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.

Jenna Bliss, Poison The Cure, 2017. Still from HD Video, 30 min. Courtesy of the artist

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.

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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

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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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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Madera: the soul of wood, nobly expressed

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