Lace Unarchived brings together a diverse group of designers and artists from across the UK who have each interpreted Nottingham lace in a unique and contemporary way.
The exhibition includes lengths of contemporary lace by multi award-winning and nationally acclaimed textile designers Timorous Beasties. Light emitting fabrics — inspired by Nottingham lace technologies from Sarah Taylor, Senior Research Fellow at Edinburgh Napier University and Sara Robertson,Tutor at the Royal College of Art — will also feature in the show.
On display is a complete final collection and unseen development work by high-street women’s fashion brand Oasis. Telling the story of Nottingham lace, Oasis have reimagined some of the 75,000 antique lace samples housed in the Lace Archive at Nottingham Trent University. The collection also features a garment by Final Year BA (Hons) Fashion Design student Robert Goddard.
The exhibition will also include works by Mal Burkinshaw, Programme Director of Fashion at the University of Edinburgh in collaboration with Sophie Hallette Lace; filmmaker Matthew Woodham; and artist James Winnett, all of which will be presented alongside samples of machine-made lace dating back to the early 1800s.
Invited for the diversity of their work, the contributors have all studied the intricacies of Nottingham lace and its technology to create pieces that not only celebrates the rich heritage of lace, but also preserves its place in contemporary design for the future.
Visit our blog to read more about the exhibiting artists and the history of the Lace Archive.
Installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.James Winnett, 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 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.James Winnett, installation view. Courtesy of the artist. Photo: Julian Lister.James Winnett, installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Mal Burkinshaw, installation view. Courtesy of the artists. Photo: Julian Lister.Installation view. Courtesy of the artists. Photo: Julian Lister.Matt Woodham, installation view. Courtesy of the artist. Photo: Julian Lister.Matt Woodham, installation view. Courtesy of the artist. Photo: Julian Lister.Paul Simmon, installation view. Courtesy of the artist. Photo: Julian Lister.
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Friday 23 February 2018: Light Night This exhibition is just one of many activities by NTU for Light Night 2018.
Thursday 15 and Friday 16 March 2018: Lace Unravelled Symposium The Lace Unravelled symposium marks the conclusion of an 18-month research project, exploring Nottingham City Museums and Galleries’ world-class collection of lace and lace machinery.
Archivist Dan Heather, curator of the current Bonington Vitrines exhibition Communicating the Contemporary – The ICA Bulletin 1950s to 1990s, will be joining us on Saturday 17 February to discuss the role of the archivist and the value of archives in the contemporary arts.
The talk will examine the place of archives in exhibition making, following the so-called ‘archival turn’ in cultural production; the relationship between the archivist, curator and artist (including the artist-as-archivist); and the growth of art galleries, museums and cultural bodies engaging with their own archive collections to examine and re-evaluate their history.
The talk will also explore alternative approaches to archives and archiving, looking at radical and disruptive ideas around collecting and managing archive material and the value of archives not only as objects for historical enquiry, but as a generative source for new activity.
Biography
Dan Heather is currently the Deputy Archivist for Barts Health, an NHS Trust which manages archives and museum objects covering almost 900 years of healthcare and medicine in East London. He was previously the archivist at the Institute of Contemporary Arts (ICA). He has also worked as an archivist in higher education, managing the records of Hornsey College of Art, and in architecture, at Rogers Stirk Harbour + Partners.
In collaboration with the NTU Fine Art Live Lecture programme, Bonington Film Night #8 will take the form of a short introduction by writer and curator Amy Budd, followed by a curated selection of films that she has entitled Dirty Pictures.
Dirty Pictures comprises a selection of historic and contemporary diary films, together with examples of surveying films and videos that are explicitly diaristic. Also included are a selection of moving-image works that are more ambiguous. Both personal and expressive in their means of production, they display radical forms of new image-making through poetic renderings of individual observations, memories and reflections.
Amy Budd is a curator and writer based in London. Since 2014 she has been in the role of Exhibitions Organiser and Deputy Director at Raven Row, London. During this time she has curated exhibitions including: 56 Artillery Lane, 2017, co-curated with Naomi Pearce; Machine Vision: Steina and Woody Vasulka, 2016; and Speaking Parts, 2015. She has previously worked at Chisenhale Gallery and was steering committee chair of OUTPOST Gallery, Norwich from 2010-13.
Her writings have been published by Art Monthly, Afterall, This Is Tomorrow, and Kaleidoscope. She curated the screening programme I See It Feelingly for Parallel: ICO Art + Cinema Weekend at Arnolfini, Bristol in 2016, and was Writer-in-Residence for LUX Moving Image Biennial in 2012.
