is and how we understand it. So that, as a culture – maybe as a global culture, maybe as a species – we have become lost in a fake world, a manufactured reality.

Viewing the film
To prepare for the session its best to to watch the whole documentary – itself an immersive experience! If time doesn’t allow, watch – as a minimum – these two sections:
–  chapter 1, from start of film to 26m 55sec
–  across ch 7/8, from 1h 25m 40sec to 1h 43m 20sec

I strongly recommend you don’t read anything about it before viewing! – allow yourself to follow (and critique) your own response – thoughts, analysis and feelings. You can view the film online on BBC iPlayer or Vimeo.

Note that the final chapter (from 2h 00m) covers the last 7 years – Occupy, the Arab spring, Putin’s methods, Syria, and Trump’s presidential campaign.

Finally, we’ll also watch a short extract at the start of the session (max 10 minutes).

Neil Lamont is a practising artist who works – among other things – with the themes of modernism, utopia and dystopia. Neil studied history in Bristol back in the 1970s and in the last few years has spent time studying and discussing modern philosophy.

Questions
a) what’s going on here? – what techniques does hyperNormalisation use?, where does it borrow from artistically?, how is it structured?
b) genre: is it an artwork or a political/philosophical argument?, or both or neither?
c) what is its political philosophy? and what political or philosophical arguments or traditions does it draw on?
d) does it hold water as a coherent, valid or correct argument?
e) what’s the difference between an explanation/perspective, a grand narrative (e.g. religions, the Enlightenment) and a conspiracy theory?
f) why do conspiracy theories seem to offer such a strong psychological/social appeal to some groups, and especially so in the 21st century?
g) are we now living in a post-truth world?
h) did we ever live in a truth world?
i) in the world now is any objective truth/news possible? or is there a space for independent news/ideas within it? (this relates to the session on commitment/autonomy)

Suggested further viewing

Hypernormalisation: Adam Curtis plots a path from Syria to Trump, via Jane Fonda, Tim Adams, Guardian, 9/10/16

Adam Curtis’s essential counterhistories, Brandon Harris, New Yorker, 3/11/16

Wikipedia entry for Adam Curtis

Monthly reading group for artists, researchers and anyone interested in the intersections between art practice and critical theory. Everyone can propose a text and facilitate the reading group. Please book your place and download the shared document. For more information and an archive of previous events please scroll down.

Free & open access

The reading group is free and open to everyone who wants to join as long as they commit to the reading. Please register and arrive early, doors will close when we reach maximum capacity. Don’t forget to download the shared document and bring a hard-copy to the book club. Please consider donating to help cover our expenses and keep us going. Alternatively, you can donate via this link.

Discussion & decision-making

Texts are selected by group consensus on the basis that they reflect on the relationship between practice and theory. This includes a broad variety of texts, from philosophy to politics and aesthetics to science fiction – there is no limitation.

Facilitating the book club

[SYMPOSIUM] is a supportive community of peers who discuss and unpack their research interests. All participants have the opportunity to facilitate the book club on a text of their choice. If you would like to propose a text, you can start preparing right now:

[1] Decide on a text that you want to discuss.

[2] Do some background research and write a short introduction to provide some context, from your own perspective. When was it written? Why was it written? Who wrote it? Was it a response to something else? Why are you interested in the text? How does it relate to, or inform, your practice or your research?

[3] Pace the reading. How long is the text? If it is short, can we discuss the entire text in a 2-hour book club? If the text is long you may need to divide it up between two or more sessions.

[4] Write down some questions that you would like to bring to the discussion. Suggest some further reading and an image or two, with captions.

[5] Download the infosheet and follow the directions to send us your proposal.


