BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Bermondsey Project Space - ECPv6.0.11//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Bermondsey Project Space X-ORIGINAL-URL:https://project-space.london X-WR-CALDESC:Events for Bermondsey Project Space REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20160101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20170314T110000 DTEND;TZID=UTC:20170325T180000 DTSTAMP:20260621T153627 CREATED:20170301T154226Z LAST-MODIFIED:20180829T144141Z UID:4446-1489489200-1490464800@project-space.london SUMMARY:Nick Malone - "A Tale of Two Lives" DESCRIPTION:Nick Malone \nA Tale of Two Lives \n  \n14 – 25 March \n\nAlongside his exhibition\, A Tale of Two Lives\, which runs at Art Bermondsey Project Space from 14-25 March\, artist Nick Malone will be in conversation with art critic and Deputy Editor of State magazine\, Anna McNay. \n\n \nSat 18 March 2017  15:00 – 17:00 \n\nclick here to book your place \n  \n  \nThe walls of the main gallery are dominated by large\, three-dimensional works of burnt wood and drawing on canvas that depict an inner mythology through dissolving planes. These seem to occupy a third space between drawing and sculpture\, to be engaged with on their own terms of visual dynamics and broken narrative\, without any need to go further.\nHowever\, leading from this area is a far smaller space that provides a completely different environment. It refers to a moment in a graphic novel currently being written by Nick Malone – The Disappearance of Makepeace: A Tale of Two Lives – which centres around the strange disappearance and lifelong search for its mysterious hero. This moment is the visitor’s entry into the hidden room that had been used by Makepeace himself\, holding his sketchbooks and notes on a central table\, with further work on the walls of the room\, and a background soundscape of narrative and poetry* drawn from the novel.\nTrapdoors into Makepeace’s world open as windows cut into the pages through which other worlds of imagination can be seen. In this way the text of the graphic novel sets the exhibition within a wider context of narrative\, adventure and dream\, incorporating images of the works in the main gallery into an examination through story of ambiguity\, dissolution and change. \nThis show is pivotal in the development of Nick Malone’s art\, from earlier\, structured work such as his exhibition Balkan Earth for the British Council Greece\, through his manipulated canvases of liquid acrylic\, to these radical\, new constructions with soundscape\, text and narrative. \n* Part of this text is taken from Nick Malone’s prizewinning book Jason Smith’s Nocturnal Opera\, written with the support of Arts Council England and published by the Cinnamon Press \nNICK MALONE\nNick Malone took his MA in Fine Art at Central St. Martins; he currently lives and works in London\nHe has exhibited extensively in London and internationally and his work is represented in a number of collections\, including the British Council Greece\, The University of Wisconsin\, BUPA\, WestLB\, Granville Holdings\, GlaxoSmithKline and One Aldwych. \nNick Malone has received an Arts Council England Award to support him in the development of his creative work\, and is a Fellow of the Royal Society of Arts. \nThis exhibition will feature a series of new paintings inspired by the in-the-making graphic novel The Disappearance of Makepiece – A Tale of Two Lives \nCatalogue available with a foreword by Anna McNay. \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] URL:https://project-space.london/event/nick-malone-a-tale-of-two-lives LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2017/03/Where-squadrons-of-insects-were-swimming-through-the-moving-skies-.-.-..jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170214T110000 DTEND;TZID=UTC:20170312T180000 DTSTAMP:20260621T153627 CREATED:20170131T172156Z LAST-MODIFIED:20180829T144206Z UID:4371-1487070000-1489341600@project-space.london SUMMARY:Minnie Weisz - "Time present Time future" DESCRIPTION:Minnie Weisz \nTime Present Time Future… \n14 February – 11 March \nMinnie Weisz is a Photographic Artist interested in the identity of spaces\, recording and documenting buildings in areas of transience in London to forgotten interiors in remote locations in Europe. Alongside a more documentary approach\, Weisz turns these spaces into a camera obscura\, she has been turning rooms inside out since 2006. Exterior and interior worlds collide and merge\, projections of light open up a conversation between the present and the past; traces of memory and time bordering a threshold between the real and the imagined\, dream and reality? These rooms are witness to history and the passage of time\, to memories past and present; family and home\, space and connection.\nMinnie Weisz works in analogue photography with medium format cameras\, film and video. \nShe studied at The London College of Printing BA Graphic and Media Design; The Royal College of Art\, MA Communication Art and Design (2003). Her work has been exhibited in London and Europe : Wunderkammer III\, Voies Off Galerie Huit\, Arles (2016); Herrick Gallery London (2015); Capriccio II Van Kranendonk Gallery\, The Hague The Netherlands (2014); Art Rotterdam (2014); Dubbel Beeld\, Kunstliefde Utrecht (2014); Inside Out\, WTC Gallery The Hague (2013)\, View with a Room Gallery Makina\, Pula Film Festival\, Croatia (2013); Artist residency at The London Film Museum (2013); \nPublished work :100 Ideas that changed Photography by Mary Warner Marien\, Lawrence King 2012; Photography Portfolio by John Ingeldew and Lorenz Gullaschen\, Lawrence King 2013; The A-Z of Visual Ideas by John Ingeldew\, Lawrence King\, London 2011; Londres\, un Cite en Mouvement Yann Perreau and Kevin Bidermann\, Editions Autrements Paris 2006. \nMinnie Weisz lives and works in London. \n  URL:https://project-space.london/event/minnie-weisz-time-present-time-future-3 LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170214T110000 DTEND;TZID=UTC:20170224T180000 DTSTAMP:20260621T153627 CREATED:20170111T125150Z LAST-MODIFIED:20180829T144206Z UID:4420-1487070000-1487959200@project-space.london SUMMARY:PETER DENCH | Great Britons of Photography DESCRIPTION:DENCH’S GREAT BRITONS OF PHOTOGRAPHY \n\n\nAN EXHIBITION CURATED BY OLYMPUS VISIONARY PETER DENCH \n\nBeing a photographer can be a solitary and selfish pursuit\, often necessarily so. You compete\, aim to be the best and plot your romp towards the next triumph: for years OLYMPUS Visionary\, Peter Dench operated like this. \nWith the domination of digital photography and no longer socialising at the film processing lab\, combined with the newfound comfort in his forties and with his craft\, Dench actively began to meet other British photographers\, to take an interest in what they have done and the way in which they did it. \nDENCH’s Great Britons of Photography\, brings together the work of some of the greatest living British photographers including: Jocelyn Bain Hogg\, Marcus Bleasdale\, Harry Borden\, John Bulmer\, Chris Floyd\, Brian Griffin\, Laura Pannack\, Tom Stoddart\, Homer Sykes\, Anastasia Taylor-Lind and Peter Dench (naturally). \nAll of the photographers featured in this intimate and revealing exhibition have shaped Dench in some way; sometimes professionally\, more often\, personally. They are glimpses into the lives and practice of some of British photography’s most extraordinary characters. \nAn accompanying book featuring twelve photographers is published by Hungry Eye; delivered as a limited first edition of 500\, a high quality\, case bound coffee table book with gold foil detail. \nhttp://hungryeyemagazine.com/great-britons-of-photography-vol-one-the-dench-dozen/ \n“This new collection of interviews and photographs by Dench is hilarious and insightful\, always engaging and written with an inimitable wit and style; an instant classic.”  Tom Knox\, Thriller Writer \nSaturday 18th February:\nQ&A with Peter Dench chaired by Mike Von Joel\, Editor-in-Chief of State Magazine. \nLimited seats available. Book your place here \n\nPeter Dench\nPeter is a photographer with over 20 years experience in the advertising\, editorial\, portraiture and video fields of image making. He is represented worldwide by the Verbatim photo agency. \nAchievements include: World Press Photo award in the People in the News Stories category and participation in the World Press Joop Masterclass. Football’s Hidden Story\, a FIFA sponsored reportage comprising 26 stories across 20 different countries\, received six global accolades. \nBooks published include: THE DENCH DOZEN: Great Britons of Photography Vol. 1; Dench Does Dallas; The British Abroad; A&E: Alcohol & England & England Uncensored. \nWritten contributions have been commissioned for the New Yorker and Telegraph magazine. Hungry Eye publishes the column\, The Dench Diary\, in each issue. \nTV presenting credits include Channel 4 News: What is it to be English? \npeterdench.com \n\nAnastasia Taylor-Lind \nAnastasia Taylor-Lind is an English/Swedish artist with a Nieman Fellowship from Harvard University. She has a background in photojournalism and has worked for leading publications all over the world on issues relating to women\, population and war. Her first book MAIDAN – Portraits from the Black Square\, which documents the 2014 Ukrainian uprising in Kiev\, was published by GOST in the same year. Taylor-Lind holds degrees in Documentary Photography from the University of Wales Newport and the London College of Communication. She is engaged with education\, regularly lecturing at universities and teaching workshops internationally. \nAnastasiataylorlind.com \n\nMarcus Bleasdale\nMarcus Bleasdale has spent over 15 years documenting some of the world’s most brutal wars and focused on campaigning against human rights abuses. He has been documenting these issues for Human Rights Watch and is a contributing photographer for National Geographic Magazine. \nUsing his background in business and economics\, Bleasdale researches the sources of financing driving the conflicts\, which usually leads to the mines\, and the armed networks linked to them. Bleasdale has covered wars in Sierra Leone\, Liberia\, The Democratic Republic of Congo\, Central African Republic\, Somalia\, Chad and Darfur\, Kashmir and Georgia. \nHe has published three books to date: One Hundred Years of Darkness (2002)\, documenting life along the Congo River\, The Rape of a Nation (2009)\, documenting the exploitation of natural resources in Eastern Congo and The Unravelling (2015)\, documenting the brutal conflict in the Central African Republic. \nMarcusbleasdale.com \n\nJocelyn Bain Hogg\nJocelyn Bain Hogg began his career as a unit photographer on movie sets after studying Documentary Photography at Newport Art College. He shot publicity for the BBC\, photographed fashion and now works on documentary projects\, commercial and editorial assignments. \nHe is the author of five photographic books to date\, including The Firm (2003)\, an astonishingly intimate view of London’s organised crime world\, Idols + Believers (2006)\, an intensive journey into the nature of fame and today’s celebrity culture and The Family (2011)\, which looks again at Britain’s organised crime world in a new decade. \nJocelynbainhogg.eu \n\nBrian Griffin\nBrian Griffin is one of Britain’s most influential