APT Shots 2018
Analogue | Digital | Abstract | Generative
Dr Francesca Franco | Fiona Grady | Hanz Hancock | Patrik Huebner | Michael Iveson | Patrick Morrissey | Goia Mujalli | Charley Peters | Casey Reas | Tim Rodenbroeker | Students from Goldsmiths University of London MA Computational Arts
26 January to 18 February 2018
Exhibition curated by Brigitte Parusel in collaboration with Patrick Morrissey and Hanz Hancock, Saturation Point
Showcasing Still Life by Casey Reas
Premier of Algorithmic Signs - Five pioneers of computer art in conversation a documentary by Francesca Franco
Expanding Systems explores current and historic developments in generative art made by analogue and digital artists. The exhibition showcases work by contemporary painters and sculptors whose practices are geometric, abstract and/or systems-based alongside artists who use computer code and algorithms to create work. The artists share several working principles regardless of their individual methodologies – employing rational processes of numerical systems, repetition or calculation to establish ‘rules’ that are executed either by the hand of the artist or the mechanics of the machine. The documentary Algorithmic Signs - Five pioneers of computer art in conversation by Francesca Franco, will form part of the exhibition, introducing Ernest Edmonds, Manfred Mohr, Vera Molnár, Frieder Nake, Roman Verostko.
The exhibition explores the recent interest in abstract or non-objective practices by contemporary artists. It has increasingly become part of the visual language of a new generation of painters and sculptors; unbound by historic movements like suprematism, constructivism, concrete or minimalism, they moreover negotiate their own relationship with reductive practice. The presence of computer technology, its characteristic aesthetics and analytical thinking, which are part of our recent every day experiences, may have had an influence on this development.
The analogue artworks in the exhibition correspond to themes, processes or visual qualities that are often found in the coded art. They have a sense of movement, experimenting with self-determined systems from which the work is manifest. Fiona Grady’s systematic wall drawings are like stills of animations; she uses geometric forms to map physical space and sequencing in architectural settings. Hanz Hancock and Patrick Morrissey visualise complex numeric systems in their paintings, drawings and sculptural installations. Michael Iveson works with the imperfections or glitches of systems by using mass-produced but vulnerable materials like bubble wrap to create prints and sculptures. Goia Mujalli’s immersive prints on canvas emerge from repeated movements and overlapping textures. Charley Peters uses layering and juxtaposition to explore the materiality of paint and the disrupted syntax of pictorial composition synonymous with our experiences of reading space, material and abstract form in the post-digital image world.
The digital artworks show the innovative use of creative coding. The artists in the exhibition represent a varied, dynamic community of programmers, including Casey Reas, artist and co-founder of Processing, the programming language mainly used in the exhibition. In his work Still Life a ‘painting’ evolves over time. Expanded Systems also includes new work from creative computing students at Goldsmiths, University of London, who will present prints from digital animations and object mapping. Designer/artist Patrik Huebner’s algorithmically-driven interactive piece is generated by the movements of the audience. In Tim Rodenbroeker’s abstract short-film geometric computer-generated animations are synced with sound; referencing early film experiments from the 1920s.
Expanding Systems allows us to see the creative potential in visual rules or algorithms across both analogue and digital processes. It also shows that using coding as a tool, opens new fields for artistic experimentation.
Third Yr BA Photography | Camberwell College of Arts
23 - 25 February 2018
Lisa Milroy and Jayne Parker
Still Life brings together a selection of work by Lisa Milroy and Jayne Parker in a collaborative exhibition at A.P.T Gallery, London that includes film, photography, sculpture and painting.
The exhibition charts the artists’ shared interest in material and imaginative transformation, the relation between absence and presence, and how memory resides in all its complexities within the human frame.
Memory, 2017, oil on canvas, 184 x 233cm
The group of paintings selected for our exhibition Still Life features depictions of clothing and shoes, and mise-en-scenes from my recent ‘Mannequin’ series. The material form of the paintings includes oil and acrylic on canvas, object-paintings and an installation painting.
Shoes have been a recurrent motif in my practice since I began exploring ‘still life’ in the 1980s. Shoes, 2012 presents a single shoe repeated in rows against a grey background. This shoe is defined by two independent yet connected surfaces: the hard black shiny exterior and the soft blue-grey interior. The bright interior spaces of the shoe carve out hollows within the dark surface of the painting, turning the empty shoes into vessels full of light. This imagery keys the emotional dynamic of presence and absence and the physical dynamic of inside and outside, which reverberates throughout all my paintings in the exhibition, and chimes with aspects of Jayne’s work. A number of my paintings feature a female personage suspended in a reciprocation between body and mind, while other works focus on the passing of time - both predominant themes in my practice.
Shattered Violin, 2016, photogram, 51cm x 61cm
The magnolia tree stands at the centre of my work in this exhibition. I first filmed the flowering magnolia tree, lit at night, in 2002 - this footage is included in my film The Oblique completed this year.The music, Blues in B-flat by Volker Heyn, performed by cellist Anton Lukoszevieze, provides the framework for The Oblique. The title comes from an instruction in the score, ‘oblique down stroke’, a call to the cellist to use an oblique bow. In the film branches of magnolia extend into the empty cavity of the cello, the space where sound resonates. The exploration of film’s relation to music and the search for a ‘music equivalent’ preoccupy me.
The photograms are of magnolia petals and flower buds. I think of them as an inventory. The analogue photographs use magnolia petals in place of a negative. The photograms and photographs, along with a small pile of magnolia braches shot through with mother of pearl, a series of simple stone carvings of bud shapes using soft limestone and alabaster, and objects constructed from instruments parts and horse hair - the hair streams through holes in the instrument parts - are music equivalents. They extend the imagery of my film work out into the world, into physical space.
On Saturday, March 10, there was performance by cellist Anton Lukoszevieze and a reading by poet Sharon Morris.
