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56 Artillery Lane

In the exhibition at Raven Row gallery in London “home” is a stage on which kinship and self are transformed through acts of love, cruelty and indifference.

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  • 18 April 2017
  • London

For this exhibition at the Raven Row gallery in London, “home” is imagined as a space for social, sexual and political agency, and the “domestic” as a stage on which kinship and self are formed and transformed through acts of love, cruelty and indifference.

<b>Top:</b> Jenna Bliss, Poison The Cure, 2017. Still from HD Video, 30 min. Courtesy of the artist. <b>Above:</b> Fenixo installation at Dartington Hall, Devon, 1980. Photographer unknown. Courtesy of the Estate of Monica Ross
Martine Syms, <i>Incense, Sweaters and Ice</i>, 2017, film still, 72 min. Courtesy of the artist and Bridget Donahue, New York
Jenna Bliss, <i>Poison The Cure</i>, 2017. Still from HD Video, 30 min. Courtesy of the artist
Fiona Clark, <i>Brain scans</i>, 1998, positive colour print Genomegram. Courtesy of the artist and Michael Lett, Auckland
Ben Burgis & Ksenia Pedan, installation view, OIKOS, Union Pacific, 2015. Photo Oskar Proctor. Courtesy of the artists and Union Pacific

  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.

Fiona Clark, Tatoo., 1997, hotographic images on canvas with embroidery. Courtesy of the artist and Michael Lett, Auckland


21 April – 11 June 2017
56 Artillery Lane
curated by Amy Budd and Naomi Pearce
Raven Row
56 Artillery Lane, London

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