Stephen Willats's Blog

A Busy, Happy Ending to 2015: recent news and a round up of the year

Christmas Tree at CHELSEA space – stacked benches designed by Gary Woodley for CHELSEA space in 2010 and a mirrorball from the exhibition Neal White: Fieldworks in the Museum of the Void (2009)

It has been another great year for CHELSEA space, thank you to everyone  who has exhibited, visited, participated or contributed, we are grateful for your continuing support. We have done a lot in the past twelve months but we’ve kept the energy flowing and have ended the year with a string of activities.

MA Curating and Collections students screen films at their Protest Performance Body event at CHELSEA space

On the penultimate day of our exhibition Can Do: photographs and other material from the Women’s Art Journal Archive curators from Chelsea’s MA Curating & Collections course organised an evening of screenings and discussions in CHELSEA space. The event was entitled Protest Performance Body and featured screenings by artists Suzannah Pettigrew, Hope Plescia and Diana Chire. With the backdrop of the Can Do exhibition these screenings and discussions were an interesting contemporary response to the Women’s Art Library Magazine Archive.

poster for the What We Do Is Secret  zine reading event at CHELSEA space

On Friday 11th December, MA Curating and Collections organised a series of readings from feminist zines from the London College of Communication Library’s zine collection as the first part of the Protest Performance Body events.

Lisa Le Feuvre and Phyllida Barlow in conversation at Chelsea 10.12.15

One day earlier, on Thursday  10th December,  we hosted an ‘in conversation’ between artist Phyllida Barlow and curator, writer and Head of Sculpture Studies at the Henry Moore Institute, Lisa Le Feuvre. The talk was a huge success, open and uncompromising, giving us great insights into Phyllida Barlow’s work and ideas and a no-bars-held account of what sculpture means to these two important and thoroughly engaging figures.

Art & Language’s Michael Baldwin and Mel Ramsden with gallerist and collector Eric Fabre in conversation with Dr Jo Melvin

At the start of the week, on 7th December, Dr Joanna Melvin presented a screening of Art and Language’s Qui Pourra, 2007 followed by a panel discussion with Michael Baldwin and Mel Ramsden from Art and Language with gallerist and collector Eric Fabre. This short film focuses on the studio and Art & Language’s collaborative dialogic practice. The film uses as its starting point Courbet’s The Artist’s Studio; A real allegory summing up seven years of my artistic and moral life, 1854-55, and a lively discussion ensued.

MA Curating and Collections students installing framed images for the Can Do exhibition at CHELSEA space

The production of the Art and Language event was undertaken by students of MA Curating and Collections. Now in its second year, this MA course was co-written by CHELSEA space Director, Donald Smith, and writer and curator, Dr David Dibosa. Supported by our Public Programme Curator, Karen Di Franco, our Research Fellow, Cherie Silver, and our Technical Consultant, artist Mike Iveson, Donald Smith acts as ‘practitioner in residence’; CHELSEA space retains the autonomy and integrity of its programme whilst its activities form part of the ‘professional practice’ element of curatorial studies. The course team is completed by curator Lynton Talbot as Senior Lecturer, curator and writer Dr Joanna Melvin as Reader in Collections and Archives and Dr David Dibosa as Principal Lecturer and Course Director. It has been a good year for David Dibosa who has recently embarked on a large scale research project as co-investigator for Black Artists and Modernism whilst Jo Melvin has recently curated Christine Koslov: Information No Theory at the Henry Moore Institute in Leeds.

L-R: Karen Di Franco, Cherie Silver and Lisa Le Feuvre

We are also delighted to announce that our Research Fellow, Cherie Silver, has recently been appointed as Senior Gallery Assistant, embedding her further into our core team. Meanwhile, our Public Programme Curator, Karen Di Franco, has recently embarked on a PhD with Tate and Reading University, researching artists’ publishing. Alongside  Elisa Kay, Karen is also co-curating our forthcoming show  The sun went in, the fire went out: landscapes in film, performance and text featuring Annabel Nicolson, Carlyle Reedy and Marie Yates. The private view is on January 26th and the show runs until March 4th which, coincidently, is the same date as the private view for Gary Woodley: Impingement No. 47 - CHELSEA space’s inaugural exhibition in 2005!

curator Lynton Talbot (left) with gallerist Laure Genillard and artist Stephen Willats at CHELSEA space

Lynton Talbot and Hana Noorali who, with Elena Crippa, curated our 5th anniversary shows and events entitled Should I Stay Or Should I Go , recently curated The Boys The Girls and the Political  at the Lisson Gallery. This intelligent show received positive reviews in several journals including Frieze. We are delighted that Lynton Talbot and Hana Noorali will return to curate an exhibition at CHELSEA space in 2016.

Dancers performing ‘Earle Brown December 1952′ directed by Cally Spooner at CHELSEA space in 2009. Artworks by Alice Channer

Ice Trade 2007 installation view with work by George Henry Longly (floor – far left)

The Boys the Girls and the Political was a large group show and featured two artists who have shown at CHELSEA space in the past: George Henry Longly , who featured in Ice Trade curated by Matt Packer and Kim Dhillon in 2007, and Cally Spooner who directed Earle Brown: December 1952 at CHELSEA space in 2009 and exhibited and performed in With Words Like Smoke curated by Isobel Harbison in 2010. From 16th January to the 13th March the Stedelijk Museum in Amsterdam will be showing Cally Spooner’s “immersive five-channel film installation” And You Were Wonderful On Stage

Bruce McLean interviews himself at the ICA studio for Fig-2 filmed by collaborator Eddie Farrell. McLean’s 2006 CHELSEA space poster hangs on the wall. photograph: Benjamin Cosmo Westoby courtesy fig-2

Bruce McLean poster for his exhibition at CHELSEA space in 2006 shown in Fig-2 at the ICA studio, London 2015

As we mentioned in our last blog, CHELSEA space was proud to be name-checked in two other London venues this year, firstly at Bruce McLean’s week-long interview with himself for fig-2  at the ICA where McLean’s poster for his 2006 CHELSEA space show Process Progress Projects Archive  was hung on the wall of the ICA studio. McLean’s self-interview was filmed by his long time collaborator Eddie Farrell whose films and performances have featured in several CHELSEA space shows since 2005.

Syd Shelton photographs from his Rock Against Racism show at Autograph ABP

We were also acknowledged in the introductory text panel for Syd Shelton’s exhibition at Autograph ABP for giving Shelton’s Rock Against Racism photographs and graphics their first showing in the A Riot of Our Own exhibition at CHELSEA space in 2008. Finally, Donald Smith was honoured to be included for the 5th year running in the Artlyst Alternative Power 100.

