The Other Film Club presents The Other Side Of The Underneath (1972), the only British feature film to have been directed by a feminist during the 1970s. Directed by Jane Arden, this powerful film explores the mind of a young woman diagnosed as a schizophrenic. Alleged madness is found to be an act of social oppression.
One of the most outspoken and radical feminist voices in British Theatre and cinema in the 1960s and 1970s, Arden has since been virtually silenced by her near-invisibility: her books long out of print, her plays unperformed, and her films unscreened until recently.
This event is the second in a series of screenings and discussions organised by The Other Film Club that forms research into the radical feminist and experimental filmmaker Jane Arden (1927-1982). The series is hosted by Paul Bryan, an MFA Fine Art student at Nottingham Trent University (NTU), with the support of Nottingham Contemporary, and in collaboration with Bonington Gallery. Paul will be joined in conversation with Susan Croft from Unfinished Histories. This event is a collaboration with the public programme for Waking the Witch: Old Ways, New Rites, hosted by Bonington Gallery from Friday 27 September to Saturday 16 November 2019.
An introductory performance by NTU’s recently graduated Fine Art students exploring Arden’s poetry and prose will be followed by an in-conversation between Susan Croft and Paul Bryan for exploring Arden’s artistic practice after the screening.
If you would like to attend this event, please RSVP to confirm your attendance.
Content Guidance
Please note this film has an 18 certificate and contains explicit sexual images and nudity.
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Other Film Club
The Other Film Club is a screening programme organised by Paul Bryan that has previously screened films regarding the practices of Sarah Lucas, About Sarah (2014) directed by Elisa Miller, I Don’t Belong Anywhere: The Cinema of Chantal Akerman (2015), directed by Marianne Lambert, and Penny Slinger Out Of The Shadows (2018), directed by Richard Kovitch.
Biographies
Jane Arden (1927-1982) was a Welsh film director, actress, screenwriter, playwright, songwriter and poet. The late 1960s and early 1970s saw Arden cementing her reputation as one of Britain’s leading feminist voices with such films as Separation (1967) and Anti-Clock (1979), the multimedia play Vagina Rex and the Gas Oven and A New Communion for Freaks, Prophets and Witches’ born out of the Theatre group set up by Arden called Holocaust. In 2009, her three films Separation, Anti-Clock, and The Other Side of the Underneath were restored and re-released by the BFI.
Susan Croft is a writer, curator, dramaturg, performance archive consultant and historian with special interests in women playwrights, black and Asian theatre in Britain, live art and new writing for performance. Unfinished Histories was established in 2006 by Croft and Jessica Higgs with the aim of recording the history of British alternative theatre between 1968 – 1988.
Launching our 2019/20 season, we’re delighted to present Waking the Witch: Old Ways, New Rites – an exhibition looking at the importance of craft, ritual and land to the practice of the ever-shifting figure of the witch.
The British Isles have a particularly strong relationship to magic and the occult, with the chants of witchcraft echoing throughout their history. Traditional witchcraft has a strong connection to the earth, and an intimate knowledge of herbs, plants and the elements, as well as the human body. As gatekeepers to altered consciousness, witches have been both feared and sought out for their dealings with the unknown. Historically persecuted as an outsider, the witch has been taken on by artists as a challenging force to prevailing norms, and as a symbol of dissidence.
Looking to symbols, tools and the coven as a space for focusing collective intent, the artists in this exhibition explore the path of the witch as a way for us to connect with the earth and each other.
Ben Jeans Houghton will open the exhibition with an improvised performance, expressing aspects of his own magical practice through a harmonic voice and the spoken word, using repurposed effects pedals, loopers, ritual tools, and costume.
