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Twenty Six Years Later from Professor Lei Cox consists of a multiple of new photographs, new video installations and some retrospective video and photography pieces dating from 1985.

Lei’s early work strived to find surreal and unusual in a pre-digital world, starting with raw and untreated shots. Sometimes these were carefully staged, as he cheated with light and shadow. The vast possibilities of blue-screen super impositions, digital effects snd digital sound processing later influenced his work, allowing him to create complete surrealism with Hollywood-like special effects.

His ;later work moved away from this notion, questioning reality against the synthetic. New ideas were contemplated and realised: videos were shot on location in the real world; all single takes, no special effects, and “pure”.

Image showing an arrangement of children's toys. In the foreground there is a red car and a yellow car, behind them there are a selection of other modes of transport, inclding planes, trains and motorcycles. Behind there there are many different robot toys of varying shapes sizes and colours.
Image from Twenty-six Years Later (a journey into fiction and back again)
Image showing an arrangement of children's toys. In the foreground there is a red car and a yellow car, behind them there are a selection of other modes of transport, inclding planes, trains and motorcycles. Behind there there are many different robot toys of varying shapes sizes and colours.
Image from Twenty-six Years Later (a journey into fiction and back again)
A detail of the left hand headlight of the jeep, with the road curving to the right in the background. There has been a small camerawomen lense cable tied to the bumper of the jeep, under the headlight.
Image from Twenty-six Years Later (a journey into fiction and back again)
The grill and headlights from a white jeep are on the right of the image. At the left corner of this, there is a male figure, bent over wearing a hat, sunglasses and is attaching something to the side of the jeep.
Image from Twenty-six Years Later (a journey into fiction and back again)
A shirtless male figure in green shorts and a hat stands in in front of a white jeep with its driver side front door open. Behind them these is a mountain range. The male is wearing a black wide brimmed hat, looking through a viewfinder.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure faces the camera, looking directly forward. He is holding a viewfinder in his hands in front of his right eye.
Image from Twenty-six Years Later (a journey into fiction and back again)
Image has no caption
A white jeep is driving along a dirt road. Around it there are small shrubs, and some hills in the background, with a deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
This amigo shows a road, where you can see the bank at the roadside is mainly sand. Beyond this there are some small mountains, and a clear deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
A yellow jeep drives through dusty hills kicking up dust.
Image from Twenty-six Years Later (a journey into fiction and back again)
A white jeep drives round a windy road in a rocky landscape. In the distance a large mountain can be seen.
Image from Twenty-six Years Later (a journey into fiction and back again)
A yellow jeep with its boot open is parked on the side of the road, with dusty hills in the background.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure is leaning over a video camera on a wide low tripod. In the background there is a road gong through a hilly dessert landscape.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure in a open red shirt, is winking at the camera. He is wearing a hat with a camera gaffa taped to it.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure is standing with his right thumb up. He is wearing a red, slightly unbuttoned shirt, and is wearing a hat which has a camera gaffa taped to it. He is holding a video receiver in his left hand. In the background, there is a yellow jeep with an open door.
Image from Twenty-six Years Later (a journey into fiction and back again)
The bank of the road with some small shrubbery, with mountains in the background, and a deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
in the center, there is a male figure, crouched over a large video camera, on a low wide tripod. Behind him to the right, is a yellow jeep, with its boot and doors poen. In the background are dusty hills.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure in a red shit, wearing a hat with a camera gaffa tapes to it looks into a box connected to his camera. In the background there are some dusty hills.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure looks at the camera, wearing a red shirt, and a hat with a camera gaffa taped to it. He is driving from a plastic bottle, looking at the camera.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
