Throughout centuries, libraries have been perceived as places where knowledge on life and space is organized, read, and interpreted, yet at certain times, their political significance are underestimated. Public libraries have been important symbols of political power and formation of cultural identity. They play a significant role in the political struggle for independence, as centres of democratic ideals, such as free access to cultural heritage and information. As public spaces, they are essential for bringing people together to share information, and they become even more important during times of collective resistance and protests for freedom.
Curated by the Istanbul-based Collective Çukurcuma, House of Wisdom explores the political power of books and libraries in our century, and is presented as a travelling exhibition/library that explores the increasing levels of censorship on information and the current sociopolitical situation in and around Turkey. It started its journey in the non-profit art space, Dzialdov, Berlin. The show moved to Istanbul as part of the 15th Istanbul Biennial’s public program, and then to the art space Framer Framed in Amsterdam, as part of the Amsterdam Art Weekend 2017 programme.
The exhibition and public programme of events now reside in Nottingham, with a panel discussion at Primary, in June 2018, followed by the exhibition here at Bonington Gallery and across the city, see public programme events (curated by Cüneyt Çakırlar) below for full details.
Artists include: Mohamed Abdelkarim, Burak Arıkan, Mahmoud Bakhshi, Yael Bartana, Mehtap Baydu, Kürşat Bayhan, Ruth Beale, Ekin Bernay, Burçak Bingöl, Nicky Broekhuysen, Hera Büyüktaşçıyan, Cansu Çakar, Ramesch Daha, Işıl Eğrikavuk, Didem Erk, Foundland Collective, Deniz Gül, Beril Gür, Lawrence Abu Hamdan, İstanbul Queer Art Collective (Tuna Erdem and Seda Ergül), Ali Kazma, Yazan Khalili, Göksu Kunak, Mona Kriegler, Fehras Publishing Practices, Elham Rokni, Natascha Sadr Haghighian & Ashkan Sepahvand, Sümer Sayın, Erinç Seymen, Bahia Shehab, Walid Siti, Ali Taptık, Erdem Taşdelen, Özge Topçu, Viron Erol Vert, Ali Yass, Eşref Yıldırım, Ala Younis
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Istanbul Queer Art Collective Performance Visiting Bibliophiles: Fellowship of Books Tuna Erdem and Seda Ergül will visit NTU Emeritus Professor of Gay and Lesbian Studies, Gregory Woods. Presenting their Just in Bookcase, they will have a conversation on book loving, personal libraries, queer archiving and memory. This is a closed performance, the video documentation of this event is available on Vimeo.
Public programme curator: Dr Cüneyt Çakırlar, Senior Lecturer in Communication, Culture and Media at Nottingham Trent University. The events in this public programme are sponsored by School of Arts and Humanities, Nottingham Trent University.
In what seems like an intensifying atmosphere of global, media-driven expressions of shock, horror, fear and anxiety – how can we use states of crisis as a way to rethink the future? Can we harness these acutely painful conditions and represent them in a creative way?
Curated by Something Human and presented in partnership with Bonington Gallery, Nottingham Trent University and Nottingham Contemporary, Krísis presented an exhibition and events programme of international visual and performance artists, to engage our audience with multifaceted perspectives on the meaning of ‘crisis’, and its understanding within the current socio-political climate.
Through multidisciplinary artworks, performances, and conversations, Krisis explored how these critical conditions can be reclaimed and reconfigured to drive change through artistic practice.
