2020 Greetings Card – order below

To order please email: info@bosseandbaum.com

Subject title: 2020 Greetings Card. Please include the quantity you would like and your delivery address. 

2020 Greetings Card – not just for the festive season
Each order contains 5 cards

5 A6 Cards on Perlino Cotton (Recycled) (300gsm)
with Kraft Envelopes

Blank inside

Miriam Austin will be exhibiting during December 2020 at Bosse & Baum. Proceeds from sales of this card will support the exhibition. Thank you.

*Please note this is a Pre-Order, orders will be sent from late November onwards *

£12.50 GBP + P&P

About the artwork

Celebrate the festive period, and the end of 2020, with our our new and exclusive greeting card designed by Miriam Austin. Produced and printed in the UK, each card is blank inside and comes with a kraft envelope. The card is beautifully printed on Perlino Cotton paper and can be kept to enjoy. 

About the artist

New Zealand-born Austin has a rich multidisciplinary practice that explores the relationship between ritual, myth, ecological fragility, and the politics of the body through sculpture, works on paper, installation, video and performance. Drawing on her family’s colonial past in New Zealand, Austin’s work is a complex and ambivalent interrogation of practices and visions of joining and severance; between people, cultures, human and non-human agencies.

Upcoming: Candida Powell-Williams : Sonic Arrangements in the Infinite Fill | Immaterial Salon for Art-o-Rama 2020, 28 -30 August 2020

Podcast with Candida Powell-Williams

You can listen here.

The podcast series is being released throughout Candice Jacob’s exhibition the Wellness Formula at Five Years Gallery. The exhibition acts as an attempt to explore the critical positioning of symbolic energy by exploring synchronicity and chance as communication tools, truth as a form of alignment, vibration as a resonating reality, time as a geological object and aspirational living as spiritual capitalism. We must understand how we can be ourselves in a predetermined system of ideas and what emotional and psychic investments we are contributing to a system that shapes the core of our subconscious and neoliberal identity.




Fondamenta, by Artissima  
5 June – 5 July 20202

The works by Bea Bonafini presented in the Present Future section of Fondamenta, display a hybridity between the animal and human, or the falling apart of the human body as it morphs into other forms, suggesting that aspirations and dreams are capable of melting human, physical and psychological limits. In all three works there’s a process of fragmentation, overlapping themes of water, fluidity and metamorphosis. They showcase the artist’s ability to work across media while maintaining her distinctive style, where the works adopt the language of displaced artefacts in order to shape new narratives. 

The works Fortuna and Hold on to me are part of a recent series of wall-based paintings on engraved and inlayed cork from 2020. The use of cork follows Bonafini’s interest in materials that have a softness to them, which can be stained or have a prominent texture of their own, and are commonly used by artisans or in interior design, as insulation, and in the wine and fashion industries. It is a sustainable material, leaving the tree unharmed when it is harvested every 9 years from the cork oak tree. These works are based on medieval and ancient beliefs on fortune and fate. The goddess Fortuna in Roman religion is blind, but she’s active and capricious. The quatrefoil forms are representative of an axis-mundi, depicting the passage between the celestial and the underworld. They also behave as an axis between the visual languages of the ancient world and of the Italian Futurist movement.

Bonafini’s use of the ancient marbling technique where porcelain is stained, layered, cut and recomposed to create patterns and distortions which remain unglazed, can be seen in the wall-based ceramic Bathing Melusine from 2019, based on a mythological female water spirit where the materials (sea glass and salt water) echo the subject matter. The artist’s use of a carpet inlay technique is demonstrated in the work Watch Me As I Fall from 2019, the wall-based tapestry depicts a figure descending down the stairs, her mirror and reflection multiplies into a myriad of floating marks cross the work, while phantom upside down figures haunt and taunt her. The cascade of marks and gestures increases her potential tumble as she falls. 

Bea Bonafini works across painting, drawing, sculpture, ceramics, textiles, performance and installation. Her interdisciplinary practice is often textile-based and socially engaged; inspired by confrontation in human relationships, ritual processes and notions of the sensual and the visceral. With her fabric, ceramic and cork inlay works in particular she explores the flexibility of formal possibilities that come with replacing paint with alternative materials. The artist uses a horizontal process of continuous and obsessive slicing and splicing, repeating the fragmentation to complicate the image, so that it appears in syncopated forms, to slow down the viewer’s reading of the work. Testing the notion of comfort, her installations and performances operate on the boundary between functionality and the aesthetic. 

Artissima presents Fondamenta,  a curated online project that will run from 5 June – 5 July 2020. Fondamenta is a project based on the work of a fair in progress, to experiment with new ways of meeting and communicating, reacting to the transformations of the present. Fondamenta is not a viewing room, not a virtual tour, not an exhibition. It is a collective project coordinated by the curators of Artissima 2020 and produced with galleries for galleries, which are the fundamental “fondamenta”(foundations) of the fair, the heart and fulcrum of the art market. Fondamenta offers a virtual selection of approximately 200 art works (priced up to 15,000 Euros), presented by Italian and international exhibitors from Artissima 2019.

Meet the gallerists

You can read the interview with us, Alex and Lana, here.

