In a timely exhibition of photography and video installations, two women artists explore identity and racial tensions in twenty-first century London.
In a project originally commissioned by Autograph ABP for The Missing Chapter series, Heather Agyepong takes inspiration from the nineteenth century Carte de Visite of Lady Sarah Forbes Bonetta. The story of Lady Forbes Bonetta is a remarkable one – brought to England as a child, this young black African girl was given as a “gift” to Queen Victoria, having been saved from the massacre that killed the rest of her family. Adopted into royal society by Queen Victoria, she grew up with privileges that only a few in Victorian England could have dreamed of. Her albumen print portrait, taken by Camille Silvy in September 1862, is currently on display in the National Portrait Gallery London. Struck by Lady Sarah’s genteel pose in this portrait, Heather Agyepong questions what life must really have been like for this woman, plucked from Africa and immersed into nineteenth century English life. What kind of comments and questions was she subjected to? How did this make her feel? What kind of emotions lay buried beneath the surface of her ladylike pose?
Heather Agyepong, Too Many Blackamoors
2016 was the year that politics imploded, from the United Kingdom abandoning the European Union to a reality TV star’s nomination for US president. To mark this, Seen Fifteen gallery plays host to Images of Power, a reactive exhibition examining the images which politicians broadcast of themselves in an attempt to win support, and the ways that artists appropriate, twist and subvert these images.
Images of Power features Spanish artist Daniel Mayrit’s You Haven’t Seen Their Faces, which scrutinises the one hundred most influential figures in the City of London. Canadian photographer Christopher Anderson’s series Stump, which consists of ruthless portraits of politicians and their supporters taken during the 2012 US election campaign. Irish photographer Mark Duffy’s Vote No.1 which records the unintentionally bizarre juxtapositions found in the electoral posters which litter the landscape at election time, and Hans Poel’s Petting Politics which illustrates the crass photo opportunities politicians undertake in order to win votes.
A 24 hour spotlight on the contemporary photography scene in Peckham during Photo London 2016 Various venues in SE15
Peckham-based galleries and artists are delighted to announce Peckham 24 – a new 24 hour festival of contemporary photography and video art taking place during Photo London week in May 2016. The festival brings together a community of local Peckham artists and art spaces, as well as a number of invited guests from the UK and Europe. In keeping with the area’s growing reputation as one of London’s most exciting contemporary art destinations, the selected exhibitions showcase a diverse range of practices from some of today’s cutting-edge talent. Exhibiting artists include Ciarán Óg Arnold, Jo Dennis, Tom Lovelace, Ryan L. Moule, Jamie Shovlin and Belfast Exposed Futures.Ciarán Óg Arnold
Peckham 24 starts at 6pm on Friday 20th May, with a series of late Friday exhibition openings. The NINES bar will host a six hour continuous screening of video art from 6pm to midnight on Friday. The programme continues into Saturday 21st May with artist talks, workshops and exhibition tours, and culminates at 6pm on Saturday with an after party at The NINES.
© Tom Lovelace
Seen Fifteen and South Kiosk are pleased to present a collaborative curatorial project bringing together the work of artists Ciarán Óg Arnold and Ryan L. Moule. Dark Adaptation is an exhibition in two parts that will be staged across two venues as part of Peckham 24. Taking its title from the process by which our eyes adjust from sunlight to darkness, the exhibition will explore darkness in both subject and experience.
Ciarán Óg Arnold is an Irish photographer who makes work at night. In images taken over the course of several years in recession-hit Ireland, he depicts a shadowy cinematic world of dark alleyways, bars and nightclubs. In 2015 Arnold won the Mack First Book Award with, I went to the worst of bars hoping to get killed, but all I could do was to get drunk again. For this exhibition the artist will present a selection of works from the book, alongside recent work made in 2016. Blurring the lines between fact and fiction, a bespoke nocturnal narrative has been created for Dark Adaptation where the viewer is invited to take centre-stage as the protagonist.
Seen Fifteen welcomes After Projects to curate a group show in April 2016, showcasing work from some of the most exciting recent graduates working with photography, video and installation.
In humans, intergenic regions are stretches of DNA sequences between genes, comprising about 75% of the genome. Historically, intergenic regions have been called junk DNA, suggesting that they have no function. However, it is now thought they may contain as-yet unidentified genes. INTERGENIC explores the power, fallibility and obsolescence latent within the in-betweens. Using diverse media, the selected artists disclose the potency of all our unknown unknowns:
ABOUT AFTER PROJECTS
AFTER was founded in January 2015 by Nick Scammell and Julie Bentley following their graduation from the London College Of Communication’s MA Photography. AFTER showcases and supports recently-graduated artists still shaping and establishing their practices, through a mobile programme of exhibitions and related events.
© Luca Vanello
Following instructions from strangers in an internet chatroom, Jan McCullough rented a suburban house and set about constructing a prescribed vision of the perfect home
Seen Fifteen Gallery is delighted to present the first full-scale installation of Jan McCullough’s award-winning project, Home Instruction Manual, taking place in our new gallery space at Unit B1:1 in the Bussey Building, Peckham.
Inspired by the concept of the traditional instruction manual or ‘how to’ guide, Jan McCullough adds a contemporary twist by taking direction from unwitting strangers in an internet chatroom. She typed, ‘How to make a home’, into Google and was directed to a live forum with users discussing views on what constitutes the perfect home. The artist observed the discussion for a month as the topics ranged from how a home should smell (Shepherd’s Pie), to what kind of photographs should be on display and where (family and travel snapshots hung up the stairs). She then downloaded the conversation as a transcript and rented an unfurnished house where she brought their visions of the ideal home to life, room by room.