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 email@example.com
Monday 3rd September
Miriam Austin & Pepa Ubera in conversation with Lauren A Wright
Friday 27 July 2018, 7-8:30pm
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
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 firstname.lastname@example.org
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 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.
A selection of artists have been invited by Caterina Silva & Clover Peake to perform recent work, on occassion of Silva’s solo exhibition Impressioni, including: Catherine Hoffmann, Fabian Peake, Madinah Thompson, and others. The event takes place at Bosse & Baum.
Image: Untitled, 2018, charcoal, pigment, decaff, Chinese ink & snow on canvas, 90 x 60cm
Please subscribe to our mailing list so we can keep you updated. The event is free, please RSVP to email@example.com if you’d liketo attend.
The following will be doing readings:
QUICK FIRE with Catherine Parsonage
A Quick One.
Your weekly art fix, issue #17
To sign up for your weekly art fix : SIGN UP HERE
A Quick One with Catherine Parsonage…
Last exhibition you saw?
Fornasetti at Palazzo Altemps in Rome
Down by Law by Jim Jarmusch
Book beside your bed?
TRANS: A memoir. Juliet Jacques
Best date spot?
Piazza Testaccio in Rome
Best piece of advice?
Get on with it.
Dream artist collaboration (living or dead)?
— Once a Bloomberg Contemporary herself, Catherine Parsonage is currently exhibiting at Bosse & Baum. Thinking about the show as site for exchange and conversation, Parsonage has invited actress Lou Broadbent to stage poet Pele Cox’s Sunday Times featured “The Mistress Account” – Thursday, 1st February at 8pm.
Future Feminisms and Rituals: A discussion exploring intersecting themes within the current exhibitions, Andromedan Sad Girl at Wysing Arts Centre, Cambridge, and Lotus, at Bosse and Baum, London.
Tuesday 21st November, 7-8:30pm at Bosse & Baum
Drawing on parallel investigations of feminism, ritual, collaborative practice and imagined post-patriarchal futures, the artists Florence Peake, Tai Shani, Miriam Austin & Anna Hughes will be present for a discussion set in the context of the current exhibition, Lotus, at Bosse & Baum.
Lotus, featuring the work of seven female artists, draws on traditions of myth making, magic, ritual, and performance, to create a dialogue with the rich feminist artistic and literary history that explores the presentation of the self and offers occult ways to re-imagine history’s flow. Engaging with ideas of tradition, myth, mysticism and the occult, seven artists work towards alternative visions of the past and future, offering strategies for making, practicing and performing that re-conceive notions of tradition, deep time and prophecy. Poised precariously between a futuristic utopianism and nostalgic dreams of re-enchantment, these artists establish esoteric solidarities in working and making that serve to ground new, feminist histories of the self.
The current exhibition, Andromedan Sad Girl, at Wysing Art Centre, Cambridge, by Florence Peake and Tai Shani, taps into these ideas. Drawing on their research into structures of feminism, their immersive installation is an imagining of what a pre or post patriarchal site could be. Peake and Shani are interested in exploring the fluid mythologies and imagined futures of lost civilizations. The artists take an archaeological excavation as a point of departure to imagine and represent non-hierarchal, pre-historical or futuristic civilizations, imagined through ambitious new sculptural works and wall paintings.
HER STORIES: AN ART APPEAL FOR WOMEN
Founded by Hannah Philp in 2017, Her Stories is an art auction of works by contemporary female
artists to raise money for three UK-registered charities that provide services for some of the most vulnerable women in the UK; Beyond the Streets, Solace Women’s Aid and Young Women’s Trust.
Nominated by curator Juliette Desorgues, artists that have generously donated works to the appeal:
Alicia Reyes McNamara
Private view – Wednesday 22nd November – 6:30pm until 10:30pm
Protein Studios, Shoreditch
Private Dinner & Live Auction – Thursday 23rd November – 7pm until 11pm
Exhibition open to the public – Friday 24th November 12:30pm until Sunday 26th November 4:30pm
All at Protein Studios, 31 New Inn Yard, EC2A 3EY.
Bosse & Baum is pleased to present a solo presentation by Candida Powell-Williams for the Live section at Frieze London 2017.
