21.11.13 WE are playing at Good Job Gig #2 with Shopping, Lady Neptune and No Shoe Aircrew on 14.12.13:

GOOD JOB GIG # 2 CHRISTMAS SPECIAL

Good Job Gallery, Mable Goldwin Studios, 49 Grange Walk, Bermondsey

14.12.13 at 19:00

BYOB but there will be a bar.

SHOPPING!!!https://www.facebook.com/weareshopping

NO SHOE AIRCREW!!!

LADY NEPTUNE!!!https://www.facebook.com/pages/Lady-Neptune/487263811326715

Also come early to see Show in the space by Sara Nunes Fernandes.

More info here: https://www.facebook.com/events/359488084197559

and at Power Lunches, again, Sunday, 1.12.13, with Frau and Retrofuture:

1st December at Power Lunches
446 Kingsland Road
E8 4AA London

19:00

FRAU
possibly a very late TAPE LAUNCH for London's best new power sass band, deadpanned some idiot.
http://fraupunk.co.uk/

RETROFUTURE
Not much is known but they've played one gig and feature familiar garage punk heads

More info here: https://www.facebook.com/events/448213758616527/

We have curated an exhibition at Castlefield Gallery, Manchester, opening 29.11.13:

Radical Conservatism
Curated by Pil and Galia Kollectiv

Featuring work by Chris Evans, IRWIN, Pil and Galia Kollectiv, Joseph Lewis, Patrick Moran, Oscar Nemon and Public Movement

Castlefield Gallery
2 Hewitt Street
Manchester
M15 4GB

29.11.13 – 2.2.14

* A special event featuring performance work by Public Movement and Chris Evans and a symposium about the exhibition will take place on 1.2.14, details to follow.

In 1938, Yugoslav sculptor Oscar Nemon arrived in Britain, having fled the Nazi invasion of Brussels, where he was living with Magritte. He was part of the European avant-garde that came to the UK as a refugee. Shortly thereafter, Nemon proposed a bold architectural plan to construct a temple of universal ethics in London and was in correspondence over this with central figures in Britain. After the war, he became know for his portrayal of figures like Churchil, culminating in a bust of Margaret Thatcher that is currently at the Tory HQ.

Radical Conservatism explores the space between these two moments and asks whether these two terms are really antithetical. In the British context in particular, where the European avant-garde never really took hold, a kind of reactionary modernism has always defined a culture wary of revolution. But today more than ever, with the left increasingly holding on to the past of the welfare state as an ideal, and the right quietly revolutionising our world through neoliberal reforms, the paradigms of radicalism and conservatism need to be redefined. Can conservatism be seen as a radical position in itself? If art is defined by a movement towards the new - could 'holding on to the past' stubbornly be seen as a critical position, now that neo-liberalism has forced a far more radical shift in politics than the left has managed in a long time?

About the artists:

Oscar Nemon was born in 1906 in Osijek, Croatia. After studying at the Royal Academy of Fine Art in Brussels, where he shared a flat with René Magritte, he settled in England. His technique depended on modeling from life directly in clay, quickly making many small studies with no preliminary drawings. He designed his own home and studio, an unlikely modernist edifice in Oxfordshire named Pleasant Land, which currently houses many studies and models for his finished works.

The IRWIN group was founded in Ljubljana (Slovenia). Its members are Dusan Mandic, Miran Mohar, Andrej Savski, Roman Uranjek and Borut Vogelnik. IRWIN, along with the music group "Laibach" (1980), the performance group "Gledalisce Sester Scipion Nasice" (1983), later known as the "Kozmokineticni Kabinet Noordung", and the design department "Novi Kolektivizem", comprises one of the core groups within the artists' collective "Neue Slowenische Kunst (NSK)", established in 1984 in the Slovenian republic of the Federal Socialist Republic of Yugoslavia. IRWIN is committed to the so-called 'retro-principle' which is "not a style or an art trend but a principle of thought, a way of behaving and acting"(IRWIN). In its artistic projects the group IRWIN has been involving itself extensively with the art history of Europe, in particular with the ambivalent inheritance of the historical avant-gardes and its totalitarian successors, and thus with the dialectic of avant-garde and totalitarianism. At Castlefield Gallery, IRWIN will be showing two ‘IRWIN framed’ icons from their 2012 project, Was ist Kunst Hugo Ball, alongside a large-scale photograph of Bishop Metodij Zlatanov, Christian-Orthodox Metropolitan of Macedonia, produced specifically for this exhibition and showing him holding in his hands an original Dada work from the Kunsthaus Zürich as if it was an icon in a procession. According to IRWIN, icons do not reconstruct reality as if someone were lookin through a window into a different world. Rather, by adhering to strict rules, their painters succeed in fixing in an image the actual presence of holiness. Icons are ritualistic tools which do not represent holiness but are the substance itself, thus giving direct access to divinity. Their function as ritualistics tools brings icons very close to what Hugo Ball tried to achieve with Dada. Dada was neither a 'style' nor a 'movement of art', but a gesture Ball thought would help him obtain mystic insights. He conceived of this notion the night he was intoning phonetic poems in the guise and voice of a bishop. The project thus literally reframes Dada as a modern orthodoxy.

Public Movement is a performative research body that investigates and stages political actions in public spaces. The movement explores the political and aesthetic possibilities residing in a group of people acting together. It studies and creates public choreographies, forms of social order, overt and covert rituals. Among Public Movement's actions in the past and in the future: manifestations of presence, fictional acts of hatred, new folk dances, synchronized procedures of movement, spectacles, marches, inventing and reenacting moments in the life of individuals, communities, social institutions, peoples, states, and of humanity. For Radical Conservatism, Public Movement will show news reports from two actions. Their recent piece, Honor Guard, was a weekly ceremonial performance of national pride taking place at the entrance to the Chaing Kai-Shek Memorial Hall, Taipei. Throughout the duration of the Asian Art Biennial, Public Movement joined the Veteran Honor Guard in presenting a new State Choreography, inviting spectators to pay respect to Taiwan's past, present and future and to the beauty of order. For University Exercise, Public Movement occupied the University of Heidelberg's main building and the University Square. Together with 16 policemen and 40 firefighters, Public Movement organized a public behavior drill, an examination in citizenship. A screening process at the University entrance including physical checks and a seating plan, a procedure in a lecture hall, police questioning in the corridor, police arrests, a demonstration and an emergency evacuation drill led by the fire brigades. The action ended in street party on University Square. Public Movement will also present Debriefing Session, a one on one performance action taking place a hotel lobby in central Manchester. The performance adopts the form of a diplomatic engagement between individuals to explore the intricate and often concealed ties between cultural institutions, funding bodies and political agendas. While developing the project in New York over the course of six months, Public Movement negotiated with power structures and various publics, navigating agendas, institutional alliances, backroom politics, and creating fractures across a spectrum of individual and organizational positions. Debriefing Session foregrounds the transitional moment between research and action by turning members of the public into emissaries of this information. Activated in England for the first time, Debriefing Session in Manchester functions as a new method of sharing the complex relations between cultural production, public and private funding bodies, political agendas and activism.

Chris Evans’ work often evolves through conversation with people from diverse walks of life, selected in relation to their public life or symbolic role: the directors of a leading champagne house, a former member of the British Constructivists, the CEO of a Texas pharmaceutical company, a selection of elderly Italian politicians etcetera. Sculptures, letters, drawings, film scripts and unwieldy social situations created as a result of this, are indexes of a larger structure through which Evans deliberately confuses the roles of artist and patron, genius and muse. Evans will be showing his video ‘COMPANY’ (2009). Taking direction from Allan Kaprow’s score Company, an interview is set up with Walid El Kafrawy, Chief Executive of ofok (Arabic for “horizon”) – a construction company dedicated in the conception of new communities in the Egyptian desert’s “intimate serenity”. From this a script is co-authored with Will Bradley and edited by El Kafrawy. The latter recites his own words to the camera in blocks, fed back to him through an earpiece – over images of ofok construction: a year-long transformation, “through people”, from “dust and flies” to a “nurturing community”. The discourse of the property developer turns the gated community into a utopian project. Evans will also present a performative event entitled ‘Work in progress for rebranding Pepsi Cola by Arnell Group, and other exercises in public presentation’ (2013). This is a presentation on design, with invited guest, on questions of rebranding, produced in collaboration with Dexter Sinister, Marina Vishmidt, and Massimiliano Mollona.

Pil and Galia Kollectiv are London based artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and explores avant-garde discourses of the twentieth century and the way they operate in the context of a changing landscape of creative work and instrumentalised leisure. Pil and Galia Kollectiv’s prints from their Future Monument series present proposals proposal for a monument to the future crimes of capitalism inspired by the form of the yacht. It has often been remarked that the late capitalist operations of financialisation have no concrete visual language. Global finance is a liquid, smooth motion that paradoxically de-territorialises and concentrates wealth like a swarm of fractional arithmetic components, both menacing and immaterial. But if its true nature is an elusive, constantly mutating entity, then yachts serve as a fictionalization of its core essence, a testament to the conditions under which we live. As repositories of capital, they are fascinating because they make concrete the invisible flows of finance. Their display of power and status is inverted in their sheer visibility. Ignoring what goes on inside, we are treated to a spectacle of architecture in motion, evoking the impermanence to which the postmodern monument aspires.

