centre of Southwark Park
020 7237 1230
Former park cafe refurbished by the Bermondsey Artists' Group (Est.1984) to provide a purpose built art gallery and educational facility within Southwark Park.
April - September - 12am - 6pm
October - March - 11am - 4pm
Wed - Sun
Closed: Mon Tues
The gallery provides good physical access and facilities, however if you have any particular access requirements please contact the gallery before your visit. Assistance dogs welcome.Full disabled access.
SITES OF COLLECTIVE MEMORY
- 9 July — 10 August 2014 *on now
Each work takes testimony as its starting point, reflecting on personal experiences of iconic and historic moments – the bombing of Hiroshima, the massacre of Polish Roma in WWII and the 7/7 London bombings – and in contrast, the private experiences passed down through British Romani families. The artists have worked closely with witnesses, survivors and storytellers in the making of each work: Shona Illingworth has been in dialogue with a 7/7 survivor to explore the effects of trauma on the individual and the media's manipulation of this traumatic event on society at large. Overall the exhibition considers how representations of history and culture are shared and influenced in our collective consciousness.
The works employ diverse animation techniques, with images and film footage manipulated to create complex films that evoke the drama of the stories being told. Jordan Baseman abstracts footage shot of the sky in Hiroshima using stop motion techniques to create a space for contemplation. Delaine Le Bas and Damian James Le Bas are working with award-winning animator Katerina Athanasopoulou to produce their first animated work – one that will be reminiscent of tapestry, weaving together archival imagery, hand drawn animation and live action. The artists will be giving expression to human experience through their exploration of the possibilities of the medium.
Alongside the exhibition at each of our partner venues there will be discussion events with the artists and workshops for young people to further draw people in to the themes of the work. There will also be limited edition prints produced from the works.
Sites of Collective Memory is supported using public funding by the National Lottery through Arts Council England.
- Any age
SOUTHWARK PARK | 150 YEARS
- 16 — 24 August 2014
Prize giving: 1 - 1:30pm | 16 August
Our thanks to sponsors Bermondsey and Rotherhithe Community Council and United St. Saviour's Charity.
- Any age
THE INNER SELF: DRAWINGS FROM THE SUBCONSCIOUS
- 4 — 21 September 2014
Selected artists: Jan Arden | Imma Maddox | Nigel Kingsbury | Hannah Swain | Billy Weston | Pat Mear | Terence Wilde plus works from Nick Blinko.
Seven Outside In artists have been selected from a total of 154 black and white submissions focusing on the theme of the subconscious. The artists selected are all London-based and all feel they are facing barriers to the art world because of mental health issues, health, disability, or social circumstance.
One overall winner will be chosen from the selected seven artists for a solo show at the Julian Hartnoll Gallery, Duke Street from 16 – 22 November 2014. The selection panel included CGP London Director Ron Henocq; Vivienne Roberts, Curator at the Julian Hartnoll Gallery; Outsider Artist Nick Blinko; and Outside In Manager Jennifer Gilbert.
Work by the Outside In artists will sit alongside Outsider Artist Nick Blinko's minutely detailed monochrome pieces. Macabre and intense; Blinko's images depict microscopically detailed interconnecting worlds and figures such as skulls, broken dolls, imps, foetuses and precisely handwritten notes.
- Any age
SHARON KIVLAND | FOLLES DE LEUR CORPS / CRAZY ABOUT THEIR BODIES
- 8 October — 9 November 2014
A screening of the full-lenth version of Peter Watkins' film La Commune (Paris, 1871), and an agit-disco with Stefan Szczelkun. Kivland's work investigates how our lives are governed by systems of order that complement, overlap and contradict one another while undergoing periods of change.
Apart from her activities as an artist, writer and curator, Kivland also engages in theoretical investigations, both teaching as Reader in Fine Art at Sheffield Hallam University and as a Research Associate of the Centre for Freudian Analysis and Research in London. She has described her practice as one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action and private subjectivity.
In a footnote in Capital, chapter 2: The Process of Exchange, Karl Marx writes: 'In the twelfth century [...], very delicate things often appear among these commodities. Thus a French poet [Guillot de Paris] of the period enumerates among the commodities to be found in the fair of Lendit, alongside clothing, shoes, leather, implements of cultivation, skins, etc., also "femmes folles de leur corps".' The English translator translates this as 'wanton women'; Kivland would rather translate it as 'women crazy about their bodies', as she arranges and rearranges old and new works, addressing moments of revolution/social change. Staged as tableaux, there is a presentation of material forms in which politics and aesthetics are entwined – and lived – in the intersection of public political action and private subjectivity. Defying chronology, the works trace feminine representation: the 'liberated' women of 1968, Laclos' pre-revolutionary notion of 'la femme-naturelle', Toussenel's consideration of woman as mediator between man and animal, Proust's evocation of Odette's costume as architecture. Feminism, psychoanalysis, politics, literature (yes, all of that), and irony as a rhetorical trope inform works that explore connections between 1784, 1848, 1871, 1968, and the explosions of class struggle, often read in fashion's detail.
The exhibition opens with the five short texts of Le Lever, torn from an auction catalogue description of an engraving after a painting by Pierre-Antoine Baudouin, the son-in-law of Boucher, who, like his father-in-law, depicted the voluptuous eroticism of the ancien régime, transformed into chapters. The servant girl kneels before her mistress, holding her satin mule. Stuffed animals (aristocratic greedy squirrels who take everything from themselves, a mob of stoats, sporting Phrygian bonnets, cunning radical foxes who have read Marx) proliferate. In La Forme-valeur, Marx's Capital is read, chapter three on exchange-value, in an attempt to find a woman speaking, yet all is found is an object speaking in the charming voice of a commodity in the chorus of goods going to market. Scent bottles (Allure) might become Molotov cocktails, the material that may be soaked and ignited is French wedding tulle, which is rather expensive. The repetitive (and as the artist is the first to admit, dull and amateur) films of Mes coquetteries follow silk-clad bodies while a voiceover recalls the radio transmissions of the Resistance and from the Underworld via the car radio of Cocteau's film Orphée. In Encore un effort a banner carries the breathless descriptions of the new fashions for 1968, when anything goes and details place the accent on this or that part of the body and its adornment: a pair of shoes that have come off in a struggle, for example, the heel of one snapped off; a checked shirt, with two buttons undone; a light-coloured trench coat (perfect for a May day); a blouson- style jacket that allows easy freedom of movement; pale casual slacks worn with an ankle boot. Beauty is in the streets as fashion becomes democratic (or so say the houses of haute couture), while the philosopher of the boudoir extorts us once again to take action. To an assembled crowd of sensitive men and women, which petit-maître or dangerous man of principles would suggest that the only moral system to reinforce political revolution is that of libertinage, the revenge of nature's course against the aberrations of society?
- Any age