Sama Alshaibi (Palestine-Iraq), Nicola Anthony (UK), John Clang (Singapore), Dictaphone Group (Lebanon) Collective Creativity (UK), Maryam Monalisa Gharavi (US-Iran), Núria Güell and Levi Orta (Spain-Lebanon), Lynn Lu (Singapore), Marija Milosevska (Macedonia), Rachel Parry (UK), Post-Museum (Singapore), Raju Rage (UK), Aida Silvestri (UK), Srey Bandaul (Cambodia), Tuan Mami (Vietnam), and Boedi Widjaja (Singapore)
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Pool by Lorna Green was a gallery-filling installation accompanied by music composed by Mark Hewitt on display at the Bonington Gallery from 19 October – 11 November 1992. As each of Green’s sculptures are site-specific, her ideas and designs for the sculpture changed throughout the planning process, as demonstrated by the archival drawings, correspondence, and even a packet of sample materials. In the end, the over 4,500 whole and smashed bricks sprayed with the aquatic colours of blue, green and purple, created the gallery-wide impression of a draining pool. About the exhibit, Green wrote, “My first impression of the Bonington Gallery was that it was like a swimming pool. You enter by going down the steps, the echoes are reminiscent of a pool and the shape and scale of the gallery confirms that impression. I hope viewers will walk through and around the forms, absorb the sound and the colours and gradually let the installation work for them.” NTU students helped Green install the sculpture.
Curated by Brianna Frazier Selph
Installation view
Imprints of Culture explored the contemporary production and use of Indian block prints. Like few other objects, block prints embody richly diverse histories that have been shaped by trade, conquest and colonisation, technological innovation and entrepreneurship.
This exhibition showed how block printing, one of India’s foremost crafts, has not only played a role in the ritual life of the subcontinent but also in the creation of visual identity. Integral to caste dress and modern urban style, block prints have been a significant source of revenue through centuries of domestic and international trade.
This show included block prints from leading centres of the craft in Gujarat, Rajasthan, Madhya Pradesh and Andhra Pradesh, including traditional designs as well as innovations. It has been developed in collaboration with block printers in these areas as well as fashion designer, Aneeth Arora.
This exhibition was supported by the British Academy (International Partnership and Mobility Scheme, 2014-17). The research underpinning it was funded by a Leverhulme Research Fellowship (2012-14).
Joining us for the special preview event will be Deirdre Figueiredo, MBE, who will deliver a welcome speech at 6 pm.
Deirdre is the Director of Craftspace in Birmingham. Aside from the Crafts Council, Craftspace is the only independent crafts promotion, development and touring agency in the country and as such occupies a unique position in the national infrastructure for the contemporary crafts. It supports the creative industries whilst also building social and human capital within communities.
Apart from her position at Craftspace, Deirdre has also played a wider voluntary role contributing to cultural policy and strategy through a range of advisory panels, boards and steering groups including the Museums Association Equal Opportunities panel, Regional Council Member of Arts Council West Midlands, member of Arts Council Capital Lottery panel, Creative and Cultural Skills Advisory Panel and Birmingham City Council cultural strategy working groups.
Block Printing Demonstration
To coincide with the exhibition, Bonington Gallery is delighted to host a public block printing demonstration with Abduljabbar M. Khatri, a renowned block printer from Kachchh district, Gujarat, India.
Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Exhibition opening. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.
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In January 2016 the Gallery was traced back to an open white space: a surface on which to draw and experience drawing.
Over the course of one month artists were invited to spend a period of time in the Gallery creating lines, marks and tones that explore and responding to the space through a variety of drawing processes. The exhibition celebrated the expanded field of contemporary drawing, including: paper, performance, moving image, installation, projections and three-dimensional drawing.
The month started with humhyphenhum (Deborah Harty & Phil Sawdon), who were the first to enter the white space; drawing with paper and moving image to create a three-dimensional drawing that traces in, on and through the surface of the empty white space.
Lorraine Young and Catherine Bertola followed, spending two days and three days respectively on the developing drawing. The third week saw contributions from Joe Graham, Andrew Pepper and Martin Lewis.
John Court was the final invited artist to enter the space, spending three days drawing in the Gallery.
Finally, humhyphenhum returned to the space to complete the drawing and prepare for a closing night celebration on Thursday 11 February, where visitors could view the final collaborative drawing.
Performing Drawology was curated by humhyphenhum and forms part of the ongoing research project by Deborah Harty entitled Drawing is Phenomenology.
In addition to the residency, informal discussions with the artists, student workshops and outreach events also took place.
Developments in the space were recorded throughout the process on our blog.
