Bonington Gallery is pleased to present an exhibition of paintings by Nottingham based artist Shahnawaz Hussain which capture key buildings and landmarks across Nottingham and the wider county.
Based in Nottingham, Shahnawaz Hussain is a self-taught artist who has been practicing and making art for the past 8 years.
Mostly working in acrylic, oil and watercolour; Shahnawaz travels across Nottinghamshire visiting locally significant buildings and landmarks that either possess a Nottingham Civic Society plaque or are otherwise connected with a famous Nottingham personality or lost industry. Some paintings also depict places and locations that are personal to the artist, such as his house.
In his experimental artworks, form, colour and texture are interwoven and applied via a broad range of perspective techniques, in turn exploring meaning, scale and depth-of-vision to reveal in great detail the underlying nature and composition of his subjects.
Shahnawaz has a particular interest in buildings from the ages of high architecture, particularly those from Victorian, Georgian, Tudor, Arts and Crafts and Baroque styles.
Having lived in Nottingham for most of his adult life he has observed the evolution of the city and wider county over many years, witnessing heritage architecture being irreplaceably lost, or used for purposes different to what was originally intended.
Shahnawaz is an Alumni Fellow at Nottingham Trent University, graduating in 1999 in MSc Multimedia Engineering. His personal website can be visited here, and more information about his practice can be read via this downloadable PDF document created by the artist.
As part of this year’s Light After Dark Film Festival, Bonington Gallery is pleased to present Peep Show, an innovatively staged exhibition of archival film curated by feminist collective Invisible Women.
Only visible through spyholes in the outer perimeter walls of Bonington Gallery; Peep Show brings together a series of archival film fragments that 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, Germaine Dulac and Lois Weber—this innovatively staged 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.
Curated by Invisible Women Archive. In collaboration with Bonington Gallery, Nottingham Trent University.
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
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
Image credit: Suspense (1913) directed by Lois Webster.
Alongside our current exhibition, history is a living weapon in yr hand, join us for a free online In-conversation event between our current exhibitor Onyeka Igwe and Dr. Jenni Ramone, Associate Professor of Postcolonial and Global Literatures at NTU.
Together, they will explore topics related to Igwe’s wider practice and the ideas, research and development that informs both the exhibition and Igwe’s 2023 film, A Radical Duet, that is central to the installation.
On the evening there will be the opportunity to pose questions.
Jenni Ramone is Associate Professor of Postcolonial and Global Literatures at NTU, where she directs the Postcolonial and Global Studies Research Group. She is also managing editor of the Journal of Postcolonial Writing. Her forthcoming book is Global Literature and Gender: Twenty-First Century Perspectives, and recent books include Postcolonial Literatures in the Local Literary Marketplace: Located Reading, and The Bloomsbury Introduction to Postcolonial Writing. Her current project is on breastfeeding in literature and art.
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.
Presented alongside Onyeka Igwe’s solo exhibition history is a living weapon in yr hand, discover a selection of materials selected by the artist, that highlight key women who embraced creative activities to challenge imperialism and imagine new Pan-African realities.
In looking into the history of Pan-Africanism from the 1930s up until Howard Macmillan’s famous Winds of Change speech in 1960, many famed and celebrated men emerge as having spent time in the UK before rising to prominence in Africa, the Caribbean and South Asia as political leaders. The women are lesser known and celebrated, but figures like Amy Ashwood Garvey, Katherine Dunham, Una Marson, Sylvia Wynter and Funmilayo Ransome Kuti played their part using music, poetry, dance and theatre to challenge imperialism and imagine new Pan-African futures.
Join us for a first look round the exhibition on Friday 12 January from 6–8 pm.
Book your free ticket
Images by Jules Lister
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.
We caught up with moving-image artist and researcher Onyeka Igwe ahead of her forthcoming show, history is a living weapon in yr hand which launches on 12 January, and runs until 2 March 2024.
Join us for a free, accessible tour of history is a living weapon in yr hand led by Onyeka Igwe (artist) & Elaine Joseph (audio describer), and accompanied by a BSL interpreter.