The artist has devised a new performance titled Boredom and its Acid Touch, using characters who vomit frogs, snails who joust, and hybrid animals who stare blankly at the audience.
As the performers, like living statues, pause for extended periods of time in yoga-like contortions they beg to be photographed in their colourful acid tone costumes. Playing with synchronicity and fragmentation, each day costumes and characters will change and bring with them their own idiosyncrasies. Building on her established language of cyclical, repetitive, mesmerising gestures she choreographs a performance that mixes historical references with virtual posing.
Powell-Williams pulls imagery from illuminated medieval manuscripts, folding it together with contemporary doodles. She reflects our changing relationship to boredom and idleness, as we now live through our phones, and on social media, where this project will eventually be resolved as a series of GIFs, exploring what contemporary marginalia might be. Situated in the “margins” of Frieze the work also deals with the marginalisation of performance within the context of the art market.
For more information please contact the gallery firstname.lastname@example.org
Saturday 30th September – Sunday 8th October , 2017
A selection of Hollander’s movement scores and notations will be on display at the gallery.
Conversation between Florence Peake & Matthew McLean on occasion of her solo exhibition WE perform: I am in love with my body at Bosse & Baum, June – September 2017
MM: Looking at these drawings at Bosse & Baum, I found myself trying to mirror the bodies with my own body. I’m really intrigued by how you formed those positions. But you didn’t document that?
FP: No, the making of this body of work was totally private; a private performance. I wasn’t interested in it being a live thing, that people can watch; it wasn’t about the gesture of performance, or the art object as a remnant of an action. There’s a kind of romanticisation in that notion of the ephemeral act. I’m not interested in the artworks as traces, as things that are left over. In my practice the artworks have their own autonomy.
MM: So do you want viewers like me to think about the process when looking at these drawings?
FP: Yes and no. There is a live, performative moment, I’m not denying it. But there is also a privacy to that moment. I want to keep the mystery of that experience. All painting, all making, has a theatre, has an element of performance to it. It’s a question of what relationship the object has to that gesture that has happened. What I’m trying to engage is the somatic, the soma. I have to get into the internal landscape of the body. I am thinking about it being quite engaged with presence. That’s where I want the viewer to be too.
Improvisation: Touch Horizontal Pleasure
Florence Peake will be in discussion with Matthew McLean, speaking in relation to the current exhibition on at Bosse & Baum.
Bosse & Baum is pleased to present Florence Peake’s first solo exhibition at the gallery, consisting of a series of drawings made by the artist in her studio, and which were commissioned by Wysing Arts Centre during her residency in 2016, with funding from Arts Council England. Performed on a horizontal surface, through live action, Peake uses the floor as a medium of support and resistance for her body to act out an expression of falling into an immersive sensorial experience, backwards into the horizontal. The floor and the body become a site for falling in love with the sensation of movement through sensing skin, flesh, bone. Simultaneously drawing an outline of her body/movement, Peake contemplates ones own body as a complete territory of pleasure to sink into. Through these movement drawings an ensemble of characters/bodies are collected and come to re-perform once hung on the wall, the vertical; falling backwards becomes falling into rising up the wall.
Florence Peake’s practice encompasses visual art, dance and performance. As a trained dancer her background in choreography and painting stimulates a studio practice that is both diverse and immersive; she is often working performatively to incorporate drawing, painting and sculptural materials. Through public performances and carefully choreographed works Florence Peake challenges notions of physicality, loss and political concerns such as the commodification of art. By encouraging chaotic relationships between the body and material, Peake creates radical and outlandish performances, which create temporary alliances and micro-communities within the audience. In believing that objects and materials have their own autonomy and subjectivity, the artist draws on the expansive vocabulary of materials to enhance and contextualise her work. The sculptural works operate as documentation of the performance, but never in a reductive way, as Peake attempts to incorporate the effect of site, audience and much more than the pure physicality of the performance. Her current painting work, with mixed media, attempts to capture the live experience of performing, performers inner states and memory of a given performance as she re-performs live works through large scale canvas and fresco works. These investigations have also been applied to her exploration of ceramics, taking performance as her subject, and making clay forms through live performances to extract new and autonomous sculptural works. Recent performance work has taken themes from popular spiritual practices and appropriated them to interact intimately with audiences, exploring a range of states of being to test what people assume as their own reality.
