Last days to see “Dependency”

(London, UK)

“Dependency” is on view at Gasworks, until Sunday, 3 August 2014.

The group exhibition Dependency explores the “lengthening chains of interdependence” that, according to German sociologist Norbert Elias, bind the micro and macro realms of social life. Presenting works by Patricia L BoydMoyra DaveyMelanie Gilligan and Marianne Wex, which all attempt to situate specific objects or actions within broader sociopolitical frameworks, the show reflects upon how material and ideological constructs, from the economy to patriarchy, implicate even the most routine aspects of the day-to-day.

Marianne Wex’s photographic series Let’s Take Back Our Space: “Female” and “Male” Body Language as a Result of Patriarchal Structures (1975-79) presents an extensive taxonomy of the everyday gestures and poses of men and women on the streets of Hamburg in the mid-1970s. Coupled with short texts written by the artist, reproductions from art history books, and cut-outs from German newspapers and magazines, these images examine how male and female bodies have been gradually confined to highly coded and deeply prejudiced habits of movement.

To the unassuming eye, Moyra Davey’s photographs appear like sketches or etchings depicting quiet, civil street scenes, with men and women walking arm in arm against a backdrop of public statues and regal facades. Part of the series Banknotes (1989), they are in fact close-ups of $10 and $100 bills. Rather than grappling with iconographic categories, like Wex, Davey focuses in on details to suggest that currency not only determines how financial transactions are enacted, but also how social relations are administered en mass, with the well-to-do characters shown in each scene further implying that financial structures remain tied to particular forms of bourgeois sociability.

Shifting our attention from the object of exchange to the ways that exchange permeates social relations today, Melanie Gilligan’s four short HD videos 4 x exchange / abstraction (2014) present a series of emblematic tales on the traumas of contemporary capitalism. The work mimics punchy TV editing styles, dips into voguish 3D computer animation and makes use of well-worn digital cross-dissolves and “datamoshing”, a technique of intentional digital image breakdown popular in recent music videos. The ambiguous signification of these images and materialities double up to become uncomfortably explicit: the “flicker” technique, for example, manifests the mediating quality of exchange, while the altered code in datamoshing produces an analogue of the reshaping and suspension of time in financial exchange. The images created by this technique, however, gloss over such a signification. Amid the hypertrophied commercialism of these condensed narratives and over-blown effects, it is an animated allegory of a hand and a vase that delivers the most overt statement about everyday life, subjectivity and expropriation in contemporary capitalism.

Finally, Patricia L Boyd’s Adhesive I (2014) repurposes an image from proposals drawn up by an architectural firm for the restructuring of Gasworks’s building in 2002. The image depicts a question written on the exterior wall of the gallery, inviting the local community and passers-by to participate in the remodelling of the organisation. Reposed here as a lo-res screen grab, this originally earnest question now brings to mind the lack of certainty faced by any building at a time of intense property development and speculation. The aluminium frame Dear Nothing (2014) is a 1:1 replica of part of the metal structure outside Gasworks, which functions as both a billboard and a security barrier. Dear Nothing addresses the structure as an ideological form, entrusting the readymade frame to organise views of the rest of the exhibition. As with Boyd’s recent sculptural installation Metrics (2014, currently on view at Modern Art Oxford), these works steal and simulate existing forms, using strategies of recombination and reformulation that consider, at a formal level, urban, social and economic processes of abstraction.

Dependency is the fourth exhibition of The Civilising Process, a year-long programme of exhibitions and events at Gasworks inspired by German sociologist Norbert Elias’s eponymous 1939 book, which looks at the development of the tastes, manners and sensibilities of Western Europeans since the Middle Ages. Between October 2013 and November 2014 Gasworks is working with invited artists to tackle a wide range of issues raised by this book in an attempt to understand their relevance for contemporary debates and practices.

Dependency

20 June 2014 – 3 August 2014

Open: Wed-Sun, 12-6pm

With: Patricia L BoydMoyra DaveyMelanie Gilligan and Marianne Wex

at Gasworks
155 Vauxhall Street
London SE11 5RH

Visiting

Wed-Sun, 12-6pm

Access: The gallery  space is fully wheelchair accessible.

FREE ADMISSION
Getting there

Map
Google Maps

Nearest stations
Vauxhall: Victoria line and National rail
Oval: Northern line

Bus routes
2, 3, 36, 59, 77, 87, 88, 133, 155, 156, 159, 185, 196, 333, 344, 360, 436


 

PIPA 2014 Finalists | Watch the announcement

Every year the four Finalists are selected by PIPA Board, among the artists nominated by the Nominating Committee, of each edition.

