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GOLDFINGER
Faisal Abdu'Allah

Exhibition - 3th Oct - 4th Nov 2007
Open - Wed - Sun - 11am - 4pm

Private view - Sun 30th Sept - 1 - 4pm

FULL PRESS RELEASE

Faisal Abdu’Allah’s major new installation, Goldfinger that continues the artist’s recurring interest in reconfiguring representations of masculinity, criminality and the nature of power. Beyond the surface façade of violence, Abdu’Allah utilises the interplay between materiality and alchemy to invoke the transformative.

Taking the tradition of portraiture as his departure, Abdu’Allah subverts conventional discourses of myth and iconography to illuminate the universal and humane. The transcendental qualities of precious metal and essentially - light are used to explore a correlation between liminal spaces and spirituality.

Goldfinger was developed via a four-year dialogue with legendary underworld figure and head of the ‘Firm,’ Joey Pyle [1935-2007]. Abdu’Allah’s investigation and negotiations into Pyle’s ‘criminal elite’ and the networks forged by unity, loyalty and the bonds of interlinking relationships evolves from the artist’s constant redefinition of collaborative, socially and politically engaged practice and the terms by which they operate.

The exhibition evokes the fragility of representation and tenuousness of existence itself.

Goldfinger has been curated by Indie Choudhury in collaboration with Cafe Gallery Projects London.

For more information please contact Jason Jules at:

Email mrjasonjules@aol.com - Email cgp.mail@virgin.net - Tel; +44 (0)20 7237 1230

Biography

Faisal Abdu’Allah graduated from the RCA in 1993 and with his debut exhibition, I Wanna Kill Sam Because He Ain’t My Mother Fucking Uncle, quickly established himself as an artist interested in confrontation and displacement, using the gallery space as a site to explore rare social interactions through provocative installation pieces. Faisal Abdu’Allah’s work primarily evolves from photography, the printed image and lens-based installations.

His projects include: Humanity, (Project Row House, Houston, 2006), Diss-assembly (Serpentine Gallery, London

2006), Threshold (inIVA, London 2006), Britannia Works (Xippas Gallery, Greece 2004) and Garden of Eden (Chisenhale Gallery, London 2003). He is a recipient of the Decibel Visual Arts Award (Visual Artist 2004-5). He was Artist in Residence at the Serpentine Gallery, London and Tate Modern, London (2007).

Abdu’Allah is a senior lecturer in Fine Art at the University of East London.

He lives and maintains a studio in London.

For P.D.F version of the full press release for the show please click here.

PROJEKTOR
Anthea Chin, Peter Eramian, Luísa Mota, Richard Wilson, MAX5 - Raw Fetish, Croatia Calling - Presenting the work of Dalibor Matinis, Tanja Dabo and Alen Floricic which has been selected by RAVNICA - Centre for Cultural Exchange in collaboration with the Institute for Contemporary Art, Zagreb plus work selected from the RCA by Stuart Croft: Brigit Rufer, Tereza Buskova, Edith Marie Pasquier and Patricia Pinsker.

Exhibition - 8th - 16th Sept 2007
Open - Wed - Sun - 11am - 5pm

Private view - Sat 8th Sept - 3 - 6pm
Special animation event - 15 Sept - 5.30pm

FULL PRESS RELEASE

CAFE GALLERY presents Projektor, the CAFE GALLERY's annual survey exhibition that presents a cross-section of how people are currently working with video. The continuous screening in the main gallery comprises works from the MAX5 open project for which submissions must have been no longer than 5 minutes in duration; in addition Stuart Croft selects from the Fine Art and Communications departments of the Royal College of Art. Further pieces have been chosen by Cafe Gallery Projects including Croatia Calling a show-reel of contemporary video practice by Croatian artists; whilst the highlight of this year's main screen programme will be the UK gallery premiere of Break Neck Speed by Richard Wilson RA.

2007’s Artist in Focus will be Anthea Chin who will be presenting a series of works that demonstrate the development of her video practice.

Featured in the foyer gallery will be two monitors with day-long looping show-reels of work by recent Goldmiths graduates Luísa Mota and Peter Eramian. Mota (who was the winner of the inaugural £1,000 Cafe Gallery Charlotte Stevenson Prize at the 2006 Annual Open Exhibition) will present 'A play about the paradox of dealing with a constructed real unreality, 2006' and 'Improvisation nr 2, 2007' together with photographic images from her degree exhibition. Eramian will present ‘Sunrise, 2007’ and ‘Polar 1, 2007’.