Florence Peake’s work has been shown nationally and internationally; she is a recipient of the Jerwood Choreographic Research project, 2016. Currently, she is working on an ongoing project with the Cass Sculpture Foundation, UK. Her solo performance piece, Voicings, has toured to Sara Zanin Gallery, Rome, 2017; the Serpentine Gallery, Mysterical day, 2016; Somerset House for Block Universe performance festival, 2016. Solo exhibitions include: The Keeners Solo show at SPACE 2015; Hall of the swell, Gallery Lejeune, 2015; The BALTIC, Newcastle ensemble piece MAKE. Group exhibitions include: Hayward Gallery, a 3 month performance installation as part of Mirrorcity, 2015; National Portrait Gallery, performing group work Paper Portraits, 2015. She has done commissions from: Whitechapel Art Gallery; Yorkshire Sculpture Park; Modern Art, Oxford; Chapter Arts, Cardiff; Harris Museum, Preston; David Roberts Art Foundation, London. Peake teaches extensively nationally and abroad recently in Athens as part of a 3 week intensive. She works as a performer for a range of choreographers, directors and film makers, including : Gaby Agis, Jonathan Baldock, Gary Stevens and Station house Opera.
Florence Peake will be doing a live performance at the gallery on 8th September. For more details please check our website bosseandbaum.com or email email@example.com
4-8 July 2017
project by Caterina Silva
What happens to the thing when someone says it?
How to create an open form able to go beyond the limits of language in describing reality?
Is silence a better option?
SSOL/AP is an independent choreographic project started in London on September 2016 and later re-staged in Gwangju in November and in Rome in February 2017. We are happy to announce four new studios of the performance SSOL/AP in various locations of the city of Amsterdam between the 4th and the 8th of July 2017.
SSOL/AP is an attempt at expanding Caterina Silva’s research on the limits of language shifting the focus from the production of objects-painting to the creation of a living rhythm.
It takes shape as choreography responsive to both the place in which it is staged and to the participants’ attitudes and capabilities.
The performance’s score is constructed through the juxtaposition of actions belonging to Caterina’s painting process with elements coming from an on going research into Korean cosmetic routine, Zen Buddhism, glossolalia and multilingual writings by Theresa Hak Kyung Cha, Korean American seminal artist (1951-Busan, 1982-New York).
SSOL/AP is developed in collaboration with and performed by Giovanni Impellizzieri, Johan Kistemann, Andrea Koch, Marta Montevecchi, Caterina Silva, Seung Hee Yeom (Skype).
SSOL/AP has been supported by Girlpower Collection, London (UK), Asia Culture Center, Gwangju (SK), Rijksakademie, Amsterdam (NL), Galleria Valentina Bonomo, Rome (IT), Bosse&Baum, London (UK).
Caterina Silva explores the links between power and language from often silent or pre-linguistic places in order to elude canonical structures of production of meaning.
Recent shows and projects took place in Rome, Galleria Valentina Bonomo, London, Bosse&Baum Gallery, Gwangju, Asia Culture Center, Milan, Galleria Riccardo Crespi, Palermo, Oratorio di San Mercurio, Amsterdam, Jollyjoker, Rijksakademie, Sic Intertrashional. Residency: ACC-R, Asia Culture Center, Gwangju (2016) Rijksakademie van beeldende kunsten, Amsterdam (2014-15), Cité des Arts, Paris (2012-13).
4 July, h. 17.30 The Family Gym
Tweede Kostverlorenkade 132 /135, 1053 SE Amsterdam
6 July, h. 20.00 ROZENSTRAAT- a rose is a rose is a rose
Rozenstraat 59, 1016 NN Amsterdam
7 July, h. 20.00, Project Space South, Rijksakademie
Sarphatistraat 470, 1018 GW Amsterdam
8 July, h. 19.00 VijzelVintage
Vijzelstraat 83, 1017 HG Amsterdam
Art Night Associate Programme 2017: Cache by Candida Powell-Williams at London’s iconic Devonshire Square
Presented by Bosse & Baum
Art Night 2017, East London, July 1
Central Courtyard, Devonshire Square, London EC2M 4YE
(entrance via New Street or Harrow Place)
18:00- 00:00, Free entry
Cache at Devonshire Square_Press Release
Bosse & Baum is pleased to present Candida Powell-Williams’s interactive site-specific installation inside Devonshire Square’s outdoorat Devonshire Square’s historic Central Courtyard courtyard, as part of Art Night’s 2017 Associate Programme.
