Spike Island is an international centre for the development of contemporary art and design. A vibrant hub for production, presentation and debate, it invites audiences to engage directly with creative practices through participation and discussion.
The organisation’s vision is to position art as central to society. It does this in two ways: by offering a high quality, challenging programme of exhibitions and events; and by fostering a dynamic and critically engaged community of artists and designers. Spike Island collaborates with local and regional partners as well as with international institutions, museums and universities.
Open seven days a week, Spike Café serves a range of drinks, snacks and meals in a sunny, laid back spot overlooking the river. It’s an ideal place to relax and refresh whether you’re visiting the exhibitions, wandering around the Harbourside, meeting friends or working in the building.
Gallery, Artist studio or collective
Galleries: Tues-Sun 12.00-17.00
Café: Mon-Fri 8.30-17.00, Sat-Sun 12.00-17.00
Free entry to gallery; some events ticketed
Spike Island seeks to be fully accessible. There are three Blue Badge parking spaces directly outside the main entrance. The building is entirely wheelchair accessible.
We welcome guide and hearing dogs. An induction loop for events is available by advance request.
Large print texts are available upon request from reception or by contacting us by email or telephone. Baby changing facilities are available in the ground floor toilets.
Charlotte Prodger: 8004 - 8019
- 10 October — 13 December 2015 *on now
Charlotte Prodger is recognised for her audiovisual practice using equipment selected for its specific technological capacity, design history and subcultural aesthetics. In her largest solo show to date, she presents a new body of sculptural objects balanced by the feature length Stoneymollan Trail — Prodger’s first single channel video. The exhibition (titled 8004 - 8019 in reference to the RAL colour codes that Prodger has used here) builds upon her impulse for listing, incremental sequencing and the mapping of co-ordinates.
The grid is an ever-present motif in her work. Rectilinear pattern is used as a formal constraint for subjective narrative content that is often messy and slippery, shifting around in time and place. Moving between and blending the native aspect ratios of her mixed sources, Stoneymollan Trail comprises material from multiple formats: a personal archive of deteriorating miniDV tapes; high definition camera footage; iPhone videos; screenprinted graphic forms and recorded voice over. Stoneymollan Trail uses the geometry of the 16:9 (widescreen) and 4:3 (standard) aspect ratios as a way of bringing the spatial concerns of her former multi-monitor installations into the linear constraints of the single screen.
Test Space: Conversation Pieces
- 20 November — 13 December 2015 *on now
Conversation Pieces presents a collection of new works produced by a group of Spike Island based studio artists, taking influence from Grant Kester’s concept that ‘we understand [a] work of art as a process of communicative exchange’.
Each participating artist nominates another to create a work in response, ultimately forming a connective exhibition of consequential works. Beginning with community-focused photographic artist Kamina Walton, each nomination is made on the basis of visual or conceptual intrigue between the artists. The handover conversations are an essential part of the project, affecting the influences of the next work created.
Michael Simpson: Solo exhibition
- 16 January — 27 March 2016
In his largest exhibition to date, Michael Simpson shows work spanning the last 25 years alongside new works.
Simpson makes large scale paintings in an ongoing series that repeat and rework a number of key elements which relate to his interest in the infamy of religious history. His austere bench painting series (1989–2009) was made as a homage to the Neapolitan renegade philosopher Giordano Bruno, burnt at the stake by the inquisition in Rome’s Campo dei Fiori in 1600.
The bench itself serves as a fixed coherent form within the paintings, the structure through which Simpson explores the pure language of painting — form, colour composition — through imagery without figures, yet implying a profound human presence.
133 Cumberland Road
City of Bristol
0117 929 2266
0117 929 2066