Nottingham Trent University is delighted to invite Ruth Angel Edwards to speak as part of the 2017 Fine Art Live Lecture Series.
Edwards is a multimedia artist whose work explores the communication of ideology through popular culture. Drawing from mainstream and subcultural youth movements from the past and present, Edwards looks at the way audio and visual content is used to manipulate an audience and disseminate information.
Working between video, audio, sculpture, performance and print, Edwards explores subcultures, tracing their paths and examining the wider socio-economic environments that give rise to them, exposing their failures and flaws and uncovering lost spiritualities and hidden positive potential.
This live lecture coincides with Edwards’ solo exhibition Wheel of the Year – ! Effluent Profundel Zone ! which is showing in Bonington Gallery until Friday 16 February 2018. 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.
We are pleased to present Sara MacKillop’s first UK institutional solo exhibition since 2010.
One Room Living takes as its starting point the spaces within Nottingham Trent University that cater for leisure and recreational activity. By appropriating the motifs of art supplies, vending machines and spatial furnishing, MacKillop presents a series of works and interactions that reference the wide variety of spatial uses that directly surround Bonington Gallery – analysing not only the gallery’s site and situation, but also how the wider institution’s function is represented across a multitude of spaces.
Accompanying the exhibition is a display of MacKillop’s wide array of published and self-published printed matter, produced across a nine-year period, housed within the vitrine cases in the gallery foyer.
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.Pen Fence 6, 2017. Courtesy of the artist. Photo: Julian Lister.Pen Fence 5, 2017. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Ikea Plant, 2017. Courtesy of the artist. Photo: Julian Lister.Pen Fence 5, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.Loyalty Map, 2017. Courtesy of the artist. Photo: Julian Lister.Pen Fence 5, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.Slush Machine, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.Paint Brushes, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.Paint Brushes, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.Pen Fence 6, 2017. 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.Loyalty Map, 2017. Courtesy of the artist. Photo: Julian Lister.Paint Brushes, 2017. Courtesy of the artist. Photo: Julian Lister.Slush Machine, 2017. Courtesy of the artist. Photo: Julian Lister.Slush Machine, 2017 (detail). Courtesy of the artist. Photo: Julian Lister.
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Biography
Sara MacKillop is an artist living and working in London. She studied at the Royal College of Art, London, from 1999 to 2001. Recent solo exhibitions include Window Display, Haus der Kunst Munich, 2016; Temporary Bond, Clages, Cologne, 2016; Sculpture Room, Trondheim Kunstmuseum, Trondheim, 2014; Post, Kunsthal Charlottenborg, Copenhagen, 2013.
We are delighted to begin our 2017/18 exhibition season with a solo exhibition of new work by Paris-based artist duo It’s Our Playground (IOP), comprised of Camille Le Houezec and Jocelyn Villemont.
Artificial Sensibility continues the duo’s ongoing reflection on artificial intelligence – when technology mimics human cognitive behaviour. Artificial Sensibility reveals a hybrid learning process of automated principles of recognition and basic human methods of education.
Presented via a series of intuitively formed constructs of blended colours, warped shapes and images of natural elements, misunderstanding and ambiguity gives rise to free-form poetic response.
As their core practice, IOP have curated many exhibitions of artists’ work. Artificial Sensibility will be an opportunity to widen their scope of production by collaborating closely with other types of makers, including technical and artisan practitioners with specific savoir-faire.
Artificial Sensibility is part funded by Fluxus Art Projects, a not for profit Franco-British organisation encouraging cross-channel exchanges in visual arts.
Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.Installation view. Courtesy of the artists & galerie Valentin, Paris. Photo: Julian Lister.
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Featured work:
1. CHERRY_cherry_PEACH_peach, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
2. VIOLET_violet_CORAL_coral, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
3. ORANGE_orange, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
4. OLIVE_olive_LAVENDER_lavender, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
5. ROSE_rose, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
6. SALMON_salmon_EGGSHELL_eggshell, 2017 UV print on dibond, aluminium casts, glass paint, aluminium box section, polyester. Courtesy of the artists & galerie Valentin, Paris.
Biography
It’s Our Playground is an artistic collaboration between Camille Le Houezec and Jocelyn Villemont. Their solo exhibition Artificial Sensibility follows Reconstructive Memory Galerie Valentin, Paris, 2016; Mental Matter, Les Bains-Douches, Alençon, 2016; Deep Screen, Parc Saint-Léger, Pougues-les-Eaux, 2015; and Screen Play, SWG3 Gallery, Glasgow, 2014. It is part of an ongoing exploration into methods of producing, installing, apprehending and distributing an exhibition in physical spaces, online, and in the hard drive of our brains.