Image showing an arrangement of children's toys. In the foreground there is a red car and a yellow car, behind them there are a selection of other modes of transport, inclding planes, trains and motorcycles. Behind there there are many different robot toys of varying shapes sizes and colours.
Image from Twenty-six Years Later (a journey into fiction and back again)
Image showing an arrangement of children's toys. In the foreground there is a red car and a yellow car, behind them there are a selection of other modes of transport, inclding planes, trains and motorcycles. Behind there there are many different robot toys of varying shapes sizes and colours.
Image from Twenty-six Years Later (a journey into fiction and back again)
A detail of the left hand headlight of the jeep, with the road curving to the right in the background. There has been a small camerawomen lense cable tied to the bumper of the jeep, under the headlight.
Image from Twenty-six Years Later (a journey into fiction and back again)
The grill and headlights from a white jeep are on the right of the image. At the left corner of this, there is a male figure, bent over wearing a hat, sunglasses and is attaching something to the side of the jeep.
Image from Twenty-six Years Later (a journey into fiction and back again)
A shirtless male figure in green shorts and a hat stands in in front of a white jeep with its driver side front door open. Behind them these is a mountain range. The male is wearing a black wide brimmed hat, looking through a viewfinder.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure faces the camera, looking directly forward. He is holding a viewfinder in his hands in front of his right eye.
Image from Twenty-six Years Later (a journey into fiction and back again)
Image has no caption
A white jeep is driving along a dirt road. Around it there are small shrubs, and some hills in the background, with a deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
This amigo shows a road, where you can see the bank at the roadside is mainly sand. Beyond this there are some small mountains, and a clear deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
A yellow jeep drives through dusty hills kicking up dust.
Image from Twenty-six Years Later (a journey into fiction and back again)
A white jeep drives round a windy road in a rocky landscape. In the distance a large mountain can be seen.
Image from Twenty-six Years Later (a journey into fiction and back again)
A yellow jeep with its boot open is parked on the side of the road, with dusty hills in the background.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure is leaning over a video camera on a wide low tripod. In the background there is a road gong through a hilly dessert landscape.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure in a open red shirt, is winking at the camera. He is wearing a hat with a camera gaffa taped to it.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure is standing with his right thumb up. He is wearing a red, slightly unbuttoned shirt, and is wearing a hat which has a camera gaffa taped to it. He is holding a video receiver in his left hand. In the background, there is a yellow jeep with an open door.
Image from Twenty-six Years Later (a journey into fiction and back again)
The bank of the road with some small shrubbery, with mountains in the background, and a deep blue sky.
Image from Twenty-six Years Later (a journey into fiction and back again)
in the center, there is a male figure, crouched over a large video camera, on a low wide tripod. Behind him to the right, is a yellow jeep, with its boot and doors poen. In the background are dusty hills.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure in a red shit, wearing a hat with a camera gaffa tapes to it looks into a box connected to his camera. In the background there are some dusty hills.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
A male figure looks at the camera, wearing a red shirt, and a hat with a camera gaffa taped to it. He is driving from a plastic bottle, looking at the camera.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)
a male figure in a red shirt, and beige loose fitting trousers is leaping into the air. There are trails of dust underfoot. The landscape is dusty hills with small shrubs.
Image from Twenty-six Years Later (a journey into fiction and back again)