For further press information, please contact David Allen, Projects Manager at:
Email cgp.mail@virgin.net - Tel : +44 (0)20 7237 1230

SPECIAL ANIMATION EVENT

Event - 15th Sept 2007 - 5.30pm

A dual programme of animation screenings, the first selected by Jane Colling (of Jane Colling Distribution) from work by staff and students of the Royal College of Art Animation Department with the second screening selected by the makers of The Harrachov Exchange - an installation at DILSTON GROVE which will run concurrently to Projektor.

For P.D.F version of the full press release for the show please click here.

For P.D.F version of the invite for the show please click here.

EXTEND YOUR NECK
David Blandy, Marcus Coates, HK119, William Hunt, Mark McGowan, Guiseppe Mistretta, Alison O'Daniel, Claire Shallcross, Trouble Squad.

Exhibition - 27th Jun - 29th Jul 2007

Private View - Sun 24th Jun- 2 - 5 pm
Performances at the event - 7th Jul

FULL PRESS RELEASE

Extend Your Neck is an exhibition at Cafe Gallery Projects and a programme of performances on 24 June and at The Event, a free festival in the surrounding Southwark Park on 7 July.

Performance acts as a catalyst to communicate with others, rousing our spontaneity and causing us to act on instinct. Expanding on notions of what performance art is, Extend Your Neck uses language borrowed from different genres of entertainment. Highlighting cultural issues that at times create jarring or satirical insights into the world around us, the artists utilise performance not just as a form of expression but as a tool to address ideas and issues. Both the gallery and surrounding park are used as environments to present the exhibition, so the work exists in different contexts, extending how it is perceived. Like the performances of Andy Kaufman in which he stretched restrictions of genre, location, duration and content, Extend Your Neck baffles, as it embraces the unconventional in an attempt to test the norm.

Extend Your Neck introduces two new commissioned pieces by HK119 and William Hunt. Both artists have created structures that act as both stages and essential mechanisms for them to interact with. Within the gallery, HK119 merges live music performance and gallery-based installation, creating an environment that questions the role of the spectator. William Hunt’s musical performance takes place outside in the sculpture space using materials normally associated with the garden that he has altered to make instruments.

Marcus Coates takes influences from Eastern and Western rituals and skills, blending aspects of human behaviour with animal instinct. Coates presents himself as a Shaman, using humour as a basis for his performances to raise issues which entrance and mystify his audiences.

Mark McGowan uses modest materials to execute durational, and often physically demanding, performances which address cultural issues in a sincere yet candid way. Attracting media attention due to the spectacle that his work creates, he constantly sways between a working man’s hero and the taxpayer’s worst enemy.

By constructing a dialogue with a place or person, Giuseppe Mistretta attempts to contort the banal into something romantic. Considering perceptions of beauty, the ephemeral moments primarily exist in the imagination of the viewer.

Trouble Squad take issues that society would rather not know about and turns them into modern day fables, with over the top characters and extreme scenarios, coaxing the audience to laugh and follow where they are led until they stumble across the stories’ somber messages.

Documenting men within staged environments, Claire Shallcross and Alison O’Daniel place themselves within highlighted scenarios, exploring invisible sexual boundaries and clichés. The artists and the men they collaborate with alternate roles of power and vulnerability, giving the viewer a fleeting look at how men and women communicate in contemporary Western culture.

David Blandy imitates and recontextualises his influences, ranging from soul music to kung fu films. Stepping into the shoes of the original performers, Blandy questions how much of who we are is taken from popular culture.

For P.D.F version of the full press release for the show please click here.

For P.D.F version of the poster click here.

INTELLEGENT MUSCLE
Tom Ellis, Daniel Robert Hunziker, Max Mason, Liz Murray.

Exhibition - 30th May - Jun 17th 2007
Wed, Thur, Fri & Sun - 11 am - 5 pm
Sat - 12 - 5 pm

Private View - Sun 27th May - 3 - 7 pm.
Launch Event - Tues 15th May - 5 - 7pm

FULL PRESS RELEASE

Organized by Clare Goodwin and Sandi Paucic of K3 Project Space, Zürich who brought us the notorious Hand Luggage exhibitions; on this occasion, the exhibition Intelligent Muscle presents a show of UK and Swiss artists who will be living and working in the gallery space!

