exhibitions

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 * New Exhibitions & Art Rabbit: Regularly updated gallery listings across London and beyond.
 * South London Art Map: Comprehensive guide to art spaces and exhibitions in South London.
 * London Artist Quarter: Guide to the East London art scene.
 * Art Licks: A gallery tour of Peckham. **Hockney’**

=//Perfect Patio//= =Space Station 65=


 * Liana Bortolozzo, Chris Daly, Robina Doxi, Gin Dunscombe, Clare** **Harford, Alice Kelway-Bamber, Keivan Sarrafan,** **Kirsty Skears, Kim Thornton**
 * Curated by Emily Purser.**

The works of nine artists from the MA Fine Arts programme at Camberwell & Chelsea are brought together for one night in this vibrant and exciting exhibition at Space Station Sixty-Five. The unexpected associations and fortuitous relations that occur when these seemingly disconnected works are presented together create a garden of playfulness and provocative connections. The contemplative and the frivolous converge, the point where the two meet creating an atmosphere of suspense; a plot of creativity ripe with intrigue and amusement. The artists will present their ongoing practice of object-based work, video installations, paintings and photography alongside newly commissioned works for this exhibition. A limited edition screen-printed poster will accompany the exhibition.

Building One, 373 Kennington Road, London SE11 4PS
 * Friday 31** **st** **May 6.30 | 8.30pm**
 * Hosted by Space Station Sixty Five**

=//A Machine For Living In//= =Hannah Barry Gallery Project=





** Chain **

Lewisham Arthouse

Thursday 24th May 2012

Chain is a seven hour series of multi-disciplinary performances by artists, musicians and poets at Lewisham Art House, brought together by artist Candida Powell-Williams to investigate collective consciousness. Each participant, prior to the event, has provided the following with a word/ object/ sound or image stimulus to be integrated into their performance creating the Chain. By engaging the practitioners through this arbitrary relation the event will mirror our everyday encounters with one another in the city, it will drive the practitioners’ responses together in a stream of collective consciousness as we interact as individuals within the collective of the city.

Uniquely, Chain will provide an experimental, rarefied field for the art exhibition which collapses form (the collectivity requisite of the Chain and any performative work) and content (collective consciousness). Ideas, concepts and feelings will unfold for the duration of the event, between practitioners and audience rather than being communicated //a priori// through a title or this document. The event will, consequently, allow an unprecedented chance for direct communication between the practitioners and the audience. The individual works will be presented without thematic or aesthetic reasoning, removing pre-conceived ideas or the potential meaning or affect of the works. It is our hope that the event will create a shared space which allows the audience to connect with the collective consciousness created between the practitioners in Chain.

Within this experimental structure each lecture will explore how collective consciousness is manifested in creative forms, therefore making theoretical collective consciousness tangible. Powell-Williams has isolated three key ideas of the collective: firstly, Apocalypse 2012 the possibility of individual fear being transmitted into the collective; secondly, urban planning which utilises street furniture to create spaces which service the different needs of its users, pedestrians, shoppers, drivers and cyclists, creating ‘shared space’ in the city and herd behaviour, when a group of individuals act together becoming a collective. Crucial to each of these ideas is conscious and unconscious communal behaviour, dictated by physical, social or political space. Chain will deal with these ideas through the practitioner’s and participants shared environment, London.

Powell-Williams’ choice to work outside a thematic, omits her decision to include only artists, poets and musicians who work or study in London. By drawing on practitioners from such a vast cultural field, the event seeks to craft a space where diverse voices and practices can co-exist and cooperate; where the rigid definitions of a discipline do not apply, where influence (whether significant or insignificant) is manifested through sharing.

Lewisham Arthouse, a communal building providing studio and exhibition space for artists, provides the back-drop to Chain. Its ethos of communal space for creative interaction offers a new model for artistic practice which is cooperative and non-hierarchical. By bringing new practitioners into the space Chain will extend the possibility for this exchange and engage with disciplines beyond the visual.

Chain will be documented by the Ladies of the Press* and by Amy Tobin who will be writing a live blog. This is use of instantaneous media will both record and form part of the event, offering more channels for communication and engagement and challenging how it exists for posterity.