Joseph Lewis’ hurdy gurdies chart an alternative folklore of the British Isles. Produced through a rigorous study of ancient craft traditions and folk symbols, these instruments are nevertheless a celebration of an anarcho-democratic and carnivalesque tradition – a surplus that cannot be contained by the pacifying framing of British heritage in the tourist industry. Sonically, the instruments also occupy an ambiguous position: while their sound can be associated with ‘twee’ folk festivals, they also produce a noisy drone that corresponds to notions of avant-garde composition. For this exhibition, Lewis will show three wooden positiv churches: a hurdy gurdy, a church tool box and a church library. These alternative relic chests symbolise the hidden popular knowledge and labour interred in churches and the Christian faith. A performance illustrating the ritual use of the hurdy gurdy accompanies the exhibition.

Buried is a metal Fanzine that rejects Xerox zine aesthetics to deliver something akin to a medieval text. Consequently, each issue is entirely printed by hand, and bound into a hardback book filled with original illustrations and Gothic fonts. There are 3 editions of Buried, the first looking at One Man Black Metal Bands, the second a more general study of Black Metal and the third was a survey of the Brutal Death Metal scene in the UK. Issue 4 will be launched at Castlefield gallery alongside prints by editor Patrick Moran, exploring the tension between the formal strict generic constraints of metal and its transgressive preoccupations.

We are showing our film, Co-Operative Expalanatory Capabilities in Organizational Design and Personnel Management at TAP:

Screening / Totally Devoted
Outcasting and Temporary Art Projects are pleased to present Totally Devoted – a screening of moving image works informed by the artists’ fanaticism for film, cinema and celluloid.

Curated by Edward Adam

Saturday 30th November. 11am – 4pm daytime screenings. 5pm screening and artist’s talks / drinks and networking

Through considered appropriation, re-enactment, archival excavation, editing and in some cases hours of rendering, the selected works highlight the influence of film and popular culture on artistic practice, revealing artists who engage enthusiastically with the language of cinema; the artist as a film fan.

David Blandy
Anjin 1600: Part 4 is a re-imagining of the story of William Adams (1564-1620), a sea navigator known as the first Englishman to set foot in Japan in 1600. Appropriating and animating scenes found from Edo-era wood block prints, combining traditional technique with modern anime, Anjin 1600 uses Adam’s story to form a complex meditation on colonialism, cultural tourism and identity.
davidblandy.co.uk

Katie Goodwin
In Between Inception I & In Between Inception II is a two part animation made from waste found footage from the ‘cutting room floor’ of Christopher Nolan’s 2010 film Inception. The music is a reject soundtrack composed by Wayne Urquhart created for a film but this section was never used. It is a kind of ode to the unseen and the unheard.
www.katiegoodwin.com

Steven Paige
Transcribed from 16mm footage, Moral Development takes it’s title from a re-enactment of the infamous Stanley Milgrim experiment on ‘obedience to authority figures’. Originally conducted in 1961 at Yale University in the United States, this particular footage was filmed in 1971 at Stamford University. As an education film, it discusses Lawrence Kohlberg’s theory of moral development as potentially evidenced in Milgrim’s experiment. In making this work, and through duplicating this repetition, an earnest attempt is made to capture the essence of the original, the script pared down to its potentially most dramatic moments. The original actor’s deliveries are studied, and then re-filmed, attempting to capture the tension and drama of the original, while disconnecting the authoritative ‘voice’ using subtitling. This re-purposing and use of simple filmic tropes continue the original narrative, repositioning the fundamental story.
The ties that bind me to my brothers are not wrapped around my wrists, but rather are fastened to my heart takes its title from a traditional anonymous phrase commonly used by US college fraternity houses, investigates the possibilities and outcomes of re-performance and re-articulation of text & moving image, appropriated from the opening (non-explicit) scene from a 1980’s gay adult movie. The video uses the original footage as a framework and guide (including shots and set design), and uses these rules in constructing the work. Through this re-iterative process and by re-contextualising the purpose, place and form of the original film, there is an aim to unpick a masculine persona. This construction can be deciphered as instruction or a learnt behaviour, becoming a motif or modus operandi in fraternal dealings.
www.stevenpaige.com

Pil & Galia Kollectiv
Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management is based on an online image archive documenting the construction and history of an early computing company, the fictional story of the film follows the development of an experimental approach to worker productivity into a religious cult. The project investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment.
www.kollectiv.co.uk

Jayne Wilson
Spin: Watching the Wind
‘Force 12 – Or that which no canvas could withstand’ (Beaufort’s original wind scale)
The simple idea of observing wind force, from its gentle and playful origins, toying with a seaside windmill, to its inevitable portrayal beyond the familiar force 10, is given potency when given the backdrop of the seaside idyll and its traditional seaside anthem.Originally commissioned by Whirlygig Cinema, the film overlays found footage, the numerical scale and its symbols for ‘watching the wind’ and steadily counts towards its foreseeable outcome. In everyday life we experience contradictory emotions to the power of a strengthening wind. Skipping through a visual litany from treat to adventure, from elation to agitation, Spin takes a dark comedic look at the power of the elements. www.jaynewilson.co.uk

More information here.

Also, AFTER/HOURS/DROP/BOX is touring to Modern Art Oxford, featuring our music video for WE Will Follow Him:

AFTER/HOURS/DROP/BOX curated by John Lawrence

30.11.2013 — 31.12.2013

Modern Art Oxford
30 Pembroke Street
Oxford
OX1 1BP

A consistently experimental genre, the music video spans a changing technological period. From the early documentation of live performance, artists have both incorporated and influenced the narrative techniques and marketing devices employed by the music industry.
AFTER/HOURS/DROP/BOX draws upon the reciprocal relationship of the artist as both a radical innovator and as an active and influential consumer of the medium.
For Modern Art Oxford A/H/D/B presents a selected video showreel including works by GEORGE BARBER / MICHAEL BELL-SMITH / DAVID BLANDY / PAUL B DAVIS / MARK DEAN / GRAHAM DOLPHIN / PETER DONALDSON / THE DUVET BROTHERS / GERY GEORGIEVA / GUTHRIE LONERGAN / ANDREW MANIA / CHRISTIAN “MEGAZORD” OLDHAM / HANNAH PERRY / JUHA VAN INGEN / JAMES ROBERTSON / ROY VOSS / PIL AND GALIA KOLLECTIV
AFTER/HOURS/DROP/BOX is a project by artist John Lawrence and was originally exhibited at ANDOR Gallery, London.

More information here.

And we are participating in this screening too:

CONTEMPORARY HOTEL BLOOM! presents

TIME IS LOVE.6 [show 6]
International video art program
Curated by Kisito Assangni

15 November - 15 December 2013
HOTEL BLOOM!
Rue Royale 258
1210 Brussels - Belgium
www.hotelbloom.com

10.11.13 WE have a couple of gigs coming up:

//\\WE//\\

20th November at Power Lunches
446 Kingsland Road
E8 4AA London

Power Lunches presents

WE
https://soundcloud.com/we-are-we/

PLUS
CIRCUIT BREAKER
http://circuitbreakerband.blogspot.co.uk/

AND
LADY NEPTUNE
http://ladyneptune.bandcamp.com/album/saves-planet-earth

the inkomparable BOX HEADED KOMMUNIST KOVERS BAND every teenager's fantasy kollektively kombined kulmination of; RESISTANCE IS FUTILE

Now with mostly GARAGE SURF sounds

Entrance will be £3 no list

and

SLIDE IN! SLIDE IN! SLIDE ALL THE WAY IN! featuring... FAT WHITES.. BONEYARDS.. WE.. PHOBOPHOBES

Friday, 15th November at The Grosvenor
17 Sidney Road, Stockwell, SW9 0TP London

£2 entry

HOSTED BY FAT WHITE FAMILY
with support from....

WE
https://www.facebook.com/pages/WE/259854214037019?fref=ts

BONEYARDS
https://www.facebook.com/boneyardsuk?fref=ts

PHOBO PHOBES
https://www.facebook.com/dotdotdotdashdashdash?fref=ts

DJ SET FROM MEDICINE 8

29.10.13 We are performing Terminal: A Miracle Play with Songs from the End of the World at Experimentica13, at Chapter Gallery, Cardiff:

Chapter
Market Road
Canton Cardiff
Wales
UK
CF5 1QE

8.11.13 at 21:00

TICKETING
£25 Festival Pass. This gives access to all events across the five-day programme.
£10 per day. This gives access to all events taking place on one day only and will be issued by date.
£5 per event. This gives access to one individual event (where events are ticketed).

Pil And Galia Kollectiv: Terminal: A Miracle Play With Popular Music From The End Of The World Utilising film and live performance, this piece brings together synchronous sound recording of dialogue, costumes, music and narrative. The project explores the politics of post-apocalyptic cinema and literature. Grounded in an ethos of survivalism and invoking Rousseau's state of nature, these fictions propose violent scenarios, in which nuclear Holocaust, environmental catastrophe and other disasters generate a libertarian politics of pure pragmatism, negating the possibility of democratic deliberation. - See more here.