Artist residency date and discussion events
Vantage were made available in the Gallery throughout the exhibition to encourage visitors to witness and engage with the work as it continuously unfolded and took form.
The artists welcomed responses from the public and designated specific discussion events when visitors were invited to meet the artists and to pose any questions they had about the work taking place. Below is a record of when these sessions took place:
The exhibition culminated in a closing event on Thursday 11 February from 5 pm – 8 pm, whereby the public were invited to come and see the outcomes of the show as a final staged exhibition.
Drawing on the inspiration of others…
Bonington Gallery Atrium
Alongside the closing event we also hosted an exhibition by 400 students from Architecture and Interior Architecture at Nottingham Trent University and West Bridgford Infant School, who participated in a series of collaborative drawing workshops during the course of Performing Drawology.
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So much of our experience of architecture is not the result of a first-hand encounter, but is the consequence of a photographic image. Photography does not merely facilitate our experience of architecture, it arguably constructs that experience – much of what we see has been decided by the photographer.
In Place of Architecture brought together a group of contemporary artists to explore the role that photography and moving image play in our interpretation, perception and understanding of the architectural environment. Artists included:
A programme of events and activities was also curated to compliment the themes highlighted by the exhibition.
#NTUIPOA
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In July 2015 a group of BArch (Hons) Architecture students from Nottingham Trent University (NTU) participated in a research project, which involved the documentation of invisible memory points in Nottingham.
As part of their research the students visited the National Memorial Arboretum (NMA), a key location for national remembrance in the UK. Most of the images included in this show are a direct response to the commemorative architecture: a visual and textual reaction to the experience of visiting the NMA and other memory points in the UK.
NTU students, David Symons, Emma Hewitt and Rumbi Mukundi worked with three students from Brazil – Marina Martinelli, Felipe Bomfim and Alina Peres – to create a website with an interactive map and blog, as well as a printed tourist map. The idea of the site was to increase awareness of the architecture of memory in Nottingham and beyond.
The group have also printed out a selection of quotes which refer to photography and the visual representation of memory, as well as the experience of architecture.
When visiting the exhibition we invite you to respond to these images and quotes by writing directly onto the wall in order to contribute to the work in progress. Tell us how the image or text makes you feel – do you agree with what they represent?
Responses are invited in any format – it’s up to you.
The project was led by Dr. Ana Souto, Senior Lecturer in Architecture and supported by Prof. Duncan Higgins, Professor of Visual Arts at NTU.
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Inscription: The Almshouse Tempera Project presented the work of four contemporary artists who have investigated the historical but still very active form of social housing known as the almshouse, through the early painting medium of egg tempera.
The artists Derek Hampson,Deborah Harty,Atsuhide Ito, and Peter Suchin also included actual material fragments from almshouses within the exhibition, inscribing both the image and the physical presence of the almshouse into the gallery.
Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.Installation view. Courtesy of the artist. Photo: Mike Kane.
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Bonington Gallery is very pleased to present QAI/GB-NGM by Warsaw (Poland) based artist Karol Radziszewski. This exhibition will present archival materials from Radziszewski’s Queer Archives Institute (QAI) that focusses on Central and Eastern European queer history and culture.
Consistent with previous QAI presentations, this exhibition will connect to its locality by featuring materials related to Nottingham’s own queer history and culture. This site specificity is reflected in the title of the exhibition that utilises Nottingham’s International Organization for Standardization (ISO) location code ‘GB–NGM’.
Alongside archival materials from the QAI, the exhibition will feature artworks and ongoing bodies of work by Radziszewski.
The QAI
Established by Radziszewski in November 2015, the QAI is a non-profit artist-run organization dedicated to the research, collection, digitalisation, presentation, exhibition, analysis and artistic interpretation of queer archives, with a special focus on the countries of the former Eastern Bloc. The QAI is a long-term project open to transnational collaboration with artists, activists and academic researchers. The Institute carries out a variety of activities and projects – from exhibitions, publications, lectures and installations to performances.