PTO

** The schedule of Performances is: **

** 3.30-4.00pm- Charles Hayward **

Hayward is showing a new video work made for the event. He is a pioneering drummer with bands //This Heat// and //Camberwell Now.//

**4.00-5.00pm- Clare Qualmann**

// Perambulator // is a walk that explores navigation, way finding and collective decision making with the added encumbrance of prams. Qualmann works across a range of media -from drawing and sculpture to artists’ books and live events, often in the form of walks.

Alongside making sculptures Godfrey is exploring writing and speaking as an embodiment of content as opposed to representation. She will be giving a lecture for Chain.
 * 5.00-5.30- Lauren Godfrey **


 * 5.30-6.15- Reuben Thurnhill/ Gregoire Bouffon **
 * // Trajet Tragique // ** is a nostalgic drive around Lewisham for smokers only. Thurnhill is an Artist, Curator and Lecturer, his practice illuminates the sublime and the ridiculous.

Rush graduated from the Slade School of Art in 2009. Her film work deals with aspects of social and anthropological theory.
 * 6.15-6.45pm- Jenny Rush **

Daniel Oliver’s performance is based on a séance. Oliver is currently studying for a PhD on awkwardness and participatory performance.
 * 6.45- 7.15pm- Daniel Oliver **

Chris McCabe is making new work under the title //Custards, mustards and dusters,// McCabe is a poet; he works as a Joint Librarian at the Poetry Library on the South Bank and is published widely.
 * 7.15-7.45pm- Chris McCabe **

Fleur de Bray and Ilze Ikshe will be singing and playing in a ‘vexed situation’ supplied by Stephen Crowe. Crowe is a composer and musician, making operas with Crowe Ensemble and often uses graphic scores.
 * 7.45- 8.15pm- Stephen Crowe **

Lennon works in video, sound, text and performance, drawing on cinema, the media, technology, mythology and madness. For Chain she will be giving a performance lecture.
 * 8.15- 8.45pm- Rebecca Lennon **

Voorsanger is a multimedia artist who explores popular culture, in particular ‘celebrity’ through obsession, and media representation. Her performance will play with ringtones and mobile phones.
 * 8.45- 9.00pm- Jessica Voorsanger **

Parkinson is an artist, writer and performer. As part of Chain he will be performing Siôn Parkinson’s FACE CAGE: a half-hour song set in a Talbot Alpine car that recalls teenage autoeroticism, chance and shame.
 * 9.00-9.30pm- Siôn Parkinson **

Ben Morris and Rob Lye have been making music under the banner 'Chora' since 2004, recent releases include ''Songs from the Husk-Hair Malt' 2011 on Winebox Records and 'The Wax Heel' Zero Jardins 2011.
 * 9.30-10.00pm- Chora **


 * 10.00-10.30pm- Charles Hayward (repeat) **


 * PLUS! **

** 6-10.30pm Ladies of the Press* ** are Ana Č avi ć and Ren é e O’Drobinak: a performative press duo that re-imagines the role of the publisher and the publicist into a theatrical persona. www.ladiesofthepress.org


 * Amy Tobin ** has an MA in Art History from Courtauld Institute and is about to embark on a PHD in participation and performance. She will be writing a live blog about the event, follow her at www.chainevent.wordpress.com

For Press enquiries please contact Amy Tobin ( amy.tobin548@gmail.com ) or Candida Powell-Williams ( cndda@hotmail.com )



The Struggle is a new series of essay films, commissioned by Beaconsfield, exploring the impact of politicised familial interactions on the formation of subjectivity in the individual.

The show opens with two exhibits: a collaborative film, //Here There Then Now//, made by Rachel Garfield with the avant-garde filmmaker **Stephen Dwoskin** in 2009 and //The Straggle//, the first part of the new series. The earlier film introduces territories to be explored: inter-generational ethics, an essayist approach to video montage and personal stories.

//The Straggle// focuses on individuals whose parents were left-wing activists, and the socialist magician Ian Saville. **The Struggle** will progress through Garfield’s engagement with people whose identities have been formed in homes where the ethical environment was dominated by religion and the military. An ongoing residency with Beaconsfield will support the production and tour of this new series of work.

