nottingham Archives - Bonington Gallery

This installation will be a physical translation of the concepts and themes found in the critically acclaimed music of this hugely important and influential Nottingham rap artist.

Exploring new possibilities for the alignment of hip hop lyricism with more traditional artistic mediums, CAPStone attempts to reevaluate how music is perceived, contemplated, and represented in contemporary settings by deconstructing the sounds, thoughts, and feelings contained within it.

Developed and curated with the help of sound artist Tom Harris, and based upon two thirds of the CAPstone LP trilogy (submitted as part of Cappo’s recent doctorate in English, Creative Writing, and rap music), themes of isolation and sociality (in abstracted forms) serve as backdrops for the piece, manifesting as two core experiences:

S.T.A.R.V.E. invites participants to experience isolation amongst the multitudes as part of an age-old narrative inherited by myriad artists, musicians, poets and authors to highlight the potential of loneliness as catalyst for mental health decline.

Houses speaks to an understanding of human existence as being profoundly social. Here, through visual, performative, and communicative means, the innate drive within us to remain part of a collective is uniquely interrogated.

The contrast between solitude and sociality — or separation and inclusion — has long been a subject of artistic investigation. Carrying this tradition forward using modern methods of expression, CAPStone intertextually engages with multiple artistic movements and eras to help revise these fundamental elements of the human condition.

We’re delighted to welcome Arianna, who is currently in residence at NTU on the AA2A programme, to run this public workshop. Through her ongoing project This room has no walls anymore, just endless trees Arianna creates shared spaces through the act of drawing – making opportunity for discussion and the sharing of knowledge, storytelling, materials and skills.

Responding to themes in our Vitrines exhibition, Arianna will explore relationships between fashion, devotional and ritual orientated contexts. You don’t need to have skills in sewing or making and we’ll provide all the materials – though you are invited to bring along an item of clothing to work with on day two if you’d like to.

Arianna Tinulla Milesi is a multidisciplinary artist and illustrator based in the UK. Drawing is the core of her work, not only as a practice but also as a cognitive tool to understand reality and create. Coping mechanisms, devotional art, seaweeds, the formation of memories and syncretism are pivotal points in her research, which is open and interactive.

Arianna is a member of the Council of the Society of Graphic Fine Art (SGFA). She collaborates with art institutions all over the world and is devoting an increasing amount of time to the organisation of workshops oriented to nature, to make wearable art, to convey human connections and mental health.

Bonington Connects is a series of talks, discussions and workshops planned by Nottingham Trent University students, inviting people to engage in thought-provoking conversations in response to the Gallery’s exhibition programme. It aims to create an accessible atmosphere, encouraging exploration of the exhibitions in an informal, open and engaging setting. This workshop has been planned and organised by final-year MFA Fine Art student, Vidhi Jangra.

We are pleased to acknowledge that funds from NTU TILT have supported this event.

In this guided tour, writer and Weird Hope Engines co-curator Jamie Sutcliffe will discuss the themes of the exhibition while exploring tabletop roleplaying games as potent tools for imagining radically different possibilities. From the transformation of the self to the evolution of social organization, this tour will introduce the artists behind each work in the show and explain how their various approaches to game design might position play as a unique form of speculation.

This event will last up to an hour. Please meet inside Bonington Building in the foyer space outside the Gallery doors at 12.55 pm. Free and open to all, booking required.

In our latest archive display we take a closer look at Descendants of the Dragon, 1991. This exhibition highlighted the Chinese community within Britain, looking at the importance of the dragon within celebrations. The exhibition showed many sculptural/puppet works which were related to the dragon and other animals that are present in ritual celebrations in Chinese-British culture.

Descendants of the Dragon showcased Chinese artists based in the East Midlands, as well as works from China. The majority of the space was filled with sculptural works that were used in ritual and festival settings featuring a large dragons head at its centre, and a long boat to the side. The ceiling of the gallery was covered with kites of different animals, including cranes, eagles, owls, and butterflies.

Curated by Alex Jovčić-Sas, the Archive cabinet contains photographs from the original exhibition, alongside condition drawings/reports for the main piece which sat in the centre of the gallery. There are also some of the original captions which have been written in mandarin and translated into English.

This exhibition has recently been researched by Dr Vivien Chen who was looking into diasporic East Asian artists in the East Midlands.

Side by side captions, English to the left, and handwritten Mandarin to the right.

Condition reports for the central dragon puppet

Images of flying animals suspended from the ceiling

three dragons in the centre of the gallery space

Join us for a free guided tour of Bonington Gallery’s latest exhibition with BSL interpretation.

