Tag Archives: art

The Trickle-Down Syndrome

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
In August 2017 we visited Benedict Drew‘s exhibition The Trickle-Down Syndrome at the Whitechapel Gallery with students on the Critical Theory in Contemporary Art Practice course. The exhibition was a sprawling interconnected array of objects, banners, screens, cables and digital components. What is the Trickle-Down Syndrome? How does it relate to the infamous laissez faire economic theory? What are the throbbing fleshy forms and knobbly knotted forms represented in videos, banners and roughly-hewn objects?

We spent a couple of hours viewing and discussing the exhibition and everyone was asked to write a 250-500 word review that evening for a workshop the next morning. Each review is written in a uniquely different style and approach, with a different interpretation of the exhibition. We were all very impressed by this outcome so we decided to share the results.

CONTENTS

ALISON GILL Slush Economics and Other Symptoms
ARIELLE FRANCIS What is the point, Benedict Drew
DOROTHY HUNTER No Guts and No Glory
EMILY STAPLETON JEFFERIS Bendedict Drew: The Trickle Down System
IAN BIRKHEAD In the Synthetic Bowel
JUN ABE Undergoing the Trickle-Down Syndrome: Underneath Your Flesh
TAMMY SMITH A sensory journey through absurdly visualised bodily functions vs the state economy


ALISON GILL Slush Economics and Other Symptoms

The Trickle-Down Syndrome is a multimedia installation by Benedict Drew involving sculpture, music and video. The mesmerising and seductive impact of the work is immediate on entering the exhibition. Hand painted perspective lines cover the floor and wall fanning out in a black and white radial shape drawing viewers toward a screen showing an egg or cell dividing.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Alison Gill.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Alison Gill.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
This is the beginning of the Trickle-Down Syndrome. It sounds pathological, in fact, this title refers to trickle-down economics, a theory of wealth distribution which has, according to the International Monetary Fund been proven to not exist. The poor get poorer while the rich get richer. Here it is then, represented as a ‘syndrome’, a pathological collection of symptoms. Drew’s diagnosis is simple; the trickle down has turned to slush. So how does this manifest itself as an art exhibition? There are many references to the body. Around the corner are large colourful intestinal wall hoardings cable tied to galvanised steel rails, slick and street aesthetics combined. Electronic ambient bleeps and pops provide a sonic over-lay to the whole installation. And when Drew talks about escape being a potent form of resistance, I can’t help wondering if the alter-come-stage he has created with giant eyeballs hanging onto a waxy brain are the sci-fi signifiers to an altered reality. It’s not here though. The video murmurs on with bad news and more innards. Mirrors, repetition of eyes and cones, lots of signs of ritual and at the centre a golden gong. Around another corner ‘That Sinking Feeling’ blinks in pastel pink on a wall, down below a video monitor on a packing crate shows someone is stuck in the mud and momentarily, a muzzle of a mule appears. To the side old Lidl bags contain the speakers all shielded and contained by red welding screens. Confused? Me too, that’s the point.

The last little room uses symmetry again, a theme throughout and reference Drew says, to Busbey Berkley but could equally be the more colourful pop homages made by Michel Gondry such as Around the World (Daft Punk). Another influence sited is Max Ernst’s landscapes. I had to look hard for these: The gong perhaps as it features in ‘production image for The Trickle-Down Syndrome’? Piled up in the corner are free newspapers, Financial Times pink, blowing around. There is a grungy look to the digital photo-collaged drawings it contains. On one page there is a drawing of a mule with a thought bubble saying ‘I hate humans’. On another page there is a photo of a statue, arms in the air and branching out to red coral. Over this is drawn yellow radiating line, an aura of sorts. Is this Daphne when she transforms from human form into a tree, to return back to the earth? Is this at the heart of Drew’s desire for ‘ecstatic protest’, I wonder? We humans are better off ‘out of it’ he seems to be saying. If this is it, it is a nihilistic project indeed but he knows how to make this pill a sweet one to swallow.


