2 Clunbury Street
020 7193 5440
waterside contemporary is committed to developing an ambitious and vibrant multidisciplinary and cross-generational programme. Representing a portfolio of UK and international artists, the gallery brings institutional-quality exhibitions to London art audiences and market and supports the artists through curatorial projects and international art fairs.
d’Alancaisez and Ovenden share an interest in determined and engaged art practices. An international commitment allows the gallery to foreground current and historical overseas debates in a London context.
The gallery’s programme and projects encompass practices that pertain to and stem from political periphery, for example those of Karen Mirza and Brad Butler or Ştefan Constantinescu. In parallel, the gallery engages with conceptually-driven work of mid-career European and UK artists including George Barber and Karim Noureldin.
In a series of group and solo exhibitions, waterside contemporary has worked with artists including Hreinn Fri∂finnsson, Anna Ostoya, Damien Roach, A K Dolven, Anita di Bianco, Patrick Tuttofuoco, Ernesto Salmerón, Amikam Toren and Graham Hudson.
The gallery works closely with its artists on developing projects in London and abroad, with large-scale publishing interventions by Javier Rodriguez and Marcin Dudek’s installation projects examples of an evolving international line-up.
Wed - Sat 12.00-18.00
Who distinguishes light from dark
- 17 January — 22 March 2014 *on now
waterside contemporary presents Who distinguishes light from dark, a solo exhibition by Ariel Reichman, his first in the UK.
Through film, photography, drawing and installation, Reichman’s practice explores a paradoxical space between the poetic and the political, retaining a sense of innocence and childlike conviction with which to critically observe its institutional surroundings.
The exhibition itself rejects the perimeter of the gallery, leaving all walls empty. A central, purpose-built structure houses Secret Performance (I have to be strong), in which the artist tries to operate a wind-up torch to provide light for the duration of a reel of 16mm film.
Reichman creates conditions for seeing, a moment in which the personal becomes public and extrovert. Images appear at once metaphor and figurative, and it is often not clear whether we are looking in or out.
This repeating ambiguity in Reichman’s work is an invitation to cross from one mental state to the other, and highlights that while this experience can be freeing, it can also lead to renewed confrontation.
- Family friendly
Judith Barry:…Cairo stories
- 10 April — 31 May 2014
waterside contemporary is pleased to present …Cairo stories, a video and photographic installation by Judith Barry, and her first solo exhibition at the gallery.
Created from a collection of more than 200 interviews Barry conducted with Cairene women between the US invasion of Iraq in 2003 and the beginning of the Egyptian Revolution in 2011, …Cairo stories is a series of short video monologues. The selection of stories chronicles personal experiences of women from a variety of social and economic classes in Egypt and expands the artist’s concerns with notions of representation, history, subjectivity, and translation – particularly as these ideas circulate across cultures.
The original interviews were conducted in simultaneous translation to maintain fluidity and integrity of tone and meaning, and Barry considers them to be collaborations between her and the subjects. The vast source material was then ‘vetted’ by a diverse range of Cairene women. The emotional integrity of each woman’s story is the crux of this project; the translators and interviewees remained active participants in both the narrative arc of their stories and the development of the project. In the gallery, a selection of 15 narratives is performed by actors, highlighting that all stories, including those we tell ourselves, are ultimately fictions.
…Cairo stories is a continuation of Not reconciled, a series of ‘as told to’ stories Barry recorded in a variety of countries and cultures, and bears witness to the artist’s long-term interest in the strength and the political implications of the voice. Since the Egyptian revolution, the voice – and the right to vote or ability to speak out – has become a central concern in everyday life. The positions of women in the public, political – and private - spheres is also at the forefront of these discussions.
Since the 1970s, feminists such as Hélène Cixous have written about the continued importance of self-historicisation by women to “transform their history, to seize the occasion to speak”. This philosophic position of écriture féminine directly addresses the transformation of subjectivity and the contention of sanctioned identity. It is through both writing and foregrounding the female voice that …Cairo stories opens a space for embodying a new subjectivity.