Installation view. Courtesy of the artists. Photo: Julian Lister.Ayesha Tan Jones, Whychcraft?, 2017. Courtesy of the artist. Photo: Julian Lister.Ayesha Tan Jones, Whychcraft?, 2017. Courtesy of the artist. Photo: Julian Lister.Fiona Finnegan and Candice Lin, installation view. Courtesy of the artists. Photo: Julian Lister.Selection of magazines. Courtesy of Rupert White and Legion Projects. Photo: Julian Lister.Nadine Byrne, Dream Family (costumes), 2011. Courtesy of the artist. Photo: Julian Lister.Katarzyna Majak, installation view. Courtesy of the artist. Photo: Julian Lister.Verity Birt, Repeated again, exhoes linger, 2019. Courtesy of the artist. Photo: Julian Lister.Nadine Byrne, Book of Dream Family 3, 2011. Courtesy of the artist. Photo: Julian Lister.Fiona Finnegan, installation view. Courtesy of the artist. Photo: Julian Lister.Lucy Stein, Polly, 2012. Courtesy of the artist. Photo: Julian Lister.Serena Korda, The Jug Choir, 2015 (detail). Courtesy of the artist. Photo: Julian Lister.Serena Korda, The Jug Choir, 2015 (detail). Courtesy of the artist. Photo: Julian Lister.Cathy Ward, Home Rites, 2009. Courtesy of the artist. Photo: Julian Lister.Cathy Ward, installation view. Courtesy of the artist. Photo: Julian Lister.Museum of Witchcraft objects, installation view. Courtesy of Simon Costin. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Anna Bunting-Branch, installation view. Courtesy of the artist. Photo: Julian Lister.Nadine Byrne, Dream Family, 2011. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Ben Jeans Houghton, Else Skyclad Lad, 2018. Courtesy of the artist. Photo: Julian Lister.Fourthland, Imbue, 2018. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artists. Photo: Julian Lister.Ayesha Tan Jones, Whychcraft?, 2017. Courtesy of the artist. Photo: Julian Lister.Ayesha Tan Jones, Whychcraft?, 2017. Courtesy of the artist. Photo: Julian Lister.Fiona Finnegan and Candice Lin, installation view. Courtesy of the artists. Photo: Julian Lister.Selection of magazines. Courtesy of Rupert White and Legion Projects. Photo: Julian Lister.Nadine Byrne, Dream Family (costumes), 2011. Courtesy of the artist. Photo: Julian Lister.Katarzyna Majak, installation view. Courtesy of the artist. Photo: Julian Lister.Verity Birt, Repeated again, exhoes linger, 2019. Courtesy of the artist. Photo: Julian Lister.Nadine Byrne, Book of Dream Family 3, 2011. Courtesy of the artist. Photo: Julian Lister.Fiona Finnegan, installation view. Courtesy of the artist. Photo: Julian Lister.Lucy Stein, Polly, 2012. Courtesy of the artist. Photo: Julian Lister.Serena Korda, The Jug Choir, 2015 (detail). Courtesy of the artist. Photo: Julian Lister.Serena Korda, The Jug Choir, 2015 (detail). Courtesy of the artist. Photo: Julian Lister.Cathy Ward, Home Rites, 2009. Courtesy of the artist. Photo: Julian Lister.Cathy Ward, installation view. Courtesy of the artist. Photo: Julian Lister.Museum of Witchcraft objects, installation view. Courtesy of Simon Costin. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Anna Bunting-Branch, installation view. Courtesy of the artist. Photo: Julian Lister.Nadine Byrne, Dream Family, 2011. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Ben Jeans Houghton, Else Skyclad Lad, 2018. Courtesy of the artist. Photo: Julian Lister.Fourthland, Imbue, 2018. Courtesy of the artist. Photo: Julian Lister.
Exhibition Opening with Ben Jeans Houghton
Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.
Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.Courtesy of the artist. Photo: Luke Brennan.
The Other Film Club presents Penny Slinger: Out of The Shadows (2019), a newly released documentary produced and directed by Richard Kovitch, that focusses on the practice and life of the radical artist, filmmaker and performer Penny Slinger. Out of The Shadows explores overlapping concerns in experimental narratives, female sexuality, the occult, and social taboos, as well as how the personal histories of artists can intertwine through radical alliance.