Social Resource Project for Tennis Clubs is a solo exhibition by artist Stephen Willats.

A pioneer of international conceptual art, Stephen Willats has spent six decades concentrating on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organisation.

During the early 1970s, while living in Nottingham and teaching at the Nottingham College of Art and Design (now Nottingham Trent University), Willats began several interactive projects exploring the relationship between artist and audience, and people in private and public space. Social Resource Project for Tennis Clubs (1971/2) saw him work with four tennis clubs in the city – all socially, economically and physical separate – with the idea of uniting different social groups within a shared process.

This exhibition features artwork and archive materials from Social Resource Project for Tennis Clubs, on loan to Bonington Gallery from Nottingham City Museums & Galleries. Accompanying it is a new film and photographic series created during the artist’s recent visits to the original tennis clubs, and work produced during Willats’ early years in Nottingham that proved influential to his subsequent career.

Tennis Tournament

Join us for a restaging of the Tennis Tournament that happened at the conclusion of the original project, taking place on the launch day of this exhibition. Stephen will work with members of The Park Tennis Club to re-model the game of tennis based on their reasons for joining the club – using this site and experience as a simulation of a transformed society.

Header image credit: Stephen Willats, Tennis Super Girls, 1971/72

Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Signs And Messages from The Park, Tennis Club Nottingham, 2022, Film, 6 minutes 36 seconds
Tennis Club Environments, Social Resource Project for Tennis Clubs, 1971/2, 35 mm black and white slides
Tennis tournament photographs, Social Resource Project for Tennis Clubs, 1971/2, Black and white photographic prints
Installation view
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Worksheet showing theoretical models, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Tennis Club Manual pages, Social Resource Project for Tennis Clubs, 1971/2, Reproductions of original booklet
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Signs And Messages from The Park, Tennis Club Nottingham, 2022, Film, 6 minutes 36 seconds
Tennis Club Environments, Social Resource Project for Tennis Clubs, 1971/2, 35 mm black and white slides
Tennis tournament photographs, Social Resource Project for Tennis Clubs, 1971/2, Black and white photographic prints
Installation view
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Theoretical Models, Set of four diagrams, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Worksheet showing theoretical models, Social Resource Project for Tennis Clubs, 1971/2, Mixed media on paper
Tennis Club Manual pages, Social Resource Project for Tennis Clubs, 1971/2, Reproductions of original booklet
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
Installation view
About the artist

For six decades, Stephen Willats (born in London in 1943) has concentrated on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship and self-organisation, and has initiated many seminal multi-media art projects. He has situated his pioneering practice at the intersection between art and other disciplines such as cybernetics – the hybrid post-war science of communication – advertising, systems research, learning theory, communications theory and computer technology. In so doing, he has constructed and developed a collaborative, interactive and participatory practice grounded in the variables of social relationships, settings and physical realities. Rather than presenting visitors with icons of certainty he creates a random, complex environment which stimulates visitors to engage in their own creative process.

Willats has exhibited internationally and his work can be found in public collections held by Tate, Arts Council England and The Victoria and Albert Museum.

亂 — Confusion, state of chaos.

In the ancient form of mandarin the title represents the creative processes and working practice that facilitated this exhibition. Dance artist Lucia Tong, Dance4 and Nottingham Trent University MA Framework students collaborated to create an immersive and interactive installation – interpreting the meaning of Luàn through movement, installation, photography and textiles.

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Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance
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Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance
Luan – living in silk performance

“In 1978, prompted by my interest in people’s attitude to photography, from beyond the primitive notion of your soul being stolen when you have your photograph taken, to whatever was the contemporary notion, I mailed an image of myself to the 84 people who at that time shared my surname in the London Phone Directory, hoping that having this in common would serve as an introduction. I asked for a photograph in return, with their name on the back so that I would know who was responding, and a very large percentage complied, but most were also accompanied by incidental information.  There were exceptions; a letter saying that there were no photographs in existence of Doris Jewell, an octogenarian living in Barnes, but I was welcome to go and take one.

This outcome led to me producing ‘London Jewells’, a poster size, four-colour lithographic letter containing a montage of all the photographs received and a précis of the written response. I mailed this poster out to my original list, but omitting the names that the Royal Mail had returned to sender as ‘’unknown at this address’’. This secondary mail out solicited a mixed response, photographs and “wish I’d taken your original letter more seriously” from some of those who had not initially responded and “thanks” from those that had.

I then repeated the process but this time with a similar number of Jewells in the USA, utilising the Los Angeles and Miami phone directories. The response was markedly different, not in volume but by the amount of lithographically produced photographs in the form of Christmas and model agency cards etc., and also far more information on lineage with family trees going back to Bishop Jewell of Salisbury in the 16th Century. 

I then framed and exhibited all this material at the 1983 Summer Show at the Serpentine Gallery in London.

In 2009 a publisher enquired of me if I had any plans for another book. I was considering returning to the ‘Jewell’ concept but this time making contact via the internet rather than the postal service; with the development of the world wide web and digital photography, our personal attitudes to portraiture had moved on, the days of Doris Jewell living a long life without a single image of her existence seemed a thing of the past. However, instead I initially ran a Google search of ‘Jewell’ for images, this subsequently also led me to video and audio material baring my surname. The items collated in alphabetical order became Jewell, a Film By Dick Jewell April-August 2010 (133mins), rather than a book it imitates the aspect of multitasking on a computer screen.

My iPhone flower portraits alongside the vitrines, seemed fitting, not only as a traditional subject for wallpaper but in our focus on genealogy when considering the juxtaposition of similar sized subject matter.”

Dick Jewell, 2019.

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.
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.
Installation view. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, Jewell, 2010. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, Jewell, 2010. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, iPhone flower Portraits, 2019. 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.
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.
Installation view. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, Jewell, 2010. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, Jewell, 2010. Courtesy of the artist. Photo: Julian Lister.
Dick Jewell, iPhone flower Portraits, 2019. Courtesy of the artist. Photo: Julian Lister.
Installation view. Courtesy of the artist. Photo: Julian Lister.