Lisa Milroy and Jayne Parker would like to thank Mali Morris for her support throughout the exhibition, and Lewis Biggs for his curatorial contribution.
a project by Maike Zimmermann
22 March – 1 April 2018
Private View 22 March 2018 from 6.30 – 8.30pm
with an introduction by Sarah Turner
Artist Maike Zimmermann's latest project [city]Frequency, a multichannel audio visual installation, is a poetic, psychogeographic engagement with urban spaces.
Based on the artist’s personal travels and experiences in New York, [city]Frequency develops into an abstract narrative with an observational, anthropological perspective. Viewers experience overlapping narratives of the artist's city explorations revealed by audio textures such as layers of field recordings, spoken word as diary entries and excerpts of interviews that engage in a dialogue with the visuals. The visual content becomes a multi-layered and elliptical montage slowly revealing meaningful hints of individual pasts marking a 'trace', a 'punctum' in time and so gradually unfolding a meaning, a story.
The interviews with New York residents talking about their most significant place in the city (at times touching on issues of gentrification/environmental pollution) include a tattoo artist growing up on the Bowery in the 70's, a nun living in the West Village during the AIDS epidemic and an activist living on Gowanus canal. In juxtaposition to their stories, the footage includes views of how the spaces appear today.
[city]Frequency examines our emotional response to cities as places of transition and how we experience them through memories. Every city has a different feel and triggers certain emotions linked to memories and experiences only inherent in that particular space and time. In an age of fast and aggressive change it is important to keep up a discourse about spaces and their authenticity (history) through our memories. There exists a ‘feel’, an emotional level for a space to stay alive so we can remember: Where am I? Why am I here? What means the place for me? To make oneself aware of one ‘s own experience. “Frequency” means an unconscious, human, emotional disposition in relation to the city: as a longing/nostalgia. New York (still) embodies this as the 'City of Dreams' for many people.
A photographic triptych selected from the artist's urban haiku series will also be on display providing an integral contextual part of the exhibition experience. http://maike-z.com/haiku-series
[city]Frequency seeks to engage a diverse audience through a workshop on Sound and Site (led by sound artist Iris Garrelfs) and an Urban Walks programme (curated by Carmen Billows) in London (Hackney Wick/Wapping/Aldgate area). Please scroll down for further information:
Events in conjunction with the exhibition:
Urban Walks curated by Carmen Billows
23 March, 2pm– Andreas Lang: Notes from the Temporary City (Hackney Wick)
24 March, 11am – Stephen Watts: From Earth to Air: A Walk from Wapping to Aldgate East
Workshop on Sound and Site led by Iris Garrelfs
25 March, 10am – 4pm at A.P.T Gallery
Artist Talk with Maike Zimmermann
31 March, 1 – 2pm at A.P.T Gallery
Urban Walks: A Walk to the Edge of the City
Cities like London or New York are similar to living organisms: Complex and subject to never-ending, rapid changes. Walking as an artistic research attempts to make sense of our position in the city and to find alternative ways of discussing space and environment.
How do we navigate urban space? What is the essence of a city, how do urban circulatory and structural systems operate? Finally, what are the current issues at stake with large-scale regeneration projects that add to a general feeling of unease?
In a two-day series of guided walks, led by urban researcher and architect Andreas Lang and poet Stephen Watts, London as an example of a mega-city becomes the object of research. Walking London areas - Hackney Wick and Wapping/ Whitechapel - that are currently severely effected by regeneration processes, will allow us to map and transcribe the changes that those areas are currently undergoing.
Walk 1: Notes from the Temporary City
Friday, 23rd March, 2 - 5pm
"Notes from the Temporary City" takes you on a tour of a neighbourhood on the cusp of change. It will take you from Queens Yard, Hub 67, to Grow Hackney, Swan Wharf, Save Hackney Wick, Stour Space and back to the German Deli. It provides a complex picture of the dynamics reshaping contemporary London, from the pressure of market forces to new structures of governance and the ingenuity of its residents.” (Isaac Marrero-Guillamón)
Walk 2: From Earth to Air: A Walk from Wapping to Aldgate East'
Saturday, 24th March, 11am - 2pm
The walk will begin at the shoreline in Wapping, looking out towards Canary Wharf/Isle of Dogs and over-viewing development along that part of the Thames over the past 40 years. We will then progress slowly via Shadwell & the Cable Street Mural towards Aldgate East, where commercial, global development is both worryingly intense and mesmerising. Throughout the walk, which will intentionally pass by trees and close to public housing, we will try to compare the very local with the 'global', focusing on the effects of the latter on social histories and architectures. The walk will end at the rapidly changing Aldgate East & Toynbee Hall, currently a building site of ongoing development impinging the lives and work of artists and communities based there: after which we may adjourn to a cafe or bar for further talk.
Workshop on Sound and Site (led by Iris Garrelfs)
Sunday, 25 March, 10am – 4pm at APT
This one-day workshop is led by Iris Garrelfs and will provide you with an introducton to exploring site specificity through sound, as a sense, a socially engaged method for exploring sites and communities, and an artistic medium. We will prioritise our ears through exercises and a sound walk, and explore how we can collect, curate and communicate site. Collecting site may include recording environmental sound, interviews, or sounding architecture; curating site looks at creating a unified work from the material; and communicating site explores strategies to employ in site-specific performance or installation. This workshop will focus on the aspect of collecting site, firstly by familiarising ourselves through listening, then recording interviews, environmental sound, collecting objects and other materials. We will briefly look at curating and communicating site.
