The lacuna, or lexical gap, represents a gap in translation, a place where multiple meanings are applied, where meanings shift and new interpretations can be made.
ArtLacuna is an artist-led space established in May 2013, located in an old coroner's office near Clapham Junction. It accommodates artist studios, a residency and research program, as well as project and exhibition space.
PV: Thursday 12th October 2017, 7-9pm
OPEN: 13th - 29th October, Friday - Sunday, 12am-5pm and by appoinment only
For Diagonal Diagram of Dispersed Documents, Material Conjectures will transform the gallery space at ArtLacuna into a large scale architectonic staging structure for a selection of materials produced, found and constructed through a variety of research methods.
DDDD brings together a group of internationally recognised researchers and practitioners:
Jonathan Darling | Rachel Garfield | Jaspar Joseph-Lester | Pil and Galia Kollectiv | Graham Lister | Mer. Maggie Roberts/0rphan Drift | Anne Tallentire | BAW - Bruce Gilbert
This exciting collection of research includes materials which investigate, interrogate or analyse a range of socially architectural devices: borders, migrations, regeneration, capitalist urban planning, government policy, barrier materials and adhoc structures. These materials are presented at points inside, upon and adjacent to a new large scale structure built for the gallery at ArtLacuna. The exhibition is an architectural diagram for encountering knowledges and data produced through the contributors' research activities. All the contributions share a concern with the ongoing crisis conditions of global capitalism and the disordering effects of these upon spatial relations or constructions.
MC curated Diagonal Diagram of Dispersed Documents [DDDD] and constructed the architectural intervention or Diagonal Diagram, which houses the contributions or Dispersed Documents in the exhibition. MC also produced the silk hanging works, which intervene on the Diagonal Diagram across the space.
Active since 2011, Material Conjectures is a project co-authored by Kirsten Cooke and Dale Holmes. MC's research and practice engages with material and spatial operations: exploring their properties, vernacular and contingency. Previous UK exhibitions include: Abandoned Temporary Crisis Facility at Beaconsfield (2016), which also acted as a platform for the Housing, Immigration and Temporary Fabrications symposium (2016); Kwartz Kapital Konstruction Kollider, Beaconsfield (2014); Asymmetrical Cinema, Beaconsfield (2013) - which also launched a publication of the same name; One-Dimensional Disco, kynastonmcshine, London (2012); Turbulent Surfaces II, kynastonmcshine (2012), London and Turbulent Surfaces I, Brook Theatre, Kent (2011). MC have also produced texts, performances and structures for exhibitions and publications that have been staged or distributed internationally.
Jonathan Darling has contributed a text and image to DDDD, which act as his Dispersed Documents in the
Diagonal Diagram. Darling’s text, ‘Dispersed lives: the fragmentation of asylum support in Britain’ summarises
his recent work on dispersal within the UK and the image is from his field work. These two aspects of Darling’s
research enter the Diagonal Diagram in the form of the Press Release, which acts as another artwork within the
exhibition and is itself dispersed beyond the gallery.
Jonathan Darling is a Senior Lecturer in Human Geography at the University of Manchester. He holds a PhD in
Geography from Durham University and has worked extensively on the experiences of refugees and asylum
seekers in British cities. His research focuses on the spatial politics of migration, asylum and sanctuary, the role
of ethics within geography and the changing nature of cities. He is currently working on an ESRC funded project
titled Producing Urban Asylum. This work explores the impact of the UK’s refugee dispersal policy on four cities.
Jonathan teaches courses on urban politics, borders and migration and geographies of mobility.
Rachel Garfield has been producing a trilogy of essay films entitled The Struggle; these explore the impact of
ethically dominated familial interactions on the formation of subjectivity in the individual. Two of the films, The
Straggle and Opening Up are on monitors within the Diagonal Diagram and the research for Garfield’s final film
in the trilogy is displayed in the form of wall-based works that collectively map aspects of her research process.
The springboard for each of Rachel Garfield’s films are interviews conducted with people whose parents were
political activists, military personnel, and practicing Catholics respectively. The aim is to explore the political and
social shifts between the mid to late 20th century and the early 21st century as a negotiated and lived
experience. It also explores the tensions between the individual and community.
Garfield makes work that explores the lived experience of subjectivity in all its varied forms, currently working on
the final part of the trilogy. Previous iterations of the trilogy have been exhibited so far at the Nunnery Gallery,
London; Hatton Gallery, Newcastle; Beaconsfield Gallery, London; London Short Film Festival, ICA London;
Open City Documentary Festival, London. Other exhibitions include I’m Watching Over You (Centre for
Contemporary Art Santa Fe/ Arizona State University Museum, 2009) and Just World Order (Artsway, 2008). As
well as reviews, Garfield’s work has featured in Blackwells Companion to Contemporary Art since 1945, (ed.