and creative photographers. Griffin’s influences are diverse\, from Renaissance masters to Symbolism\, Surrealism and Film Noir. \nGriffin has worked with a variety of music industry clients including Depeche Mode\, REM\, Elvis Costello\, Iggy Pop\, Ringo Starr\, Peter Gabriel and Queen’s Brian May. He has produced album covers\, TV commercials\, music videos and award winning films. \nIn 1987\, Griffin was awarded the Freedom of the City of Arles\, France\, and in 1989\, The Guardian newspaper proclaimed him to be ‘Photographer of the Decade’. \nbriangriffin.co.uk \n\nHarry Borden\nHarry Borden is one of the UK’s finest portrait photographers and his work has been widely published. He won prizes at the World Press Photo Awards (1997 and 1999) and was a judge in the contest in 2010 and 2011. In June 2005 he was awarded a solo exhibition at the National Portrait Gallery\, London. The gallery has more than 100 examples of Borden’s work in their permanent collection. His personal projects include a series on Single Parent Dads and Holocaust Survivors\, which was shortlisted for the European Publishers Award for Photography and will be released in 2017 by Octopus. In 2014 he was awarded an Honorary Fellowship by the Royal Photographic Society. \nharryborden.co.uk \n\nChris Floyd\nChris Floyd’s work has appeared in some of the world’s most highly respected publications including The New Yorker\, Harpers Bazaar\, GQ\, Esquire\, The New York Times Magazine\, The Sunday Times Magazine and Wallpaper*. He has shot advertising campaigns for British Airways\, Apple\, Sony and Philips and has been selected several times for the National Portrait Gallery’s annual portrait prize. \nIn 2011\, Chris published a project entitled One Hundred And Forty Characters. Over a period of a year he made contact with 140 people that he followed on Twitter and photographed each of them in his London studio. The project received worldwide recognition and acclaim\, with features about it on the BBC\, Newsweek\, The Guardian\, The Sunday Times\, Elle\, Esquire and many other publications and websites. \nchrisfloyd.com \n\nJohn Bulmer\nJohn Bulmer was a pioneer of colour photography working for the Sunday Times Magazine from the very first issue until the 1970’s. Many of Bulmer’s most important assignments were abroad\, but he is also acknowledged as an adroit recorder of provincial Britain. \nHis work has been singled out for awards by the Design and Art Directors Club and he has had pictures exhibited at the Gallery of Modern Art in New York\, the Photographers’ Gallery in London\, and the National Museum of Photography in Bradford \nBulmer has directed many films on travel and untouched tribes in the most inaccessible parts of the world broadcast on the BBC\, Nat Geo and Discovery Channels. \nBooks include The North (2012) and Wind of Change (2014). \njohnbulmer.co.uk \n\nLaura Pannack\nLaura Pannack’s work has been extensively exhibited and published both in the UK and internationally\, including at The National Portrait Gallery\, The Houses of Parliament\, Somerset House\, and the Royal Festival Hall in London. \nIn 2010 Pannack received first prize in the Portrait Singles category of the World Press Photo Awards. She has also won and been shortlisted for several other awards including The Sony World Photography Awards\, The Magenta Foundation and Lucies IPA. She was awarded the Vic Odden by The Royal Photographic Society Award for a notable achievement in the art of photography by a British photographer aged 35 or under. In 2015 she judged the World Photo Press Awards Portraits Category. \nPannack often lectures\, critiques and teaches at universities\, festivals and workshops worldwide. \nlaurapannack.com \n\nHomer Sykes\nHomer Sykes is a professional magazine and portrait photographer with many years experience. He has travelled widely on photographic assignments across the world covering conflicts in Israel\, Lebanon\, and Northern Ireland\, as well as general news in the UK. \nHis books include\, Once a Year: Some Traditional British Customs (1977)\, re-published in 2016 with over 50 ‘new’ images\, Shanghai Odyssey (2002)\, and On the Road Again (2002). \nSykes work is owned by many private collectors and national collections. \nhomersykes.com \n\nTom Stoddart\nTom Stoddart began his photographic career on a local newspaper in his native North-East of England before moving to London to work for publications such as the Sunday Times and Time Magazine. \nDuring a long and varied career\, he has witnessed such international events as the war in Lebanon\, the fall of the Berlin Wall\, the election of President Nelson Mandela\, the bloody siege of Sarajevo and the wars against Saddam Hussein in Iraq. \nHis acclaimed in-depth work on the HIV/AIDS pandemic blighting sub-Saharan Africa won the POY World Understanding Award in 2003. In the same year his pictures of British Royal Marines in combat\, during hostilities in Iraq\, was awarded the Larry Burrows Award for Exceptional War Photography. A year later his book iWITNESS was honoured as the best photography book published in the USA. \nIn the summer of 2012\, Perspectives\, an outdoor retrospective exhibition in collaboration with the International Committee of the Red Cross\, was viewed by 225\,000 visitors at London’s South Bank. \ntomstoddart.com URL:https://project-space.london/event/peter-dench-great-britons-of-photography LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2017/01/Screen-Shot-2017-01-11-at-11.50.20.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170207T110000 DTEND;TZID=UTC:20170212T180000 DTSTAMP:20260621T153627 CREATED:20170131T172831Z LAST-MODIFIED:20190615T152208Z UID:4430-1486465200-1486922400@project-space.london SUMMARY:#JESSOPSWINTER EXHIBITION DESCRIPTION:In association with JESSOPS\nImmerse yourself in some fantastic wintery landscapes this February thanks to Jessops. This winter the UK’s premier photo retailer challenged their customers to get out and capture the season around them\, with weekly winners having their photos displayed in stores nationwide. \nAs the ‘#JessopsWINter’ competition draws to a close\, we are delighted to bring together the breathtaking photos that capture winter at its finest all under one roof\, at our amazing Art Bermondsey Project Space gallery. \nRunning from  6th – 12th February inclusive this exhibition is open to anyone and easily reachable from all major transport hubs\, so there’s no excuse to miss out on the amazing images photographers across the UK have been capturing this winter. \nDon’t forget to share all your photos from the exhibition using the hashtag #JessopsWINter URL:https://project-space.london/event/minnie-weisz-time-present-time-future-2 CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2017/01/jessops-winter.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170131T110000 DTEND;TZID=UTC:20170211T180000 DTSTAMP:20260621T153627 CREATED:20170131T165557Z LAST-MODIFIED:20190615T152209Z UID:4377-1485860400-1486836000@project-space.london SUMMARY:Bermondsey Shorts DESCRIPTION:Bermondsey Shorts\nA weekly series of short\, experimental artist films.\nProgramme Director: Michaela Freeman\nFebruary Programme:\n31/1-4/2  JENNA COLLINS – Someone Who Isn’t Me\nScreening Times: Tue-Sat 12-2pm & 4-6pm\nStarted in April 2016\, Bermondsey Shorts has presented films by international artists and filmmakers including: Miguel Jiron\, Alex Grigg\, Jan Sramek\, Veronika Vlkova\, Alexandra Levasseur\, Johnny Kelly\, Christian Schlaeffer\, Carla McKinnon\, Caleb Wood\, Daniela Sherer\, Neely Goniodsky\, Greg Barth\, Mikey Please\, Matthew Stephenson\, Tereza Buskova\, Vladimír Houdek\, Timothy David Orme\, Susan Francis\, Pete Gomes\, Heather Phillipson\, Sarah-Mace Dennis. \nInterested to show your film as part of Bermondsey Shorts?\nContact us on facebook:/BermondseyShorts URL:https://project-space.london/event/bermondsey-shorts LOCATION:Gallery 3\, 183 - 185 Bermondsey Street\, LONDON\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/11/IMG_5274.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170131T110000 DTEND;TZID=UTC:20170204T180000 DTSTAMP:20260621T153627 CREATED:20161125T154608Z LAST-MODIFIED:20180829T144206Z UID:4391-1485860400-1486231200@project-space.london SUMMARY:OLYMPUS show: Cleveland Aaron 'Shapes From The Street' DESCRIPTION:CLEVELAND AARON \n\n\naka\n\n ONE MAN AND HIS PEN\n\nShapes From The Street \n\nI’ve always enjoyed personal projects. I think of them as a means to creative growth through self understanding. \nThe following are a collection of images that attempt to document light\, shapes and space. The inspiration for the first instalment was architecture and the city and the aim was to shoot a series of architectural images of details on the streets. As people enter my frame I document their interaction with the city. I look at how the streets influence our movements and how the city’s numerous buildings and squares afford passage ways and meeting places for us. Then I make shapes and capture people in the composition to show scale and functionality. \nI feel fortunate to be an Olympus Ambassador. I was asked to test the Olympus PEN f a few months before it’s launch and produce images to be used for marketing purposes. I fell in love with the camera instantly. Due to the size and retro design I think it’s less intimidating to those around me but\, most importantly it allows me to shoot monochrome images with more control. That’s what sold it\, as I don’t have the appetite for post. \nI hope you’ll enjoy viewing the pages of this book. Visit www.f5point6.co.uk to see more of my work and visual blogs. \nI’d like to say a special thank you to Olympus UK & Europe for all their support and cameras that have inspired me plus all the people who unwittingly featured on my various stages. \nBorn and raised in East London Cleveland has had a love affair with photography for as long as he could remember. After sixth form he spent 11 years working in the city before finally breaking free to pursue a career in photography. Always looking forward and never looking back\, he started shooting music portraits\, fashion and urban street culture. It was during this period (1999) that his association with Olympus digital began. In more recent times his commissions have been in advertising due to the diverse and eclectic nature of his imagery and has worked with brands the likes of Bacardi\, Nike\, Adidas\, LK Bennett\, Oliver Goldsmith & French Connection to name but a few. Always evolving he has been making strides into all things architectural rekindling a childhood passion but\, looking through his vast portfolio it’s clear that he has no allegiance to any particular genre\, he just loves taking photos! Today he divides his time between being a photographer and educator. He has a teaching qualification (PTLLS) and runs a bespoke tutoring service\, RightEye Dominant. URL:https://project-space.london/event/olympus-show-cleveland-aaron-shapes-from-the-street LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/11/Screen-Shot-2016-11-25-at-15.34.36.