Carmen Billows is a curator, currently based in Berlin, specialising in the moving image. She has an academic background in Cultural and Curatorial Studies from Universität Bremen, Germany and the Royal College of Art, London, UK. As an independent curator she has curated various exhibitions and film screenings internationally in London, Berlin, Paris and Bangalore. Her film screenings and exhibitions are mostly concerned with urbanism and notions of space in artists' moving image, film performance and site-specific video installation, but also with the transition of different film forms from the cinematic to the art gallery context. www.carmenbillows.com
Iris Garrelfs is a site-responsive sound artist active across performance, installation and fixed media. Through listening she explores relationships with the world; her understanding of place includes people who, through their ideas or presence, participate in creating it. Her work establishes experiences, environments for listening and has featured in major institutions worldwide, for instance the Onassis Centre Athens; Transmedia Borders Mexico, International Computer Music Conference New York; GSK Contemporary - Royal Academy Of Arts; Rencontres Internationales; Tate Britain; National Gallery. She is the commissioning editor of the open-access journal Reflections on Process in Sound and lectures in Sonic Arts at Goldsmiths, University of London. .www.irisgarrelfs.com/
Urban researcher and architect Andreas Lang has taught Architecture at numerous institutions including the Architectural Association, the Royal Collage of Art, and Umeå School of Architecture, Sweden. He is currently head of M ARCH Architecture and teaches within the MA Architecture: Cities and Innovation. He is co-founder of public works (2004), a non-profit critical design practice that occupies the terrain between art, architecture and research. Lang's work has been exhibited widely in architectural exhibitions and the art context such as the prestigious Venice Biennale (2012), Serpentine Gallery (2004), Folkestone Triennial (2008), the British Art Show (2005/06) and the Irish Museum of Modern Art (2016). He was included in the Guardian’s portrait of key players in British Architecture (2012).
Stephen Watts is a poet, editor and translator. He has lived in Shadwell in East London for the past 40 years, but is also very familiar with remote, non-urban landscapes and his writings reflect intimately the interfaces between landscape, memory and language. Recent books include 'Ancient Sunlight' (2014), 'Republic Of Dogs/Republic Of Birds' (2016), recent co-translations are of the Iraqi poet Adnan al-Sayegh and the Syrian poet Golan Haji. An interview with Watts by Pippa Marland and a long poem, both on the Little Toller website, are very pertinent to the proposed walk. Watts was a friend of Max Sebald and is writing a study of the latter's fictions.
Maike Zimmermann studied Photographic Studies (MA) at the University of Westminster in London. In 2013 she completed her Meisterschüler Degree in Art and Media at the University of the Arts in Berlin. She has received numerous awards, including the Grants for the Arts and the Artist International Development Fund from the Arts Council England, DAAD Promos Travel bursary and the micro bursary from the Bremer Film Fund. She has been part of international exhibition and residency programmes including in Norway, New York and Berlin.
Savannah Grieve, Alia Hamaoui, Simon Handy, Lowri Heckler, Isabel Mills, Joseph Philo-Powell,
A group show which brings together six final year fine art students from Camberwell College of Art who have identified with the oxymoronic nature of their work.
Curated by Savannah Grieve and Alia Hamaoui
5 to 8 April 2018
Open Thursday to Sunday from 12noon to 5pm
Vasilis Asimakopoulos, Kasia Garapich, Dexter Dymoke, Frances Richardson, Poppy Whatmore
Curated by Dexter Dymoke
12 to 15 April 2018
Open Thursday to Sunday from 12noon to 5pm
Private View | Thursday 12 April 2018 from 6.30pm to 8.30pm
Notionally sculpture is an ever shifting conflation of form, volume, space, light, image, context – elements marshalled to give shape to an idea, a resolution of a particular line of enquiry.
But what does it mean to give agency to material itself, to follow the material and to act with the materials? Both intuitively and counter-intuitively, to follow the material means to enter a true maze of potential meanings, where one encounters terms as matter, materiality, ‘stuff’, substance or medium, and where the properties of materials come to the fore, both physically and symbolically.
This show focuses on the disparate tension between materials and explores ‘material as object’ – through re-appropriation, counter-intuitive physics and a questioning of conventional status – and suggests that restless experimentation, and evasion of resolution, is at least as compelling as the statement of a ‘finished’ object.
New Model Army: Invisible Labour
In this exhibition of new works, Linda Aloysius investigates the issue of invisible labour,
bringing visibility to the effects of different forms of hidden and
unrecognised work carried out by women.
Ryder Project Studio Residency exhibition
18 to 22 April 2018
Exhibition open daily from 12noon to 5pm
Linda Aloysius Fresh (2017)
(Frontal and Reverse Views)
Mixed Media Approximate Dimensions h: 188 w:58 d:45cm
In this exhibition of new works*, Linda Aloysius investigates the issue of invisible labour, bringing visibility to its effects on women.
The term invisible labour refers generally to women's obscured and / or under-valued emotional, psychological and physical work and the effects of this on their embodied subjectivities.
Much of the labour that women do is inside and invisible in both a literal and less obvious sense. Women work within the home and 'behind closed doors', often in unpaid and under-valued service to the domestic environments they are structurally and emotionally connected to. Women also work internally in the sense of responding emotionally and psychologically to provide support and care to others, often experiencing the additional burden of guilt or shame if they refuse caring roles.
For working mothers, including working mother artists, invisible labour can also involve the complex juggling and co-ordination of often seemingly irreconcilable childcare needs with the demands of employment structured along patriarchal lines. Whilst single mothers worldwide continue to labour under the effects of their political pathologisation, women generally work to overcome class, gender and racial divides, all the while bearing the burden of objectification, including through the screen and screen related experiences.
The inequalities caused to women by the effects of invisible labour are often extreme; the psychological work and practical hardships involved in coping with and overcoming experiences of marginalisation mean that the future of women's creativity remains uncertain and precarious.
Invisible labour and its effects on women have been historically under-represented in the art world.
Through her new works, Aloysius asks: What new values are activated when the effects of women's invisible labour are made visible?
Linda Aloysius completed her doctoral research at Goldsmiths, University of London in 2017.
Her practice-based research draws from her life-long, intimate connection with hands-on making and her personal experiences as a single mother. Originally emerging from a working-class background, Aloysius has defied longstanding, structural inequalities to combine paid employment, motherhood and artistic practice, all the while navigating the fine art higher education landscape and its various politics and possibilities.
* The works in the current exhibition develop Aloysius' ongoing series New Model Army and are generated through her year-long residency in The Ryder Project Space at A.P.T. The New Model Army is a working one, aiming to investigate and combat the historical inequalities experienced by women whilst celebrating women's strength in overcoming adversity.