[SYMPOSIUM] ARCHIVE

#22 Debord: Negation and Consumption
Friday, 8 December 2017, 6:30pm-9pm
Facilitated by Aristotelis Nikolaidis

#21 Adorno: Commitment
Friday, 10 November 2017
Facilitated by Nat Pimlott

#20 Foucault: Of Other Spaces
Sunday, 15 October 2017
Facilitated by Dasha Loyko

#19 Bishop: Pedagogical Projects
Monday, 24 July 2017
Chaired by Renata Minoldo
Part of School of The Damned‘s Common Room

#18 Virno: The Dismeasure of Art
Friday, 9 June 2017
Chaired by Rubén Salgado Perez

#17 Judd: Specific Objects
Friday, 21 April 2017
Chaired by Richard Burger

#16 Deleuze & Guattari: Rhizome
Friday, 10 March 2017
Chaired by Katie Tysoe and Sophia Kosmaoglou

#15 Marx: The Fetishism of the Commodity & its Secret
Friday, 10 February 2017
Chaired by Sophia Kosmaoglou

#14 O’Sullivan: The Aesthetics of Affect
Friday, 13 January 2017
Chaired by Katie Tysoe

#13 Foucault: The Four Similitudes
Friday, 9 December 2016
Chaired by Penelope Kupfer

#12 Foster: Post-Critical?
Friday, 11 November 2016
Chaired by Dasha Loyko

#11 Badiou: Art & Philosophy
Friday, 14 October 2016
Chaired by Kerry W. Purcell

#10 Sontag: Against Interpretation
Friday, 9 September 2016
Chaired by F. D.

#9 Groys: Under the Gaze of Theory
Friday, 8 July 2016
Chaired by Sophia Kosmaoglou, respondent Johanna Kwiat

#8 Rancière: Problems & Transformations of Critical Art
Friday, 10 June 2016
Chaired by Stephen Bennett
Part of Antiuniversity Now!

#7 Sewell: Tate Triennial III
Friday, 13 May 2016
Chaired by Richard Lloyd-Jones

#6 Duchamp: The Creative Act
Friday, 8 April 2016
Chaired by F. D., respondent Penelope Kupfer

#5 Latour: On Actor Network Theory
Friday, 11 March 2016
Chaired by Johanna Kwiat

#4 Barthes: The Death of the Author
Friday, 12 February 2016
Chaired by Henrietta Ross

#3 Owens: The Discourse of Others
Friday, 8 January 2016
Chaired by Sophia Kosmaoglou

#2 Abu-Lughod: Writing against Culture
Friday, 11 December 2015
Chaired by OmarJoseph Nasser-Khoury

#1 Kant: What is Enlightenment?
Friday, 13 November 2015
Chaired by Sophia Kosmaoglou

ART CRAWL

Occasionally, on the last Saturday of the month from 2-5pm we visit three exhibitions within walking distance from each other. An opportunity to meet up, walk in the city and have a critical discussion about the exhibitions on route. Free, everyone welcome. Join us at 2pm or along the way. The crawl is curated by a different volunteer every time.  If you would like to curate the [ARTCRAWL] please download the infosheet and send us your proposal.

Marylebone to South Kensington

Saturday, 30 September 2017, 13:45-17:00
Meet 13:45 at Lisson Gallery 27 Bell Street London NW15BY
Curated by Anca Baciu and Mandy Wong  

All welcome, booking not required

[ARTCRAWL] #13. Flyer by Many Wong.
[ARTCRAWL] #13. Flyer by Many Wong.
In September we’re meeting at Lisson Gallery to see an exhibition by Allora & Calzadilla and then walking through the park to the Serpentine Gallery to view an exhibition by Wade Guyton, ending the crawl with the LGBTQ Tour to explore gender and sexual identities in the Victoria & Albert Museum collection. Free, everyone welcome. No need to book, just join us at 2pm or along the way. Please see below for the itinerary and a map of the route.

ITINERARY
13:45 Allora & Calzadilla: Foreign in a Domestic Sense Lisson Gallery 27 Bell Street London NW15BY
15:00 Wade Guyton: Das New Yorker Atelier, Abridged Serpentine Gallery Kensington Gardens London W2 3XA
16:00 LGBTQ Tour Victoria & Albert Museum Cromwell Road London SW72RL (meet at Grand Entrance)

 

#12 Visit to TOMA in Southend-on-Sea

23 July 2017, 12:20-18:00
Meet 12:20pm at Southend Central Station, Southend-on-Sea SS1 1AB
Curated by Emma Edmondson

All welcome, please book your place

The Other MA (TOMA)

In July we’ve been invited on an excursion to visit The Other MA (TOMA), a 12-month alternative art education model based at Metal Art School in Southend-on-Sea. Join us for a walking tour across the cultural landscape of Southend-on-Sea with the expert guidance of Emma Edmondson, founder and coordinator of TOMA. We will visit Focal Point Gallery and The Old Waterworks, Metal Culture – home of Metal Art School and TOMA – culminating the tour at TOMA artists’ studios. 

