With audio description and creative captions
The exhibition will be centred around a new two-screen adaptation of Igwe’s dual timeline experimental film A Radical Duet (2023). The film imagines what happened when two women of different generations, but both part of the post-war independence movement, came together in London to put their fervour and imagination into writing a revolutionary play. The film depicts this process, and envisages what that play would look like, if staged today.
1947 London was a hub of radical anti-colonial activity. International intellectuals, artists, and activists like Funmilayo Ransome-Kuti, Sylvia Wynter, C.L.R. James, Kwame Nkrumah, and George Padmore were all in London at the eve of the end of British colonialism. Individually, they were agitating for their respective countries’ national independence, but did they meet? And if they all did, what did they discuss? What did they conjure?
The film will be accompanied by elements of the set design and props from the making of A Radical Duet, taking inspiration from Sylvia Wynter’s ideas on theatrical adaptation. Wynter builds on Brechtian principles of modern epic theatre and advises on how set design can support a theatre to ‘explode [social] fears by bringing them out into the light of day’.
For this exhibition, Igwe will be working with Collective Text, an organisation supporting accessibility in art and film through creative captioning, audio description and interpretation.
A Radical Duet was commissioned by FLAMIN Productions through FILM LONDON Artists’ Moving Image Network with funding from Arts Council England.
history is a living weapon in yr hand is produced in collaboration with Peer Gallery, London, where it will be presented in autumn 2024.
Photographs by Jules Lister
A Microsoft Word version of this information, including floor plan of space is available to download here.
Accessibility Guidance
This accessibility guidance was written in collaboration with Onyeka Igwe, Bonington Gallery and Collective Text.
Exhibition Information
history is a living weapon in yr hand is captioned and audio described. The two-channel film in the exhibition has animated captions which include sound descriptions.
There is an audio described introduction to the exhibition that can be accessed here.
There is an audio described introduction accompanied by imagery from the exhibition that can be accessed here.
At the gallery, audio description can be accessed via radio frequency headsets with two channels. A switch beside the volume slider enables you to flick between channel 1 which plays the audio described introduction linked above and channel 2 which plays the exhibition audio description synced to the film and props. There will be two listening stations for audio description, at the front entrance to the right of the stairs and at the back of the gallery next to the accessible lift entrance. An invigilator will provide you with headphones, you can remain at these listening stations or can be assisted to the viewing benches in front of the screens by an invigilator. There are tactile pathway guidelines that direct you to the props in the exhibition, assistance can also alternatively be provided by an invigilator.
Please note that the exhibition space is dark. The film and/or spotlights are the primary light source. Sound plays in the space at a high volume. Let us know in advance if you require the room to be brighter or a lower volume.
The props in the exhibition are illuminated by a timed lighting system. Each prop has a distinct lighting colour and is accompanied by the sound “ACTION” which is captioned on the screens the first time it happens in the sequence, afterwards you are encouraged to move around the space.
The total running time of the exhibition is 32 minutes. There will be large print exhibition guides available through the invigilators.
The gallery is wheelchair accessible. General Access Information for the gallery is available here
For any additional questions or access needs contact Tom Godfrey: tom.godfrey@ntu.ac.uk
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.
Peer is a not-for-profit free-to-access space for contemporary art, located in the neighbourhood of Hoxton in East London. They place artists, young people and local communities at the heart of their internationally recognised programmes of public exhibitions held in their street-facing gallery, an ongoing series of workshops, talks and events, as well as offsite artist commissions produced in the local area.
Join us for an insightful gallery tour of our current exhibition, The Art Schools of the East Midlands by John Beck and Matthew Cornford, and the accompanying exhibition, Art [School] Histories in the Vitrines and foyer.
Find out how the exhibitions emerged as part of the Art School Project and uncover stories behind the work and its connections to Nottingham.
Join Bonington Gallery’s Director Tom Godfrey for an insightful gallery tour of our current exhibition, The Art Schools of the East Midlands by John Beck and Matthew Cornford, and the accompanying exhibition, Art [School] Histories in the Vitrines and foyer.
Find out how the exhibitions emerged as part of the Art School Project and uncover stories behind the work and its connections to Nottingham.