During the exhibition, Garfield will be working on the new series, interviewing fresh subjects and editing material already filmed. On-site most Sundays, the artist will be available for discussion with the public as she works. The show will close with the presentation of new work.

**If you have been shaped by a political, religious or military upbringing and would like to talk with the artist or be interviewed please contact struggle@beaconsfield.ltd.uk**

**Special Events**

Sunday 22 April, 11am-5pm **Rachel Garfield** at work on site

Friday 27 April, 6.30-8.30pm LAST Fridays Late opening With **South London Art Map People’s Choice Gallery Tour** **Adam Walker** in conversation with **Rachel Garfield** at 6.30pm

The SLAM April LAST Friday’s tour visits Kennington & Vauxhall, as chosen by a public vote. Assemble at Beaconsfield for a 6.30pm start. Find full information and booking instructions here: http://www.southlondonartmap.com/events/beaconsfield/1214

Galleries open for an evening view as part of the South London Art Map LAST Fridays. April’s **Bankside Afterparty** takes place at Hotel Elephant.

Sunday 29 April, 11am-5pm **Rachel Garfield** at work on site with **Stephen Dwoskin**

Sunday 13 May, 11am-5pm **Rachel Garfield** at work on site

Sunday 20 May, 11am-5pm **Rachel Garfield** at work on site

Friday 25 May, from 6pm LAST Fridays **The Straggle Evening Event** 6.30pm **Rachel Garfield** in conversation with **Naomi Siderfin** 8pm **Ian Saville** performs **Socialist Magic**

The galleries will be open until 9pm for an evening viewing as part of the South London Art Map LAST Fridays. Beaconsfield hosts the **Bankside Afterparty** until late.

Sunday 27 May, 11am-5pm **Rachel Garfield** at work on site

Sunday 3 June, 11am-5pm Screening: **The Struggle** to date.

Final chance to visit the exhibition plus screening of new material produced during the on-site residency period. The exhibition Under The Influence brings together 7 contemporary artists who have been invited to consider the concept of homage. The exhibition aims to acknowledge the mundane and significant, drawing attention to our influences by adoration as well as ironically scrutinising our adulation of ill-placed idols.

We would like to welcome everyone to the opening 10th May, 6-9pm 10-12 Exhibition Road, SW7 2HE



[|HMVcurzon Moving Image South]



** ANGUS-HUGHES GALLERY **
 * // presents // **
 * FORM & MALFUNCTION **


 * // Curated by Fieldgate Gallery // **
 * Exhibition ends this Sunday **


 * // Gallery open: Saturdays & Sundays, 12-6pm, or by appointment // **


 * Cedric Christie - Alasdair Duncan - Gerard Hemsworth ****  Karen Henderson - Ben Woodeson  **


 * Angus-Hughes **
 * 26 Lower Clapton Rd ** (at the junction of Urswick Rd)
 * London **
 * E5 0PD **

The American architect Louis Sullivan’s now famous maxim ‘Form follows function’ was one of the primary principles of Modernist architecture and design, and contributed to the geometric reductivism of Modernist painting and sculpture. This language has been revisited a number of times since, but recently artists have responded more irreverently. The result has been to allow very non-Modernists elements into the paradigm: fantasy, absurdity and humour, to re-claim and enrich this once hallowed ground. Some of the artists begin with function and allow its failure to become its form, while others create forms that can only aspire to function.
 * Cedric Christie’s ** Phoenix, a giant curvature comprising of a steel exoskeleton and snooker ball anatomies, brazenly wraps itself around the space that it occupies the playfulness of Christie's materials and also suggests the works' debasement of the sacrosanct ideology of Modernist sculpture. De-mythologised, the piece lurches onto the horizontal; a movement from wall to floor that is a literal and figurative 'bringing down' of monumental form.

In the work that is made of scaffold tubes the aim is to remove scale from a material that is associated with a particular scale and development. To allow the form to become a support for colour and the surface to become space. Is the colour holding the shape, or the shape holding the colour. // Courtesy of Flowers Gallery, London //
 * Alasdair Duncan ** makes //Signs for the Future// (and designs for such). His signs are stand-ins, signifying things that do not yet exist: not futurological predictions, rather they are emblems of the not yet imagined. Duncan produces colour-saturated graphics applied across a variety of media. Duncan is broadly interested in making art that addresses the unknown and unknowable not without ambivalence, but as presenting positive, progressive opportunity.

