See also the MA Visual Arts External Events and Exhibitions page here

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"It's a sky-blue sky.
Satellites are out tonight.
Let X=X."

- Laurie Anderson, 1982

Science Poems London Presentation
Wednesday 17 November, 6-9pm


OK Do and Åh would like to invite you to the London presentation of the Science Poems book. The evening includes a reading of 'From Big Bang Machine (with love)' science fiction short story by author Maria Candia and a drink lab featuring chemist coats by K.I. Kinnunen. Welcome!


Science Poems – A natural science project by OK Do

Following the traditional mindset of science fiction, OK Do's Science Poems project explores the poetry of natural sciences rather than their logic. A book and an exhibition on the topic were first launched in Paris in June 2010, after which the book has been travelling around the world together with small-scale displays. Coming from Helsinki and Berlin, it reaches its final destination at Donlon Books / X Marks the Bökship in London.

The Science Poems book, edited by OK Do and designed by Åh, features discussions with Marc-Olivier Wahler of Palais de Tokyo as well as Anthony Dunne and Fiona Raby from the Royal College of Art. It also includes articles about parallel universes, spiritual science and building an ecosystem at home, a talk with a philosopher of science, a science fiction short story as well as various other poetic writings and images about science by OK Do and friends.

More info:


OK Do is a creative practice founded in Helsinki by Anni Puolakka and Jenna Sutela. It operates through an online publication as well as events and projects, bridging design, art and science.

Åh [o:h] is a Finnish-Swedish design studio based in London, established in 2008 by Johanna Lundberg and Elin Svensson.


Donlon Books / X Marks the Bökship
210 / Shop 3 Cambridge Heath Road
London E2 9NQ

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OPENING: Wednesday 10 November 6.30 – 9.00pm

Exhibition continues until 18 December

"The aesthetics are intended to seduce. I want to transport the viewer to an elsewhere, one step removed from real life..."
Tintype is pleased to present UTOPIA ON THE HORIZON, Suki Chan’s first solo show at the gallery.
Suki Chan’s films are notable for their dream-like aesthetic. Shifting between the micro and the macro, she draws the viewer into a cinematic 'elsewhere'.
Her two major film pieces, Interval II and Sleep Walk Sleep Talk, explore our physical and psychological experience of place. Interval II juxtaposes a ruined pier in Northwest England with a roundhouse in Southwest China, while Sleep Walk Sleep Talk probes the psycho-geography of London.
A Place on Earth is a series of photographs of new towns in the suburbs of Shanghai. Chan’s interest is in the way people seem to be moving towards an idealised image or identity, yet the journey is fraught with tension and repressed anxiety.
The Story of Rice, a multi-media project that Suki Chan created in stages between 2003 and 2007, maps people’s perceptions of rice. Chan had images made in neon, a material that she was drawn to because of its associations with cities in the East as well as Chinatowns in the West, themselves a kind of fabrication.
Suki Chan was born in Hong Kong and lives and works in London. She graduated from Goldsmiths in 1999 and completed an MA in Fine Art at Chelsea School of Art in 2008.


23 – 25 Redchurch Street
London E2 7DJ
07946 545978
07745 310772


11 November – 18 December 2010

Opening hours:

Wednesday – Saturday
12 – 6pm

Nearest Tubes:

Liverpool St. (7min walk)
Old St. (5 min walk)
Shoreditch High St. (200m)

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23–25 Redchurch Street, London E2 7DJ

Research Symposium 1

Fragments, Openness and Contradiction
in Painting and Photography

Saturday 27 November 2010, 10am – 4pm

The Viewing Theatre,
Central Saint Martins College of Art and Design
107-109 Charing Cross Road, London, WC2H 0DU

There is public, free entry to this event but seats must be reserved.
To make a reservation and for more information about the event email Mick Finch:

presentations by:

Catrina Cojanu (RCA) – Painting as Gaze: On the Revelatory Force of the Arabesque.

Adi Efal (University of Cologne)The two faces of the figure: plastic and philological.

Cedric Loire (l'Université François Rabelais, Tours)
            • What do images do to painting, what does painting do to images?

Bettina Reiber (CSM) – Theorising Painting: Modernism, Hegel, Heidegger.