ARIELLE FRANCIS What is the point, Benedict Drew

To descend into this particular piece of work, was frus-trating work. An environment difficult to enjoy, Benedict Drew does not make it an easy bodily experience.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Large illustrations that impose upon your existence – their height and sheer width are admirable. I wondered how it came into the room for unlike any painting on a wall, it cannot simply be hung at eye level. These sheets of fabric hold high from ceiling to floor, detached from the wall, softly lit from behind. This glow lightly frames the supposedly hand drawn curves, the images existing in pairs of three, a face off if you will. Competing against each other on parallels planes there is nothing to compare, for all feel the same regardless. Nothing special exists within, other than curvy curvy wormy monotonous hollowness and their obvious ability to say “here I am. I take up space. Was probably installed via machine and scaffolding. Regardless, be fascinated with me”

Moving past these large scribble sisters, towards the far back of the exhibition space, we see The Box, on a box, within a box… Framing, framed, Frames. The words “SINKING THAT FEELING”, if viewed from the right angle, perfectly frames once more these boxes, taking this entrapment from the floor to the wall, this dead-end horizon providing a canvas to the words projected. They “hug” the installation, they -strangle- incompletely.

The tangible quality of this installed work also happens to be the only piece that fully distances itself from all surrounding white walls. Instead, existing as four red fabric partitions giving the onlooker the ability to walk around the installation -as well as through it. Be daring and look at others through the red material, peak through the vast gaps of this broken cube, watch others as they watch the monitor, a man trapped within, and in, mud. Pulling one leg out drives the other leg in -exhaustion overworking self entrapment, an escape to where? A release to what? “That sinking feeling”, flashes alongside the work further reminding us of the inability to escape, how this cycle returns.

Discomfort is a word not misplaced in association to “Trickle Down Syndrome”, and perhaps these two pieces in discussion represent this concept justly. I would note however, that apart from this perhaps singular truth, Drew’s intentions are seemingly either accidentally into being or sometimes lost entirely. Inside the exhibition, I found myself more absorbed by my solipsism in that moment, attentions confused as I tried to rebalance basic comfort levels, ignoring the politics portrayed. An uneasy experience that is difficult to endure, if it were not for a moments rest and reflection away from that space, I would for sure not have this analysis. Perhaps a little too abstract an idea, I wouldn’t recommend the show, but on reflection I appreciate the fodder nonetheless.


DOROTHY HUNTER No Guts and No Glory
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
The Trickle-Down Syndrome parallels the limits of human bodies with the organisational and systemic ones that utilise them, reframing their place in their machinations at will. Organs blow up, extend out, condense down. They seem to revolt against their position of servitude to a unified whole, a body whose identity is unknown to them, means nothing to them but ongoing labour.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
In each corner of the main gallery an organised tangle of intestinal forms geometrically snakes across enormous wall hangings, weirdly evocative of William Morris, or as if cancer worked on an organ rather than cellular level. They flank dark nondescript organic forms on the hangings in between, printed on searing orange and green. One mass, seen on the rear wall hanging, is made of various shades of love-heart pink, more blatantly organic in the shaky network of striped tendrils that radiate outwards, obviously digitally and simply distended. Despite this, each print looks misleadingly relief-like in its spots and patterns of dark texture, with foregrounds crisply clipping backgrounds in the blankets of saturated colour.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
In contrast, the physically handmade pieces within the installation are faux-naive. On an alter-like arrangement on a wide white stage, fleshy plasticine borders are pressed around a painted mass of one-stroke ribs, cratered papier mache eyes sit on stalks metres long, or are dripping, primordial threats painted on drums. Hollow teeth-like forms are drawn on mirrors. On screens, a stuffed ream of 3d-rendered intestines slowly twirl, and hollow shapes move over the face of a female actor. This arrangement is symmetrically composed with some co-ordinating and mismatched layers of visual and sound, leaving her words and meaning indistinguishable. Technology clearly excels our ability to represent our own makeup.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
There’s a sterile opulence, the backlit hangings lording over the space like religious icons. The trickle-down effect sees each strata of class in a cycle of aspiration to, and definition against, the other, causing a cycle of capitalist activity. The digital and handmade seem complicit in a similar cycle. The trickle-down isn’t active; the apparatus is too divided. Seeing a face, digitally rendered, sculpted, painted, only ever seems unreal. The only bodily exteriors seen revel in this. With haptic detachment from our interior, all we have are illustrations, perhaps the odd x-ray or ultrasound scan. Alienation is our normal state; feeling small in the unseen power we are passive to. There is no gore, no viscerality, only looped unknowns.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
A man wades in mud, eventually reaches a sinking mule. Sound emanates from LIDL bags – one covertly painted with the words “DESIRE STUFF”. Such close shots make the actions hard to follow; red welding screens can be passed through or observed through – turning something a little scatological into something even more suggestive. It’s perhaps communistic, the red square exploded, overtly three dimensional in its symbol pulled back into real space.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
It sits as a counterpoint to the yellow-gelled adjacent box room, where graphic eyes radiate from palms, taking a landscape-like slow pan across uncanny fleshy valleys on either side. It feels suggestive of a state achieved going up someone’s anus, both transcendent and comedic. Against the first space’s religious impression I’m reminded of the power constructs around abstracted ritualistic culture, a kind of hypnotic indulgence of self via bodily manipulation.