The suggested travel route to Southend Central is via the C2C line from London Fenchurch Street, Limehouse, West Ham or Barking. A C2C train service departs from Fenchurch Street at 11:04am and arrives 12:18pm at Southend Central. Please purchase your ticket to Southend Central as we will be hopping on and off the train all day. The ticket will allow you to do this.

NB. We will be doing much walking in between destinations! Please get in touch if you have access concerns.

ITINERARY
12:20 Meet at Southend Central Station, Southend-on-Sea SS1 1AB
12:30 Have lunch in the Railway pub  (best vegan food in town)
13:30 Head to Focal Point Gallery to see Maximum Overdrive
15:00 Catch the train to Westcliff-on-Sea station, half hour walk and head to The Old Waterworks for Alison Loyd’s show
16:00 Catch the train from Westcliff station to Chalkwell Park to see the home of TOMA and Metal, Chalkwell Avenue, Southend on Sea SS0 8NB
17:00 Walk to TOMA artist Richard Baxter’s pottery studio (TBC)
18:00 Grab a drink in the multitude of pubs on the seafront and take in the Estuary views!

 

#11 Hampstead to Finsbury Park (via Mayfair)

Saturday, 24 June 2017, 14:00 -17:00
Starts 2pm at Freud Museum 20 Maresfield Gardens, Hampstead London NW3 5SX
Curated by Sophia Kosmaoglou
Free, booking not required

[ARTCRAWL] #11In June we’re venturing on an ambitious tour of London and taking public transport to see exhibitions at the Freud Museum and Furtherfield – venues that are off the beaten path. On the way we will stop at Thomas Dane in Mayfair. Below is a map of the route and a schedule with links to further information on the exhibitions. We will take the Jubilee line from the Freud Museum to Thomas Dane, and the Victoria line from there to Finsbury Park.

Please note that entry to the Freud Museum is £8 for adults, free for children under 12, £6 for senior citizens, £4 for students, unemployed, National Trust Members & National Art Pass Members. More details here.

SCHEDULE
14:00 The Best Possible School: Anna Freud, Dorothy Tiffany Burlingham & the Hietzing School in 1920s Vienna. Freud Museum 20 Maresfield Gardens, Hampstead London NW3 5SX
15:15 Paul Pfeiffer. Thomas Dane 11 Duke Street, St James’s London SW1Y 6BN
16:15 NEW WORLD ORDER. Furtherfield Gallery McKenzie Pavilion, Finsbury Park London N4 2NQ

#10 Mayfair to Fitzrovia

Saturday, 28 January 2017, 14:00 -17:00
Curated by Cristina Sousa Martínez
Free, booking not required

[ARTCRAWL]#10web

On Saturday 28 January we’re meeting 2pm at Sophia Contemporary to see the exhibition Recipe for a Poem by Azadeh Razaghdoost. Then we will head to Hamilton’s Cafe to listen to Transitivity of Implication by Daniel Toca at the Museum of Portable Sound, please bring your headphones! We will wrap up with a visit to Carroll / Fletcher for the group exhibition United We Stand. Below is the schedule with links to exhibition details and a map of the route.

SCHEDULE
14:00 Azadeh Razaghdoost Sophia Contemporary, 11 Grosvenor St, London W1K 4QB
15:00 Daniel Toca, Museum of Portable Sound Hamilton’s Café, 49 Maddox St, London W1S 2PQ
16:00 United We Stand Carroll / Fletcher, 56-57 Eastcastle St, London W1W 8EQ

#09 Hampstead to Camden Town (via Chalk farm)

Saturday 26 November 2016, 14:00 – 17:00
Curated by Katy Green
Free, booking not required

[ARTCRAWL] #9web

On Saturday, 26 November we’re meeting 2pm at Camden Arts Centre to see and exhibition of Bonnie Camplin‘s work. Then we will head to Zabludowicz Collection for the exhibition Basement Odyssey by Willem Weisman. Our final stop will be the group show Streams of Warm Impermanence with artists who work with Networked-Flesh at David Roberts Art Foundation. Please see below for the schedule and a map of the route.