What happens when you confine four artists, with reputations as independent problem solvers and makers, within a gallery space for 12 days and charge them with the task of conceiving, creating and curating an exhibition?'Intelligent Muscle' brings together four artists whose practices explore different sculptural concerns at the intersection of production and concept:

Tom Ellis (UK), Daniel Robert Hunziker (CH) Max Mason (UK) and Liz Murray (UK).

Will complete artistic freedom seem like such a golden ticket as this foursome negotiate the three very different roles of artist, technician and curator without external assistance or the option of geographical distance? What will emerge from the collaborative toil: one piece that reflects their common artistic ground or several individual works that speak of the mental and physical boundaries required when four sets of ‘Intelligent Muscles’ flex at once . . . ?

For P.D.F version of the press release for the show please click here.

NEW PAINTINGS AND SKETCHES - WITHOUT TITLE
Sybille Berger

Exhibition - 21st Mar - 15th Apr 2007
Open - Wed - Fri & Sun - 11 am - 5 pm - Sat - 12 - 5pm

Private View - 18th Mar - 2 - 5 pm

FULL PRESS RELEASE

This first London solo exhibition by the highly acclaimed German colour painter Sybille Berger features three new major works alongside recent paintings and related sketches.

By excluding any narrative element from her painting and letting the work speak for itself, her colours take on a reality outside of their own existence. The colour of a whole work becomes both concrete and abstract at the same time, making an impact both as a physical and metaphysical presence. These paintings speak to an intuitive receptive level within us, becoming like a projection surface for the observer.

Berger creates sketches which she makes on canvas at a small scale before choosing each idea. These are displayed in the Long Gallery alongside major works in the Main Space to demonstrate the relationship between the development of the ideas for each painting and the emphatic and pristine physical presence of the final works. Each individual piece of work has gradually become a play between three colours which have been built up upon the surface by successive layers of thin paint applied with paint rollers.

The first impression of Sybille Berger's paintings is that of darkly saturated colour planes arrayed on large square canvases across the walls of the Cafe Gallery. Upon closer inspection, however, we discover that each colour area within a work of three areas, has been constructed from a separate stretcher, six centimetres deep, and that these abutted horizontal objects form a mass of coloured volumes which is a little taller than it is broad. The larger central volume of each work which stilly draws the gaze, is flanked, top and bottom by narrower bands which the artist makes in such a way as to be reciprocally emphatic about their distinct relationship to it.

The specificity of Berger's colours derive from an experimental approach, which, whilst totally unique to the artist herself is nonetheless closer to that of Joseph Albers, than to say, Herman von Helmholtz or Wassily Kandinsky. Berger creates her palette as a contingent part of the painting process whereby each adjustment to the tone and colour of the large works is recorded. Prior to the application of the paint, Berger makes a large horizontal test strip on white paper using a loaded roller of acrylic and pigment. These strips are arranged in view as a material resource from which to cut out the tiny colour swatches, miniature horizontal bands about six centimetres across, that become the elements of the preparatory drawings and from which she chooses the ideas to be developed in the large paintings so forming a completed cycle of events.

Sybille Berger is represented by Galerie m Bochum, Bochum, Germany.

For P.D.F review of Sybille Berger's work by Mark Gisbourne please click here.

For P.D.F version of the booklet for the show click here.

Website - www.m-bochum.de

THE WATER PEOPLE
Brian Griffin - New Photographs and international book launch and especially commissioned medals by artist Brynja Sverrisdottir.

Exhibition - 20th Sept - 29th Oct 2006
Open - Wed - Sun - 11 am - 4 pm

Private View - Sun 17th Sept - 2 - 5 pm

Book Launch - Wed 13th Sept
From 6.30pm - 8.30pm at Claire de Rouen Books, First Level, 125 Charing Cross Road, London WC2H 0EW.