David Bloor, Lulu Cottell, Katya Lewis
Thursday 26 April to Sunday 29 April 2018 open from 12noon to 5pm
Private View | Thursday 26 April from 6pm to 8pm
This exhibition marks the culmination of A.P.T’s one-year studio residency for David Bloor, Lulu Cottell
and Katya Lewis within our Graduate Studio Award Programme
"Being around predominantly visual artists has informed my practice greatly during this year, visual art influencing sound art, a slow osmosis through the walls of APT. This I find interesting, sound travels but isn’t visual art supposed to stay put? Thanks for opportunity, community & education".
David Bloor Sound systems (2018)
Emergent behaviour is not dependent on its individual parts, but on their relationships to one another. It cannot be predicted by examination of a system's individual parts. It can only be predicted, managed, or controlled by understanding the parts and their relationships.
A colony of wood ants move across paper attached to a wall, Tiglio, Italy; a raft of teal ducks skim flies from the water surface, Mývatn, Iceland. Sonic events recorded in forensic detail, transferred into systems that may reveal mechanical weaknesses and imperfections or rendered silence. Physical process at play, friction, tension, resistance and vibration, transduction of multiple surface disruptions.
Education: MA Sound Art, London College of Communication, London (2016)
Performance: Duo with Helen Frosi, Cafe Oto, London (2018); Unknown Devices, LCC, London (2018); Trajectory, David Toop, Rie Nakajima, David Bloor, APT Gallery, London (2017); Duo with Rie Nakajima, 100 years Gallery, London (2017); Psycogeographicalmapsplaining, Vinyl Deptford, London (2017); Metalwork, The Tank @ Silver Road, London (2016); Noodlebar, Rotterdam (2016); Community Composition, Linear Obsessional Live, London (2016), Performing Recording, APT LIve, London (2016); Care Work, Noisemachin, London (2016); Duo with Rahel Kraft, Linear Obsessional Live, London (2016); Care Work, Lewisham Arthouse, London (2016); Acts reActs Residency, Wimbledon College of Arts, London (2016); Mixture, Union Chapel, London (2015); Boundary Music, Whitechapel Art Gallery, London (2015); Bob Cobbiiiiiiing Live, Raven Row Gallery, London (2015), Unknown Devices, Ryans Bar, London (2015); Solo, Lewisham Arthouse, London (2015); Solo, Sines & Squares Festival, Manchester (2014).
Exhibitions: Touchstone, APT Gallery, London (2017); Sounding DIY, Chalton Gallery, London (2017); Bodies that Matter, Flat Time House, London (2016); 1:1, Cafe Oto Project Space, London (2015).
Commissions The Composition of Urban Material & Surface, LCC, London (2018); 24hr Community Composition, Sanctuary Lab, Galloway Forest, Scotland (2017);
Releases Care Work, Sort Error (2018); Hafnir, Self (2018); Axis, Linear Obsessional (2017); Quiver, Game of Life (2017); Capacity & Resistance, Linear Obsessional (2017); A bird in the Hand, Self (2016); Performance for a White Wall, Self (2015); The One Who Lives in Trees, Self (2015); Fathers, Sons, Ghosts, Self (2014); A Fear of Swimming, Self (2014); Life, Self (2014); A History of Silence, Self (2014); Fly Him See, Self (2014); It’s Not a Name I Was Born With, Game of Life (2013).
Sound for Film: A Walk Back to the Last London by Way of Watling Street, Andrew Kotting; This Illuminated World is Full of Stupid Men, Andrew Kotting; Is This Where You Are Leaving Me? Nick Gordon Smith; Fever Hospital, Nick Gordon Smith; Seven Voices in Amber, Hung Chun Wang.
Awards A.P.T. Graduate Studio Award, A.P.T. Gallery, London (2017).
“I feel really fortunate to have been part of A.P.T’s graduate programme over the past year. My practice has had the chance to develop a lot in this time, being influenced by the other artists and exhibitions here at A.P.T. I found opportunities like curating the member’s show really rewarding, particularly as it taught me a lot about the curatorial process. I am very grateful to all the support I have had from A.P.T and all its artists.”
Lulu Cottell in collaboration with Edward Rowe Installation (2018)
Education: BA (Hons) Fine Art, Falmouth University (2016), Foundation Diploma, Kingston University (2013)
Group Exhibitions: HOW TO SWIM Exhibit F: Dive, Victoria Baths, Manchester (2017); Touchstone - Members Show, A.P.T Gallery, London (2017); FOMO; Falmouth Art Publishing Fair, Cornwall (2016); HOW TO SWIM Exhibit B: Treading Water, Victoria Baths, Manchester; The Tears of Things, The Exchange Gallery, Penzance (2017); WHATCHAMACALLIT Exhibition at the Project Space, Bankley Mill Studios, Manchester (2016); A.P.T LIVE, London (2016); BA Fine Art Degree Show, Falmouth University, Cornwall (2016); Schism Exhibition, The Polly, Falmouth (2015); Fine Art Foundation show, Kingston (2013); Limbo Exhibition with Endmore Collective, Tower Bridge Studios, London (2012)
Awards and Prizes: Graduate Studio Award A.P.T, London (2017); Thomas Arno Fund, Haberdashers’ Askes, London (2017); The Mary Root and Thompson Award, Falmouth University (2016); Porthmeor Studios Residency, St Ives (2016)
Website: (currently under construction)
“I've had a fantastic time at A.P.T and will be sorry to leave. The graduate studio award has allowed me a sustained period of production which will culminate in the coming show.”
Katya Lewis Mother’s Milk 2018
Education: PG Dip Fine Art, Royal Academy Schools, London (2017); BA (Hons) Fine Art, University of Reading (2013)
Solo exhibitions: Katya Lewis: the light in this place bluer the trees less green, Intrinsic Value Investors (IVI), London (2016)
Group exhibitions: Royal Academy Schools Show, Royal Academy Schools, London (2017); Royal Academy Summer Exhibition, Royal Academy of Arts, London (2017); R.A. Schools + J.M. Finn, London (2017); Premiums - Interim Projects, Royal Academy of Arts, London (2016);
Awards and Prizes: Gold Medal, Royal Academy Schools, London (2017); André Dunoyer de Segonzac Hon RA Prize, Royal Academy Schools, London (2017); A.P.T. Graduate Studio Award, A.P.T. Gallery, London (2017); Sir Frank and Lady Short Award, Royal Academy Schools, London (2016); Bursary, Royal Academy Schools, London (2014-16); Chancellor’s Award for Outstanding Academic Achievement, University of Reading (2012)
Collections: Intrinsic Value Investors (IVI)
2021 concerts is an innovative new London-based concert series, presenting rarely performed works of the twentieth and twenty-first centuries alongside their better-known counterparts. The series has a particular focus on collaboration between the human voice and other instruments, sometimes in unorthodox combinations.