Mary Stephenson wins the MMAT Acquisition Prize 2020

Image : Mary Stephenson, Catch of the Day, 2019, oil on canvas, 183 x 213 cm will be acquired for the MMAT Collection

Preview London & MMAT Acquisition Prize 
Preview exhibited works click here | For the viewing room click here
email info@bosseandbaum.com to enquire about any artwork

Preview is an exhibition format where international galleries are invited  by the Italian collector Mauro Mattei to dialogue and showcase artworks.  The invited galleries Bosse & Baum (London), Clima (Milan) and Damien & The Love Guru (Brussels) have the opportunity  to  collaborate, share  perspectives  and  visions  of  their  artists’  paths  and  develop  new  forms  of  exchange  on  an international  scale. Proceeds from all sales will be donated to Delfina Foundation, an independent, non-profit foundation dedicated to facilitating artistic exchange and developing creative practise through residencies, partnerships and public programming.

Mauro Mattei has launched the Mauro Mattei Art Trust Acquisition Award 2020 to support those artists and galleries taking part in Preview London. The selection committee was formed of four international collectors who are actively engaged in supporting artists worldwide. The shortlisted artists were Mary Stephenson (Bosse & Baum), Jannis Marwitz (Damien & The Love Guru) and Matteo Nasini (Clima). The winner was announced on Tuesday 28 April supported by Spirito Cocktails raising funds to support Masks 4 NHS Heroes. You can donate here

Chats in Lockdown : Luke Burton chats to Emma Cousin

You can listen to the podcast here. 

Luke Burton is currently on a year-long residency at Girton College, Cambridge. He talks to Emma Cousin about how Covid-19 is affecting his time there about working in isolation and his circling of painting in work that involves a cartoon like shorthand that withstands manipulation such as stretching, warping and flattening. They revisit his show at Picnic Gallery in Peckham, which was constantly opening and closing, which showed stacks of sports equipment in graphic totems, preempting the closure of shops and cancellation of sports events in the current climate. They ponder pandemic poetry, miniatures and display.

You can also view Luke Burton’s artist page here.

Chats in Lockdown : Miriam Austin chats to Emma Cousin

You can listen to the podcast here.

They talk about languages of the body, aubergines, poisonous flowers and the powers of horror. They discuss the artist’s interest in storytelling and explore how other ways of being might be generated through storytelling. Miriam uses a wide range of materials in her practice and she discusses why this matters. She discusses her distinctive colour palette, Middlemarch and meditation.

You can also view Miriam Austin’s artist page here.

Luke Burton, Banana Arms, 2016

Luke Burton, Banana Arms, 2016
ink and gouache on Fabriano paper
70 x 50 cm
signed and dated by the artist
Enquire for price


Bosse & Baum is offering this work on paper by Luke Burton in support of the Cambridge City Foodbank, proceeds from the sale will be donated to them. The artist is currently on a year-long residency at Girton College, Cambridge. He talks to Emma Cousin about how Covid-19 is affecting his time there and about working in isolation in the podcast Chats in Lockdownhere.

Banana Arms, 2016, is an ink and gouache drawing depicting a coat of arms – the visual symbolically coded language of heraldry – with two bananas within a lozenge as its crest. Traditionally, this codified system has strict rules around colour, composition, form and meaning. Burton gently and humorously disturbs these long-established conventions by having a decorative arrangement that is wilfully ungainly with the bananas drawn like human figures in an awkward embrace. Rather than the harsh lines, strident tone and rigid symmetry of heraldic laws, there are soft edges, a light touch and a muted palette. The drawing could be read as a call to arms so to speak, but whose call is ambiguous, gentle and paradoxically non-confrontational. To acquire this work by Luke Burton please email info@bosseandbaum.com

Luke Burton has an on going interest in how symbolism operates across decorative visual culture, and how the psychological concept of ambivalence plays out across aesthetic and political spheres. The artist questions the relationship between craft, ornament and fine art in relation to taste, objecthood and materiality within painting. He probes how historical and classical visual tropes persist over vast periods of time, suggesting an established symbolic order. His use of repetition of archetypal tropes suggests both an overloaded or denuded image as well as an insistence on meaning, however elusive. In addition to more conventional modes of painting, Burton is also interested in seeing painting as an expanded field, specifically in his use of seemingly anachronistic media such as folding screens or vitreous enamels. These contrasting modes also show Burton’s interest in the idea of scale in relation to painting: the scale of architecture, the human scale, and the scale of the miniature or handheld. How do these various scales create a physical and psychic space for intimacy, alienation, empathy or privilege?

Luke Burton (b. 1983, London, UK) completed his MA at the Royal College of Art, London in 2014. Upcoming exhibitions include: Spoils at Zona Mista Project Space, and a solo show at Girton College, Cambridge and Bosse & Baum, London in 2020. Recent exhibitions include:  Podium Sales, Picnic Gallery, London (2019); CAMEO, A-Dash, Athens (2019); Out of Office, PADA, Lisbon (2019); Outlines Roughly the Size of a Suit, Union Gallery, London (2019); Becoming Sweet New Styles, Bosse & Baum, London (2018); Sweep / Landskip, Kinokino Kunstal, Stavanger, Norway (2018); The Lotus Eaters, Aindrea Contemporary, London (2018); Granpalazzo, Ariccia, Rome (2017); Print Department, Division of Labour, London (2017); Waves, Turf Projects, London (2017). From 2019 to 2020 Luke Burton will be Artist-in-Residence as a Visiting Fellow at Girton College, Cambridge.

**Sale of artwork to raise money for NHS Covid-19 Urgent Appeal**

Mary Stephenson
Running Low, 2020
24 x 32 cm
Oil on watercolour paper 

Mary Stephenson has made a unique work on paper to raise money for the NHS Covid-19 Urgent Appeal100% of proceeds going to support NHS staff and volunteers caring for Covid-19 patients. Her work will be included in Preview London opening at 6pm BST today.