This event is the first in a series of screenings and discussions organised by The Other Film Club that forms research into the radical feminist and experimental filmmaker Jane Arden (1927-1982). Arden was a close collaborator of Penny Slinger where they co-artistic directed and were members of the feminist theatre group Holocaust. The series is hosted by Paul Bryan (MFA Fine Art student, Nottingham Trent University), with the support of Nottingham Contemporary and in collaboration with Bonington Gallery.
Following the screening, join Penny Slinger and Paul Bryan for an in-conversation exploring Slinger’s artistic practice and feminist surrealism.
Content Guidence
Please be aware this film has an 18 certificate and contains explicit sexual images and nudity.
Biography
Penny Slinger (b. 1947) is a British-American artist living and working in Los Angeles, California. Slinger created her first book 50% The Visible Woman while at college and exhibited her pioneering Feminist Surrealist collage work in Young and Fantastic at the Institute of Contemporary Art in 1969, followed by two solo exhibitions at the Angela Flowers Gallery, London, in 1971 and 1973. In 1971, Slinger joined Jane Arden’s first all-woman theatre troupe in England called Holocaust and performed in the feature film The Other Side of the Underneath (1972). Her work has been featured in major exhibitions internationally. Slinger’s upcoming solo exhibition Tantric Transformations will be on view from 28 June – 24 August 2019 at Richard Saltoun Gallery, London.
The Other Film Club
The Other Film Club is a screening programme organised by Paul Bryan that has previously screened films regarding the practices of Sarah Lucas, About Sarah (2014) directed by Elisa Miller, and I Don’t Belong Anywhere: The Cinema of Chantal Akerman (2015), directed by Marianne Lambert. Look out for a forthcoming screening of Jane Arden’s The Other Side of the Underneath (1972), the first feature film directed by a woman in the UK.
On the occasion of our current exhibition C/J by Chloé Maratta and Joanne Robertson, please join us for an in-conversation event exploring key themes raised by the exhibition.
The discussion will be chaired by Tom Godfrey (Bonington Gallery Curator and Curator of C/J) and will feature Naomi Braithwaite (Senior Lecturer in the School of Art and Design at NTU and custodian of the FashionMap Archive), Ruby Hoette (Designer and researcher and Programme Leader of MA Design: Expanded Practice at Goldsmiths University) and Caroline Stevenson (Curator, writer and lecturer and Head of Cultural and Historical Studies at London College of Fashion).
We’ll be exploring themes and attitudes relating to the roles of artists and designers within archives; inter/post-disciplinary practice; cultural hierarchies and archives in academia. The intention will be to make the conversation as open as possible and we welcome contributions from the audience throughout the event. Light refreshments will be provided.
Biographies
Naomi Braithwaite is a Senior Lecturer in the School of Art and Design at NTU where she is part of the Fashion Management Marketing and Communication team. Her research draws from Material Culture to explore the intersections between clothing, shoes and identity. Naomi’s ‘Shoe and Tell’ project examining teenage identity through the lens of footwear, was featured at the Being Human Festival in 2017 and on Radio 4’s Thinking Allowed programme in November 2018.
Led by Naomi, FashionMap is a unique archive of garments and accessories which have been sourced from British High Street retailers since 2000. Naomi’s current research uses FashionMap to explore how a collection of high street garments can become a valuable archive for the future.
Ruby Hoette is a designer/researcher exploring fashion in context through the intersection of theory and practice. Seeking to expand what constitutes ‘fashion practice’, her approach proposes critical and experimental modes of engaging with and producing fashion by framing the garment as a unique artefact that carries traces of social, cultural and economic interactions and transactions. Ruby is a Lecturer in Design at Goldsmiths, University of London where she currently convenes the post-disciplinary programme MA Design Expanded Practice.
Caroline Stevenson is a London-based curator, writer and lecturer. She works closely with emerging and established practitioners and institutions to research and develop new projects and create space for experimentation, dialogue and exchange. She has produced projects and programmed events for Glasgow International Festival of Visual Art, V&A Museum, ICA, Arcade East, Tenderbooks, Kunstverein München, Onomatopee, Dutch Design Week and a range of temporary spaces.
