Category Archives: Stanley Picker Gallery

    Stanley Picker Creative Academy

    Onkar Kular, awarded the Stanley Picker Design Fellowship (2014–16) for research, transforms the gallery into the Stanley Picker Creators Academy (SPCA).

    Stanley Picker Creators Academy
    17 October–12 November 2016
    Tuesday to Saturday 11.00am–5.00pm / Wednesday until 7.00pm
    (Monday by appointment)

    Daily Activities / All Welcome
    Yoga: every Tuesday, 10.00am–11.00am
    Evening talks: Wednesdays, 5.00pm–7.00pm: 19 October, 26 October, 9 November
    Featuring Alessandro Gandini, Heidi Seetzen, Jack Self, Precarious Workers Brigade, and more

    Closing party: Saturday 12 November, 3.00pm–7.00pm

    Since the global rise of creative working spaces, from smaller office-hub spaces like Second Home to large-scale media companies like Google and Facebook, the words Collaboration, Sharing and Community regularly appear in branding and mission statements of such organisations. They reflect a certain ethos of supporting individuals to work more efficiently, create more professional content, and to ultimately increase access to lucrative opportunities and financial capital.

    Collaboration, Sharing and Community are the working values that are reconsidered as part of the SPCA. By staging the spatial and organisational features normally found in creative working environments, the SPCA examines how these terms are used by organisations to incubate creativity and suggests possible ways that they can be refocused and repurposed in order to create alternative forms of capital.

    Read the Academy’s full programme.

    Activities are free and  booking recommended. Please email stanleypickergallery@kingston.ac.uk to reserve your place.

    Martin WestwoodStanley Picker Gallery
    Martin Westwood Residency 14–25 June 2016
    Public Event: Saturday 25 June, 2.00–4.00pm

    Former Stanley Picker Fellow Martin Westwood presents Re-cut Piece (working title), a work of re-mediation, documentation, performance, technical support and materiality. Developed over a week-long residency in which the exhibition space is architecturally reworked while remaining open to the public, Re-cut Piece (working title) produces and stages the montage of multiple parallaxes – from haptic to audial, performative as well as architectural.

    Comprising multiple durational interventions within the Gallery, Re-cut Piece (working title) introduces a layered process of re-organisation of technical, social and biological organs into a perverse aggregate. The installation includes a new moving image piece that takes documentation of a historic performance as its initial motif to display the activity of kneading dough into photocopier carbon and microphone windshields. Residues from the video’s production are redeployed in the gallery, whose space is also being figuratively kneaded over the course of the week.

    Martin Westwood’s residency and show are part of his current PhD with the Contemporary Art Research Centre CARC at Kingston University.

    Visit www.stanleypickergallery.org for more information.

    Oreet Ashery: Revisiting Genesis at the Stanley Picker Gallery

    As a culmination of her Stanley Picker Fellowship research, Oreet Ashery presents Revisiting Genesis, a new major commission taking the form of a web-series in twelve episodes. Written and directed by the artist, Revisiting Genesis explores the philosophical, sociopolitical, practical and emotional implications of the processes surrounding death and withdrawal, digital afterlives, outsider communities, social networks and reincarnations of women artists. With a new episode released weekly, the online narrative unfolds in parallel to Ashery’s exhibition at the Stanley Picker Gallery, which transforms the space into an interactive, social environment inspired by local community centres. The display also includes Black Orchid (1956), a bronze sculpture by artist Dora Gordine, presented with its original plinth, which evokes Ashery’s fascination with the life of the artist.

    Revisiting Genesis follows two nurses, both named Jackie, who assist people actively preparing for death to create biographical slideshows serving as their posthumous digital legacy. The slideshows become a tool for reflection on cultural and social loss, friendships and memory as identity. When a group of friends request this treatment for Genesis – an artist who is dying symbolically and otherwise – Nurse Jackie attempts to activate Genesis’ memory through the making of her slideshow, which draws from elements of Ashery’s own autobiography and explores the disappearance of social and educational structures under contemporary neoliberalism. Jackie concludes that it might not be Genesis who is vanishing, but the structures she had relied upon. Presented in parallel with Genesis’ story, the twelve episodes are intercut with improvised interviews between individuals with life-limiting conditions and Nurse Jackie, played here by a practising GP.

