is the unofficial slogan for Red Gallery, the cultural guardian of a formerly disused building and outdoor space. Red is a unique institution, holding an array of experiential exhibitions, raves, avant-garde symposiums, and fine art shows without external investment or grants, only limited corporate liaisons. Created with a sense of cultural, artistic, and social purpose, Red offers a bone fide warehouse space that has become the bastion of expression for the East London community. Once a short-term project, Red Gallery has become an incredible success over the past four years. This past year it gained full licensing allowing it to continue its mission, now offering programming seven days a week till midnight. This magazine hopes to preview and review both Red Gallery and East London’s events and programmes through articles and interviews with the artists, hustlers, cultural migrants, photographers, creatives, djs, art dealers, traders, musicians, blaggers and bloggers associated with the gallery and our friends. Got anything to say? Want to get involved? Red Gallery would like to thank the following people for their contributions, photography, design and production of this magazine: Chris Bianchi, Zey-Nyo Platt, Broken Fingaz, Paul Daly, Le Gun, Ilk Ghavami, Claire Griffin, Angelica Riccardi, NO WAY.
In a career spanning over forty years, Charles Hayward has established himself as one of the greatest drummers alive. His solo shows are a fierce combination of live drums, pulsating electronics and his trademark nasal vocal.His work with This Heat, Camberwell Now, Quiet Sun demonstrates his contribution to progressive music, whilst one-offs and short tenures have been made with Crass, The Raincoats and Blurt amongst others. Charles Hayward plays our new irregular club night SILWAN Wed 28th May 2014.
CHARLES HAYWARD: Massacre is heavy, probably the heaviest of the projects I’m involved with, at least heavy in the orthodox sense, telepathic, too. Fred And Bill are amazing players given the right circumstances the solo set can be pretty heavy too, like your skin is in a tight fitting sheath of sound, with bone rattle. SE: You’ve recently performed sets accompanied only by piano - does this reflect a major shift in your overall approach? CH: Not really, I’ve been using piano since I was 4 years old and used to write the THIS HEAT and CAMBERWELL NOW songs at the piano before giving them to the others to work through. The solo albums have lots of my keyboard playing; the thing about the specifically piano set is that it contrasts with the full on zig zag and swirl that I’ll be performing at Red Gallery. I mostly get the opportunity to do both sets abroad, Ireland and Japan were the most recent.
CH: The interplay between words and music is an obsession, and yes, that duality of alienation against exuberant physical release is so powerful, such an emotional tension. So the idea is to offer the audience some way forward from where we are now. My electronics are never the same twice, they sit in an open relationship with the other sounds, its the audience who bring it all together and make sense of it, so that’s another zone in my music that gives the power to the listener.
“So the idea is to offer the audience some way forward from where we are now”
SE: Your lyrics seem to often suggest at a society alienated from its own nature - is music a method of re-connecting? for more info www.redgallerylondon.com/listings
Charles Hayward - courtesy Angelica Riccardi, (East End Live) . All rights reserved.
SAMIR ESKANDA: Out of the many groups you have written and performed with, Massacre [with Fred Frith and Bill Laswell] strikes me as perhaps the heaviest - would you agree?
“What if The Fall had garnished their rockabilly grooves with swing-era horns? What if Can played Ghanaian highlife? What if Morricone had scored spaghetti westerns in a Moroccan souk? King Champion Sounds, a Dutch Veteran’s organisation fronted by GW Sok, of The seven piece line-up is completed by a stellar jazz-punks the Ex, recombine canonical second guitar player, bass and drums (a rhythm influences in new contexts. Orbit Macht section that Mark E. Smith would be proud of), and two jazzy horn players. The result is “a mix of Frei is where it all clicks, a relentless forward krautrock pulse that throbs in a The Fall, Can, Sun Ra, Captain Beefheart, Public Image Ltd, King Tubby. I love this band”, says Sonic dubwise echo chamber, while Sok’s word torrent ratchets the tension.” Youth’s Thurston Moore. Stewart Lee, Sunday Times King Champion Sounds is a new English/ Dutch band and the brainchild of Ajay Saggar (Dandelion Adventure, Donkey, The Bent Moustache). Vocals and lyrics are taken care of by G.W. Sok (The Ex).