Donald Smith with artist Ed Ruscha at CHELSEA space 2015. Photo: Clive Phillpot

We have enjoyed welcoming everyone to Millbank this year, it has been good to see old friends and make new ones and we have had some interesting and enjoyable times.  We would like to extend a special thanks to people and institutions who have been particularly helpful in making our exhibitions and public programme possible this year:

Clive Phillpot, Ed Ruscha, Lawrence Weiner, The National Maritime Museum, Michael Bracewell, Sarah Dobai, Tom McCarthy, David Campany, ICA; William Allen, The Estate of Ken Cox, Nicholas Logsdail, Matt O’dell, Lisson Gallery Archive, Lynton Talbot, Keith Collins, Estate of Derek Jarman, Jo Melvin; David Batchelor, Alfredo Jaar, Francis Thorburn, Gary Woodley; Liz Ward, Rahul Patel, Gustavo Grandal Montero, Melanie Keen, Keith Piper, Paul Goodwin, Mykaell Riley; Leslie Foxcroft, Annely Juda Fine Art; Mo Throp, Maria Walsh, Althea Greenan; Dr David Dibosa, Martin Newth, Lucy Beech, Hana Noorali, Phyllida Barlow and Lisa Le Feuvre.

Here are a few more images from 2015,  we wish everyone the best for the new year and we look forward to seeing you at CHELSEA space soon!

Phyllida Barlow and Lisa Le Feuvre in the Can Do exhibition at CHELSEA space December 2015

2014-15 MA Curating and Collections students with Clive Phillpot installing ‘In Peril On The Sea’. January 2015

artist David Tremlett with MA Curating and Collections students at the Leslie Foxcroft opening, October 2015

American Pop Artist, Jim Dine at Chelsea, November 2015. photo: Donald Smith

Leslie Foxcroft (foreground) installing her show with Cherie Silver and Mike Iveson. September 2015

Cherie Silver and Yun Teng Seet prepare Yinka Shonibare’s ‘House’ for the Re:Recordings exhibition. June 2015

Margaret Cox with Lisson Gallery’s Nicholas Logsdail at the Ken Cox show at CHELSEA space April 2015

William Allen (left) and friends. Ken Cox private view, April 2015

artist Keith Piper with academic and former Steel Pulse Frontman, Mykaell Riley, at the Re:Recordings exhibition at CHELSEA space. July 2015

Virginia Whiles deep in conversation with writer and curator Guy Brett at the Ken Cox exhibition in April 2015

artist Sonia Boyce with archivist/curator Liz Ward during Re: Recordings July 2015

artist Leslie Foxcroft with Nigel Carrington, Vice Chancellor of University of the Arts London at the private view of Foxcroft’s show at CHELSEA space in October 2015

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Ten and a half and still going strong

CHELSEA space #61 – Leslie Foxcroft: ‘Corners’

Our 61st exhibition, Leslie Foxcroft: Corners, is now in its final week. This elegantly poised minimal installation helps us reflect not only on the excellent work of this highly respected artist but also on the architecture that it inhabits.

Leslie Foxcroft ‘Defining’ 2015

The material language of MDF, screws and washers is unembellished and clear and Foxcroft’s title – Corners – is equally direct, showing us not only how these works beautifully articulate spaces that are usually ignored, but also pointing out that the walls of the main exhibiting area of CHELSEA space are not linked conventionally but, instead are two ‘L’ shapes separated by a glass window on one side and an entrance way on the other.

Leslie Foxcroft installing ‘Defining’ 2015 at CHELSEA space

Whilst we are dissappointed that the last day of our Leslie Foxcroft show is this Friday, we are delighted that Friday 30th October is also the first day of Leslie Foxcroft: Angles at Annely Juda Fine Art and we are looking forward to seeing this Dering Street installation. After Leslie’s show with us has finished we can take some consolation that we still have the very handsome small exhibition publication Drift that was produced by the artist for us in collaboration with our Public Programme Curator, Karen Di Franco, and Modern Activity. Copies of Drift will soon be available from our E-Store priced £5.

left: Gary Woodley Impingement #47 2005. right: partial reconstruction of Impingement # 47, 2015, curated by Anastasia Papaonisiforou

Leslie Foxcroft’s installation is part of a long term open series of site specific and site related shows that started with our inaugural show Gary Woodley Impingement #47 in 2005 and also includes Peter Downsbrough’s AND HERE + A PLACE TO BE. MA Curating and Collections graduate, Anastasia Papaonisiforou worked with Gary Woodley to partially reconstruct Impingement 47 at CHELSEA space as her graduation piece for the exhibition LIVE: Works from the Collections.

MA Curating & Collections students (2014-15) working with Clive Phillpot at CHELSEA space in 2015

MA Curating and Collections students (2015-16) listening to curator Carol Tulloch at the Syd Shelton exhibition at Autograph

Although we didn’t hold a big 10th anniversary celebration like our Should I Stay Or Should I Go events for our 5th year, we were delighted that Anastasia marked the 10th year for us with the partial reconstruction of the Gary Woodley installation a decade after its original outing. The establishment of MA Curating and Collections, co-written by Dr David Dibosa and CHELSEA space Director, Donald Smith, was the big marker of the first 10 years; CHELSEA space has retained its autonomous exhibitions and events programme but the ethos, professional practice and exhibition history of CHELSEA space has now become part of curatorial pedagogy at Chelsea College of Arts.

artist Sarah Lucas (left) with MA Curating and Collections graduate, Giulia Ponzano, who has been working at the Venice Biennale

outgoing Chelsea Arts Club Trust/CHELSEA space Research Fellow, Sinead Bligh (left) with new Fellow, Cherie Silver.

Many of the 2014-15 cohort of students have already found curatorial and gallery roles, we wish them all well in the future and we welcome the new students. One of the MA Curating and Collections graduates, Cherie Silver has been awarded the Chelsea Arts Club Trust Research Fellowship and will be based with us at CHELSEA space. We are grateful to the outgoing Fellow, Sinead Bligh, who is currently working with the Barry Flanagan archive.