SCHEDULE MAP
14:00 Bonnie Camplin Camden Arts Centre, Arkwright Road, London NW3 6DG
15:00 Willem Weisman Zabludowicz Collection, 176 Prince of Wales, Road London NW5 3PT
16:00 Streams of Warm Impermanence DRAF, Symes Mews, London NW1 7JE

#08 Camberwell to Peckham

Saturday 29 October 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #8

On Saturday 29 October we’re heading south and meeting 2pm at the South London Gallery to see The Source of Art is in the Life of a People by Roman Ondak, followed by a stop at Arcadia Missa to see Amalia Ulman’s solo Labour Dance, ending at South Kiosk to see And the Earth Screamed, Alive, a multi screen 16mm installation by Emma Charles. Please see below for the schedule with links to exhibition details and a map of the route. Everyone welcome.

SCHEDULE MAP
14:00
Roman Ondak South London Gallery 65-67 Peckham Road London SE5 8UH
15:15 Amalia Ulman Arcadia Missa Unit 6 Bellenden Road Business Centre London SE15 4RF
16:15 Emma Charles  South Kiosk Unit B1.1 Bussey Building 133 Rye Lane SE15 3SN

#07 Mayfair to St James (via Soho)

Saturday 24 September 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #7web

On Saturday 24 September we’re meeting at Timothy Taylor to see Shez Dawood’s solo, followed by Mike Kelley’s 1999 installation Framed and Frame at Hauser & Wirth and Uri Aran’s controversial show at Sadie Coles, ending with the Jannis Kounellis retrospective at White Cube. We’re spoiled for choice this month so we’ve crammed four exhibitions into this one. See below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00
Shezad Dawood: Kalimpong Timothy Taylor 15 Carlos Place London W1K 2EX
14:45 Mike Kelley: Framed and Frame Hauser & Wirth 23 Savile Row London W1S 2ET
15:30 Uri Aran: Two Things About Suffering Sadie Coles 62 Kingly Street London W1B 5QN
16:15 Jannis Kounellis White Cube 25 – 26 Mason’s Yard London SW1Y 6BU

#06 Mayfair to Fitzrovia

Saturday 30 July 2016, 14:00-17:00
Free, booking not required

[GALLERYCRAWL] #6

On Saturday 30 July we’re meeting at at Simon Lee Gallery to see the work of Bas Jan Ader who disappeared at sea in 1975. We will then head north to see the work of Felix Gonzalez-Torres curated by Julie Ault and Roni Horn at Hauser & Wirth. Our final stop will be at Carroll/Fletcher to see Abuse Standards Violations by Eva and Franco Mattes. Please see below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00
Bas Jan Ader Simon Lee Gallery 12 Berkeley Street London W1J 8DT
15:00 Felix Gonzalez-Torres Hauser & Wirth 23 Savile Row London W1S 2ET
16:15 Eva and Franco Mattes Carroll/Fletcher 56-57 Eastcastle St London W1W 8EQ

#05 Hackney to Shoreditch

Saturday 25 June 2016, 14:00-17:00
Curated by Dasha Loyko
Free, booking not required

[GALLERYCRAWL] #5 webflyer

On Saturday 25 June we will meet at The Residence Gallery to see Info Pura, a group exhibition on knowledge, information and experience. Next we will visit Salon des Refuses at SPACE to see the work of Dasha Loyko and other artists rejected from the Royal Academy summer exhibition. Last stop is Blood For Light by Nastivicious at Waterside Contemporary. Please see below for the schedule with links to exhibition details and a map of the route.