This event will last up to an hour. Please meet inside Bonington Building in the foyer space outside the Gallery doors at 12.55 pm. Free and open to all, booking required.

We are delighted to be dedicating the final Vitrines instalment of our 2024/25 season to archive material, information and clothing that documents the dynamism of the independent fashion scene of Nottingham in the 1980s.

In the years following Beeston-born Sir Paul Smith’s ascendency from a 3x3m store on Byard Lane in 1974 – to bases in London, Paris and Tokyo – many local fashion brands were established, including several by graduates from ‘Trent Poly’, who bucked the moving-to-London trend by committing themselves to the city and starting a new generation of independent labels. Homegrown brands such as G Force, Olto, Vaughan & Franks, Katsu and Cocky’s Shed were a just a few…

These brands combined talent, style discernment, DIY attitudes and cheap rents to start labels, open shops, and form global influence and connection. At one point the city even gained its own style pages in the form of Déspatch, Relay and Débris magazines, providing content as broad ranging as fashion editorial featuring local and international designers, montages of nights at The Garage, and signposting visitors to the shops and studios that were physically and ideologically a long way from the High Street.

The fashion scene that developed placed equal importance on both studio and social time, building a network of close-knit creatives who collaborated and supported one another. This community incapsulated many of the same qualities that gave rise to other significant, and perhaps more well-known cultural communities such as the city’s music, cinema and contemporary art scenes.

The aim of this presentation is to celebrate and help establish a legacy for this important period within the city’s [sub]cultural history. An open call for materials will run in the lead-up and during the exhibition, allowing anyone to submit related materials that will join the exhibition and evolving noticeboard.

Accompanying the exhibition is a suite of specially commissioned essays by independent scholar Ian Trowell. Ian has also provided curatorial consultancy and research to this project, having interviewed several of the key protagonists of that era. Ian writes on subjects including UK subcultures, music, fashion, popular culture, art and media. His book Throbbing Gristle: An Endless Discontent was published by Intellect Books in 2023.

This exhibition has been co-curated with Dr Katherine Townsend, a researcher, educator, practitioner and Professor in Fashion and Textile Practice in the Fashion, Textiles and Knitwear department in the School of Art and Design at Nottingham Trent University.

Installation View – Nottingham Subcultural Fashion in the 1980s

Image: ‘Clockwork Orange’ collection by Olto (now One-BC). Photo by Paul Edmondson, circa 1984.

Join us for the launch of our final exhibition of the academic year, exploring tabletop roleplaying games (TTRPGs).

We were delighted to host experimental exhibition Weird Hope Engines, at this first opportunity to come along for a first look around. Attendees enjoyed a free welcome drink, delicious food and music.

The first exhibition of its kind, this exhibition highlights the practices of innovative designers, artists, and writers in the field of independent game design, and brings their work into dialogue with fellow-travellers in the field of critical art practice.

We dedicate the final Vitrines instalment of our 2024/25 season – Nottingham Subcultural Fashion in the 1980s – to archive material, information and clothing that documents the dynamism of the independent fashion scene of Nottingham in the 1980s.

Exhibition launch: Weird Hope Engines and Nottingham Subcultural Fashion in the 1980s

Join us for the launch of a new solo exhibition by Motunrayo Akinola and our Vitrines collaboration with The Aimless Archive.

We’re delighted to be launching two exhibitions in January, and this is your opportunity to come along for a first look around. Enjoy a free welcome drink, delicious food (first come, first served!) and music.

Motunrayo Akinola: Knees Kiss Ground
We’re delighted to present Knees Kiss Ground, a solo exhibition by artist Motunrayo Akinola, which explores faith and belonging through everyday objects.

The exhibition was produced during a six-month residency Motunrayo secured at South London Gallery (SLG) as part of their Postgraduate Residency scheme. The scheme provides early-career artists with the rare opportunity to produce a new body of work. Knees Kiss Ground was first exhibited at SLG in 2024 and tours to Bonington Gallery in 2025.

Vitrines #26: The Aimless Archive
Hull based The Aimless Archive delivers the 26th instalment of our Vitrines programme.

The Aimless Archive works across text – conversation – performance – collecting. It questions what we keep and what we get rid of by investigating the processes used to build archives. This approach attempts to be as open and collaborative as it can be. Work often takes the form of a book – a box – a by-product.

