Greet 2012 with a subscription to Afterall journal! We are continuing our seasonal discount offer of 20% off our regular subscription price; that's a year's worth of journal, full access to the Aterall online archive, notification for special events, discounts and more. Please quote code GIFT12 when you subscribe. Offer ends on 15 January 2012.
Painting the Weights 20 January - 11 March 2012 Preview: Thursday 19 January, 6.30-8.30pm
Chisenhale Gallery presents a solo exhibition by Christina Mackie, comprising a number of new works across sculpture, video, photography and drawing. Mackie has titled the exhibition Painting the Weights, a term used to label the process of establishing the physical make-up of an object within the field of digital animation.
Please click here for details of the accompanying events programme, including an in-conversation event with Christina Mackie and Phyllida Barlow.
Chisenhale Exhibitions Partner 2012: Outset Contemporary Art Fund
Christina Mackie's exhibition is supported by The Henry Moore Foundation.
Image credit: Christina Mackie, Painting the Weights, 2011
Chisenhale Gallery's Youth Forum meet once a month to take part in varied creative activities and events. Propeller is for anyone aged 15 - 20 years who has an interest in art and would enjoy collaborating with artists, engaging with the gallery's programme and making new friends.
The next meeting will be lead by artist Benedict Drew on Wednesday 1 February, 5-7pm. For further information about Propeller please contact email@example.com
A three day event investigating feminist discourses in sound, launching with a performance and talk by Pauline Oliveros. The symposium, which brings together contributions by leadings artists, performers, theoreticians and writers aims to provide a platform to further develop these emergent feminist discourses in sound and music, with an emphasis on tactics that challenge and / or infiltrate canonical readings. The event marks the donation of the Her Noise Archive to University of the Arts London Archives and Special Collections housed at London College of Communication, and is realised as a collaboration between Electra, CRiSAP (Creative Research in Sound Arts Practice) and Tate.
The Right to Silence is an event series exploring the legal status of the voice and builds on the research and polemics at the core of Lawrence Abu Hamdan's ongoing project Aural Contract. Taking the form of multidisciplinary presentations responding to tracks from the Aural Contract Audio Archive, a compilation of sounds related to the politics of listening, The Right to Silence brings together a mixture of legal scholars, artists and writers. The series is a collaboration between Electra and the Showroom and coincides with Abu Hamdan's exhibition The Freedom of Speech Itself at the Showroom. For further event details, please visit our website.
A Solo Exhibition by Irene Kopelman 10 February - 15 April
Preview: Thursday 9 February, 6.30pm
The Challenger's Report is the first UK solo exhibition by Argentinian artist Irene Kopelman, which looks at how relationships to landscape and the natural world are culturally conditioned and subject to change. It includes a newly commissioned series of large-scale paintings of Antarctic microfossils presented alongside the installation La morfologia del paisaje determina sus vistas (The Morphology of the Landscape Determines its Views, 2011) and a hand-made replica of a graphic telescope, an early 19th century optical instrument.
Image credit: Irene Kopelman, La morfología del paisaje determina sus vistas, watercolour on paper, 24x30cm, 2011
Newly arrived artists in residence Mariana Caló & Francisco Queimadela (Portugal) and Ritesh Meshram (India) give a brief overview of their practices, focusing on key works as well as discussing projects to be developed during their stay at Gasworks.
Image credit: Mariana Caló & Francisco Queimadela, Cadence of a Replica, still, HD video (2011)
This year LUX's annual touring programme of recent British video has been curated by ICA film curator Steven Cairns. The programme includes work by Steven Claydon, Torsten Lauschmann, Clunie Reid, Rachel Reupke, Hannah Sawtell and Stephen Sutcliffe.
Alma Mater features work by six UK-based artists, dealing in representational methods of experience and social interaction. Alma Mater takes cultural identity as its starting point, to encompass the influence of visual culture on everyday experience; questioning ideas of Britishness and conceptions of national identity. Working with digital media, each artist invests a degree of experimentation and innovation in their approach to Moving Image that embeds the process within the work - the media itself becoming a near-character in the linear, and non-linear narratives. The screening includes a range of works made between 2000 and the present, and charts a significant period of change in our relationship with visual culture, and the society that shapes it.
Critical Forum is 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 forum takes place on the first Monday of every month from 7-10pm at the LUX office and is supported by LUX (in terms of space, equipment, refreshments, online forum space and advice) but is how the meetings are run and organised is ultimately decided by group members.
The forum is or artists who are no longer in education (i.e. who do not have access to this kind of support and discussion) and who are willing to commit to the group as a participant for a period of six months.
The LUX Critical Forum is now open to new members, and there will be a preliminary meeting for the new group on Monday 6th February 2012. To register your interest in attending please email firstname.lastname@example.org and we will send you more information in the New Year.
Image credit:Wall drawing from Reformzirkus event, part of Six Tuesdays After Film as Critical Practice, LUX 28, 2009
The Magpie Index 18 January - 12 February 2012 Preview: Sunday 15th January, 2-5pm
The Magpie Index is a single-screen high-definition video artwork by artist Richard Grayson, focusing on legendary singer-songwriter Roy Harper, and is Grayson's third exhibition at Matt's Gallery.