General access information to the building can be found here
Accessibility information for the exhibition can be found here
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.
Join us for a free tour of history is a living weapon in yr hand by Onyeka Igwe, led by Gallery Director Tom Godfrey.
Free, open to all
Onyeka Igwe
history is a living weapon in yr hand
13 January – 2 March 2024
Exhibition preview: Friday 12 January 6-8pm
Bonington Gallery presents history is a living weapon in yr hand, a solo exhibition of new and reconfigured work by London based artist Onyeka Igwe. The exhibition follows Igwe’s acclaimed solo exhibition A Repertoire of Protest (No Dance, No Palaver) at MoMA PS1 in New York, earlier this year, and ahead of her inclusion in the exhibition Nigeria Imaginary at the national pavilion of Nigeria at the Venice Biennale 2024.
The exhibition will be centred around a new two-screen adaptation of Igwe’s dual timeline experimental film A Radical Duet (2023). In 1947 London was a hub of radical anti-colonial activity, with international intellectuals, artists, and activists such as Funmilayo Ransome-Kuti and Sylvia Wynter, C L R James, Kwame Nkrumah and George Padmore all in London at this time. Each of them was individually agitating for their respective countries’ national independence, but did they meet, and if so, what did they discuss?
The film features fictional characters inspired by these radical figures. It imagines what happens when two women of different generations, but both part of the post-war independence movement, come 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.
The film will be accompanied by elements of the set design and props from the making of A Radical Duet, taking inspiration from the Jamaican writer and cultural theorist, 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.
history is a living weapon in yr hand is produced in collaboration with Peer Gallery, London, where it will be presented in autumn 2024.
Onyeka Igwe is a moving image artist and researcher, born and based in London. 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.
Please contact Sarah Ragsdale sarah@sarahragsdalepr.co.uk
Join us for a first look around history is a living weapon in yr hand, a new exhibition by Onyeka Igwe, a London-born and based moving image artist and researcher. Her work is aimed at the question: how do we live together? She is interested in the prosaic and everyday aspects of black livingness and exploring overlooked histories.
Accompanying the exhibition, An Elegant Marker of Endless Invention in our vitrines highlights key women who embraced creative activities to challenge imperialism.
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.
Ain Bailey is a composer, artist and DJ. She facilitates workshops considering the role of sound in the formation of identity, and the exploration of memory and sound. Past exhibitions include ‘The Range’ at Eastside Projects, Birmingham; ‘RE:Respite’ at Transmission Gallery, Glasgow, Scotland, and a solo show at Cubitt Gallery, London: ‘And We’ll Always Be A Disco In The Glow Of Love’ (2019). In 2020 Bailey and Ego Ahaiwe Sowinski created a composition and print entitled ‘Remember To Exhale’ for Studio Voltaire, London.
Bailey was commissioned by Wysing Arts Centre, Cambridge, to create the exhibition ‘Version’, and composed ‘Atlantic Railton’ for the ‘Listening To The City’ sound installation programme in the 2021 Serpentine Pavilion. For 2022, Bailey created the moving image/sound work ‘Untitled: Our Wedding) for the ‘Black Melancholia’ exhibition at CCS Bard, New York, USA and ‘Trioesque’ for Bruckenmusik 27 in Cologne, Germany. She was the 2022-23 Cavendish Arts Science Fellow at Girton College, University of Cambridge.
Forthcoming are solo exhibitions with FACT Liverpool (2024) and Camden Arts Centre (2026).
As part of our current Vitrines exhibition, Art [School] Histories, we have been collecting materials from former Nottingham School of Art and Design students and staff that reflect the more candid and informal moments during their time here. Below are a selection of these submissions – see the full set on the specially constructed noticeboard next to the Vitrines, just outside the gallery entrance.
With thanks to Claire Simpson, Daisy Hayward, Diana Pasek-Atkinson, Lis Evans, Rebecca Efstatiou, Alex Jovcic-Sas, and Giorgio Sadotti. If you have any images or memories you’d like to submit, please email boningtongallery@ntu.ac.uk