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170117T110000 DTEND;TZID=UTC:20170128T180000 DTSTAMP:20260621T153627 CREATED:20170110T171712Z LAST-MODIFIED:20180829T144206Z UID:4412-1484650800-1485626400@project-space.london SUMMARY:OLYMPUS UAL PHOTOGRAPHY AWARD DESCRIPTION:OLYMPUS UAL PHOTOGRAPHY AWARD  \nThe future in their sites \n  \nOLYMPUS and the Art Bermondsey Project Space support the next generation of photographers from UAL. \n  \nJanuary 2017 will see the first annual Olympus Photography Award given to current University of the Arts London students. \n  \nResponding to the theme Site/In Situ\, students were asked to submit work in three categories: Print\, Projection and Multimedia and the winner of each category will receive a camera from OLYMPUS. There will also be a viewer’s choice awarded. \n  \nThe selected 30 finalists will exhibit work that places the artistic process in relation to the surroundings where students develop their skills and research and will showcase the many ways in which practitioners are using photography today. \n  \nThe exhibiting artists are: Calum Barlow\, Claire Barthelemy\, Rachel Beeson\, Marie Cognacq\, Jasmine Nicole Da Costa\, Cecilia Dumont\, Pietra Galli\, Claudia Greco\, Glenn Michael Harper\, Andrew Hart\, Huxin Huang\, Jae Youl Jeoung\, Lukas Kay\, Shrey Khandwala\, Portia Legge\, Nadia Lino\, Tuli Gal Litvak\, Hugo Lunet\, Lucio Martus\, Tamami Mizutani\, Marcin Nowak\, Toyé Pending\, Danielle Sargeant\, Rosa Saul\, Dom Sebastian\, Yuhwa Son\, Georgina Stables\, Guillaume Valli\, Annabel Wicker and Yang Xu \n  \nGavin Ramsey from the University of the Arts London Students’ Union said – “Olympus and Art Bermondsey Project Space are giving an invaluable opportunity to UAL students to exhibit their work\, network and develop professionally. A Brand new camera will also be a massive help!” \n  \nMike von Joel\, Creative Director Art Bermondsey Project Space said – “We are very much looking forward to unrolling a complete programme of collaborations with UAL\, of which this photo based competition is one. ABPS is a not for profit platform supporting the fusion of art\, photography and culture and the students of the six UAL colleges are a perfect partners for this creative adventure.” \n  \nGeorgina Pavelin\, Marketing Manager Olympus said – “Educational initiatives and support to encourage artists working with visual media are prime co-ordinates of our international sponsorship programmes. The Bermondsey Project Space is a professionally run gallery that can foster and promote fresh ideas and those just beginning a career in the creative Arts. Olympus is pleased to contribute to what is a unique exhibition facility in the heart of London.” \n  \nIn partnership with State Media \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row]\nThe exhibition runs 17th – 28th January 2017\, Tues-Sat 11.00 – 18.00 \n  \nFor more information contact – \nsm@project-space.london / g.ramsey@su.arts.ac.uk \n  \nArt Bermondsey Project Space is a cutting edge\, creative platform to encourage personal development through visual art and support the fusion of art\, photography and culture. \n  \nUniversity of the Arts London is in the top 5 universities in the world for art and design. They offer an extensive range of courses in art\, design\, fashion\, communication and performing arts. Their graduates go on to work in and shape creative industries worldwide. \n  \nUAL have launched the careers of many creative and cultural leaders with: \n  \n\nOver half of all Turner Prize winners and nominees in the 30 years since its inception are UAL alumni\n37 of the 80 Royal Academicians are UAL alumni; a further 17 are serving or former staff\nOver half of the recipients of British Designer of the Year are UAL alumni\n10: the number of UAL alumni who are current Royal Designers for Industry for product or industrial design\nOver half of the fashion designers that showed a London Fashion Week A/W 2016 are UAL alumni\nMultiple winners in the most prestigious art and design awards: from the BP Portrait Award; Jerwood Prize; Taylor Wessing Photographic Portrait Prize; Minerva Medal; BAFTAs\, Golden Globes and Oscars URL:https://project-space.london/event/olympus-ual-photography-award LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2017/01/Claire_Barthelemy1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20170110T110000 DTEND;TZID=UTC:20170114T180000 DTSTAMP:20260621T153627 CREATED:20161130T111105Z LAST-MODIFIED:20180829T144206Z UID:4394-1484046000-1484416800@project-space.london SUMMARY:John Nassari 'Alters' DESCRIPTION:Alters \n\nAN EXHIBITION BY OLYMPUS VISIONARY \n\nJOHN NASSARI\n\n10-14 January \n\nJohn’s much anticipated “Alters” project is a photographic series that explores personal and shifting identity.\nSubjects are invited to sit for a photograph and are asked to think about what part of themselves or character they wish to represent. They then go away and change into a second person\, or “alter”. Some of the alters are fictions or aspirations and others are actual parts of people personalities\, that exist “out there” not just in the mind. People are encouraged to name their characters and to describe how they are different or similar\, before the photographs begin. \nJohn would often sit in the place of the other missing character and control his camera with a remote\, so the subject has a real person to relate to. He would often try and take on the personality of the other character so the relationship could be felt rather than acted. He then puts the two characters together in Photoshop\, replacing himself with each subject. \nOf the series John says “it’s a true collaboration between all three of us. They invent the character and the relationship\, I light and frame the scene and help them feel it when I shoot it” URL:https://project-space.london/event/john-nassari-alters LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/11/Screen-Shot-2016-11-30-at-11.10.19.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161206T110000 DTEND;TZID=UTC:20170107T180000 DTSTAMP:20260621T153627 CREATED:20161117T172412Z LAST-MODIFIED:20180829T144206Z UID:4372-1481022000-1483812000@project-space.london SUMMARY:Dick Scott-Stewart 'These Times' DESCRIPTION:Dick Scott Stewart\n(1948-2002)\nThese Times \nARCHIVE PHOTOGRAPHS\nThe Dick Scott Stewart Archive houses Dick Scott Stewart’s photographs taken from the mid 1960’s until 2002. The collection are predominately black and white images. These are the ones represented on this site. The pictures are of people and places mainly in London and Great Britain and record aspects of three decades\, the 70s\, 80s and 90s. It is an impressive body of work containing many images of startling quality and distinction. \nDuring his training Dick absorbed many of the influences and language of the great American and European photographers\, and painters\, and from there developed his own distinctive style. This not only uses the powerful possibilities of contrast in black and white photography “going for the black”\, and a painter’s eye for composition\, but also visible compassion and humour. \nThe Dick Scott-Stewart Archive was set up to preserve the negatives and original prints and to promoted Dick Scott-Stewart’s contribution to photography. It aims to preserve the signature images alongside the sets of pictures that make up projects and narratives of their particular time. \nA retrospective exhibition was set up at the 286 gallery in London in 2004. This year 2013 sees the publishing of four books available for purchase through this site and print on demand services. These books comprise of a general collection Dick Scott Stewart ‘Photography’\, over a hundred great images taken from the collection. A book of portraits of homeless people\, Dick Scott-Stewart ‘The Gaze’\, shows the great dignity and presence in people living on the edge of society. Dick Scott-Stewart ‘People and other Animals’\, is a book of portraits of well known people\, unknown people and animals\, a wry look at humanity Dick Scott-Stewart style. Dick Scott-Stewart ‘Wrestling” is a hilarious collection of pictures of wrestling at Battersea Arts Centre in London in the 1980s. \nDick Scott-Stewart was born in the Cotswold village of Painswick in 1948. He died in London in 2002.\nHe studied photography at the London College of Printing and worked as a freelance photographer thereafter.\nHis work was exhibited throughout the world\, including in New York alongside Cartier Bresson. \nHis photographs were also regularly published in The Sunday Times Magazine\, The Daily Telegraph and The Observer. \nHe published two books of photographs\, including the much-loved Fairground Snaps (1974). \nOver his photographic career\, Dick Scott-Stewart created some of the most resonant images of contemporary British photography\, especially in the black-and white medium to which he was so passionately dedicated. \nThis exhibition will be a retrospective on Scott-Stewart’s most iconic photographs.\nCatalogue available. \n  URL:https://project-space.london/event/dick-scott-stewart-these-times LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/11/Screen-Shot-2016-12-05-at-10.48.22.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161206T110000 DTEND;TZID=UTC:20170107T180000 DTSTAMP:20260621T153627 CREATED:20161104T145852Z LAST-MODIFIED:20180829T144206Z UID:4357-1481022000-1483812000@project-space.london SUMMARY:Fred Ingrams 'Ditch' DESCRIPTION:Fred Ingrams \n\n\nDitch  \n\n\nPAINTING THE FENS \n\n\n6 December – 7 January \n\nThe landscape of The Fens only exists because of the millions of gallons of water that are drained into the miles of ditches that surround every field. These ditches are the beginning of the huge man-made effort to take water from below sea level via drains and pump houses\, into rivers and then finally out to sea. \nDitches are also the only places in The Fens that are not ploughed\, drilled\, harvested and most importantly sprayed with fertilisers and herbicides. They are nature’s refuge from this onslaught. Often called the hedgerows of The Fens\, like hedges in the rest of our landscape\, ditches form strips of seasonal life that are left to create their own habitats. Like hedges\, ditches are cut and cleared every now and then to keep them working but everything quickly grows back and they fill again with reeds\, flowers\, warblers\, reed buntings and dragonflies. As a result of all this nature ditches are subject to huge amounts of legislation and scrutiny. They fall under the watch of the many drainage boards such as the Middle Level Commissioners and the Association of Drainage Authorities as well as being scrutinised by Natural England\, The RSPB\, The Environment Agency\, various wildlife trusts\, farming conservation groups and all the local councils. The future of ditches in The Fens is for others to decide upon and maybe when all the soil has been blown and eroded away from the land in between them the battle between the “re-wilders” and the property developers can really commence. \nTo me these precious margins are just dividing lines that run at ninety degrees to each other and border the huge fields of crops. The fields they frame are slabs of ever-changing colour. You can look down them or across them. Depending on your viewpoint ditches form either horizontal lines that divide the landscape or converging lines that meet at the vanishing point. Looking down a ditch creates one kind of painting\, looking across a ditch another. The result is two types of landscape. You can stand in a fenland field and see both at the same time\, all you have to do is turn ninety degrees. Ditches create the landscape that I love and thereby create my paintings. \nFred Ingrams\, 2016 \n  \n  \nFred Ingrams was born in Berkshire in 1964.