The Magpie Index was commissioned by Locus+ and the De La Warr Pavilion. It debuted at the De La Warr Pavilion, Bexhill-on-Sea, as part of Richard Grayson's solo exhibition that opened in January 2010.
Image credit: Richard Grayson, The Magpie Index, (2010). Image courtesy the artist, Locus+, and Matt's Gallery, London.
Mute, in collaboration with Leuphana University's digital media cluster, is pleased to announce the launch of the Post-Media Lab. The Lab is focused on the potential for 'post-media' practice, drawing upon Felix Guattari's concept of social and medial assemblages which unleash new forms of collective expression and experience. It is centred around a supported programme of residencies for artists, technologists, film-makers and theorists and the production of a series of associated, international public events and publishing projects.
The first of our four half-yearly residency cycles begins in January 2012, and will be organised around the theme 'Connecting People Apart'.
Mute Books is the new imprint of Mute Publishing, publishers of Mute magazine. The series specialises in cultural politics, providing a new, expanded space for the kinds of distinctive voices the magazine has hosted since its inception in 1994. Our new titles are now for sale, in paperback and hardback, on Metamute and Amazon.
Agit-Disco Conceived and compiled by Stefan Szczelkun, edited by Anthony Iles
Agit Disco collects the playlists of its 23 writers to tell the story of how music has politically influenced and inspired them. The book provides a multi-genre survey of political musics, from a wide range of viewpoints, that goes beyond protest songs into the darker hinterlands of musical meaning. www.metamute.org/en/shop/agit_disco
Anomie/Bonhomie & Other Writings By Howard Slater
In this collection of writings, Howard Slater improvises around what Walter Benjamin could have meant by the phrase 'affective classes'. This 'messianic shard' and its possible implications leads Slater to develop a therapeutic micro-politics by way of a mourning for the Workers' Movement and a grappling with the 'becomings of capital'.
Building on the success of Signal:Noise in January 2011, The Showroom will hold a second series of talks, discussions and events in collaboration with Mute and the School of Business and Management, Queen Mary, University of London. Signal:Noise II will look into feedback as a form of agency, through events including presentations by Luciana Parisi, Florian Cramer, Axel John Wieder, Suzanne Treister and a performance by Mattin. Admission free, no bookings taken - places allocated on a first-come-first-served basis.
The Showroom presents the most recent stages of Lawrence Abu Hamdan's project Aural Contract as an installation featuring a new commission The Freedom of Speech Itself - an audio documentary that looks at the politics of listening through examining the UK's controversial use of voice analysis to determine the origins and authenticity of asylum seeker's accents. Exhibited excerpts from Abu Hamdan's audio archive will join the new work, as well as a workshop led by the artist on Harold Pinter's play Mountain Language. To accompany the exhibition is a series of events titled The Right to Silence that focus on the legal status of the voice, programmed in collaboration with Electra.
Image credit: Lawrence Abu Hamdan, Audio infrastructure of Room XXVI, UN Human Rights Council, digital image, 2010
Studio Voltaire's open submission exhibition aims to showcase the strength and diversity of its membership, which currently comprises over 400 artists. The exhibition is open to entry to all artists, working in any medium, who are studio or associate members of Studio Voltaire. The members' exhibition takes place every two years and is selected by a changing panel, made up of artists, writers and curators. This year's selectors are Mike Nelson, artist and Jenni Lomax, Director, Camden Arts Centre.
Image credit: SV10, Selected by Jennifer Higgie and Rebecca Warren. Installation view, 2010, Courtesy of the artists and Studio Voltaire, London.
Studio Voltaire is pleased to announce Not Our Class a new programme of education and participatory projects that through research and practice will take the work of Jo Spence as a starting point for investigating the legacy and potentials of her work in relation to contemporary culture and life. Through a series of commissions, offsite projects, workshops, public events and reading groups situated both within Studio Voltaire's neighbourhood and contemporary art discourse the programme will explore the new turn towards education and participation within contemporary art practice.
Jo Spence (1934 - 1992) was a key figure on the UK photographic scene from the mid seventies and crucial in debates on photography and the critique of representation. Her work engaged with a range of photographic genres, from documentary to Phototherapy. Through her own artistic practice and teaching, which are very closely linked, she rigorously explored complex issues of class, gender, health and the body, combining personal experience, political understanding and critical theory. The work produced near the end of her life dealt directly with her experience of having cancer and the treatment she received by the medical establishment.
Not Our Class coincides with a major presentation of Jo Spence's work made in partnership with SPACE and Studio Voltaire and made across multiple sites across London during Summer 2012.
Not Our Class is supported by Arts Council England, London and Bloomberg.
The Jo Spence exhibition is supported by The Andy Warhol Foundation and The Stanley Thomas Johnson Foundation.
Image credit: Jo Spence, Revisualization, from the series Remodeling Photo History, 1982. Courtesy of the Jo Spence Memorial Archive