Amelia Jones); “An ‘Other’ History: Feminist Art in Britain Since 1970” Amelia Jones (eds. John Slyce, Adler,
Phoebe), Contemporary Art in the United Kingdom, London: Black Dog Publishing, p.181, 2015, Steyn, Julia, “In
the Hinterlands: Identity, Migration & Memory”, Cross-cultural Identities: Art, Migrants and the Metaphor of
Waste, Steyn, Juliet, Stamselberg, Nadja (eds.) I.B.Tauris, pp. 97-122 (core case study), 2013.
Pil and Galia Kollectiv
Pil and Galia Kollectiv are artists, writers and curators working in collaboration. Their work addresses the legacy
of modernism and the relationship between art and politics. They often use music and choreographed movement
to investigate the beliefs and rituals of a supposedly post-ideological society. Their band WE extends their
interrogation of the construction of individuality and collectivity. They have had solo shows at Pump House
Gallery, London, Te Tuhi Center for the Arts, New Zealand, S1 Artspace, Sheffield and the Showroom Gallery,
London and are currently working towards a solo exhibition at The Naughton Gallery, Queens University Belfast.
They have presented live work at the Stedelijk Museum, Amsterdam, the 5th Berlin Biennial and the 5th Montreal
Biennial, as well as at Kunsthall Oslo and Arnolfini, Bristol. They are the directors of artist run project space xero,
kline & coma and work as lecturers in Fine Art at the University of Reading, the Royal College of Art and the
CASS School of Art.
Jaspar Joseph-Lester has been involved in a series of international curated exhibitions; authored, co-authored
and edited a number of published books and articles for journals; and played a leading role in organising
international conferences, symposia and other public events. This research has explored ways that material
space is shaped by images (scripted space) and how images are themselves experienced and understood
through the materiality of objects. Much of his recent work has taken the form of the photo-essay. This work
continues to provide a context for exploring how space is informed by images, focusing on the way the cinematic
image is played out in architectural space. For DDDD, Jaspar Joseph-Lester has contributed research materials
under the larger project title of The Rise and Fall of the Infinity Pool and the guide books he published within the
project The Lisbon Guide to Law and Entropy.
Jaspar Joseph-Lester is Reader in Fine Art (Art, Urbanism and the Moving Image) and research tutor on the
Sculpture programme at the Royal College of Art. A London-based artist, his work explores the role images play
in urban planning, social space and everyday praxis; latterly he has focused on conflicting ideological
frameworks as embodied in urban regeneration projects. In 2010, he was invited to curate the Dallas Pavilion,
which was launched at the 2013 Venice Biennale. He has exhibited widely in the UK and abroad.
Graham Lister is a painter whose work is built around investigations into the materiality of the contemporary
everyday. In particular, his practice looks toward the surfaces and planes of the physical environment which
often serve to organise, control and to direct movement within our daily lives. Using painting as a methodological
tool, his work embraces processes of repetition, simplification and of abstraction to engage with selected
materialities, forms and views. Most recently, his paintings have showcased interests in woven and interlinked
surfaces and the potential of large scale paintings to be developed as new types of barrier materials in exhibition
contexts. For DDDD, Lister has contributed his large research paintings on paper; Chain Link Fence, 2017 and
Orange Weave, 2017.
In 2016, Graham Lister received a practice-based PhD from the Glasgow School of Art after using personal
painting strategies to respond to the contemporary era of networked interconnectedness and changing desires to
represent / re-present reality. He currently teaches Painting at The Glasgow School of Art and on the
Contemporary Art and Illustration Programme at the University of Huddersfield.
Maggie Roberts (aka Mer.)
*Maggie Roberts’ (0rphan Drift) film, Black Waters ghost prescient will be screened at the closing event
between 7.30 – 9.30pm on 28.10.17
Maggie Roberts practice has always involved excess and iteration, employing feedback circuits
of image content, rhythm and texture across screen, collage, digital and painterly mediums. She often uses
morphing viscous liquidity and ‘machine vision’ aesthetics to undo or expose the underlying implications of the
digital. The work has a complex, liminal and baroque aesthetic that proposes a tactile and fluid materiality. This
reflects her continuing interest in manifesting invisible currents and currencies that affect the visible: expanding
cosmic, geological, biotechnical and cultural time scales; ‘machine vision’, shamanic animal becomings; evolving
communication currents in vibrant matter; the futural pressures of Capitalism; dark materials and liminal and
virtual energies. These are all forces for destabilization and change as the future impacts on the present,
becoming effective frequencies in our habitats and fantasies. She is currently focused on science fictional works
that expose climate change as the violence of excess and luxury. The Black Waters ghost prescient video is one
Maggie Roberts exhibits aligned to 0rphan Drift (the collaborative artist she co-founded in 1994). She has
participated internationally in over two decades of exhibitions, screenings and performance as part of 0D,
exhibiting extensively in the UK, Europe, Canada and the States, including at the Cabinet Gallery and Tate
Modern, London; CAC Gallery, Vilnius, and writing the Scifi-theory text Cyberpositive. More recent exhibitions
include in Matter Fictions at the Berardo Museum, Lisbon; Feeling Safer, IMT Gallery, London and Green Skeen,
a performance /video collaboration with Plastique Fantastique, Horse Hospital, London; Unruly City, at Dold
Projects, St Georgen, in Germany and at the ‘2nd Changjiang International Photography and Video Biennale’
at the Changjiang Museum of Contemporary Art, China. She is currently finishing a book chapter called The
Things That Knowledge Cannot Eat for Fiction As Method to be published later this year by Stenberg Press and
is working on an ACE commissioned video piece for Res Gallery, London in April 2018.