This exhibition makes my own materiality feel totally separate from my conscious self; my cellular intelligences seem to fall through. These systems don’t work if they’re closely observed, and indeed, don’t seem to invite this. I’m discomforted, hypnotised yet rejected by the work in the repellent combination of recorded, altered and synthetic space.


EMILY STAPLETON JEFFERIS Bendedict Drew: The Trickle Down System
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Is it a beating brain? Pulsating, pumping, streaming strands of black black lines. Or wait perhaps it is an embryo: dividing, spreading, evolving, mutating. A quivering uncomfortable mass of what we may become. This relentless throb thumping into my eyes, a hypnotic act of the digital spilling out of the screen into the reality of those black black hand painted lines which spread across the walls, across the floor.

They push me on, into the main space where I am surrounded, dwarfed by the bodily. Banners of intestinal patterns hang from the walls, intestines through which shit is channelled. Shit which trickles down, not money as was promised in that 80’s economic model. These banners mirror one another, create a reflection within the space. A reflection of the reflection present already within the work. Multiple layering and repeat adding to a sense of dislocation, a double take, a feeling of being overwhelmed. And with these intestinal forms are more banners. Squiggly black twisty messes of marks on punchy colour. Red. Red within the space adding to this sense of the visceral. Building upon the bodily sections present, which are only sections. What does this imply? Are these snapshots of the body suggesting that we are in a time in which we are no longer whole? A time beyond now, a dystopian future where we simply worship the wealthy, the rich, those with the money. This stage before me hints at this. It seems to act as an altar: a gong as a centrepiece, drums and screens surrounding, again arranged in a symmetrical manner, channelling thoughts of shamanism, hypnotism, of being sucked in and powerless, now incapable of making decisions. Even incapable of understanding: a woman on the screen is speaking and yet, I can only grasp one word or two. What is she talking about? And why do marks cross across the screen? They overlap her and themselves, create even more layers within this space. They seem to act to obscure, whilst also bringing a hand-drawn aesthetic into the digital, whilst the digital wires which mass from the screens seem to bring the digital into reality. There is cross over of what is real and what is unreal and a mess, it must be an intentional mess, as a result.

This mess, this confusion, forces me on around the corner into another room. And here there is more red. The red of welding screens arranged in a square within which a video of a muddy muddy quagmire plays. Are we about to become that man struggling within the mud? Are we already that man struggling within the mud? Is that donkey’s nose a premonition of the animals we have returned to being? The man slips and slides and scrambles. It appears existence is hopeless.

Moving on to the final room, a glowing yellow room which entices me in with the yellow of hope. Although there is no hope in there. More symmetry, more mirroring, more confusion. Dismembered hands channelling energy on the screen before me, and digital eyes collaged on top projecting outwards, reaching towards me. Other screens as bearers of flesh, gooey and soft, and yet not actually flesh. I cannot really gain the message, grasp this work, make many connections, and yet I like it. Aesthetically I am drawn to the bold, hand-drawn, hand-made pieces which contrast the slick digital effects. I relish this demonstration of the overwhelming world that we now inhabit, as it comforts me that I am not the only one to find it so. And I am also intrigued by this vision of the dystopian world that we may unconsciously wander into…