To enquire about Mary Stephenson’s other works please email info@bosseandbaum.com 


Opens on 7 April at 6pm (BST) at Artland
Online Exhibition : 8 to 21 April 2020
For a preview of works contact info@bosseandbaum.com

Preview is an exhibition format where international galleries are invited to dialogue and showcase artworks.  The invited galleries have the opportunity  to  collaborate, share  perspectives  and  visions  of  their  artists’  paths  and  develop  new  forms  of  exchange  on  an international  scale. 

Preview London | Online Viewing Room | Opens 7 April


Opens on 7 April at 6pm (BST) on Artland
Online Exhibition : 8 to 21 April 2020

For a preview of works contact info@bosseandbaum.com

Preview is an exhibition format where international galleries are invited to dialogue and showcase artworks.  The invited galleries: Bosse & Baum (London), Clima (Milan), Damien & The Love Gugu (Brussels) have the opportunity  to  collaborate, share  perspectives  and  visions  of  their  artists’  paths  and  develop  new  forms  of  exchange  on  an international  scale. 

Click here to access Preview London online.

Bosse & Baum | What’s On(line)

Kostas Sklavenitis: Kneaded

Exhibition extended until 1 May 2020

Explore the exhibition in 3D here.
Images of the exhibition are online here
To view the PDF click here.

To say hello please contact info@bosseandbaum.com

To enter the viewing room click here

A message from Alex & Lana at Bosse & Baum 

This Saturday was supposed to be the last day of our current exhibition, Kneaded, by Kostas Sklavenitis. The exhibition opened on 14 February with a series of new paintings set against murals, which Kostas had painted over five days prior to the opening. This was until two weeks ago, when we regrettably but understandably, closed the gallery as a result of the Coronavirus outbreak. Our exhibition programme for the Summer has now been delayed, and we have decided to keep Kostas’ exhibition in the gallery until 1 May, when we will review the situation. 

Given the nature of Kneaded, and its site specificity, it is a pleasure not to have to take down the murals, which will sadly then be lost forever, and to be able to keep the exhibition up for longer. Often we work at a pace whereby we are quickly moving from one exhibition to the next and, although for reasons which we wish weren’t the case, it does now allow us to pause and slow down, taking consideration of what we do, and why.

As a gallery, we really value the community and openness between our artists, audiences, collectors and colleagues, and we make an effort to practice these values as we work. Given this period of uncertainty and anxiety, the sense of community is ever more important. Interestingly, Kneaded is an exhibition which meditates on the sharing of experiences, in all their similarities and differences, all over the world, transcending geographical borders, emotional distances and political views. 

For the opening night of Kneaded, we did something unusual and provided cooked food, as well as drinks, for all our guests. This was done with efforts of the artist and his friends, and was supported in kind, and with time.  It meant that everyone was welcomed, and brought together, but given the social distancing we are now having to practice, this feels ever more important, and is something we hope we will be able to resume in the near future. It has highlighted the importance of togetherness to us, and we are hoping that this difficult period will bring people closer in the long run. 

Meanwhile, we have used this time to bring our exhibitions online, and have launched a 3D view of the current gallery exhibition, which we hope will open up the work at Bosse & Baum to those who are – even in normal circumstances – unable to visit the gallery in person. 

The artists we work with at the gallery are our lifeline, and our extended family, and we will continue to work to support them emotionally, financially and creatively. We would like to extend our good wishes to our gallery visitors, supporters and colleagues, and you can carry on following us through our newsletterwebsite and Instagram

We look forward to seeing you back at Bosse & Baum soon. 

Take care. 

Kostas Sklavenitis: Kneaded Opening

Kostas Sklavenitis : Kneaded

PV 13 February, 6 – 9pm

14 February to 1 May 2020

PDF of Works : Kostas Sklavenitits ‘Kneaded’ Bosse & Baum

Bosse & Baum is pleased to present Kneaded, an exhibition of new paintings and wall murals by the Greek artist Kostas Sklavenitis. This is the artist’s first exhibition with Bosse & Baum, and in London. In this body of work Sklavenitis investigates the social significance and symbolism of bread. The production, sale, and sharing of bread forms a key narrative and symbolic element, which results in highly emotive works that evoke comparisons with both prehistoric cave drawings and modernist abstraction, giving the paintings a sense of historicity and timelessness. The worlds that the artist creates are bright, filled with light and movement, with figures overlapping and conjoining, as their lives are impacted by the various processes key to the production of this essential component within worldwide cultures and societies.

In the series of three large paintings in the exhibition, Sklavenitis distills the essence of this into nostalgic motifs commenting on wider ideas around production, distribution and consumption. The painting entitled Yusurum Party depicts bread sellers at a bustling market, the word ‘Yusurum’ describes a gathering of Greek immigrants who came to Greece after the First World War in the 1920s; the work StudioKitchen is filled with the sound of chatter and the tinkling of coins at the bakery; the deafening roar of machinery as the wheat is gathered is captured by ByzanTan, where the colour palette reflects the warmth and simplicity of expression. Bread is in essence universalising, consumed as a staple food around the world, often with spiritual, secular and ritualistic significance. It can be cheap and simple, or be altered in a virtually infinite number of ways to suit any culture or occasion. It is also one of the world’s oldest foods, having been consumed and adapted over millennia from its humble beginnings more than ten thousand years ago. Bread is therefore a shared experience, which has taken on significance beyond nutrition, that eludes geographic or temporal limits.

