Victory press is a small publisher & printer. We print using a Risograph RZ570 digital duplicator with 10 colours. We publish limited edition artist books and print editions using various print methods.Read more..
Victory press is a small publisher & printer. We print using a Risograph RZ570 digital duplicator with ten colours. We publish limited edition artist books and print editions using various print methods.
Risograph printing is a vibrant and economical method of producing anything from books to artist prints. It sits in the realm somewhere between screen print and offset lithography but with a unique aesthetic.
We can print on most uncoated papers. We only have a limited range of stock and order in for most big jobs. We would prefer to test the stock you have in mind first. As soy ink can struggle to dry on certain stocks. We can also print on envelopes
As the complexity of all print jobs vary we have no rigid price list, we quote based on each job individually. We are happy to provide you with quote, Please email with the following specified: Description, number of colours, quantity, intended paper weight, paper size.
Background image: Tom Edwards, Nine Tales, 4 & 5 colour Riso, 285 X 390mm. Edition of 100
Enclave 9 new tenant: Call & Response
Call & Response has a new home! We have just installed our 13.1 speaker system in our new gallery space at Enclave in Deptford, South London. We will be opening on 26th September as part of Deptford X launch night [...]Read more..
We have just installed our 13.1 speaker system in our new gallery space at Enclave in Deptford, South London. We will be opening on 26th September as part of Deptford X launch night
In conjunction with the opening of our new space at Enclave in Deptford, Call & Response will present a rolling programme of multichannel sound works for Deptford X and Art Licks Weekend. In 13 channel audio, C&R will audition pieces by Robert Van Heumen, Michael J Schumacher, Ralph Steinbruchel, Jacob Kirkegaard, Freida Abtan, Tom Slater, Jeremy Keenan, Nabil Ahmed and Matt Lewis.
Call & Response is an independent sonic arts collective, serving as a focus for sound arts practice in London. Our aim is to provide an artist run space for the exhibition and performance of sonic artworks, reflecting the emerging interest in the use of the auditory in contemporary art.
C&R will help artists develop their practice, providing high quality technical resources as well as education and training opportunities. We aim to critically engage with audiences by exploring different modes of participation through workshops, lectures, symposia and publications.
Through building and supporting a community of practitioners both within the UK and internationally, we aim to host the creation of new work and the exchange of ideas, and create alliances with similar project spaces, institutions and artists.
Curators: Jeremy Keenan / Matt Lewis / Nabil Ahmed / Tom Slater
Daryl Brown – I See SilhouettesResidency: 1 November to 27 November. Exhibition: 29 November to 20 December.
Daryl Brown’s sculptures combine an eclectic range of materials and form with a process that is as playful as it is considered. Immersed in a pursuit of process and metamorphosis of materials the work bears the scars of the making. Built up over time from an accumulation of materials, the detritus of his landscape fuse with more traditional materials to form dualistic forms. Spatially involving, and founded in a formal approach, the objects strive for gravitas while almost careering into ruin.Read more..
Autumn Artist in Residence 2014
Private View: Friday, 28 November, 6-9.30pm
Residency: Saturday 1 November to Thursday 27 November
Exhibition Dates: 29 November to 20 December, Thursday to Saturday, 12.30-5.30pm
As a sculpture, the constituent factors to consider are material, time, space, and gravity.
The demarcation of space is intrinsic to how we navigate our way through life.
Draw a line on a page.
A few months ago I was working on a piece (it was to become Hummingbird), a sort of biomorphic blob, made from angled ply, built upon a cross-section structure. It wasn’t going well, and I was starting to consider it a lost cause… the form wasn’t working and more than anything it seemed dismissive of the space in which it inhabited. It rejected space. After some while considering this, I realised if I was to use the central cross section as my starting point, I could imagine it as a grid expanding out of the piece into the surrounding space . From there I could choose points on this imaginary grid to build upon, growing the piece as different layers reached further out from the central core. Space began to occupy areas of the sculpture, as the sculpture claimed fragmented areas of its own. Space became the crucial component and I was plotting my way through it like a cartographer.
When considering my residency with Lubomirov-Easton, my primary interest is in how my work can be used to explore the space. I see the display-case-like gallery as a single pixel of space into which I will impart a vector field. Over the course of my stay I will attempt to pull out these vectors, to twist and divide the space through sculptural intervention. I aim to create an immersive environment that exposes a relationship to space and material, while referencing our ever increasing engagement with the digital space.
