Drawing is said to have the ability to record both its own making and the movement of the thoughts and body of the drawer.
Bringing together the work of several artists with differing practices Drawology aimed to consider whether this premise is applicable to a specific process or genre of drawing or whether it is applicable to drawing generally.
The works in the exhibition represented an expanded field of contemporary drawing in a Fine Art context to include: works on paper, performance, moving image, installation, projections and three-dimensional drawings. The exhibition was part of a larger research project being undertaken by Deborah Harty entitled ‘Drawing is phenomenology’.
Shaun Belcher, Sian Bowen, Rachael Colley, David Connearn, Paul Fieldsend-Danks, Maryclare Foa, Paul Gough, Joe Graham, Deborah Harty, Claude Heath, humhyphenhum, Juliet MacDonald, Jordan McKenzie, Lucy O’Donnell, Bill Prosser, Karen Wallis, Martin Lewis, Patricia Cain, Simón Granell, humhyphenhumha, David Connearn, Andrew Pepper
During the exhibition, the gallery hosted several “in residence” sessions, based on Traci Kelly’s model for interactive research for From Where I Stand I Can See You.
Wednesday 27 November 10.30 am – 1.30 pm:
Professor Marsha Meskimmon, Professor of Modern and Contemporary Art History and Theory at Loughborough University
Wednesday 27 November 1 pm – 5 pm:
Danica Maier, Senior Lecturer Fine Art at Nottingham Trent University
Thursday 5 December 11 am – 2 pm & 3 pm – 5 pm:
Dr Kevin Love, Senior Lecturer in Philosophy and Social Theory at Nottingham Trent University
Alongside Drawology the Gallery also hosted a student-led exhibition challenging the notion of drawing in contemporary art.
In collaboration with artist Goran Ohldieck, M.K Ciurlionis National Museum of Art in Kaunas, Lithuania and Bonington Gallery presented the UK premier of Don’t Shoot the Waiter Before Lunch.
The early years of Dogu Bankov’s life are very hazy, in the few remaining manuscripts in existence that he submitted to the Bulgarian National Art Academy during his time there in the early 1900’s, Bankov provides two different years of birth 1884 and 1885. The disclosure of his country of birth is also a mystery it is said that he was born in Bulgaria, or possibly Macadonia, but his family connections with Bulgaria suggest that he is more likely to be of Bulgarian origin.
During the abolition of the monarchy and the establishment of a Communist government in Bulgaria during the War many intellectuals and cultural workers left the harsh conditions in Bulgaria mostly settling in Paris.
Later a decree was sanctioned by the Minister of Culture in Bulgaria ordering that those who left were to be regarded as traitors. Following this sanction in 1989 the Bulgarian State Art Institutions tried to buy works by these artists, including the work of Dogu Bankov, only to be told that they had been destroyed.
Norwegian artist Goran Ohldieck investigating the work of Bankov contacted the Bulgarian National Art Academy, only to be told that all records and documents had been destroyed.
Today Bankov’s art creates curiosity concerning concurrent events in greater Europe; questions of individual and national identity, artistic authorship and historical certainty seem to become somewhat creatively unstable in the face of Bankov’s work. Whether these are the ‘real ones’ remains unknown, nor does it really matter apart from the fact that Bankov seems to be becoming increasingly relevant.
The publication that accompanied the exhibition refers to a manuscript by Agnes Shaunegger, a one-time chef in the café L’Ane Rouge in Paris where the artists from Bulgaria used to meet. She was later asked by the art collector Amchiel Goldstein to write down her memories of that time.
This inaugural exhibition marked the launch of Nottingham Trent University’s Centre for Architecture and Cultural Heritage of India, Arabia and the Maghreb.
ArCHIAM undertakes architectural, urban history and heritage related research and impact work for Architecture, Heritage and Global Difference, AHGD based at NTU – the umbrella centre for the humanities-based study of architecture, material culture and the built environment within a globalizing context.