Did you study at Nottingham School of Art & Design? Or have you attended past events at Bonington Gallery? We’d love to hear from you!
We are collecting memories and photos to put on display in our next show, Art [School] Histories which will sit in our foyer and vitrines alongside our main gallery exhibition, The Art Schools of the East Midlands by John Beck and Matthew Cornford. We are interested in capturing and reflecting those informal moments – an exhibition or event you visited, life between lectures, studio time, trips, souvenirs, socialising with your peers, going to openings in Nottingham.
These could take the form of:
How to submit your memories
Email your scans or hi-res photos to us boningtongallery@ntu.ac.uk and we’ll print reproductions to add to our pinboard in the vitrines, in the gallery foyer. If you don’t have access to a scanner, then a clear photo taken on your phone will suffice. If you need our assistance in making a copy, or you have any queries about this invitation, then please email the address above.
Share on social media
You can also share them with us on Instagram or Facebook @boningtongallery by tagging us and using the hashtag #artschoolhistories so that we can re-share.
The exhibition starts on 21 September 2023, but we will be adding materials to the wall until the end of the exhibition on 2 December so feel free to contact us at any point between these dates. After the exhibition, the materials will be kept and added to an archive for the project.
By submitting your materials, the assumption is made that you are happy for their public display and retention in the exhibition archive. It might be that certain materials are used for promotional and publicity purposes by Bonington Gallery & Nottingham Trent University.
John Beck and Matthew Cornford
The Art Schools of the East Midlands
22 September – 2 December 2023
Exhibition preview: Thursday 21 September 6-8pm
This autumn Bonington Gallery presents The Art Schools of the East Midlands, the latest iteration of John Beck’s and Matthew Cornford’s ambitious Art School Project to locate and document the nation’s art school buildings or the sites upon which they once stood. The project combines photography, text, and archival materials to explore the histories and legacies of Britain’s art schools, and examine the vital role art schools have played, and continue to play, in the cultural and economic life of our towns and cities.
The twin Victorian engines of industrial ambition and social reform powered the British art school system, set up to deliver a skilled labour force for local industry – such as lace manufacture in Nottingham – and much needed educational opportunities to the newly enfranchised working class. Art schools combined practical training and exposure to culture, turning out skilled producers and discerning consumers well into the twentieth century.
By the mid-1960s there were still over 150 art schools in the UK, and ‘art school’ became a journalistic shorthand for creative innovation across arts, design, music and advertising. Yet at the peak of their influence on British cultural life, art schools in many towns and cities were already being amalgamated, reorganised and rebranded as part of a drive to reshape education in the arts. Most art schools have long since been absorbed into larger institutions or faded away.
Bonington Gallery’s presentation focuses on the art schools of the East Midlands and features original photographic images of all the region’s art school buildings alongside displays of archival material. The striking grandeur of Derby School of Art’s Gothic Revival building currently stands empty, whilst the Waverley Building built in 1865 for Nottingham School of Art remains one of the few Victorian built art school buildings still actively used for teaching art – as part of Nottingham Trent University. The project is also, importantly, an investigation of our present moment, documenting the sites of former art schools which have been redeveloped or reused.
The exhibition and the accompanying series of talks and events aim to create a space for dialogue and debate, raising questions about the role of the arts and art education in relation to community, history, and identity, and the shifting complex role of cultural production and cultural labour in the contemporary environment.
The Art School Project was prompted by the discovery that the college both Beck and Cornford attended in the early 1980s, Great Yarmouth College of Art and Design, was disused and up for sale. Evolving over 15 years the project takes the form of a series of regionally focused exhibitions. Their work on the West Midlands was recently shown at the New Gallery Walsall, and the North West iteration of the project was exhibited in Liverpool, Bury and Rochdale. The project is documented on Instagram: https://www.instagram.com/theartschoolproject/
John Beck and Matthew Cornford studied at Great Yarmouth College of Art and Design (now social housing) in the early 1980s and have served time, as students and members of staff, in colleges and universities across the country. John currently teaches literature and visual culture at the University of Westminster (incorporating what was once Harrow School of Art), and Matthew teaches fine art the University of Brighton (formerly Brighton School of Art).