FULL PRESS RELEASE

In his first major UK exhibition in 15 years, Britain’s greatest living portrait photographer presents the mythic tale of an aerial expedition across Iceland’s epic landscape in search of The Water People. Brian Griffin draws on Jules Verne’s Journey to the Centre of the Earth in response to a commission from Reykjavik Energy, visualising the pathway of its remarkable geothermal infrastructure as a modern Icelandic saga. The adventure - retold through a surreal, filmic narrative of large-scale colour and black-and-white photographs - begins with a bizarre rooftop encounter, where he is introduced to his aircrew. And so the flight of fancy unfolds - a voyage into a netherworld of gaseous, ethereal landscapes, following a pathway of polished metallic pipelines to discover The City of the Water People, inhabited by strange, amorphous, liquid life forms.

The exhibition combines artfully constructed portraits, utilising a specially-made screen to create a watery abstraction, together with Friedrich-inspired landscapes. Drilling bores and electricity pylons are transformed into menacing, alien elements among Iceland’s apocalyptic surface - alive with gushing waterfalls and geysers. Griffin’s heavy use of symbolism, his fictional narratives and Noirish aesthetic runs counter to the objective, documentary approach that dominates contemporary art photography. Rather than examining the world through the shield of a camera, his photography is an exploration of self.
'The thing about Iceland is that it’s so powerful and distinctive that it breaks away from the cliche of landscape,’ says Griffin. ‘It’s so elemental, so exaggerated. You feel like you’re at the creation of the Earth. I seem to gravitate towards the really dynamic part of Iceland - the steam and the fire and the waterfalls. But, ultimately, I was trying to photograph it as a state of mind, as a way of externalising my own feelings, rather than a landscape in itself - like self-portraiture.’

Integral to this exhibition are beautiful commemorative medals in gold, silver and diamonds, created by Icelandic artist Brynja Sverrisdottir, to recognise the pilots’ bravery in flying into the unknown and bringing Brian back safe and sound.

For P.D.F version of the press release for the show please click here.

Website - www.briangriffin.co.uk

COMING UP FOR AIR AND FROM HERE I SAW WHAT HAPPENED AND I CRIED.
Carrie Mae Weems

Exhibition - Jun 8th - Jul 3rd 2005
Open - Wed - Sun - 11 am - 4 pm

FULL PRESS RELEASE

As her first solo exhibition in the UK, the internationally celebrated black American artist Carrie Mae Weems presents two new films from her ongoing project Coming Up For Air. May Days Long Forgotten, shows four young African American girls dancing around a maypole, posing for the camera bedecked in flowers and floral attire. The work explores the construction of identity and how this can relate to patterns of revolution (May Day) and the civil rights movement. "My responsibility as an artist is to work, to sing for my supper, to make art, beautiful and powerful, that adds and reveals; to beautify the mess of a messy world, to heal the sick and feed the helpless; to shout bravely from the roof tops and storm barricaded doors and voice the specificity of our historical moment......"

For P.D.F version of the press release for the show please click here.

Website - www.womeninphotography.org

DILSTON GROVE

THE HARRACHOV EXCHANGE
A collaboration between visual artist Guy Bishop and film makers Matt Hulse, Ben Rivers and Joost van Veen.

Exhibition - Sat 8th - Sun 16th Sept 2007
Open - Thurs - Sun - 11am - 4pm

Private view - Sat 8th Sept - 3 - 6pm

FULL PRESS RELEASE

A sublime installation transforms Dilston Grove's unique space into a haunting spectacle of light, sound and movement.

Pulled together by an unseen force in the dark belly of the Grove, an eccentric accumulation of disparate objects have melded into a bizarre, intricate and chaotic kinetic machine-system. Multiple projected animated film loops reinforced by unsettling sonic interactions create a spectacular, ever-changing, fractured 'live documentation' of the machine's evolution and re-animation. It has proved particularly suitable for adults accompanied by children.

The Harrachov Exchange is the result of a collaboration between visual artist Guy Bishop and film makers Matt Hulse, Ben Rivers and Joost van Veen.

The Harrachov Exchange comes to London following a successful tour which has included Melbourne International Film Festival, San Francisco International Film Festival, Norwich International Animation Festival, Edinburgh International Film Festival, European Media Art Festival and Rotterdam International Film Festival.

Special animation event:
CAFE GALLERY 15 September 5.30pm

A dual programme of animation screenings, the first selected by Jane Colling from work made at the Royal College of Art with the second screening selected by the makers of The Harrachov Exchange.

For P.D.F version of the full press release for the show please click here.

For P.D.F version of the invite for the show please click here.