Sklavenitis stimulates all five senses, providing a visual feast of colour and line, combining the importance of taste and smell, as well as conveying a deep sense of texture emphasised by the inclusion of sand and jesmonite in the wall murals. He uses frescos, paintings on walls and canvas, to create a Gesamtkunstwerk, a “total work of art”. The exhibition space, like the paintings, has no specific focal point, drawing the eye in equal measure across the breadth and depths of the paintings and walls. The flowing compositions and striking colours create an immersive environment and are an important continuation of his style of work to-date.

Kostas Sklavenitis’ painting practice explores a range of media, materials and surfaces. The artist explores scale through immersive wall murals, large paintings and smaller works which perform like peeping holes into the environments he paints. Often depicting scenes of everyday life, his inspiration is drawn from his own personal experience of growing up in Thessaloniki, Greece, and from working in a culturally diverse city like London. He is interested in the subjects of tradition, religion, and culture, from sources as diverse as folklore tales, gatherings at church or Sunday markets and craftsmen’s workshops. These themes, through which the artist explores cultural myths and narratives around life, love, death, and faith, are communicated through colourful and vivid compositions in his paintings. 

Kostas Sklavenitis (b. 1990, Thessaloniki) lives and works in London. Sklavenitis graduated from the Royal College of Art, London in 2019 and the Fine and Applied Arts from the Aristotle University of Thessaloniki in 2015. Recent exhibitions include Abracadabra, Assembly House, Leeds (2019); Something Else, Kazan, Russian (2019); Something Else, Novgorod, Russia (2019); Something Else, Triumph Gallery, Moscow (2019); WIP Show, RCA, London (2018); Magen Vibratoria Bajo el Paraguas de su Reproducción, Museo Nahim Isaías,Guayaquil, Ecuador (2017). The artist has the following scholarships : The Schilizzi foundation Scholarship (2019); Maria Cassimati Foundation (2019); Neon Foundation Scholarship (2018).

Brexit politics and feminist prophecies: Candida Powell-Williams’s tarot deck by by Edwin Coomasaru

In the run up to the 2019 UK General Election, when competing visions of both the future and the past were shaped by endless opinion polling and press predications, Candida Powell-Williams exhibited The Gates of Apophenia (2019) at Bosse & Baum, London. The sculptural installation reimagines tarot cards with a feminist politics to explore the longstanding associations between women and magic. The project also reflects on speculative ideas of feminist or queer time, which challenge Enlightenment narratives of liberal progression, which have long been used to justify empire and oppression.

While fourth-wave feminist activism and art has taken up witchcraft as an image in recent years,1 as a magical practice tarot puts pressure on normative ideas of time. The card game originated in sixteenth-century Italy before transforming into a divination tool in eighteenth-century France, where it was infused with Egyptian symbols at the same time Napoleon was invading the country and looting their artefacts.2 Tarot then crossed the channel to the United Kingdom, a country that has long held the mainstream view that occult belief is the sole preserve of ‘primitive’ people or of ‘feeble-minded’ women, even while practices such as Spiritualism have enjoyed popularity in Britain (including among scientists) for centuries.3

The First World War, which saw a massive upsurge of interest in and use of magic amulets and divination, threw up profound problems for the idea of British ‘rationality’ and ‘modernity’.4 At stake was a narrative long used to justify racism, misogyny and homophobia both within the UK and throughout the empire: the claim that such subjects were hysterical or mentally ill and in need of control and containment from a strong paternal hand. The English traveller William Hepworth Dixon, for example, claimed in 1876 that ‘if we wish to see order and freedom, science and civilization preserved, we shall give our first thought to what improves the White man’s growth and increases the White man’s strength’.5 Indeed, during the war science took on a particular association with manliness, while the British Association for the Advancement of Science considered how the discipline could increase the ‘efficiency’ of empire….

Read full article here.

Review of Candida Powell-Williams: The Gates of Apophenia by Dr Edwin Commasaru in The Burlington Contemporary, Dec 2018.

Feminism, Magic & Brexit Q&A between Dr Edwin Coomasuru and Candida Powell-Williams | 4 Dec, 7pm

Feminism, Magic & Brexit Q&A between Dr Edwin Coomasuru and Candida Powell-Williams in collaboration with the Gender & Sexuality Research Group at the Courtauld Institute of Art, London.

Join artist Candida Powell-Williams and art historian Dr Edwin Coomasaru (Courtauld Institute of Art) to discuss the politics of magic, feminism and Brexit. From wellness culture to press punditry, we are living through a historical moment of both profound uncertainty about the future – which has driven a deep anxiety about divination. In the aftermath of the 2007-08 financial crisis and in the shadow of looming climate change, activist from across the political spectrum – from feminist and anti-racist, to the far right – have increasingly turned to the occult as a medium to find alternate stories to explain our world. Powell-Williams’ artistic practice offers a powerful investigation into this growing trend, thinking through the stakes for the recent and re-occurring feminist turns towards witchcraft and magic.

