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
Runnin Down a Dream DJ Roberts7th January- 15th February
OCCUPY MY TIME GALLERY PRESENTS RUNNIN’ DOWN A DREAM DJ ROBERTS Private View Tuesday 7th January 6.00pm-9.00pm Exhibition continues until 15th February SLAM Evening 31st January 6.00-9.00pm The suburbs have always fascinated D J Roberts. More varied and surprising than you think, [...]Read more..
OCCUPY MY TIME GALLERY
RUNNIN’ DOWN A DREAM
Private View Tuesday 7th January 6.00pm-9.00pm
Exhibition continues until 15th February
SLAM Evening 31st January 6.00-9.00pm
The suburbs have always fascinated D J Roberts. More varied and surprising than you think, they are a breeding ground for fantasy and anticipation, for dreams fulfilled and dreams yet to be explored. And their mix of the aspirational, the enigmatic and the downright odd encourages a response more than usually conditioned by our state of mind, by what we have seen and experienced elsewhere.
D J Roberts is a graduate of Central Saint Martins College of Art and Design, London. Solo exhibitions include Half built edges, Point Blank andWhat Is It About The Place, Lounge Gallery. Group exhibitions include New York Art Book Fair, MoMA PSI; The Things of Life, Flowers Kingsland Road; Crash, Charlie Dutton Gallery; Temples 2 the Domestic, Clifford Chance; Moral Plinth, Beaconsfield; Contemporary British Painting Pt 1, Hastings Museum and Art Gallery; Mostyn 15 and 13, Oriel Mostyn Gallery and the Jerwood Drawing Prize, Jerwood Space and tour. Over the next four months his neon installation I’m in love with the modern world will form part of the London Borough of Waltham Forest’s public art initiative for the development of Walthamstow Town Centre.
D J Roberts would like to thank James Brooks, Sebastian Sharples and Nick Malyon for their assistance in the preparation of the show.
OCCUPY MY TIME GALLERY
Director Sue Cohen Enclave
9 Resolution Way Deptford SE8 4AL
Contact Sue Cohen for further details at email@example.com Tel: 07931 536327
Open Wed – Sat : 10am – 5pm
Nearest Train Station: Deptford: Overground. Deptford Bridge: DLR New Cross: London Overground. Bus: 188, 47, 199
Dust – Lee Maelzer28 February - 19 April
Private View: Friday 28 March, 6-9.30pm
Exhibition Dates: 28 February – 19 April, Thursday to Saturday, 12.30-5.30pm
The London-based artist is well known for putting used things and redundant sites to poetic purpose on canvas. Maelzer remains interested in the significance of matter and site to the common experiences and signature rituals that connect us.Read more..
Private View: Friday 28 March, 6-9.30pm
Exhibition Dates: 28 February – 19 April, Thursday to Saturday, 12.30-5.30pm
The London-based artist is well known for putting used things and redundant sites to poetic purpose on canvas. Maelzer remains interested in the significance of matter and site to the common experiences and signature rituals that connect us.
The large skies and eerie horizons of earlier works encouraged one to linger in a cinematic twilight, contemplating the curious stylistics of the frozen image that can imbue the everyday with melancholy or wring a creepiness from the most mundane of details. With the latest body of paintings, Maelzer tinkers evermore cannily with the thresholds between painted and printed surface; image and scape. The eye requires adjustment time to make sense of pathologically observed auto-focused details, or slight, seductively described states of dematerialisation.
As the title of this exhibition, DUST, implies, she has become increasingly drawn to the glitches, the image anomalies sometimes inherent within the print, though more recently of her own making, that lift generic photos (familiar scenes or evidence of life’s repetitive markers) out of the mass archival soup.
She uses the compositional constructs at her disposal – as much from the history of painting as film-making and photography – in ways that speak of the power and the failings of words to describe emotional responses to things and places. The perfunctory scene often forms the structural basis for her investigation into the shape and significance of memories. Though her works often appear faithful to the observation of real places her allegiance is not with the pursuit of visual truth, but to the altered states of time capture – those trapped in photographs or in the mind itself.