Also, on 7.11.13, Dominique Pétrin opens at xero, kline & coma:

xero, kline & coma
258 Hackney Road
London E2 7SJ
www.xero-kline-coma.com

Exhibition open:
9.11.13 – 1.12.13
Sat. – Sun. 12:00 – 18:00

Private view:
Thursday November 7th, 19:00 – 21:00

Dominique Pétrin is interested in cross-pollinating the qualities of uninhabited spaces with the forbidden aspects of areas that are trapped under glass. Think of a pharaoh’s tomb that is revamped for the purposes of wildlife tourism. The space is organized in a controlled manner; the audience can only view the installation from a particular angle. The décor has a secret component: unlike an inhabited space, the sensationalism of a premeditated mechanism is concealed. The narrative strategies of a horror film provide structural support for the installation, as dramatic elements are inserted to emphasize the foreshadowing aspect of objects in an environment conveying imminent tragedy. The meticulousness of the space gives it an intimidating and aggressive quality, and its goal is to destabilize the “guest”.

Aesthetically, this fresco, which conveys excess and outrageousness, selects unlikely colour combinations, such as neons paired with colour-infused greys and complimentary shades that impose a cold yet saturated mood, bordering on the distasteful. Radical speckled textures are superimposed to inundate the eye with density and saturation, reflecting enhanced human cognitive processes such as skewed perception or altered states of consciousness. Silk-screening makes use of bold lines and colours in order to create worlds that are vibrant and hypnotic. The intention is to create spaces that people are physically drawn to.

For more information visit http://dominiquepetrin.com/

Finally, for Halloween, we are showing some vegetable films again at a special Bristol screening of They Came from the Earth:

MEL JACKSON COMIC BOOK LAUNCH + They Came from the Earth - Thursday 31st October

Chapel at Wills Hall
Stoke Bishop Campus
Parry's Lane
University of Bristol
Bristol BS9 1AE

18:00, Free

The launch of a new artist comic book, The Nexus, created by artist Melanie. Alongside the launch there will be film screenings and an explosive performance that we want to invite students to get involved with.
The evening starts at 6pm with a screening of They Came from the Earth: science fiction films concerning vegetables, to be introduced by Melanie Jackson with artists/curators Pil and Galia Kollectiv. This programme of short artist films, television excerpts and trailers presents a cornucopia of catastrophic calamities and inexplicable encounters between man and vegetable, featuring the work of Gelbart (with Felix Kubin), Pil and Galia Kollectiv, Charlie Tweed and others.

It will all end in an explosive performance at 7pm, whereby students are invited to bring down a giant pumpkin from the sky and be part of an artist's film recording the experience
The event starts in the Chapel at Wills Hall at 6pm and continue at the Chapel Field on Thursday 31st October 2013.

More information here.

17.10.13 We are presenting A Guide to Office Clerical Time Standards at the Athens Biennial on Saturday 26.10.13:

AGORA
4th Athens Biennale

29 September–1 December, 2013
Preview: September 28
Former Athens Stock Exchange
8-10 Sofokleous st.
CAMP
4 Efpolidos & 2 Apellou st.
www.athensbiennale.org/agora

Given that 2011 was the year of protesting and dreaming dangerously, 2013 prompts us to think responsively and come up with useful ideas and suggestions. At a time when the financial crisis in Greece and elsewhere is reaching a highpoint, the 4th Athens Biennale (AB4) cannot but respond to this bleak situation through a pertinent question: Now what?

While Monodrome (AB3) attempted to reflect upon Modern Greek history and the origins of the crisis, this year the Biennale will set out to explore creative alternatives to a state of bankruptcy.

Pondering this turning point, AB4 puts into play the collaborative process in producing an exhibition. Titled AGORA, it reflects on the way a biennale has to operate under the current socio-economic circumstances. Using the empty building of the former Athens Stock Exchange as its main venue, AB4 proposes AGORA not only as a place of exchange and interaction, but also as an ideal setting for critique. Contrary to an idealized image of the ancient agora, this new AGORA points to a radical re-orientation in thinking—one that entails judgment, ruptures and conflict. As a contested space where multiple theses and doctrines emerge, this AGORA cannot be taken for granted: it aims for pleasure and purpose; it opts for the carnivalesque and the ambiguous, for the significant as much as the insignificant.

AGORA draws on the notions of the assembly and the assemblage. Conceived both as a living organism and an exquisite corpse, it is formulated through a succession of objects, collaborative events, performances, roundtable discussions, film screenings, workshops and educational programs. In AGORA works and theses evoke that which is urgently needed at this particular moment: an engaged subjectivity, an unearthing of timely attitudes, a reevaluation of artistic strategies, a deconstruction of mystifying narratives.

AB4 is realized by a nameless and ephemeral group of artists, curators, theorists and practitioners in the creative industries. AGORA is thus a collective experiment, the result of a process of fermentation between professionals from different backgrounds. What matters most to those who participate in such an experiment is a shared sense of responsibility and an urge to co-produce meaning.

Curated by the AB4 Team

Participants and projects:
Abbas Akhavan, David Adler, Dimitris Antoniou, Yanna Andreadi, Arbit City Group, Artbank, Art & Economics Group (Tanja Ostojic, Dimitri Kleiner, David Rych), Anestis Azas, Manolis Baboussis, Bertille Bak, Erica Baum, Bernd & Hilla Becher, Dave Beech, Matei Bejenaru, Blitz, Iain Boal, Irina Botea, Tania Bruguera, Campus Novel, Charley Case, Giuseppe Chico & Barbara Matijevi?, Katerina Christidi, Neil Cummings, Bruce Gilbert and BAW, Nuria Güell, Dashndem, Design 99, Dimitris Dokatzis, Sam Durant, Charles Esche, Fallen Fruit, Heiner Flassbeck, FYTA, Rainer Ganahl, Nikolaus Gansterer & Emma Cocker, Fernando Garcia-Dory, Fotini Gouseti & Culture Travellers, Grupo Etcetera, Severin Guelpa, Konstantinos Hadzinikolaou, Jan Peter Hammer, Paul Handley, George Harvalias, David Harvey, Yota Ioannidou, Nazima Kadir, Valentina Karga & Pieterjan Grandry, Gareth Kennedy & Sarah Browne, Anja Kirschner & David Panos, Anna Kleberg, Ika Knezevic, Zissis Kotionis, Maria Konti, Chryssanthi Koumianaki, Gabriel Kuri, Kyklos Ensemble, Gosalyn Mallard, Paolo Manasse, Jenny Marketou, Gabriel Mascaro, Konstantinos Mihos, Never the Same, Vladimir Nikolic, Nomadic Kitchen / Shedia, Nils Norman, Navid Nuur, OKK Actiongroup, Boris Ondreicka, Geof Oppenheimer, Georgia Paizi, Yiorgos Papadakis, Panos Papadopoulos, Leda Papaconstantinou, Elias Papaioannou, Vito Polito, Sally Poter, Ester Partegàs, Pil & Galia Kollectiv, Adrian Piper, Antonis Pittas, Thomas Poulsen / FOS, Theo Prodromidis, Qualia, Gene Ray, Raymondos, Lucrezia Reichlin, Steve Reinke, Oliver Ressler, Juan Carlos Romero, ROMVOS, Frances Ruane, Salinas / Bergman, Salon de Vortex, Marinella Senatore, Research and Dissemination Center of Music Scheming, Roman Signer, Laurie Simmons, Deb Sokolow, Soo-Young Kim, Aspa Stassinopoulou, Yannis Stavrakakis, Hito Steyerl, Superstudio, Amund SjØlie Sveen, Theatre of the Oppressed, Petros Touloudis, Nikos Tranos, Kostas Tsolis, Loukas Tsoukalis, Vital Space, Vassilis Vlastaras, Peter Watkins, Wooloo, Mi You & Lisa Bensel, Zafos Xagoraris, ABROAD, Economic Forum, Radio Materiality, Erect Like a Country, Pre-Institutional Critique Workshop, Value, Event as Process, Art as a Changemaker, The New Parthenon

Also, we are participating in this exhibition in Ljublijana:

The Ambivalent Funeral Procession: Israeli State Artists, group exhibition

October 24. 2013 - November 22. 2013 (20.00)
Gallery 1/1

You are cordially invited to attend the opening of the exhibition on Thursday, October 24, at 8 pm at the KC Tobacna 001.

Exhibiting: Yochai Avrahami, Yael Bartana, Anat Ben-David, Yoav Ben-David, Dani Karavan*, Pil and Galia Kollectiv, Public Movement, Ilya Rabinovich, Astrid Thingplatz
* Adi Englman & Omer Krieger present Dani Karavan
Curator: Avi Pitchon

When I curated, in 2010, the first Irwin retrospective in the Middle East, the impetus was double: firstly, to present this body of work to the Israeli public; secondly, to challenge artistic practices in Israel, which during the first decade of the 21st Century were predominantly divided into contemporary art with an international outlook and activist protest art that tended to be predictable and one-dimensional.
To be a bit populist and simplistic, I claimed that two modernist utopian state experiments have survived to the present time: Israel and the NSK State. Equally important was the assertion that Laibach and NSK prophesied, signified, reacted to, and even served as catalyst of the crisis and decline of Yugoslavia, and that Israel is going through a similar process of paradigmatic and ideological breakdown today. In both cases, the strong, national narrative is seen to be waning, and overtaken by chaotic, amoral forces such as rampant privatization or fundamentalist distortions of the founding myths.
Therefore, Israeli artists and cultural workers can and should take a cue and inspiration from Slovenia's proponents of ‘state art’, with its mechanism of overidentification and a conscious, willfully ambivalent use of contradiction, creating a complex web of action and reaction: a critique of the malfunctioning utopia, a mourning of the way its intentions and inner-fire were lost, a longing for a time when it was still possible to belong to something bigger than oneself, and an intention to recycle, symbolically and literally, the crumbling infrastructures of the state as it capitulates to capital or to its own inertia and decay.
When Irwin's retrospective opened, it was greeted by a formal ceremony directed and enacted by the performance and intervention group Public Movement. Established in 2006, its actions were based on the appropriation of the rituals, choreographies, and gestures of the Israel Defense Force, the Zionist youth movements, and other state and folk legacies.
Yael Bartana is a pioneer of Israeli state art; she uses the aesthetic legacy of statehood and its myth-making in order to shed a light on the present. Bartana’s most recent work refers strongly to the process of the reverse exodus of tens of thousands of young Israelis back to Europe or the USA. Some of the artists in this exhibition live and work outside of Israel. More than merely casting a critical light on the Israel of today, these artists make use of their voluntary exile position to re-examine the Zionist legacy. The fact that Israeli state art is practiced internationally is seen as a subversion of Zionism; in fact, it provides it with a model for revision and a future liberated from the errors and horrors inherent within every utopia. It offers a second chance.