Duncan ’s pieces are titled in the language of //Je Zaum//. Zaum (pronounced Za-oom) was a language coined by the Russian Futurist poets Velimir Khlebnikov and Alexei Krucheykh, combining the Russian prefix за “beyond, behind” and the noun ум “the mind, nous”. Zaum is described as a universal language, a language of indeterminate meaning that stands in for thoughts yet to be conceived. ** Karen Henderson’s **current work has been informed by research into visual strategies for spatial occupation. She has been looking at camouflage as strategies of design which are intended to complicate how an object in an environment is read, misread or visually erased in order to understand how objects can occupy space in more tenuous and temporal ways. Henderson is interested in the point where an object integrates with a space and how this succeeds or fails. This body of work includes a group of objects which draw on the Dazzle camouflage designs employed during WWI to break up the visual coherence of large targets. Henderson is interested in how objects take up space and interrupt our visual field and in how much effort is required for this to happen over longer periods of time. The investment necessary seems to have political potential and how space is occupied and claimed and how objects are implicated in these actions, are central questions.
 * Gerard Hemsworth’s ** paintings are disconcerting and provocative in an odd, slightly uncomfortable way. He brings together signs and representations derived from modernist art alongside and integrated with signs and representations of cartoon like images derived from children’s colouring in books. Presenting pictorial and ideological contradictions to felicitate critical engagement. These representational works have the familiarity of both modernist painting and storybook pictures.

He has developed a project that has allowed him to undermine the seriousness of high modernist art and cultural values, whiles at the same time providing a space that questions its possibility. His paintings are both insistent and subversive and question the values and assumptions that the viewer brings to the work. // Courtesy of Laurent Delaye,London // ** Ben Woodeson’s ** works are deliberately confrontational; the pieces confront both the viewer and the exhibiting institution with their real or implied activity and consequences. The works are performative; they inhabit a particular moment of possible action and subsequent reaction. Their physicality aims to instigate an intense and visceral relationship with the viewer and the gallery architecture. Threatened ripples of consequence are sent throughout the sculptures and audience alike. Manipulating everyday materials within a space, the works keep the viewer poised in a state of slight suspense, challenging them to respond to a unique and evolving environment of cause and effect. The works spin, roll, wobble, fall, flick, collapse, shatter and even ignite… but when? Since 2009 Woodeson has been making the overtly confrontational Health and Safety Violation series; some works are deliberately dangerous, others only sound it…
 * Angus Hughes: 0208 9850450 / __ yourosell@yahoo.co.uk __ / __ [|www.angus-hughes.com] __ **
 * Fieldgate Gallery: 07957228351 / __ [|www.fieldgategallery.com] __ / __ fieldgategallery@gmail.com __ **

The Corporate Occupation of the Arts.

OccupyLSX / The Bank of Ideas

Earl St. EC2A 2AL

Sat 14th Jan 2012. 2- 6pm

Could there be a crueler indictment of an art world that is convinced of its moral superiority to mainstream culture than to be subsidized by one of the criminal financial forces that has brought our culture to its very knees? Mat Gleason

Art is the ultimate emotional branding. Brunswick International Corporate Communications Partnership.

An afternoon of talks by artists, activists, writers and academics to explore the parasitic and exploitative relationship between art and capital. We will discuss the politics of sponsorship; activism against sponsors, Bloombergism, the transformation of the Art School and the ideological takeover of the dissensual values of art.

• Corporations who refuse to pay £billions in taxes are fêted for their relatively paltry largess and are awarded privileged access to events and policymaking. Donations no longer fit within notions of ‘patronage’ or ‘philanthropy’ but are strategically targeted blue chip branding exercises. This is part of a much bigger drive towards the marketisation of the arts and the privatisation of cultural provision and public space.

· There is a long history of Art’s aesthetic and sensual pleasures being used to conceal ethical irresponsibility. Now though, the space of dissent and critique is commodified and art’s autonomy is turned against itself.