The Tableau Project is a series of events culminating in a 2 day conference at Tate Modern in October 2011 that broadly addresses questions about the structuring of pictorial representation and forms. Keynote presentations from Philip Armstrong, Fulvia Carnevale, Jean François Chevrier and Michael Fried will take place on the 1st day of the Tate conference followed by a 2nd day of research papers, in preparation for this, there will be 2 research symposia. In addition there will be a 3 day seminar given by Jean François Chevrier. Where possible there will be general access to these events. The project is organised by Mick Finch and Jane Lee, The School of Art, Central Saint Martins College of Art and Design in collaboration with Paint Club. The project partners are Tate Modern and The London Consortium.

For information about the project and its schedule visit:

For all enquiries and to subscribe to the mailing list for updates about each event contact Mick Finch:


The unconscious in everyday life

13th October 2010 - 2nd April 2011, Science Museum, London

Psychoanalysis: The Unconscious in Everyday Life is an exhibition at the Science Museum that celebrates psychoanalysis today. The exhibition features a wealth of artefacts from the Science Museum Collections, the Freud Museum, the Melaine Klein and Winnicott Archives, alongside everyday objects and contemporary artworks by artists Mona Hatoum, Joseph Kosuth, Grayson Perry, Tim Noble and Sue Webster,

Arnold Dreyblatt, Carlo Zanni, Amelie von Harrach and Damian Le Sueur, Sonny Sanjay Vadgama, Kristian de la Riva.

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The exhibition also features specially commissioned audios by leading psychoanalysts and is complemented by e-catalogue

Curated by Dr Caterina Albano, Artakt, Central Saint Martins College of Art and Design, University of the Arts London.

Apologies for cross postings.

hi again - came across this -
fernanda fragateiro
1 october -
5 november 2010
Fernanda Fragateiro
Looking At Seeing And (Not) Reading
1 Oct – 5 Nov 2010
East Central Gallery is pleased to present Looking At Seeing And (Not) Reading, an
exhibition of new works by the prominent Portuguese artist Fernanda Fragateiro. This
will be the artist’s first solo show in the UK.
Throughout her career, Fragateiro has been engaged in examining the relationship
between space and object through the means of architectural structures and
interventions. True to this notion, the exhibition will include a few site-specific works,
in which the artist reacts and relates to the gallery’s different spaces.
Additionally, as part of an on-going major current investigation, Fragateiro utilises
books in many of the shown works. Used for their physical volume, as well as symbolic
containers of ideas and knowledge, the books are a selection of titles, which are
meaningful to the artist either in their context, or in their specific ownership history
(many of them come from libraries of certain deceased individuals, some of them being
close friends).
Visually, she uses the books as objects with sheer presence as 3-dimentional structures.
“The first view of the works installed in the gallery space…challenges our perception of
objects as lines, plans, colours, and creates a relationship which facilitates a purely
visual and mental engagement with the objects…as in Frank Stella’s saying ‘what you
see is what you see’” (Fernanda Fragateiro).
But, clearly, the artist is also interested in the intellectual impact of the works and their
symbolic meaning, in what she calls ‘presence in absence’, challenging our perspectives
of different subject matters-by-association, such as minimalism and conceptual art,
abstract painting and colour field painting, architecture and urbanism, access to
knowledge and the place of art history in the way contemporary art is practiced and
related to.
“Ironically, minimalism, as an act of negation towards both aesthetics and social values,
was also the negation of meaning…I use meaning as a working material. In this
exhibition, when getting closer to the works, it is possible to recognise them as found
objects: the abstract colour plan which, from a distance, looks like a suspended, flat
colour painting is, in reality, a collection of hard book covers…books as volumes, like
boxes carrying special contents: meaning, history and time” (FF).
In some of her book pieces, the artist cuts the edges of the books, giving the outer
dimension a graphic texture. She calls this newly-added effect ‘a found, readymade
secret drawing: “The drawing was there, I have just turned it visible” (FF), as famously
defined by Art and Language’s Mel Ramsden: “The content of this painting is invisible;
the character and dimension of the content are to be kept permanently secret, known
only to the artist”. The artist is yet again calling to attention what is remained when
looking at the intellectual aspect of the work: “Suddenly, I forget about form” (FF).