Each concert is based around a concept, a chain of musical influence or an unusual parallel between works. The aim is to offer audiences the opportunity to see contemporary music in a new light.
Presented by students and recent graduates, 2021 concerts is a chance to meet the faces of tomorrow's contemporary music scene. Our ethos is enthusiasm - both in the performers, and our audiences.
From 4th to 6th May 2018 the series will be in residence at A.P.T Gallery, with a festival celebrating cross-arts collaboration around the theme of Perception.
The weekend begins with a concert of experimental works on Friday evening; Saturday offers nine hours of performances ranging from live illustration, dance and song, to innovative videography and everything in between; finally on Sunday there will be a concert of music and dance created by rising stars of the contemporary performance scene.
Free entry all weekend.
Full programme at https://www.2021concerts.co.uk/perception-4-6-may
10 to 27 May 2018
m2(at)15 is a retrospective exhibition celebrating fifteen years of a unique gallery space set up by Julia Manheim and Ken Taylor in their converted milk depot in Peckham.
Exhibiting Artists | Peter Abrahams | Teresa Albor | Caroline Broadhead | Rod Bugg | Alison Carlier | Helen Carnac & David Gates | Lin Cheung | Anthony Coleman | Robert Cooper | Fran Cottell | Barbara Dougan | Helen Dowling | Gen Doy | Iain Hales | Heinrich & Palmer | Harriet Hill | Benjamin Jenner | Alistair Magee | Mutalib Man | Carol Mancke | Julia Manheim | Stuart Mayes | Kate MccGwire | Helen Pailing | Flora Parrott | Irene Pérez Hernandez | Jacqueline Poncelet | Ken Taylor | Frank Watson | Matthew Webber | Ken Wilder
31 May to 24 June 2018
A group show of work by
Angela Dufresne, Ellen Gallagher, Vera Iliatova, Sunny Kim, Sarah Pickstone, Niamh Riordan
Curated by Kathryn Maris with Ella Frears
Private View & Book Launch
of a poetry collection by Kathyrn Maris ‘The House with Only an Attic and a Basement’
Friday 1 June 2018 from 7pm to 9pm
Symposium | Saturday 16 June 2018 from 9.30am to 6pm
I See You Seeing Me: Engaging the Female Gaze in Visual Art and Poetry Day
Kathryn Maris & Catherine Humble
Discussing a range of issues that arise from the female gaze such as questions of consent, female projections of other females, and the woman’s desirous look, the day-long symposium will begin with a keynote lecture by Katherine Angel followed by interviews, panel discussions and talks featuring Adam Phillips, Hannah Sullivan, Ruth Padel, Jane Yeh, Sasha Dugdale, Kim Moore, Helen Mort, Bidisha, Sarah Pickstone, Vera Iliatova and Isobel Dixon. The event will conclude with evening readings and a wine reception. Tickets available here.
Readings and Wine Reception | Saturday 16 June 2018 from 6pm to 9pm
Following a day-long symposium Kathryn Maris, Catherine Humble and Poetry London invite you to a session of evening poetry readings, featuring Geraldine Clarkson, Ruth Padel, Anita Pati, Rommi Smith, Karen McCarthy Woolf and Jane Yeh. The readings will be followed by a wine reception. Tickets available here.
Whether or not you are planning to attend both events on the day, tickets for the symposium's day sessions and the evening readings and wine reception must be booked separately. For further information please email email@example.com
Travels in a Paper Coat
Isao Miura, Nikolai Azariah and Chris Beckett
28 June to 15 July 2018
A multi-media exhibition inspired by Matsuo Bashō’s famous travelogue The Narrow Road to The Deep North. Combining film shot directly on location in the ‘wild north’ of Japan by Nikolai Azariah, with paintings, sculpture & installation by London–based artist Isao Miura, also a haiku creek of poems by Chris Beckett – visitors will be taken on an exciting interpretive journey from Bashō’s 17th century text into contemporary visual images.
Private View | 28 June 2018 from 6pm to 8pm
Conversation with the Artists | Friday 29 June at 6pm
Uta Makura Walk (free) | 30 June 2018 from 12noon to 3pm | Book a place here
Creek Walk (charge) | Saturday 7 July from 11.30am to 3pm | Book a ticket here
Uta Makura Walk (free) | Saturday 14th July from 12noon to 3pm | Book a place here
Closing celebration | Sunday 15 July 2018 from 3pm to 5pm
Permittivity of Free Space
Thursday 26 July to Sunday 5 August 2018
Open Thursday to Sunday from 12noon to 5pm
Private View | Friday 27th July from 6pm to 9pm
Exhibiting artists -
Serena Amrien | Alexandra Dementieva | India Gabb | Nayan Kulkani | Paul Malone | Doron Polak | Nicola Rae | Lorent Rezari | Steven Scott | Lucy Wheeler | Zoe Wheeler
The title of this exhibition – permittivity - refers to the resistance that material has to the flow of electricity and also applies to the vacuum of space. Alternative meanings relating to taking transitory ownership of the space are also relevant. The participating artists intend to develop progressive processes in the gallery space that include migrations of art works as well as the potential for changes in their structures during the four days. These translocations will influence perception of the works as well as of the space itself.
Interfaces act as the membrane in which ideas from online communities can permeate into real and physical manifestations. We intend to address this by accessing open source concepts in the creation of installations utilising content and materials harvested from local areas surrounding A.P.T Gallery. We aim to transfer ideas into specific localities relating to the everyday inhabitance of a space. We would like to create an open system in which ideas permeate between the artists and surrounding community.