Location: Lecture Theatre 2, Newton Building, NTU City Campus

Nottingham Trent University is delighted to invite Dick Jewell to speak as part of the 2019 Fine Art Live Lecture Series.

Working across film, photography and photo-collage, Jewell has inhabited both gallery and commercial contexts, exhibiting his work internationally at institutions including the Stedelijk Museum (Amsterdam) and Serpentine Gallery (London), as well as producing music videos and promos for musicians including Neneh Cherry and Massive Attack

Growing up in Croydon Jewell spent much of his youth “lugging around an Olympus OM-1 Motor Drive, taking portraits of strangers at any opportunity”  going on to publishing his first book Found Photos in 1978, the same year he completed his MA in Printmaking at the Royal College of Art.

In anticipation of Jewell’s most significant solo show Now & Then (opening January), take a read of this article on his career as an artist/filmmmaker by Dazed & Confused.

We launch our next exhibition Video Days with a programme of talks, screenings and photography dedicated to the local and international skateboarding community.

In conjunction with local not-for-profit community group Skate Nottingham, we’ll be exploring skateboarding’s potential to drive cultural and social change, particularly through the re-engagement of young skateboarders with education and employment by supporting individual creative and cultural interests.

This event reflects Nottingham’s lively intergenerational skate community, and identify a set of themes that link the local and international significance of skateboarding to the objectives of the open cinema we are creating in the gallery. It also shows the rich texture of disciplines and interests reflected across the entire Video Days programme.

Skateboarding is an activity that reflects a consistent theme within the programme of human-kind’s disruptive and subjective relationship with the built environment.

Attend the preview

Email boningtongallery@ntu.ac.uk to confirm your attendance to the Video Days Preview.

Preview programme

An exhibition of photography from local skate photographers: 4 pm onward

Curated by Tom Quigley, who self-publishes Varial Magazine, featuring East Midlands skateboard photography. Alongside Tom’s own work, the exhibition will include contributions from active local skate photographers such as Neil Turner, Vic Camilleri, Dave Bevan, and Andrew Horsley (one of the founders of Sidewalk magazine, the UK and Europe’s longest running skate magazine, and internationally respected skate photographer) and images from Nottingham between the 1970s and 1990s from photographers including Andrew McDermott and Steve Tristram. Tom was recently the subject of the second part of the film series ‘We Can Fly’, and had work featured in the Sneinton Pride of Place collection of photography and visual art published by the Caravan Gallery, 2018.

From transgression to progression: 5 pm – 5.30 pm

A talk on skateboarding and Nottingham’s social, cultural and economic development, Chris Lawton Skate Nottingham.

Chris is one of the co-founders of Skate Nottingham. He is a Senior Research Fellow in economics at Nottingham Business School, here at Nottingham Trent University. He is also a feature writer for Caught in the Crossfire magazine, a long-running web-magazine on skateboarding, punk and radical politics. In this short discussion, Chris will talk about examples of skateboarders proactively driving inclusive development in cities around the world, particularly Malmö, Copenhagen and Tampere, and how both the activity and its wider culture and community provide opportunities for Nottingham (like Malmö, a medium-sized post-industrial city with a young population but significant regeneration challenges).

War & Rees, 2017, (7:17 mins), Daniel O’Neill: 5.30 pm – 5.40 pm

Dan is a skateboarder and academic historian, and is one of the Nottingham skate scene’s most prolific filmers.  This short film charts the final year of Nottingham’s large DIY skatepark project, which occupied waste ground next to the BBC Island – earmarked for development as part of Nottingham’s stalled ‘East Side City’ project; amid wider local political interest in the loss of genuine ‘common’ land in the city centre (and thus the radical potential of skateboarders repurposing blighted brownfield space land-banked by property developers and kept out of public use for more than two decades). The original DIY and a later, short-lived guerrilla skatepark in waste ground by BioCity were both demolished by the landowners towards the end of 2017, land which has, for the time being, been returned to its previously unused state.