List of references:
TV static, window grills, plastic, SNES, N64, PS One, fishing wire, neon lights, traffic lights, tower blocks at night, pixels, 8-bit, 16-bit graphics, concrete, water, green bin bag in a grey bin, cardboard, VHS tapes, steel, geometry, walking, corridors, cycling, railings, laser beams, trees, wood, bandsaw blades, arcades, a church I saw once on the TV, memory, the equalizer on my best friend’s old HiFi, climbing the stairs, things I read, things I see, things I do, the space in which I live, the space I imagine.
]performance s p a c e [
Fabiola Paz: Within Moments of Reach (2nd iteration of: Of What Remains) 28th November – 3rd December (open daily 12:00 – 18:00) Over three consecutive nights Of What Remains unfolded in the hours of darkness and in the abscence of [...]Read more..
Fabiola Paz: Within Moments of Reach (2nd iteration of: Of What Remains)
28th November – 3rd December (open daily 12:00 – 18:00)
Over three consecutive nights Of What Remains unfolded in the hours of darkness and in the abscence of invited guests through acts of dispersion and aggregation. The final iteration of the work will take the form of Within Moments of Reach: an exhibition of pinhole photographs animated by a conversational encounter with the artist.
The work will unfold as a de(a)scending series of interwoven segments. These filaments will loop a reversible journey of actions, a pilgrimage of gestures. The offer and invitation is to attend to the unravelling of (im)personal histories, of an enquiry into the affective threads of things that remain between us, still, changing…
Fabiola’s art practice is about the political power of a body in transition, it’s an inquiry into the scars of displacement. Her practice is intrinsically autobiographical formulating a highly diverse and very organic methodology; ranging in media from drawing, to object making, and video to performance. Her work has also been presented at the National Review of Live Art in Glasgow’s Tramway and FIX07 in Belfast, as well as AMA festival in Majorca (Spain) and Rifrazioni in Anzio (Italy).
Third Text is a highly-regarded bi-monthly journal offering critical perspectives on art and culture.
Third Text has established its key position at the critical interface of contemporary art practice and theory with specific focus on the impact of ‘globalization’. In its twenty-six year history the journal has created an archive of knowledge production to benefit artists, researchers and art historians worldwide.
Third Text took a pioneering interest in the exclusionary zones of ‘centre’ and ‘periphery’ and challenged Eurocentric and ethnocentric notions inherent to aesthetic criteria that marginalized or neglected the work of culturally diverse contemporary artists. The journal moved on to develop its postcolonial discourse in the direction of institutional critique, and it now seeks to address the complex cultural realities that are emerging and competing for recognition in the globalized artworld.
The crucial issue today is the critical appraisal of contemporary art in the context of this globalized artworld, without a centre, and yet one where the spectre of neocolonialism is ever present. What are the commercial and institutional forces that are shaping art history today? Who is deciding on the present ‘value’ of art and for which audience?
Third Text has adapted its goals to the changing conditions of the global artworld but its fundamental aim remains the advancement of contemporary art practice in the context of of the art market and institutional forces that obstruct a truly critical perspective on the reception and evaluation of art.
Third Text has been instrumental in launching a series of independent art journals: Third Text Asia in Pakistan; Third Text Africa in South Africa, Tercer Texto in Peru, and the forthcoming Terceiro Texto in Brazil. Third Text has also published numerous books on art, under its former Kala Press and current Third Text Publications imprints, and is planning further publications.
Six issues are published annually, online and in print by Routledge, Taylor & Francis, UK. The journal invites contributions to its special and general issues.
Otto Placht, Energia Prima PREVIEW 28th November 6-10pm A free spirit spontaneously wandering from Prague to Amazonia and back, Otto Placht is often referred to as a painter of the jungle or a painter of ayahuasca. But he is first [...]Read more..
Otto Placht, Energia Prima
PREVIEW 28th November 6-10pm
A free spirit spontaneously wandering from Prague to Amazonia and back, Otto Placht is often referred to as a painter of the jungle or a painter of ayahuasca. But he is first and foremost a seeker astride two cultures and two realities, unwilling or unable to choose just one. Much like his monumental canvases, his journeys are transformative and remain forever on-going.
“Fear of pain, love, death, immortality, self-awareness, lifelong confinement of inhumanity, of vaulting eternity. It dawned. A plane of blue and black that I don’t see. What is it? It´s black, it´s alive, only truth is white. The most tender picking of head lice.
I have already mentioned it. Ayahuasca is death, knowledge, a stigma of life, balance. A potion from the river of lights. A state of mind chilled in recognizable peace after enduring insanity. Weeks of rainforest solitude where the collapse of time breaks down the technological maturity of the higher species of human uniformity.
