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


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,
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

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

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.

STORM I | 23rd May 2018, 7-9pm

Poetry Performances

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

Private View: Luke Burton, Becoming Sweet New Styles

Closing event: Campari Cocktails & Poetry Readings | 16th February, 7-9pm

Please subscribe to our mailing list so we can keep you updated. The event is free, please RSVP to if you’d liketo attend.

The following will be doing readings:

Charles Churchill
Pele Cox
Jenny Dugan
Suzi Feay
Freddie Feilden
Janine Harrington
Sally O’Reilly
Fabian Peake
Clover Peake

QUICK FIRE with Catherine Parsonage from A Quick One, weekly art news

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

Favourite film?
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)?
Virginia Woolf

— 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.

Performance: The Mistress Account by Pele Cox, 1st February, 2018, 7:30-9pm

The Mistress Account by Pele Cox will be performed by actress, Lou Broadbent. All welcome. Please RSVP to
The title of the exhibition finds its birthplace in Ancient Greece – Symposium, which in its original form created a space for sharing wine, poetry and words. The paintings in the exhibition are nourished by a range of literary influences from ancient mythological forms to modern poetry, and consider the complicit relationship between literary and visual modes of representation.
Thinking about the exhibition as site for exchange & conversation, Catherine Parsonage invites Poet Pele Cox and actress Lou Broadbent to stage Cox’s Sunday Times featured Mistress Account developed collaboratively for this performance
at the British School in Rome in November.
‘He takes me to another hotel
It’s higher, clearer, more beautiful, it is as if
Our affair has been moved to a costlier ocean.’
This sequence of poems describes the intricate details of an affair uniquely from the Mistress’ perspective, giving her voice; this resonates with the female literary protagonists who are dynamically present throughout the exhibition.
Pele Cox After graduating from her Masters in Creative Writing at UEA tutored by Andrew Motion, Pele Cox has since been the Poet in Residence at Tate Modern (2007) and Poet in Residence at the Royal Academy of Arts (2010- 2012). Her three events at the Royal Academy were created specially in response to the exhibitions: ‘David Hockney; A Bigger Picture’, ‘Degas and The Dance’, ‘Vincent Van Gogh -The Man and His Letters’. Her special events ; ‘Vincent and Poetry’, ‘Degas and Poetry’ and ‘Hockney and His Poetic Imagination,’ culminated in a gala event at BAFTA: ‘The Masters’ Room’. She has since been commissioned to create a series of bespoke events at Keats-Shelley House in Rome, as the beginning of the idea around a series of public and private performances in museums around the world. In 2016 she worked with Damian Lewis and Helen McCrory directing them in a special event for John Murray publishing house who sponsored her as the founding Creative writing resident at the British School in Rome in October 2017. Her events and poetry have been featured in The Sunday Times, RA magazine, Tate and London Magazine.
Lou Broadbent
Lou trained at LAMDA. Theatre includes Marie (Outsiders, Pilot Theatre); Lady Macbeth (Young Shakespeare Company); Samara (Keepsake, Old Red Lion Theatre); Lainie (Two Rooms, LAMDA
Linbury Studio). Television includes Land Girls, Atlantis, Holby City & Doctors (BBC); Agatha Christie’s Poirot & Switch (ITV)

LOTUS publication : image, Candida Powell-Williams

LOTUS publication : image, Candida Powell-Williams
Texts by Antonia Shaw & Kathy Noble

Publication £10, edition of 50 ; please email info@bosseandbaum to buy a copy

TEXTS commissioned for Lotus: 

LOTUS  by Antonia Shaw 


Discussion: Future Feminisms & Rituals – Tuesday 21st November, 7-8:30 pm

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 Appeal For Women | Auction + dinner | 22 Nov, 7pm

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
Caterina Silva
Celia Hempton
Eloise Hawser
Hannah Perry
Jala Wahid
Joanna Piotrowska
Julie Verhoeven
Marie Jacotey
Mary Ramsden
Motoko Ishibashi
Rebecca Ackroyd
Roxman Gatt
Zadie Xa

Private view – Wednesday 22nd November – 6:30pm until 10:30pm
Protein Studios, Shoreditch

Private Dinner & Live Auction – Thursday 23rd November – 7pm until 11pm



Twitter: @HerStories2017

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.

Caterina Silva: Mapping the Town | 22 Nov, 2017 | Centrale Montemartini, Rome

Frieze Live London 2017 | Candida Powell-Williams | 5 – 8 October, daily performances 2.30pm – 3pm

Bosse&Baum_PR_Frieze Live

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

Madeline Hollander @ Bosse & Baum

Saturday 30th September – Sunday 8th October , 2017

A selection of Hollander’s movement scores and notations will be on display at the gallery.

For more information and to arrange a time to visit please email info@bosseandbaum

Florence Peake : Touch Horizontal Pleasure: Interview with Matthew McLean

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.

Full Text : Florence Peake Matthew McLean conversation June 2017


Florence Peake: Improvisation: Touch Horizontal Pleasure, Friday 8th September, 4-8pm

Improvisation: Touch Horizontal Pleasure

Improvisation: Touch Horizontal Pleasure will take the method of drawing used in ‘We Perform: I am in love with my body’ – of outlining around a moving body – as a starting point for a four hour improvisation. Six  dancers, including Florence Peake, will consider the floor and the body as a site for falling in love, using the sensation of movement to contemplate ones own body as a complete territory of pleasure to sink into: falling backwards into the horizontal becomes falling into, rising onto, the vertical.   
Katye Coe
Iris Chan
Rachel Gildea
Lizzy Le Quesne
Rosalie Wahlfrid

In Conversation: Florence Peake in discussion with Matthew McLean, Tuesday 25th July

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 or email