SCHEDULE MAP
14:00 
Info Pura Residence Gallery 229 Victoria Park Road London E9 7HD
15:00 Salon des Refuses SPACE 129-131 Mare Street London E8 3RH
16:15 Nastivicious Blood For Light Waterside Contemporary 2 Clunbury St N1 6TT

#04 Hackney to Shoreditch

Saturday 4 June 2016, 14:00-17:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #4 webflyer

On Saturday 4 June we will meet at Cambridge Heath Station and set off for Vilma Gold to see the work of Oliver Stone and Luther Price. Next we will make our way to Espacio Gallery for a group exhibition titled Organism, featuring the work of Penelope Kupfer among an illustrious list of artists. Last stop is Paulo Nimer‘s solo show at Maureen Paley. See below for the schedule and map of the route with links to exhibition details. Free, no need to book.

SCHEDULE MAP
14:00
Cambridge Heath Station Hackney, London E2 9EG
14:15 Oliver Stone & Luther Price Vilma Gold 6 Minerva St, London E2 9EH
15:15 Organism Espacio Gallery 159 Bethnal Green Road London E2 7DG
16:15 Paulo Nimer Maureen Paley 21 Herald Street London E2 6JT

#03 Hyde Park to Shadwell

Saturday 14 May 2016, 14:00-18:00
Curated by Penelope Kupfer
Free, booking not required

[GALLERYTOUR] #3 webflyer

On Saturday, 14 May 2016 we will meet at the Serpentine Gallery at 2pm to view Hilma af Klimt: Painting the Unseen and then make our way to the Sackler Gallery to view of the exhibition by DAS INSTITUT. Then we will head to the Rum Factory near Shadwell DLR station to see the work of Richard Burger. See below for the schedule and map of the route with links to exhibition details. Free, no need to book, just join us at 2pm. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Serpentine Gallery Kensington Gardens, London W2 3XA
14:15 Hilma af Klint Serpentine Gallery, Kensington Gardens, London W2 3XA
15:00 DAS INSTITUT Serpentine Sackler Gallery, W Carriage Dr, London W2 2AR
16:00 Lancaster Gate Tube Station Central Line to Bank, then DLR to Shadwell
17:00 Open Studios 2016 Rum Factory, Bow Arts, Unit 4, Pennington Street, E1W 2BD

#02 Whitechapel to Liverpool Street

Saturday 30 April 2016, 14:00-17:00
Free, booking not required

[GALLERYTOUR] #2 web-flier

On Saturday, 30 April 2016 we will meet at the bookshop inside the Whitechapel Gallery at 2pm to view Harun Farocki‘s video installation Parallel I-IV and  the archival exhibition Imprint 93 with prints by young British artists of the 1990s. Then we will head to Raven Row near Liverpool Street to see the work of Channa Horwitz. Please see below for the schedule and a map of the route. Free event, no need to book. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Whitechapel Gallery 77-82 Whitechapel High St. London E1 7QX
14:15 Harun Farocki Parallel I-IV Whitechapel Gallery
15:00 Imprint 93 Whitechapel Gallery
16:00 Channa Horwitz Raven Row 56 Artillery Lane London E1 7LS

#01 Hoxton to Mile End

Saturday 19 March 2016, 14:00-17:00
Free, booking not required

[GALLERYTOUR] #1 web-flier

On Saturday, 19 March 2016 we will meet at Hoxton Rail Station at 2pm. From there we will walk to xero, kline & coma to see Under the Shade I Flourish by Chris Alton. Heading east we will stop at Cell Project Space to see Ian Ball ‘s Praseodymium Intracrine Signal Aggregate and and we will end the tour with Park McArthur‘s Poly at Chisenhale Gallery. Please see below for the schedule and a map of the route. Free event, no need to book, just join us at 2pm. Latecomers can join us along the way.

SCHEDULE MAP
14:00
Hoxton Rail Station Geffrye Street, London E2 8EA
14:15 Chris Alton: Under the Shade I Flourish xero, kline & coma, 258 Hackney Road, London E2 7SJ
15:15 Iain Ball  Cell Project Space, 258 Cambridge Heath Road, London E2 9DA
16:15 Park McArthur: Poly Chisenhale Gallery, 64 Chisenhale Road, London E3 5QZ