\nHe studied at Camberwell and St. Martins Schools of Art\, where he was though expelled for being a disruptive influence\, determined to use acrylics rather than oils… \nHis work was first noticed in Soho where he painted “quite sexual and angry nudes” that exhibited with\, among others\, Grayson Perry and Marc Quinn\, and purchased by Francis Bacon. \nHe has worked as a graphic designer and art director on magazines such as the Sunday Times\, The Field\, Tatler\, Vogue and House & Garden. \nIn 1998 he moved back to the countryside in Norfolk where he went back to painting landscapes. \nThis exhibition will feature new works depicting the geometries of the Ditches that so strongly characterise The Fens. \nCatalogue available.\n  URL:https://project-space.london/event/fred-ingrams-ditch-2 LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/11/Fogy-Ditch-II1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161129T110000 DTEND;TZID=UTC:20161203T180000 DTSTAMP:20260621T153627 CREATED:20161125T152132Z LAST-MODIFIED:20180829T144206Z UID:4382-1480417200-1480788000@project-space.london SUMMARY:OLYMPUS SHOW: Gavin Hoey ' Perpetual Learning Curve' DESCRIPTION:Gavin Hoey \n\n\nPerpetual Learning Curve \n\n\n29 November – 3 December \n\nEvery photographer needs a reason to take photos and for me that reason is education. Under the guise of teaching photography to others I’m secretly educating myself\, pushing my skills and expanding my knowledge. \n  \nThe photos in this exhibition were all taken at various workshops\, training events or for video tutorials from July 2015 to November 2016\, or in other words\, from my first shoot with an Olympus OMD camera to my most recent. \n  \nSome of these images have been seen online by many hundreds of thousands of people\, others have been seen by just the people with me at the shoot. All of the photos taught me something and none of them have ever left the screen… until now. \nGavin Hoey is a freelance photographer\, OLYMPUS Ambassador and trainer of all things photographic. His work is regularly featured in photography magazines\, on countless websites and in videos.\nGavin has a real passion for sharing his photography knowledge. In 2008 he started recording and uploading video tutorials to YouTube. These quickly gained a large following and his videos are now viewed by millions of photographers each year. \nIn 2010 Gavin was the winner of Adobe’s “Next Photoshop Evangelist” competition and since then he has given training demonstrations in photography and Photoshop in the UK\, Europe and in the USA. \nIn 2012 Gavin joined forces with Adorama in New York to present photography videos on Adorama TV. Four years on\, he is still creating a new video for Adorama TV every other week that inspire and educate photographers from around the world in the art of photography and post processing.\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] URL:https://project-space.london/event/olympusgavinperpetual LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/11/Alice-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161122T110000 DTEND;TZID=UTC:20161203T180000 DTSTAMP:20260621T153627 CREATED:20161122T164940Z LAST-MODIFIED:20190615T152209Z UID:4374-1479812400-1480788000@project-space.london SUMMARY:BRAD FAINE 'Diamond Geezers' DESCRIPTION:BRAD FAINE \n\n\n‘Diamond Geezers’ \n\nBrad Faine is an internationally recognised artist and printmaker who was\, for 40 years the managing director of Coriander Studio\, one of Europe’s foremost printers and publishers of fine art limited editions\, specialising in serigraphic and digital prints.\nIn 2010 he resigned his directorship of Coriander to concentrate on making his own prints and paintings. Since 2005 his limited editions have been generated exclusively on computer and exist only in digital form. All his prints are first generation images and not reproductions of pre-existing drawings or paintings.\nThis Art dazzles the eye and plays games with the mind (not the same as mind games).\nIt is kaleidoscopic\, optically replete\, busy and colourful. It is visually complicated\,\nin some works more so than in others\, but even when relatively simple\nit is always crammed to the edges. It is referentially loaded\, steeped in popular culture\, popular graphics\, popular pastimes. \n\nMel Gooding\, November 2012 URL:https://project-space.london/event/brad-faine-diamond-geezers LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/11/Screen-Shot-2016-11-22-at-12.35.19.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161101T110000 DTEND;TZID=UTC:20161119T180000 DTSTAMP:20260621T153627 CREATED:20161005T131246Z LAST-MODIFIED:20190615T152208Z UID:4287-1477998000-1479578400@project-space.london SUMMARY:'The New Face of Colombia - La Cara Nueva de Colombia' DESCRIPTION:The New Face of Colombia- La Cara Nueva de Colombia\n1-19 November 2016 \nThe New Face of Colombia- La Cara Nueva de Colombia is an exhibition whose theme is change. Today as never before Colombia\, is going through an extraordinary period of change social\, political and cultural. The aim of this exhibition is to highlight those changes\, one might say to look at the new faces and visions of the country and its people through the variety of stories told by the participating artists using their own particular mediums of expression. \nThe initiative acquires even further relevance and importance following the award of the Nobel Peace Prize to President Santos\, which inevitably speaks of the international recognition of his commitment to ending the 50-years-long civil war. Equally\, the exhibition wishes to be a moment to reflect on the past\, present and future of Colombia\, on the multifaceted identity of a country that is now negotiating with a complex history for a peaceful and sustainable future. \nThe exhibition will be held over the three floors of the Art Bermondsey Project Space\, a new not- for-profit creative platform promoting the fusion of art\, photography and culture located in the vibrant area of Bermondsey in London. It is a flagship venue offering exhibitions for both emerging and established artists combined with visionary\, interactive\, educational and early learning programmes to showcase freedom of creative expression through the visual arts.Each artist in his or her own way provides a different take on that story of change. \n\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nTHE TEAM:\nThe curator is Sandra Higgins who has curated exhibitions at the Consulate General of Colombia\, London for artists including Ofelia Rodriguez\, Piers Calvert and Lucas Posada. In addition\, she has introduced for their first shows in London the Colombian artists Carlos Jacanamijoy and Maripaz Jaramillo. She is a guide and lecturer at the Tate gallery\, London and a founding member of the Association of Women Arts Dealers\, London.\nSandra will be working with Yvonne Velásquez\, a Cultural events coordinator and community fundraiser in the organisation of all logistics for this exhibition.\nLorena Cervera Ferrer will coordinate the documentary screening programme.\n ARTISTS: \n\n Omar Castañeda’s Panela: the Golden Age embraces the history of Panela (sugarcane) through the decades from a rare luxury for the few to a national pleasure for all. The work of the Colombian/British artist is featured in paintings\, prints and objects all made from panela in his main floor installation.\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nPiers Calvert will be exhibiting his work The Way We Are Now\, using his photographs to illustrate the way contemporary indigenous people still paint their bodies in a traditional manner to retain their customs as well as portraits of the workers from the emerald mines of Colombia.\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nThe basement floor of the gallery will be a Screening Room which will feature a series of films documenting Colombia and its people in many regional landscapes\, communities\, its charities and arts and cultural events: \nGwen Burnyeat’s video Chocolate of Peace illustrates the changes within the community of San Jose de Apartadó and their cultivation of chocolate which in turn led to creating a local community of peace after years of struggle and displacement. \nClaudia Fischer’s video As the tree under the hurricane highlights the story two young Arhuacan women\, Ati and Mindhiva\, from the Sierra who are enabled to attain a higher level of education to contribute with their people\, to preserve their culture and walk in a new path never possible before. \nLorena Cervera Ferrer’s video 2nd UP asks if education can break the assumption that the children’s social class predetermines their future? It portrays the life of 12 Colombian girls who come from underprivileged backgrounds over a period of two years. They attend a special school that hopes to equip them with skills to challenge this assumption. \nErwin Goggel’s video Del Palenque de San Basilio features the musicians\, singers\, dancers and drummers of San Basilio de Palenque\, the descendants of the fugitive slaves who escaped from Cartagena de Indias some three hundred years ago.\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nIn addition\, we are currently reviewing submissions by contemporary emerging Colombian filmmakers which will be announced nearer the date of the exhibition opening. \nMaria Cardenas’s installation La Guayabera de Paz\, also in the basement floor\, uses her medium of flax and linen to weave the traditional Guayabera\, a white linen shirt worn for many important occasions in Colombia and represents the idea of peace and renewal. \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nEVENTS:\nFurthermore\, there will be a series of events throughout the three-week duration of the show such as talks\, demonstrations\, poetry readings and musical performances and charity presentations all revolving around the theme of Colombia\, portraying the positive image of a country in change within the context of a visual and artistic language.\nSponsors and collaborators:\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] URL:https://project-space.london/event/the-new-face-of-colombia-la-nueva-cara-de-colombia-2 LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/10/Omar_bird.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161004T110000 DTEND;TZID=UTC:20161027T180000 DTSTAMP:20260621T153627 CREATED:20160915T105639Z LAST-MODIFIED:20180829T144207Z UID:4254-1475578800-1477591200@project-space.london SUMMARY:Paulina Korobkiewicz 'Disco Polo' DESCRIPTION:Paulina Korobkiewicz \n\n\n Disco Polo \n\n\n4-27 October 2016 \n\n  \n‘Disco Polo’ documents the aesthetics in Eastern Poland after 1989. This publication focuses on the mixed influences from East and West\, the effects of global capitalism on the Polish landscape dominated by consuming colourful advertising. Project presents kitsch of rough-and-ready billboards\, pastel-coloured concrete blocks and suburban night-clubs. It explores search for a ‘better world’ and omnipresent visual chaos in the urban landscape. Lack of experts in local housing associations resulted in randomly chosen shades\, turning the streets into a vivid collage of pastel tower blocks. \nTitle ‘Disco Polo’ represents locally popular music genre of the same name\, which developed in Eastern Poland around the time of the political transition. The genre created its own aesthetics\, from the outfits to the venues where it is performed. Naive lyrics and over-saturated video clips often embody longing for western capitalism and hope for better future. \nPaulina Korobkiewicz\, is a London-based\, Polish born photographer.