Top: Jenna Bliss, Poison The Cure, 2017. Still from HD Video, 30 min. Courtesy of the artist. Above: Fenixo installation at Dartington Hall, Devon, 1980. Photographer unknown. Courtesy of the Estate of Monica Ross
Martine Syms, Incense, Sweaters and Ice, 2017, film still, 72 min. Courtesy of the artist and Bridget Donahue, New York
Jenna Bliss, Poison The Cure, 2017. Still from HD Video, 30 min. Courtesy of the artist
Fiona Clark, Brain scans, 1998, positive colour print Genomegram. Courtesy of the artist and Michael Lett, Auckland
A group of works from the recent past and present has been gathered for 56 Artillery Lane alongside a weekly live programme. Visual vocabularies range from bodily waste and bacterial growth to intimate self-imaging. Sculptural forms make reference to temporary shelter and collective occupation, while films are diaristic, improvised and quasi-fictional. The archive is invoked as a ‘homemaking’ space. The exhibition provides a partial map of the domestic as an unstable zone.
21 April – 11 June 2017
56 Artillery Lane
curated by Amy Budd and Naomi Pearce
Raven Row
56 Artillery Lane, London