    Developed in consultation with Medical and Death Online experts, including researchers at Kingston University, and produced with a range of artistic collaborators, Revisiting
    Genesis responds to diverse influences spanning from feminist art practice to outsider and minority politics, as well as the emergent online death industry.

    Oreet Ashery is a UK-based interdisciplinary artist whose politically charged and socially engaged practice includes exhibitions, performances, videos and writings, in an international and local context, that explore issues of gender materiality, potential communities and biopolitics. Recent presentations include Fig.2 (ICA, London 2015), Animal with a Language (waterside contemporary, London 2014), The World is Flooding (Tate Modern, London 2014) and Party for Freedom (Artangel 2012-13). A current Stanley Picker Fellow in Fine Art at Kingston University, Ashery is represented by waterside contemporary.

    Revisiting Genesis is commissioned by the Stanley Picker Gallery, Kingston University and supported by a Wellcome Trust Arts Award, public funding by the National Lottery through Arts Council England, Tyneside Cinema, Goldsmiths University of London and waterside contemporary.

    EPISODE RELEASE SCHEDULE

    Showing at the Stanley Picker Gallery and online:

    13 April
    Episode 1
    Episode 2

    17 April
    Episode 3

    24 April
    Episode 4

    1 May
    Episode 5

    8 May
    Episode 6

    15 May
    Episode 7

    22 May
    Episode 8

    29 May
    Episode 9

    5 June
    Episode 10
    Episode 11

    12 June
    Episode 12

    Visit www.stanleypickergallery.org  for more information.

     

    Andy-Holden-summer-partyLR

    It’s party time!

    Stanley Picker Gallery Summer Party: Wednesday 8 July 6-9pm

    Curated by Andy Holden featuring M!MS Album Launch & Grand Aesthetics Game

    Free Event / All Welcome

    Stanley Picker Fellow Andy Holden returns to the Gallery to curate our 2015 Summer Party; an evening of music, games, film and live performance, celebrating the official release of the M!MS Original Soundtrack Album.

    Proceedings will commence with Holden’s Live Director’s Commentary of Towards a Unified Theory of M!MS (Maximum Irony! Maximum Sincerity); a film which began life during the artist’s Stanley Picker Fellowship with development of the soundtrack featuring Kingston’s Tiffin School Chamber Orchestra & Children’s Chorus and recorded live at The Rose Theatre as part of International Youth Arts Festival 2013. Two years on, the album launch event is now included in this Summer’s Festival programme.

    The M!MS project – initially presented at the Zabludowicz Collection, London, then Spike Island Bristol and more recently to Kunsthalle Winterthur Switzerland – is a depiction of an art movement started as teenagers by Holden and his friends whilst living in Bedford. Ten years later, current young residents of the town were cast to play the artists to “re-make the art movement and bring the manifesto back to life”. The M!MS film is to be premiered at the Stanley Picker Gallery Summer Party as a single screen linear piece, with Holden’s live narration describing the process and ideas behind the year-long project. The soundtrack will be available to purchase as a 12” brown vinyl album in a gatefold sleeve designed by the artist.

    The event will culminate in the first ever staging of the Grand Aesthetics Game; based on an activity originally devised by members of the M!MS movement, during the early development of their collective and penning of their Manifesto. Played by small groups at social gatherings or in cafés, the rules were mysterious and continuously evolving, leaving players unsure as to whether it was really a game or not. Adopting the image of the Glass Bead Game as it appears in the Herman Hesse novel, the Grand Aesthetics Game will take over the Gallery and players will immerse themselves in its nuances. Multiple rounds will be interspersed with screenings of short works, performances and live music by original members of M!MS.

    Everyone is welcome and we hope that Kingston University staff along with your friends and families, will join us for what promises to be a fun-fuelled and intriguing evening.