For more information click on - www.harrachov-exchange.info

URBAN GOTHIC
George Bolster Kate-Rose Carrick, Mark Dean Veca, Kelly Eginton, Jane Philbrick, Rachael Reupke, Ewoud Van Rijn.

Exhibition - 30th May - Jun 24th 2007
Wed - Sun - 11 am - 5 pm
Saturday - 12 - 5 pm

Private View - Sun 27th May - 3 - 7 pm

FULL PRESS RELEASE

This exhibition brings together several international artists whose work implies a morbid fascination; macabre elements run through each of their varied practices. Epic is a device used here as something to explore ideas of heightened or altered emotional states. The dark side of the subconscious is explored through a fusing together of psyche and taboo. These works simultaneously swing from implied crassness to material seduction. A fantastical or gothic sense of their chosen subject threads the artists together.

George Bolster's Hyper-baroque ceilings are hidden in the darkness of the space. Initially the viewer feels droplets fall on their clothes. Armed with torches, they find the drops are tears from figures in the ceiling. The figures are crying on them. Tiepolo-like drawings in pencil depict figures which could be saints in ecstasy or drug addicts high on Christ.

In Kate-Rose Carrick's cinematic architectural perversions the audience wanders into a world of disturbed displacement. Exploiting the unsettling slippage between a normative world and this constructed unknown one. Oozing unidentified liquids seep from generic institutional spaces. In an assault of sound and light, the viewer, enticed into a quiet interior space, encounters a car revving its engine from which there is no escape.

Mark Dean Veca portrays images which are fusions of hero/villain comics inhabiting danger-ridden landscapes, which also resemble moldering wallpaper in unkempt houses. His expanded paintings mainly take the form of putrid organs exploding and dissolving our idea of the space in which they are made.

Kelly Eginton hopes to discover something otherworldly by building up from the crudest and most basic elements until a presence is nearly or just barely perceptible. She considers true creative endeavour to be a humble and dangerous pursuit. One must be ever mindful of the perils of inviting the devil into ones house.

Jane Philbrick Referencing iconic walls and literary allusions, recent works such as Praise and Thanks, Contrition, Petition challenge the scripted rhetoric of faith to voice individuated, secular meditations within and against preordained canonical Scripture, "a weapon of mass destruction" in our twenty-first century Crusades.

Rachael Reupke uses a wide range of references CGI blockbusters; Hitchcock's North by Northwest; webcams; Bruegel- all serve as reference for a body of work exploring ideas about cinema, spectacle and the modern world. In single-shot video works, she deconstructs, undermine and reorder conventional cinematic hierarchies. Dramatic events remain ambiguous, the film crew concealed or out of shot.

Ewoud Van Rijn illustrates lurid scenes of life sex and death in fairyland. The vast sheet of white paper is for him a theatrical space. As such, it is the re-creation of a mental space; everything that takes place within is an enactment of mental processes and the impulses that trigger them. A few schematic props set the stage. Van Rijn’s protagonists, wide eyed, svelte nymphets, lounge around seductively. We are beguiled - until we realize that they are munching nonchalantly on a cannibal kill, or mutilating themselves, or drinking each others blood.

For P.D.F version of the press release for the show please click here.

THE WATCH MAN
Shona illingworth

Exhibition - 14th Mar - 15th Apr 2007
Open - Wed - Sun - 11 am - 5 pm

Private View - Sun 18th Mar - 2 - 5 pm

FULL PRESS RELEASE

The first international exhibition of The Watch Man, a major new installation by artist Shona Illingworth will take place within the atmospheric and powerfully evocative architecture of Dilston Grove, London.

Using video and sound, The Watch Man explores the conflict between trauma memory and the need for a coherent ‘life story’ through the experience of an 80 year old watchmaker, who as a 19 year old experienced one of the most deeply affecting and shocking events of the Second World War.

With successive generations living with the after effects of traumatic experience, this moving and evocative work reveals the personal impact of conflict on an individual over time. It is made in dialogue with neuro-psychologist Professor Martin A. Conway, whose internationally recognised expertise on trauma memory, confabulation and the role of memory in the formation of a sense of self has informed the complex structure of this work.

The video lingers on prosaic details of the watchmaker’s workshop and living space, gradually encapsulating an enclosed and disconnected world that is set in stark contrast to a dark, disrupting and persistent trauma memory. A complex sound composition will surround the viewer, locating sounds high above their heads and resonating through the charged, reflective surface of a specially constructed floor beneath their feet.