The band started early 2013, for a one-off support in Amsterdam with, and at the request, of Mike Watt (Minutemen, fIREHOSE, Stooges). In the summer of 2013, after hearing recordings for King Champion Sounds’ debut album, the Yeah Yeah Yeahs asked King Champion Sounds to be the support act at YYY’s sold out Paradiso Amsterdam show. The debut album “Different Drummer” has been released worldwide, with the band also touring throughout Europe.
Every Thursday Night from 15th May 2014
A new weekly night encompassing artists and live groups of many kinds, including, but not limited to, those who draw on sub-genres like post-punk, glam rock, shoegaze, DIY punk, hardcore, doom, art rock, riot grrrl and some others we don’t have space for here. A trip to the desert, Mojave, Babylonian, whichever you prefer. Thursday nights at Red Gallery.
An irregular club night: Red Gallery’s new in house event will occur as-and-when the inclinations of the artists involved dictate. The inaugural night features WARM DIGITS and CHARLES HAYWARD live. See page 4 for our interview with Charles Hayward.
Fri 23rd May: PELIROCCO PLATTERS Wed 28th May: Silwan w/ CHARLES HAYWARD Tue 3rd June: STAND UP FOR PALESTINE: PSC Fundraiser w/ STEWART LEE & SHAZIA MIRZA
King Champion Sounds play at Red Gallery on Tuesday 15th July 2014
iC1s
iC1s recently completed a UK tour with The Family Rain following the release of second single ‘Beautiful Ugly’. NME have called them “a no messing about, real rock n roll band”.
Dirt Royal
Sat 12th July: INDEPENDENT LABEL MARKET AFTERPARTY Tue 15th July: SILWAN w/ KING CHAMPION SOUNDS
Doors 8PM unless otherwise stated. Please see redgallerylondon.com/listings for tickets and the full calendar
With three releases under their belt in their first year, Dirt Royal have a traditional DIY approach and energetic live performances teamed with direct lyrics and a strong 60’s pop influence.
The Chances
Combining influences from both rock and experimental genres, The Chances provide a unique blend of crushing electronica and alternative rock elements, complete with intense vocalisation. DJs: Mick Pelirocco Craig Ford (A Number Of Names)
Fri 23rd May 2014 at Red Gallery Doors: 8.00pm Price: £5.00 Tickets: http://www.wegottickets.com/event/269324
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Having been invited as a guest DJ at Red Market over the last two summers, I thought I would give some thought to the guiding instincts behind my selections. There is the shared experience with the recollection of music, but dig deeper, and the associations become personal - great tunes become wicked. A set of tunes which may, on a casual listening appear nostalgic - or worse still ‘eclectic’ - are linked by an imperceptible thread of association. Resonating through time and space, familiar tunes recall euphoric times past, and juxtaposed in the moment, with less familiar music, new associations are born. Here are six of my touchstones.
Poor Cow – Donovan
I listened to this endlessly, aged 6 or so. We’d just moved back from Canda; I think I found the shifting major/minor key reflected my feelings.
I Wish – Stevie Wonder
I played this *to death* listening to it on our Piece-Of-Shit toy record player. I had no notion then about the sentiment behind the lyric, but the irony is not lost on me now.
Wild Dub – Generation X
As a wee punkling, I missed most of the crop of ’76, but come the Jubilee I was begining to find my feet. Neither really punk, nor reggae(thanks to The Sweet producers Chinn & Chapman) this is more Unwashed- GlamDub; a fave played backwards on the POS.
Seconds Too Late – Cabaret Voltaire
This is the ‘80s I like to remember – steeped in menace, it set the tone for our early psychedelic experiences.
:)
Hallogallo – NEU!
I first heard this when Monkey Pilot played it in the back room of Club Dog, at the scout hut in Wood Green. I was compelled to dance like no-one was watching.
Paradox – Jailbreak Beats
Messed-up Hip-House – aural gateway into the hard stuff, from the brains (brawn?) behind 23 Skidoo – more on them another time, perhaps...
Patti Smith, courtesy Ecstatic Peace Library. All rights reserved. William Burroughs, courtesy Ecstatic Peace Library. All rights reserved.