    For more information email picker@kingston.ac.uk or call 020 8417 4074. To keep updated with Gallery Projects and Events please Sign Up to our mailing list and follow us on twitter @PickerGallery

    http://www.stanleypickergallery.org/news/summer-party

    Image credit: Andy Holden Towards a Unified Theory of M!MS (2014) film still

     

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    Hackspace Workshop Project
    24 March, 12:00 midday at the Stanley Picker Gallery

    Over the next month, the Hackspace Workshop will be running a project with the Stanley Picker gallery, leading up to an exhibition of work.

    Any student from any course can get involved so if you’re interested in doing a project that engages with the subject of interactive art and design and the role that new technology plays, please come along.

    We’re having a short introduction to the project and the brief in the Stanley Picker gallery space
    TOMORROW – Tuesday the 24th of March at 12:00
    NO NEED TO BOOK JUST COME ALONG

     

    Image from Disobedient Objects, an exhibition at the V&A, which looks at how everyday objects have been the vehicle for social change. The exhibition runs until Fed 2015. Image from Disobedient Objects, an exhibition at the V&A, which looks at how everyday objects have been the vehicle for social change. The exhibition runs until February 2015.

    The results of the REF have been made public and the Faculty of Art, Design & Architecture, through its submission to Unit 34 (Art and Design: History, Practice and Theory) has done very well.

    A particular strength in the Faculty’s REF submission was the quality of its outputs. Of the staff research outputs that were submitted,  24% were judged to be “world leading” or 4* quality, and 48% to be “internationally excellent” or 3*.

    Using this metric Kingston ranks 19th out of the 84 Art and Design submissions for quality of research outputs, putting it ahead of other major institutions.

    Factoring in all three categories–staff outputs, research environment, and impact, art and design at Kingston University has achieved an overall grade point average of 2.93 ( highest ranked 3.51) placing us 35 out of the 84 institutions submitting to Art and Design. Of the nine units submitted to REF by Kingston University, Art and Design: History, Practice and Theory was the highest rated unit.

    The University also improved its performance from the RAE. Sixty per cent of Kingston University’s overall submission has been rated as world-leading and internationally excellent (4* and 3*), a 100% improvement on the results of the RAE in 2008. The best performing units of assessment in the university are Art and Design: History, Practice and Theory; Allied Health Professions and Nursing; English Language and Literature; Philosophy; Business and Management Studies; and, Computer Science and Informatics.

    This means that Kingston University has risen to 72nd from 91st in 2008, which puts us ahead of Brunel, Coventry, Oxford Brookes and Hertfordshire universities.

    This research assessment result secures the Faculty’s reputation for research both within the University and externally. This is immensely important and something we should be rightly proud of.   Congratulations to all the staff who have contributed such hard work to the submission, in particular Professor Fran Lloyd and the Research Office team who put in many, many hours to ensure that the Faculty achieved such a good result.

    For full results, subject rankings and institutional comparisons please see: http://www.timeshighereducation.co.uk/news/ref-2014-results-table-of-excellence/2017590.article

     

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    Stanley Picker Gallery

    Your Tongue in my Mouth

    Exhibition Launch Sat 31 May 2-4pm

    Artists: Terry Atkinson, John Akomfrah: The Stuart Hall Project, Ellen Cantor, Peter Harris, Alexis Hunter, Sarah Jones, Karen Knorr, Janette Parris, Bob and Roberta Smith, Heather Sparks and Jo Spence

    This exhibition, curated by Kingston PhD researcher Esther Windsor, opens alongside the 2014 Degree Show, and takes its title from Luce Irigaray’s interrogation of language and love. It features artists working with photography and conceptual practices, including archival 1970s and 1980s works by Alexis Hunter, Karen Knorr and Jo Spence alongside a series of contemporary artists, whose works all use the visceral and material experience of life; the exhibition locates subjects of gender, ethnicity and class as strategies for thinking about anxiety and precarious consciousness in a neo-liberal 21st century society.

    Your Tongue in my Mouth serves as an accompaniment to Esther Windsor’s curatorial PhD research study entitled Ugly Beast, a curator’s novel telling the story of a series of art world characters on the therapist’s couch, including a teacher, an artist, a dealer and a gallery director. Cut loose from institutions, families, structures, ways of thinking, knowing and even speaking, the novel’s characters struggle to find a voice and self-determination.