Please contact Sarah Ragsdale sarah@sarahragsdalepr.co.uk
Join us for a first look round a new photographic exhibition by John Beck and Matthew Cornford, focusing on the region’s art schools, and the vital role that they play in the cultural life of our cities.
Accompanying the exhibition, in our Vitrines you can discover archive materials and memories relating to the history of Nottingham School of Art & Design, established in 1843.
To accompany The Art Schools of the East Midlands exhibition in our Gallery by John Beck and Matthew Cornford, our Vitrines and Foyer will feature historical materials relating to the history of Nottingham School of Art & Design.
The School was first established in 1843, and counts painter Dame Laura Knight, Desperate Dan creator Dudley D. Watkins, BAFTA nominated director Jonathan Glazer, comedian Matt Berry and visual artist Hetain Patel amongst its notable alumni.
Come along to discover photographs, artefacts, aural histories, press cuttings and more from the art school’s rich 180-year history. Uncover some of the lesser known histories, and hear memories from those who worked and studied here over the years.
This exhibition has been assisted by Researcher & Assistant Curator: Lee Chih Han, Art Museum and Gallery Studies placement from University of Leicester.
Photographs by Jules Lister
Come along to our launch night on Thursday 21 September, 6 pm – 8 pm for a first look round, alongside Art Schools of the East Midlands in the Gallery.
A photographic exhibition focusing on the region’s art schools, and the vital role that they play in the cultural life of our cities.
This exhibition is the latest iteration of John Beck and Matthew Cornford’s ambitious Art School Project, to track down and document all of the UK’s art schools – including the iconic Waverley building at Nottingham Trent University.
Featuring new photographic work depicting all the art school buildings of the East Midlands, or the sites upon which they stood, the exhibition raises questions about the role of the arts in relation to education, community and history and offers a space to reflect on what the future may hold for cultural institutions in our towns and cities.
There will also be a programme of public events exploring the themes of the exhibition, that will be announced soon. In our foyer space, our Vitrines exhibition, Art [School] Histories will present materials dedicated to the history and future of the Nottingham School of Art & Design here at NTU.
Launch event
Come along to our launch night on Thursday 21 September, 6 pm – 8 pm for a first look round the exhibition. Book your free tickets
Photographs by Jules Lister
The twin Victorian engines of industrial ambition and social reform powered the British art school system, set up to deliver a skilled labour force for local industry – such as lace manufacture in Nottingham the few original art school buildings still actively used for teaching art and much needed educational opportunities to the newly enfranchised working class. Art schools combined practical training and exposure to culture, turning out skilled producers and discerning consumers well into the twentieth century.
By the mid-1960s there were still over 150 art schools in the UK, and ‘art school’ became a journalistic shorthand for creative innovation across arts, design, music and advertising. Yet at the peak of their influence on British cultural life, art schools in many towns and cities were already being amalgamated, reorganised and rebranded as part of a drive to reshape education in the arts. Most art schools have long since been absorbed into larger institutions or faded away.
Bonington Gallery’s presentation focuses on the art schools of the East Midlands and features original photographic images of all the region’s art school buildings alongside displays of archival material. The striking grandeur of Derby School of Art’s Gothic Revival building currently stands empty, whilst the Waverley Building, home to the Nottingham School of Art & Design, remains one of the few original art school buildings still actively used for teaching art – as part of Nottingham Trent University. The project is also, importantly, an investigation of our present moment, documenting the sites of former art schools which have been redeveloped or reused.
John Beck and Matthew Cornford studied at Great Yarmouth College of Art and Design (now social housing) in the early 1980s and have served time, as students and members of staff, in colleges and universities across the country. John currently teaches literature and visual culture at the University of Westminster (incorporating what was once Harrow School of Art), and Matthew teaches fine art the University of Brighton (formerly Brighton School of Art).
Their photographic survey of the art schools of the North West was exhibited at Liverpool Bluecoat (2018), Bury Art Museum (2019) and Rochdale Touchstones (2021). Recent work on the West Midlands was shown at the New Art Gallery Walsall (February – July 2023) and a public art work, commissioned by Meadow Arts and Hereford College of Arts, opened in Hereford June 2023.