Powell-Williams produced a set of tarot cards, Unreasonable Silence (2019) as part of a residency at the Warburg Institute – an art historical organisation dedicated to supernatural practices in visual culture, that had to re-locate from Germany to London in 1933 in response to Nazism. More recently, she exhibited installations at VOID gallery and site-specific performances in Derry/Londonderry, Northern Ireland. At a time when the legacy of the Northern Irish ‘Troubles’ (1968-98) and its 1998 peace agreement have shaped the UK’s Brexit negotiations with the EU, Powell-Williams has done urgent and vital work in exploring the ghostly legacies of the civil war. Her current exhibition at Bosse & Baum draws together these recent projects, to ask how our current political landscape is shaped by magical thinking – and the implications for gender, conflict, capitalism, and Brexit. This event is part of Candida Powell-Williams’ solo exhibition The Gates of Apophenia, 15 November 2019 – 25 January 2020 at Bosse & Baum.

Dr Edwin Coomasaru is an Associate Lecturer at The Courtauld Institute of Art, researching the gender and sexuality politics of Brexit’s visual culture. He was awarded The Courtauld’s 2018-19 Sackler Research Forum Postdoctoral Fellowship; and his AHRC-funded PhD at The Courtauld examined gender, sexuality and the legacy of the Northern Irish ‘Troubles’ in contemporary art. He has contributed to The Irish Times, Irish Studies Review, and The Irish Review; and is co-founder of The Courtauld’s Gender & Sexuality Research Group.

Candida Powell-Williams graduated from the Royal College of Art, London in 2011 and the Slade School of Fine Art London in 2009. She was recently Artist in Residence at The Warburg Institute London. Selected exhibitions include: Command Lines, Void Gallery Northern Ireland (2019), Lessness, still quorum, performance, Serpentine Galleries, London (2018); Boredom and its Acid Touch, Frieze Live, London (2017); Tongue Town, Museum of Modern Art, São Paulo (2017); Cache, Art Night Associate Programme, London (2017); Vernacular History of the Golden Rhubarb, Bosse & Baum Gallery, London (2017); PIC performance festival, Melbourne, Australia (2016); Coade’s Elixir-an occupation, Hayward Gallery, London (2014). Powell-William’s is the recipient of the 2018 Mother Art Prize with a group show at Mimosa House London (2019). Other awards include the Sainsbury Scholarship at the British School at Rome (2012-13), the Paris Residency at Cite Internationale des Arts, (2010), Eric and Jean Cass Sculpture Award (2010-2011). In 2019 common-editions published Powell-William’s 78 card tarot deck and artist book.

Artissima 2019 | Present Future, booth 8 | Caterina Silva

Artissima 2019
Turin, Italy
31 October – 3 November 2019

Caterina Silva | Present Future, booth 8
Read an interview with Caterina Silva here.

Caterina Silva’s (b. 1983, Rome, Italy) painting is an attempt at letting the space speak; eluding the straight forward production of meaning, her works are open to interpretation. Using various materials, layers of texture and techniques, such as frottage, traces of pour, folds, erasure with a washing machine, she masters controlled randomness to create topographical portraits – the canvases are body size, vertical. Silva’s floor pieces made of leftover elements demonstrate her conception of the painting as an object.

Word-less and sign-less, yet the work is not abstract, it enacts a reflection on power and powerlessness. In her performances, language resurfaces just as in the video “Diario Manifesto”, which paradoxically completes her practice, by being full of words and images. An ongoing video collage, this work reconstructs the struggles for freedom in Rome in the 1960 and 70s.

Text by Emilie Villez (Director of Kadist, Paris)

Preview : 31 October, 12 – 9pm
1 – 2 November, 12 -8pm & 3 November, 11am – 7pm

OVAL Lingotto Fiere
via Giacomo Matté Trucco, 70

Candida Powell-Williams: Command Lines | Void Gallery, Derry | 25 June – 24 August 2019

Florence Peake & Eve Stainton at the Venice Biennale 2019

Apparition Apparition, 2019
Florence Peake & Eve Stainton
Sound design by Beatrice Dillon, featuring bells score by Cassiel Lighting design by Sorcha Stott-Strzala
Digital Collage film by Eve Stainton
Ceramic sculptures by Florence Peake
Produced by Bosse and Baum Gallery
A presence in the peripheral Sustained in the gloaming. Climbing into the sex appeal of materialising, I collected something for you, a dom, a rubble. Arrangements are peculiar under here.
We would like to take this thirty minutes to propose an apparition as a mutable Actant upon this auditorium. As extinction is immanent Apparition and Apparition take centre stage; A queer Actant, mistaken for a sci-fi horror, but lingering for intimate potential/prospects. Held in the spectacle of being, both in this moment right now, but mainly in the vacuum between avalanche and landslide. Apparition and Apparition occupy slips and wells with reckless care.
Dissolving planetary mass. Tooling and transforming.
Movement 1
The Apparition and The Apparition are conjured, invoked, fully equipped.
Movement 2
The veil parts and Apparition Apparition manifest rocky and rubbling. They collapse and re-form in perpetual becoming.
Movement 3
Resigned and reflective, Apparition and Apparition dissolve back to the peripheral or prepare for the next wave, full and empty of before.
Eve Stainton and Florence Peake explore notions of materiality and simultaneously the energetic transparent nature of our physical selves/bodies within the frame of ecological devastation. They are proposing a ‘dig’ as a site for manifestation, reflection and activity, and excavation as a releasing of apparitional states. Time slides queerly through tenses. The world unfolds as Florence and Eve prepare to become and embody The Apparitions and step into their altered territory, perhaps a dystopian projection, or someones subconscious. Peake and Stainton are interested in different ways of being with the context of Earths erosion, here their intimate relationship in real life acts again as a vehicle to discuss the larger stakes.
The performance programme is commissioned by Arts Council England and devised by Ralph Rugoff, Artistic Director of the 58th Venice Biennale of Art, and Aaron Cezar, Director of Delfina Foundation.
With special thanks to Bosse & Baum Gallery.