Details of events linked to the exhibition will be announced on the exhibition website
Subatomic particles expressing the permittivity of free space
A.P.T August Collective 2018
Four artists have been selected to take over A.P.T gallery for one week each in August 2018.
Helen Rousseau, Emma Rushton, Rob Lye and Andy Parsons will use the gallery space collaboratively with other artists, arts organisations and groups. They will research and develop a new piece of collaborative work and then share, exhibit or perform this new body of work.
There will be events and performances in conjunction with the artists’ work which will be announced in due course. The gallery will be open to the public for viewing and participation every Saturday and Sunday throughout August.
Please go to the blog for further information
More in Common
Exhibiting artists – Deborah Gardner | Jane Millar | Harriet Tarlo |
Judith Tucker | Louise K Wilson | Paul Wilson
6 to 16 September 2018
Poetry Reading and Talk | Thursday 6 September from 4.30 to 6pm
An opportunity to hear all the exhibiting artists, including a poetry reading by Harriet Tarlo. Chaired by Edwina FitzPatrick
Private View | Thursday 6 September from 6pm to 8pm
Exhibition open Thursday to Sunday from 12noon to 5pm
More in Common: artist talks and poetry at A.P.T Gallery on Thursday 6 September from 4.30 to 6pm
Chair Edwina FitzPatrick
- From the Roof to the Cellar: Re-assembling Conway Hall Deborah Gardner and Jane Millar
- One language called Esperanto and the imaginative poetics of a due-date list Paul Wilson
- Into the mine: materiality and memory Louise K Wilson
- Poetry, Painting and Change on the Edge of England Harriet Tarlo and Judith Tucker
- Poetry reading by Harriet Tarlo
Deborah Gardner is a Yorkshire based artist, whose practice considers the activity of making often involving everyday materials, where the haptic and tactile are privileged over high-tech modes of making. The sculptures explore intersections between accumulation, multiplicity and the improvisatory and point to an aesthetics of adaptation and uncertainty. The work has its formative influence in the ‘anti-form’, ‘process’ art of the American avant-garde in the 1960’s and 70’s and identifies with current sculptural re assessments of materiality and process led work.
Gardner’s and Millar’s artist residency at Conway Hall, Holborn, London, (2013-2015) formed an exchange of reflections and conversation on its radical history. They considered how the networkability of structures can generate complexity and interaction, disrupt a space and critically reflect on the ethos, spatial infrastructure and activity of an institution
She is a lecturer at the University of Leeds and a member of Land2 and the RSBS www.deborahgardner.co.uk
Jane Millar observes and records the actions and energies of human and non-human forces upon environments in paintings and ceramics. The resulting work transforms through actions of making, collapsing micro and macro space, unfolding possible utopias or dystopias, alluding to other planetary environments, and possibilities for being and becoming. Her London-based artistic and curatorial practice has deeply engaged in site-responsive funded exhibitions and projects including Curious Art projects at West Norwood Cemetery 2012 and 2013, The Curious Exchange commissioned for the Dulwich Festival, and Arts Council England funded project Conway Actants at Conway Hall, with sculptor Deborah Gardner, 2015-16. She has made a space shift from painting to ceramics, recognised with selection by Alison Wilding for the Creekside Open 2017, among other exhibitions. She is working within a new movement and context of contemporary ceramics, including Votive, with the Clayworkers Union for the Thames Festival, Space Shift at APT Gallery and developing work for a new artists' collective New Doggerland, launching at Lumen Crypt Gallery in 2019. www.jane-millar.co.uk
Edwina fitzPatrick is a UK based artist, who is concerned with mutability and change in the living environment. Her practice explores what happens when 'grey' (architectural); 'green' (diverse landscapes) and 'blue' (oceans/rivers/canals) environments intersect. They focus on how humans have and are, affecting the nature, culture and ecology of a place. They also aim to reveal how complex, reciprocal and nuanced local and global balances are: therefore, climate change cannot be seen in isolation. Her artworks often ponder the impact of moving living matter from one place to another. She is the Course Leader of the MFA Fine Art course at Wimbledon College of Arts.www.edwinafitzpatrick.com www.archiveofthetrees.com www.grizedalearchive.org
Harriet Tarlo is a poet and academic with an interest in landscape, place and environment. Her publications include Field; Poems 2004-2014; Poems 1990-2003 (Shearsman 2016, 2014, 2004); Nab (etruscan 2005) and, with Judith Tucker, Sound Unseen and behind land (Wild Pansy, 2013 and 2015). She is editor of The Ground Aslant: An Anthology of Radical Landscape Poetry (Shearsman, 2011) and special poetry editor for Plumwood Mountain 4:2 (2017) https://plumwoodmountain.com/. Critical work appears in volumes by Salt, Palgrave, Rodopi and Bloodaxe and in Pilot, Jacket, English and the Journal of Ecocriticism. Her collaborative work with Tucker has shown at galleries including the Catherine Nash Gallery Minneapolis, 2012; Musee de Moulages, Lyon, 2013; Southampton City Art Gallery 2013-14; The Muriel Barker Gallery, Grimsby and the New Hall College Art Collection, Cambridge, 2015. She is a Reader in Creative Writing at Sheffield Hallam University.