1st July - 12th July Photographs & Ephemera curated by Thurston Moore & Eva Prinz This exhibition of over forty original photographs and special selections of rare ephemera from The Nova Convention (1978) celebrates and honours the legendary beat author and artist William Burroughs on the occasion of his centennial. This show has been
curated by musician Thurston Moore and artist Eva Prinz to include candid photos of Burroughs together with his inner circle of radical friends and colleagues of artists, writers, musicians, dancers, such as Patti Smith, John Cage, Frank Zappa, Terry Southern,
John Giorno, Laurie Anderson, Anne Waldman, Merce Cunningham and others. A limited edition catalogue of the exhibition published by Ecstatic Peace Library will be available for purchase exclusively at the Red Gallery during the exhibition.
Noun 1. A term used to denote the movement of people seeking new cultural geographies (i.e. buildings, streets, galleries, cafes, music, drugs and people) 2. A person that purposefully moves to seek cultural refuge that allows for expression, intellectual, sexual and creative entrepreneurial freedom. Historical Examples: The South Bank of (Paris) late 1871 to Le Belle Époque 1914, Harlem Renaissance 1921 till The Beat Nicks New York 1940/1965, Notting Hill (West London) 1968 till 1979, San Francisco Renaissance 1960/68, Berlin (East) 1968/now, East London 1970/now.
Good Moodz
My name is Zey-nyo Platt. I met my cousin Paul Daly, an Irish Artist and designer, and the following story is the result: Pre-Hoxton Hoxton Square is the reason Daly stayed in London. Having been born in Dublin, Ireland, Paul Nicholas Daly spent his adolescents in boarding school and traveling around Africa. Having done a metalwork course in Dublin in 1979, Daly showed early interest in Art and Design. On his way back from his last road trip across Africa, Daly stayed in London in early 1980, soaking up the music and art of the times. “The post-punk/new-romantic movement was starting to take shape and I started living in squats around London as so many ex-punks were doing. This culture of making a home in an abandoned or disused house or warehouse had a big influence on me as a teen.” After London, Daly tabled with music, “I joined a rock n’ roll band in Dublin as the lead singer and spent a year doing gigs in and around the city. It was a great lesson in how to try and organise people whilst being creative, and not to mention the girls!” He soon quite the band and pursued his passion in Art. Joining in the summer of 1981 with his best friend and fellow Irish artist, Karl Stephenson, he collaborated and entered art competitions across the country. Stimulated, he did a Foundation Art School course at the N.C.A.D, a year in fashion in Dublin, and an Art Degree at Goldsmiths College in London. With early success Daly’s 1985 piece “Santa Santa Bwanawhite man thief ” won one of the young contemporary artist awards at the I.C.A. (Institute of Contemporary Art). Hoxton Square, The New Beginning In December 1988, Daly, reunited with Goldsmith’s peers Gary Hume and Sarah Lucas, began collaborating in arts projects in London.
“We squatted a dis-used two story building at 11 Hoxton Square. Back then it was a very dangerous derelict place. I thought of it as even more dangerous than the lower east side in New York City (it was known as a ‘crack ghetto’). I quickly contacted Hackney council and told them we were artists and that we would look after the building, as Hackney council owned it. The council were in a meltdown and allowed us to stay.” Daly become a sitting tenant and slowly built up a business. “I started with one drill and a dream and started making furniture and other objects.” After designing the interior of Ri-Ra in Dublin, making stage props for U2’s Zoo TV tour, and completing the interior of London’s Elbow Room in Notting Hill, Daly began to build a reputation. Spending the first five years alone in Hoxton Square (1988-1993), ex-Royal College of Art students arrived in number 8 and 9 Hoxton Square, attracting people to an otherwise abandoned area. Historically Hoxton Square was full of small furniture manufacturing companies and sweatshops. “These started disappearing in the 1970s and 1980s recessions. In the summer time in the 1980s and early 1990s, the few people that still worked in these sweat shops would be the only people along us artists sitting in the square. There were sewing machine girls in blue overalls in a little group. Now there are models in bikinis, fashionistas, bloggers, hipsters, bands and cooler type of tourists from all over the world!” In 1998, a curious chap called to Paul’s studio in Hoxton Square called Michael Bryn Jones. “He worked for a massive company called Barclay Homes, claiming they were buying
the land from the safe company next door and building apartments. He said they would like to develop the land at number 11, Hoxton Square as well. I started to do a deal with them, but they tried to betray me, doing other deals behind my back. I desperately had to find another developer or I risked losing my workshop.” This poignant moment in time needed sturdy the support from the trusted Danny Durkan who saved the day. The stage was set for the building 11 Hoxton Square, as we know it. This new building was completed in 2003, and ‘Zigfrids’ was born on the 9th of September 2003. “I have looked at Hoxton everyday since 1988. I am the only one left from the founders of the new era of Hoxton and Shoreditch or ‘Hoxditch’. It was never planned, it simply happened! In the early 1990s, I knew I wanted to have a bar at number 11 Hoxton Square. I did not have the money but knew that if I worked as hard as humanely possible, then I could do it.”