CHELSEA space’s 2006 Bruce McLean poster displayed at Fig-2 at the ICA, October 19th – 25th 2015. photo:Benjamin-Cosmo-Westoby

Bruce McLean interviewing himself at Fig-2 at the ICA photo: Benjamin  Cosmo Westoby         courtesy   Fig- 2

Ten and a half years into the CHELSEA space project it has been interesting and flattering to see our exhibition history and our role in instigating projects being acknowledged at other venues recently. Bruce McLean’s 2006 CHELSEA space show and self styled “process-spective” Process Progress Project Archive was evoked with a display of our poster as part of McLean’s Fig-2 at the ICA. McLean also kindly ackowledged the importance of our show with him during filming for his ‘interview’ with himself.

introductory text to Syd Shelton’s Rock Against Racism show at Autograph ABP including acknowlegement to Donald Smith and CHELSEA space

private view for Syd Shelton ‘Rock Against Racism’ at Autograph

CHELSEA space and Director, Donald Smith, were also acknowledged for our exhibition A Riot Of Our Own in the introductory text to Syd Shelton’s exhibition  Rock Against Racism at Autograph ABP.

Mo Throp discussing the forthcoming CHELSEA space show ‘Can do’ with MA Curating and Collections Students

Finally, we are looking forward to our forthcoming exhibition focussing on the Womens Art Library Magazine Archive entitled Can Do and curated by Mo Throp and Maria Walsh. The private view is on November 17th frm 6-8.30pm and we look forward to seeing you there.

Thank You – CHELSEA space is 10 Years Old.

 

Hana Noorali, Bruce McLean and Lynton Talbot installing ‘Act 1′ of our 5th year anniversary celebrations ‘Should I Stay Or Sould I Go’ in 2010

On March 4th 2005 we opened our doors for the private view of an exhibition by Gary Woodley. It was our first show and we are now 10 years old!

Thank you to everyone who has visited, exhibited, performed or worked at CHELSEA space, we are truly grateful for your support. We have so far made 58 shows (not to mention the events, performances and talks) and between 2006 and 2013 we also made 30 exhibitions at our sister gallery, Chelsea Futurespace.  Below are a few images from the last decade, the full Exhibition Archive can be seen here.

We are truly privileged to still be here, We look forward to seeing you for the private view of show # 59, Ken Cox: Poetry Machines at 6pm on Tuesday 28th April and finally we would like to pay tribute to absent friends.

Anton Lukoszevieze plays cello in a performance on 12th April 2005 during  the exhibition Gary Woodley: Impingement no. 47

Avalanche 190-1976 curated by Lisa Le Feuvre 11.06.05 – 23.07.05

Lawrence Weiner window text for ‘Turtle: An Anarchic Salon’ curated by Michael H Shamberg 2006

the late Michael H Shamberg (far left) and actress Maxine Peake (far right) during rehearsals for reading in 2006

2006 Scooter ride-out for our exhibition ‘Ready Steady Go: Scooter Style and Urban Dreams’

Mark Titchner with his work Ur Text alongside Marcel Duchamp’s Rotoreliefs for the exhibition ‘Vertigo’ in 2007

‘Shin Azumi and Norman McLaren’ curated by Jane Won 2007

Jeremy Deller and Bob Smith at the Frank Sidebottom show ‘CHELSEA space is Ace’

Adrian Shaw (right) and friends at the private view of ‘Will Alsop: Towards’ 2007

installation view of ‘The Affirmation’ 2007. This image including works by Jamie Shovlin, Ed Ruscha, Paul and Steve Claydon, Wyndham Lewis and Goshka Macuga

The late Noel Forster’s open ‘scroll’ works shown in 2008

The late great Seth Siegelaub with Jo Melvin and Marja Bloem with Bill Beckley’s ‘Silent Ping Pong’ at CHELSEA space in 2008

Bill Beckley and Lisa Le Feuvre

Syd Shelton ‘Militant Entertainment Tour: West Runton Pavilion’ 1979 from the exhibition ‘A Riot Of Our Own’ 2008

Cally Spooner, Donald Smith and Nancy Dell’Olio at the private view of ‘Steve Thomas: Big Biba and Other Stories

Generation X guitarist Tony James with Clash bass player Paul Simonon at the private view of ‘Mick Jones Rock & Roll Public Library’ in 2009

Mick Jones Rock & Roll Public Library curated by Donald Smith

Jason Brown’s CHELSEA cab – CHELSEA space projects on a London Taxi

Jack Wendler and Michael Craig Martin at the private view for ‘Dematerialised: Jack Wendler Gallery 1971-1974′ curated by Teresa Gleadowe

Sir Nicholas Serota and Donald Smith discuss David Askevold’s
video ‘Learning About Cars and Chocolates’

Tap dancing at the private view for ‘Jazzonia and the Harlem Diaspora’ in 2009

private view of ‘iitala: Into The Woods’ 2009

Amalia Pica with Isobel Harbison during the exhibition ‘With Words Like Smoke’ in 2009

‘The Liferoom’ 2009

Frank Sidebottom, Bruce McLean and Will Alsop at the opening event for our 5th year anniversary ‘Should I Stay Or Should I Go’ curated by Elena Crippa, Hana Noorali and Lynton Talbot

The ‘Korean Korators’: Gyeyeon Park, Daeun Jeong, Su Jin Lee, with rubber hats by Flora McLean 2010

Elena Crippa, Hana Noorali, Mick Jones and Lynton Talbot Act 5 ‘Should I Stay Or Should I Go’ 2010

Mick Jones plays ‘Should I Stay Or Should I Go’ for a CHELSEA space 5th birthday present

installation view of Don’t Do Any More Henry Moore 2010

Click here to see Dudley Sutton ‘Don’t Do Any More Henry Moore’. Film by David Barnett

artist and musician Peter Daglish contemplates the early work of Shelagh Cluett

Jerry Dammers and Mick Jones at the private view for ‘Process: The Working Practices of Barney Bubbles’

Musician Captain Sensible with CHELSEA space’s Donald Smith

artist Bruce McLean with Hales Gallery’s Paul Hedge

Billy Bragg at CHELSEA space in 2010

Frank Sidebottom and Debra Welch

The late Roger Ackling during the installation of his show ‘Down To Earth’ at CHELSEA space in 2011

Richard Long

multiples by Eduardo Paolozzi ad David Shrigley from the exhibition ‘Ideal Home’ 2011

Clive Phillpot with Tate archivist Adrian Glew

Nobby Graham with actor Malcolm Tierney and artists William Furlong, Bruce McLean, and Peter Daglish

Aurea Romero rehearsals choreographed with Anna Manubens in the exhibition ‘Peter Downsbrough: And Here + A Place To Be’ 2011

