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

Project by Caterina Silva | SSOL/AP | Amsterdam, 4-8 July 2017

SSOL/AP. Amsterdam
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 Saturday 1st July, 2017: Cache by Candida Powell-Williams at London’s iconic Devonshire Square

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.


Peckham 24

Bosse & Baum are part of 
Peckham 24 this weekend
Friday 19 May – open until 9pm
Saturday 20 May – 12 – 6pm
Guru Den | Motoko Ishibashi
Screening of performance by Yuki Kobayashi
@motokoooooo @yukikobayashi0226 #GuruDen
@bosse_and_baum @peckham24photo


Luke Burton at Granpalazzo, 27 & 28 May 2017, Ariccia, Rome

Opening: Saturday 27 May 2017 @ Palazzo Chigi, Ariccia, Rome. 


Herland at B&B: a visual book club

Opening: Friday 17 March, 6-9pm
Visual book club: Saturday 25 March, 1pm
@ Bosse & Baum, temporary project space

Guendalina Cerutti
Vanessa da Silva
Lindsey Mendick
Paloma Proudfoot
Rosie Reed
Rosie Vohra

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 @ 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; if you would maybe like to participate, or definitely observe the workshop, please also email

[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.]

Workshop With The Portable Print Studio @ Bosse & Baum | Candida Powell-Williams

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.

Saturday 25th February, from 12-4pm
The workshop is free and open to all ages and abilities
No booking required

*Artwork provided by the artist Candida Powell-Williams

PRESS: Betsy Porritt writes about Candida Powell-Williams: The Vernacular History of the Golden Rhubarb for This is Tomorrow

Candida Powell-Williams: The Vernacular History of the Golden Rhubarb | Bosse & Baum | 28 January – 18 March 2017
Review by Betsy Porritt for This is Tomorrow

Entering Candida Powell-Williams’ new show at Bosse & Baum is like stepping into the 1945 painting by Yves Tanguy ‘There, Motion Has Not Yet Ceased’. The grey indistinct landscape hosts shapes and colours that resemble familiar objects that are also explicitly ‘other’. The familiarity of the shapes that have been taken out of context, in both the painting and this current exhibition, destabilises the time-frame of both. Are we looking at a dehumanised reflection of the present day or a reanimated version of history?

The gallery is grey with bright pops of colour; the shapes that fill it vary in size from towering sculptures to smaller abstract objects. The anachronistic classical references of symbols and architectural details from Ancient Roman and Greek history, a working fountain, columns and doorways, interact with technologies such as the QR codes that animate the exhibition as you use you phone. Powell-Williams has created a micro world where culture is layered on culture, or rather, as the accompanying text suggests, culture is scraped away. The materials that make up the objects such as the ‘doorway outlines’ or the ‘doorway slabs’ mimic concrete and stone. The colourful spray paint has dissolved the edges of the works, giving an impression of age. It is not time and the elements that have worn down these objects, however, but process and material.

The decontextualised symbols signify things bearing meaning now lost. They speak of a specific moment in the creation of a symbol trying to fit order into or on to the world, like the planning of Nazi architects who imagined the future ruins of the Reich or the virtual reality tours of Palmyra that capture the ruins before they were ruined. In truth, Powell-Williams is saying, there is no march of progress, only all things existing as they are.

The sense of condensing history into a singular moment or object is beautifully explored by the artist in a work that stands at the opposite side of the room to the fountain. A series of shapes made from plaster or papier-mâché, which call to mind a flock of wheeling doves, are embedded in a wire mesh square that is suspended from the ceiling. One side of the shapes is roughly painted the same uniform grey as the surrounding gallery walls; the other sides are coated in a thick pink paint streaked through with white giving an effect like raspberry ripple. The power of the work lies in the way the gallery lights affect your eyes. Moving around the sculpture the colour and form of the bird shapes changes as if you were looking at them against the sun. The effect forces the viewer to engage directly with the space, to physically feel oneself as looking at, walking through or stepping on the different works. As your eyes adjust to the light and the sound of the fountain filters through, it is as though you are standing in a quiet Roman square, located out of any specific time.