IAN BIRKHEAD In the Synthetic Bowel
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
One of the firsts themes you’ll notice walking around the exhibition is the artists use of symmetry. The artist has used it in his previous work and obviously it helps with compositional balance, but I think in this case kind of suggests a cyclical nature to the journey he takes you on. For me at least it demonstrates the successful splitting of the cell at the start of the show, and also these hands that perhaps advertise products and they’re trying to hypnotise you while the video screens that are on either side of the room surround you in the synthetic bowel. Maybe after this you’ll be pooped out as a consumer crossed with a product. I also wonder if his work is in some way talking about the commodification of the self.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
The main theme that showed its self to me and what I personally found quite interesting about the show was the combination of the synthetic and organic. Or perhaps more accurately the synthetic posing as the organic. This is first described in the wall hangings which are in a material reminiscent of a shower curtain or a table cloth with organic forms painted or printed onto them. The organic forms remind me of intestines but also roots and veins in there winding, connecting disorder, these are recurrent in the work. The central stage or alter holds two eyes and a that lead to a brain and at first glance they seem very organic but that might be due to the contrast of them against the backdrop of screens and wires and other very machined looking objects. On closer inspection the eyes are made of painted tinfoil. A manufactured material masquerading as something organic. Much like the relationship between social media influencers and there audience could be perceived as a (falsely) honest connection between brands and consumers when in reality its just another avenue for advertisement and consumption. In the last room there is a film playing on two screens that shows an ambiguous, at first glance fleshy, form that appears to be made form expanding foam an-other example of the artificial posing as the organic. As a whole this is representative to me of the human morphing into there consumer products. Or maybe it becoming less clear what the distinction between the consumer and the advertiser is. As well as highlighting consumer goods being en-trenched in the contemporary human experience.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
The way things come out the screens and become physical is probably a direct reference to the trickle down theory and the new norm for consumer items to be replicated and produced and consumed quicker than ever, aided by social media and celebrity endorsement. This is why towards the end of the journey we watch a man bogged down by all the crap, that instead of trickling has pretty much flooded down underneath him to the point where he can barely walk.


JUN ABE Undergoing the Trickle-Down Syndrome: Underneath Your Flesh
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome (detail). Whitechapel Gallery, London. Photo Dorothy Hunter.
From the first work, I’m already dragged into the Drew’s art world. The first work is the pig skin-like surfaced lump with brain figured digital design collage in blue, which slightly expands and contracts with repeating heart-beat like sound. It looks my brain of having an epilepsy attack.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Sophia Kosmaoglou.
Then next, on the right and left wall, there are three-set brain-look photo based tapestries: red one on the right wall, and green one on the left as if they are right and left brain. Trickles of nerves literally down over the tapestries.

On the centre stage, there is a collaborative work:

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Ian Birkhead.
Eye catching one is head-from-the-eye balls object surrounded by panels of road corns-ish figures. On each sides of the object, there are TV screens on which a woman is repeating unclear words with clacking noise of stones, and sometimes just a wasted land is projected. Black cables trickle down all over the floor.

Everything is scattered, noisy, occupied: there is no empty place. It is like our daily world where there are too much information and noise, never sleep, never stop.

On the left corner, the pile of newspapers is flowing nostalgically.

At the end, old-fashioned TV is, as if, left on the wooden box. On the screen, a man is stuck in the mud. The contrast of black and white TV screen and four red partitions around it don’t look vivid, rather the work seems to represent autism: shutting down oneself from the loud society and being stuck in black muddy inner silent world.

The works constitute what he calls submersion in social and environmental despair.

Though there is no real photo or video of human body, you can still “feel” it. You may feel as if your brain, body and mind are scanned, examined and exposed. At least I felt so.


TAMMY SMITH A sensory journey through absurdly visualised bodily functions vs the state economy
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
I’m divided by what I’ve seen to how I feel. Upon entering Benedict Drew’s The Trickle-Down Syndrome exhibition at the Whitechapel Gallery you’re greeted by a variety of visuals and sound. Drew uses a variety of materials, from animation, video, 2D

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
images, sculpture, installation and mixes both old and new technology. There’s a play with scale and his inspirations range from 1930’s stage sets to surrealist landscapes. He also references the human body and there are suggestions that it’s bodily functions that are hinted to rather than references to money or some material wealth.

Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
Benedict Drew [2017] The Trickle-Down Syndrome. Installation view. Whitechapel Gallery, London. Photo Dorothy Hunter.
The message seems to border on the absurd and there’s this play between crude and refined. Did he run out of materials or budget when making some of his installations? Or is he making a bigger point? Likewise, having the cables and technology that enables him to visualise his films, does that somehow enhance his meanings? The absurd is also visualised with Drew’s powerful use of bright neon colours, clashes of random shapes and bizarre sounds such as the noise two pebbles make against each other.