Mike Iveson, Manca Bajec and David Gothard

Lloyd Johnson at CHELSEA space in 2012

Robin Jenkins, Ami Abou Bakr, Stephen Farthing and Caitlin Smyth

Director of Tate Britain Penelope Curtis, Miran Mohar (behind) and Michele Drascek in 2012

installation view of Max Clendinning ‘Avant Craft’ 2012

Laure Genillard and David Tremlett

Tate Modern Director Chris Dercon with curator Lynda Morris at the exhibition ‘Dear Lynda’ in 2012

Pil and Galia Kollectiv with a painting by Neil Clements at the private view for ‘Red white and Blue…’ in 2012

curator Kate Ross with artist 2012 Nicky Carvell

Oswaldo Macia ‘The Library of Cynics’

Richard Wilson and Donald Smith during the installation of ‘Richard Wilson: No Formulas’

Incredible jazz photographer: The late David Redfern. photo: Gavin Freeborn

artist and CHELSEA space Research Fellow Sinead Bligh with curator Jason Brown in 2013

Texas Joe at the private view for Hatch Show Print: Nashville Calling in 2013

exterior view of the private view for Almost Bliss: Notes On Derek Jarman’s Blue 2014

writer/curator/educator David Dibosa with artist Faisal Abdu’Allah in 2014

actor Dudley Sutton with Crispin Chetwynd and Grenville Davey

Stephen Willats with students from MA Curating and Collections

‘Bob Cobbing: Bill Jubobe’ 2014

Hana Noorali and Richard Wilson

CHELSEA space Director Donald Smith with Ed Ruscha, March 2015

 

We are all at sea

Members of Chelsea’s MA Curating and Collections course assisting Clive Phillpot installing In Peril On The Sea.

In Peril On The Sea private view seen from outside

After all of the work preparing and installing, Clive Phillpot and his curatorial assistants from Chelsea College of Arts’ MA Curating and Collections settled back and enjoyed the private view of In Peril On The Sea: Sailing Ships and Stormy Seas 

Breton brigade: curator Clive Phillpot with Dr David Dibosa and Dr Joanna Melvin

Tate archivist Adrian Glew with Clive Phillpot at CHELSEA space

Hana Noorali, Jo Melvin, Virginia Whiles, Gabriel Loy, Leslie Foxcroft, Lynton Talbot

Clive Phillpot and Laure Genillard

Clive enjoyed welcoming everyone and it was great to see friends who have worked with CHELSEA space in the past including Jo Melvin who curated Ping Pong Dialogues: Bill Beckley for us in 2008, Hana Noorali and Lynton Talbot who, with Elena Crippa, curated our 5th year anniversary shows and events Should I Stay Or Should I Go? in 2010 and Laure Genillard who curated our show Aftermath: Objects from Projects in 2011.

copies of Marcel Broodthaers’ A Voyage On The North Sea

The starting point for the show is Marcel Broodthaers’ 1974 artists’  book  A Voyage On the North Sea.  Clive Phillpot has taken the line from Broodthaers’ introduction, “It is up to the attentive reader to find out what devilish motive inspired this book’s publication”, as an open invitation and uses the exhibition to “explore ‘motive’ and ‘decoy’ within artistic and curatorial practice”. Marcel Broodthaers  featured once before at CHELSEA space when we showed his film Speakers Corner in our 2009 show Dematerialised: Jack Wendler Gallery 1971 to 1974 curated by Teresa Gleadowe.

In Peril On The Sea: Sailing Ships and Stormy Seas at CHELSEA space

In Peril On The Sea… is thought provoking and mischievous and presents an environment suggesting instability and precariousness. Walls are painted green and emblazoned with nautical language; works are spot-lit; modern and contemporary artworks sit alongside reproductions of historic marine paintings. A real boat (kindly loaned by the artists’ bookshop and project space, X Marks the Bökship), posters hung askew, TV monitors, multiples and artists’ books – all are given equal status.

Magritte>>Broodthaers>>Phillpot sticker designed by Ashley Fernandez and Liam Moore

We Are Ships At Sea Not Ducks On A Pond  1986. Street poster commissioned Air Gallery London and Artangel.  copyright: Lawrence Weiner

Ed Ruscha posters kindly loaned by the artist either side of an RNLI donation box

It is hard to ascertain what is authentic in this show and how we should view the work. The Lawrence Weiner street poster from 1986 is not the original, but a facsimile kindly authorized by Weiner especially for this exhibition. There are two Ed Ruscha posters on display; posters are clearly not original artworks however they are Ed Ruscha’s  personal copies, sent from his studio in California. Between Ed Ruscha’s posters is a real RNLI collection box from the Tower Lifeboat station reminding us that, curatorial jokes aside, peril on the sea can be a matter of life and death.

photograph taken at CHELSEA space by Deniz Paran

Visitors to the exhibition have responded positively to the ‘slippage’ and confusions that the show throws up. This photograph by Deniz Paran of Millbank Tower, Tate Britain and Chelsea College of Arts reflected in the glass frame of a reproduction of The Gust by Willem Van de Velde the Younger is a perfect illustration of how Clive Phillpot’s show has left us feeling all at sea.

Hello 2015 and a sad farewell to some good friends

poster for Benedict Drew’s Dyslexic Shanty

Benedict Drew performing Dyslexic Shanty at the Triangle Space at Chelsea

2014 ended for CHELSEA space with the popular exhibition Bob Cobbing:Bill Jubobe and a spectacular finale in the form of an especially commissioned performance by Benedict Drew on Thursday 18th December.

photographer David Redfern at the Dobells exhibition at CHELSEA space in 2013. photograph: Gavin Freeborn

2014 has been another great year for CHELSEA space, sadly though we also lost some very good friends. We were very sorry to hear the news of the death of  music photographer David Redfern who, in a career spanning six decades, photographed everyone from Bill Haley and the Comets to Arcade Fire.  His photographs of musicians such as the Beatles, the Rolling Stones and Jimi Hendrix are important and often iconic.

David Redfern’s 1967 Newport Jazz Festival portraits including Thelonius Monk, Gary Burton and Miles Davis shown in the Dobells show at CHELSEA space

Best known as an important photographer of Jazz,  he was a trusted friend of some notoriously difficult musicians of the Bebop and post-Bebop eras and was Frank Sinatra’s favoured photographer. CHELSEA space was honoured to include his photographs of the 1967 Newport Jazz Festival in our exhibition Dobells: Jazz Folk Blues. He gave an inspiring talk about his work at CHELSEA space and continued photographing at Jazz festivals right up until his death. He was a formidable creative force and a generous human being.