“I started with one drill and a dream and started making furniture and other objects.”
An interview by NO WAY It’s a rainy spring afternoon in London. It’s a day like any other day. Standing by the window wistfully smoking a puff is wise Tant and sketching turtles dressed in polka dots on the floor is Unga. They’re what you’d call half of whacked-out collective Broken Fingaz who first came to East London in 2012 to squat a one-bed flat in Bethnal Green with 10 of their gypsies from their hometown. None of the crew got a formal arts education, but they’re disciplined as fuck. A lot of it’s down to their old art teacher, Ganadi, back in Haifa, who passed away a year ago. “Ganadi was our drawing teaching. He was from somewhere in the former Soviet Union. In a way, for him the world still was the Soviet Union. When we were in High School we used to skate with a bunch of Russian friends because they were also into graffiti and illustration. One of those friends told us about this teacher who taught really classical drawing. So we went there – he had this small apartment at the top of Balfour, the steepest street in Haifa. He didn’t leave the house much because of a number of health problems mostly due to years of drinking – eventually he lost a leg - but it didn’t stop him smoking like a Turk and sipping cognac on the sly. At first it was a hard lesson for us because it was so strict and there were a lot of rules and no freedom. He used to take the piss out of Israelis constantly because we lacked this thing “isrrrraelis you want do everything straight away, quick!” he spoke between heavy-breaths with this Russian Hebrew accent. We were practically the only Israeli-born students he had. We started to learn from him all the fundamental tools we were lacking in our work: proportion, the aesthetic of the line, anatomy, how to build the composition on the page, patience… and the basics that were so important, how to prepare yourself before
you draw, to make the paper right, get to a comfortable position, first loosen your hand – the order and quiet you need to create. “The hand isn’t controlling you, you control the hand!” he’d yell at us: “this look like shit, one of her arm is longer than the other!” He yelled at us a lot but we sucked it all in – we understood how much knowledge this person had and that we’ll need to work like this for 30 years more before we’ll be anywhere close to standard. By then we started developing our own style and had some experience, so we knew how rare it was to find this kind of teacher in Israel where there’s no history, no didactic heritage of this kind. We want to be able to illusrate freely, we try to find a fluid-looking line and this strict Soviet approach was indispensible. He’d take us out back and show us his old porn collection, old penthouse mags… he got us obsessed with drawing girls and skeletons. He was into rock ‘n’ roll, he used to be a drummer. Ganadi was definitely a pirate. Someone from the old world.” BROKEN FINGAZ brokenfingaz.com NO WAY is an independent art label based in East London.