And the wind will bring a flow of rain.”
Placht first travelled to Peru in 1993 after having exhibited in Miami alongside a Peruvian shaman, Pablo Amaringo. Intrigued by the mystical dimension of Amaringo´s drawings, he visited him in Pucallpa and later built a house and started a family in San Francisco, a Shipibo tribal village in the jungle. Like a long line of European painters before him, he was seeking inspiration in unknown lands, but it is Placht’s sensitivity, childlike curiosity and immense artistic talent that have enabled him to develop an exceptionally authentic approach to the creative process that raises his work far beyond the realm of mere exoticism. While his large scale paintings remain semi-abstract and symbolic, it is the smaller diary drawings and aquarelles of everyday life in the village that reveal both his skills of observation and of painting.
Distinctive in their style, format and hue, Placht´s paintings form an integrated vision of the artist´s personal experience of the Peruvian Amazonian culture and spirituality, and of the ecosystem of the “madre selva”. They possess an immediate disturbing vitality evocative of the jungle – the trees, flowers and seeds of which are used to produce them – and the general chaos of life that can only occasionally be balanced.
Otto Placht draws a large part of his creative energy and inspiration from shamanic rituals and trance states which he experienced among the Shipibo tribe and under the influence of ayahuasca, the sacred hallucinogenic brew. He also refers to the Shipibo fractal-like patterns use on textiles and ceramics. With their flamboyant colours and multitudes of shapes, structures, plants, figures and strange creatures of the jungle, Placht´s canvases hold their own hallucinatory quality. They are part memory, part vision, half open doors to new perceptions for the un-initiated.
Otto Placht (*1962) studied at the Academy of Fine Arts in Prague, Czech Republic. He began as an expressive painter in the 1980s, and was considered one of the biggest talents of his generation. From his Central European roots he draws his relationship towards symbolism, mystical decadence, surrealistic expression and new figural painting. In 1993 he visited Peru for the first time and has been returning ever since transforming his first-hand knowledge and personal experience into striking works of art distinctive in their style and creative energy inspired by shamanic rituals of the Shipibo tribe. He is also engaged in studying and protecting the ecological structure of the Amazonian rainforest. Otto Placht has exhibited widely and taught painting in the Czech Republic and Latin America.
Otto Placht‘s first ever London show will open in Divus London from November 28 until January 24, 2015. For the occasion, the artist will create a site specific work.
Private view on Friday November 28 at 6pm at Divus.
ENCLAVE GALLERY: LUX13 ‘How does the group function?’
Preview Friday October 31st 2014, 6pm til late Exhibition continues to November 22nd open Wed-Sat12-6pm Enclave, Resolution Way, London SE8 4NT www.LUX13criticalforum.wordpress.com www.LUX.org.uk LUX13: Katriona Beales / Giles Bunch / Jackie Castellano / Sarah Filmer / Katherine Fishman / Patrick [...]Read more..
LUX13: Katriona Beales / Giles Bunch / Jackie Castellano / Sarah Filmer / Katherine Fishman / Patrick Goddard / Christopher Matthews / Katharine Meynell / Kim L Pace / Samuel Playford-Greenwell / collectif_fact (Annelore Schneider & Claude Piguet) / Vanessa Scully / Nicola Stephanie / Neasa Terry /
Special LUX13 events at Enclave:
Nov 14th 6-8pm LUX13 publication launch and performance night
Nov 15th 12-6pm Artist day – drop in and meet the LUX13 artists
How Does The Group Function? is the first exhibition by LUX13 Critical Forum and consists of new work by 14 artists, including multi-channel video installations, sculptural moving image works and digital prints. The exhibition is accompanied by a publication of artists pages and a DVD – part process notes and part artworks, it acts as an account of some aspects of the year the LUX13 group have spent together.
LUX13 Critical Forum was formed initially as a monthly discussion group for artists who work with the moving image, to talk about ideas and practice in a mutually supportive environment and in dialogue with LUX. The group comprises 15 artists, working with a range of ideas and themes, within multiple social and cultural contexts.
Off-site screening programme
Earlier this year, each of the LUX13 members made a three minute film in response to a phrase or word provided by another person in the group. These films were screened at Arcadia Missa, London (Jun 2014), Millenium New York City (Sep 2014) and at Castlefield Gallery (Oct 2014). To accompany How Does the Group Function? LUX13 have programmed three additional off-site screenings with new collaborations:
November 3rd / 7pm / LUX13, part of Southampton Film Week / Sonar Cinema, Solent University
November 6th / 7pm / LUX13 and Film Material Soup / Trinity Laban, London SE8 3DZ
November 21st / 7pm / LUX13 with the Glasgow and Dublin LUX groups. Trinity Laban, London SE8 3DZ
The LUX13 exhibition and publication have been made possible by support from Arts Council England.