Rose Finn-Kelsey House Rules 2001 installed at CHELSEA space in 2011

Earlier in the year we heard of the sad loss of Rose Finn-Kelsey. CHELSEA space Director Donald Smith had known Rose for many years through her connection to Chelsea College of Arts as a tutor. He included her in the CHELSEA space exhibition Ideal Home in 2011 and had interviewed her for his short text on the 1972 show 7 Aus London as part of the inaugural issue of the journal, NOIT, published by Flat Time House.

Rose Finn-Kelsey with Guy Brett at the book launch for the major monograph of her work in 2013. Photo: Donald Smith

Most recently, in his role as Chair of Trustees of Chelsea Arts Club Trust, Donald had contributed support for the  Riding House publication on Finn-Kelsey’s work with texts by Guy Brett, Sarah Kent and the late Michael Stanley. Donald said “Rose was always full of energy and fun and was an intelligent artist. It is very moving to think that, less than a year before she died, she was able to see her achievments as an artist summed up in an excellent new book on her work. We miss her”.

Michael Shamberg (right) with artist Shaun McDowell at CHELSEA space in 2006

Finally we remember Michael H Shamberg. Tate Britain’s Adrian Shaw introduced Donald Smith to Shamberg  at the time of the 2006 Tate Triennial. Michael Shamberg had been working on the Triennal as Executive Producer for Liam Gillick’s performance/installation event Construcción de Uno with actors Maxine Peake, Ian Hart and Keeley Forsyth when Adrian asked Donald to join them during rehearsals.

Michael H Shamberg directs actors Maxine Peake, Ian Hart and Keeley Forsyth in an open reading as part of Turtle: An Anarchic Salon at CHELSEA space in 2006

Michael Shamberg was a filmmaker and curator from New York. He had worked on films and documentaries with bands such as New Order and Joy Division and had worked with artists and filmmakers including Lawrence Weiner, Dan Graham, John Baldessari, Chris Marker, Kathryn Bigelow and Robert Frank amongst many others. Sadly, he had been diagnosed with a rare progressive neurological disease and urgently wanted to use his remaining time and energy to set up a project that would celebrate relationships between  an international creative community.

Lamia Ziade Turtle 2006 installed at CHELSEA space

He had the idea of an open international salon of  events and exhibitions that was partly inspired by a sanctuary for the Mediterranean sea turtle. Set up on the border of Lebanon and Israel during conflicts between the two countries, Michael Shamberg felt that this turtle sanctuary was the only positive thing to come out of the war in the Lebanon and that a salon entitled Turtle would be his own sanctuary from his illness and be a creative haven for likeminded people in a turbulent world.

Lawrence Weiner’s window piece at CHELSEA space for Turtle: An Anarchic Salon 2006

The very first manifestation of Michael Shamberg’s idea – Turtle: An Anarchic Salon – opened at CHELSEA space on 27th June 2006. Throughout the duration of the show new work would arrive and be added to the installation, there was a bar and a piano; performances, events, talks, meetings and open readings occurred regularly. Artists contributing to the Salon included Carl Andre, Yvonne Rainer, Nathan Cash, Peter Saville, Louise Lawler, David Blandy, Kirsten Weiner and Lawrence Weiner amongst many many others. Contributing writers included  Etel Adnan and Ali Smith and musicians who performed during Turtle included Gavin Bryars, Gina Birch and Ana Da Silva, Bushra El-Turk, Simon Fisher-Turner and Sarah Sarhandi. A full list of the incredible events, performances and artworks can be found on the Turtle pages of our website.

WE ARE SHIPS AT SEA NOT DUCKS ON A POND, Street poster
published by Air Gallery & Artangel Trust, London, 1986
© Lawrence Weiner.

The energy of the late Michael Shamberg knew no bounds and his ambitions were enormous. Turtle has had a huge impact on a great many people; many new friendships were made and artists such as Lawrence Weiner and Kirsten Weiner have worked with CHELSEA space again since first being introduced by Michael.

Since CHELSEA space opened in 2005 we have been privileged to work with some incredible people and, as we enter our 10th year, we would like to extend our gratitude to everyone who has taken part in our exhibitions and events and thank everyone who has visited us. We hope to see many of you on 27th January for the private view of In Peril on the Sea: Sailing Ships, Stormy Seas curated by Clive Phillpot.

Happy New Year!

 

A Private View and a Parade

Private View for Bob Cobbing: Bill Jubobe at CHELSEA space

It has been another busy few weeks at CHELSEA space and we were delighted to host the private view for Bob Cobbing: Bill Jubobe on Tuesday 18th November.

curator and archivist Karen Di Franco with musician and writer David Toop

The exhibition was co-ordinated by CHELSEA space Programme Curator, Karen Di Franco, with the show’s curators, William Cobbing and Rosie Cooper, as part of their Bob Jubilé year-long series of events and displays celebrating the work and legacy of Bob Cobbing.

artists Leslie Foxcroft, Alan Charlton and Stephen Willats

Lisson Gallery’s Hana Noorali with artist Richard Wilson

private view

We were very happy to see some old friends and also to meet some new visitors who were associated with Bob Cobbing and the Concrete Poetry scene in London.

Bob Cobbing opening viewed from the Parade Ground

artist Stephen Willats with students from MA Curating and Collections at Chelsea

Running alongside Bob Cobbing: Bill Jubobe  are new displays in our Entrance and Ramp spaces entitled Work From The Collections #1 organized by CHELSEA space in collaboration with the Exhibition Studio Workshop – the practice-based unit of MA Curating and Collections at Chelsea College of Arts.

partial installation view from Work From The Collections #1

Work From The Collections is an ongoing series of displays focussing on the collections and exhibition histories of CHELSEA space, the ILEA/Camberwell Design Collection, and the Library Special Collections at Chelsea College of Arts. For this inaugural show, the students of the Exhibition Studio Workshop employed items from the collection to reflect on themes and ideas explored by artists such as Bob Cobbing.

MA Curating and Collections student Kittima Chareeprasit with Tate archivist Adrian Glew and Chelsea Special Collections Librarian Gustavo Grandal Montero

The displays included artworks, sound, film, artists books and multiples by artists including Pavel Buchler, Frederick Etchells, Diane Guyot de St Michel, Caroline de Lannoy, Wyndham Lewis,  Mark Titchner, David Toop, and Richard Wilson.

crowds gather on the Parade Ground at Millbank

The week before the private view, CHELSEA space had organized an event on Armistice Day, 11th November, to mark the signing of the treaty to end the First World War and to remember all those affected by conflict anywhere, at any time.