Maelzer’s current mode of image de/reconstruction (whether of those found or framed by the lens of her own camera), might be described as creative sabotage for she exposes photographic surfaces to acidic chemicals — as if to stress-test the pictorial composition, perhaps, or excavate the material and associative layers contained. This curiously destructive yet ultimately useful approach — and the beautiful banality of the results — help one to situate Maelzer’s concerns amongst those that dog other painters of the mediated image. Where Gerhard Richter has sought to highlight the glossy, corruptible skin of images to frame the Wizard of Oz mechanisms of the media, for example, Maelzer implicates herself within the ruse – of where one form of representation ends and another begins – communicating the difficulties of processing data in a decontextualised image culture. Her effervescent treatment of the source proves to be both the undoing and the salvation of the content: a seltzer dissolution of the ordinary that serves to subtly loosen photography’s technological hold over how it was and the wider brass-eye significance of the medium to recent history. Each image appears styled as if by the selective processes of archiving experience to memory. Maelzer slips in and out of painterly techniques and compositional devices as if in search of what painting from life means in an era lived, to an increasing extent, on screen.
Wilhelm Sasnal is, perhaps, a more closely related contemporary, not in terms of his visual vernacular but the desire to get amongst the time-based atoms of images and interpret the experience through paint. Amongst the many poetic revelations of Maelzer’s notes (a veritable love letter to research) sparkle two footnotes of particular relevance to this reductionist position. The first describes her childhood fascination for magazine pages: their high-colour irreality prompting exploration of the image surface, a desire to rub away the synthetic top layer beneath which Maelzer felt sure lurked evidence of a life she could relate to.
Where the aesthetic strategies of Richter and Sasnal often engage the viewer’s emotional response in the manner of a controlled experiment, affording one the necessary analytical distance from the image and its primary context, Maelzer makes one believe that each site rendered, no matter how ruined, is of explicit personal importance to someone, if not herself. This is to some extent set in motion by the tenderness of her paint application: rendered as if the last recorded mental snapshot of a life cut short by a road accident. However green Maelzer’s paintings might become they are essentially cut from the grubby fabric of everyday London life: hidden details, sites between purpose or buildings overgrown, temporarily lost from view or razed to the ground and reorganised into piles of matter. Verdigris could not be described this way, detritus captured so hauntingly without an intimate personal knowledge of the city.
But one should not underestimate the impact of Maelzer’s ability to blur the boundaries between the practical necessities of craft, in terms of constructing an image of ‘real’ life, and the technological or acid-induced quirks of the original. Maelzer is acutely aware of the particular effect that representations of the real, reconfigured by hand, have on the viewer. And, the communicative possibilities of the medium as a material link between the past and the present. How a smudgy swatch of an indescribable grey, or a flurry of marks might open an associative portal connecting, say, the light of Lynch’s America on film with the full-fat austerity of Morandi’s object studies; the cellular spread of Corot’s foliage with the voyeuristic eye of contemporary urban TV drama.
Text by Rebecca Geldard
Curated by Iavor Lubomirov and Bella Easton.
The Groundnut (residency)
The Groundnut are in residence at Enclave for seven months until July 31st 2014.
*Please note Curatorial Timeshare have now left Enclave*Read more..
The Groundnut is a London-based partnership involving Folayemi Brown, Duval Timothy, and Jacob Fodio Todd. We organise events, and produce innovative physical and digital content concerning our mutual interests, specifically revolving around food. We all have mixed African and European heritage and this greatly influences what we do.
The Groundnut are in residency at Enclave until July 31st 2014.
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.
DIVUS London – ‘Kit Shrines’ Hiroe Komai, Neil Zakiewicz29/03/2014 - 19/04/2014
Both Komai and Neil Zakiewicz take us back through 20th century art to the beginnings of modernism, to Constructivism, but these art references pause long around the 1960s and 70s. Both artists make art about the making of art. Both are witty.Read more..