\nin July 2015\, she graduated from BA Fine Art Photography at Camberwell College of Arts\, University of the Arts London. \nReturning to her hometown in Eastern Poland\, Korobkiewicz was struck by the\ncontrasts that existed within these small towns\, and began documenting what she saw.\nFocussing on architecture\, she assembled a strange assortment of images – shabby\nsuburban nightclubs\, pastel-coloured apartment blocks\, and all manner of kitsch\naesthetic details. \nHer work was selected for Crative Review Talent Spotting project in association with Creative Translation and JCDecaux. Her photographs were displayed on JCDecaux digital screens across the UK in August 2015. She was featured in the 2015 edition of Creative Review Photography Annual\, DRECK Magazine\, Paper Journal\, The Calvert Journal\, This Is Paper\, Contemporary Lynx and other publications.\nHer photo book ‘Disco Polo’ was shortlisted for Bar Tur Photobook Award 2015 organised by the Photographer’s Gallery in London. \nShe is currently involved in a production of a new photo book ‘Perspectives’ in collaboration with South London based studio Camberwell Press\, due to Camberwell Book Prize she was awarded in November 2015.\n\nThe reality used to be dull and grey. Now the soulless\, identical tower blocks are just a reminder of a turbulent past\, a national monument present all around the country. Walk down the street of any Polish city today and you will see old-fashioned concrete juxtaposed with homemade\, brightly coloured billboards\, often in the most unexpected places\, advertising even more surprising content. You are also likely to encounter a great variety of English sounding names\, not necessarily spelled correctly. As a generation born in the 1990s\, we grew up surrounded by these kitsch attempts to disguise the Soviet past. We took what we saw for granted. \nRecognising the uniqueness of these bizarre aesthetics came only after going abroad. Picturesque little squares in London\, romantic Parisian alleys\, charming restaurants along the canal in Copenhagen\, idyllic Italian boulevards by the sea… Being so different to what we were used to back home\, they seduced and inspired us immediately. We began to feel shame towards our home country. Torn between years of fidelity to Russia and a new devotion to America\, we got stuck somewhere in between — too east for the West\, but too west for the East. But when we look at them now\, the pseudo-American bars and colourful billboards tell a dramatic story about searching for identity and a desperate need to belong. Once a subject of embarassment and disregard\, today they constitute a diary of transition\, the path from socialism to the free market and the personal struggles that went with it; an account of generational changes\, the memory of an uncomfortable past and the everlasting hope for a better tomorrow. \nText: Natalia Domagala URL:https://project-space.london/event/paulina-korobkiewicz LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/09/P_Korobkiewicz_Disco-Polo_1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20161004T110000 DTEND;TZID=UTC:20161027T180000 DTSTAMP:20260621T153627 CREATED:20160910T103810Z LAST-MODIFIED:20190615T152209Z UID:4252-1475578800-1477591200@project-space.london SUMMARY:Beatrice Haines ' The Devil In The Detail' DESCRIPTION:Beatrice Haines \nThe Devil In The Detail \nIn Beatrice Haines’ first London solo show\, she exhibits new artwork alongside drawing\, sculpture\, print and video created over the past five years that encourage a closer look at human nature. Inspired by encounters between forensic science and the domestic environment\, Haines explores our relationship with everyday objects and the insight these give into human desire\, fear and mortality.\nAlthough the human is largely absent in Haines’ work\, the object left behind acts an anthropomorphic portrait that like forensic evidence\, tells its own story. Objects that hold a personal resonance are raised to the status of relics despite their interpretation as banal or grotesque by the outsider. This re-appropriation gives them new life and meaning. Where the figure is present\, they are in some way connected to objects of importance. The title Science Without Religion is Lame\, Religion Without Science is Blind is coined from an Einstein quote. Scientist Stephen Hawking and Nun Sister Hannah Benedictus sit side by side\, reaching towards each other\, mimicking Michelangelo’s ‘Creation of Man’. Both Physicist and Nun have followed very different philosophical paths\, but have both benefited from advances in human medicine and engineering.\nSanatorium is a collection of sculptures cast from small over-bed tables in a school medical centre. Graffiti scratched into the surface throughout years of illness and boredom records student’s suffering\, obsession and resolve. The upturned tables resemble a school examination room or cenotaph; a memorial to those that did not survive the sanatorium.\nThe use of mundane materials such as discarded furniture and doorstops aims to unsettle the domestic or every day\, prompting feelings of both familiarity and alienation. Like the hundreds of colourful striations in drawing Reliquary Dissected\, doorstops and bird spikes offer a form of protection to the precious objects at their centre but are week membranes\, delicate and prone to attack. They simultaneously shield and smother the very object they aim to protect\, rendering them inept. These modes of protection inevitably imply the possibility of threat. In contrast\, discarded domestic irons burn the surface of the paper in Mothers Little Helpers\, a violence that is at odds with the artwork’s title.\nHaines’ work exists at the intersection between the scientific and emotional. A keen microscopist\, her subject is studied with scrutiny\, treated like a scientific specimen and often made to look sterile despite its emotional value. It is not only dehumanized in this way but makes us question preconceived views conditioned into us from infancy.\nBeatrice Haines\n(b. 1986\, London\, UK) is a multidisciplinary visual artist working in London and the South West. She graduated with a Masters in Fine Art Printmaking from the Royal College of Art in 2010 and has exhibited in solo and international group exhibitions including the Jerwood Drawing Prize\, ‘Blood’ at Science Gallery\, ‘the Negligent Eye’ at Bluecoat Gallery and at Ars Electronica festival. Haines has completed residencies at the University of Abertay’s forensics lab\, Marlborough College and Centrespace Gallery. She is currently in residence at the Griffin Gallery and collaborating with scientists from Windsor & Newton. Listed in Artlyst’s ‘top 10 artists under 30’\, Haines is a Print Fellow at the Royal Academy of Arts. Winner of Anthology Art Prize\, RBS Bursary award and the Mann and Daler Rowney drawing prizes\, she continues to create artwork of a multi-disciplinary nature. URL:https://project-space.london/event/beatrice-haines-devil-detail LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/09/Screen-Shot-2016-09-10-at-12.34.06.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160913T110000 DTEND;TZID=UTC:20160930T180000 DTSTAMP:20260621T153627 CREATED:20160827T110153Z LAST-MODIFIED:20180829T144207Z UID:4241-1473764400-1475258400@project-space.london SUMMARY:The Kate Inside - Iconic and Unseen Photographs of Kate Bush by Guido Harari DESCRIPTION:The Kate Inside\nIconic and Unseen Photographs of Kate Bush\nby Guido Harari\nThe Kate Inside features amazing images many unseen and unexpected photographs\, Polaroids\, contact sheets\, personal notes from Kate and out takes covering the period of her boldest albums: The Dreaming\, Hounds of Love\, The Sensual World\, The Red Shoes including her film The Line\, The Cross & The Curve. A London exhibition at Art Bermondsey Project Space will accompany the book’s release.\nAt the end of the 70’s Guido was working with the legendary Lindsay Kemp Company documenting every detail of their tour of Italy for Kemp’s first official photo book when he was introduced to Kate Bush in Milan\, who was there to promote her album The Dreaming. Kate knew little of Guido’s work with other musicians like Joni Mitchell\, Lou Reed\, or Bob Dylan but she was so impressed with the photographs he had taken for Kemp that she asked him if he could handle the job of photographer for her. Guido was already a huge fan and readily agreed. Kate has tremendous respect and affection for Lindsay Kemp. “Lindsay inspired me to take a new direction\, he introduced me to a form of dance\, even dance itself for the first time\, that’s why he is so important to me.” They first met when\, following in David Bowie’s footsteps\, Kate made her way to the Dance Centre in Covent Garden. Timid and shy\, Lindsay brought her from the back of the room and encouraged her to ‘show him her heart and soul’.\nThis extraordinary beautiful girl\, with the glowing skin\, captivating eyes and lion’s mane of hennaed reddish hair was truly breathtaking. The silky twang of her voice and her self assured intoxicating stage presence gave way to a quiet thoughtful offstage persona and big heartwarming smiles. Guido was absolutely fascinated by this ethereal creature and when Kate telephoned him in 1985 to come to her studio in her home in Kent to take the official promo photographs for Hounds of Love he was in London within days.\nTheir collaboration was built on trust and friendship\, they kept it simple and always expected something magical to happen\, from the inspired “underwater” photographs\, the enigmatic Kabuki make-up\, to the unguarded ‘Goofy Kate’ images. Guido recalls that Kate was simply the warmest\, kindest person he had ever worked with but he kept in mind Terry Gilliam’s words\, “she may be the sweetest person on the planet but there was absolute steel inside”. Guido’s photographs and images capture the complexity of Kate\, uniquely talented\, astonishingly vulnerable and open\, creative and strong.\nInspired by the songs from her album The Red Shoes\, Kate’s film The Line\, The Cross & The Curve saw the three reunited in 1993. Guido’s incredible and previously unseen photographs form an extraordinary ‘fly on the wall’ reportage and contain many of Lindsay Kemp’s favourite images. “Guido is a great portrait artist\,” says Lindsay Kemp. “His pictures remind me of classic 18th century portraits or sometimes the glamorous movie portraits of the 1940’s. He captured the magical atmosphere of Kate’s film wonderfully but also the humour and humanity of its backstage: some of the candid shots captured off the set are priceless.” \nQ&A with Lindsay Kemp and Guido Harari\n6-8pm 16th September\nbooking essential – click here– URL:https://project-space.london/event/the-kate-inside-iconic-and-unseen-photographs-of-kate-bush-by-guido-harari LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/08/Guido-Harari-Kate-89-014.