Artist Biography
Karol Radziszewski (b. 1980) lives and works in Warsaw (Poland), where he received his MFA from the Academy of Fine Arts in 2004. He works with film, photography, installations and creates interdisciplinary projects. His archive-based methodology crosses multiple cultural, historical, religious, social and gender references. Since 2005 he has been the publisher and editor-in-chief of DIK Fagazine. He is the founder of the Queer Archives Institute (2015). His work has been presented in institutions such as the Museum of Modern Art and Zacheta National Gallery of Art, Warsaw; Whitechapel Gallery, London; Kunsthalle Wien, Vienna; New Museum, New York; VideoBrasil, São Paulo; TOP Museum, Tokyo; Kunsthaus Graz, Austria; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum, Museum of Contemporary Art in Krakow and Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial; 15th WRO Media Art Biennale and recently The Baltic Triennial 14.
In 2021, The Power of Secrets dedicated to Radziszewski’s archival practice was published by Sternberg Press.
Header image credit: Karol Radziszewski, Afterimages, film still, 2018.
Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Karol Radziszewski, In 2000 everyone will be homo… do you want to be the last one?, 2014. Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Ryszard Kisiel, Cruising Places in Bucharest, 1970s / 1980s. Courtesy of the artist and the Queer Archives Institute. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Interview with Adrian Newell Paun, Bucharest, 2020, 66 min. Courtesy of the Queer Archives Institute. Photo: Julian Lister.The Gallery of Portraits, 2020-ongoing. Courtesy of the artist. Photo: Julian Lister.The Gallery of Portraits, 2020-ongoing. 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.Karol Radziszewski, In 2000 everyone will be homo… do you want to be the last one?, 2014. Installation view. Courtesy of the artist. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Ryszard Kisiel, Cruising Places in Bucharest, 1970s / 1980s. Courtesy of the artist and the Queer Archives Institute. Photo: Julian Lister.Installation view. Courtesy of the artist. Photo: Julian Lister.Interview with Adrian Newell Paun, Bucharest, 2020, 66 min. Courtesy of the Queer Archives Institute. Photo: Julian Lister.The Gallery of Portraits, 2020-ongoing. Courtesy of the artist. Photo: Julian Lister.The Gallery of Portraits, 2020-ongoing. 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.
The exhibition has been curated by Tom Godfrey, Director of Bonington Gallery. Supported by Joshua Lockwood-Moran, Tamsin Greaves (NTU Placement) and Rachael Mackerness (NTU Placement). Technicians: Harry Freestone, James E Smith, Claire Davies, Emily Stollery. Thanks to The Sparrows Nest for the generous support, advice and loan of the publications.
It is happening again. Here, the Gold Ones were. We’ve heard that before. But this time it was flatter.
So, as we were saying. It’s an original story. No, this is an origin story. Everyone already knows this.
Everywhen, here and there. This is what we always said. Mis-shaped and not in proportion. As though seen for the first time.
This is an explainer: Following on from Reactor’s residency in 2021, they return with a new video installation that describes what came before. Digital animation, mobile sculpture and choreographed performance combine to please the ears and eyes. Gather round for the reveal, succumb to each and every tall tale told, even when this belief is unfounded.
Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.
Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.Installation view. Courtesy of the artist. Photo: Reece Straw.
Special thanks to Adam Sinclair (Animation), Lotti V Closs (Additional Modeling Support), Jim Brouwer (AV Consultant), Rebecca Lee, Alison Lloyd and NTU Fine Art students (Voices) for collaborating on Here, the Gold Ones flatter.
About Reactor
Reactor is an art collective, comprising Susie Henderson, Niki Russell and an undisclosed number of secret members. Recent and forthcoming projects include: ‘Ivan Poe’, online, Kunstraum (London), Southwark Park Galleries (London), Quad (Derby) and Hexham Arts Centre, ‘The Gold Ones’, Radar (Loughborough), Plymouth Art Weekender, Kunstnernes Hus (Oslo), Gallery North (Newcastle) and xero, kline & coma (London), ‘Log!c ?stem’, Flux Factory (New York), ‘Dummy Button’, KW Institute for Contemporary Art (Berlin).