Every time I visit Hiroe Komai’s studio I come out seeing the city with new eyes – the flimsiness of buildings,the odd details, the materials of which everything is made. Recently she has shifted from hearchitecture-inspired sculptures to casting small bronzes of objects in her studio. These have proved extremely popular, particularly with other artists. These are what are in this show.
Both Komai and Neil Zakiewicz take us back through 20th century art to the beginnings of modernism, to Constructivism, but these art references pause long around the 1960s and 1970s. Both artists make art about the making of art. Both are witty.
Zakiewicz’s pieces are of MDF and have hinged wings or flaps of various shapes which can fold down from the sides or from top or bottom. They are spray-painted with the flaps closed, but exhibited with them open, so that the holes and cut-outs in the flaps leave painted shapes on the section underneath. They are like irregularly shaped altarpieces, but downbeat, made with DIY materials. These works are in a tradition with other painters who have made art about the making of paintings. He likes materials and processes to be obvious, not concealed. Their ‘point’ is to reveal the actions which produced them. They ought to be dry but they are far from it. ‘In the end there has to be something to look at,’ he says, ‘something to contemplate,’ and their elegance and allusiveness results in great subtlety. Among the many things he tells me he likes are Tantric paintings – ‘because they have a function.’ He adds, ‘art has always had to do with religion, and really it still does, if it functions as a replacement for it, which I think it does.’ His work’s matter-of-fact approach leads to an idea of possibility.
Komai’s bronzes are casts of tools and other useful objects in her studio: G-clamps, elastic bands, a hammer and nail, Blu-Tack, rolls of tape, pencils, screwdrivers, scalpels. And as if taking us through the door of the studio, her doorstop. Mostly it is the things she has always used to make sculpture. They are exquisitely crafted – it is hard to believe that their colours are achieved with patination alone. The result is that the making of work itself becomes a subject of the work. And like Zakiewicz’s pieces they really bring with them a number of art-historical references, and beyond that, an idea of the devotion required to make art. She alludes to Mondrian in the boxes she makes to contain the sculptures, the floors of which use his colours: primaries, black and white. Like Zakiewicz’s, her work is funny. It has always relied on a comical contrast of the utopianism and idealism of de Stijl, Russian Constructivism and so on, and contemporary interior decor of the DIY type. But the comedy is wistful and her formal journey is also always towards the contemplative. It’s serious.
All the pieces in this show were made in part by someone else: Komai’s by a bronze caster, Zakiewicz’s by someone whose job it is to spray-paint furniture. But Zakiewicz makes his structures, Komai her moulds. And this collaboration, this giving of instructions, is also part of the work. In 1990 art theorist Michel Giroud wrote that, ‘since the beginning of the 20th century a huge upheaval has broken aesthetic comforts and established definitions, in favour of the beauty of the everyday.’ This is true, and relevant to Komai and Zakiewicz. But the art of the ‘everyday’ also has to deal with the history and nature of art, and where it can, with the things that art has always dealt with, with ideas about the world.
David Lillington, March 2014
ENCLAVE GUEST PROJECTS
NEXT: Barry Sykes, “It Must Be Told.”
COMING SOON: The Future of Art is UrbanRead more..
“It Must Be Told.”
Preview Friday 25th April
Installation continues 26th April – 24th May
Performances Friday 23rd & Saturday 24th May. FREE, booking essential
Courtesy Barry Sykes, 2014.
Enclave has invited artist Barry Sykes to adapt his performance lecture “It Must Be Told.” into a month-long installation in Guest Projects. Originally commissioned by Arnolfini, Bristol for ‘4 Days: Curtain Call’(2013) “It Must Be Told.” is a work-in-progress dramatisation of Sykes’ ongoing research into a long-running 1980s/1890s ghost play.