ArCHIAM is an interdisciplinary forum which brings together a wide range of researchers interested in the study of the architecture of three interconnected global spheres. Cutting across traditional disciplinary boundaries, the Centre provides an exciting opportunity for the study of both historical and contemporary phenomena with an aim of developing theoretical positions but also though practice-based research.
The exhibition was designed and set up by the ArCHIAM Centre, and led by prof Bandyopadhyay.
This touring exhibition created by the Victoria and Albert Museum, London, in collaboration with the Society of British Theatre Designers celebrated the work of over 30 of the most pioneering British theatre designers, architects and artists.
Transformation & Revelation featured drawings, photographs, scale models and costumes, as well as sound, lighting and multi-media installations.
Highlights included Rae Smith’s digital projections in the National Theatre’s West End production of War Horse (2007); Antony Gormley’s creative process for the dance work Sutra produced by Sadler’s Wells (2008) and photographs and models of Es Devlin’s designs for Lady Gaga’s Monsterball tour (2009–2010).
For details of exhibitors please visit the Transformation & Revelation webpages.
Delivered by Dance4, Nottdance Festival returned once more with its internationally renowned innovative and entertaining perspective that continues to question ‘What can dance be?
Bonington Gallery was proud to host a number of performances in our Waverley theatre and a photography exhibition A Dance4 Story by David Severn.
This series of photographs were commissioned by Dance4 to take a look behind the scenes and create a visual narrative about the work the organisation does with artists, communities, young people and venues. The project also explored Dance4 in the context of Nottingham and demonstrates its dedication to the city and wider region.
A DANCE4 STORY by DAVID SEVERN (UK)
This series of photographs was commissioned by Dance4 to take a look behind the scenes and create a visual narrative about the work the organisation does with artists, communities, young people and venues. The project also explores Dance4 in the context of Nottingham and demonstrates its dedication to the city and the wider region.
David Severn is a social documentary and fine art photographer, based in Nottingham. His photographs have been exhibited at QUAD (Derby), Light House (Wolverhampton), Guernsey Photography Festival, London Film Museum and Nottingham Castle. Photographs from his project Thanks Maggie (2012) are currently on exhibition at the FORMAT International Photography Festival (Derby). He is a finalist in the Magnum Photos/Ideas Tap award and won Grand Prize at the Nottingham Castle Annual Open last year.
“I have a strong relationship with Dance4 and have been photographing performances for them as a commercial photographer for several years. After knowing the organisation for so long and feeling part of the team, I wanted to make a series of photographs that looked more contemplatively at the great work they do with international artists, young talented dancers and local community groups. My work is typically concerned with the connection between people land place. I’m particularly interested in photographing my home city of Nottingham and the surrounding county, so this project was a way of bringing my own curiosities as a photographer to a commission I could develop over a sustained period of time. It’s been a privilege to once again work closely with Dance4 to make this work and l’d like to extend a warm thanks to the whole team for allowing me such creative freedom.”
David Severn
Opening up a space for the ear and the voice, Ear to Ear offered an invitation to its audience to become immersed in sonic space. It challenged the dominance of the visual in both the world of contemporary art and the modern day art and design school.
This exhibition featured immersive sound works by Robert Squirrell and Thomas Hall as well as a collection of playbacks and screenings curated by Rob Flint, on behalf of the Listening Group*.
Hypnotic and enchanting Sirens is an immersive aural and visual experience, resonating the allure and seductiveness of the mythical sea deities. Enticed into the installation by an ever changing musical arrangement of voices the viewer is surrounded by imposing sculptural forms, evoking impressions of being trapped in the hull of a boat or caught in the clutches of a pair of hands. Each experience is unique to the individual viewer.
An interactive sound installation in the form of a spiral maze exploring ideas related to the Large Hadron Collider – CERN, particle physics, circularity and what it might sound like. Curious about our understanding of the universe, the work sonically explores a physical experience of play in an immersive surround sound environment.
Thomas Hall and Robert Squirrell are both members of Engagement Party, an artist led group working individually and collectively with notions of active engagement, interaction and play.