Second World War Veterans line up in front of a formation of London taxis to mark Armistice Day at Chelsea College of Arts

CHELSEA space worked with artist Peter Fillingham and anthropologist, Janet Hodgson, to organize a series of events, entitled A Day’s Silence. The day started with some screenings of Janet Hodgson’s films made with Second World War Veterans and The London Taxi Benevolent Association for the War Disabled. This was followed by a formation of London taxis and veterans on the Parade Ground of the former Royal Army Medical College in front of CHELSEA space and Tate Britain.

CHELSEA space Director Donald Smith thanks the veterans and announces that beer will be served in the art school

At the eleventh hour of the eleventh day of the eleventh month a two minute silence was observed, the veterans were then invited to join us for beer and sandwiches kindly provided by the  Chelsea Arts Club.

MA Curating and Collections students talking with World War Two veterans from the Royal Hospital Chelsea

pub piano and a singalong from crooner Danny McCrudden. photos; Gavin Freeborn

The veterans talked with Chelsea staff and students and invited members of the public however, we also provided a piano and it didn’t take long before they started playing and singing!

singing in the Green Room with Self Portrait 1990 by Chris Ofili in the background

conversations

singing soldiers plus Research Fellow Sinead Bligh with a former paratrooper in Black Watch Tartan

Peter Fillingham leads the discussion in the Red Room

After the veterans had left, proceedings concluded with a critical discussion concerning the nature of the day’s events and the role of art in contemporary memorials and monuments. Thanks to everyone who took part on the day.

A New Era: reflections on the summer, a new exhibition and the start of MA Curating and Collections

collections manager David Garnett preparing objects from the ILEA/Camberwell Collections for the new CHELSEA space exhibition ‘A Good Design?’

Instead of a quiet summer the period following the exhibition Markets featuring Charlotte Prodger and The Block was extremely busy and very productive.

installation view of ‘Icons of Process Carlyle Reedy’ curated by Karen Di Franco at Flat Time House. photo: Joe Plommer

Curator/Archivist, and CHELSEA space Programme Co-ordinator, Karen Di Franco curated the excellent Icons of Process Carlyle Reedy at Flat Time House.

installation view of ‘Icons of Process Carlyle Reedy’ curated by Karen Di Franco at Flat Time House. photo: Joe Plommer

This well researched exhibition was a rare opportunity to see a range of works by the American-born poet/performer/painter/collagist Carlyle Reedy (b.1938)  who was a member of the Artist Placement Group and an active participant in the 1960s British avant-garde.

detail from the Carlyle Reedy exhibition curated by Karen Di Franco at Flat Time House. Photo: Joe Plommer

The show included text and image-based works, photo documentation of performances, collages and films, as well as archives and ephemera, presenting an intriguing curatorial narrative around the life and work of this extraordinary artist. The exhibition was also accompanied by an illustrated publication including an interview between Carlyle Reedy, Guy Brett, and Karen Di Franco.

detail of Sinead Bligh’s sound installation at Balfron Tower

Meanwhile in London’s East End, artist and CHELSEA space Research Fellow Sinéad Bligh was preparing new sound works as part of an installation in collaboration with Alan McFetridge, James Lander and those who wish to remain anonymous in two vacated flats in Ernö Goldfinger’s iconic 1960s high rise building, Balfron Tower.

Sinead Bligh’s ‘Epistemological  Maquette’ at Balfron Tower

Sinead Bligh’s soundscapes were part of Bow Arts Trust’s Balfron Season and can be found along with her other audio works on the Sound Cloud

Henry Moore in the maquette studio 1976. photo: Gemma Levine

In 2009, Ann Harezlak assisted Teresa Gleadowe on the CHELSEA space exhibition Dematerialised: Jack Wendler Gallery 1971-1974. Ann is currently Assistant Director at Sonce Alexander Gallery in Los Angeles and recently curated  Arrive and likewise Depart, an exhibition examining perceptions of sculpture through documentation. Amongst the artists in this group show was Gemma Levine whose  archive, held at Tate, includes over four thousand photographs highlighting her collaboration with Henry Moore. Ann Harezlak worked on Levine’s Henry Moore archive and will be in the UK on 2nd December to participate in an ‘In Conversation’ with Gemma Levine at Tate Britain.

Fred Pradeau from his exhibition Outside-In/Upside Down at Videochroniques, Marseilles.

Curators Lynton Talbot and Hana Noorali, who organized our 5th anniversary shows and events Should I Stay Or Should I Go?  with Elena Crippa, have curated a new exhibition with Laure Genillard entitled …and the stage darkens (or this voice is a big whale). This show includes Florian Roithmayr who showed with us in our 2007 exhibition Ice Trade and Fred Pradeau who showed with us twice in 2011, firstly in Aftermath: Objects from Projects, curated by Laure Genillard, and then in Ideal Home. Fred currently also has a major exhibition at Videochroniques in Marseilles.  .…and the stage darkens (or this voice is a big whale) is at Laure Genillard London until November 22nd, other artists in the show include Ryan Gander, Haroon Mirza, Laure Prouvost, Franz Erhard Walther and Elaine Cameron-Weir.

installation views from ‘A Good Design?’ at CHELSEA space

Our latest exhibition A Good Design? Objects from the ILEA/Camberwell Collection traces the development of a project to cultivate design appreciation in school children.

Secondary School students examining a cabinet from the ILEA Design Appreciation scheme

Between 1951 and 1977  a series of exhibits, comprising of examples of ‘good design’ were circulated in London secondary  schools, presented in specially designed cabinets complete with informative texts and labels. The scheme was jointly conceived and implemented by the Council of Industrial Design and London education authorities with the idea of cultivating an interest in design, perhaps to inspire some students to become designers, and potentially to create the ‘consumers of tomorrow’. This optimistic educational project came in the wake of the Festival of Britain which was celebrated in our 2012 exhibition, Dome.

Maria Georgaki, Daisy McMullan and David Garnett at the private view for ‘A Good Design?’

For this exhibition we drew on the PhD research of Maria Georgaki who worked in consultation with our outgoing Research Fellow and curator, Daisy McMullan, Honorary Keeper of the Collection, Dr Linda Sandino, and the Collection’s manager, David Garnett.

cover for the ‘A Good Design?’ publication designed by Syd Shelton/Graphicsi

The exhibition publication for ‘A Good Design?’ was designed by Syd Shelton whose photography and graphic designs were featured in our exhibition about the Rock Against Racism movement, A Riot of Our Own. Syd’s photography was also shown in our exhibition Red White and Blue: Pop | Punk | Politics | Place and we are delighted that he has recently been featured in the Brighton Photo Biennal. All CHELSEA space publications including ‘A Good Design?’ are available from our E-Store

Students from Chelsea’s new MA Curating and Collections course in front of Henry Moore’s Two Part Reclining Figure 1959 with Course Director, David Dibosa, and CHELSEA space Director, Donald Smith

When the Inner London Education Authority (I.L.E.A.) was disbanded in 1990, the estimated 20,000 collected objects from the scheme were donated to Camberwell College of Arts and the collection became part of the Collections and Archives of University of the Arts London (UAL). This exhibition was deliberately timed to coincide with the start of the new MA Curating and Collections course at Chelsea College of Arts.