Collaborators
Casting and foundry: Benoît Villemont Graphic design (typography): Camille Garnier and Alex Paraboschi Sound piece: Thibaut Villemont Exhibition Photography: Julian Lister
Curated by photographer Jason Evans, this new exhibition brought together artefacts from our industrial, consumer society. Handmade signage recalls local commerce, pre-globalisation, and highlights ongoing transitions from analogue to digital. Some of the objects on show remain in circulation today, yet serve as a nostalgic reminder of the technological changes in our recent past.
The exhibition featured pages from the archive of Dick Hambidge, a sign writer from East Kent, who documented his works in meticulous photographic albums, presenting an alternative record of provincial life.
Also on show were a selection of erudite political ‘lampoons’ by Ditchling printmaker Philip Hagreen, loaned by Ditchling Museum of Art + Craft. Hagreen’s wood engravings feel as relevant now as when they were published eighty years ago.
Visitors were able to see an intriguing selection of original items from Clark Brothers of Manchester, who continue to hand produce point-of-sale marketing materials for a disappearing High Street.
Finally, the exhibition also featured an interactive photo opportunity, social media content, a marketing soundtrack and a new series of Evans’ own binary screen prints. Visitors were also advised to look out for people in Nottingham who participated in a project that Jason is running alongside the exhibition; they wore T-shirts which feature a wood-engraving by Philip Hagreen.
All images courtesy of Julian Lister and the artists.
Biography
Jason Evans(b. 1968) is a multidisciplinary photographer who, since the early 1990s, has had a broad cultural practice. His output has developed to include writing and teaching alongside applied image making. He works around art, fashion and street photography tropes, making images which are often informed by vernacular culture. His long-term projects with musicians Four Tet, Caribou and Radiohead resulted in influential sleeve imagery and portraits which seek to redefine the relationships between sound and image.
Since 2004, Evans has maintained The Daily Nice, which celebrates simple pleasures as their own reward. Every day an image of something which made him happy is presented on this one page, non-archived website.
His work is exhibited internationally, and his game-changing series Strictly is held in the Tate collection. Solo shows include his nomination for the Grange Prize at the AGO in Toronto and a retrospective of his Fashion work at the Hyeres Festival du Mode. His monographs include NYLPT (Mack, 2012) and Pictures for looking at (Printed Matter, 2014).
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Associated Events
Thursday 18 May, 7 pm – 8.30 pm – Jason Evans Exhibition Walkthrough
Join us on the penultimate day of Jason Evans’ curated exhibition for an informal and open discussion between Evans & Bonington Gallery curator Tom Godfrey. Hear more about the objects and works on show and the stories and histories that informed their selection.
The vast majority of my art is generated conceptually through the use of linear type ideas and thoughts, systems related to the creative potential of the ‘found’, order, dis-order, the acceptance of chance, context categorization and the gesture.
It is also related to mathematical and geometric contemplation, measurement, location, repetition, repetition and linguistic structure / time.
The voice of the group, the body as a concept as related to authorship and ownership, the original / copy are also notions dealt with in my mind.
Saying something about something.
In my futile attempt to try to find something, anything, that isn’t already divided I experience glorious failure which I embrace and present as art.
I am fascinated by the power of refusal, the very idea of not doing something even though you are capable of doing it, the right and creative beauty of potential to do compared to the reality of the done.
The notion that the more language you have the harder it is to say something appeals. As does the idea that where language fails possibly art begins.
Visual love and linguistic and linguistic and audio audio bastard hallucination.
With contributions from guest artists: Paul Noble, Michael Proudfoot, Chris Watts, and Elizabeth Wright
Opening Performance
To mark the opening of his solo exhibition here at the Gallery, Giorgio Sadotti led 80+ volunteers in an inaugurating incantation. With the audience entering in silence and into near total darkness, the performance evoked the sense of a sort-of ritual taking place in a cave. Evidence of the performance has now been left in the space, creating an installation which will remain throughout the duration of the exhibition.
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Associated Events
Thursday 2 March, 5.15 pm – 7.30 pm – Fine Art Live Lecture Series Presents: Giorgio Sadotti
The Fine Art Live Lecture Series is an initiative by Nottingham Trent University’s Fine Art course, whereby creative practitioners are invited to deliver a lecture to current students. The lectures are also open to staff, alumni and the general public.
Biography
Giorgio Sadotti (b.1955, Manchester) lives and works in London. His work is in public collections including the Tate and the British Council. Sadotti completed an Art Foundation course at Nottingham Trent University (formerly Trent Polytechnic) in 1977.