*Listening Group is an informal meeting of students and staff. It is intended to be a place for focusing attention to art-works that foreground sound and active listening.
This exhibition brought together two artists that investigate their own subjectivity in relation to socio-political economies and corporeal boundaries. Through differing approaches each artist created a shared language through mired and inky surfaces on skin and paper. By exhibiting solo works together Kelly and Marhaug grappled to hold each other in view and create the context to embark on a collaborative project, whilst Kelly was in residency at USF Verftet, Bergen (April-June 2013).
The Seers-in Residence was a programme which engaged four researchers from Nottingham Trent University, drawn from across various departments and schools. The researchers were invited to interact with Traci Kelly’s mono print installation Feeling It For You (Perspective) to evoke their own practice and research interests.
Emma Cocker, School of Art & Design
Thursday 10 January, 10 am – 1 pm
Emma Cocker’s practice interrogates the critical potential of failure, uncertainty, boredom, hesitation, immobility and inconsistency by exploring models of practice and subjectivity that remain wilfully open or unresolved.
Joanne Lee, School of Art & Design
Thursday 17 January, 10 am – 1 pm
Joanne Lee investigates the aesthetics of everyday urban life and explores the possibilities of the essay in textual and visual forms as a creative and critical entity.
Ben Judd, School of Art & Design
Wednesday 23 January, 2 pm – 5 pm
Ben Judd interacts with and creates alternative belief systems based on observations of social groups such as witches and Morris dancers, to which he remains paradoxically both close and distant, connected and disconnected.
Dr Simon Cross, School of Arts and Humanities
Thursday 31 January 10 am – 1 pm
Simon Cross’ research engages with the representation and attending imagery of madness in the social sphere through historical and contemporary trajectories.
Our first exhibition of 2018 is a solo presentation of new work by London-based and Nottingham-originated artist Ruth Angel Edwards. This follows her contribution to our 2016 group exhibition Terraformers, curated by Landfill Editions.
A new commission for Bonington Gallery, this immersive installation considers the inescapable cycles of waste and decay, a by-product of all our consumption, personal or material.
The exhibition explores how these ecologies overlap at different scales – from the futile pursuit of personal purification and ‘clean living’, to the increasingly rapid turnover of cultural ‘content’ in the media and popular consciousness, to the wider perspective of the waste which is polluting our oceans, and threatening our very existence.
Edwards studied Fine Art at Central Saint Martins. Recent exhibitions and projects include Enema Salvatore! , Almanac, Turin, 2017; Light Deception / The Great Imitator, Auto Italia South East, London, 2017; a solo exhibition at Arcadia Missa, London, 2016; Info Pura, The Residence Gallery, London 2016, Derivatives and Futures, Human Resources, Los Angeles, 2016; A British Art Show, MEYOHAS, New York, 2015.
Associated Events
Thursday 25 January, 5.15 pm – 7.30 pm: Fine Art Live Lecture Present: Ruth Angel Edwards
Lecture Theatre 2, Newton building, NTU City Campus
Saturday 3 February, 1 pm – 2 pm (postponed) Ruth Angel Edwards: premier of new video work
Bonington Gallery
Bonington Gallery was delighted to present Publishing Rooms, a commissioned exhibition concept by Andrew and Iain Foxall of Foxall Studio, London.
Over the past decade, mass-publishing has moved from the print houses into the hands of anyone owning a smartphone. Publishing is no longer a privilege, but an involuntary expression of our multiple identities and allegiances.
Exploring themes of self-expression and posterity, Bonington Gallery became a facility for self-publishing.
Set within a constructed environment that combines the appearance of an abstracted newsroom with the functionality of a photo booth, visitors were invited to interact with technological and analogue devices designed and implemented by Foxall. These tools for self-publishing will provide opportunity to further explore our obsessions with mediated forms of self-expression.