MA Curating and Collections students with Dr Joanna Melvin in the course collections study space

The Director of MA Curating and Collections is writer, curator and co-editor of Post Critical Museology, David Dibosa, and the course is co-written by CHELSEA space Director, Donald Smith, who will act as practitioner in residence and lead the ‘Exhibition Studio Workshop’, the curatorial practice element of the course.

Bob Cobbing reading ‘Are Your Children Safe in the Sea’ c.1966-1972.
Photograph: John Bennett

Following our current exhibition,  CHELSEA space’s core programme continues with Bill Jubobe: Bob Cobbing which opens with a private view on 18th November. Running alongside the core programme will be a new series of displays organised by CHELSEA space in conjunction with the Exhibition Studio Workshop under the title ‘Work From The Collections’. These displays will offer an opportunity to show material from the CHELSEA space and Chelsea College of Arts collections and other works that complement or contrast with the themes of the core programme.

MA Curating and Collections students at the private view of ‘A Good Design?’ L-R: Cherie Silver, Roberta Vacca, Kyle Chung, Oxana Smirnova

 

 

 

 

 

Roger Ackling 1947 – 2014

Roger Ackling at CHELSEA space in 2011

CHELSEA space was very sad to hear that the artist Roger Ackling passed away on Thursday 5th June 2014.

placing

Roger made a very memorable solo exhibition at CHELSEA space in 2011 entitled  Down To Earth 

Down To Earth

CHELSEA space Director Donald Smith said “Roger was an internationally renowned artist and an inspiring educator who will be greatly missed; he was generous, intelligent, supportive, and quietly mischievous. Roger came to me when he first became ill and said he had decided to retire from teaching at Chelsea College of Arts and that he would like to do a show with me at CHELSEA space. He asked if it could be at the same time as the BA graduation show so that he could stand shoulder to shoulder with his students and have his work ‘examined’!”

an art of smoke?

Donald continued “Roger made his work by burning lines made up of tiny dots with a magnifying glass. He would work on driftwood and discarded, weathered, materials often found on coastal walks near his home in Norfolk. The work was often quite small and he said that he could sometimes fit a whole exhibition in his pocket. His pockets, by the way, were usually in jackets made by his friends at Old Town in Holt, Norfolk; Roger was singly responsible for introducing many London based artists to this particular brand of British workwear – including me!  He made very distinctive objects but he would sometimes say that he wondered if the smoke was actually the artwork. He was a lovely man, our thoughts are with his wife, Sylvia.”

Roger Ackling with his installation at CHELSEA space in 2011

Roger Ackling’s burial will be on Monday 16 June at 2pm at Weybourne Cemetery, Sheringham Road, Norfolk NR25 7AH. All are welcome to attend and participate. A celebration of Roger’s life will be held at Annely Juda Fine Art at a later date to be announced.

 

The end of our blue period, a wedding in Zagreb, and a private view for Grenville Davey

Director of Tate Modern, Chris Dercon, in CHELSEA space’s Almost Bliss installation

Our show Almost Bliss: Notes on Derek Jarman’s Blue finally came to an end, the blue vinyl was removed from the windows and the strange effects of the blue gels vanished in the daylight. The commemorations of the life and work of the late Derek Jarman continue throughout the year with international film screenings and exhibitions but the finale of the London season of events marking the 20th anniversary of Jarman’s death was  a unique screening of Blue at the IMAX cinema on London’s Southbank.

Blue shadows created by the Almost Bliss windows

Almost Bliss entrance space

Donald Smith removing the vinyl from the Almost Bliss window

blue vinyl from the windows

Grenville Davey art works awaiting installation

Whilst it is sometimes hard to see a show go, it is always reinvigorating  to clear the space and start to install the next one. Brilliant new works by Grenville Davey were delivered and the installation of Interalia 2014 transformed CHELSEA space once more.

Grenville Davey watches artist Mike Iveson installing Untitled 2010-2014

curator Daisy McMullan and artist Grenville Davey selecting drawings for the show at CHELSEA space

Donald Smith and Grenville Davey installing maquettes in the Entrance space

Grenville Davey and Mike Iveson installing Eye 2014

framing drawings

Grenville Davey oversees the installation

Lynton Talbot and Hana Noorali during their wedding celebrations at the Esplanade Hotel Zagreb

In between the installing of the show and the private view, CHELSEA space Director, Donald Smith, travelled to Croatia for the wedding of our good friends Hana Noorali and Lynton Talbot in Zagreb. Hana and Lynton, along with Elena Crippa, curated our brilliant 5th year anniversary exhibitions and events Should I Stay Or Should I Go in 2010 as the curatorial collective RUN. The two have been integral to CHELSEA space since our first shows in 2005 and also invited Donald Smith to curate a show at RUN Gallery entitled 3 Things in 2007, information on which can be found in our Old News Archive. We wish Hana and Lynton every success and happiness in the future.

poster for Laibach in Zagreb

Donald caught up with several wedding guests who have shown or curated shows at CHELSEA space including artist Cally Spooner who conceived and directed the 3 day event December 1952 for us in 2009,  gallerist Laure Genillard who curated Aftermath: Objects From Projects  for us in 2011, and artist Florian Roithmayr who featured in our 2007 exhibition Ice Trade. On a walk around Zagreb Donald was also pleased to come across a gig poster for Laibach who featured in our exhibitions  Neue Slowenische Kunst 1984-1992  and Red White and Blue: Pop | Punk | Politics | Place.