Is it still classed as art if I don’t value or identify with it? Can I respect it even if I do not like it and find the ‘emotional sensory journey’ uncomfortable? Would I like this exhibition more if it wasn’t so in your face? Is it performance art if it’s about the viewer’s journey around the 1 artwork scattered throughout the one direction curated room? The experience of the journey is just as important? So the concept is stronger than the actual art? Would changing the way it’s curated change are feelings to the work?

The merits would be that it’s bold as his subject matter is niche and he’s clearly passionate about his work, it’s not necessarily going to be to everyone’s taste. How he chooses to exhibition his final pieces is intriguing, if indeed he gets much say.

In summary, it’s big, brash and bold, it’s an insight into the artist as much as it’s about the work. The journey you take is certainly an experience and it’s vagueness is cleverly left up to you to judge whether it’s brave or annoying. Is the concept better than the outcome? Do I appreciate what I’ve seen? Is this art?

I would argue that it’s not sophisticated, it lacks the multi layers of depth and meaning and is so niche that it’s like Marmite, you’re either going to love it or hate it. Which in one way it great to get such extremely responses out from his audience, but for me it just falls short, it doesn’t push the boundaries, it doesn’t use shock tactics and it doesn’t connect.

The fact that it makes me the viewer question this means that on some level maybe it deserves a little more of my respect and like Marmite only you can decide by taking the journey with the artist yourself.


ALTERNATIVE (ART) EDUCATION

An overview of alternative art schools and peer-support networks. This is a ongoing research project and this page will be updated regularly. In the meantime, if you represent an alternative art school or peer-support network that is not on this list, or if you would like to amend or add to the entry, please get in touch

Continue reading ALTERNATIVE (ART) EDUCATION

MEETINGS

Quarterly Meeting

Friday, 25 January 2019, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East MAP
All welcome
. Buzzer left of the entrance, office on the top floor

Main items on the agenda this time include planning the first meeting of the Radical Pedagogy Research & Reading Group, discussing our participation in the Alt Art School Weekender and a new expanded format for the studio crit series, reconfigured as a group feedback or peer review session.

If you’d like to add a topic to the agenda please use the contact form to send us the details. Otherwise, please come along with your ideas and proposals.

Meeting Agenda (click to download)

  • Planning the first meeting of the Radical Pedagogy Reading & Research Group
  • Our contributions to the Alt Art School Weekender (meeting Sunday 13 Jan 2019, 5pm)
  • New expanded format for the Studio Crit, reconfigured as a group feedback or peer review session
  • Volunteers for transfer of some a&c duties and appropriate training
  • Donations/ Voluntary contributions to bridge A&C dues shortfall
  • Privacy policy
  • Constitution

Quarterly Meeting

Friday, 26 October 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East MAP
All welcome
. Buzzer left of the entrance, office on the top floor

Come along to our next meeting if you’d like to help run the book club, decide how it works and keep it going. We will appoint a new book club coordinator and discuss scheduling, decision-making and coordination of the book club.

We will also discuss proposals for a new research and reading group on radical pedagogy, alternative art education and self-organisation, a written constitution and a new series of peer review and feedback sessions.

The aim is to bring together a community and build a collective body of knowledge and inquiry that will help us create a self-organised studio programme/course for launch in 2019.

Please come along with your ideas and proposals.

Meeting Agenda (click to download)

  • Appoint new coordinator for the Book Club
  • Ways to discuss proposals for the Book Club in a group setting
  • Radical Pedagogy Reading & Research Group
  • Discussion of a written constitution
  • Feedback/Peer Review Series

General Meeting

13 July 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

General meeting to discuss scheduling, decision-making and coordination of the book club. If you’d like to get involved and help run the book club please come along.


General Meeting

Friday, 8 September 2017, 7-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

MEETING AGENDA

Self-Organisation Research Share our thoughts on what was discussed at the Larc usergroup meeting:

• What did we learn?
• How has this changed our perception, ideas and expectation of the research project?
• How has it informed our ideas around the way we are organised and constituted at A&C?
• How do we want to proceed with the research project?

