There is an audio described introduction to the gallery space and exhibition which can be accessed here

In this exhibition, the works by Kelly O’Brien have been audio described which can be listened to here

In the gallery space, you can listen to these audio descriptions using an iPod and pair of headphones available from the gallery invigilator. The row of photographs being audio described are indicated by textured floor markings, situated just to the right of the accessible entrance. Our invigilators are on hand and happy to assist you with this.

Textured floor tape indicates where to stand when listening to the audio description.

The gallery is wheelchair accessible. General access information is available here

You can watch a visual journey into the gallery space from the main entrance here

For any additional questions or access needs contact Tom Godfrey: tom.godfrey@ntu.ac.uk

Rahiela Seef (she/her) is an M4C funded PhD candidate at Nottingham Trent University. Her doctoral thesis, entitled “‘Like Surah, Like Song’: The Poetics of Faith, Femininity and Orality across the East African Diaspora,” analyses representations of faith, Black womanhood and female defiance in diaspora Sudanese and Somali poetry.

Drawing connections between the collections in theme, rhythm and form, Rahiela will explore the blend of African, Islamic and contemporary Black oral traditions expressed within the poems, making a case for a shared literary canon in which diasporic East African women’s writing resides. Her research interests include Black feminist literature, intersectional theory, and contemporary spoken word poetry.

Ramisha Rafique (she/her) is a Vice Chancellor Bursary funded PhD researcher at Nottingham Trent University. Her creative-critical doctoral thesis explores the ontology of the postcolonial flâneuse and decolonisation in British Muslim women’s writing. For the creative component of her doctoral thesis, Ramisha will produce a pamphlet length collection of poetry.

Her research interests include Flânerie, British Muslim women’s writing, and Islamophobia. Ramisha has been published by The Journal of Postcolonial Writing (2023), Literary Encyclopaedia (2023), and NTU Research Blog (2023). Her poetry has featured in Bystander (Laundrette Books, 2017), the NTU Postcolonial Studied Centre website (2021), and The Journal of Postcolonial Writing (2023). Ramisha’s forthcoming publications include: ‘#HandsOffMyHijab: Muslim women writers challenge contemporary Islamophobia’. Rafique, R. and Ramone, J. In: Irene Zempi and Amina Easat-Daas, The Handbook of Gendered Islamophobia. Basingstoke: Palgrave.

Suhaiymah Manzoor-Khan is an critically acclaimed poet, writer and public educator focused on disrupting narratives about history, race and violence. She speaks and performs her work nationally and internationally and is the author of Seeing for Ourselves; and even stranger possibilities (2023); Tangled in Terror: Uprooting Islamophobia (2022) and the poetry collection Postcolonial Banter. Suhaiymah is also a co-author of A FLY Girl’s Guide to University; and a contributor to the anthologies Cut from the Same Cloth? and I Refuse to Condemn. Her writing has featured on BBC Radio 4, in The Guardian and Al Jazeera, and her poetry has been viewed millions of times online. She is a co-founder of the Nejma Collective, a group of Muslims working in solidarity with people in prison. She is based in Leeds and is currently writing for theatre.

Muneera Pilgrim is a Poet, Cultural Producer, Writer, Broadcaster on BBC and Ujima,  TEDx Speaker, and WOW Festival Speaker with international acclaim. She conducts workshops, shares art, guest lectures, hosts, and finds alternative ways to educate and exchange ideas while focusing on methodologies of empowerment for non-centered people. At heart, Muneera is a storyteller, concerned with telling stories to disrupt mainstream narratives of non-centered people globally and to beautify truths that are rarely told. 

 Muneera regularly contributes to Pause for Thought on BBC Radio 2,  she is an Alumni  Associate Artist with The English Touring Theatre, and she is an in-house poet and thinker, with In Between Time where she developed The Joy Project.

 Muneera has written for The Guardian, Amaliah, Huffington Post, The Independent, Al Jazeera, Black Ballard and various other digital and print platforms. She has been featured across the BBC network including BBC News, as well as Sky News, Sky Arts, Al Jazeera, and various other television channels. In 2015 a documentary was commissioned and screened about her former group Poetic Pilgrimage called Hip Hop Hijabis.