Florence Peake & Eve Stainton are participating in Meetings on Art, the official public programme of the 58th International Art Exhibition of La Biennale di Venezia 2019 with a new performance entitled Apparition, Apparition. The work has been commissioned by Arts Council England and co- produced by Venice Biennale and Delfina Foundation.

The performance will take place in the Teatro Piccolo Arsenale during the opening week of the 58th International Art Exhibition of La Biennale di Venezia, from 8 – 12 May 2019.

The performance programme has been announced here and featured in The Art Newspaper and Frieze.
May You Live In Interesting Times
Curated by Ralph Rugoff
May 11 to November 24 2019

Candida Powell-Williams: Unreasonable Silence | Warburg Institute, London | 30 April, 5 – 7.30pm

Florence Peake – Empathy Hole – publication launch & in conversation with Adelaide Bannerman

Empathy Hole publication launch  
and ‘In conversation’ with Florence Peake & Adelaide Bannerman.

On occasion of Empathy Hole – Florence Peake
Wednesday 27 March, 7-9pm at Bosse & Baum
Tickets: donation up to £5, booking essential – link: HERE

Empathy Hole: Poetry readings & Book launch

Book launch for Archetype by Clover Peake 
with poetry readings by Janine Harrington, Alexandrina Hemsley,
Fabian Peake, Tai Shani & guests

On occasion of Empathy Hole – Florence Peake
Thursday 14 March, 6-8pm at Bosse & Baum
Tickets: donation up to £5, booking essential – link: HERE

Gallery Christmas 2018 and New Year 2019 opening times

The gallery will be closed from 22 December 2018 and will re-open on 9 January 2019 operating normal working hours . For urgent enquiries please contact info@bosseandbaum.com


Save the date:

Beating the Bounds: Emilie Taylor in conversation with Dr Paula McCloskey

Saturday 19 January, 5pm – 6.30pm at Bosse & Baum

Tickets: £5, book here.
Exmilie Taylor is also included in a group exhibition John Ruskin: The Power of Seeing, 2 Temple Pl, London WC2R 3BD, from 24 January – 22 April 2019

Image: Emilie Taylor, Beating the Bounds, Boulder II, 2018, slip and oxide decorated stoneware with bespoke gold transfers, 60 x 55 x 35cm

Candida Powell-Williams | September 2018

Candida Powell-Williams 
Live Performance: Saturdays Live at Serpentine Gallery
Saturday 8 September, 1-3:30pm
FREE, no booking required

Performed by

Sara Barbagli
Chiara Favaretti
Alice Tatge
Harriet Waghorn


Candida Powell-Williams 
7-9 September 2018
Vanderborght Building, Brussels
For more info email, info@bosseandbaum.com
Candida Powell-Williams 
Event: Magical Thinking discussion with Bill Sherman, Brooke Palmieri, Jonathan Allen, Tai Shani & Martha McGill
11 September 2018, 7-9pm  at Bosse & Baum
Tickets are limited, book here

Panel discussion on Magical Thinking | 11 Sept, 7 – 9pm

Jonathan Allen, Brooke Palmieri, Tai shani and Martha McGill. Chaired by Candida Powell-Williams

11 September, 7-9pm | Bosse & Baum, London

Tickets are limited, please book here.

As artist in residence at The Warburg Institute London, Candida Powell-William’s has invited a group of artists and academics to discuss how artists, both now and throughout time, have been influenced by magic’s relationship to objects and materials and its power to alter our perception.

Forming a discussion panel will be Brooke Palmieri (queer historian of book and material culture), Jonathan Allen (artist, writer and a curator at The Magic Circle Museum, London), Tai Shani (multidisciplinary artist interested in experimental narrative texts), and Martha McGill (researcher and educator on the history of supernatural beliefs).

This year Powell-Williams was awarded ACE funding to undertake and produce extensive research into the endurance of esoteric ideas, ciphers and symbols and the cultural heritage of tarot cards. This discussion will form part of her research along with Lessness, still quorum at the Serpentine Gallery on 8 September, New Work a 2 person show with Thomas Yeomans at Exposed Arts Projects (November 2018) and a publication of her research to be launched in early 2019. All proceeds from the ticket sales are going towards the ongoing research and to developing this project further.

Micro Social Cultures | The Shadow Moses Incident(…Tactical Espionage Action in a Haunted House…) | 26 August, 7pm @ Primary, Nottingham

Hardeep Pandhal : The Shadow Moses Incident (…Tactical Espionage Action in a Haunted House…)

Sunday 26 August, 7pm – 9.30pm | Artists and writers, at Primary in Nottingham, Larry Achiampong, Kitty Clark, Sam Keogh, Hardeep Pandhal and Jamie Sutcliffe discuss the contemporary resonances of Hideo Kojima’s video game franchise Metal Gear Solid.

Primary, 33 Seely Road, Nottingham, NG7 3FZ

This event is free but places are limited so booking is essential, please register here.

Hideo Kojima’s Metal Gear Solid is one of the most popular video game franchises of all time. Since 1987 its sprawling narrative has interrogated the possibilities of biogenetic reproduction, military espionage, off-shore para-states and the formation of private task forces charged with wresting power from the world’s collapsing democracies.