· Whist arts funding is slashed, and the public space decimated, the artist’s labour is being yet more intensively exploited. Dozens of Associate Lectureship have been axed, a 10% wage cut imposed on ICA staff and 800 interns work for free. All this whilst corporate capital turns its casino logic into spectacular saleroom values.

· In campaigns against BP’s sponsorship of the Tate and demonstrations at auction houses, activists have recently brought public attention how the arts are used to whitewash toxic reputations and in the appropriation of arts positive values and associations. No account is taken of the contradiction between the utter incompatibility between the ethical promise of the art world and the destructive activities of many corporations.

• As is usual in Occupy, our conversation will turn from analysis and critique of ‘what is going on’ into planning and strategy for ‘what is to be done’.

Organised by Andrew Conio. (University of Wolverhampton and Chelsea School of Art.)

Speakers

Andrew Conio. Introduction – The State Against Art Platform. Licence to Spill - Big oil and the UK art scene. Liberate Tate. Performance interventions in gallery spaces John Beck (Newcastle University) and Matthew Cornford (University of Brighton). The Art School and the Culture Shed. John Cussans. Protest Pedagogy. Mark McGowan. There is No Law Against Art. Dean Kenning. The Corporate Occupation of Art. Freee. Mel Jordan, Andy Hewitt and Dave Beech. Economists are Wrong. Precarious Workers Brigade. How Can we Fight the Marketisaton and Corporatisation of the Arts? Discussion.

Platform. Licence to Spill - Big oil and the UK art scene

For over 20 years, Platform has been bringing together environmentalists, artists, human rights campaigners, educationalists and community activists to create innovative projects driven by the need for social and environmental justice.

Oil companies like BP and Shell have been greenwashing their controversial operations through their sponsorship of prominent cultural institutions like the Tate for decades. This presentation/discussion examines how despite the cuts to arts funding in the UK, BP needs Tate more than Tate needs BP.

Platform, Art Not Oil and Liberate Tate have recently released a hundred-page arts publication exploring the murky relationship between big oil and big art, which can be read online here: http://blog.platformlondon.org/2011/11/27/read-online-now-not-if-but-when-culture-beyond-oil/ The following presentation from Liberate Tate will build on topics discussed in this session with Platform.

Liberate Tate. Performance interventions in gallery spaces

Liberate Tate is an art activist collective exploring the role of creative intervention in social change. We aim to free art from the grips of the oil industry primarily focusing on Tate, the UK's leading art museum, and its sponsorship deal with BP.

Over the past two years, Liberate Tate have created numerous performances in gallery spaces in London. This presentation follows on from Platform’s exploration of the issue of oil sponsorship to consider the performances themselves, how they operate in the gallery space, historical precedents and tactics that can be applied in similar contexts.

John Beck (Newcastle University) and Matthew Cornford (University of Brighton).

The Art School and the Culture Shed

One of the most bizarre ways New Labour imagined the revivification of British towns and cities during the years of the finance-driven boom was to encourage the construction of huge culture sheds as signature buildings around which property developers could prosper and multiply, converting run-down and unwanted areas of town into oases for latte-swilling loft-dwellers. Part of the inspiration behind the generation of these so-called 'cultural quarters' was the inflated sense of importance given to British art as it was branded by Saatchi as he hoovered up degree show installations and sold them on as upmarket tabloid sensation. The preposterousness of taking the art world as a model for post-industrial socioeconomic regeneration is now only too clear, but British towns from Margate to Middlesborough have the empty art sheds to show as evidence that this was indeed, for a while, considered a good idea. While the galleries make big claims about their relationship with the local community, the reality is that they offer low provincial rungs on the curatorial career-ladder and venues for touring shows. Locals get access to some out-of-town culture and the odd visiting speaker but this is top-down delivery for the most part.

Not that long ago, most towns in the UK had a dedicated art school that serviced the local population, providing vocational and fine art training and also offering part-time and evening classes for what are now called ‘non-conventional’ students. In many cases art school buildings were publically funded and held in high esteem, often situated in the heart of the town centre and designed and built with care. While it is true that art schools were originally driven by the skills needs of the labour market, it is also the case that for many students, art school was a portal through which all sorts of otherwise unimaginable and inaccessible cultural experience could be reached. More importantly, these experiences were not the vicarious pleasures of spectatorship; the point of going to art school was to learn participation. While most of the art schools are now closed, many of the buildings are still there, reused or abandoned.