Judith Tucker is an artist and academic, her work explores the meeting of social history, personal memory and geography; it investigates their relationship through drawing, painting and writing. She has a long-term collaboration with the radical landscape poet Harriet Tarlo. In 2018 she was a finalist in the Jackson’s Open Painting Prize and she has been selected to be one of ten UK artists exhibiting in the inaugural Yantai Biennal, China. Exhibition venues include Arthouse1 and Collyer Bristow London and many regional galleries throughout the UK, and further afield in Brno, Czech Republic, Vienna, Austria, Minneapolis and Virginia USA and Yantai, Nanjing and Tianjin in China. She is co-convener of the Land2 and is part of Contemporary British Painting, a platform for contemporary painting in the UK. Tucker also writes academic essays which can be found in journals and in books published by Rodopi, Macmillan, MUP, Intellect. She is senior lecturer in the School of Design at the University of Leeds. https://www.axisweb.org/p/judithtucker/
Louise K Wilson is a visual artist who makes installations, live works, sound works and single channel videos. Processes of research are central to her practice and she frequently involves the participation of individuals from industry, museums, medicine and the scientific community in the making of work. Recent exhibitions include “Murmur’ for Thackray Uncovered (Thackray Medical Museum, 2017); ‘Submerged: Silent Service’ (Ohrenoch, Berlin, 2015) and Topophobia (Danielle Arnaud Gallery, London; Bluecoat Gallery, Liverpool and Spacex Gallery, Exeter, 2012). Her published writing includes book chapters for ‘In the Ruins of the Cold War Bunker’ (Rowman & Littlefield International, 2017) and 'Contemporary Archaeologies: Excavating Now' (Peter Lang, 2009). Her programme ‘Cold Art’, exploring artists’ fascination with Cold War sites, was broadcast on BBC Radio 4 in April 2018. She is a lecturer in the School of Design at the University of Leeds and a member of Land2. lkwilson.org
Paul Wilson is a researcher, typographer and writer whose work explores the intersections of language, landscape, community and communication. His current research involves the production of designed narratives of community and place and, in particular, investigates the potential for critically-engaged typographies and language-acts, focusing on sites of class experience and situated knowledge at moments or points of change or transition. Much of his work orbits ideas and ideals of utopianism found in manifestations of the utopian action, and has resulted in a broad range of activities: surveying the noticeboards found in the interior landscapes of Working Men’s Clubs; mapping the route of the march which marked the closure of Britain’s last deep coal mine; exploring the post-Brexit significance of the Esperanto-English dictionary held in Keighley Library, West Yorkshire. He is a Lecturer in the School of Design at the University of Leeds.
An exhibition where all the artists that have a studio at A.P.T have got a bit in it and then they’ve asked someone else to put a bit in so now there are more bits, twice as many bits, 80 or so bits.
APT + ONE
20 September to 14 October 2018
Exhibition open Thursday to Sunday from 12noon to 5pm
Exhibition curated by
Camille Yvert and Jennifer Milner-Lunt (A.P.T Graduate Studio Award 2018/2019)
Rebecca Harper (Recipient of the 2018/19 Ryder Project Studio)
Marcus Cope (A.P.T Artist-member)
This exhibition features a single artwork by each of the studio holders at A.P.T studios. Those artists have each asked someone else (another artist, probably) to exhibit a piece of their artwork in the show too, so the two artworks are to be displayed together, potentially presenting some affinity. And so we’ll then have twice as many bits. So it’s going to be a bit of a jumble because the ‘curators’ really don’t know what work they’re going to be hanging. So that’s exciting. Subsequently you won’t find any themes here, not prescribed anyway. No collective fascination, or exploration of notions of anything. We aren’t all (to quote a recent Frieze writer) ‘Mining the tension between real and imagined worlds’. We do have a fair amount of abstract painting from some of the old boys and girls, but we reckon they’re real, as is the work, as you’ll see. Some of the younger artists might use some digital technology to make or display their work.
We hope we’ll have some work with guts. We hope that you enjoy this show at A.P.T Gallery. Because otherwise, what’s the point?
Marcus Cope, September 2018
APT + ONE
Ekkehard Altenburger + Nathan Murphy
David Bloor + David Toop
Heather Burrell + Parm Rai
Jodie Carey + Robert Dowling
Veronique Chance + Susana Gómez Larrañaga
Marcus Cope + Jacquie McIntosh
Fran Cottell + Marianne Mueller
Lulu Cottell & Edward Rowe + Day Centre Members at Disabled People’s Contact, Deptford Mission with support from Cameron Walker
Tim Cousins + Germaine Dolan
Anthony Daley + Lydia Makin
Jeff Dellow + Joan Key
Arnold Dobbs + Christy Symington
Dexter Dymoke + Frances Richardson
Cath Ferguson + Tim Renshaw
Nic Godbold + Dave Ryan
Marilyn Hallam + Clyde Hopkins
Rebecca Harper + Mark Cazalet
Liz Harrison + Christine Percy
Margaret Higginson + Diana Edmunds
Stephen Jaques + Dominic Beattie
Richard Lawrence + Robert Harding
Stephen Lewis + Michael Blake
Alix MacSweeney + Peter de Francia
Paul Malone + Black Quantum Futurists
Chris Marshall + Angela Wright
John McLean + Kikuo Saito
Jennifer Milner-Lunt + Kylie Chung
Mali Morris + Gabriel Hartley
Geoff Mowlam + Matthew Gould
Laurence Noga + Clare Price
David Oates + John Carter
Brigitte Parusel + Cecilia Sjoholm
Nicola Rae + Alistair McClymont
Victoria Rance + anonymous Bolivian mask maker from El Alto La Paz
Hideatsu Shiba + Toru Ishii
Lou Smith + Nico Ismay
Paul Tonkin + Pete Hoida
Sheila Vollmer + Jackie Askew
David Webb + Tom Hackney
Rob Welch + John Pettenuzzo
Camille Yvert + Jazbo Gross
Wendy Anderson, Neel Bakhle, Jeremy Bubb, Maria Chevska, Richard Dyer, Adam Gray, Sarah Kogan, Enzo Marra, Jane Millar, Galen Riley, Susan Sluglett, Rachel Warriner
Curated by Sarah Kogan
Guest Art Critic | Richard Dyer
19 October to 4 November 2018
Open Thursday to Sunday from 12noon to 5pm
Artists’ talk & poetry launch | 4 November 2018 from 3pm to 5pm
The structure of APT Gallery lends itself to an interrelated reading of the works, in that as we move through the three spaces, views of work sited in diagonal aspect to each are glimpsed through the architectural space and lead us towards an unfolding combination of image, object or screen. The gallery itself is presented as a single artwork with interconnecting elements placed within it. The aim is that this may direct the gaze of the viewer to new horizons and interiors or shift them into an aerial and psychological free fall.