French cinema: Niki de Saint Phalle & Martial Raysse
Screenings: Saturday 1 November 5 pm Thursday 13 November 7 pm Saturday 15 November 5 pm Saturday 15 November 7 pm Wednesday 19 November 7 pm Saturday 22 November 5 pm Entrance is free but booking is required. Register on notw.eventbrite.com or text on 07985 [...]Read more..
Saturday 1 November 5 pm Thursday 13 November 7 pm Saturday 15 November 5 pm Saturday 15 November 7 pm Wednesday 19 November 7 pm Saturday 22 November 5 pm
Entrance is free but booking is required.
Register on notw.eventbrite.com or text on 07985 318 230
News of the world is presenting six screenings of feature films, rarely seen in the UK, by two major French artists: Un reve plus long que la nuit by Niki de Saint Phalle (1976) and Le Grand Depart by Martial Raysse (1972).
Both films are fables of sort, dark quests and symbolic journeys. Un reve plus long que la nuit tells the fairy tale of a girl named Camelia. As tarot cards are laid down for her, she discovers her fate: “the Hermit is the role you have to play”, a wanderer in search of a spiritual treasure. She encounters mythical creatures, a Dragon, Bird-man, and other fantastical figures. When a witch grants her wish to be transformed into a grown-up, her voyage continues, darker and more violent, with Death ever-present. Shot outside Paris in the summer of 1975, the film is a both highly collaborative and intensely personal work, with Jean Tinguely of course, her daughter Laura in the title role, and also artists and friends such as Daniel Spoerri, Peter Whitehead, Eva Aeppli and Andrée Putman.
Le Grand Depart is the only feature film directed by painter and sculptor Martial Raysse. Following a masked cat (reminiscent of the Puss in Boots story, the fairy-tale of social mobility), we set off on a trip punctuated with muggings, free love and casual crime, to the bucolic setting of a commune led by a Mr Nature (Sterling Hayden). The guru announces that the time has come, and takes his followers onto the raft of freedom, for the ultimate voyage. Scenes in negative exposure and superimpositions create a paroxysmal universe where death and the miracle of existence are entangled to saturation. Shot in 1971, with little compromise to the conventions of cinema, the film corresponds to a period when the artist dropped out of the art scene in reaction to its commercialism.
I am hoping that these screenings will not only provide an opportunity to delve deeper into the immersive worlds of two artists better known for their paintings, sculptures and installations, but that they might suggest a counterpoint to our times of austerity of the imagination and parsimony of dream.
Niki de Saint Phalle screenings courtesy of Niki Charitable Art Foundation (image copyright: Laurent Condominas).
Martial Raysse screenings courtesy of galerie Kamel Mennour.
With grateful thanks to Bloum Cardenas, Jana Shenefield, Laurent Condominas and Kamel Mennour.
news of the world SPACE: 50 Resolution Way, London SE8 4NT TEXT: 07851 318 230 EMAIL: firstname.lastname@example.org
Getting there from London Bridge, platform 1/4, 1 stop to Deptford. From East London, Overground to New Cross.
//WHAT'S ON/// YEARBOOK 01 handmade edition and exhibition with works by Rhona Byrne / Rachael Champion / Joey Holder / Toby Huddlestone / Kristin Luke / Luke McCreadie / Rachel Pimm / Barry Sykes / Francis Thorburn / Martin Westwood Download YEARBOOK 01 information pack here. YEARBOOK 01 is a collectible hand-bound portfolio containing original works by ten invited artists. Each YEARBOOK contains a double-page spread handmade directly into the book by each of the ten contributing artists, making every book unique. YEARBOOK 01 is in an edition of 25 books only. Produced by Enclave, 2014. Sleeve and cover design by Ditto. More info...
Project space available at Enclave
From June 1st 2015 a project space will be available for rent within the Enclave infrastructure. This is an opportunity for ambitious individuals/groups of artists/curators running public contemporary art programmes to have a long term project space in the supportive environment of Enclave alongside a group of exciting peers.
Enclave is made up of the Enclave Gallery, the Machine Party club room, Enclave Guest Projects and seven independent project spaces currently including – news of the world (The Centre of Attention), Divus London, Third Text, ]performance s p a c e[, Lubomirov-Easton and Victory Press. Past project spaces have included Curatorial Timeshare, Anarch and ATOI&CULL.