 Muneera holds an MA in Islamic studies where she focused on Black British pathways to spirituality, migration, gender, and race. She holds a second MA in Women’s Studies, where she focused on the intersection of faith and spirituality, race, gender, autoethnography and methodologies of empowerment for non-centered people. Her innovation in her work and the use of poetry won her The Ann Kaloski-Naylor Award for Adventurous Academic Writing. 

 She etches a poetic space of dialogue which is accessible to all regardless of religious and cultural boundaries. Rooted in spirituality she uses communication and art for edification, enrichment and change. 

Her debut poetry collection ‘That Day She’ll Proclaim Her Chronicles’ was released in November 2021 through Burning Eye Books. 

MOAN explores self-liberation, sexual pleasures and unique narratives from all over the world through a variety of creative outputs. 

An erotic platform that acts as a diary for as many people as possible – with a primary focus on women and non-binary. A safe space and a judgement free zone for experiences, fantasies, fetishes and issues to be discussed through a women and non-binary perspective openly. A narrative not often explored in mainstream media. 

Using the power of electronic music & events to connect with the community on a deeper level, to rebel and to create multisensory narratives, which make our activism harder to silence. MOAN events bring people together and are a catalyst for liberation and exploration. If you are interested by this, online mixes are uploaded on SoundCloud for you to listen and all event details are updated through the Instagram. 

Instagram: https://www.instagram.com/moan_zine/
Soundcloud: https://soundcloud.com/moan-zine

Aja Ireland is an award-winning sound and performance artist making deconstructed club and industrial techno whose live shows are described in The WIRE Magazine as “Shifting from ethereal diffusions to potent explosions.”

The album SLUG was released on Opal Tapes in October 2021. The video GRIME created by IMPATV and AJA, featured on Creative Review’s ‘Best Music Videos of 2021’ who described the track as: “brutal, visceral and unrelentingly noisy”.

Aja’s debut album released in 2018 on Opal Tapes was greeted with critical acclaim and

the artist was featured in VICE, The Quietus, Elephant Magazine, Red Bull Music and The Dazed Magazine. IN 2018, Aja won the PRS Oram Award for innovative music production.

Aja scored the spatial sound design for Joey Holder’s art installations Ophiux, Adcredo The Deep Belief Network (toured at Matt’s Gallery and 6th Athens Bienalle), Semelparous which was shown in The British Art Show and and Cryptic at Two Queens Gallery.

In AJA’s latest project, CRYPTID, an EP, music video, and full audio visual live set will be released later this year for the upcoming 2024 AV performance tour. The visuals project a realm where volcanic, ritualistic circles of standing stones merge seamlessly with projections of microscopic creatures. AJA takes on the persona of a cryptid hybrid, adorned in sculptural fashion nightmares, eating green lasers and morphing into underwater creatures.

Instagram: instagram.com/ajaireland
Facebook: www.facebook.com/musicwithaja
Website: www.ajaireland.co.uk

Cinematic codes create a gaze, a world and an object, thereby producing an illusion cut to the measure of desire…
Laura Mulvey, Visual Pleasure in Narrative Cinema, 1975

A woman performs in a box, alone. Behind glass, in darkness, we watch. She cannot see out, but we can see in. As her body moves we look on; silent, staring, unseen.

Over the past 120 years, cinema has presented us with countless scenes such as these; a dreamworld composed of unconscious impulses, images edited to tease and tantalise, illusions cut to the measure of desire. Before the invention of cinema, early motion picture devices were viewed through box mechanisms, private shows for one. The development of projection allowed moving images to be enlarged and viewed collectively, but the darkness of the auditorium served to reproduce the experience of the peep show. Even as this new artform moved towards respectability, this carnival legacy lived on. Early peep boxes were not exclusively for erotic images, but an explosion of pornographic peep shows in the 1970s reinforced a historic association between the peep show, cinema and sleaze which remains potent.