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160831T110000 DTEND;TZID=UTC:20160930T180000 DTSTAMP:20260621T153627 CREATED:20160816T154410Z LAST-MODIFIED:20180829T144207Z UID:4228-1472641200-1475258400@project-space.london SUMMARY:Iain McKell Dark Side of Pink: Re-Psycho Re-Punk DESCRIPTION:Iain McKell \nDark Side of Pink: Re-Psycho Re-Punk \n1-30 September \nThis exhibition by Artist Iain Mckell shows 16 colour monographs of an all women neo-native performance tribe living in Tottenham – The RePsychos. Alongside this is an installation of 34 Black and white monographs titled Re-Punk which is a series of unseen monographs from Weymouth and London during the late 70s and early 80s.\nAlthough social documentary is his premise in his work practice\, these images transcend into fine art through his close working relationship with his female muses.\nThe contrasting black and white installation of the Re-Punk series is set against the vivid colours of the Re-Pyscho creatures. The portraits are set against a pink canvas backdrop along side other images shot in the Tottenham Marsh landscape where he has manipulated the sky to a pink hue in order to create a dream like\, other worldly and magical atmosphere. \nThe early works in this exhibition are\, imbued with its attitude of punk rather than the literalness of the ‘punk rocker’. This also permeates into the imagery of how that influenced him as a young photographer. \nIn many ways RePsycho : RePunk reflects Iain’s previous work depicting the attitude from the Punk era but with a Modern and environmental distortion\, 40 years later. \nOver a lifetime career in between other styles of work he has created a trilogy using the same craft practice and a central aesthetic theme involving a canvas backdrop in an open air / ambient studio with natural light. First the New Romantics with a mottled grey\, second the New Gypsies with a turquoise green and now the final in the triptych\, the Re-Psychos with a pastel pink. \nIain Mckell through this process aims to portray a celebration of what he finds beautiful. This has evolved out of Iain’s innovative ability to recognise talented individuals and creative qualities inside communities who share a collective consciousness. Through his own eye he enables himself as a portal through the lens into the other worlds of these individuals to whom he feels connected with. \nWe are the Re-Psychos. We come from future wasteland\, the depths of the dystopia. Our planet is a seething landfill. We are consumed in mind and body by remaining filth. where all we have been left with is the plastic of the past.  It has become our God\, it is all we know. Our Religion is therefore a tangled dichotomy\, we both worship it and fear it. Our costumes are scrapped and scavenged from the streets and skips and surrounding woodlands of Tottenham and beyond. From this our band of women has forged an eco-conscious cult with a mission. We have returned to these times to speak the story of our homelands. We tell tales in broken tongue\, urge people of the present to re-examine\, to recycle and rethink their consumption. To rework and reuse broken or outdated things and to waste less and to care more. To consider what kind of a World they wish to leave behind for the generations of the future.  \n  \nAbout Iain McKell\nIain McKell is a London based photographer who having studied graphic design at Exeter College of Art and Design\, at 22 decided to leave his job and become a full-time photographer. His first project dates back to 1975 in Weymouth documenting his own life and the environment he grew up in including family\, friends\, girl friends\, people who worked or lived in Weymouth and holiday makers. \nMcKell has been photographing subcultures since the 1980s\, and has since documented various other counter cultures\, including Psychedelic Trance in Thailand\, Fetish\, Druids/Pagans\, winter night carnivals in Somerset\, London Dandies and American Rockabilly. He has also spent over ten years befriending and photographing a group of New Age Gypsies. The result of this project was the publication of a book and various exhibitions in New York\, London\, Paris and Milan. Over the years Iain McKell has been known for collaborating with artists such as Boy George\, Madonna and Kate Moss and with equally prestigious brands and advertising companies. In 1985 The Photographer’s Gallery invited him to present his one man show exhibition titled LIVE! 85 \nThe Dark Side of Pink: Re-Psycho Re-Punk features Iain McKell’s earliest work from Weymouth and his latest project Re-Psycho\, tracing an evolution of subculture in Britain from the 1970s until today. \n  URL:https://project-space.london/event/iain-mckell LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/08/iain-mckell-repsycho-image1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160831T110000 DTEND;TZID=UTC:20160910T180000 DTSTAMP:20260621T153627 CREATED:20160730T122253Z LAST-MODIFIED:20180829T144207Z UID:4226-1472641200-1473530400@project-space.london SUMMARY:Julie Umerle 'Rewind' DESCRIPTION:Julie Umerle \nRewind \nLondon-based artist Julie Umerle creates works that investigate the relationship between materials and the perception of the image. Her investigation focuses on the balance between precision and chance\, exploring the materiality of paint and the processes of abstract painting. Pressure of the brush\, viscosity of paint and speed of application are just some of the variables that play a part in her mark-making process.\nUmerle’s paintings are often created in open-ended series with new works being inspired by previous ones. The exhibition was made possible thanks to an award from Art Council England for a period of research and development in her practice. It will feature the Rewind series of paintings and the Transoxide series of works on paper\, as well as a group of large canvases. The Rewind series is characterised by unprimed canvases\, emphasising the simplicity of the image. The most immediate element of the work is actually the object itself\, positioned very close to the edges of the canvas. The Transoxide series is instead developed on wet stretched paper\, where coloured grounds are layered with white paint and marks of black ink. The series continues Umerle’s ongoing investigation into materials\, focusing particularly on the organic qualities of the ink and on the different responses of the various surfaces.\nA catalogue is being published for the exhibition\, with an essay by Anna McNay.\n\nThe following events will take place at Art Bermondsey Project Space in conjunction with the exhibition:\nSaturday 3 September 2-4pm – Book reading – Julie Umerle will be reading passages from the manuscript of ‘Art\, Life and Everything’\, to be followed by a conversation with Anna McNay. \nFriday 9 September 6.30 – 7.30 – British Sign Language tour of the exhibition in association with Shape Arts. To book a place\, RSVP to andrew@shapearts.org.uk.\nMore information available at http://bit.ly/29VNqwC \nInstallation views by Peter Abrahams \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] URL:https://project-space.london/event/julie-umerle-rewind LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/07/Naples-Orange.-Julie-Umerle.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160817T110000 DTEND;TZID=UTC:20160827T180000 DTSTAMP:20260621T153627 CREATED:20160731T101214Z LAST-MODIFIED:20180829T144207Z UID:4225-1471431600-1472320800@project-space.london SUMMARY:Turps Banana Studio Programme Graduate Show DESCRIPTION:Turps Banana Studio Programme \n\nGraduate Show\n \nFeaturing works by: \n\n\nKATIE BROOKES\, DAVID EDMOND\, MAJ-GRET GAUPAS\, NORMAN HYAMS\, MARI KOLBEINSON\, STEPHANIE MAESEELE\, SCOTT MCCRACKEN\, PAIGE PERKINS\, TIM RALSTON\, ANNA JUNG SEO\, JONATHAN STUBBS\, NADINE TALALLA\, INDIA DEWAR\, ROISIN FOGARTY\, ATHENE GREIG\, BENJAMIN JAMIE\, FIONA LONG\, JESSIE MAKINSON\, COLL MCDONNELL\, NADJA PLEIN\, MEL SCOTT\, JENNY SMITH\, SHARON SWAINE\, RHYS TRUSSLER \n \n\n\n\nThis show unites the work from the painters on the Turps Studio Programme\, many of who will be leaving after two years.\nTurps has created an environment where the painters feel comfortable enough to act accordingly to their own instincts; an environment where the painters feel at ease to be who they are. Through their dedication\, this current group of painters have risen successfully to the difficult challenge of what it may mean to be an artist in these current times. As a collective they have started to define a type of ethos that will be associated with the Studio Programme. \nMentors and visitors have also made the Programme a success\, and everyone thanks them for their enthusiasm\, support and generosity. Mentors have shown a seamlessness between their own studio practice and their teaching practice and have been incredibly generous with their time.\nMarcus Harvey\nHelen Hayward\nPhillip Allen URL:https://project-space.london/event/turps-banana-studio-programme-graduate-show LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/07/22-Jessie-Makinson-res.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160809T110000 DTEND;TZID=UTC:20160813T180000 DTSTAMP:20260621T153627 CREATED:20160730T121358Z LAST-MODIFIED:20180829T144207Z UID:4223-1470740400-1471111200@project-space.london SUMMARY:Jessops' "Share Your Summer Exhibition" DESCRIPTION:AN OLYMPUS SHOWCASE\nin association with JESSOPS\nThis year leading photographic retailer\, Jessops\, involved their UK customers in a photo-challenge to capture the essence of Summer. Each week the ‘winners’ had their highly personal images displayed in a local Jessops store as the “Share Your Summer” campaign rolled out across the UK. Now eminent photography brand Olympus – as part of their Cultural Initiative Programme – will showcase the full range of winning shots in central London from August 9th to August 13th inclusive\, at the Art Bermondsey Project Space. Entry free of charge. The Project Space is a professional\, not-for-profit independent gallery\, adjacent to White Cube Bermondsey\, sponsored by Olympus in association with State Magazine that provides a platform for fresh ideas in the visual arts and embraces artists from all cultures. URL:https://project-space.london/event/jessops-share-your-summer-exhibition LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/07/Jessop_deckchairs.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160706T110000 DTEND;TZID=UTC:20160729T180000 DTSTAMP:20260621T153627 CREATED:20160703T110645Z LAST-MODIFIED:20180829T144232Z UID:4203-1467802800-1469815200@project-space.london SUMMARY:Not One: But The Other DESCRIPTION:Summer Group Show \n Not One: But The Other  \n\nArt Bermondsey Project Space is pleased to announce the summer group show Not One: But The Other\, organised by a group of international painters currently participating in the Turps Banana Painting Correspondence Course. \nTurps Banana is an alternative school for painters\, run by painters.