Art Rotterdam : 8 – 12 FEBRUARY 2017: presenting Molly Palmer & Robin von Einsiedel



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: | +44 7818 455 675 | +44 7946 399 916

Candida Powell-Williams: Performance workshop on Saturday January 21st

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 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
#goldenrhubarb #CPW

Supported by the Arts Council England.


Luke Burton : Waves, group show at Turf Projects, London | January 2017

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 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

START art fair


UA @ Chisenhale | 12 June, 13:30-18:30

You are invited to join the artist collective UA in an afternoon workshop of collaborative practice, hosted at Chisenhale Studios by UA in collaboration with Please Stand By. The workshop will be loosely structured around group writing, making, vocalising, movement, and meditation, culminating in a collectively improvised ritual. Both artists and non-artists are welcome.
Over the past three years UA has developed a working process for participatory ritual-performances. But the nature of our practice has largely been hermetic, most of it taking place on retreats, in remote locations, with only members of the group there to witness it.

You can book tickets here:
// Group leaders will be:
Miriam Austin
Matt Drage
Paul Gwilliam
Boris Jardine
Lizzy Laurance
// About UA
UA formed in 2013 in order to investigate the aesthetic possibilities of religious practice, mythology and ritual. Each member of the project began with some variant of a basic problem: how to fit our artwork into new structures of meaning that would feed back into the work, that would be valid in their own right? i.e. outside of the gallery system, the poetry reading, the google group, the seminar, the spectacle. UA develops and maintains a fragile structure of participatory ritual-performances, involving sculpture, text, sound and movement.

At Home Salon: Double Acts | 14 May – 9 July 2016

Opening Party: Saturday, 14th May
6.30pm to late | RSVP:

Participating “Double Act” Artists:
Rebecca Ackroyd — Alex Clarke
Cornelia Baltes — Will Sheridan Jr
Bea Bonifini — Lindsay Lawson
Emma Hart — France-Lise McGurn
Gabriel Hartley — Ann Hirsch
Sarah Maple — Zadie Xa
Andrew Mealor — Alex Rathbone

Performance by | Bea Bonifini
Music by @Gaybar and Hannah Quinlan Anderson and Rosie Hastings
Food by Taco Truck
Exhibition Events
Coffee Morning: Friday, 20th May, 9am-12 noon
Open House: Saturday, 11th June, 11am–6pm
Closing Party: Saturday, 9th July, 6.30-8.30pm
and by appointment until 9th July 2016

Marcelle Joseph Projects is delighted to present At Home Salon: Double Acts, an exhibition in the private residence of the curator in Ascot and showcasing artworks by 14 artists. For the third biennial edition of this exhibition – subtitled Double Acts – Marcelle Joseph has collaborated with a different London-based curator, gallerist, journalist or artist in each of seven different rooms of her home. Each “double act” curating team has in turn chosen two artists to show in their designated area. The collaborating curators include (in alphabetical order): artist Rebecca Ackroyd, Bosse & Baum gallerist Lana Bountakidou, Arcadia_Missa gallerist Rozsa Farkas, independent curator Valentina Fois, The Sunday Painter gallerist Will Jarvis, freelance arts writer Anna McNay and Emalin curator Leopold Thun. Expect the unexpected – artistic combinations in the domestic context away from the white cube that jolt, inspire, provoke and invite conversations of all sorts.

Midnight artist-led walks for ART NIGHT: Miriam Austin, May Hands, Sarah Hardie, Nicole Vinkour

Special midnight artist-led walks around selected Art Night projects on 2 July (10pm to midnight). Bosse & Baum has selected five artists, including Miriam Austin, Nicole Vinokur and May Hands, to design the artist-led walks.

To buy tickets, please email:

Art Night is a new annual contemporary arts festival that will transform London for one night on 2 July 2016. From Admiralty Arch to a disused Jubilee Line platform in Charing Cross Underground station, a range of building and public spaces across Westminster will form the stage for a series of art installations and performances, for one night only.

Art Night is free and open to all. Advanced booking for selected projects will be announced on 9th May 2016.


#artnight2016 #dontsleep