Hi All
London is a wonderful resource
Some galleries have most excellent talks and discussions attached to their exhibitions – I would recommend keeping an eye on Camden Arts Centre – a bit of a treck from S London but worth it.
they have a series of talks around René Daniëls coming up - Daniëls was very conscious of the fact that a work of art is not an isolated entity. It derives its significance from its position within an oeuvre, but also functions in a much broader context. If this interests you then I would recommend Bourriaud -
while I am here I thought that another recommendation is the exhibition in the Curve gallery at the Barbican – a place worth going to as it is an architectural experience and also keeping an eye on as they have a huge range of cultural activities there.
The exhibition is by Damián Ortega
who set himself the challenge of creating new works in response to aspects of the daily news – the work contains interesting ideas around translation and the actual display is an interesting one.

A W h i t e r S h a d e o f P a l e
H i l a r y E l l i s
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Swarm IV
Hilary Ellis uses pen, pencil, ink, needles, threads and perforations to create work thoroughly invested in texture and surface. Meticulously building up layer after layer, and combining lines made using thread with those that are drawn and scored, Ellis experiments with different combinations of process and media, and explores the relationship of creativity and ritual.

Both religious and secular societies rely on a framework of ritual which orders chaos, and instils a sense of comfort and safety that can also feel restrictive and narrowing. It is the space created by this dichotomy which Hilary Ellis explores. Ellis’ works are mixed media aggregations of repeated marks and actions that desire exact replication, but whose inevitable deviations expose the frailty of the human hand in attempting the pursuit of mechanical process. The use of thread and beads is deliberately reminiscent of the labour-intensive toil of sweat shops, whose employees’ existence is reduced to a series of stitches. The works’ restricted and predominantly muted palette hints as the ennui of such ritualistic and repetitive creation, yet touches of colour – a pink bead, red thread - constitute glimmers of optimism.

Swarm IV reflects the ritual of nature, in particular the idea of tides and swarms - the relentless movement of waves breaking on the shore and the manner in which insects or populations gather and disperse. The marks are both regular and erratic, with a microcosm of red that determines the concentration of the society of marks in one particular place, and yet the way in which the stitches across the rest of the piece face in the same direction indicates the telepathy of mob -or swarm- mentality, instinctive and contagious, natural but seemingly nonsensical.

Ellis’ works are constructed through a process of layering which is devoid of fervency, reduced to a futile and endless method of movement and application that exposes the hybridity of mixed media. The artist’s choice to stop work on a piece does not, however, herald its conclusion: it is a random decision which indicates the function of free will in a series of obsessive, almost mechanical processes we would usually associate with the writings of Aldous Huxley and George Orwell. The artist quotes Sigmund Freud as saying that there exists only a very fine line between the ritual behaviour of the pious and the obsessive behaviour of neurotics. Ellis’ work therefore appears as a playful experiment, shrouding the potential risk of a method that lies explicitly on the periphery between the two.
Hilary Ellis is a graduate of Liverpool John Moores University (BA) and Camberwell College of Art (MA). Group exhibitions include Discerning Eye, Mall Galleries, London (2009), Jerwood Drawing Prize, Jerwood Space, London (2009), The Medical Foundation Art Auction, SUMARRIA LUNN, John McAslan + Partners/Royal Institution of Great Britain, London (2009), Imprint, RKB Gallery, London (2006), Proof, Kingsgate Gallery, London (2006), New London Artists, Gallery J, Akebono-so, Japan (2006) and By Invitation Only 3, Southport Arts Centre, Southport, Merseyside (2003). Ellis is recipient of a number of awards including the Intaglio Printmaking Award (2009), the St. Cuthbert’s Paper Mill Award (2008) and the Artichoke Print Workshop Prize (2007). The artist’s work is held in a number of private and public collections including the V&A Print Collection.
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Hilary Ellis - A Whiter Shade of Pale
Private view: Tuesday 9th November / 6 - 9pm
Exhibition runs: 10th to 27th November 2010 / 1pm - 6pm (Tues to Fri) / 1 - 5pm (Sat)
Location: Frameless Gallery, 20 Clerkenwell Green, London EC1R 0DP
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Currently showing:
E x t e r i o r i t y
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James Ireland / littlewhitehead / Victoria Rance / David Rickard / Douglas White
An exhibition of contemporary outdoor sculpture
Exhibition runs: 13th September to 24th October 2010 (viewing by appointment)
Location: A private residence in St. John’s Wood