Some of the directions we could take as discussed at the meeting:

• Do we want to carry out the research formally or informally (and what is the difference)?
• Do we want to start by addressing our own experiences with self-organsation?
• Do we want to have a workshop on data protection with Radical Librarians Collective?
• Do we want to have a workshop on interviewing techniques and to draw up the questions that we want to ask?
• How do we prioritise these?

Symposium Discussion List / Loomio The symposium discussion list, as its name suggests, was originally intended for discussions and coordination of the symposium book club but we started using it to coordinate the other events and A&C as whole. It’s time to have a discussion about sorting this out because the list has grown mainly from people coming to the book club and it would be good to restore it to its original function. We’ve been abusing the list for a while and we need to address this by shifting the coordination of A&C to a different channel. Shall we create a new mailing list? Or should we shift coordination to Loomio? Loomio functions like an email list anyway if people turn on notifications, and everyone can post a comment simply by responding to an email. An additional list will be a nuisance because we’re all struggling with too many emails and we often have to notify people that there are open threads or votes on Loomio via email, when Loomio has the built-in function anyway. It’s important to be open and transparent in our communications and practices, but perhaps we need to create a separate list for regular contributors or those who will participate in the research project so that we can share sensitive information and coordinate the project? Or could we just use Loomio and create another list for this purpose?

MayDay Rooms Research Discuss how we will plan our archival research on self-organisation, alternative art education and radical pedagogy at MDR.

Alt Art School Research Discuss how we will carry out our research on alternative art schools.

Studio Programme Start drawing up some outlines for this and to locate which areas we need to look into and this will further inform our research.

Openki Workshop Are we interested in taking this forward?

Skill-Sharing Workshop We decided to have a skill-sharing workshop, the relevant Loomio thread has not generated a discussion so it would be great to discuss this in the meeting.

Membership At the last meeting we discussed the idea that people do not appreciate or value what is free and we reconsidered membership. This is something we should discuss in tandem with our collective model. Would everyone pay membership fees? Or just those who do not undertake any jobs? What happens if someone take a break for a few months? How much would we charge? How would we collect the fees? How would we distribute the income among those who carry out the labour?

Decision-Making We need to review our decision-making policy and update it.

Event Structure, Preparation and Communication Perhaps we need to think about the way we prepare and follow up the events, some areas that might need attention include the following:

  • Update the event infosheets to stress the collaborative preparation process. Perhaps the coordinator of each event should be responsible for updating the infosheet as they deem necessary through experience?
  • Establish a postmortem between each event coordinator and the chairperson/curator/artist from the previous event to discuss what went well and what did not and update our procedures accordingly.
  • Add a section to the website about our collaborative learning methods and our approach more broadly. The research that we’ve started is intended as preliminary work for this (both in terms of sharing ideas and in terms of learning new ideas). Perhaps we need to approach the research and devise our research questions with this practical goal in mind, at least in the short term?

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
Kupfer, Arch 213, Ponsford Street, London E9 6JU
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.

MEETING 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.

Exhibition-Making

Exhibition-making_banner

Course Outline | Course Dates | Tutor | Bibliography | Resources
Course Description

Prepare to be guided by your tutor through the practical and logistical processes involved in staging an exhibition on this one-day course. The course starts with the initial concept and research, moving to agreements and layout and finally, to the hanging of artworks. We will also advise you on insurance, public liability and health and safety requirements in public spaces. As well as developing your knowledge of innovative exhibition design, it’s a chance to exchange ideas with the rest of the group. Students are welcome to bring along ideas in relation to future exhibitions that they would like to or will be organising.

Course Outcomes

You will be capable of organising an exhibition from start to finish, as well as appreciating a successful exhibition design layout. You’ll be aware of the procedures between galleries and artists.

Who Should Attend

Artists, craftspeople or anyone eager to learn about the practical side of organising an exhibition.

For more information on the course, including the schedule, lectures and reading please download the Course Outline.

Upcoming Course Dates

No upcoming course dates.