Despite the bizarre nature of its postulations, Metal Gear speaks adequately to a post-truth, post-human milieu. In a political atmosphere thick with conspiracy and foul-play, the social and intellectual mobilisations of an increasingly martial right-wing touting cheap philosophies of race realism and ethno-nationalism chime ominously against the game’s fantasies of bloodlines and separatism. Indeed, Metal Gear’s distinct imagery would even come to furnish the meme economies of an emergent populism.

Artists and writers at Primary in Nottingham discuss the contemporary resonances of Kojima’s game, the mania of fandom, and what the thrills of ‘tactical espionage action’ might be able to warn us about the paranoid present.

The Shadow Moses Incident has been conceived by Hardeep Pandhal and Jamie Sutcliffe and is supported by Primary in collaboration with the Micro Social Cultures programme at Bosse & Baum.

Hardeep Pandhal works in a variety of contexts and predominantly with drawing, moving image, spoken word and embroidery. His practice sifts through psychoanalytic theories, anthropological studies and advertising, using parody and symbolism and cartooning to explore ways in which forms of exclusion and otherness are constructed.

Jamie Sutcliffe is a writer and publisher based in London. His essays, interviews and reviews have been published by Art Monthly, Frieze, Rhizome, The White Review, EROS Journal, The Quietus and Bricks From The Kiln. He co-directs Strange Attractor Press, an independent publishing house devoted to the documentation of unpopular cultures, now distributed by the MIT Press.Independently he co-edits both A-or-ist, a journal of new art writing, and Berserker, an anthology of underground comics and unabashed genre work published by Breakdown Press.

Micro Social Cultures is a cultural community space which provides a working platform for everyone to support artists’ practices. It’s an active shared space for research, thinking & discussion and for exchanging ideas and knowledge catalysed by contemporary art practice. This will result in an online library, commissioned essays & open source information.

The annual programme is structured in 4 episodes, each episode centered around an artist-developed workshop. This year’s programme has been selected by Jamie Sutcliffe. The invited artists for 2018 will be: Hardeep Pandhal, Anna Zett, Claire Potter and Monira Al Qadiri. Subscribe to Micro Social Cultures mailing list here.

Micro Social Cultures is a programme kindly supported by Arts Council England

May Hands | Artist in Residence at Bosse & Baum

May Hands will be artist in residence at Bosse & Baum for two weeks in August, using the gallery space as her studio. She will use the studio as medium, a laboratory of experiments, exploring on going themes within her practice.

Collected urban and natural detritus sourced from the places she lives within and passes through on route to the studio over the course of the residency will interact with one another in the studio space, alongside pre-made and foraged materials that make up her ever growing collection of ingredients. Exploring physicality and sensuality of materials, alchemy, transformation and cycles, through a rich use of mediums; installation, performance, textiles, assemblage, film and photography.

While artist in residence at Bosse & Baum, she will make a series of small works as a result of her exploration of materials, which  will be presented in early September at Bosse & Baum.

To RSVP to the event in September or to do a studio visit please email info@bosseandbaum.com

Monday 3rd September

Presentation: 3-8pm

Drinks: 6-8pm

Miriam Austin & Pepa Ubera in conversation with Lauren Wright


Miriam Austin & Pepa Ubera in conversation with Lauren A Wright
Friday 27 July 2018, 7-8:30pm

TICKETS – FREE or suggested donation

Miriam Austin & Pepa Ubera discuss their collaborative work together, +++, with Lauren A Wright, programme director at Siobhan Davies Dance. The discussion will be part of the project’s research & development, and a chance to introduce the work to a wider audience. This event will be on occasion of the closing of Bosse & Baum’s current exhibition, Miriam Austin: Gimmel, which ends on 28 July 2018.

+++ is an ongoing project that centres around a collaboration between artists Pepa Ubera and Miriam Austin. Using sculpture, choreography and video, they create environments and performances that re-imagine the terrain of the gendered body. The project will take the form of a shifting installation and series of performances that are developed in response to the body of sculptural objects. Together, their work creates new feminist landscapes, mapping out possibilities for and images of intimacy, putting forward alternative languages for embodied relationality.

MIRIAM AUSTIN (b. 1984 New Zealand), is an artist based in London. She graduated from the Royal College of Art with an MA in Sculpture in 2012. Recent selected exhibitions and projects include: In Whose Eyes? Beaconsfield, London (2018); Artist of the Day, Flowers Gallery, London (2018); Andraste, Alma Zevi, Venice, IT (2018); On the Heights, Yorkshire Sculpture Park, Wake¬eld (2017); Lexis Over Land, Tremenheere Gallery, Cornwall, (2017); Domusdei (performance for Art Night), ICA, London (2016); We All Have a Problem with Representation (live event), The Showroom, London (2016); Fragile Body/ Material Body, Venice International Performance Art Festival, Alma Zevi, Venice, IT (2016); Ritual>>>Enhancement, Chisenhale Studios Project Space, London (2016); Lupercalia (solo show), Bosse and Baum, London (2016); Feminist Practices in Dialogue, ICA, London (2015); Groundwork, New Art Centre, Salisbury (2015); A Sense of Things, Zabludowicz Collection, London (2014); Elements of Religion, Bold Tendencies, London (2013); Happening #1, The White Building, [SPACE] Studios, London (2013); Heart of Darkness, Villa Arson Art Centre, Nice, (2012).