Wendy Anderson’s current practice is based on her extensive world travel, with notes, photographs and drawings conflated in a series of mixed media paintings and drawings. The works are infused with architectural forms derived from the cities visited. Having lived in many high-rise hotels, views of rooftops and the aerial view of the cities structure influences the space within the paintings. Structures are propped, stacked or stand in isolation.
Neel Bakhle In this new installation the artist subverts notions of solid and fluid, ethereal and real. Both pieces are in response to the surrounding environment, bringing the outside in, and then out again, in order to examine the parochial and familial against the strange, so as to question in which space reality lies.
Jeremy Bubb’s multi-screen moving image installation In Search of a Past uses horizontal editing to explore a day in the life of his mother, Dorothy, a dementia sufferer who went missing from her home in search of her past. The piece deploys three screens to signify separate time periods of Dorothy’s life, represented through a moving image sequence of the home she left behind and a collection of family photographs. Dementia has been described as looking through a series of memories in a family photograph album, only to find random images interspersed with blank pages.
Maria Chevska Moving away from the presentation of a single canvas Chevska is interested in placing paintings within the architectural spaces that people inhabit. Recent explorations include abutting a number of canvases, with painted fragmented images, in a form that unfolds from the floor and rises up the wall, above head-height. The works are of human scale, some taking a cruciform, figure-like shape. The work in this exhibition places paintings and their accompanying sculptures in ‘conversation’ with the gallery space, and with some of the other artists’ works.
Richard Dyer This series of works deconstructs the notion of the gesture in painting. Trompe-l'œil Illusionism is deployed in order to virtually separate the painted mark from the canvas support, thus rendering it a discrete object in its own right, seemingly untethered from the flat two dimensional surface of the canvas. The work therefore not only questions the nature of space, but also the integrity of the painting itself. The work is a reaction against the strict tenets of a Greenbergian aesthetic that decrees the supremacy of the flat surface of the painting over the evocation of illusionistic depth. However, Dyer also rejects the image as a referent, embracing the gestural and abstract.
Adam Gray allows his paintings to slowly reveal their meanings over repeated viewings, leading to new interpretations or details. They remain deliberately vague and open to interpretation, capable of constantly provoking new questions and re-asking old ones whether in relation to colour, form or alternative readings of the image as a whole. Details are hidden or overlooked if the viewer only observes from a distance. But if they feel drawn to look closer they might have a very different experience, almost as if looking at two different paintings.
Sarah Kogan’s current practice revolves around ideas of landscape, abstraction and memory, relating to a visceral connection with our psychological relationship to space and object. Narrative is present in the motifs of abyss, crater, cluster or illuminated cavity. The emotional content of the work includes implications of death, loss or transcendence. In addition there is an ambiguity, within much of the work, as to whether we are observing a solid object floating in space, or a cavity observed from an aerial perspective.
Enzo Marra Portable Mural is a development from an earlier painting which depicts a mural of three large scale finger motifs placed in a darkened space. Using acrylic on loose canvas for this over human sized piece, Marra has accentuated the scale of his subject whilst retaining the immediacy of execution. Initially a visual pun on finger painting, they have taken on a relevance and role as instigators of a social commentary, whether they are seen in dark expanses or planted within a deluge.
Jane Millar Grip uses the gallery space to create an installation of ceramic foot or hand 'holds' which are installed to the interior height of the gallery. Climbing walls in indoor sports centres work our bodies upwards through strength and stamina, they offer no natural vista. Installed in a white cube space, the holds that make up Grip scale the walls, reaching beams, with ladders or scaffolding, alluding to and questioning artistic aspiration, even privilege, which a position of height assumes. The footholds present approximations and mockeries of natural forms, with the seduction and longing, materiality and fragility of ceramics.
Galen Riley Having observed a kingfisher near the APT Gallery on Deptford Creek, and encountering Clyde Hopkins’s reference to a similar kingfisher at his recent funeral, this avian’s darting and elusive reputation has become the focus of Riley’s latest string installation. The movements of this ‘psychedelic’ interloper are gestured at by stretched polychromatic paracords; orange, cyan, black and white, like the bird itself. The contact points or fixings of the paracords are old, recent and new, alluding to a movement through time. Riley continues to pursue a sense of extra dimensional space with illegitimate constructs. In this space a dismantled body is not necessarily dead. (Excerpt from Deptford Waterfowl Guide, Clyde Hopkins (1946–2018): ‘Kingfisher’/Small brightly coloured bird/With sharp beak and tongue/Introduced into UK along with/Psychedelic drugs. Usually seen/Just after it has gone./Eats fish, chips, mushy peas.)
Susan Sluglett The work is part of an ongoing exploration related to loss, combined with the history of an important relationship. Sluglett has been living and working with the belongings, in particular a shoe collection, of a recently deceased and very dear friend. ‘I have danced with Hamish in kitchens and sitting rooms across London… we danced in the streets, late into the night… on the Cycladic island of Sifnos… on a boat travelling down the River Thames; in nightclubs and bars and, in the summer of 2016, at Fete de la Musique in Paris.’ The artist’s open and unscripted investigation is expressed in her studies of these personally valuable narrative props in charcoal and plaster.
Rachel Warriner’s acrylic paintings contain semi-abstract motifs which embody the essence of a landscape; the continual horizon line of the sea, the curvature of a road. Other forms come into play through a found or invented geometry. The more recent work has used loose graphic colour fields coupled with a build-up of thin washes to create ‘space shifts’. This interplay of thin washes and more solid shapes denotes an empty space which alludes to the tension between permanence and disappearance. There is a reductive pairing down of forms in a search of a shift that maybe unsettling or ambiguous.
The exhibition will conclude with a round table discussion with a selection of the artists followed by a Q & A. This will be followed by a poetry reading by Richard Dyer which focuses on a psychogeographical journey between different cities and landscapes, an emotional and poetic ‘space shift’. 4 November 2018 3pm to 5pm
For all press enquiries please contact Sarah Kogan firstname.lastname@example.org
→Further details at Sarah Kogan's website