The four finalists will participate in PIPA 2014 exhibition at the Museum of Modern Art of Rio de Janeiro, from September 6th through November 16th.

The four finalists are the only ones running for PIPA – an award of R$100,000, in which the winner will be decided by the Award Jury – and for PIPA Popular Vote Exhibition – an award of R$20,000, in which the winner is elected by the audience at PIPA’s exhibition at MAM-Rio.

Part of the R$100,00 of PIPA award will be used to fund the winner’s participation in an international artist residency program.

From 2010 to 2012 the winners went to Gasworks in London, institution with which we had a fruitful partnership.

This time, like last year PIPA 2014 winner will attend a residency program, of three months in 2015, at Residency Unlimited, in New York.

Cadu, PIPA 2013 winner is at RU at the moment, taking the advantage of this time to produce a different work, to meet curators and art dealers, visit exhibitions, exchange with other artists and all that RU and New York have to offer him.

The Finalists may also run for PIPA Online, category in which all Nominated Artists are invited to participate. The voting happens online ( here at the website), in two rounds, with the first round starting on July 20th.

Watch the video in which Luiz Camillo Osorio – Chief Curator of the Museum of Modern Art of Rio de Janeiro and PIPA Board’s Member – announces the names of PIPA 2014 Finalists.

For more information about the four finalists ( works, resumés and video-interviews) go to PIPA 2014 Finalists’ Page.

Gasworks residence artist Pedro Lagoa presents performance ritual

(London, United Kingdom)

Artist-in-residence Pedro Lagoa presents an event taking place as part of the London Branch of his ongoing project Archive of Destruction: “Cult of Rammellzee Performance Ritual: Feral Expressways Cleanse the Oval”.
 

 
“The Cult Of Rammellzee” present a performance ritual with musical collaborators Badfood and Zigteks providing the soundclash. Beginning with an audio-visual performance by artist Chooc Ly Tan, a futuristic architectural model of the Vauxhall/Oval areas surrounding Gasworks will be built and then bulldozed by sub-cult Feral Expressways in a regeneration ritual, followed by a ‘clean up’ performance by The Dysonic Hoover Boyz.

“Cult of Rammellzee Performance Ritual: Feral Expressways Cleanse the Oval”
Thursday the 22nd, 7pm
Gasworks gallery place
Free, no booking required

Gasworks
155 Vauxhall Street
London SE11 5RH

Lecture-performance by Maryam Jafri as part of solo show “Mouthfeel”

(London, United Kingdom)

Tonight at 7pm Maryam Jafri will present a new lecture-performance stemming from her research on international forms of television advertising. Jafri is joined by Liz Moor, Senior Lecturer in Media and Communications at Goldsmiths, University of London who will discuss her research on the emergence of the branding industry. This event is part of Maryam’s solo exhibition “Mouthfeel”, which goes on until 18th May.

During her lecture-performance, Maryam Jafri will situate a selection of television commercials from the global south in specific social and historical contexts. These include: the 19th century rise of domestic science as scientific discipline made by and for women; the subsequent transmutation of this field during the early 20th century into the more circumscribed domain of home economics; the 21st century phenomenon of so called “tropical tech”, which refers to investments made by global IT companies into technology incubation laboratories in sub-Saharan Africa; and the surprising, sometimes counter-intuitive connections made between war and advertising in commercials from Vietnam and Iraq.

“Mouthfeel” is the first solo exhibition in London by Maryam Jafri. Comprising the newly commissioned short film of the same name and a new photo-text work entitled ”Product Recall: An Index of Innovation” (both 2014), the exhibition explores the politics underpinning the industrial production of food, connecting themes as diverse as “big food”, flavour enhancement technology and overconsumption. 

Lecture-Performance and Presentation: Maryam Jafri on TV Advertising and Liz Moor on Branding
13th May, at 7pm
Free – book via booking@gasworks.org.uk

Gasworks
155 Vauxhall Street
London SE11 5RH
Tel: +44 (0)20 7587 5202

Lecture-performance by Maryam Jafri as part of solo show “Mouthfeel”

(London, United Kingdom)

Maryam Jafri will present a new lecture-performance stemming from her research on international forms of television advertising. Jafri is joined by Liz Moor, Senior Lecturer in Media and Communications at Goldsmiths, University of London who will discuss her research on the emergence of the branding industry. This event is part of Maryam’s solo exhibition “Mouthfeel”, which goes on until 18th May.

During her lecture-performance, Maryam Jafri will situate a selection of television commercials from the global south in specific social and historical contexts. These include: the 19th century rise of domestic science as scientific discipline made by and for women; the subsequent transmutation of this field during the early 20th century into the more circumscribed domain of home economics; the 21st century phenomenon of so called “tropical tech”, which refers to investments made by global IT companies into technology incubation laboratories in sub-Saharan Africa; and the surprising, sometimes counter-intuitive connections made between war and advertising in commercials from Vietnam and Iraq.