An International solo exhibition of The Watch Man will tour to Interaccess, Toronto featuring in the international Images Festival, 2007 and a Limited Edition Artist Book, made in collaboration with Professor Martin A. Conway, will be launched in Autumn 2007.

Shona Illingworth

Shona Illingworth is known for her powerful and evocative video and sound installations which explore the experience of memory and the formation of identity in situations of social tension. She has shown her work extensively in Europe, Canada and the UK. She has received a number of high profile awards including commissions for Channel 4 Television, the Hayward Gallery, London and the Wellcome Trust. She lives and works in London.

For more information on Shona click at - www.shonaillingworth.net

Professor Martin A. Conway

Professor Martin Conway is a neuro-psychologist and one of the foremost international experts in the field of Autobiographical Memory. His work explores the centrality of memory to our sense of self. He currently holds a prestigious ESRC (Economic and Social Research Council) Professorial Fellowship at Leeds University where he has established the new Memory Research Group. He has written extensively on Autobiographical Memory.

The Watch Man has been financially assisted by Arts Council England and supported by FeONIC plc

For P.D.F version of Press release click here.

For more information on Shona click at - www.shonaillingworth.net

BRIDGE
Michael Cross A site-specific design installation for Dilston Grove. Curated and commissioned by Andrée Cooke.

Exhibition - 20th Sept - 29th Oct 2006
Open - Wed - Sun - 11 am - 4 pm

Private View - Sun 17th Sept - 2 - 5 pm

FULL PRESS RELEASE

Bridge is a spectacular new site-specific design commission for Dilston Grove by Michael Cross. Housed in a former church, (one of the earliest examples of poured concrete construction and a Grade II listed building), the piece comprises submerging two thirds of the inside of the church in water, and producing a series of steps which rise out of the apparently empty man-made ‘lake’ as you walk across them. Each step emerges one step in front of you and disappears back underneath behind you as you go. This ‘bridge’ is purely mechanical, the weight of the person on it depresses each step a little, this force activates a submerged mechanism which raises the next step.

The public are invited to walk out on it as if walking on water, eventually reaching the middle of the lake, thirty steps and twelve meters from the shore. There they will stand alone and detached, stranded in the middle of a plane of water until they choose to return the way they came. For some people this experience of being cut off and surrounded by water will be peaceful, for others terrifying. For some walking across the water will be pure childish joy, whilst others will be too scared to try.

This piece pursues a language of design and architecture that rejects stability in favour of movement, and rates delight over simplicity. It is a flexible, light, magical language that aspires to say that "since this can change, everything can change." Bridge is the first piece in a new series of works which take dream-like solutions or scenarios and insert them into the real world as an alternative view on how it might be. The piece executes quite outlandish – one might even say an absurd – seeming proposal, in a very serious and material way. It is a genuine proposal for the real world.

In this, as in many of his other projects, Cross aims to invite a feeling or physical sensation to surround what otherwise might be purely function objects. Previous works (many made with Julie Mathias under the title Workmedia) have mixed water and electricity in a dangerous looking but beautiful cocktail to invoke an aura of simultaneous trepidation and fascination. Others prompt childhood memories of play actions, such as scattering and blowing, which have been used to animate functional things (a carpet and a fan). All these works seek to achieve a kind of beauty in the way they are used, striving to be engaging and intriguing in the way they are experienced and not only in how they look.

Cross' works live in the ill-defined area between experimental design, art and architecture. His work has been shown in group shows and solo installations including at the Design Museum, London; Twinkle, Twinkle in Tokyo, Moscow and Istanbul; Great Brits: the New Alchemists, in Milan and Asia; My World at Experimenta, the Lisbon Design Biennale; and Well Done in the Museum of Contemporary Art in Taipei. Bridge is his first major solo exhibition in London since his graduation from the Royal College of Art in 2004. It is the also the first time that Cafe Gallery Projects London, has used Dilston Grove to promote the work of a designer.

Andrée Cooke, the curator and commissioner of Bridge has most recently worked as co-curator with the British Council Design Department on Experimenta, the Lisbon Design Biennial, but is best known for her role as director and curator of the British Council Window Gallery in Prague from 1993 to 2003. The Window Gallery gained recognition internationally for profiling artists, designers and makers at the beginning of their careers.