Events

Thursday, October 24, 7 pm
Exhibition preview
Avi Pitchon

Thursday, November 14, 5 pm
Guided tour
Alenka Trebušak

Photo: Yael Bartana
The Missing Negatives of the Sonnenfeld Collection (1),
2008, b/w photograph, courtesy of Annet Gelink Gallery, Amsterdam, and Sommer Contemporary Art, Tel Aviv

More information here.

9.10.13 On Tuesday 15.10.13 we will be presenting the debut performance of A Guide to Office Clerical Time Standards:

FRIEZE LIVE PERFORMANCE OF ‘PIL AND GALIA KOLLECTIV: A GUIDE TO OFFICE CLERICAL TIME STANDARDS’

15 October, 2013 11:00 am - 12:30 pm
11:00-12:30: Le Méridien, 21 Piccadilly, London W1J 0BH

As an extension of their ‘Unlock Art’ programme and their support of OFT Le Méridien Hotels & Resorts have collaborated with Tate to produce a sequence of eight short films focusing on different artistic topics. Following a preview screening of the first film in the series, a new work by Pil and Galia Kollectiv will be performed.

More information here.

9.9.13 We are showing some work at Württembergischer Kunstverein Stuttgart:

Giving Form to the Impatience of Liberty

October 5, 2013 – January 12, 2014

Württembergischer Kunstverein Stuttgart
Schlossplatz 2
D-70173 Stuttgart
Fon: +49 (0)711 - 22 33 70
Fax: +49 (0)711 - 29 36 17

Manuela Beck, Banu Cennetoglu / Yasemin Özcan, Stefan Constantinescu, Alice Creischer / Christian von Borries / Andreas Siekmann, Kiri Dalena, Barbara Ehnes, Heinz Frank, Grupo Baja Mar, Kiluanji Kia Henda, Francis Hunger, Sven Johne, Hassan Khan, Jakob Kolding, Pil and Galia Kollectiv, Dóra Maurer, Klaus Mettig / Katharina Sieverding, Marina Naprushkina, Boris Ondreicka, Marion von Osten, David Riff / Dmitry Gutov, Pedro G. Romero, Allan Sekula, Klaus Staeck, Wolfgang Stehle, Jeronimo Voss

I do not know whether … the critical task still entails faith in Enlightenment; I continue to think that this task requires work on our limits, that is, a patient labor giving form to our impatience for liberty.
Michel Foucault, “What is Enlightenment?”

In introducing the exhibition Giving Form to the Impatience of Liberty, the Württembergischer Kunstverein in Stuttgart is once again circling around the complex relations and conflictual situations between art and politics, art and life, art and society.

The exhibition’s point of origin rests in the younger forms and discourses of a (re)politicization of the arts, which are meant to be probed in terms of their heterogeneity and antagonisms. These are artistic practices which subject the aesthetic utopias of modernism that were said to have floundered to both a critical reading and a reevaluation, and which—reaching beyond a naïve euphoria or worldly-wise distance—renegotiate the political, societal, and critical potentialities of art. Activist positions and artworks with concrete political points of reference are considered here, as are works that approach, on a rather structural level, a rereading, realignment, and relocalization of knowledge, power, ideology, space, and the body. The works not only reference, but actually create acts of political articulation and subjectivization.

With regard to content, the exhibition focuses on developments from the capitalist disciplinary society to the neoliberal society of control. It reflects the latter’s discourses of efficiency and creativity, its spatial and biopolitics. Using artistic means that extend from diverse graphical techniques to choreographies for dancing, the works explore private spaces, urban spaces, and working spaces.

The exhibition hones in on a range of different artistic practices and methods that are posited between the visual and the performing arts. Methods of rereading and reenactment are granted special attention here: reaching from the reconstruction of a Spanish torture chamber, which had been designed after the model of artists like Kandinsky, Klee, or Itten in order to irritate the inmate’s perception (Romero), to the reenactment of a press conference where the three “generals” of the State Museums of Berlin, Dresden, and Munich announced their collaboration in a project that was planed to conceive a universal museum for Dubai (Creischer, von Borries, Siekmann).

At the same time, with a view to contemporary art, the potentials of central methods and practices of the modern avant-gardes are explored, including editing, montage, and collage, as well as the situationist detournement (of reallocation) and dérive (of digression).

Giving Form to the Impatience of Liberty is part of the exhibition and event series Politics of Form supported by the European Commission and developed by the Wiener Festwochen, the Württembergischer Kunstverein, and the Bergen Assembly. In projects that have been initiated both independently and in collaboration, each of the three locations takes a different approach to pursuing the political implications and possibilities related to art. Giving Form to the Impatience of Liberty (curated by Iris Dressler and Hans D. Christ) presents the third exhibition in this series, preceded by Unrest of Form: Imagining the Political Subject in Vienna (curators: Karl Baratta, Stefanie Carp, Matthias Pees, Hedwig Saxenhuber, and Georg Schöllhammer) and Monday Begins on Saturday in Bergen (curators: Ekaterina Degot and David Riff).

For Art Licks Weekend, xero, kline & coma will reopen with an exhibition by Tai Shani:

Tai Shani
Silver Fiat Vox

xero, kline & coma
258 Hackney Road
London E2 7SJ
www.xero-kline-coma.com

Exhibition open:
5.10.13 – 27.10.13
Sat. – Sun. 12:00 – 18:00

Private view:
Thursday October 3rd, 19:00 – 21:00

Extra opening date for Art Licks Weekend:
Friday October 4th 12:00 - 18:00

Silver Fiat Vox is a narrative text led installation of a short journey in a car, a devastating, traumatic love story in two parts.

The first cut is the deepest.

Annie tell me a five word apocalypse? I don't love you anymore, he said.

The doric columns are built hollow and each one held by a giant hand, the hand of a god-like creature placing it down firmly and fatefully. If an incision were made into the trembling torso of the colossal column it would be like a window into the soul of the columns’ Doricness, the soul of the object. Inside the columns are lined with baroque, heavy velvet and bathed in light. Inside the hollow of the exquisitely proportioned column lies the soul of the object for the audience to see: her once beautiful now decomposing face.

The script evolves from a material “love story” to a meditation on meaning, intensity, power, language and trauma, exposing the linguistic film which lies on top and orders a non-hierarchical chaos of the public and private realms of Silver Fiat Vox.

Tai Shani’s work deploys diverse fictional strategies, operating in multiple temporal structures both in the real and in the mediated. Her performances, films and installations revolve around scripts and texts which alternate between familiar narrative styles and structures. These produce theoretical prose that researches the construction of subjectivity through identification and the agency of the simulated self, the dissolution of self, trauma and conflicts between the fictional and the fantasmatic order versus traditional conceptions of reality.

For more information visit Tai Shani's website.

Plus, Sunday, for Art Licks Weekend, xero, kline & coma hosts an evening of live music performance:

Voxish

featuring: WE / Annabel Frearson, Joe Howe and Julia Scott / AAS / Rosie Ridgway

Sunday 06.10.13
19:00 - 23:00

Venue:
Glass Factory
Queen's Yard
Hackney Wick
E9 5EN

Free entry

In conjunction with Art Licks Weekend, xero, kline & coma will be hosting an offsite evening of performance art that takes live music as its medium.

Annabel Frearson, Joe Howe and Julia Scott
JUSTINE TIME BY LAKE is a new performance by Annabel Frearson, Joe Howe and Julia Scott combining words from Frankenstein with Max/MSP to produce Immense Soup Her Cold Hide Her Day To Flow Systems Transmit Head As Mass Ages From Object To Object.
http://www.annabelfrearson.com/pages/single/298

AAS - SAGE ASH COPPER FIRE
AAS creates itself through chance.
AAS are sage ash and copper fire,
bringers of the drone,
extra-human changelings,
scourge of the future.
http://aasgroup.net/

Rosie Ridgway
Rosie Ridgway uses the mechanisms of music to generate a system of events that subvert the original message or intention of the song. She is interested in reinterpreting the presentation of music as being something other than the concert and its possibility to generate alternative activities or action.
https://rosieridgway.co.uk/

28.8.13 Our exhibition Suck the Living Labour opens at Ort, Birmingham on Wednesday 4.9.13:

SUCK THE LIVING LABOUR | Pil and Galia Kollectiv

Ort Gallery is delighted to present SUCK THE LIVING LABOUR, an Exhibition by Pil and Galia Kollectiv

Ort Gallery
500-504 Moseley Road
Birmingham
B12 9AH

Exhibition Opening 04.09.2013, 6-8pm
Artist Talk 04.09.2013, 7pm

Closing Event 16.10.2013, 6-8pm
Film Screening and Discussion "Vampires vs. Zombies" showing "The Last Man on Earth" 16.10.2013, 7pm

Pil and Galia Kollectiv’s project explores geriatric vampirism. Austerity measures have indebted the young and the old through the privatisation of education and health. These age groups have been thrown into a relationship of mutual dependency and conflicting interests. Working towards a new film, the artists are hosting two events at Ort Gallery including a reading seminar on Marxist demonolgy to encourage both younger and older residents of the community to attend and get involved in the discussion and project. Birmingham’s industrial, concrete architecture will be the perfect backdrop for a discussion of work in a post-industrial society.