A montage of Nottingham skateboarding past and present, (20 mins), Neil Turner: 5.40 pm – 6 pm

Neil has been filming skateboarding in Nottingham for almost 20 years, alongside documentary video work and photography, and is currently working on the first full-length video from Forty Two Shop, Nottingham’s only independent skate store.  Neil has filmed edits for Sidewalk magazine and has amassed a huge archive of footage of Nottingham skateboarders from the late 90s days of Old Market Square and Broadmarsh Banks through to now, which he will draw from and re-edit specially for this event.

Pieces of Palestine, featuring Isle Skateboards and SkatePal, 2017, (20 mins), Jacob Harris: 6.10 pm – 6.30 pm

A short film featuring the Isle skateboard team’s 2016 visit to the West Bank with award-winning charity SkatePal, to be shown with the permission of Jacob Harris (winner of the Bright Trade Show European Skateboard Awards for both his 2013 independent film Eleventh Hour and Isle’s debut video in 2015, Vase). Pieces of Palestine will help raise awareness and support for two of Skate Nottingham’s young female coaches who will be volunteering with SkatePal in the West Bank this October.

Video Days, 1991, (24 mins), Spike Jonze and Blind Skateboards: 6.30 pm – 7 pm

Video Days is a skateboard video released in 1991 by Blind Skateboards, it was produced by American skateboarder and filmmaker, Spike Jonze. It is widely considered to be one of the most influential skate videos of all time, providing early platforms for now legendary skaters including Mark Gonzales, Jason Lee and Guy Mariano.

Nottingham Trent University (NTU) is delighted to host, in collaboration with New Art Exchange and Nottingham Contemporary, this guest lecture by Keith Piper, BA (Hons) Fine Art alumnus and founding member of the BLK Art Group.

This event coincides with an exhibition of Keith’s work at New Art Exchange, Unearthing the Banker’s Bones, which opens from Friday 31 March to Sunday 2 July 2017. It also coincides with the current group exhibition at Nottingham Contemporary, The Place is Here, which is open until Sunday 30 April.

Keith Piper (born in Malta, 1960) is a leading contemporary British artist, curator, critic and academic. Piper was a founder member of the ground breaking BLK Art Group, an association of black British art students who exhibited together throughout the country between 1982-83. Their work was noted for its boldly political stance and critique on the state of intercommunal, class and gender relations the UK.

Adopting a research-driven approach and using a variety of media, Piper’s work over the past 30 years has ranged from painting, photography and installation through to use of digital media, video and computer based interactivity.

Image: Keith Piper, Unearthing the Banker’s Bones, 2016, film still. A 70th anniversary commission for the Arts Council with Bluecoat and Iniva. © the artist

Nottingham Trent University (NTU) is delighted to invite Alan Michael to speak as part of the 2017 Fine Art Live Lecture Series.

(b.1967 Paisley, Scotland) Alan lives and works in London. His work combines existing styles and codes of painting, photography and text to highlight tensions between displays of labour and casual under-performance. While making allusions to an unresolved relationship between photorealism, Pop and the ‘realness’ of street photography, his works often refer to various processes used to generate the ideas, circuits of reception and, ultimately, the finished works themselves.

Alan is currently exhibiting in a group exhibition entitled All Men By Nature Desire To Know, which is on at Bonington Gallery until Friday 17 February 2017.

Recent solo exhibitions include:

Recent group exhibitions include:

ABOUT THE FINE ART LIVE LECTURE SERIES

The Fine Art Live Lecture Series is an initiative by Nottingham Trent University’s Fine Art course, whereby creative practitioners are invited to deliver a lecture to current students. The lectures are also open to staff, alumni and the general public.

The lectures take place during term-time only.

To coincide with the In Place of Architecture exhibition in the Gallery from 6 November – 11 December, this symposium brings together photographers, filmmakers, and writers on photography and architecture to examine the role that photography and moving image play in our contemporary interpretation, perception and understanding of the architectural environment.

Keynote speaker: Andrew Higgott, author and co editor of Camera Constructs.

Speakers will include:

#NTUIPOA

Symposium Handout

Click here to download the symposium handout


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:

Peter Ainsworth, Michele Allen, Emily Andersen, Peter Bobby,  Tim Daly, Charlotte Fox, Fergus Heron, Esther Johnson, Andy Lock, Fiona Maclaren (view in IE), Guy Moreton, Martin Newth, Emily Richardson.

A programme of events and activities was also curated to compliment the themes highlighted by the exhibition.

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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.
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.