The gallery installation acts as an enigmatic display of this research to date and also the pretext and stage set for a series of talks delivered on the final weekend. Utilising stage directions, makeshift props, PowerPoint, model-making, footnotes, one acting lesson at RADA and 64 near-identical jpegs, Sykes walks us through his fascination with the mechanics of this relentlessly popular production. “It’s the repeated adverts that haunt the local press, the ongoing recasting decisions, the habits, the adjustments, the building that’s heard it recited 10,000 times and the regular-as-clockwork gasps of terror.”
“It Must Be Told.” also forms part of Sykes’ larger research project, ‘The International Hermit Conference’, a purposefully subjective and scattershot inquiry into the ambiguities of escape and immersion, looking at how we pursue singular ideas, relate to each other and retreat into architecture.
To conclude this exhibition, Sykes presents a weekend of three live performances of “It Must Be Told.”, each varying slightly due to rewrites, practice and human error:
The First Night: Friday 23rd May, 7pm
The Matinee: Saturday 24th May, 3pm
The End of The Run: Saturday 24th May, 7pm
The performance lasts 1hr. Book now to reserve your place.
Barry Sykes is an artist who works across a variety of different media, including sculpture, video, photography, installation, and performance, normally utilising basic or frugal materials and techniques. Often working in direct response to a particular situation, location or person, his practice explores the accommodation of error, quantifying experience, shortfall and absurdity.
Sykes is currently ICIA Artist in Residence 2013/14 at the University of Bath. Recent solo exhibitions include Recreate a Nervy Pistol? (An Early Retrospective), Plymouth Arts Centre, Plymouth, UK (2011); The Desperate Designer, Gallop, London (Part of the London Design Festival 2009) and I Was Born The Day Heidegger Died (But I Don’t Know Much About His Work), i-cabin, London (2008). Recent events have been presented at Kings ARI, Melbourne (2014); Arnolfini, Bristol (2013); Limoncello, London (2012); The Showroom, London (2012); Spike Island, Bristol (2012); Tate St Ives, Cornwall (2011); Tate Modern, London (2010) and the Immersive Vision Theatre, Plymouth (2011).
The Future of Art is Urban
Alexandra Baixinho | Dominika Blachnicka–Ciacek | Luca Damiani | Sara Faridamin |
Holly Gilbert | Katalin Halász | Felipe Palma | Harriet Smith | Philippa Thomas | Christian von Wissel
Urban game, talks and film screening June 13th 3-9pm
Michael Guggenheim | Bernd Kräftner | Nirmal Puwar | Alex Rhys-Taylor | Alison Rooke | Monica Sassatelli http://thefutureofartisurban.weebly.com/events.html
Curated by Katalin Halász
Artistic research practices and methods in social science
The Future of the Art is Urban blends the borders between art and social science. It presents a wide range of different social research practices in which knowledge is produced through artistic approaches. Participants use the city as a site for artistic research and experimentation; of confrontation and interaction. The exhibition discovers how visual researchers unfold and reveal the implicit aspects of the social in the urban space. Practices and processes of artful social research become alternative models of thinking and knowing.
Katalin Halász is an artist researcher based in London and Berlin. Her work revolves around the use of boundary-crossing strategies and the workings of affect and emotions in the performance of the everyday and in visual art practices. She is currently working on a practice-led PhD in visual sociology at Goldsmiths College, University of London and is a fellow at InterArt, Free University, Berlin. Her recent works include Rewolucja, an award winning experimental short film (2011); Freeing Up Shame, a risk-taking participatory performance first staged in Brazil in 2012; The Blush Machine, a multimedia performance installation shown in Bolivia in 2013; and the curatorial project Visualising Affect (2013).
Supported by Goldsmiths Annual Fund and Centre for Urban and Community Research, Goldsmiths
Gareth Chambers. Cereal re-edit (performance work)Friday 25 April 2014 at 7pm
Gareth Chambers Cereal re-edit (performance work) Friday 25 April 2014 at 7pm 8th August For a long time now, I was looking for a platform to project and expel myself. To Spucken. The days of fouetté and second positions are [...]Read more..