Tutor

Sophia Kosmaoglou is an artist, tutor, curator and founder of [ART&CRITIQUE], an alternative art education network based in London. Her current practice blurs the boundaries between art, activism and education to question the ontology of art and its social and institutional functions. She has a practice-based PhD in Fine Art from Goldsmiths and her research interests include institutional critique and the relationship between art and politics, institutions and independent organisations and collective practices. She has previously taught Critical Studies and Studio Practice on BA Fine Art Practice and Joint Honours courses at Goldsmiths and is currently a Visiting Tutor at Chelsea College of Arts. For more information please see https://videomole.tv

EVENT ARCHIVE

[RPG]#2-2018-04-26_thumb[RADICALPEDAGOGY] RESEARCH & READING GROUP
Pedagogy of the Oppressed pt. 1
Friday, 26 April 2019, 7-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
Suggested donation £2, booking via Eventbrite

Markus Lüpertz [1965] Schuhabdruck—dithyrambisch (Shoe print—Dithyrambic). Ströher Collection, Darmstadt, Germany_thumb[SYMPOSIUM] BOOK CLUB
Nietzsche: The Birth of Tragedy

Friday, 12 April 2019, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott
Suggested donation £2, booking via Eventbrite

artcrawl#14_thumb[ART&CRITIQUE] ART CRAWL
Mayfair to Fitzrovia: Joy, Dance, Magic – Three Artist Films
Saturday, 30 March 2019, 13:45 – 17:00
Meet 13:45 at Lévy Gorvy, 22 Old Bond St, Mayfair, London W1S 4PY
Curated by Eva Ruschkowski
Free, booking via Eventbrite

ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned(1)_thumb400_1[RADICALPEDAGOGY] RESEARCH & READING GROUP
What is alternative art education?
Sunday, 24 March 2019, 2-4pm
Ugly Duck, 49 Tanner St, London SE1 3PL
Alternative Art School Weekender (22-24 March)
All welcome

ART&CRITIQUE [2017] Art Skool Co-op Poster.[ART&CRITIQUE] WORKSHOP
How To Start Your Own Art School
Saturday, 23 March 2019, 12-4pm
Ugly Duck, 49 Tanner St, London SE1 3PL
Alternative Art School Weekender (22-24 March)
All welcome

[SYMPOSIUM]#34 Jared Diamond Collapse. Flyer by Tere Chad.[SYMPOSIUM] BOOK CLUB
Jared Diamond: Collapse. How Societies Choose to Fail or Survive

Friday, 8 March 2019, 7pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Alter Us
Suggested donation £2, booking via Eventbrite

ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.[RADICALPEDAGOGY] RESEARCH & READING GROUP
Radical Pedagogy Reading Group Launch
Friday, 22 Feb 2019, 7pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
Suggested donation £2, booking via Eventbrite

Jeremy Deller and Mike Figgis [2001] The Battle of Orgreave.[SYMPOSIUM] BOOK CLUB
Claire Bishop: Artificial Hells
Friday, 8 February, 7pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Eva Ruschkowski
Suggested donation £2, booking via Eventbrite

Photo by Eva Ruschkowski, 2015.[SYMPOSIUM] BOOK CLUB
Call for Book Club 2019
Friday, 11 January 2019, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Dee Vora, John Fortnum and Eva Ruschkowski
Suggested donation £2, booking via Eventbrite

[SYMPOSIUM]#31 Eagleton & Zizek Idea of Communism. Flyer by Neil Lamont_thumb[SYMPOSIUM] BOOK CLUB
Eagleton & Zizek: The Idea of Communism
Friday, 14 December 2018, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Neil Lamont
Suggested donation £2, booking via Eventbrite

[SYMPOSIUM]#31 Fisher Capitalist Realism Pt.3[SYMPOSIUM] BOOK CLUB
Mark Fisher: Capitalist Realism Pt.3
Friday, 9 November 2018, 6:30pm – 9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Silvia Bombardini & Elliot C. Mason
Suggested donation £2, booking via Eventbrite

Open Meeting[ART&CRITIQUE] MEETING
Quarterly Meeting
Friday, 26 October 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

Jenny Holzer [1993] Alienation produces eccentrics or revolutionaries. Marquees series.[SYMPOSIUM] BOOK CLUB
Debord: The Culmination of Separation
Friday, 12 October 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Penelope Kupfer & Darshana Vora
Suggested donation £2, booking link coming soon