Caroline’s research and curatorial work focuses on interdisciplinary practice and artist-led culture. She is co-founder of Modus, a platform for expanded fashion practice, and she publishes scholarly writing on art and design practices.
Caroline is Head of Cultural and Historical Studies at London College of Fashion where she co-runs the Visual Arts at LCF Research Hub and is a member of the Centre for Fashion Curation.
Bonington Gallery is delighted to present C/J, an exhibition of newly commissioned work by Los Angeles-based artist, musician and jewellery designer Chloé Maratta and Glasgow-based artist and musician Joanne Robertson.
Reflecting their shared interests in clothing, both artists have been invited to work with artefacts from Nottingham Trent University’s (NTU) FashionMap Archive, a unique collection of garments and accessories purchased from high street retailers since 2000.
Maratta embeds her practice into her life via a process of gathering clothing and ephemera that she encounters and experiences on a daily basis. Materials are collaged into styled outfits and extended into photography, photo-collage and sculpture.
Robertson works predominantly with painting that frequently extends beyond the canvas to found objects. Presenting racks of clothing alongside her paintings, Robertson objectifies garments in order to emulate the conditions of abstract painting – form, colour, surface and materiality. She’s currently touring her music in New Zealand, and answered a few questions from Undertheradar.co.nz, in which she refers to the upcoming exhibition at Bonington Gallery, as well as discussing the process of collaborating with other artists, and the strong link between her music and visual practices.
Through art production, music and fashion, both artists convey an immediacy and irreverence towards various forms of cultural and social hierarchy, making the involvement of NTU’s high-street fashion archive all the more poignant.
Artwork Details
Chloe Maratta
Look 1: CEM trashy bangle, CEM laurie therapy cuff, CEM Rock&Rose ring. Suit, purse, joggers, and digital timer sweatband from NTU FashionMap Archive
Look 2: CEM pen rosary. White socks, velvet shorts, sequined net scarf, Sex Pistols shirt, Gold handbag from NTU FashionMap Archive
Look 3: CEM stud corsage, CEM GOD earring. Grey cable knit leggings, Cream thong, Belly chain, Grey fingerless gloves, Leopard Scarf, from NTU FashionMap Archive
Look 4: CEM heart rock cuff, CEM ID bangle, CEM rock neck cuff. Marled socks, Chain Maille halter, Grey scarf, Pearls, Flag handbag from NTU FashionMap Archive
Look 5: CEM LBC cuff, CEM Shell choker, CEM bella2 earring. Ballet flats, jeans, clutch, bag charm, and pantyhose from NTU FashionMap Archive
Vignette 1: CEM gwen rock bangle, CEM HK rock bangle, CEM flower cuff. Gold bangles and frayed tweed blazer from NTU FashionMap Archive
Vignette 2: CEM Virgin choker, CEM pick ring, CEM rock ring. Handbag and gloves from NTU FashionMap Archive
Joanne Robertson
Phone Numbers 7, oil on canvas, 120 x 90 cm
Phone Numbers 8, oil on canvas, 120 x 90 cm
Program, oil on canvas, 160 x 130 cm
Petrol, oil on canvas, 180 x 150 cm
Phone Numbers 9, oil on canvas, 50 x 40 cm
Players, oil on canvas, 200 x 180 cm
High, oil on canvas, 180 x 150 cm
Phone Numbers 10, oil on canvas, 50 x 40 cm
Phone Numbers 11, oil on canvas, 180 x 150 cm
Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Joanne Robertson, Players, 2019. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Joanne Robertson, Program, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 1 (left) & Look 3 (right), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 1 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 7 (left) & Phone Numbers 8, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 9, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, High, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 10, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 11, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Petrol, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 2, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 2 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 5, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Vignette 1, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Vignette 2, 2019. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.
Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Joanne Robertson, Players, 2019. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Joanne Robertson, Program, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 1 (left) & Look 3 (right), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 1 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 7 (left) & Phone Numbers 8, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 9, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, High, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 10, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Phone Numbers 11, 2019. Courtesy of the artist. Photo: Julian Lister.Joanne Robertson, Petrol, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 2, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 2 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3 (detail), 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 3, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Look 5, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Vignette 1, 2019. Courtesy of the artist. Photo: Julian Lister.Chloé Maratta, Vignette 2, 2019. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.
Established in 2016 by a collective of eight, The Community is a Paris-based multidisciplinary art institute dedicated to promoting experimental and progressive artistic practice through interdisciplinary programming. Featuring Ethan Assouline, Laëtitia Badaut Haussmann, David Bernstein, Tenant of Culture, Cyrus Goberville, Philippe Hallais and Ruby Hoette.
The Community’s founding was prompted by a long-standing need for a shared space and platform to stimulate ideas and facilitate collaboration across different creative disciplines including art, fashion, music and publishing.
Extending their methodology to the UK, The Community Live in Nottingham transforms Bonington Gallery into a site for learning, experimentation and production through a programme of free to attend weekly workshops and activities delivered by a specially invited group of internationally prominent artists and creatives, accompanied by members of The Community. Over the course of a month, participants will create work within the space whilst reflecting and developing upon previous outcomes – building content through experience and accumulation. Participation will be open to all, reflecting The Community’s desire to ingratiate their practice through dialogue and collaboration with local communities.
The exhibition will culminate with a music and performance event at the gallery and in the city with an opportunity to view completed works on Friday 29 March and Saturday 30 March. Details regarding these activities will be announced soon.
The gallery will be open for viewing throughout the exhibition period, but due to the nature of this being an ‘exhibition-as-process’, we suggest following updates via The Community’s instagram account and on the exhibition website to maximise your experience.
Artists included
Ethan Assouline, Laëtitia Badaut Haussmann, David Bernstein, Tenant of Culture, Cyrus Goberville, Philippe Hallais, Ruby Hoette
Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.
Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.
Weekly Workshop Schedule
Week one
Monday 4 – Saturday 9 March 2019 Ego Altar by David Bernstein
David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.
David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.David Bernstein, Ego Alter. 2019. Courtesy of the artist.
Wednesday 13 – Friday 15 March 2019 Workshop by Tenant of Culture
Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.
Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Ruby Hoette’s Patternmapping Residency. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.Workshop by Tenant of Culture. Courtesy of the artist. Photo Mike Kane.
Week three
Monday 18 – Saturday 23 March 2019 Anna’s Weekend by Laëtitia Badaut Haussmann
Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Image has no caption
Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Anna’s Weekend by Laëtitia Badaut Haussmann. Courtesy of the artist. Photo: Mike Kane.Image has no caption
Week four
Monday 25 – Saturday 30 March 2019 Writing Club by Ethan Assouline and Philippe Hallais
Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.
Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.Writing Club by Ethan Assouline and Philippe Hallais. Courtesy of the artist. Photo: Mike Kane.
Finissage Thursday 28 March 2019, 5–8 pm
Come celebrate the finale of The Community Live in Nottingham with an opportunity to view all of the completed works produced throughout the four weeks of workshops plus a music and sound performance.
The evening will consist of two parts: A live performance by Philippe Hallais that will bring together audio-recorded outcomes from the outcome of week four, the ‘Writing Club’ with artist Ethan Assouline; followed by a Nottingham edition of ‘Permanent Cuts’ – a multidisciplinary and experimental live music session co-curated by Cyrus Goberville of Collapsing Market.
The event will be followed by an off-site event at the King Billy pub in Sneinton with DJ sets by Low Jack, Cyrus, plus others.
Nkisi. Courtesy of the artist. Photo: Mike Kane.Nkisi. Courtesy of the artist. Photo: Mike Kane.Cyrus Goberville of Collapsing Market. Courtesy of the artist. Photo: Mike Kane.Low Jack. Courtesy of the artist. Photo: Mike Kane.