Find out more here:
www.ortgallery.co.uk

24.8.13 We've organised this UK tour for the unmissable Charlie Megira and thee amazing Gold Bars. There are five cities to choose from, including a show at Trade Nottingham as part of our exhibition there:

The Bet She’an Valley Hillbillies featuring Charlie Megira
Berlin-based Charlie Megira is Tel-Aviv’s answer to Link Wray. His distorted postpunk surf rock operates on the premise that Elvis is not dead and there is nothing that can’t be improved with more reverb.
http:// guitarsandbongos.bigcartel. com/product/ charlie-megira-the-modern-d ance-club-love-police-2xlp

Gold Bars
With their crazed, warped and crunched to fuck organ-led punk n roll from London, Gold Bars bring keyboards and distress to music you can dance to.
https://www.discogs.com/artist/3293937-Gold-Bars

Dates:

28.08.13
w\ The Coptics and Ravioli Me Away
The Black Heart
2-3 Greenland Pl
London
NW1 0AP
http:// www.ourblackheart.com/

29.08.13
w\ Earth Rod
and E?rth Rod
Trade Gallery,
1 Thoresby st.
Nottingham
NG11AJ
http:// www.tradegallery.org/

30.08.13
Lionel Dobie Project Space
91 Hewitt Street
Manchester
M15 4GB
http:// lioneldobieproject.com/

31.08.13
w\ Eugene Tombs
The Art School
468 Sauchiehall Street
Glasgow
G2 3LW
http:// www.theartschool.co.uk/

01.09.13
w\ Autobodies
Wharf Chambers -
£5
23 Wharf St
Leeds
West Yorkshire
LS2 7EQ
http:// www.wharfchambers.org/

Kindly supported by

19.8.13 WE are playing at this mini-DiY festival in one of South London's premier garden/living rooms. Featuring Bands, DJs, Art + much more.

Beefstock 2013

Saturday 24.8.13

Camberwell Grove London

Lineup:

BANDS
Circuit Breaker - https://circuitbreakerband.bandcamp.com/
Dairy Classics - http://www.youtube.com/ watch?v=Qs-n2jO7JtI
David Craigie and the Helter Smelter - https://myspace.com/ davidcraigie/music/songs
Doctor Dance Myth
Dr. Peabody - https://soundcloud.com/ drpeabody
Jessica Leach & Richard Harding - https://soundcloud.com/ jessica-leach-1
Meddicine
Pollyanna Valentine
Pixelated - https://soundcloud.com/ pixelated
Ravioli Me Away - http:// raviolimeaway.co.uk/
The Female Thief
The Kurts
WE - http:// www.kollectiv.co.uk/WE/

DJs
2 Foot of Toot Dj Duo
GIRL JAMS
Jackpotjoy
Sweeney Toddler
The Devil (as Moany Bitchell)

ART + OTHER STUFF
Rosalie Schweiker - https://rosalieschweiker.info/
SALT Zine Library - http://saltsoapbox.com/

"Doors" 2pm

11.8.13 Our exhibiton at Trade Gallery, Nottingham, opens on Saturday 17.8.13:

Terminal Equilibrium Launches 17th August

A new exhibition by Pil and Galia Kollectiv, including four special evening events, in August, September and October, all events are free but must be booked.

Private View
Saturday 17th August

A gig by Charlie Megira and Gold Bars
Thursday 29th August

A live performance of Terminal
Saturday 28th September

A night of other film works by Pil and Galia Kollectiv
Wednesday 9th October

Exhibition Saturday 17th August - Thursday 24th October
For Terminal Equilibrium, Pil and Galia Kollectiv present two film installations. Terminal: A Miracle Play with Popular Music from the End of the World explores the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology as a foundational myth for a future society. The piece is accompanied by a live music performance, vinyl recording and a series of traditional craft objects expanding the universe established in the film.

We Are Equilibrium presents a dialogue between two computers. The conversation opens with a simple text book problem in business studies, but gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners.

Both pieces interrogate the latent belief structures underlying neo-liberal thought. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate a libertarian politics of pure pragmatism, negating the possibility of democratic deliberation. Game theory, originally developed during the Cold War, similarly posits the negotiations of rational, adversarial agents as the basis for a bare society in which cold calculations dictate private decisions. Terminal and Equilibrium both narrate this familiar scenario, but at the same time question its validity.

* * *

Pil and Galia Kollectiv are artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and explores avant-garde discourses of the twentieth century and the relationship between art and politics. They often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies.

They have had solo shows, The Future Trilogy at Te Tuhi Center for the Arts, New Zealand, Svetlana, at S1 Artspace, Sheffield, 2008 and Asparagus: A Horticultural Ballet at The Showroom Gallery, London, 2007. They have also presented live work at the 5th Berlin Biennial and the 5 well as at Kunsthall Oslo, Arnolfini, Bristol and Late at Tate Britain. This year they are participating in the Athens Biennial. Their solo show Suck the Living Labour opens at Ort, Birmingham on 4.9.13. They are the directors of artist run project space xero, kline & coma and work as lecturers in Fine Art at the university of Reading.
Terminal is supported by Merz Barn Project and Arts Council England. The performance of Terminal was co-commissioned by Electra for Drugo More and HKD Teatar, Croatia.

* * *

Charlie Megira and Gold Bars
For the first time ever in the UK, Charlie Megira will be on tour this month with thee amazing Gold Bars.

The Bet She’an Valley Hillbillies featuring Charlie Megira
Berlin-based Charlie Megira is Tel-Aviv’s answer to Link Wray. His distorted postpunk surf rock operates on the premise that Elvis is not dead and there is nothing that can’t be improved with more reverb. http:// guitarsandbongos.bigcartel. com/product/ charlie-megira-the-modern-d ance-club-love-police-2xlp

Gold Bars
With their crazed, warped and crunched organ-led punk n roll from London, Gold Bars bring keyboards and distress to music you can dance to.
https://www.discogs.com/artist/3293937-Gold-Bars

Thursday 29th August

* * *

live performance - Terminal: A Miracle Play with Popular Music from the End of the World -
Saturday 28th September

* * *

Film night of other Kollectiv works featuring:
Future Trilogy:
In November 2005, IKEA announced a new store opening in Edmonton to be accompanied by an offer of a significant price reduction on leather sofas. When 6000 people arrived to compete for the discount, a riot ensued, injuring 16 shoppers. The Future trilogy takes this event as the starting point for a speculative history of a fictional future. The Future for Less (2006) imagines the consumer riot as the foundation of a new totalitarian state religion imposing the tenets of modernism on the masses. In Better Future, Wolf-Shaped (2008), a rural cult perverts this official creed through pagan rituals of architectural worship performed at Celtic burial sites in Cornwall. The final instalment, The Future is Now (2009), similarly shot on 16mm colour film, stages the triumphant conquest of the industrial wasteland surrounding IKEA Edmonton as a popular uprising, revisiting the original riot as a future reenactment.

Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management:
Based on an online image archive documenting the construction and history of an early computing company, the fictional story of "Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management” follows the development of an experimental approach to worker productivity into a religious cult. The film investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment.

Wednesday 9th October

Terminal

6.8.13 WE are playing at Power Lunches with Ravioli Me Away and Circuit Breaker this Saturday 10.8.13 at 20:00:

WE | Ravioli Me Away | Circuit Breaker

Power Lunches
446 Kingsland Road
London E8 4AE

Saturday 10.8.13, 20:00 - 23:00

Free

WE
Challenging the individualism of the Western pop song, WE reveal the latent politics of the love song and transforms chart hits by annihilating their liberal subject and replacing it with a collective consciousness. Through the simple substitution of the plural for the singular, intimacy becomes a form of collective action and the unique the universal.
http:// www.kollectiv.co.uk/WE/

Ravioli Me Away
Dangerously ambitious and delusional all girl jazzy post-pop punk hip funk with a stylistically schizophrenic theme spanning all known past, present and future human cultures and sub cultures....
http://raviolimeaway.co.uk/

Circuit Breaker
Circuit breaker is an automatically operated electrical switch designed to protect an electrical circuit from damage caused by overload or short circuit. Its basic function is to detect un-dustrial kraut-slop. Brotherly psykik bond put to bad use with homebuilt horror rock.
http://circuitbreakerband.blogspot.co.uk/

4.7.13 Another Proof of the Preceding Theory is being screened as part of DUCKRABBIT:

WENDEL! OPEN YOUR DOOR | DUCKRABBIT (FILM SCREENING)

Friday, 26 July from 6 to 9pm | DILSTON GROVE | SLAM Last Friday event

Southwark Park
London SE16 2DD
United Kingdom

Duckrabbit (Film screening) selected by Patrick Goddard

Forward to a white tantrum, a white magnum, a home for abandoned cats and gods. A Tia chi ice cream, a threat of meaning. - gulf stream, white wine witches, vandals, and computers with itches on their Cyborg phantom limbs. A dead dogs shinbone chiseled into a poking stick. And with the golden age in sight, (or at least in spitting distance), ketamine on biscuits and strictly organic shop lifters. Drifters mumbling - for want of better words - babbling, somewhere between a spell and a prayer. Vagabond vagrants looking in a dark room for a black cat which probably isn’t there. And with this spellbind words become blown air, ideas disintegrate into a cot death concept, flaccid as a summarised joke.