Patrick Mimran [2004] Billboard Project, New York. Photo Sophia Kosmaoglou. Critical Theory in Contemporary Art Practice [ART&CRITIQUE] COURSE[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
Mondays, 8 Oct–3 Dec 2018, 6:30pm-9pm & Sat 27 Oct, 2:30pm-5pm
Deptford Lounge, 9 Giffin Street, London SE8 4RJ
Tutor Sophia Kosmaoglou
Booking via Eventbrite

[ARTCRAWL] #15-Deptford[ART&CRITIQUE] ART CRAWL
Deptford Art & Gentrification Walk Pt.2
Saturday, 29 September 2018, 13:00 -18:00
Meet 1pm inside Deptford Railway Station, London SE8 3NU
Curated by Sophia Kosmaoglou and Paul Clayton
All welcome, booking not required

Robert Mapplethorpe, Sepia Orchid_thumb[SYMPOSIUM] BOOK CLUB
Deutsch: Why are flowers beautiful?
Friday, 14 September 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by John Fortnum
Suggested donation £2, booking via Eventbrite

ART&CRITIQUE workshop, First Alternative Education Open-Day 2017. Photo School of the Damned.[ART&CRITIQUE] WORKSHOP
What is Alternative Art Education?
Friday, 20 July 2018, 10am-8pm
5th floor, Tate Modern, London SE1 9TG
UK Commons Assembly @School for Civic Action
All welcome, booking via Eventbrite

Chartist Meeting on Kennington Common, 10 April 1848. Photo by William Kilburn.[ART&CRITIQUE] OPEN MEETING
General Meeting
13 July 2018, 18:30-20:30
LARC, 62 Fieldgate Street, London E1 1ES
Closest stations: Whitechapel / Aldgate East
All welcome

[SYMPOSIUM]#27 Fisher Capitalist Realism Pt 2. Flyer by Sophia Kosmaoglou_thumb[SYMPOSIUM] BOOK CLUB
Mark Fisher: Capitalist Realism Pt.2
Saturday, 9 June 2018, 14:30–17:30
Yurt Café, St. Katharine’s Precinct, 2 Butcher Row, London E14 8DS
Part of Antinuiversity Now 2018
Suggested donation £2, booking via Eventbrite

[ARTCRAWL] #14-flyer-thumb[ART&CRITIQUE] ART CRAWL
Deptford Art & Gentrification Walk
Saturday 26 May 2018, 12:00 -19:00
Meet 12pm at Deptford Railway Station, London SE8 3NU
Curated by Sophia Kosmaoglou
All welcome, booking not required

#27 Derrida Signature Event Context_signature[SYMPOSIUM] BOOK CLUB
Derrida: Signature Event Context
Friday, 11 May 2018, 18:30–21:00
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Nat Pimlott and Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

critical theory in contemporary art practice[ART&CRITIQUE] COURSE
Critical Theory in Contemporary Art Practice
19 April – 14 June 2018, 6:30pm–9pm + 5 May 2018, 2:30pm-5pm
KUPFER Arch 213, Ponsford Street, London E9 6JU
Tutor Sophia Kosmaoglou
Booking via Eventbrite

[SYMPOSIUM] BOOK CLUB
Derrida: Structure, Sign and Play
Friday, 13 April 2018, 6:30pm–9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

Gerhard Richter [1963] Party. Oil, nails, cord on canvas and newspaper, 150 x 182 cm.[SYMPOSIUM] BOOK CLUB
Mark Fisher: Capitalist Realism Pt.1
Friday, 9 March 2018, 6:30pm-9pm
The Field, 385 Queen’s Rd, London SE14 5HD
Facilitated by Sophia Kosmaoglou
Suggested donation £2, booking via Eventbrite

Enrico Baj [1972] The Funeral of the Anarchist Pinelli. Textured offset colour print, 75 x 68 cm. Edition 200.[SYMPOSIUM] BOOK CLUB
Cohn: Representation and Critique
Friday, 9 February 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by
Aris Nikolaidis
Suggested donation £2, booking via Eventbrite

Neil Lamont [2006] Apple billboard on Paris metro. Digital photograph.[SYMPOSIUM] BOOK CLUB
Adam Curtis: HyperNormalisation
Friday, 12 January 2018, 6:30pm-9pm
LARC, 62 Fieldgate Street, London E1 1ES
Facilitated by
Neil Lamont
Suggested donation £2, booking via Eventbrite

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
Kupfer, 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
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