We bring together the art school and the culture shed in order to ask some pressing questions about the state of cultural life in the UK: What has happened to the idea of cultural participation? How can we use the remains of British art schools to cast a critical light on the culture sheds of recent years? How do the products of local art schools (the artists themselves) stand in relation to the culture sheds they often benefit from and endorse?

John Cussans. Protest Pedagogy

Mark McGowan. (Artist) There is No Law Against Art.

Dean Kenning. The Corporate Occupation of Art

Corporate sponsors and the institutions that they work with would always claim that sponsorship does not effect the art work in any way, and actually enables work to be shown. I would like to question this by looking at how corporate sponsorship of public galleries, art exhibitions and events programmes changes the character of art spaces and influences the content of work artists make and curators show. In response I would suggest the following: 1. critical art test the supposed neutrality of corporate sponsorship by highlighting the activities of those corporations and powerful individuals who use art to improve their image and gain cultural capital; 2. we think of alternative modes of exhibition and production away from the slick, high cost art world norms that institutions use to justify corporate sponsorship. We need to reclaim art from conformity and reclaim our public galleries from corporate creep. Three years ago I made a comic strip together with Andrew Cooper called Boycott Bloomberg, which became the impetus for an open submission Free School publication. It was a response to Michael Bloomberg's role in Israel's attack on Gaza - Operation Cast Lead. I will look at Bloomberg's sponsorship of visual art as an example of some of the ideas above.

Freee. (Artists Collective) Mel Jordan and Andy Hewitt Economists are Wrong

Freee is a collective made up of three artists, Dave Beech, Andy Hewitt and Mel Jordan, who work together on slogans, billboards and publications that challenge the commercial and bureaucratic colonization of the public sphere of opinion formation. Freee occupies the public sphere with works that take sides, speak their mind and divide opinion.

Freee invites you to participate in a spoken choir of their new manifesto ‘Economists are Wrong’. In order to participate you need to print off the Pdf. (hard copies are also being distributed) and underline every sentence that you agree with. Bring the manifesto to the event and read out those sections that you have under-lined.

Precarious workers Brigade

The Precarious Workers Brigade is a UK-based group of precarious workers in culture and education organised around the issue of precarity. We call out in solidarity with all those struggling to make a living in the current climate of instability and enforced austerity.

One of the PWB working groups addresses "How Can we Fight the Marketisaton and Corporatisation of the Arts": How can we change the now complete shift from public subsidy for the arts, to the enforced marketisation of institutions, individual artists and groups? The imperative to raise private income and the imposition of corporate managerial models of KPIs (key performance indicators) etc, is now ubiquitous. Is it possible to fight for the right NOT to work within corporate model?

http://precariousworkersbrigade.tumblr.com/ 

Real Venice is a current photography exhibition, show-casing meaningful and original work by fourteen internationally renowned artists including Nan Goldin and Philip-Lorca diCorcia. The Lagoon water level is imminently rising and is a major threat to the iconic monuments and architecture. These unique photographs capture these landmarks and the everyday life of the city’s inhabitants.

With a concessionary rate of £4 for students, this major exhibition still has plenty of time to be seen featuring in our Embankment Galleries until the 11th December. We can also arrange for an accompanying teacher to get free entry.

For more information about Real Venice: http://www.somersethouse.org.uk/visual-arts/real-venice General website for details of all other events and exhibitions: http://www.somersethouse.org.uk