Detail of "Book of dreams" at the opening of "Knees Kiss Ground"

People looking into "Suggested Starting Points" while another group is contributing by adding their own responses into the second vitrine

Person using their phone torch to examine the print in the centre of "Cargo"

Person lookin at the exhibition text for "Suggested Starting Points" by The Aimless Archive

Detail of the black light on the handout for "Knees Kiss Ground"

People having a conversation around "Book of Dreams"

Person walking amongst the archive boxes of "Tomorrow"

People Sat in the Atrium under the disco ball

Groups of people sat down in the Atrium, listening to DJ, Claude Money

View of groups of people in the main gallery space

People looking at the printed pages of "Book of Dreams"

A group looking at the pulpit of "Book of Dreams"

People looking at the handout for "Knees Kiss Ground" in the shadow of "Movement 16"

People looking at the handout of "Knees Kiss Ground"

People taking photos of the handout for Knees Kiss Ground

Overhead of the Atrium area, where people are enjoying food, and listening to music from DJ, Claude Money

People having conversations and viewing "knees Kiss Ground"

People around the space looking at "Knees Kiss Ground"

For an exhibition in March 2025, we are running an open call for materials that relate to Nottingham’s independent fashion scene in the 1980’s.

This period was an exciting time for homegrown fashion and style culture. Brands such as G Force, Olto, Cocky’s Shed plus others combined local talent & style discernment, with entrepreneurism & DIY attitudes to start labels, open shops and form connections and influence on a global level.

Do you have any Nottingham labels in your wardrobe? Did you start/run/work for a local label? Did you shop at G Force? Do you have photos of you and your friends wearing garb to The Garage? Did you pick up copies of Nottingham’s style pages Débris or Despatch? etc etc! If so, we’d love to hear your anecdotes, see your photos and materials (Eg. photos of night out, flyers, receipts, magazines, brochures) that relate to the scene and time.

The intention is to build a collection of material that will become part of the exhibition, and if contributors are happy, have this preserved within a growing archive of material going forwards.

In the first instance please email boningtongallery@ntu.ac.uk with any information and digital copies of materials (just snaps on your phone is fine) and we can take the conversation from there.

Donald Rodney (b.1961, d.1998) studied at Nottingham Trent Polytechnic, now Nottingham Trent University, between 1981 and 1985. Here, Rodney’s practice moved from painting to an experimental multimedia approach, through which he established an artistic language addressing subjects including racial identity, Black masculinity, chronic illness, and Britain’s colonial past.

Sketchbooks were an integral part of Donald Rodney’s practice from 1982 onwards. His sketchbooks contain: preliminary studies for artworks, records of past exhibitions and various writings; glimpses of Rodney’s diverse personal, cultural, social, and political influences. This vitrine exhibition collates archival material to present a snapshot of Rodney’s time as a student in Nottingham, amid his involvement with local, national, and global socio-political discourses. Rodney began using sketchbooks at the age of twenty-two as a student, and he filled forty-eight sketchbooks by the time of his death in 1998 from complications related to sickle cell disease.

Rodney met fellow artist Keith Piper at Nottingham Trent Polytechnic, and together they moved in with electronics student Gary Stewart. At their address — 3 Lindsey Walk, Hyson Green Flats — Rodney, Piper, and Stewart provided a meeting place for artists, writers, makers, and thinkers: fellow students, local community members, and persons from their national networks. The BLK Art Group was also formed by Rodney and fellow students in 1983, using 3 Lindsey Walk as its address. The BLK Art Group was a collective of young Black artists and curators who exhibited primarily in Birmingham and London. This was an important and necessary group, but BLK Art Group has also been retrospectively attached to activities by British artists in the 1980s who were not affiliated with the collective. This attachment has been critiqued as a reduction and conflation of an important reality: that there were many unique, different, and individual Black British artists working across the UK long before The BLK Art Group, throughout the 1980s, and, of course, far beyond and into the present day.

Rodney, and fellow students, also engaged in artistic activity outside of Nottingham Trent Polytechnic, by organising exhibitions, conferences, talks, and events across the midlands and nationally. These included The First National Black Art Convention of 1982, at Wolverhampton Polytechnic, and Pan-Afrikan Connection, which involved a series of exhibitions in Bristol, Nottingham, Coventry, and London between 1982-1983.

For further insight into Donald Rodney’s life and art, please visit Donald Rodney: Visceral Canker at Nottingham Contemporary until 5 January 2025. This exhibition includes all of Donald Rodney’s surviving artworks including painting, drawing, and installation, as well as sculpture and digital media.

This exhibition has been curated by Joshua Lockwood-Moran with the exhibitions team at Nottingham Contemporary.