publication printed on newsprint
29.7 x 42cm
c-print on metal mount
60 cm x 28 cm
Both works in this exhibition relate to Shelter (2016) where over one intense week of activity materials were
assembled, disassembled, re-assembled and filmed on the site of a former military barracks in Derry. The work
raised concerns regarding precarious situations and daily life.
Anne Tallentire’s work is primarily concerned with transience, displacement and the overlooked in daily life.
Her primarily conceptual practice across media frequently involves the dismantling and re-assembling of
everyday materials and systems in order to engage geographical, social, cultural and political situations. Solo
exhibitions and projects include are 'AS FAR AS', Hollybush Gardens; ‘Shelter', Nerve Visual Derry (2016); ‘This
and other Things’, Irish Museum of Modern Art, Dublin (2010); and ‘Instances', representing Ireland at the Venice
Biennale (1999). Group exhibitions include Truth: 24 frames per second, Dallas Museum of Art, ( 2017); ‘Winter
Garden’, Flat–time House, London (2015); ‘Key words’, Tate Liverpool and ‘At-your-service’, Technicki Muzej,
Zagreb, Croatia (2014). Since 1993, Tallentire has worked collaboratively with John Seth as work-seth/tallentire.
Their projects include ‘Manifesto 3 ... (instead of partial object)’, Hollybush Gardens, (2017); ‘Yes let’s Go’ in
‘Sum of the Parts’, South London Gallery (2002) and ‘trailer’, Project, Dublin 1998. Tallentire is represented by
Hollybush Gardens, London.
BAW and Bruce Gilbert
David Crawforth and Naomi Siderfin aka Beaconsfield Art Works or BAW – have been collaborating on flexible,
experimental solo works since they co-founded the artist-led project Beaconsfield in 1994
http://beaconsfield.ltd.uk. BAW was conceived as a satellite vehicle to allow the founders to sustain independent
practice parallel to their public curatorial project Beaconsfield.
BAW almost always involve sound in their interventions, which have been commissioned internationally, be they
sculptures, constructs or performances. Their cross-disciplinary, monthly, arts happening – Nosepaint – ran for
four years before Crawforth and Siderfin turned their attention to securing a permanent venue: Beaconsfield.
Developing new art works in a wide range of mediums through commissions, residencies, performances,
publications and events, Beaconsfield has become known as a unique test bed and primary research vehicle,
informing and disseminating the practice and theory of visual art and related practices.
Bruce Gilbert is one of the founding members of the experimental and influential art-punk band Wire - a pioneer
in the experimental noise scene. He studied art and found a niche in the avant-garde music scene in the late
1960’s. Gilbert’s experimental musical tastes later influenced his guitar playing with Wire- “I’m not impressed with
‘technique’ and, to begin with, my role in the proceedings was to make sure that it didn’t get in the way of what
we were trying to do...” Gilbert formed a series of bands/projects with Wire bassist Graham Lewis, including
Cupol, Dome, P’o and Duet Emmo. Dome performed at art galleries with visual displays that allowed audience
interactivity. In the 1990’s Gilbert regularly appeared at London techno clubs under the name Beekeeper, often
deejaying from inside a garden shed above the dance floor- “being a DJ was just an excuse to manipulate other
peoples’ music...” Gilbert has just completed a solo album with the independent label Editions Mego.
The first gallery-based collaboration between Bruce Gilbert and BAW for Aldeburgh Music’s experimental
programme, Faster than Sound http://www.fasterthansound.com, was Diluvial (2011-13), culminating with the
album of the same name released by Touch http://touchshop.org/product_info.php?products_id=619. The three
artists were invited in 2014 to join curators Catherine Harrington and Eiko Honda at the guesthouse, Co. Cork,
Ireland in a research residency under the title Electromagnetic that has since yielded a number of public
performances. The assemblage for Artlacuna, Famine Pass (electromagnetic), is the latest iteration. The project
is also an ongoing case study within Siderfin’s practice-led PhD thesis, which she is currently completing at
Slade School of Fine Art.