“Mouthfeel” is the first solo exhibition in London by Maryam Jafri. Comprising the newly commissioned short film of the same name and a new photo-text work entitled ”Product Recall: An Index of Innovation” (both 2014), the exhibition explores the politics underpinning the industrial production of food, connecting themes as diverse as “big food”, flavour enhancement technology and overconsumption. 

Lecture-Performance and Presentation: Maryam Jafri on TV Advertising and Liz Moor on Branding
13th May, at 7pm
Free – book via booking@gasworks.org.uk

Gasworks
155 Vauxhall Street
London SE11 5RH
Tel: +44 (0)20 7587 5202

In Conversations: Regina José Galindo & Emiliano Valdés at Gasworks

(London, UK)

Regina José Galindo, an artist specialising in performance art, discusses her practice with Emiliano Valdés, associate curator of the 10th Gwangiu Bienniale, and Co-director of Proyectos Ultravioleta, a multifaceted space for experimentation in contemporary art in Guatemala City.

This event coincides with the opening of A Chronicle of Interventions at Tate Modern, Project Space (2 May – 13 July 2014). A Chronicle of Interventions presents a response to the history of economic, political, military and foreign interventions in Central America. Beginning with an archival installation of Group Material’s 1984 work Timeline: A Chronicle of US Intervention in Central and Latin America, the exhibition gathers work by seven contemporary artists who explore the ramifications of these historical interventions that have shaped the contemporary reality of this region.

Regina José Galindo is a visual artist specialising in performance art. Her work explores the universal ethical implications of social injustice, discrimination related to race, gender and other abuses involved in the unequal power relations that operate in our current society. 


In Conversations: Regina José Galindo & Emiliano Valdés
30th April at 6:30pm
Free admission

Gasworks
155 Vauxhall Street
London SE11 5RH
info@gasworks.org.uk
Tel: +44 (0)20 7587 5202
Fax: +44 (0)20 7582 0159

Watch the video “Home is where the Art is: Stories about Artistic Residencies”

Watch the release of another PIPA special video, part of a series created to stimulate and contribute to discussions and reflections on art.

In “Home is where the Art is: Stories about Artistic Residencies”, pieces of statements collected between 2010 and 2013 address artistic residency. Artists tell how their experiences with residency programmes influenced their thinking and working processes. Catalina Lozano – Gasworks coordinator in 2010 – gives a perspective from the other side of the story, of what she believes a residency should be for an artist. Tatiana Blass describes through Skype, directly from London, the period she participated in Gasworks’ programme.

Watch the video:

Still on artistic residencies, a conversation between Luiz Camillo Osorio and Rowan Geddis (Gasworks coordinator) was recorded in 2011, at MAM-Rio. Watch “PIPA 2011: Awards and residencies in debate”:

Special videos

This series was created in December 2011 and has, as one of its goals, the stimulation of discussion and reflection on different points of art as it happens nowadays.

Always made by Matrioska Films, the series of special videos brings stories related to art, whose themes emerge from video-interviews with the nominated artists, over the course of four years, such as “Inabilsmo”.

The series also addresses themes that come up from conversations between the Prize and Matrioska teams, like in “The bar owner”, “Charles’ cup of tea” and the most recent Interview with Nelson Leirner.

See the full list of Prize videos:access the videos page.

In Conversations: Maryam Jafri & TJ Demos at Gasworks

(London, UK)

On April 15th, at 7pm artist Maryam Jafri will discuss her practice with TJ Demos, critic and Reader in the Department of Art History, University College London.

The event is part of “Mouthfeel”, the first solo exhibition in London by Jafri, comprising the newly commissioned short film of the same name and a new photo-text work entitled “Product Recall: An Index of Innovation”. The exhibition explores the politics underpinning the industrial production of food, connecting themes as diverse as “big food”, flavour enhancement technology and overconsumption. The exhibition continues until 18 May.



T.J. Demos is a critic and Reader in the Department of Art History, University College London. He writes on contemporary art and politics, and is the author, most recently, of The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013), and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg, 2013). He also recently guest edited a special issue of Third Text (no. 120, 2013) on the subject of “Contemporary Art and the Politics of Ecology,” and is currently at work on a book on the subject for Sternberg Press.