Coordinated by UAL Platform (hyperlink www.suarts.org/platform), a programme from the University’s Student Union (hyperlink www.suarts.org) designed to provide students with exciting opportunities all over London, all UAL students had the chance to submit a project proposal for the event earlier this year. Out of the 25 projects chosen – workshops, activities, performances, installations all inspired by Grayson Perry’s work and in particular his current exhibition at the Museum, //The Tomb of the Unknown Craftsman// – Chelsea students have come up with some brilliant projects. Ray Brazier, a second year BA Fine Artist, will be presenting a hands-on workshop in the Craft Fair section on the night – juxtaposing Grayson Perry’s penchant for alter egos and the Museum’s ancient Egyptian artefacts by teaching people how to make transvestite mummy dolls. The BA Textile course is also presenting a project in the craft fair – teaching people the skill of pom pom making and getting them to hang them on the ‘pom pom tree’ in the middle of the Museum’s Great Court.Moving into the surrounding galleries of the Museum, Jessica Piddock, studying for a PG Diploma & MA in Fine Art, will be creating ‘Dreamscape’ in room 4 - an interactive installation where visitors can write their dreams and wishes on paper and add them to the undulating waves of the paper sea of wishes. Also, wandering you around the galleries you may encounter BA Fine Art students William Phong-Ly and Neba Khodyer’s Modern Pilgrimage. Taking the themes of traditional religious pilgrimages from Perry’s exhibition, the pair have curated a pilgrimage around the museum in which you can dress in authentic pilgrim clothing and make a badge as a souvenir of the journey.The event is completely free and alongside the projects from LCC students there will be a whole host of other activities going on – including a bar, a silent disco and a 2-for-1 student ticket offer to see the Grayson Perry exhibition. More details can be found on the UAL Platform website (hyperlink __ [|www.suarts.org/bm] __), on facebook (__ [|http://www.facebook.com/#!/event.php?eid=294249160604854] __) and on twitter using the #graysonperrylate hash ||  ||= [|Viewing Stations: new work by Edward Chell] ||   ||
 * On the 11th November, UAL students will take over the British Museum, the UK’s biggest tourist attraction and second largest Museum in the world, for one exciting night only.
 * ||  || [[image:http://gallery.mailchimp.com/6eebc58eb13697d94bec3139b/images/16976437909_TJxWW.jpg width="480" height="592" align="center" caption="Conium maculatum" link="http://www.edwardchell.com/"]]

Tank Gallery, South East London Private View: 10th November 6.30-9.30pm Exhibition: 11th-26th November 2011

In this solo exhibition, Edward Chell investigates the landscape and flora of the motorway verge, exploring ideas about place, time and travel through oil paintings, customised road signage, digital prints and painted works on gesso panels.

The Viewing Station, described by the Rev William Gilpin in his British tour guides of the 1780s, was a precise location from which tourists could contemplate landscapes that conformed to the picturesque ideal of beauty. Gilpin’s guides, coinciding with the construction of new roads and development of commerce, fuelled the growth of tourism, encouraging people to visit areas of Britain previously regarded as wildernesses; non-places, devoid of aesthetic value.

‘Viewing Stations’ reconfigures the idea of a still place at the roadside from which a view is contemplated. Today’s countryside has been cultivated to the extent that uncontrolled wilderness only springs up in the margins of our road and rail networks and the semi-derelict grid plans of industrialised corridors. Chell draws out the complexities and contradictions involved in our encounters with contemporary wilderness spaces, developing imaginative links between the macro-world of signs, travel and commerce and the micro-landscapes of the Edgeland environments immediately adjacent.

These Edgelands invite a new kind of tourist, new ways of looking and new forms of visual representation. This project evokes the complex nature of our responses as we move through and around these fluid spaces. This is the very landscape we access by car, pollute and litter, and, through our car window, call a kind of home.

Edward Chell is represented by Galerie Bugdahn und Kaimer, Düsseldorf. His recent projects include ‘Gran Tourismo’ at Little Chef Ings, supported by Grizedale Arts, and work commissioned by Stour Valley Arts, Kent and The Swedenborg Society, supported by Arts Council England.

Chell is co-editing a book about motorway environments In The Company of Ghosts; the Poetics of the Motorway, to be published by erbacce-press next spring. Contributors include Iain Sinclair, Clio Barnard, Joe Moran, Cornford & Cross and Dr Malcolm Andrews. There will be a launch and reading at The Poetry Library on London’s South Bank.

For images and further details please see __@http://www.edwardchell.com/__ Gallery open: Wed – Fri, 3 – 6pm; Sat & Sun, 1 – 6pm, and by appointment (admission free)

**Contact Aoife van Linden Tol** T: 00 44 (0) 7866 984 727, E: __info@tanklondon.co.uk__, __[|www.tanklondon.co.uk]__, Facebook: Tank London **Tank**, The Ladywell Tavern, 80 Ladywell Rd, SE13 7HS ||  ||   ||   ||





**The Delfina Foundation cordially invites you to:** 14 Proper Nouns

With Hassan Khan and Nida Ghouse 21 October - 3 November 2011 19:00 - 20:30

//14 Proper Nouns// draws on a set of references from Hassan Khan’s seminal work //17 and in AUC//.