\n\n\nThe exhibition will feature recent works by: Sophie Bedingham Smith\, Nancy Cogswell\, Michelle Conway\, Peter Illesley\, Liza Lacroix\, Gabrielle Lockwood Estrin\, Amanda Mears\, Johanna Melvin\, David W Pike and Johanna Robinson. \nCatalogue Available \n\n \n  \n\n Turps Correspondence Course \n A couple of things I know to be true\, where painting is concerned: \nWith a few rare exceptions\, nothing truly good comes from a vacuum\, and dialogue\, even just a conversation\, with a kindred spirit is essential for artists. \nSecondly\, you can come back to painting with a renewed clarity and purposefulness after perhaps years of life experience beyond traditional art school education. \nIn 2005 Turps Painting Magazine was established to provide a forum written by painters for painters. I wondered if we could use the Internet to further develop these ideas. \nGetting together online initially seemed like blasphemy to a painter for whom the surface is fundamental. Until you think about it. \nWe are now accustomed to reading a painterly surface from a screen and getting something of what the painting is about\, the gist! \nBut\, that’s not the point. \nWhat is really important is how interaction\, online or otherwise\, creates the momentum essential for building a body of work. The discussion of content\, the materials\, the references and not least the encouragement from established practitioners at regular intervals creates a dynamic learning structure. \nIt’s working. \nNow\, a new community of artists\, who have found each other through this structure\, are meeting up to initiate further dialogue\, discussion and exhibition opportunities\, not led or directed by Turps\, but driven by a renewed sense of excitement and passion for painting. \n \n \nMarcus Harvey Director Turps Banana\, June 2016 URL:https://project-space.london/event/not-one-but-the-other LOCATION:Gallery 1 + 2\, 183-185 Bermondsey Street\, London\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/07/c762d308-9ef6-4a36-acbd-11db30076a4d.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160610T180000 DTEND;TZID=UTC:20160617T180000 DTSTAMP:20260621T153627 CREATED:20160610T084349Z LAST-MODIFIED:20190615T152208Z UID:4199-1465581600-1466186400@project-space.london SUMMARY:"Travelling Light" with Steve Gosling DESCRIPTION:Steve is an award winning professional photographer who specialises in producing creative & contemporary landscape images. His photographs have been published internationally in books\, magazines & newspapers and on greetings cards\, posters & advertisements. \nThis exhibition of 30 black & white and colour landscape photographs were taken in the UK (the Lake District\, Northumberland\, Yorkshire and the west of Scotland)\, Europe (Iceland and the Faroe Islands) and the USA (California and Colorado). \nAll of the photographs exhibited were taken on Olympus OM-D cameras – their small size and lightweight providing the inspiration for the exhibition’s title. \nSteve is an award winning professional photographer who specialises in producing creative & contemporary landscape images. His photographs have been published internationally in books\, magazines & newspapers and on greetings cards\, posters & advertisements. \nHe particularly enjoys writing & teaching about photography. He frequently gives talks to photographic groups in the UK & abroad and is a regular contributor to photography magazines in many different countries. He has also run a successful workshop programme for several years encouraging and inspiring photographers of all levels from across the world. \nAs well as working closely with Phase One and Lee Filters Steve is a Visionary for Olympus and an Ambassador for Manfrotto and Permajet. \nTo coincide with Steve’s ‘Travelling Light’ exhibition at Art Bermondsey Project Space\, London\, there will be a private view (with drinks and snacks). \nDuring the evening Steve will give a short talk on the motivations\, thoughts and ideas behind some of the images exhibited to give an insight to his philosophy and approach to landscape & travel photography followed by a Q & A session. URL:https://project-space.london/event/travelling-light-with-steve-gosling CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/06/Heavy-Rain_sml.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160518T110000 DTEND;TZID=UTC:20160626T180000 DTSTAMP:20260621T153627 CREATED:20160518T144722Z LAST-MODIFIED:20180829T144233Z UID:3910-1463569200-1466964000@project-space.london SUMMARY:Stephen Newton "Abstract Realism" DESCRIPTION:Stephen Newton \n\n Abstract Realism\n18 May- 5 June\nStephen Newton’s years of contemplation and engagement with painting and drawing (his art is supported by a highly reasoned theoretical position\, so articulate that it has provoked numerous academic papers\, lectures and publications) has resulted in a distillation of that fusion between the physical and intellectual in the creative process – the essence being a reduction to primitive\, almost primeval\, images of immense power. \nIn much of his work the sense of human isolation\, ignorance\, inadequacy and fragility is offered in the ‘present’ of an image\, whilst the suggestion of an undefined ‘redemption’ lurks off stage (through a door or window; over the horizon; beyond a wall\, in a mirror’s reflection). In Newton’s painting\, this reduction to a language of the icon is supported by a symbolic use of paint. A heavy gestural and highly charged – physical\, in fact – technique that results in any pictorial motif\, say a building\, disintegrating into an abstraction when viewed up close. \nBy considering the ancient motifs and visual texts of – say – cave painting\, one can begin to approach and understand Newton’s work. It is interesting to note when considering wall painting and pre-historic drawings that\, contrary to common understanding\, individual pictures were repeatedly ‘added to’. Pictorial elements were superimposed – one on top of another – with impunity\, often over tremendous periods of time. The Giant Horse Cave at Cape York Peninsular\, Australia (20th millennium BC) would be a good example of this. Here\, as in many other works from pre-history\, there is a total absence of the tenet of a ‘unique’ work of art\, or a ‘finished’ work of art – barely conceivable today. Pre-historic peoples did not quest for vanitas\, for beauty\, but rather aimed to document the complex social and spiritual code within which they existed. For Newton\, the paramount consideration is the authenticity of an image by which it reconciles its meaning with a deeper\, almost subliminal\, spirituality – it is with this that the artist attempts to imbue each individual painting\, to generate a relevance and a universal resonance. \nNewton has\, through a twenty year examination of psychoanalysis and psychometry of Art\,(4) evolved a sophisticated series of visual ‘situations’ related to primitive manic states; isolation; disassociation; loss; fear; loneliness; supplication; etc.\, with which to introduce an engagement with subconscious spirituality. These ‘situations’ have taken on totemic (or iconic) status and are at once familiar to those with experience of Newton’s oeuvre. The Empty Room; the Empty Chair; the Doorway; the Mirror; the Flight of Stairs; and the ever present possibility of transference between one pictorial space – one area of consciousness – and another\, via a half open door or window or even\, Alice-like\, via a reflection. These two spaces\, these two realities\, are often divided by a line which could represent a horizon\, might possibly represent the traditional yin/yang dichotomy of good/evil; conscious/subconscious; light/dark. A perpetual Manichaean conflict. \nAs with all Newton’s works\, the title of an individual piece is fundamental to the understanding of it\, a consistent formalised metonymy. They are a first clue to the understanding of the other world\, which Newton attempts to reveal and which\, on closer inspection\, appears to contain sinister elements common to us all. \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row]\nphotos by Alice coc URL:https://project-space.london/event/stephen-newton-abstract-realism LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/05/CONFESSIONAL-VERSION-2lores.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160518T110000 DTEND;TZID=UTC:20160606T180000 DTSTAMP:20260621T153627 CREATED:20160507T104501Z LAST-MODIFIED:20180829T144233Z UID:3855-1463569200-1465236000@project-space.london SUMMARY:Vintage Dafydd Jones - Exhibition in a Box 1977-1996 DESCRIPTION:Vintage Dafydd Jones \n(Exhibition in a Box 1977-1996)\nDafydd Jones has worked worldwide as an events photographer since the 1981 when he was hired by Tina Brown to photograph balls\, debutante dances and weddings for the Tatler magazine where he worked until 1989. Since then he has continued to work for many magazines and newspapers including Vanity Fair based  in New York. \nThe exhibition at Art Bermondsey Project Space showcases a collection of traditional darkroom prints from Jones’ art college years onwards.  It includes photographs from the Tatler Years\, Hollywood parties and New York society. All printed in black and white. \nI miss the darkroom\, so partly did these for the pleasure of spending time printing again\,’ says Jones. ‘I used to do all my own developing. In the 80s and 90s\, I’d be in the darkroom every day. The first obstacle to printing again was that I’d given away all my equipment. I found that one of the last community darkrooms in the country was near where I live in Hastings. \n‘I went back through my film pictures choosing the ones to print. The selection was entirely subjective. I wanted to revisit these old pictures and do a new edit. I mainly chose particular favourites but also some pictures had stayed in my head over the years. This isn’t a definitive selection from that period as there are many more. I printed six boxes in my favourite size\, 11×14 inches.\n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nphotos by Alice Cox URL:https://project-space.london/event/vintage-dafydd-jones LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/05/16WAY18685eb.jpeg END:VEVENT BEGIN:VEVENT DTSTART;VALUE=DATE:20160509 DTEND;VALUE=DATE:20160515 DTSTAMP:20260621T153627 CREATED:20160505T095350Z LAST-MODIFIED:20190615T152208Z UID:6488-1462752000-1463270399@project-space.london SUMMARY:#PROJECTGREEN WITH SHELLY VELLA DESCRIPTION:In association with OLYMPUS and Burt’s Bees.\nShelly Vella\, formerly Fashion & Style Director of Cosmopolitan UK and author of The Stylish Stuff has been commissioned by OLYMPUS to create and curate an exhibition launching in May. The concept\, #ProjectGreen\, marries her love of nature and passion for ethical\, eco-committed fashion and beauty\, while shining a light on the front-runners of change who she admires for taking a committed stance in the industry such as Singer\, Leona Lewis\, Wild at Heart Founder\, Nikki Tibbles and Celebrity Make Up Artist\, Justine Jenkins. \n \nIntimate and personal takes on nature will open the run of images\, which will then flow naturally from portraits\, to beauty and into a fashion shoot.  