In Conversations: Maryam Jafri & TJ Demos
15th April at 7pm
Free admission

Gasworks
155 Vauxhall Street
London SE11 5RH
info@gasworks.org.uk
Tel: +44 (0)20 7587 5202
Fax: +44 (0)20 7582 0159

In Conversations: Maryam Jafri & TJ Demos at Gasworks

(London, UK)

On April 15th, at 7pm artist Maryam Jafri will discuss her practice with TJ Demos, critic and Reader in the Department of Art History, University College London.

The event is part of “Mouthfeel”, the first solo exhibition in London by Jafri, comprising the newly commissioned short film of the same name and a new photo-text work entitled “Product Recall: An Index of Innovation”. The exhibition explores the politics underpinning the industrial production of food, connecting themes as diverse as “big food”, flavour enhancement technology and overconsumption. The exhibition continues until 18 May.



T.J. Demos is a critic and Reader in the Department of Art History, University College London. He writes on contemporary art and politics, and is the author, most recently, of The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013), and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg, 2013). He also recently guest edited a special issue of Third Text (no. 120, 2013) on the subject of “Contemporary Art and the Politics of Ecology,” and is currently at work on a book on the subject for Sternberg Press.

In Conversations: Maryam Jafri & TJ Demos
15th April at 7pm
Free admission

Gasworks
155 Vauxhall Street
London SE11 5RH
info@gasworks.org.uk
Tel: +44 (0)20 7587 5202
Fax: +44 (0)20 7582 0159

Tomorrow | Screening and Conversation: Permission to Play

Permission to Play: Screening and conversation at Gasworks

Wednesday – 9 April 2014 - 4pm-6pm

Artist Lucy Steggals presents, at Gasworks, a short video created after the conclusion of Play is Free, a recent project made in collaboration with a group of local residents.

Steggals will also show excerpts from various films that depict different insights or observations on ‘play’, whilst also inviting attendees to join her in a conversation about personal negotiations of play and our understanding of this form of creative activity.

About “Play is Free”

Play is Free was presented from 31 October 2013 to  23 January 2014.

People, place and play/ play is free/ Play is freedom/ Play is not ordinary or real life/ Permission to play/ Adult play/ Creativity and play/ Play as process/ Culture as play/ Play memories/ Play as necessary/ Play as vital/ Play as fun/ Neoteny / Play and happiness…

Artist Lucy Steggals was invited to work with a group of local residents as part of the ongoing “Even Better Together”programming. Using a series of regular meetings over a four-month period Steggals sought to further develop her project exploring notions of play, and her preoccupation in the encounters we do or don’t allow ourselves in being playful.

Conversation often plays an active and vital component to Steggals’ approach. With her preoccupation and delight in a conversational approach in generating research and hearing of personal negotiations of themes pertinent to her interests, Steggals sought participant’s memories and experiences of playing, both past and present. Making, and the act of inviting the group to make kaleidoscopes, spinning tops and miniature swings also allowed a series of playful encounters during each meeting, encouraging a sense of open dialogue.

A third element of the project incorporated Steggals’ use of making short video pieces in response to the discussions at each session. These films were shared with the group each time they met alongside film extracts selected by Steggals to further explore different observations or explorations of the wide ranging theme of play and being playful.

This project continued to expand on Steggals’ research undertaken while on a fellowship placement with Insakartists Trust in Zambia. During her fellowship Steggals sought out instances where making and playing were intimately connected with a series of films showing dice being made, games with stones being played and tree swings being constructed and played with. The parallels with Steggals’ fellowship continued through this continued focus on play with project participants, and by the accidental discovery of a self made swing hanging from Gasworks’ outside stairwell left in place by previous residency artist Francisca Benitez.

 

Events at Gasworks

Gasworks organises a series of activities which are independent from the main programmes. These events, often conceived more spontaneously, contribute to Gasworks’ programmes with a responsive and flexible approach to the organisation’s main areas of interest.

This strand of activity also includes Gasworks’ long-term projects, some of which involve occasional public manifestations and others whose research will be presented at a later stage.

All events are free (unless otherwise stated).
Booking is recommended for some events – to book please email booking@gasworks.org.uk or call 020 7587 5202.

Address
Gasworks
155 Vauxhall Street
London SE11 5RH

Visiting

Opening Times: (during exhibitions only)
Wed-Sun, 12-6pm or by appointment

Easter 2014 opening: We are open as normal Friday 18 & Saturday 19 April but closed Sunday 20 April.

Access: The gallery and Participation space are fully wheelchair accessible.

FREE ADMISSION
Getting here

Map
Please download a PDF of our map or see Google Maps

Nearest stations
Vauxhall: Victoria line and National rail
Oval: Northern line

Bus routes
2, 3, 36, 59, 77, 87, 88, 133, 155, 156, 159, 185, 196, 333, 344, 360, 436