In 2003, Khan constructed a soundproofed one-way-mirrored room in which he sat for four hours every night over two consecutive weeks. Drinking beer and smoking cigarettes he spoke to an audience he could neither see nor hear about his undergraduate years in the early nineties at the American University in Cairo.

Every night, starting from 21 October 2011, and running for two weeks till 3 November, one reference or 'proper noun' from the transcriptions of this 56-hour performative action will serve as subject matter for a discussion between the artist and Nida Ghouse.

Attendance will be limited. Strictly RSVP at rsvp@delfinafoundation.com //14 Proper Nouns// will be at Delfina Foundation, 29 Catherine Place, London SW1E 6DY

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Friday 21 October: **Funhouse** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">a year in the house of bliss and loss

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Saturday 22 October: **Yassin El Tohamy** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">the munshid who made philosophical poetry as popular as coca-cola

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Sunday 23 October: **Egyptian TV** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">strategies learnt from the world's worst television

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Monday 24 October: **Pulmolar** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">a cough syrup that bent streets and made asphalt soft

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Tuesday 25 October: **John Cage** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">the tapes that came after reading silence

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Wednesday 26 October: **Attar** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">daily breakdowns at the theater workshop

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Thursday 27 October: **Midan Ramsis** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">paranoia and ecstasy with the crowd

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Friday 28 October: **Hendrix** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">a guitar becomes something else

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Saturday 29 October: **JC Auditorium** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">auteur cinema and the incredible power of the living moving face

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Sunday 30 October: **William Blake** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">how hell was made dense

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Monday 31 October: **Ard El Golf** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">making noise in bedrooms and on rooftops

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Tuesday 1 November: **Sherif** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">a friendship forged through a shifting lens

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Wednesday 2 November: **Cairo Atelier** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">the haunt of the corrupt intellectual

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Thursday 3 November: **English Literature** <span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">a university department with a seminar room

<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;">Nida Ghouse is the first recipient of the DELFINA-FICA Research Fellowship, in partnership: <span style="font-family: Arial,Helvetica,sans-serif;">

<span style="font-family: Arial,Helvetica,sans-serif; font-size: medium;">On 20 October at 18:30 Hassan Khan will also present his latest music and text performance //A short story based on a distant memory with a long musical interlude// at the Showroom 63 Penfold Street, London NW8

<span style="font-family: Arial,Helvetica,sans-serif; font-size: medium;">More information: www.delfinafoundation.com

The Delfina Foundation 29 Catherine Place London SW1E 6DY - United Kingdom tel: +44 (0) 207 233 5344 email: info@delfinafoundation.com

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt;"> **Hockney’s** **Contemporaries** <span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt;"> His contemporaries and the art scene in which h is talent developed. <span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt; line-height: 15px;">**Linbury Room, Dulwich Picture Gallery, 10.30-11.30am**

<span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**The New Generation:**

<span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Young Art in 1960s London**

<span style="color: #c00000; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Wednesday 2 November**

<span style="color: #2e8a5c; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Mel Gooding art critic and writer**

<span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Hockney’s American Contemporaries**

<span style="color: #c00000; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Wednesday 16 November**

<span style="color: #2e8a5c; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Alex Seago** **Professor, Richmond, The**

<span style="color: #2e8a5c; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**American International University in London**

<span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Hockney’s British Female Contemporaries**

<span style="color: #c00000; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Wednesday 30 November**

<span style="color: #2e8a5c; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Sue Tate Senior Lecturer University**

<span style="color: #2e8a5c; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**of the West of England**

<span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Series of 3 £25, £20 Friends** <span style="color: windowtext; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Single lecture £10, Friends £8**

<span style="color: #2d0606; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Tickets at the Friends’ Desk in Dulwich Picture Gallery or for credit cards call 020 8299 8750**

<span style="color: #2d0606; font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">**Mon to Fri 10am-4pm or leave a message.**