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Don't break down, break out | Symposium
Sat 20 May 2017, 13:00 – 18:00 BST
Don't break down, break out
Saturday 20 May, 1-6pm
A symposium addressing historic and contemporary forms of political activism and art-making, in a programme of screenings, performances, and discussions, taking as a starting point the publication within this exhibition 14 Radnor Terrace: A Woman’s’ Place. With contributions by Amy Tobin, Harry Giles, Ego Ahaiwe Sowinski, Suzy Mackie (See Red Women’s Workshop), Channels, Jacob V Joyce, Gail Lewis, Alice Correia and Nazmia Jamal (Sisters Uncut).
Please note further tickets to this event will become available on Thursday 11 May.
This event will have live subtitling provided by Stagetext. For more details, please email Elizabeth Stanton email@example.com
Free childcare is available on site for children aged between 6 months and 5 years, organised by Little Kunst. For more information please contact: Rhian Smith firstname.lastname@example.org
Amy Tobin is Associate Lecturer at Goldsmiths, University of London and teaches at City and Guilds Art School and West Dean College. She is editor of 14 Radnor Terrace: A Woman’s Place (2017).
Harry Giles is a performer and poet, based in Edinburgh. Harry makes art about protest and protest about art, co-directs the live art platform ANATOMY and helps out at the Forest Café. Harry will present Drone, a spoken word and sound art performance about remote technology and anxiety. Drone is a collaboration with the sound artist Neil Simpson which debuted in SHIFT at the Edinburgh Fringe 2015. The book of the show is published in Our Real Red Selves from Vagabond.
Ego Ahaiwe Sowinski is an artist, archivist and organiser. Between 2014-16 she was an artist/archivist in residence at the Women's Art Library, Goldsmiths with art group X Marks the Spot. Sowinski is currently working as archivist and collaborator with artist Rita Keegan and is also developing a project to archive the papers of Fela Anikulapo Kuti (1938-97). She is a committee member for the GLC Story oral history project, and a specialist volunteer for the Equiano Centre.
Suzy Mackie is a member of See Red Women’s Workshop (1974-90). See Red Women’s Workshop was a women’s silkscreen printing collective that produced posters, illustrations, and did service printing for the women’s liberation movement. A monograph on See Red Women’s Workshop was published by Four Corners Books in 2016.
Channels is an all-female performance collective with an unfixed number of members. The group work experimentally and collaboratively in sound, writing and theatre. Channels will stage a live intervention into Amy Tobin’s essay 'Breaking Down A Woman’s Place’ (2017).
Jacob V Joyce is a non-binary interdisciplinary artist who makes queer and decolonialinterventions into commercial and community spaces. Jacob makes artwork for international human rights campaigns, currently working as an illustrator for Global Justice Now, as well as for comic books and zines. They are a member of the sorryyoufeeluncomfortable collective and front person for the band Screaming Toenail. Jacob has self-published a number of illustrated books, and performs spoken word and solo electronic music.
Dr Gail Lewis is a sociologist who specialises in psychosocial studies of race and gender. She is in the Department of Psychosocial Studies at Birkbeck College. She was a long-standing member of Brixton Black Women's Group and co-founder of the Organisation for Women of African and Asian Descent (OWAAD). She has worked on the European Journal of Women's Studies and Feminist Review and recently trained as a psychodynamic psychotherapist. She is an Arsenal supporter (lower east).
Dr. Alice Correia is an Art Historian and Curator. Her research examines issues of home, homeland and belonging in contemporary British and international art, with particular interest in South Asian diasporas, the establishment of migrant homes and the legacies of colonialism. She is a Research Fellow at the University of Salford, and has been awarded a mid-career fellowship from The Paul Mellon Centre in order to undertake a project titled 'Articulating British Asian Art Histories'. She is co-editor of a special issue of Third Text journal titled 'Partitions: Art and South Asia', due later this year.