PEPA UBERA is a performer, choreographer and curator, and has been based in London since 2003. From 2015 – 2018 Pepa is one of the Sadlers Wells Summer University artists. She has twice been awarded a Dance Web Scholarship at the Impulstanz Festival in Vienna showing her work in collaboration with the Embassy of Spain. From 2013-2015 she was a core member of TripSpace projects where she organised monthly nights of performance and professional class including the curation of a performance festival in collaboration with the Hayward Gallery. She has been artist in residence at, among others at Micadanses Paris, Charleroi-danses Brussels, K3 Hamburg, TripSpace London, Teatros del Canal in Madrid, Matucana 100 in Santiago de Chile, Sadler’s Wells and Tate Britain in London. She has presented work in the UK, Europe and Chile and performed in venues such as The Place, ICA, Barbican Botanic Gardens, kampnagel in Hamburg and the Hayward Gallery. The last project she curated was her regular night of performance, The Palest Light #6 at the Lilian Baylis studio in Sadler’s Wells Theatre in London where she also presented her last performance in collaboration with Josfiena Camus: Ellipsis Land. In 2017 Ellipsis Land opened their first TATE’s Live Exhibition: Ten Days Six Nights at the Tanks in March and returned to Sadler’s Wells Theatre last November. She also received two commissions to present work at the Wilderness Festival in Oxfordshire and Now Gallery in London.

Image credit: Pepa Ubera & Miriam Austin, with the performer, Celine Tschachtli, 2018


Anna Zett | Particular Experience | Micro Social Cultures

Anna Zett | Particular Experience

Sunday 3 June, 6pm | Public presentation & workshop

Monday 4 June, 5pm | Talk: Anna Zett in conversation with Jamie Sutcliffe & Sarah Jury

Research Studio, Chisenhale Dance Space, 64- 84 Chisenhale Road, London, E3 5QZ

The Berlin-based artist Anna Zett will use the framework of Micro Social Cultures to meet four London-based artists who work with physical participation in various ways, to get together for a day of discussion and practice. The aim of the private workshop is to share methods and games that can be used to help someone else trust, access or abstract their own physically stored knowledge. On an analytical level it is an invitation to direct awareness to a particular range of experiences one makes use of in one’s work, as well as to discuss the concept of working from experience in general. The outcome will be shared with the public on 3 June and 4 June.

Sunday 3 June, 6pm | Public presentation & workshop

A public presentation initiated by Anna Zett, as part of Micro Social Cultures. This research-based series has been curated by writer Jamie Sutcliffe, and will involve collaborations with the artists, Adam James, Sarah Jury, Hamish MacPherson, Jenny Moore.

The event has limited capacity, and will most likely involve your physical participation, please book tickets (Pay what you can or £5/£4) here.

This event is part of Block Universe Satellite Programme 2018.

Monday 4 June, 5pm | Talk:  Anna Zett in conversation with Jamie Sutcliffe & Sarah Jury

This event is free, please RSVP info@bosseandbaum.com

Adam James (b. 1978) is a British artist. At the heart of his practice is a desire to bring people together in order to understand the self and to open up new ways of being and interacting. He uses non-verbal play to encourage forms of dialogue, mediation and the reconsideration of sameness and difference. James makes sculptural objects, drawings, photographs, videos and texts that all arise from his steadfast involvement in the performative practice of live action role play (larp). Within his practice, James positions the larp as a tool to trigger, on a micro level, future possibilities, new forms of collaborative democracy and the temporary dismantling of hierarchies.

Sarah Jury is a curator, critical writer, nordic larp workshop designer and educator. She is co-director of research and practice project space Res., Deptford and is part of Keep it Complex collective.

Hamish MacPherson is a London-based artist who uses practices from choreography and dance to think about philosophy and politics. MacPherson makes performances, installations, larps, workshops and other elements in artistic, academic and community contexts.

Jenny Moore is a Canadian artist and musician based in London. She plays in the dance-punk band Charismatic Megafauna, leads feminist choir F*Choir, and has recently recorded an album for 10 voices and 2 drummers called Mystic Business originally commissioned by Wysing Arts Centre for Wysing Polyphonic Music Festival. Moore also collaborates with a group of artists as ‘Bedfellows,’ leading workshops, performances and talks about consent, desire and life long sex education.

Jamie Sutcliffe is a writer and publisher based in London. His essays, interviews and reviews have been published by Art Monthly, Frieze, Rhizome, The White Review, EROS Journal, The Quietus and Bricks From The Kiln. He co-directs Strange Attractor Press, an independent publishing house devoted to the documentation of unpopular cultures, now distributed by the MIT Press.Independently he co-edits both A-or-ist, a journal of new art writing, and Berserker, an anthology of underground comics and unabashed genre work published by Breakdown Press.

Anna Zett is an artist, writer, director of films and radio plays, born in Leipzig and living in Berlin. Working alone and in teams, Zett combines historical reflection and symbolic critique with a performative practice rooted in open physical encounters. In 2014 she published her first two longer videos, both dealing with the dinosaur as an imperial emblem, which were screened internationally in art institutions, universities and festivals. Within recent years her emphasis shifted gradually from working analytically with audio/ video technologies to directing awareness to the embodied dimensions of memory and fiction. Zett has written and directed two radio plays for the German public radio, and (co-)hosted various participatory formats ranging from dance to chance-based story telling.

Micro Social Cultures is a programme kindly supported by Arts Council England




STORM II | 30th May 2018, 7-9pm

Storm II is a performance of sounds & words by Andrea Koch (musician & sound-maker) & Caterina Silva (visual artist)

Image: Caterina Silva, Studio view, NKD Residency, Norway, 2018

This performance is part of the Block Universer Satellite Programme 2018.