The images will be shot on the OLYMPUS PEN E-PL7 camera\, and as illustrated\, in a ‘green’ location\, literally placing product in a natural habitat. \nSince leaving Cosmopolitan\, Shelly’s passion for photography and skills in art direction are finding their natural comfort zone in an area that has been a passion her entire career. \n \nAll proceeds from the images shows will be donated to the Wild at Heart Foundation. URL:https://project-space.london/event/projectgreen-with-shelly-vella-2 LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/05/P2280131_web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160505T080000 DTEND;TZID=UTC:20160507T170000 DTSTAMP:20260621T153627 CREATED:20160505T101559Z LAST-MODIFIED:20160505T101559Z UID:6489-1462435200-1462640400@project-space.london SUMMARY:John Nassari - 80 at 80 - Portraits of the Mandarin Oriental DESCRIPTION:To mark the 80th anniversary of OLYMPUS cameras\, OLYMPUS UK and Mandarin Oriental Hyde Park\, London are proud to present a major exhibition of new photographs by OLYMPUS Visionary John Nassari. A collection of images commissioned by Mandarin Oriental Hyde Park gives a glimpse inside one of London’s most celebrated 5-star hotels. \nNassari was given unprecedented access to all areas of the hotel over a period of several months in 2015. This allowed him to experience the essence of the hotel and its workings. Remaining unobtrusive whilst the hotel was operational was challenging\, although using the OLYMPUS OM-D E-M5 Mark II allowed him to quietly observe and capture the staff as they went about their very diverse\, busy duties. \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nphotos by Alice Cox \n  URL:https://project-space.london/event/john-nassari-80-80-portraits-mandarin-oriental-2 CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/05/P12208391.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160404T110000 DTEND;TZID=UTC:20160430T180000 DTSTAMP:20260621T153628 CREATED:20160324T132109Z LAST-MODIFIED:20160324T132109Z UID:6487-1459767600-1462039200@project-space.london SUMMARY:Suse Stoisser "Now You See It" DESCRIPTION: URL:https://project-space.london/event/suse-stoisser-now-you-see-it-2 LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/04/suse7.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160404T110000 DTEND;TZID=UTC:20160430T180000 DTSTAMP:20260621T153628 CREATED:20160324T125519Z LAST-MODIFIED:20190615T152208Z UID:6486-1459767600-1462039200@project-space.london SUMMARY:Alan Rankle "Pastoral Collateral" DESCRIPTION:Art Bermondsey Project Space is pleased to announce the upcoming exhibition of paintings by\nAlan Rankle\nPastoral Collateral \n4-30 April 2016\n  \nIn association with Maerz Contemporary\, Berlin \n  \nAlan Rankle was born in Lancashire in 1952. His first exhibition dates back to 1973\, at the Institute of Contemporary Arts of London.\nPastoral Collateral is a suite of new paintings that follows on from shows in Copenhagen\, Milan and Berlin. The show coincides with the launch of his new book Alluvione di Nero commissioned by the Marriott Resort and Spa in Venice. Rankle revitalises the tradition of landscape art within the context of our post-industrial\, and arguably pre-apocalyptic\, world. In his works he fuses aspects of Classical/Romantic painting with Abstract Expressionistic gestures.\n  \n\nCatalogue available\nPress contact Serenella Martufi\n\nsm@project-space.london \n0203 441 5152\n  \nPastoral Collateral\nby \nJudy Parkinson \nFollowing on from major shows in Copenhagen\, Milan and Berlin\, Alan Rankle arrives in London with a suite of new paintings ‘Pastoral Collateral’ in which he continues his preoccupation with revitalising the tradition of landscape art within the context of our post-industrial\, and arguably pre-apocalyptic\, world.\nRankle fuses aspects of Classical/Romantic painting with Abstract Expressionistic gestures; he paints trompe l’oeil elements as though from a 19th Century naturalist’s journal.  He knowingly references conceptual asides to provide an undercurrent of contemporary unease.  All these elements collide as portentous montages in the paintings\, depicting a world splintering and fragmenting towards chaos\, yet still evoking an eerie\, and somehow threatening\, illusion of harmony. \nIn 1998 the critic\, Anthony Wallersteiner observed that Rankle’s paintings “represent re-workings of a single theme: that of a sudden encounter with a dark edge of water – a pond or river – on the outskirts of the city. A place reeking of desolation and the potential energy of decay\, the meeting of urban and rural landscape.”  Now in the 21st Century that dark edge looms between our whole planet and the abyss. \nAs with much of Rankle’s work this evolving series has a multi-layered aspect. The 2007 title ‘Formal Concerns’ for example refers to the way “abstract” artists of the 1970s\, when Rankle was a student\, would distance their work from an involvement with “ordinary life” and political issues by using the term to describe their aims. It refers also to the belated pronouncement by the British Government’s Chief Scientist who recently expressed “Formal Concerns” on the subject of Global Warming.  Further to this\, the title could be considered in the light of Rankle’s interest in the formal structures within the Baroque and Modernist paintings he emulates. \nIndividual painting titles: ‘Hybrid’\, ‘Landscape with Electrostatic’\, ‘Fællenparken: Ice Shelf’\, ‘Picturesque: Industrial Memoir of the Earth & Air’\, ‘Running from the House’ and ‘Pastoral Collateral’ add to an informed reading of these works. \nPutting all of these social and political implications aside (as Robert Smithson once put it “sooner or later politics comes and bites the artist in the ass”)\, Rankle is equally keen to state his intention is essentially to create a language for landscape art in modern times. \n  \nPress images on request. \n  \nTel: 0203 441 5152 \n  \n[row][one_col] \n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n[/one_col][/row] \nphotos by Alice Cox URL:https://project-space.london/event/alan-rankle-pastoral-collateral-2 LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/03/Alan-Rankle-Montsegur-II-2012-oils-on-canvas-80x100cm2.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160301T110000 DTEND;TZID=UTC:20160401T180000 DTSTAMP:20260621T153628 CREATED:20160221T122105Z LAST-MODIFIED:20190615T152209Z UID:3388-1456830000-1459533600@project-space.london SUMMARY:Carlos Puente - Shadows of Spain DESCRIPTION:Carlos Puente \nShadows of Spain \nPost-war Spain was a culturally complex nation. Bitter with its memories of the Civil War – itself a legacy of the little known Carlist Wars of the 19th century – and divided by the regime of Francisco Franco. With Western politics focused on the USSR and its satellite states\, Franco felt secure with his nationalist (anti-communist) stance. When the painter\, Carlos Puente de Ambrosio\, was born in Santander in 1950\, the society he entered was in a state of flux. \nArt schools\, as a traditional hotbed of revolutionary ideas both cultural and political\, were thus subject to surveillance. So after studying at the Escuela de Artes Aplicadas e Santander in 1969\, Carlos Puente made the traditional migration to Paris\, which had a long association with artists from Spain\, Picasso and Dali being perhaps the most legendary. As it turned out\, it was to be Italy that would subsequently inspire and succour the young Puente and he was to flourish in the environments of Celle Ligure and Milan\, not least under the auspices of the Galleria San Carlo\, which specialises in works by the CoBrA group. These painters\, Pierre Alechinsky\, Karel Appel\, Corneille\, Asger Jorn and Roberto Matta\, together with their decided opinions on the content and nature of painting\, helped focus the young Spaniard and continue to inform his work and philosophy. It is a banner he carries without embarrassment to this day. \nFor me the language of art must be international\, my stance has always been against localism and nationalism. But it is difficult to escape from the mother culture. I left my homeland at 18 years old\, looking for connections with other worlds – air\, light and freedom. I really did feel a prisoner of poverty\, blackness\, without a horizon… I survived by my involvement with art\, with beauty… \n  \nMy work starts with a vital feeling\, with an idea\, diving into the unconscious\, digging in the dark. For me it is important to work on a series\, a number of artworks simultaneously with interrelationships between the various pieces. Later\, I like each individual picture or sculpture to develop its own space and its own individual ability to express the emotions I am feeling. I work on several things at once\, 30 or more pieces\, several materials: fabric\, paper\, wood\, ceramic… It is a cycle. It is intense work where I get lost\, I can’t leave it for later\, I must finish it while the energy and the desire dominate the process. For me art is in the act of making\, working hard\, loneliness\, complete days without leaving the studio – listening to music\, jazz or opera\, the radio is my only company – until the work is finished. Then comes another cycle – of doing nothing\, looking at the stars and watching the grass grow. Just waiting for a work cycle to begin. My art comes from my heart\, sex\, life… \n  URL:https://project-space.london/event/carlos-puente-shadows-of-spain LOCATION:Gallery 1\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/png:https://project-space.london/wp-content/uploads/2016/02/Screen-Shot-2016-02-20-at-12.38.53.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20160301T110000 DTEND;TZID=UTC:20160401T180000 DTSTAMP:20260621T153628 CREATED:20160206T121446Z LAST-MODIFIED:20180829T144234Z UID:3336-1456830000-1459533600@project-space.london SUMMARY:Piers Secunda - CIRCLING SKIES DESCRIPTION:Piers Secunda \nCIRCLING SKIES \nAn exhibition of unique prints \nIn his on-going series of mono prints using crude oil as a printing medium\, Secunda is both literally and figuratively painting the developments which have carried the world from the Industrial Revolution\, to the present day: The Oil Age. It is a great challenge to have a neutral conversation about oil and its global influences – Secunda presents us with a full-bodied series of works\, free of judgments or opinions. The works in this exhibition are records of human invention and industry\, which lay corner stones for the world we usually take for granted in the 21st Century. \nEach image is silkscreened onto poured industrial floor paint. Secunda sometimes has to wait up to two years to obtain the correct oil with which to print\, as the crude oils used are from the places portrayed in the work. These are highly impactful images that bestow upon us a sense of history that is both site-specific and global. They have a feeling of antique photographs. The subjects of this exhibition cover the invention of the internal combustion engine\, the automobile and then powered flight. The romantic appeal of being earth bound and desperately wanting to be able to fly (hence the exhibitions title) or the excitement of being propelled on four wheels at increasing speed\, are certainly not lost in the works. As the subject matter broadens\, so does the human story and its associated drama. \nSecunda has successfully managed to achieve a rewiring of the way we interpret crude oil\, giving the viewer the ability to subvert stereotypical notions entirely. By converting this energy source into a printing medium Secunda has set up a highly intriguing dialogue. The unusual combination of geopolitics with such an unconventional artistic practice\, manifests in works that are both surprisingly beautiful and deeply engaging. URL:https://project-space.london/event/piers-secunda-the-circling-skies LOCATION:Gallery 2\, 183 - 185 Bermondsey Street\, London\, SE1 3UW\, United Kingdom CATEGORIES:Events ATTACH;FMTTYPE=image/jpeg:https://project-space.london/wp-content/uploads/2016/02/DSC_07561.jpg END:VEVENT END:VCALENDAR