Join us for a free screening of a newly-translated documentary that explores the emergence of performance art in Cuba in the 1980s. The screening will be followed by a conversation with film director and artist Glexis Novoa.
The 1980s was a decade where a new generation of young artists were introducing a radical new artistic language and testing the bounds of the possible and the permissible in the process.
In the late 1970s and the 1980s multiple approaches towards the role and aesthetics of art in a socialist Cuba abounded. One particular strand saw an emerging generation of artists seeking to break free from what they saw as the bureaucratic and ideologically-orientated institutional systems and their ideas about culture. This change in attitude gave rise to a new visual language that prized interdisciplinary practices, multimedia, appropriated and referenced popular culture, religions, regional history and embraced parody and satire.
By the second half of the 1980s the arts were a site of intense discussion about artistic freedom and the nature of genuinely revolutionary art. Performance art played a key role in the articulation of the ideas and concerns of a budding generation.
Please note, this film contains some discussion of sex and nudity.
The film was initially made for the exhibition Losing the Human Form at the Reina Sofia Museum in Madrid, which looked at art in the 1980s in Latin America.
Taking part as part of Bonington Gallery’s Formations programme in partnership with NTU’s Postcolonial Studies Centre.
Glexis Novoa was born in Holguín, Cuba in 1964. Novoa was one of the most radical influences in the vibrant art scene known as, “The Renaissance of Cuban Art of the 80s”, and was the founder of the Provisional group, pioneers of performance, political activism and collectivist practices.
Novoa established himself in Miami in 1995 and has been sharing his time working in Havana and Miami since 2013. He is recognized for his site-specific wall drawings and ephemeral projects around the world, which exist on the border between ephemeral art and architecture. He frequently focuses on the architecture of power and community as the main subject.
Novoa’s work has been exhibited extensively around the world and is part of numerous museum collections.
This multi-channel video installation from internationally-acclaimed photographer Emily Andersen, explores the work and life of Ruth Fainlight (b.1931) – an American-born poet and writer.
Ruth’s intensely visual poetry and fiction touch on themes of psychological and domestic situations, time, memory and loss. Born in New York City in 1931, she moved to England when she was 15. In 1959 she married the writer, Alan Sillitoe, and her many literary friendships included Sylvia Plath, Jane and Paul Bowles, and Robert Graves.
Andersen’s work is an intimate portrait of Fainlight, now aged 91, presenting fragments of the poet’s life. Taking inspiration from Renaissance triptychs and their depiction of different elements of the same subject across three panels, Somewhere Else Entirely captures the poet and writer at her home in London, making notes, on her walks, and in the seaside town of Brighton where she spent her teenage years.
In Somewhere Else Entirely Fainlight talks off-screen, revealing fascinating insights into her life, her creative process, and how she is ‘in the hands of the poem’. In her voiceover, she movingly recites her poem ‘Somewhere Else Entirely’ composed after the death of her husband.
Alongside the exhibition commissioned an essay by Daniella Schreir, editor of the Feminist Film Journal Another Gaze, which can be read here.
Come along to our launch night on Friday 24 March, 6 pm – 8 pm for a first look round the exhibition, alongside Nottingham Women’s Centre in our Vitrines. There will also be free food from 6 pm. Book your free tickets
Emily Andersen is a London-based artist and graduate of the Royal College of Art. Her work has been exhibited in galleries including:
A number of her portraits are in the permanent collection of The National Portrait Gallery, London. She has won awards including the John Kobal prize for portraiture. Her third book Another Place was published in 2023. She is a Senior Lecturer in theory and practice of photography at the Nottingham School of Art & Design at Nottingham Trent University.
Director, Producer, Cinematographer – Emily Andersen
Additional Cinematographer- Bella Riza
Interviews – Kiki Martins and Emily Andersen
Editor – Jonathan Schmidt-Ott
Sound editor – Liam Larkin
Re-recording mixer- Rainer Heesch
Colourist – Jason R. Moffat
Production Assistant – Kyra Paloma
Image: Ruth Fainlight by Emily Andersen