Nkisi. Courtesy of the artist. Photo: Mike Kane.Nkisi. Courtesy of the artist. Photo: Mike Kane.Cyrus Goberville of Collapsing Market. Courtesy of the artist. Photo: Mike Kane.Low Jack. Courtesy of the artist. Photo: Mike Kane.
Now & Then will be Dick Jewell’s most significant solo exhibition in recent years, bringing together a wide range of works produced over a 30-year period. Working across film, photography and photo-collage, Jewell has inhabited both gallery and commercial contexts, exhibiting his work internationally at institutions including the Stedelijk Museum (Amsterdam) and Serpentine Gallery (London). He has also produced music videos and promos for musicians including Neneh Cherry and Massive Attack.
As the title suggests, Now & Then chronicles progression: both from a technological perspective through the shifting media across Jewell’s work, and also in regards to people, as demonstrated by Jewell re-visiting his seminal 1989 film Headcases (shot on Super 8) whereby he has repeated the same set of questions to the same subjects 30 years on.
Other key works that will be on display include The Box, a huge bank of 200 framed photographs that Jewell took from four TVs over seven days in 1980; Four Thousand Threads, which presents a ‘Chinese Whispers’ version of a Google image search; and an audience participatory work entitled War & Peace, in which visitors are encouraged to take selfies against a backdrop and disseminate them online.
In a world bombarding us with millions of images, Now & Then is just presenting a few thousand.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.4000 Threads, 2015. Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019. Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Head2Head, 2019. Courtesy of the artist. Photo: Julian Lister.The Box, 1980. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Found Photos, 1978-1980. Courtesy of the artist. Photo: Julian Lister.Katherine Griffiths 1973-….Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Dermot & Natasha, 2005. Courtesy of the artist. Photo: Julian Lister.The Box, 1980. Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019 (detail). Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019 (detail). Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.Katherine Griffiths 1973-….Courtesy of the artist. Photo: Julian Lister.Dermot & Natasha, 2005. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.4000 Threads, 2015. Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019. Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Head2Head, 2019. Courtesy of the artist. Photo: Julian Lister.The Box, 1980. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Found Photos, 1978-1980. Courtesy of the artist. Photo: Julian Lister.Katherine Griffiths 1973-….Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Dermot & Natasha, 2005. Courtesy of the artist. Photo: Julian Lister.The Box, 1980. Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019 (detail). Courtesy of the artist. Photo: Julian Lister.War & Peace, 2019 (detail). Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.The Box, 1980 (detail). Courtesy of the artist. Photo: Julian Lister.Katherine Griffiths 1973-….Courtesy of the artist. Photo: Julian Lister.Dermot & Natasha, 2005. Courtesy of the artist. Photo: Julian Lister.
Founded in New York in 2011 and based in Liverpool since 2016, The Serving Library (TSL) is a non-profit organisation that serves as a publishing platform, a seminar room, a collection of framed objects, and an event space. The enterprise is rooted in a journal published biannually as Dot Dot Dot from 2000–10, Bulletins of The Serving Library from 2011–17, and now annually as The Serving Library Annual, released simultaneously online (for free) and in print (for a fee) every autumn.
This autumn Bonington Gallery will showcase TSL’s collection of framed objects; each one the source of an illustration that has appeared in one of the journals. The 100+ collection includes items as diverse as record sleeves, watercolours, woodcuts, polaroids, drawings, screen-prints, airbrush paintings, a car number plate, and a Ouija board. Together, these varied objects decorate the walls of the library to serve as a toolbox for teaching.
The space will be further populated by a new work by occasional Serving Library contributor David Osbaldeston, who – in response to a theme of translation – has produced a new series of images exploring how visual essentials such as black, white and repeating shapes progress through a sequence of depicted forms. As a system of signs that become open to subjective interpretation, each image is assisted by a single word, which could be seen either as an associative descriptor or erratic linguistic type.
Featured Items
Ahead of the exhibition we’ll be highlighting just a few of the 100+ framed objects that make up TSL collection over on our blog, along with the accompanying text from TSL’s website.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018. Courtesy of the artist. Photo: Julian Lister.