Cereal re-edit (performance work)
Friday 25 April 2014 at 7pm
For a long time now, I was looking for a platform to project and expel myself. To Spucken. The days of fouetté and second positions are dead to me now. They were becoming grey, they were just not relevant to me. Show me the colours, feelings and the lights.
I would wander down the hill towards the beach, always towards the beach. And gaze across the bay. Dreaming, imagining and planning.
I just had to do something.
So I danced. What a joy it is to dance and sing. I danced, I read the dusty books in the dusty Townhill library. And I loved.
Your dancing is joyful, but it won’t last. You dance a dance of love and hate. A dance of feeling. Your movement is angular, jerky but still graceful. Like a drunk Swan.
But you aren’t even that drunk, you are in ecstasy. But like I said before it won’t last.
So when you sneak home, catching the postman’s gaze and crawling into your bed. The bedroom in that smelly student house. Smile in your sleep.
Are they looking at you? That’s what you want isn’t it?
Thrust the hips
Wiggle the bum
Shake the head.
Gyrate to thin air.
Why do we feel shame when we are caught dancing around our living rooms by others? Who gives a fuck.
The discarded jumper on the floor, the slight gesture of the wrist and the tight blue jeans hanging in the cupboard all are doused in your scent. You are nameless, yet you are named. I enjoy watching you from the outside, I find pleasure in your manifestations, emphasise the MAN, Man!
The journey down to Swansea was smooth, the train quiet and I was at peace. The journey to Wales always sedates me.
The session went well, I stumbled and fell. But that is life.
Go into the fridge, pick up the nearest thing smear it on your body and throw it all over the room. Get that motherfucking carpet dirty. Get the sofa dirty, get your face dirty. Leave the house go to the Tescos and do it all again. Walk through the dirt and you will find yourself.
I am officially now the holder of a Masters Degree from the Laban Centre. And I feel indifferent
You meet a guy, spend some boring time with him and then leave.
I’m undone by your love, your eyes and your gaze. Especially your touch.
Your hands stroke, caress and ultimately sting.
Take the belt to me, white becomes pink, colours combine. Let me call out your name, let me call it out in the darkness of our kitchen.
People will pass, some might choose to ignore, others will perhaps and hopefully stop and stare. Because you see that’s what I want out of this performance. I want to be viewed and watched. Have that prickly uncomfortable feeling, a feeling I knew all so well in my teens.
Arrived in the space
Bought ‘Experimentation’ materials
Moved in the Space
Song of the Day ‘Get into the Groove’ by Madonna
Have the urge to dance violently, crazy. With and without prejudice. But I think that is the space talking and not me.
why can’t there be more moments like this?
Moments of pure joy, hate and forgiveness. The moments that matter, the moments that you remember?
Experiences that grip you and bind you so tightly that you feel utterly and completely knotted.
The summer wind caresses my body, stripping the flesh to reveal sinew and bone. I stand in the park listening to the lament of birds. I’m completely revealed.
I start to dance, Blondie is on the radio. I dance a movement of love and hate. My body moves jerkily. The rhythms come from my centre. You watch keenly and sadly. I feel your pity for me.
Oh why can’t there me more moments like this?
NEXT... Opening April 25th Detours: After Detournement Jesse Ash / Johan Arens / Simon Bedwell / Sophie Carapetian / Toby Christian / Mike Cooter / Tom Crawford / Frauke Dannert / Nick Downes / Ruth Ewan / Famed / Daniel Griffiths / Mark Hamilton / Rory Macbeth / Neil Mulholland / Kate Owens / Laure Prouvost / Bob And Roberta Smith / Cristopher Kulendran Thomas / Emily Wardill / Rehana Zaman / Curated by Ross Downes. More info.. NEXT... Opening April 25th Barry Sykes, "It Must Be Told." - A dramatisation of Sykes' current research into a 1980/1890s ghost play, utilising stage directions, makeshift props and Microsoft PowerPoint. Adapted from a performance lecture originally commissioned by Arnolfini for 4 Days: Curtain Call (September 2013). More info..