Referencing and subverting everything from zine culture to the selfie phenomenon, Publishing Rooms provided opportunities to go beyond the prescribed presets found in our social media outlets, generating new variables for the production of self-imagery and the subjective understanding of ourselves.
Referencing and subverting everything from zine culture to the selfie phenomenon, Publishing Rooms provided opportunities to go beyond the prescribed presets found in our social media outlets, generating new variables for the production of self-imagery and the subjective understanding of ourselves.
Brothers Andrew and Iain started Foxall Studio in 2006 to combine their experience and vision in art, fashion and innovation. As a multi-disciplinary studio, Foxall direct brand-led experiences ranging from brand creation, art direction and magazine design, through to exhibition design.
The brothers work with designers, developers, photographers and artists to create collaborations that challenge the paradigms of brand / experience building. Recent projects include a commissioned brand campaign by British jewellery designer, Jo Hayes Ward; contributions to an installation for Selfridges, London; and a music film released exclusively on Nowness.
Andrew and Iain also regularly lecture and run workshops at The British Council, London College of Communication, The Royal College of Art and Liverpool John Moores.
All the images created within Publishing Rooms were published directly to publishingrooms.com. Here, you can view and save your scanner camera portraits, and view the most recent images made using the Body Scan and Wall Scanner installations. From there, you can also share these elsewhere on the web, with the ability to share them directly to social media platforms. Tag your posts #PublishingRooms on Instagram and Twitter and share your exhibition experience with us.
Our Gallery invigilators and Foxall Studios’ intern Marion will also be kept us up-to-date with the exhibition via the blog. In case you missed it, you can read Andrew and Iain’s introduction to the project and get an early look at the scanner camera development here.
An informal discussion looking at the changing importance of printed matter and whether it still holds up as a relevant and vital contemporary media format. This will take place on 26th April, 1 pm, in the gallery space.
Guest Speakers:
Matt Gill (Raw Print), Andrew Foxall (Foxall Studio), Iain Foxall (Foxall Studio), Hugh Frost (Landfill Editions), Alex Smith (Ideas on Paper), chaired by Tom Godfrey
This exhibition was open as part of the Nottingham Art Weekender on Saturday 14 and Sunday 15 May 2016, where many of the venues listed on the Nottingham Art Map invited the public to take part in their events and exhibitions in a celebration of the visual arts scene in Nottingham.
The Accumulation of Things brings together seven artists whose work deals with shared interests of experience, circumstance and the familiar. Personal histories, both real and imagined, are examined through painting, photography and sculpture.
Aditya Babbar’s photographs capture the complexities of interpersonal relationships by the creation of meticulously directed portraits. His compositions are littered with evidence, from the decor to the posture of the subjects, all the while suggesting at a possible narrative beyond the picture.
Stories, or snippets of stories are told through the language of painting and drawing by Joe Bloom. He invites the viewer to use elements presented before them, together with their own interpretation and experiences, to make decisions on the connotations of the composition.
Photographer Julie Greve’s work takes the form of portraits and staged visual scenarios made in collaboration with groups of girls. Born and raised in a small town in Denmark, a lot of Julie’s work focuses on the areas in which she grew up.
Alicia Jalloul’s sculptures address the paradoxes that exist with the crossing between cultures, whilst Joy Labinjo draws on her British-Nigerian heritage, inviting the viewer to step into preliminary drawings saturated with colours, patterns and people, reconfigured from her family photograph albums.
Evie O’Connor explores class and identify in her works, and her textiles background has heavily informed the stylistic and decorative qualities within her work. She imagines both a beautiful and droll environment, explored through familiar domestic environments. Max Prus produces figurative drawings and paintings, telling stories with complex narratives representing culture and society.
Exhibition curated by Adam Murray. Adam is a lecturer, photographer and curator based in Manchester. He is co-founder of photography collective Preston is my Paris, and most recently he co-curated North: Fashioning Identity with Lou Stoppard at Open Eye Gallery, Liverpool and Somerset House, London.
Special thanks goes to John A Stephens Ltd. for supplying materials for this exhibition.