David Osbaldeston, As If You Never Knew, 2018. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018 (detail). Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Kara Hamilton & Angie Keefer, Where Were We shop sign, 2014. Courtesy of the artists and The Serving Library. Photo: Julian Lister.Lucas Benjamin: COLORLESS GREEN IDEAS, 2016. Courtesy of the artist and The Serving Library. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018. Courtesy of the artist. Photo: Julian Lister.
David Osbaldeston, As If You Never Knew, 2018. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018 (detail). Courtesy of the artist. Photo: Julian Lister.David Osbaldeston, As If You Never Knew, 2018 (detail). Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Kara Hamilton & Angie Keefer, Where Were We shop sign, 2014. Courtesy of the artists and The Serving Library. Photo: Julian Lister.Lucas Benjamin: COLORLESS GREEN IDEAS, 2016. Courtesy of the artist and The Serving Library. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.
Elijah’s talk will address the interrelations between visual art and music culture, as well as plotting his own experience of working in grime and the history of grime. He will also discuss the importance of inquisitiveness and creativity in work and explore how applying organisational skills learnt in the arts and culture sector could be used in music programming, and vice versa.
Elijah’s lecture will be followed by a Q+A, hosted by Jonathan P. Watts, visiting lecturer in BA (Hons) Photography.
Biography
Elijah is a DJ and promoter, and along with Skilliam, co-founder of the grime record label Butterz. In these various roles Elijah has travelled the world and shared stages with some of grime’s biggest names. For six years he hosted his own grime show on Rinse FM. Over the past year Elijah has been Associate Artistic Director at Lighthouse Arts, Brighton, an arts and culture agency producing, supporting and presenting new art, film, music, design and games. Supported by Arts Council England, this initiative promotes diversity in the arts, of which, in the UK, only a small percent of artistic directors are black and minority ethnic.
In 2014, grime began to dominate popular music. In 2015, the Tottenham-based MC Skepta beat both David Bowie and Radiohead to the Mercury Prize. When Stormzy re-recorded the single “Shut Up”, originally a viral YouTube video, it entered the 2015 Christmas UK Singles Chart at number eighteen. Since then, grime has sound-tracked the so-called ‘youthquake’ that, among other things, has been credited with blocking Theresa May and the Conservatives’ hoped-for landslide in last year’s general election. Grime is the music of a generation.
For 25 days, our gallery space will be transformed into an open cinema. Video Days presents a different film or series of short films every day from different decades and genres. The films screened share several common themes; most prevalent is their relationship to the built environment.
Video Days takes its title from the 90s skateboard video by Blind Skateboards. Produced in 1991 by American skateboarder and filmmaker Spike Jonze, the iconic video depicts street and park skating in the US, and is considered one of the most influential skate videos of its time.
Participants who feature in this exhibition include independent research agency Forensic Architecture whose film 77sqm_9:26min documents their counter investigation into evidence relating to the murder of 21-year-old Halit Yozgat in Kassel, Germany. Halit was the ninth of ten racist murders performed by a neo-Nazi group known as the National Socialist Underground (NSU) across Germany between 2000 and 2007.
Video Days also features Paris-based filmmaker Eric Baudelaire, whose 2017 film Also Known As Jihadi traces a young man’s journey to radicalisation. Other films include contributions from photographer and filmmaker Dick Jewell and artists Karen Cunningham and Simon Martin.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.
Skateboarding is an activity that reflects a consistent theme within the programme of human-kind’s disruptive and subjective relationship with the built environment.
In conjunction with local, not-for-profit community group Skate Nottingham, we’ll be exploring skateboarding’s potential to drive cultural and social change, particularly through the re-engagement of young skateboarders with education and employment by supporting individual creative and cultural interests.
This event will reflect Nottingham’s lively intergenerational skate community, and identify a set of themes that link the local and international significance of skateboarding to the objectives of the open cinema we are creating in the gallery, and the rich texture of disciplines and interests reflected across the entire Video Days programme.
We launch this exhibition with a programme of talks, screenings and photography dedicated to the local and international skateboarding community.