Also, we are participating in Lot No.:

Lot No. is a one-night-only auction selling performance art.

>> Auction Preview
Lionel Dobie Project HQ (91 Hewitt Street, M15 4GB)
Saturday 13th July 2013, 12.30 - 2pm

>> The Auction
Capes Dunn Auction House (38 Charles Street, M1 7DB)
Thursday 18th July, 6 - 9pm (auction from 7pm)

Featuring work from > Pil and Galia Kollectiv | Szuper Gallery | Karin Kihlberg & Reuben Henry | Rachel Maclean | Sovay Berriman | Olivia Glasser | Holly Pester | Emma Smith | Rhys Coren | Daniel Fogarty | GA | Volkov Commanders | Benjamin Plimmer | Taneesha Ahmed | Lionel Dobie | Jonathan J. Kelham | Tali Serruya | Annie Harrison | Adam Renshaw | Laura Gower | Juliet Davis | Anna Puhakka | Steven Paige | Laurence Lane | Darren Murphy | Helen-Lois | Amelia Beavis-Harrison | Kieran Izquierdo | SC Durkin > and more...

Lot No. will be an opportunity for the highest bidders to purchase original artworks in the customs of an authentic auction, but with the sales being more than mere art objects; featuring performances in their original formats along with documentation and props, as well as other progressive formats such as concepts, online content, essays, curatorial directives etc.

Lot No, in association with Lionel Dobie Project, takes you out of the gallery and into the exclusive environment of a fine art auctioneers est. in 1826, Capes Dunn, and their beautiful auction house in central Manchester, UK.

Press contact & general enquiries to lotnoproject@gmail.com.

https://manchesterwire.co.uk/lot-no-conceptual-art-auction-at-cape-dunns/

21.6.13 We are showing A3 size work in this exhibition:

A3 Project Space is a new gallery in Digbeth, Birmingham that will launch a responsive and evolving programme of exhibitions, projects and events on 28 June 2013.

Opening Exhibition

28 June - 6 July
A3 Works

Open Fridays and Saturdays, 12 to 5pm

A3 Project Space and Studios
Unit A3, 2 Bowyer Street
Digbeth
Birmingham
B10 0SA

www.a3projectspace.org

A3 Works brings together the work of over 50 artists who each approach the dimensions of the A3 paper scale as a limitless possibility. The curators of A3 Project Space invited artists they have previously collaborated with along with those they are developing new relationships to be part of the opening exhibition of a new art gallery for Birmingham. The exhibition includes new and existing works by contemporary artists and designers working nationally and internationally.

Artists

Larry Achaimpong / An Endless Supply / Jivan Astfalck / BAZ / Simon & Tom Bloor / Kathrin Böhm / Nicholas Bullen / Elly Clarke / Paul Cordwell / Rhys Coren / Beth Derbyshire / Keith Dodds / Stewart Easton / Stuart Edmundson / Mark Essen / Alec Finlay / S Mark Gubb / Lesley Guy / John Hammersley / David Helbich / Sophie Hope & Jenny Richards / Amy Twigger-Holroyd / Toby Huddlestone / Mahtab Hussain / Kevin Hunt / Roddy Hunter / Andrew Jackson / Ben Javens / Juneau Projects / Oliver C Jones / Serena Korda / Adrian Lee / Hayley Lock/ Alexandra Lockett / Mini Moderns / MSFAC / Jo Masding / Andrew Maughan / Kate Pemberton / Pil and Galia Kollectiv / Trevor Pitt / Simon Peplow / Magnus Quaife / Jo Roberts / Liz Rowe / Kevin Ryan / Sparrow and Castice / Clare Thornton / Miles Thurlow / Mark Titchner / Martina Vermorel / Cathy Wade / Edward Wakefield / Mo White / Rich White.

Launch Event

You are invited to join Trevor Pitt, Cathy Wade and Oliver Jones on Friday 28 June at 6pm to celebrate the launch of A3 Project Space. We are a small venue so ensure your opportunity to view the exhibition on the night by letting us know you are coming. RSVP to a3projectspace@gmail.com

17.6.13 We are speaking this Wednesday at the Contemporary Art Society:

Artist Talk – Pil & Galia Kollectiv

19 June 2013 7:00 pm – 8:00 pm Contemporary Art Society, 59 Central Street, London EC1V 3AF

£10 Non-Members

Join us for an artist talk by duo Pil & Galia Kollectiv who are currently showing in PROJECT 02: Verging on the Absurd, the second in our new series of displays showcasing work by our Artist Members and guest artists.

Pil & Galia Kollectiv are concerned with the legacy of modernism, labour, leisure and collaboration, amongst other things. Their talk will draw on research for a recently completed PhD to discuss the relationship between art and politics in Dada and Surrealism. They will discuss artistic methodology and the use of the absurd as a political tool by these 20th century avant-garde groups and will look at art historical precedents for their work. The talk will be followed by a Q&A.

Verging on the Absurd examines the use of the absurd and surreal in contemporary art with works by artists Suzanne Mooney, Pil & Galia Kollectiv, Francesco Pedraglio, Heather Phillipson and Samara Scott. Exhibition runs until 28 June 2013. Open Tuesday – Friday, 11.00-17.00.

Image: Pil & Galia Kollectiv, Conflict within the Organization, 2010, screensaver, installation view at the Contemporary Art Society 2013, duration 6.48 minutes, © the artists. Photo: Joe Plommer

2.6.13 We are participating in this exhibition:

(Im)material Labour

Monday 24 June 2013 - Saturday 20 July 2013

Supeflex, The Working Life (still, detail), 2013

(Im)material Labour explores our shifting position in an economically functioning society. From the systemisation of post-fordist labour through to the de-materialisation of the service sector, our patterns of working behaviour are constantly being reconfigured.

(Im)material Labour draws together the work of a number of artists who interrogate this phenomenon in light of the current economic climate. Seeking to decode and humanise the financial crisis through analytical ideas and research, the works on display often result in therapeutic and humorous outcomes.

The exhibition will take place both onsite and offsite in a disused office block in Colchester.

Art Exchange, 24 June – 1 July 2013

The exhibition includes works by SUPERFLEX, Zachary Formwalt, Ignacio Uriarte, Paul Westcombe and Arnaud Desjardin.

Offsite Space, 24 June – 20 July 2013

The exhibition includes works by Martin John Callanan, Pil & Galia Kollectiv, Arnaud Desjardin, Patrick Coyle, Nick Bailey, Paul Westcombe, Hyun Woo Lee and a new commission by Galeria Niewielka.

Find us at Victoria Place (off Elm Lane), Colchester, CO1 1LR – above the Slack Space exhibition spaces.

(Im)material Labour is curated by MA Critical Curating students Warren Harper, Matylda Taszycka and alumnus Jonathan Weston.

Curator Tours

Saturday 29 June, 1-2pm

Join the exhibition’s curators for a tour of (Im)material Labour at Art Exchange

Saturday 6 July, 1-2pm

Join the exhibition’s curators for a tour of (Im)material Labour offsite at Elm Lane.

To reserve your place, please email immaterial.labour@live.co.uk

25.5.13 The next exhibition at xero, kline & coma, Mark Pawson - Unboxing, opens 5.6.13:

Mark Pawson - Unboxing

Private view:
Wednesday June 5th 19:00 – 21:00

Exhibition open:
8.6.13 – 30.6.13
Sat. – Sun. 12:00 – 18:00

xero, kline & coma
258 Hackney Road
London E2 7SJ
www.xero-kline-coma.com

After being invited to loan material to two exhibitions in 2011 (the Stewart Home retrospective at White Columns, New York and the fanzine exhibition which was part of the Dazed Live Festival, London), and also writing an article in response to the question 'Why Distribute? Why Archive?' for the 2012 Bookworks publication 'Again, A Time Machine, from distribution to archive’, it felt as if the numerous cardboard boxes stashed under my bed, in the hall cupboard and kitchen cabinets had somehow changed status and been transformed from 'Stuff' into an 'Archive'. I thought that it was the right time to start sorting through some of these boxes, to see what was in there and to see what would happen as a result of this process. So after writing a note to myself saying 'Start cataloguing some of this stuff.', on the morning of February 5th 2013, I opened up an A4 paper box crammed full of mid to late 1990s fanzines and publications by artists, sat down in front of the computer and started cataloguing them…

Mark Pawson will be unpacking, cataloguing and displaying some of his extensive library of zines, mail art publications, small press magazines, leaflets, pamphlets and other hard-to-categorise print creations – a collection which accumulated over the past 30 years and has managed to survive intact after several changes of address. He will be working in the gallery each Sunday during the exhibition, adding material to the display and producing weekly catalogue sheets, which will be available at the gallery and online at www.xero-kilne-coma.com. Pawson is an artist, publisher, bookseller and lecturer. Since being at school he's made and distributed a constant stream of books, postcards, badges, multiples, T-shirts and other essential ephemera, some examples of which are in the collections of the Tate Gallery Library, London and MOMA Library, New York. He was an active and prolific participant in the international postal art network during the 1980s and early 1990s and has reviewed independent publications for Variant Magazine since 1998.