Part of the London Design Festival - 15th - 30th Sept 2006

For P.D.F version of invite click here.

www.londondesignfestival.com

Please contact Andrée Cooke for further information about the project on:

Email: cooke@macunlimited.net

OFF-SITE PROJECTS

MEME

Exhibition - 24th May - 15th Jun 2007
Open - Thur - Sun - 11am - 5pm

Opening Event - 20th May - 3 - 7pm
Closing Event - 15th Jun - 6.30 - 9pm
Venue - Unit A05 Tower Bridge Business Complex 100 Clements Road, SE16 4DG.

FULL PRESS RELEASE

Information travels from person to person and generation to generation; creating and contaminating our social realities.

In the 14,800 square foot space that once housed the acclaimed modern medicine and gambler exhibitions curated by Damien Hurst, The Bermondsey Artists’ Group is incubating it's visions and releasing them on London this May. Viral events and visual whispers, repetitious images and cast mementos. Work from 25 artists explore the notion of MEME.

MEME represents how we generate ideas, fashions, urban legends and movements, how catch phrases are caught, folk tales are taught and opinions, beliefs or theories are formed.MEME is the way culture is propagated and....the rumour is spreading.....

Artists - ds allen, jane colling, yannis christakos, neil drabble, gail dickerson, stephen dunn, beth elliott, mia fernandes, tony fleming, victoria forrest, charlie fox, paul green, joanna gore, sophie horton, dimitri launder, debbie lee, james norton, marianna o’reilly, martin pover, sarah reilly, gillian robertson, alex rodgers, louise sheridan, harald smykla, karin-marie wach.

For P.D.F version of this information please click here.

For more information on MEME click at - www.meme07.info

ANNE BEAN with MARK ANDERSON
REAP

Exhibition - Sept 18th - Oct 30th 2005
Open - Wed - Sun - 12 noon - 5 pm

Private view - 17th Sept - 3 - 5 pm

FULL PRESS RELEASE

At the following venues Cafe Gallery Projects London, Coleman Project Space, Dilston Grove and in a "secret garden"; within Southwark Park seventeen artists present their commissioned videos, sculptures and performances for the REAP programme of exhibitions, process based installations and events in and around the park; the culmination of an entire year of individual projects which present spectacular and intimate manifestations of an astronomical ritual which is informed by contemporary ideas about nature, society and technology.

Anne Bean collaborates with other artists and professionals in different ways to fulfil the potential and most powerful synergy of an idea. In order to realise the REAP concept, Lucy Baldwyn, David Chapman, Marcus Coates, Holly Darton, Gail Dickerson, Graham Fagen, Brian Gilson, Illur Malus Islandus, Meg Mosley, Miyako Narita, Lucille Power, Emily Richardson, Harald Smykla, Richard Wilson and z'ev, were invited to work upon individual ways of "capturing" the year which started on the 30th October 2004, to explore the notion of marking time; time as memory, as process, as moments, as metamorphoses and metaphors so that each artist plays an equally important determining role for the whole improvisation.

The concept was developed with Mark Anderson from an idea about time, space and scale to incorporate multiple tracings of our Earth's seasonal cycle around the Sun. Anne Bean who has inspired and led the project and whose work includes large-scale, time based installations at Dilston Grove and in the shadowy "secret garden" says that:
...Much of my work has consciously and centrally used time processes. Since I was an adolescent, I have been very aware of my own changing self and the fact that everything, including great solid boulders and mountains, are events in time just as we are...

REAP has involved an enormous range of investigation that includes: the movement of shadows with research scientist Dr. Ken Beck; the identification and storage of apples with the Department of the Environment National Fruit Collection at Imperial College; wine fermentation with the Society of English Wine Producers; the maturation of cheeses with the Specialist Cheese Association; tides and moon phases with the Royal Observatory and Port of London Authority; mummification with an Egyptologist; incense for Buddhist temples with, Kwok Tin Heung Incense Factory, China; what time actually is with cosmologist Marcus Chown and growth and seasons with numerous gardeners and park rangers.

For P.D.F version of this information please click here.

For P.D.F version of the programme accompanying the show please click here if you have any problems please visit the Help page.

For magazine review please click here.

For more information on REAP click at - www.artsadmin.co.uk/artists/ab/index.htm

Tel +44 (0) 20 7237 1230

Email cgp.mail@virgin.net