As the feminist critic Laura Mulvey outlines in her essay Visual Pleasure and Narrative Cinema (1975), the language of mainstream filmmaking was designed to capitalise on our subconscious desire for scopophilia (pleasure in looking) which, in a society dominated by heterosexual patriarchal structures, created a coded language built on images of women’s bodies, diced and dissected for our enjoyment. In the dark auditorium we pretend we are alone, that the bodies on screen perform only for us. This is the dream that cinema sells, and the same voyeuristic fantasy lies at the heart of the peep show: what differentiates the eye pushed against a keyhole, from the eye focused down a camera’s viewfinder, from the eye that rests on the cinema screen?

In Peep Show, feminist collective Invisible Women bring together a series of archive fragments which explore the interaction between spectator and subject, eye and body, across the history of film. Weaving together extracts from early films by women working at the cutting edge of the emerging artform – including Alice Guy Blache, Alla Nazimova, Germaine Dulac and Lois Weber – this immersive exhibition reflects how the medium’s conventions have been shaped by the eyes behind the camera. Over the course of its transformation from novelty to artform, cinema has continually drawn on its peep show roots to captivate, titillate and absorb. By drawing inspiration from quietly subversive, once forgotten work made by early women filmmakers, Peep Show also invites us to question who has shaped this cinematic language, offering a playful potential subversion to dominant aesthetic conventions. Beware – sometimes this peep show looks back.

Invisible Women seek out and champion the work of women and filmmakers with marginalised identities who have been overlooked, un-credited or left out of the history of cinema. By drawing attention to these forgotten stories, Invisible Women aim to reinsert female voices into the story of film.

X: @IW_Archives

IG: @invisiblewomen_archives

W: invisible-women.co.uk

In its second year, Light After Dark Film Festival: Immersive encounters in cinema is a film festival dedicated to immersive experiences in cinema. Pairing films with performance, music, technology, and art, Life After Dark will give audiences a deep, intimate, and collective encounter with film. 

 A collaboration between Nottingham Contemporary, Broadway Cinema, Nottingham Playhouse, University of Nottingham and Bonington Gallery, Nottingham Trent University.

Light After Dark Film Festival has been made possible with support from Film Hub Midlands through funds from the National Lottery. Film Hub Midlands support people to watch, show, and make films in the Midlands. Festival Design: @waste_studio

IG: @lightafterdarkfilmfest

W: www.lightafterdarkfilmfestival.com

Onyeka Igwe is a London-born and based moving image artist and researcher.

Her work is aimed at the question: how do we live together? Not to provide a rigid answer as such, but to pull apart the nuances of mutuality, co-existence and multiplicity.

Onyeka’s practice figures sensorial, spatial and counter-hegemonic ways of knowing as central to that task. For her, the body, archives and narratives both oral and textual act as a mode of enquiry that makes possible the exposition of overlooked histories.

She has had solo/duo shows at MoMA PS1, New York (2023), High Line, New York (2022), Mercer Union, Toronto (2021), Jerwood Arts, London (2019) and Trinity Square Video, London (2018). Her films have screened in numerous group shows and film festivals worldwide.

Currently, she is Practitioner in Residence at the University of the Arts London and she will participate in the group show ‘Nigeria Imaginary’ in the national pavilion of Nigeria at the upcoming 60th Venice Biennial in 2024. She was awarded the New Cinema Award at Berwick Film and Media Arts Festival 2019, 2020 Arts Foundation Fellowship, 2021 Foundwork Artist Prize and has been nominated for the 2022 Jarman Award and Max Mara Artist Prize for Women. Onyeka is represented by Arcadia Missa Gallery.

Elaine Lillian Joseph is an audio describer based in London and Birmingham. She has a BA in Modern Languages (German) and English Literature and trained as a describer at ITV under Jonathan Penny. She is a founding member of SoundScribe, a global majority collective of audio describers and consultants and a member of Collective Text, an organisation supporting accessibility in art and film through creative captioning, audio description and interpretation. The question that galvanises her practice is how can we honour the labour of access work and create a service that powerfully resonates with users? Collaboration and anti-discrimination activism is key to her work.

A selection of recently completed projects include Eve Stainton’s Impact Driver at the Institute for Contemporary Arts in London, an online screening of Hofesh Shechter’s Political Mother and a newly commissioned audio described track for Black Audio Film Collective’s Handsworth Songs.