9.5.13 Tomorrow we will be in conversation with Jamie Stevens (curator, Cubitt) at the ICA at 13:00:

Culture Now: Pil and Galia Kollectiv

10 May 2013, 1pm

£5 / Free to ICA Members

Please join us now for a lunchtime talk with Pil and Galia Kollectiv, who will be joined in conversation by Jamie Stevens, curator at Cubitt Gallery.

Pil and Galia Kollectiv are London based artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and the avant-garde. Testing the boundaries between art and propaganda, they explore overlaps between the discourses of business management and political and artistic manifestos. They are especially interested in the role of art and creativity in post-Fordist labour and their films and performances often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies.

They have had solo shows at Te Tuhi Center for the Arts, New Zealand, S1 Artspace, Sheffield and The Showroom Gallery, London. They have also presented live work at Biennials in Montreal, Berlin and Herzliya, as well as at Kunsthall Oslo, Arnolfini, Bristol, Late at Tate Britain, Radar Loughborough, HKD Rijeka and ICA London.

They are contributing editors at Art Papers and directors of artist run project space xero, kline & coma. They work as lecturers in Fine Art at the University of Reading.

Jamie Stevens is curator at Cubitt Gallery, where his programme has included exhibitions by Jana Euler, Michael Dean and Roman Vasseur. He co-founded publishing project Benedictions and was formerly Exhibitions Organiser at Chisenhale Gallery.

22.4.13 Andrew Cooper, Enda Deburka, Dean Kenning, John Russell - Capital opens at xero, kline & coma on 1.5.13 at 19:00:

Andrew Cooper, Enda Deburka, Dean Kenning, John Russell - Capital

Private view:
Wednesday May 1st 19:00 – 21:00

Exhibition open:
4.5.13 – 26.5.13
Sat. – Sun. 12:00 – 18:00

xero, kline & coma
258 Hackney Road
London E2 7SJ
www.xero-kline-coma.com

"Capital is dead labour which, vampire-like, lives only by sucking living labour, and lives the more, the more labour it sucks. The time during which the worker works is the time during which the capitalist consumes the labour-power he has bought from him".

The global banking collapse of 2008 exposed the failures of a deregulated economic system run entirely for private financial gain. Despite the market crash, investors kept the fortunes conjured out of speculative bubbles and bankers kept their remuneration packages and bonuses, whilst governments agreed to pay the bill with huge transfusions of public money. Since then, the rich have grown richer, sucking up ever-larger proportions of wealth, gorging on luxury, whilst working people have been subjected to joblessness, the removal of social provision and benefits, and attacks on wages and working conditions. In the UK the ruling class dullards have used the bank bailouts and the recession not to curb market excesses, but as an opportunity to shrink the welfare state and the public sector, privatising control over areas of our collective lives from housing to health to education. Wealth spurts up towards a bloated mediocrity, while the majority are increasingly proletarianised in order to make the country ‘competitive'; and the media, when they are not celebrating the ruthless spirit of enterprising halfwits, comment on how Dickensian it is all looking, what with all the homelessness and dispossession. As food banks multiply and quaint relics of Victorian charity attempt to mop up the aftermath of frenzied assaults against the poor and sick and most vulnerable, many people, in their effort to understand our collective submission to capital's relentless intensification, have been led back to the most far reaching analysis and critique of our system of political economy, Marx' Capital.

Marx takes us beyond both the moral and technocratic complaints that capitalism is an unfair and unstable system in need of reform and regulation, to show that in its very lifeblood, capitalism is a practice of accumulation based on robbery and exploitation backed by compulsion and force. It is a class relation which cannot ultimately be ameliorated but which must be overthrown through collective struggle. The work in this exhibition is an attempt to visualise the moments of this vast, homogenising abstraction that dominates our lives today, as described by Marx in Capital Volume One.

The show has grown out of a regular Marx reading group meeting at the Royal Festival Hall, one of the last vestiges of post-war free public space in London.

Andrew Cooper, Enda Deburka, Dean Kenning, John Russell

We are also showing work at the Golden Thread Gallery in Belfast:

STRANGE LOOP
Curated by Ben Crothers and Phillip McCrilly

Opening Hours:
Tuesday – Friday: 10.30am – 5.30 pm & Saturday: 10.30am – 4pm

Address: 84-94 Great Patrick Street, Belfast, BT1 2LU, Northern Ireland

Strange Loop explores the complex relationship between past, present and future, examining how the context in which we live determines our interpretation of history and our perception of the future. The works in the exhibition challenge and explore the ways in which we remember, re-imagine, reinterpret, re-enact, revisit and repress past events, demonstrating that history can be approached just as fluidly as our imagined futures. We are urged to question how human memory affects our perception of personal and global histories and the impact that this has on future events.

Within this, Strange Loop also considers artists, works and subject matter which are somehow out of place within their own contexts. Whether expatriates, beings from another planet or concepts within alternate realities, the lines between fact and fiction, past, present and future all become distorted, blurred or challenged. Anachronisms, inaccuracies and disproved theories abound in the coming together of multiple temporalities which create uncertainty as to where beginning, middle and end exist, if at all.

The exhibition features works by: Amanda Beech; Cliff Chiang; EASTERJESUS PRODUCTIONS (Stine Omar and Max Boss); Simon Fujiwara; Calla Henkel and Max Pitegoff; Pil and Galia Kollectiv; Beth Lau; and Ryan Moffett.

And we are screening The Future is Now at the Oberhausen Film Festival:

Flatness: Cinema After the Internet

"It is the flattest and dullest parts that have in the end the most life."
Robert Bresson, Notes on Cinematography,1975

Cinema is affected by successive waves of technological advancement, with each development announcing the auditorium's imminent obsolescence. Flatness will survey aesthetic developments in experimental film and video post Web 2.0 looking at moving image works that relate to the screen as a metaphorical boundary in representation — as a surface, as well as an interface.

While film and video both conformed to a medium, the different interfaces through which we have come to understand the Internet act to redefine our relationship with material reality, to history and with each other. Is it possible to gauge how our consciousness has been affected by the mediation of the screen as a mirror and as a window on to our lives? Does our online routine of sharing information endlessly, passively en gaging by "liking" things, bring about a flatness of expression, in frustration at the failed promise of a World Wide Web utopia? And is it possible to suggest a correlation whereby, as the space behind the screen flattens, the space in front — between the viewer and the image — transforms for the viewer to project their response back in real time, effectively blurring the boundary of the screen?

From the quickly distributed compressed image to the enhanced reality of HD how do artists working with moving image approach these new aesthetic qualities? The idea of an immersive visual language — where we respond to images with images — might point to the future of production facilitated by the Internet’s vast audio-visual library. Does cinema therefore become a space for a parallel, or second screen for "old" media and strange collective experiences at odds to the self-directed, individualized space in front of our laptops? Featuring works by Harun Farocki, Stanya Kahn, Mattin, Rachel Reupke, Richard Serra, Ed Atkins, Oliver Laric, Hito Steyerl and others, Flatness proposes that the auditorium acts as a temporary vehicle, allowing moving image works and performance to pause in their circulation through the different contexts of contemporary visual culture.

The curator:
Shama Khanna is a curator, writer and visiting University lecturer based in London. Over the course of her career she has worked with Showroom, Tate, BFI London Film Festival and LUX / ICA Biennial of Moving Image in London; Iaspis in Umeå, Kunstverein Muenchen and with e-flux, Performa and MoMA PS1 in New York City.

17.3.13 We will be performing and screening Terminal: A Miracle Play with Popular Music from the End of the World on 19.4.13 at 23:45 at the Rio Cinema in Dalston:

Terminal: A Miracle Play with Popular Music from the End of the World

A film and live performance event by Pil and Galia Kollectiv, featuring Jack Barraclough, Katia Barrett, Emily Rachel Beber, Victor M. Jakeman, Joseph Lewis, Rosie Ridgway and Stefan Sadler

19.4.13 at 23:45

Live at the Rio Cinema |107 Kingsland High Street | London E8 2PB

Tickets: £6

Bookings: 020 7241 9410

http://www.riocinema.org.uk/

Terminal: A Miracle Play with Popular Music from the End of the World is a film and live performance project exploring the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology, or the study of the end of history, as a foundational myth for a future society. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, or time before government, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate an individualistic politics of pure pragmatism, negating the possibility of democratic deliberation. Terminal narrates this familiar scenario, but at the same time questions its validity. The film, shot on black and white VHS at Kurt Schwitters’ Merzbarn in Cumbria, dramatises a series of conversations between future-historical archetypes about the needs and pressures of the situation in which they find themselves at the end of the world. The performers then gather to play worshipful songs about acid rain, radiation sickness and eating the dog, using a mix of conventional, obscure and makeshift instruments. In the tradition of books such as Russell Hoban’s Riddley Walker and Walter M. Miller Jr.’s A Canticle for Liebowitz, Terminal imagines artistic expression and new folk traditions for a world to come after the apocalypse. If, as Slavoj Žižek would have it, it is easier to imagine the end of the world than to think of the end of capitalism, the project juxtaposes these two endpoints to test out how alternative scenarios might emerge from the collaborative practice of making theatre and music against a setting of social collapse.