private view for Grenville Davey Interalia 2014

Brad Faine, Dan Faine, Leslie Foxcroft and Alan Charlton

artist Grenville Davey and scientist Dr David Berman discuss T-Duality

The Private view for Grenville Davey Interalia 2014 on Tuesday 22nd April was a great event and a coming together of the art and science communities. Grenville has recently undertaken residences at the Isaac Newton Institute for Mathematical Sciences, Cambridge  and the Centre for Research in String Theory, Queen Mary University of London   where he has been exchanging ideas with Dr David Berman. We are very lucky that the two have agreed to take part in an In Conversation event for us in the Lecture Theatre of Chelsea College of Arts on Thursday 22nd May. The event runs from 6-7.30pm and is free and open to all but RSVP is essential. Please RSVP to info@chelseaspace.org

writer/curator/educator David Dibosa with artist Faisal Abdu’Allah

actor Dudley Sutton with artists Crispin Chetwynd and Grenville Davey

artists Peter Fillingham and Sinead Bligh

private view promenade on the Parade Ground

Publications for CHELSEA space exhibitions are available from our E Store

 

 

 

 

 

 

 

 

 

 

Derek Jarman Valentine’s Study Day

Study Day poster including image of Derek Jarman's painting 'Avebury Series no 4' 1973 from Northampton Museums and Art Gallery

Our exhibition Almost Bliss: Notes On Derek Jarman’s Blue has been very well received and our  Jarman Study Day on 14th February was a big success.

Neil Tennant, Karen Di Franco, and Phillip Hoare at the Derek Jarman Study Day

Consisting of a diverse range of talks, screenings, performances, and panel discussions the study day was curated by CHELSEA space’s Public Programme Co-ordinator, artist/archivist Karen Di Franco. Taking place in the context of an art school, the themes were very much tied to the notion of Jarman the artist. In his welcome speech, Director of Exhibitions Donald Smith described Jarman’s restless, mischievous and challenging personality, imploring the audience to keep their critical faculties sharpened and not to turn this Valentines Day event into a love-in!

Phillip Hoare speaking at the study day in front of an image of Prospect Cottage, Dungeness

Karen Di Franco introduced the programme and Philip Hoare opened the talks with a personal summation of the influence of his late friend. The themes of Hoare’s excellent talk can be read in his article for the Independent newspaper published to coincide with the 20th anniversary of Jarman’s death on 19th February 2014.

James Mackay in front of a projection of Derek Jarman's 'Jordan's Dance' 1977

Phillip’s talk was followed by a screening of super 8 films selected and presented by Derek Jarman’s long time producer and collaborator, James Mackay. The selection of films : Studio Bankside 1970-73 (6.5min) ; Tarot (6.5min); Sulphur 1975 (12min); Jordan’s Dance 1977 (9min); Imagining October 1984 (27min) were intended to reflect different facets of Jarman’s experimental processes. The films were stunning and a genuine revelation to the audience. James Mackay’s choice of soundtracks to these silent films was intended to echo Jarman’s informal screenings of his films for friends when he would play records to suit the mood of the audience/party . We were very pleased to see Jordan’s Dance (1977) which featured in our exhibition Red White and Blue: Pop|Punk|Politics|Place.

lunch in Chelsea's Red Room and a chance for discussion

screening of Joachim Koester's 16mm films

Patrick Staff and fellow performers in front of the minstrels' gallery at Chelsea

Lunch was followed by a screening of Joachim Koester’s 16mm films Reptile brain, or reptile body, it’s your animal, 2012 (5.36 min) and To navigate, in a genuine way, in the unknown necessitates an attitude of daring, but not one of recklessness (movements generated from the magical passes of Carlos Castaneda), 2009 (3.16 min) which in turn were followed by a performance by Patrick Staff.

Karen Di Franco introduces Christopher Hauke

Jungian analyst Christopher Hauke in front of an image of Derek Jarman filming

The psychoanalyst, writer, and filmmaker Christopher Hauke presented a fascinating Jungian perspective of Jarman entitled Derek Jarman’s Super-8: image, alchemy and individuation. Christopher’s paper should be published shortly and we will keep you informed of details.

Jo Melvin and Peter Fillingham in conversation

Christopher Hauke was followed by an ‘in conversation’ between artist and long-time Jarman collaborator, Peter Fillingham, and the  writer, curator, and art historian Jo Melvin. In an insightful presentation they discussed Jarman’s multi-facetted art practice, and methodologies and approaches to curating his work, with particular reference to exhibitions curated by Fillingham such as the Barbican retrospective in 1996. These two are no strangers to CHELSEA space; Peter Fillingham’s work was featured in our 2011 exhibition Ideal Home whilst Jo Melvin curated  Ping Pong Dialogues - Bill Beckley at CHELSEA space in 2008.

Panel Discussion-Jo Melvin, Donald Smith, Peter Fillingham, Dudley Sutton, Ed Webb-Ingall, James Mackay,

The final panel discussion, chaired by Donald Smith, started with the co-editor of Derek Jarman’s Sketchbooks, Ed Webb-Ingall, discussing the idea that Derek Jarman meant many different things to different people, quoting from his interviews for the book with Jarman’s friends and collaborators. Peter Fillingham and James Mackay gave us different perspectives of Jarman’s life and working practices and it was a great pleasure to also have the actor Dudley Sutton on the panel; he first worked with Derek Jarman on Ken Russell’s 1971 film The Devils, where Jarman famously designed the sets. Dudley explained how Derek Jarman would coax performances from actors often inventing new unscripted scenes encouraging the actors to improvise – after Sutton’s own memorable scenes as the Bishop of Winchester in Edward II Derek Jarman wrote “Dudley went further than we expected (!) , he dropped his false teeth and his pants”! Dudley has worked with us on several CHELSEA space shows including The Life Room and Don’t Do Any More Henry Henry Moore

Drinks reception in the Almost Bliss exhibition following the study day

The day ended with a drinks reception in CHELSEA space and a chance to view the exhibition Almost Bliss: Notes on Derek Jarman’s Blue

A distinguished panel: Ed Webb-Ingall, James Mackay, Peter Fillingham and Dudley Sutton

Jo Melvin and Jonathan Tubbs with Patrick Staff behind

It was great to see architect Jonathan Tubbs at the study day, it was his father Ralph Tubbs’ archive that Donald Smith used in curating the show Dome: Ralph Tubbs and the Festival of Britain

actor Dudley Sutton with artist/architect Robin Jenkins

artists Peter Fillingham and David Ferry

It was nice also to see Robin Jenkins and David Ferry who, along with Derek Jarman, were included in our Chelsea Futurespace exhibition H2O. David Ferry also performed for our 2009 show The Life Room, David’s endurance performance became the basis for Session 3 of David Barnett’s film series Workout made for The Life Room exhibition.

Derek Jarman Study Day at Chelsea

A summing up of the study day will be published in the future – details later. A big thank you to everyone who contributed to this excellent event dedicated to Derek Jarman, artist.