Taking place for the first time alongside the second edition of Art Night, the Associate Programme features a roster of nocturnal events by 31 local organisations and site-specific projects by 29 independent artists and curators in locations across the East End, as far spread as the Docklands and London Fields, opening up the city in unique and creative ways for the night of Saturday 1 July 2017. The participants were invited via an Open Call to reflect on the history and future of the area, emphasising the urban environment and contributing to the late-night celebratory spirit of Art Night.
The origins of Devonshire Square form the starting point of Candida Powell-William’s sculptural and performative intervention. The complex of warehouses, built by the East India Company in the late 1700s, stored luxury goods mostly from Bengal. Powell-Williams’ work for this project draws imagery from the textiles housed there and mixes them with cultural references as well as the site’s contemporary uses, folding into and combing the past with the present. The work, a series of sculptural jigsaw-like rug pieces, explores the disintegration and fragmentation of patterns as a means to reflect on our present day relationship to the site’s history. Powell-Williams’s installation will be animated by an interactive performance taking places throughout the evening.
Candida Powell-Williams, said:
“This year’s Art Night theme has a particular resonance with my own research. I am always interested in engaging my audience in the history of their surroundings as a way of considering identity and informing our future. I am delighted to have developed a new work specifically responding to the interesting and at times difficult history of East London. “
Patrizia Sechi, Customer Experience & Events Manager, said:
“Devonshire Square is the perfect place to host the striking art work from Candida Powell-Williams. The courtyard, which is steeped in London’s history and surrounded by the estates historic buildings will provide a strong backdrop as well as being the inspiration for Candida’s engaging art. Art Night is a unique opportunity for Londoner’s and tourists alike to experience bodies of work in situ, which have been influenced by their surroundings. Devonshire Square’s central location at the heart of the City makes it a fantastic destination for art lovers on the Art Night.”
Art Night 2017 is held in a collaboration with the Whitechapel Gallery and curated by independent curator and writer Fatoş Üstek. The festival is generously supported by international auction house Phillips.
Candida Powell-Williams’ project for the Art Night 2017 Associate Programme is kindly supported by Devonshire Square.
Friday 19 May – open until 9pm
Saturday 20 May – 12 – 6pmGuru Den | Motoko Ishibashi
Screening of performance by Yuki Kobayashi@motokoooooo @yukikobayashi0226 #GuruDen
Opening: Saturday 27 May 2017 @ Palazzo Chigi, Ariccia, Rome.
Opening: Friday 17 March, 6-9pm
Visual book club: Saturday 25 March, 1pm
@ Bosse & Baum, temporary project space
Vanessa da Silva
Bosse & Baum have invited the artists Guendalina Cerutti, Vanessa da Silva, Lindsey Mendick, Paloma Proudfoot, Rosie Reed and Rosie Vohra to use an unoccupied part of the gallery to show a body of work titled Herland.
Drawing on the feminist sci-fi classic, Herland, the artists involved wish to disprove stereotypical expectations of what an all-female environment fosters, just as the women of Herland surprise the expectations of the trio of male intruders in Charlotte Perkins Gilman’s novella. What the explorers find is neither a warring nation of cat-fighting women nor a subservient acquiescing nun-like society but a utopia of fiercely independent and physically empowered yet respectful women, living together in peace and without hunger.
Bosse & Baum have invited these 6 artists on a residency, with 1 week to work with 1 another and respond to the space. The artists will organise a private view for the evening of 17th March that will include performances and readings from the novella. Then on Saturday 25th Bosse & Baum and Herland will be hosting their first visual book club. We will be inviting the public to come to the gallery and discuss the novels important themes of feminism, sisterhood and utopias in relation to the artworks on display.
Whilst Herland is not strictly a part of the gallery programme, we believe in making use of opportunities to share our space when able to. With an open vision and sensibility, this makes sense to us, even though a commercial gallery. We are working together to provide opportunities for artists to exhibit their work, and for new audiences to learn about both their work and the gallery. As we develop, we are always trying out new ways of working, and this is one example.