Nazmia Jamal is a member of feminist direct action group Sisters Uncut who have campaigned against life-threatening cuts to domestic violence services in the UK since 2014. She was a volunteer at Lambeth Women’s Project between 2007-11. She is a teacher and organiser.
Image: Soofiya Andry, Sisterhood* is Powerful not just cisterhood. Feminist slogan, entreating women to see other self-identifying women as close relations with intersectionality at the core of the sisterhood, 2017 (detail). Courtesy of the artist.
This event is part of the live programme for 56 Artillery Lane at Raven Row.
56 Artillery Lane
21 April to 11 June 2017
For this exhibition ‘home’ is imagined as a space for social, sexual and political agency, and ‘the domestic’ as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.
A group of works from the recent past and present has been gathered and joined to a weekly live programme. Visual vocabularies range from bodily waste and bacterial growth to intimate self-imaging. Sculptural forms make reference to temporary shelter and collective occupation, while films are diaristic, improvised and quasi-fictional. The archive is invoked as a ‘homemaking’ space. For instance, photographic ‘genomegrams’ by Fiona Clark describe a personal response to trauma, Ingrid Pollard’s film reflects on her parents' correspondence and Barbara T. Smith’s books comprise homemade Xerox impressions of the artist’s body and images of her children. Installations by Martine Syms and Ben Burgis & Ksenia Pedan work directly with the buildings’ fabric, while a film by Jenna Bliss – commissioned for the exhibition – explores the class, race and gender dynamics of drug use within domestic contexts in Puerto Rico and New York. Colonial legacies and indigenous activism are explored as well as gentrification and familial histories. The exhibition provides a partial map of the domestic as an unstable zone.
A publication has been made for the exhibition in which Amy Tobin builds a picture of a little-documented exhibition titled A Woman’s Place, made in 1974 by a group of artists in a squatted house and women’s centre in South London.
The live programme of performances, seminars, screenings and workshops extends the project to include, amongst other concerns, co-housing, modular architecture, non-monogamy, the domestic in narrative film and fiction, living with illness and health activism.
Participants in 56 Artillery Lane include Chantal Akerman, Ego Ahaiwe Sowinski, Soofiya Andry, Dr Meg-John Barker, Khairani Barokka, Pandora Blake, Phoebe Blatton, Rizvana Bradley, Jenna Bliss, Ben Burgis & Ksenia Pedan, Autumn Chacon, Channels, Adam Christensen, Fiona Clark, Lucy Clout, Fran Cottell, Phoebe Davies & Nandi Bhebhe, Jemma Desai, Fenixº, Alex Fleming, Keira Fox, Richard Fung, Harry Giles, Carry Gorney, Alice Hattrick, Candice Hopkins, Juliet Jacques, Alice Jones, Jacob V Joyce, Nazmia Jamal (Sisters Uncut), Bhanu Kapil, Morag Keil & Georgie Nettell, Las Nietas de Nonó, Gail Lewis, Rudy Loewe, Suzy Mackie (See Red Women's Workshop), Mira Mattar, Zinzi Minott, Merata Mita, Irenosen Okojie, Lucy Orta, Meera Osborne, Maria Pinińska-Bereś, Ingrid Pollard, Steve Reinke, Su Richardson, Christine Roche, RUSS, Sisters of Jam, Stanley Spencer, Barbara T. Smith, Martine Syms, Anna Szaflarski, Nina Wakeford, Kate Walker, Ed Webb-Ingall, Ria Wilson, Anicka Yi and Rehana Zaman.
The exhibition is curated by Amy Budd and Naomi Pearce, with input from Amy Ball, Gail Chester, Althea Greenan, Lucie Kinchin, Alexandra Kokoli, Imogen and Catriona Laing, Robert Leckie, Suzy Mackie, Sue Madden, Bernard G Mills, Ciara Moloney, Sofía Gallisá Muriente, Su Richardson, Alex Sainsbury, Amy Tobin, Mercedes Vicente and Ed Webb-Ingall.