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Currently showing:
A p o l l o n i a n / D i o n y s i a n
S u n g f e e l Y u n
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Exhibition runs: 8th October to 7th November 2010 / 12 - 6pm (Tues to Fri) / 12 - 5pm (Sat)
Location: Art Work Space, The Hempel, 31-35 Craven Hill Gardens, London W2 3EA
The gallery is occasionally closed for private events - please check the website for details
In collaboration with Art Work Space

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S e c r e t N a m e
D a v i d W i g h t m a n
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Exhibition runs: 19th November to 19th December
Location: Art Work Space, The Hempel, 31-35 Craven Hill Gardens, London W2 3EA
In collaboration with Art Work Space

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For further details please contact Will Lunn or Vishal Sumarria:
Will Lunn: 07845 594 549
Vishal Sumarria: 07956 329 675

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Fieldgate Gallery is very happy to present a site-specific installation by Ron Haselden.
This will be the inaugural exhibition at the Angus-Hughes gallery as part of a series of three exhibitions curated by Fieldgate:
On Becoming a Gallery
An Exhibition in Three Parts: Curated by Fieldgate Gallery

Part One: Oct 21st – Nov 14th
Ron Haselden ‘October’
Private View: Wednesday 20th October, 6-9pm
Gallery open: Fri-Sun, 12-6pm

26 Lower Clapton Rd (at the junction of Urswick Rd), London, E5 0PD
0208 9850450 /

"What Ron Haselden has made is a contingent way of knowing as an object, but what it conjures is the subject who asks in the first place. It’s this subject that fills the room, locates itself in space, rises and drops. It is a happy coming together of a way of asking and a way of knowing, and the sustained suspension of the consistency of the self that this requires. Haselden’s work quietly and persistently transforms the facts of the world and the facts of the strings of thought into a monument to the bodily subject who asks.” Tim Martin, London, September 2008

Ron Haselden appears courtesy of Domo Baal. ‘October’ is constructed with the assistance and collaboration of Joe Cutts, Richard Ducker, Roy Marsden and Matthew Reeves.

On Becoming a Gallery
When a new gallery space opens does it become into the world in the way an artwork does? The Deleuzian notion of becoming is not linear, but a simultaneous realisation of the constituent parts in the becoming of its nature. It is a perception not a process: “We are not in the world; we become with the world; we become by contemplating it. Everything is vision, becoming”. With a gallery however, there is a process over time too. This happens on many levels: the introduction of artworks, the trace of its former usage, the accumulative history of exhibitions that the space establishes, the history that each participant and visitor brings. All of these elements then create a context in which the artworks and gallery are experienced and understood, and it is this dialogue that then becomes the gallery’s nature.
When Fieldgate Gallery was asked to curate the inaugural three-exhibition residency at the Angus-Hughes gallery it seemed an interesting prospect to approach it from these different notions of becoming. By definition there will be a linear narrative – all processes take place over time (in this case over the three exhibitions), but the analogy of becoming as a curatorial device remains intriguing. With that in mind the exhibition programme addresses these aspects of realising the gallery over its given chronological time-frame, from its state as an empty space. Through this, each of the exhibitions, in different ways, reveals the gallery space as a site of expectations and meanings.
There is no theme, no critical context, no text. It is about filling a space full of stuff over a three-exhibition period and giving it significance. It is about decisions and percepts, it is about “…the organisation of perceptions, affections, and opinions…that take the place of language”, and when words fail, as they will, then all that is left is to do is as Laurence Sterne describes in ‘Life and Opinions of Tristram Shandy’: “When Corporal Trim flourishes his stick, we are given not the words but a twirling line on the page”.
Richard Ducker, 2010


Part Two: Nov 27th – Dec 19th
Frances Richardson - Gary Colclough

Part Three: Jan 15th – Feb 6th
Aisling Hedgecock – Stewart Gough & Tom Ormond
Paul Eachus with videos by Nooshin Farhid

Fieldgate Gallery
07957 228351 / /


25.09.10 - 30.10.10

05.11.10 - 18.12.10

T +4420 7242 9604 M +44 7801703871

Man&Eve []

South London Gallery []

The current exhibition at Flat Time House, Nights of Skoob Sadness, is a rare chance to see one of John Latham's Skoob Towers, book sculptures built to be burnt at public performances throughout the mid 1960s.
As well as a surviving tower, there is film footage and documents from the John Latham Archive looking at Latham's early performance work and participation in DIAS, the destruction in art symposium. More information can be found here -