For more information on how to apply, for rates and general enquiries, email email@example.com with “Enclave Project Space” as the subject header. There is no specific deadline, however, interested parties are advised to apply as soon as possible (NB applications for artist studios will not be accepted).
Download - Project Space Application pack.
Enclave MACHINE PARTY
MACHINE PARTY is the clubroom and command-centre for Enclave operations, it is a flexible infrastructure/hangout with exhibition and performance space, Enclave’s curatorial office, communal working/meeting space, future artist residency module, pop-up charity fundraising speakeasy bar… plus free wifi and cheap coffee.
MACHINE PARTY is available for hire for parties and one off events. Contact us for info and rates.
YEARBOOK 01 – handmade editionPreview November 28th 2014
Rhona Byrne / Rachael Champion / Joey Holder / Toby Huddlestone / Kristin Luke / Luke McCreadie / Rachel Pimm / Barry Sykes / Francis Thorburn / Martin Westwood /
Performances from 8pm:
Luke McCreadie ‘Finding Epstein’s Adam’s shoulders in the loft’
Barry Sykes ‘Quality Time: Terms and Conditions’Read more..
Rhona Byrne / Rachael Champion / Joey Holder / Toby Huddlestone / Kristin Luke / Luke McCreadie / Rachel Pimm / Barry Sykes / Francis Thorburn / Martin Westwood /
Exhibition continues to Dec 20th open Wed-Sat12-6pm
+ in January the show will be open Fridays 12-6pm or by appointment
YEARBOOK 01 is an edition of 25 hand-bound portfolios compiled of original artworks by ten invited artists. Curated by Lucy A. Sames.
YEARBOOK 01 is hand-stitched with woodside card stock, bookcloth and archival paper. 20pp, 297mm x 420mm in a bespoke embroidered recycled fabric sleeve. Edition of 25. Sleeve and cover design by Ditto Press.
YEARBOOK 01 contents:
pp.1-2 Joey Holder ’SITE-25′, http://to.be/fields/27W_EI < – - >http://to.be/fields/L0NN5x
pp. 3-4 Rachel Pimm ’Cellular Architecture Karyotype’. Colour laser prints, acetate, glue dots
pp. 5-6 Luke McCreadie ’Do Sculptures Think Thoughts of Sculpture?’ Felt and laminated paper collage
pp. 7-8 Kristin Luke ’Book Cover’. Embossed handmade Khadi paper
pp. 9-10 Toby Huddlestone ’Template for Proposal (Tate Modern)’. Pencil drawing and acrylic
pp. 11-12 Rachael Champion ’Fatbergs and Rumble Strips’. Ink jet cut out collage with archival adhesive
pp. 13-14 Rhona Byrne ’Found Cards (2012-14)’. Photographic series
pp. 15-16 Barry Sykes ‘Quality Time’. Pencil on paper with printed terms and conditions
pp. 17-18 Francis Thorburn ‘Roll Play’. Photographic series
pp. 19-20 Martin Westwood, ‘Proposal for Monotactile Sculpture in Encapsulated Crawl Space’. Inkjet and two identical pages from a contemporary ‘fashion magazine’ on paper.
YEARBOOK 01 is a fundraising venture for Enclave’s gallery programme. The edition will be available to buy from Enclave at the launch, during the exhibition, online or by appointment. Email firstname.lastname@example.org to arrange a viewing.
YEARBOOK 01 has been made possible by the generosity of the artists who have given their time in exchange for an edition, by the financial support of Anthony Gross of temporarycontemporary, and by the hard work of Karina Hanney Marrero.
ENCLAVE GALLERY: Yearbook / Publication Launch and Exhibition
Preview November 28th 6pm till late, open Wed-Sat 12-6pm.
Rhona Byrne / Rachael Champion / Joey Holder / Toby Huddlestone / Kristin Luke / Luke McCreadie / Rachel Pimm / Barry Sykes / Francis Thorburn / Martin Westwood edition launch and exhibition. Curated by Lucy A. Sames, sleeve design by Ditto Press.
Yearbook is an edition of 25 hand-bound portfolios compiled from original artworks by ten invited artists. Yearbook launches with an exhibition of works by the participating artists that expand on their contributions to the book. Yearbook is hand-stitched with woodside card stock, filmoplast bookcloth and archival paper. 20pp, 297mm x 420mm. Edition of 25.
The edition will be available to buy from Enclave at the launch, during the exhibition, online or by appointment. Email email@example.com to arrange a viewing.