Leslie is based at Venture Arts studios in Manchester and uses paint, ink or ceramics to illustrates his life, his past, his family, growing up in Moss Side in 70s and 80s, entire film sequences and a rich variety of animals, all from memory. Leslie works at extremes of small and large scale, and adds fantasy elements to the real world, combining his mother at the Arndale Market with tv characters and superheroes. Leslie’s work is part of the Government Art Collection and is widely shown, recently at TJ Boulting, London.

Often commissioned to produce live drawings, Leslie has gained a reputation as one of Britain’s most dynamic mural artists. His work has been exhibited widely across the UK, including exhibitions at The Lowry, Salford (2023), TJ Boulting, London (2022), Paper Gallery, Manchester (2022) and in 2019, his work was exhibited in Tokyo. In 2021 Leslie’s intricate piece, ‘Animals from Memory’ was acquired by the Government Art Collection.

Early in 2023 Leslie was selected to take part in a collaborative project between the Royal Society of Sculptors and Art et al. Leslie was also commissioned in 2023 by the Government Art Collection, along with nine other selected British artists, to create new artworks in celebration of the coronation of King Charles III. His work is held in private and public collections across the UK and internationally.

Jackie Haynes is an multi-disciplinary artist with a textiles background which notably included House of Haynes Fancy Dress Hire in Manchester (1998 – 2012). She studied BA Clothing in the late 1980’s which included an industrial placement in Nottingham’s Lace Market.

 She currently collaborates with Heather Ross as Artist A & Artist B, whose recent work ‘The Surplus Badge’ was featured in the British Textile Biennial (2023). Jackie recently completed an art practice-based PhD study of the German Dada artist, Kurt Schwitters and is a member of art practice-based research groups, Proximity and ARG. Her newest role is as an artist and research team member with ‘Things of the Least’, a 3-year project focussing on Manchester Art Gallery’s Mary Greg Collection. Screen printing is a recent development of her practice, and she is using print in an Artist Book focussing on her collaborative experiences from Venture Arts’ Narratives residency (2022-2023).

Much of Horace’s work depicts the world around him, his family and memories of his childhood growing up in Hulme and Moss Side, Manchester. For Narratives, Horace concentrated on memories of music that he loves and grew up with in Moss Side, creating lists of songs and singers and wished to transform non Reggae pop-songs which he loves, into new reggae classics. Horace was the main inspiration behind the Narrative group’s “Julie” theme due to his devotion to many women called Julie. The group’s initial “Julie Party” took place at the social club where the residency took place. Horace exhibits widely and this year alone has shown at Kammermachen Festival, Chemnitz, Germany, The Gallery of Everything, London, Portico Library, Manchester and Slugtown Newcastle.

Alice Merida Richards is a musician and ceramicist based in Manchester. In collaboration with Horace, the duo rerecorded a reggae version of Julee Cruise’s ‘Falling’, (Twin Peaks Theme). Horace and Merida created posters and invitations taking aesthetic inspiration from posters and flyers from 80s Moss Side parties and festivals kept in the archive at Ahmed Iqbal Ullah Race Relations Resource Centre.

Manchester based film maker Dominic Pillai also collaborated on a music video for Falling, inspired by the overwhelming style and character of the social club in which the residency took place as well as huge comedy, reggae and supper club influences of Horace’s idols such as Sid James, Sparrow Martin & Julie London.

Millie Loveday’s work has grown from an ancestral discovery from 17th century Jamaica to beginning to build an underwater fantasy world inspired by the history and Afro futurist influences. Millie’s ancestral research revealed a conflicted Jamaican heritage leading her to unearth stories through family objects, statues, relics and ornaments found in her family member’s homes by using them to initiate conversation. Her video traces Cedric, a black baby doll from her mother’s childhood setting off around the world in search of his own identity.

Sarah Boulter is an artist, curator and creative producer. She works with the hyper local, national and international artist-led sector, focussing on collaborative work, inclusivity and artist development. Sarah Boulter documented the entire residency and The Julie Channel is a TV station devoted to all things Narratives. A raw, making-of style documentary of experiments, art and connections made during this collaborative residency.