Terminal is a collaboration with a group of London based artists and musicians. Katia Barrett is an artist and a member of the bands Peepholes and Cover Girl. Victor M. Jakeman and Emily Rachel Beber are both members of WE, with Pil and Galia Kollectiv. Victor also plays with Whitby Bay, Gold Bars and Human Hair, and Emily is a writer. Joseph Lewis and Stefan Sadler make music together as Swine-thing, as well as pursuing individual art, writing and curatorial practices. Rosie Ridgway is an artist and curator at Sauna, as well as a member of the band Ravioli Me Away. Jack Barraclough is an artist and a member of the band Halo Halo.

The project is supported by Merz Barn Project and Arts Council England. The performance was co-commissioned by Electra for Drugo More and HKD Teatar, Croatia.

This event marks the London premiere of Terminal: A Miracle Play with Popular Music from the End of the World.

We are also participating in the exhibition Verging on the Absurd at the Contemporary Art Society:

Verging on the Absurd

Private View:
4 April 2013 6:30 pm – 8:30 pm

Contemporary Art Society
59 Central Street
London EC1V 3AF

Exhibition Dates: 5 April – 28 June 2013 Opening Times: Tuesday – Friday, 11.00 – 17.00

The Contemporary Art Society is delighted to introduce the second in our new series of displays showcasing our Artist Members and guest artists, Verging on the Absurd, which is curated by Elinor Morgan, freelance curator and ESP Programmer at Eastside Projects, Birmingham. Examining the use of the absurd and surreal in contemporary art, the exhibition presents works by artists Suzanne Mooney, Pil & Galia Kollectiv, Francesco Pedraglio, Heather Phillipson and Samara Scott. These artists make works that disrupt our understanding and perception of an object, image or text to give rise to new readings and associations, interfering with our desire to make sense of something and find completeness. Each does this in a different way: by unsettling the viewer through the uncanny use of one material in the place of another, fracturing an image from its original context or making new combinations or juxtapositions of material and concept.

More information here.

16.2.13 Kitty Clark | Stefan Sadler - Horror House opens at xero, kline & coma on 28.2.13:

Kitty Clark | Stefan Sadler
Horror House

xero, kline & coma
258 Hackney Road
London E2 7SJ

www.xero-kline-coma.com

Exhibition runs:
2.3.13 – 24.3.13
Sat. – Sun. 12:00 – 18:00

Private view:
Thusday February 28th 19:00 – 21:0

Horror House is a two-person exhibition by Kitty Clark and Stefan Sadler, featuring sculptural work that explores dark, surreal craft and absurd ritual. Evoking the morbid farce of a ghost train, the smell of rubber and the fishing wire visible, it delivers goosebumps nonetheless.

Kitty Clark’s work tends towards cartoon-like three dimensional objects rooted in fantasy, idealism and spiritual and utopian desire, exploring contemporary mythologies through sacred and recreational sites and artificial themed environments. She has had solo exhibitions at the Institute of Jamais Vu and Permanent Gallery, and participated in group exhibitions including Likeable, Supercollider Contemporary Art Projects and Glamourie, PSL.

Stefan Sadler is a hardcore action cartoonist, at work on global topics, war, death, In a world both familiar and out of reach, fraught with political and social complexities. His recent publications include Dinner Plates (Famicon Express) and DNA Failure (Picturebox Inc.).

20.1.13 We are participating in these screening events:

TIME IS LOVE.6
International video art program Curated by Kisito Assangni

[Show 1]

26 JANUARY 2013
2pm - 1.30am

MORI + STEIN GALLERY
THE FLYING DUTCHMAN
156 Wells Way
LONDON SE5 7SY

and

[Show 2]

SAZMANAB Platform for Contemporary Arts presents

1st February 2013
6pm

SAZMANAB
Apt 2, No99, Pardis St.
TEHERAN
IRAN

and

[Show 3]

PEANUT UNDERGROUND ART PROJECTS presents TIME IS LOVE.6 [show 3] International video art program Curated by Kisito Assangni

Saturday 23 March 2013 6pm

PEANUT UNDERGROUND 215 East 5th Street Lowel level, East Village NEW YORK CITY 10003

With Aditi Kulkarni, Anthony Peskine, Bill Millett, Ciriaca Erre, Cristina Picchi, Danny Germansen, Dellani Lima, Denis Brun, ELASTIC Group, Eugene Perera, Evelin Stermitz, Francesca Fini, Gilivanka Kedzior & Barbara Friedman, Isidora Ficovic, Jangyoung Jung, Jennida Chase, Jennifer Abessira, Joas Nebe, Jonas Nilsson, Joy Whalen, Kent Anderson Butler, Kokou Ekouagou, Larissa Sansour, Larry Caveney, Laszlo Laszlo Revesz, Neil Howe, Nina Backman, Otelo Fabiao, Paul Rascheja, Pil & Galia Kollectiv, Polina Zioga, Rita Casdia, Sabrina Osborne, Sohrab Kashani, Tommaso Pedone, Tommy Becker, Tor Jorgen Van Eijk, Uma Ray, Yotam

Gilad. TIME IS LOVE Screening is an annual international video art program on the theme of love in hard times. Since 2008 the project has presented the most innovative works that bring to the world a refreshing perspective on video art. (Image credit: Absorb, Aditi Kulkarni).

and

[Show 4]

KULTER. Gallery presents

TIME IS LOVE.6 [show 4]
International video art program
Curated by Kisito Assangni

2 May 2013
6pm

KULTER.
Bos en Lommerweg 357
1061 DH AMSTERDAM

Featuring
Aditi Kulkarni, Anthony Peskine, Bill Millett, Ciriaca Erre, Cristina Picchi & Yuval Gerstein, Danny Germansen, Dellani Lima, Denis Brun, ELASTIC Group, Eugene Perera, Evelin Stermitz, Francesca Fini, Gilivanka Kedzior & Barbara Friedman, Isidora Ficovic, Jangyoung Yung, Jennida Chase, Jennifer Abessira, Joas Nebe, Jonas Nilsson, Joy Whalen, Kent Anderson Butler, Kokou Ekouagou, Larissa Sansour, Larry Caveney, Laszlo Laszlo Revesz, Neil Howe, Nina Backman, Otelo Fabiao, Paul Rascheja, Pil & Galia Kollectiv, Polina Zioga, Rita Casdia, Sabrina Osborne, Sohrab Kashani, Tommaso Pedone, Tommy Becker, Tor Jorgen Van Eijk, Uma Ray, Yotam Gilad.

Poster credit: Alienation and loneliness, Danny Germansen.

12.1.13 Eitan Ben-Moshe - Twilight Falcons opens at xero, kline & coma on 17.1.13:

Eitan Ben-Moshe - Twilight Falcons
Curated by Avi Pitchon

xero, kline & coma
258 Hackney Road
London E2 7SJ

www.xero-kline-coma.com

Exhibition runs:
19.1.13 – 10.2.13
Sat. – Sun. 12:00 – 18:00

Private view:
Thusday January 17th 19:00 – 21:00

Eitan Ben-Moshe's 'Ozone Flutes', borderline human-made and organic looking tubes drilled in swift, nonviolent urban guerilla interventions into walls around London anoint the ordinary with the extra. In his new installation (part of an ongoing series), Ben-Moshe accentuates the welcome typo in London's harsh topology that is xero, kline & coma, a happy accident tearing into its space-time continuum. This basic-yet-crucial scenery establishes a ritual transition, like the red curtains of the cinema theatre or the wooden doors of a fairground's house of horrors. A little pond littered with derelict alien looking fauna. A rickety old stool offers unstable rest – or perhaps it is an accessory left behind following the conclusion of some personal, idiosyncratic rite. An environment in flickering superposition, complementing the penetration of the real with its suggestion of parallel probability, entangled with the one we're trapped in, a waiting room, a threshold, a wardrobe, a wormhole. Limbo.

Accompanying the installation, the film 'The Ozone Flutes' documents the nomadic, transient, psychogeographical Ozone Flute workings. Appropriating public access TV aesthetics, it not only follows the actions but introduces a cast of characters who guided Ben-Moshe, centring on an English shaman woman from Finchley who provides the artist with an occult, energetic grid of the city. In the process, the artist becomes a messenger, placing the objects, now charged with a shaman's forcing of the hand of chance, at points of morphogenetic importance. Did the flutes contribute to an unlocking of a collective, feral will to power expressed through the ensuing London riots? Can that will be harnessed more directly and constructively?

Eitan Ben-Moshe planted and presented his Ozone Flutes throughout 2011, culminating in the Anthony Gross curated Deptford X Public Art project. He has exhibited in solo and group shows in Tel-Aviv, Jerusalem, Amsterdam, Basel, Berlin, Istanbul and the Venice Biennial. He lectures in Fine Art at The Bezalel Academy of Art and Design, Jerusalem.

Avi Pitchon is an Israeli writer and curator living and working in London. In 2010 he curated the first Middle-Eastern retrospective of Slovenian visual arts group IRWIN. He has curated shows in London, Berlin, Tel-Aviv and Jerusalem, contributed to numerous publications including a book accompanying Yael Bartana's recent Venice Biennial appearance, an artist book on Keren Cytter published by KW Berlin, and Manifesta 7's companion book. He has also contributed to magazines and periodicals, including Terrorizer, The Wire, Vice and Haaretz.

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