    Link to : http://www.stanleypickergallery.org/programme/my-tongue-in-your-mouth/

    Boudicca1[1]

    BOUDICCA The Liquid Game, Stanley Picker Gallery

    6 February – 22 March 2014 

    Boudicca is an avant-garde studio, founded in 1997 by Zowie Broach and Brian Kirkby, whose innovative work eloquently yet disobediently explores the creative territories between and beyond the worlds of art and design. Initially showing through galleries and exhibition spaces, Boudicca went on to present collections in London and New York, becoming the first independent British fashion house to be invited as a guest member of the prestigious Chambre Syndicale de la Haute Couture in 2007.

    Boudicca’s fearlessly uncompromising working methods are both meticulously considered and emotionally charged. The duo’s richly researched work takes direct reference from cultural and political history, science and technology, nature and landscape, exploring the tailored silhouette whilst simultaneously exploiting a multitude of new disciplines – including 3D printing, processing, coding, film and chrono-photography – in an effort to examine, re-define, deconstruct and atomise fashion and identity. They strive for all their work to “cause collision and rupture in known landscapes in order to create upheaval”, describing their practice as “a hunt for the invisible…a casting up of all possibilities, experiments, history, identity, design, landscape, sound, body, breath, narrative, to form an alchemic persuasion new to ourselves.”

    For their Stanley Picker Fellowship, Boudicca have been exploring the continued integration of digital imaging and the moving image as expressive mediums within their wider studio practice. Referencing the cultural history of the Gallery’s island-location and the surrounding Hogsmill River – its upstream river banks immortalised in Sir John Everett Millais’ renowned painting Ophelia (1851-52) – The Liquid Game is an immersive audio-visual installation that exploits the architecture of the Gallery, provoking a sensory response in the viewer that highlights their corporal presence in the exhibition space.

    Q&A Event: 6pm Wed 5 March / Main Lecture Theatre, Knights Park Campus
    Boudicca in conversation with Jonathan Faiers, author of Dressing Dangerously: Dysfunctional Fashion in Film

    Find out more.

    Stanley Picker Gallery. A Measurable Factor Sets the Conditions of its Operation (installation view) 2013.

    The work of the innovative shoe designer and Stanley Picker Fellow Marloes ten Bhömer currently features on the cover of Vogue Italia (August 2013 ) (http://www.vogue.it/en/magazine/cover-story/2013/08/perfect-pieces#ad-image1) Under the title Perfect Pieces the model can be seen wearing ten Bhömer’s Blackfoldedshoe(2010) constructed from a single piece of folded leather, highlighting how the designer’s highly experimental and research-based approach to footwear design is now being embraced by the world of mainstream fashion.

    For London Design Festival (LDF) 2013 (http://www.londondesignfestival.com/events/marloes-ten-bh%C3%B6mer-measurable-factor-sets-conditions-its-operation-collaboration-stanley) this September, the Victoria & Albert Museum in London is showcasing recent work commissioned through ten Bhömer’s Stanley Picker Fellowship at Kingston University, in which she investigates the ‘woman in motion’ as an engineering problem and the role high heels play in the cultural construction of female identity.  The designer will be discussing her working practice at a special LDF lecture on Monday 16 September at 2pm in the V&A Hochhauser Auditorium (free event; no booking required). Her work will be showing in the Museum’s Fashion Galleries throughout LDF from 14-22 September.

    Entitled A Measurable Factor Sets the Conditions of its Operation this new display continues research staged in an exhibition earlier in the year at Kingston University’s Stanley Picker Gallery, presenting a series of investigative pieces, processes, tests and trials for a new footwear collection informed by engineering principles that purposefully shirks fashion trends and styles, based instead upon ten Bhömer’s extensive research into the structural parameters required to support a foot (in a high-heeled position) whilst in motion. This series of structural, aesthetic and cultural experiments reveal links between rationalised parameters, aesthetic intuition and structural understanding, the new display for LDF relating to objects in the V&A permanent collection. By considering ‘the woman in motion’ as an engineering problem, ten Bhömer exposes and questions the role high heels play in the cultural construction of female identity.