Enclave OPEN SUBMISSION
Deadline: ongoing – apply now!
We are pleased to announce an opportunity for young or established curators, artists and collectives to submit exhibition proposals or longer term projects/programmes for the Enclave Open Submission Space. We are looking to select a small number of high quality proposals to be programmed over the next ten months and into the future.
Proposals will be reviewed and selected by the Director Anthony Gross and the Curator Lucy A Sames and will be chosen on artistic merit and critical engagement.
Download -Enclave Application Pack Feb 2014
All enquiries to info@EnclaveProjects.com.
Located just off Endwell Road and just by Brockley station. There will be a combination of new shared, open and private studios up to 1000 sq ft each. Each unit is on the first floor, will have a sink, windows, concrete screed floor and heating. There is on-site parking.
Estimated start date: September 2013
Viewings: September 2013Contact: Email firstname.lastname@example.org to be added to the contact list.
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.
DETOURS: After DétournementPreview April 25th
Jesse Ash / Johann Arens / Simon Bedwell / Sophie Carapetian / Mike Cooter / Tom Crawford / Toby Christian / Frauke Dannert / Nick Downes / Ruth Ewan / Famed / Daniel Griffiths / Mark Hamilton / Rory Macbeth / Confraternity Of Neoflagellants / JL Murtaugh / Kate Owens / Laure Prouvost / Bob and Roberta Smith / Christopher Kulendran Thomas / Emily Wardill / Rehana Zaman / curated by Ross Downes.Read more..
Jesse Ash / Johann Arens / Simon Bedwell / Sophie Carapetian / Mike Cooter / Tom Crawford / Toby Christian / Frauke Dannert / Nick Downes / Ruth Ewan / Famed / Daniel Griffiths / Mark Hamilton / Rory Macbeth / Confraternity Of Neoflagellants / JL Murtaugh / Kate Owens / Laure Prouvost / Bob and Roberta Smith / Christopher Kulendran Thomas / Emily Wardill / Rehana Zaman / curated by Ross Downes.
From the innocuous marker pen blackened teeth of smiling advertisement models to the conscientious ‘subvertisements’ of Adbusters and Occupy Wall Street, the détournement legacy runs deep, has many guises and pervades our everyday lives. Defined by the Situationists in 1958, détournement refers to the ‘turning around’ or hijacking of an image through distortion or misappropriation to reveal a new meaning that is in opposition to its original intent – whether irreverent nonsense, puerile slur or adroit political satire.
Using these tactics as a starting point, Detours: After Détournement brings together a group of peers that, intentionally or otherwise, all utilise the détournement modes of operation within their practice through a variety of methods for altering and subverting found visual material.
All the contributions to Detours will be shown on temporary, free-standing display structures in the space as an attempt to ‘détourne’ the standard contemporary exhibition environment and disrupt the physical flow of the space.
Further reading on détournement and The Situationists International can be found here.
GUEST PROJECTS: Barry Sykes, “It Must Be Told.”
A dramatisation of Barry’s current research into a 1980/1890s ghost play, utilising stage directions, makeshift props and Microsoft PowerPoint. Adapted from a performance lecture originally commissioned by Arnolfini for ’4 Days: Curtain Call’ (September 2013).
Performances May 23 and 24 FREE booking essential.
ENCLAVE GALLERY: Detours: After Detournement
Preview April 25th 2014 6-9pm + afterparty
Exhibition continues to Saturday May 17th
Open Wednesday to Saturday, 12-6pm
Jesse Ash / Johan Arens / Simon Bedwell / Sophie Carapetian / Toby Christian / Mike Cooter / Tom Crawford / Frauke Dannert / Nick Downes / Ruth Ewan / Famed / Daniel Griffiths / Mark Hamilton / Rory Macbeth / Neil Mulholland / Kate Owens / Laure Prouvost / Bob And Roberta Smith / Cristopher Kulendran Thomas / Emily Wardill / Rehana Zaman / Curated by Ross Downes.