We live in an era of globalisation and interconnectivity, with an ever-growing amount of information and images easily available at our fingertips.
Painting, once the dominant medium in western visual culture, is now just one in a range of contemporary art genres. It is clear painting will not return to the pre-eminent position it once had, but will any other visual medium achieve the status painting held?
All Men By Nature Desire To Know brings together four invited artists who see painting as a significant part of their practice. The history of painting is continuously being overlaid and re-written by artists for whom the act of painting is both an accumulative and contentious process – influences are being absorbed and rejected.
The artists within this exhibition produce work that broadens and challenges the traditional form of painting, bringing their personal histories to their practice as well as traversing what has gone before. Each painting is self-contained as well as being part of a continuum; painting practice is opening out into other spaces, creating dialogues and furthering debate.
All images courtesy of Julian Lister and the artists.
Stefania Batoeva, Never Sleep Never Die II, 2016 (left) & Never Sleep Never Die III, 2016 (right). 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.Flora Klein, EF, 2014. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, A Sitting, 2016. Courtesy of the artist. Photo: Julian Lister.Image has no captionInstallation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, Curbelow, 2016 (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 artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Flora Klein, Untitled (blue). Courtesy of the artist. Photo: Julian Lister.Alan Michael, Today is, 2017. Courtesy of the artist. Photo: Julian Lister.Alan Michael, This City Is, 2016. Courtesy of the artist. Photo: Julian Lister.
Stefania Batoeva, Never Sleep Never Die II, 2016 (left) & Never Sleep Never Die III, 2016 (right). 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.Flora Klein, EF, 2014. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, A Sitting, 2016. Courtesy of the artist. Photo: Julian Lister.Image has no captionInstallation view. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, Curbelow, 2016 (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 artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Audrey Reynolds, 1458, 2013-2016. Courtesy of the artist. Photo: Julian Lister.Flora Klein, Untitled (blue). Courtesy of the artist. Photo: Julian Lister.Alan Michael, Today is, 2017. Courtesy of the artist. Photo: Julian Lister.Alan Michael, This City Is, 2016. Courtesy of the artist. Photo: Julian Lister.
Featured Artists
Stefania Batoeva (b. 1981 Sofia, Bulgaria) lives and works in London. Graduated from the Royal College of Art in 2014. Stefania has produced works specifically for All Men By Nature Desire To Know.
Flora Klein (*1988 Bern, Switzerland) lives and works in Berlin. Graduated with a BA in Fine Arts at ECAL, Lausanne in 2013. Flora is showing new works which have not been seen in the UK before.
Recent solo exhibition:
Flora Klein, Galerie Max Mayer, Düsseldorf and Oracle, Berlin, 2016.
Attachments and Assignations, Cubitt, London, 2014
Audrey Reynolds lives and works in London and Folkestone. Studied at Bath College of Art and at Chelsea College of Art, London. Audrey has produced new works specifically for All Men By Nature Desire To Know.
Solo exhibitions include:
Thirteenth and Third Girl, Ancient & Modern, London, 2014 and 2012
A collection of her writing will be published by AkermanDaly in Spring 2017.
Accompanying Text
Rachal Bradley (b Blackpool, 1979) currently lives and works in Nottingham where she is a lecturer in the Fine Art department of Nottingham Trent University. An ongoing archive of Bradley’s writing is to be found at www.rachalbradley.eu.
Curator
Joshua Lockwood (b. 1991) lives and works in Nottingham. Joshua is an artist based at One Thoresby Street, he is also a curator and co-director of TG Gallery. Joshua was also in residence at Lincoln University & The Collection, Lincoln from 2014-2015
Taking a break from the printed format of earlier editions, Mould Map 6 takes the form of an exhibition / walk-though magazine. For the duration of five weeks the exhibition will include talks, film screenings, performances and open workshops.
Set against the background hum of sci-fi imaginaries common to all Mould Map projects, Terraformers brings together over 50 artists and designers whose work embraces different approaches to ‘world-making’, the notion of creating one’s own world – both fictional and non-fictional.
This exhibition investigates the visualisation of possible futures, and the roles they might play in shaping the present.
Mould Map is a publication series dedicated to new comics and narrative art, co-edited by Hugh Frost and Leomi Sadler, and published by Landfill Editions.
Footage courtesy of Landfill Editions / Claire Davies.
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.Mould Map 6 – Terraformers, 17 Sep – 21 Oct 2016Installation 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.Mould Map 6 – Terraformers, 17 Sep – 21 Oct 2016Installation 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.