The Temporary Research Centre for Stories, Myths, Tales and Fables @ Bosse & Baum | Sat 11 March, 1-5pm
The Temporary Research Centre for Stories, Myths, Tales and Fables is an informal investigatory project hosted by Nicky Deeley and Mark Scott-Wood. The intent is to create an informal hub for the exploration and study of anecdotes, such as local legends, but also to examine the ways in which stories can best be told and documented.
Visitors to the research centre are invited to regale their tales and fables inspired by the work of Candida Powell-Williams and her exhibition The Vernacular History of the Golden Rhubarb using the objects on show as stimulus. Stories maybe told by word-of-mouth, singing, drawing, dancing, in fact by any method the storyteller deems appropriate.
If you would to participate please email firstname.lastname@example.org; if you would maybe like to participate, or definitely observe the workshop, please also email email@example.com
[Nicky Deeley studied at Royal College of Art and Mark Scott-Wood studied at Byam Shaw School of Art. They met at OUTPOST Studios in Norwich where they now both live and work.]
Create a multicoloured print with just one pull of the squeegee
Bosse & Baum, in collaboration with Portable Print Studio, is hosting a print workshop as part of The Vernacular History of the Golden Rhubarb, which will enable each participant to screen print their very own poster. Using the mono-screen print technique participants can choose a preferred design* from our selection of pre-exposed screens and create a unique one-off print by painting various colours directly onto the screen.
*Artwork provided by the artist Candida Powell-Williams
BOSSE & BAUM
ROBIN VON EINSIEDEL | NEW ART SECTION | BOOTH 95
MOLLY PALMER | PROJECTIONS | BOOTH 108
8 – 12 FEBRUARY 2017
Wednesday February 8, 2017
Opening by invitation:
18.00 – 22.00 hrs
Thursday February 9, 2017
11.00 – 19.00 hrs
Friday February 10, 2017
11.00 – 21.00 hrs
Saturday February 11, 2017
11.00 – 19.00 hrs
Sunday February 12, 2017
11.00 – 19.00 hrs
Contact us for invitations:
firstname.lastname@example.org | +44 7818 455 675
email@example.com | +44 7946 399 916
You are invited to join Candida Powell-Williams for a performance workshop during the creation of her new immersive installation
The Vernacular History of the Golden Rhubarb
at: Bosse and Baum, 133 Copeland Road, Peckham, SE15 3SN
on: Saturday 21st January, 2017, 12noon – 1:30pm; 3pm- 4:30pm; 5:30pm- 7:00pm
Please email firstname.lastname@example.org to reserve a place
10 guests in 3 sessions will act as participants in part obstacle course, part pantomime. Participants will be guided through the work in progress by CPW and choreographer, Joel O’Donoghue. At various times they will invite you to interact through gesture and pose, rearrange, even lick and tickle the sculptural works.
All footage will be used to generate the moving image works, integrated into the finished installation, opening to the public on Friday 27th January, 6-9pm
Costumes will be provided; refreshments provided; duration 1.5hr
Supported by the Arts Council England.
WAVES brings together video installation, printmaking, sculpture and painting to explore gesture and stillness in relation to the idea of private and public space. Invited artists present different attitudes and strategies, from improvisation and mannerism to staging and choreography, exposing the movements between the intimate and the shared.
To coincide with the exhibition, Turf are hosting a programme of related events including an Artists talk & Q&A, Film screenings, Family Art Fun Day, Reading Group and a Lunchtime Artist Crit. For further details on the programme please visit turf-projects.com. The exhibition and events were made possible with the generous support of the Arts Council England & Centrale Shopping Centre, Croydon.
Luke Burton‘s work examines across painting, drawing, video and sculpture the dependent relationship between contemporary art and decoration. His recent series of paintings and drawings explore how personal and collective forms of ambivalence are found in attitudes towards aesthetics, archetypal forms and male identity. Footballs and Fountains serve as ongoing symbolic tropes, drawn in an expressive and mannered style with a backdrop of tightly rendered patterns derived from Victorian tile designs.
Football, XI – IX, ink and acrylic on paper mounted on Kappa board, obeche frames – 90cm x 70cm, 2016