This show has been curated by musician Thurston Moore and artist Eva Prinz to include candid photos of Burroughs together Trafačka, an internationally with his inner circle of radical regarded Prague based art colfriends and colleagues of artists, lective, comes to Red Gallery London this May to showcase 39 writers, musicians, dancers, such as Patti Smith, John Cage, Frank international artists exhibiting graphics, paintings, photographs, Zappa, Terry Southern, John Giorno, Laurie Anderson, Anne mixed media and installations. Waldman, Merce Cunningham 1st - 2nd June and others. Matúš Lányi Red Gallery A limited edition catalogue of the Artist in Residence project exhibition published by Ecstatic “The main topic of Matúš consitPeace Library will be available for ing mainly of paintings and purchase exclusively at the Red videos, is Christian iconography. Gallery during the exhibition. Taking into consideration its position within European art his- 19th - 31st July A Fete Worst Than Death tory he is trying to articulate it through secular visual language. 2014 , 20th anniversary exhibition and fete. By transformation of the supertemporal messages and Christian The 20th anniversary exhibition of ‘A Fete Worse Than signs into new connections, Death’ hosted by Red Gallery and referring to the perception of its Red Market, will allow artists the meaning in the present time. chance to reclaim the area for 5th - 20th June a day whilst giving the public a Magick Is Freedom! - Post- rare opportunity to see and buy ers by Graham Wood early artworks made by the YBAs Magick Is Freedom! (after Barney before they were famous. There Bubbles) is a series of images by will be a painting by Gary Hume Graham Wood, founder member painted on a local warehouse wall of tomato. The work consists of for Joshua in 1994 as well as origi23 large scale prints that take as nal memorabilia from the Fete & their starting point a print by Factual Nonsense gallery – sold Barney Bubbles (Colin Fulcher) in aid of the Joshua Compston that appeared in issue 12 of Oz memorial fund and assisting in magazine in 1968. The print is a raising money for a memorial to bold, visceral collage piece that, be erected in Hoxton Square. as Graham says, “turned me inside out”. 29th Sept - 19th Ocotober -
1st - 31st May Trafacka – Temple of Freedom
1st - 12th July “William Burroughs 100 - NOVA CONVENTION” Photographs & Ephemera curated by Thurston Moore & Eva Prinz
Jean Pierre Muller and Robert Wyatt 7x7 : A Red Show in A
A Red Show in A is a new and original collaborative work by neo-Pop artist, Jean Pierre Muller, and Robert Wyatt, one of This exhibition of over forty music’s greatest shamans. A Red original photographs and special Show in A is the latest work to selections of rare ephemera from emerge from Jean Pierre Muller’s The Nova Convention (1978) celeinnovative ‘7x7’ project. brates and honours the legendary 7x7 is an inter-disciplinary beat author and artist William collaboration between neo-pop Burroughs on the occasion of his artist Muller and seven musical centennial. luminaries from a variety of con-
temporary genres; Nile Rodgers, Robert Wyatt, Mulatu Astatke, Archie Shepp, Sean O’Hagan, Kassin and Terry Riley.
1st - 21st of September 3FF
For the fourth year running, Red Gallery will be hosting 3FF’s Urban Dialogues exhibition featuring the work of artists exploring the interplay between art, belief and identity accompanied by music, discussion, spoken word and street food in the gallery. The Urban Dialogues exhibition harnesses the power of the arts to illuminate, engage and bring diverse groups of people together.
20th - 24th November (Basement only) – Endless War (WORK IN PROGRESS) - YoHa with Matthew Fuller (2012)
Endless War is not a video installation but a month-long real-time processing of this data seen from a series of different analytical points of view. (From the point of view of each individual entry; in terms of phrase matching between entries; and searches for the frequency of terms.) As the war is fought it produces entries in databases that are in turn analysed by software looking for repeated patterns of events, spatial information, kinds of actors, timings and other factors. Endless War shows how the way war is thought relates to the way it is fought. Both are seen as, potentially endless, computational processes. The algorithmic imaginary of contemporary power meshes with the drawn out failure of imperial adventure. A project by YoHA & Matthew Fuller.
MORE INFO HERE www.redgallerylondon.com
Trafacka, an internationally regarded Prague art collective, comes to Red Gallery London this May to showcase 39 international artists exhibiting graphics, paintings, photographs, mixed media and installations. Trafačka transformed the industrial space, once an old electrical substation in the outskirts of Prague, into what is now a legendary gallery operating as a civic association linking buildings formerly forgotten and overlooked. Trafačka and Red Gallery unite in this extraordinary collaboration sharing not only similar trajectories in their mission to use neglected space, but their mutual understanding of the power of offering unbridled creative freedom to young up-and-coming artists. A gallery, exhibition hall and multifunction space - Trafačka thrives off of reinvention and regeneration. Although it began with a oneyear contract and sense of permanent insecurity - or perhaps security, it has year after year grown to amass seven successful years of programming and events to date with domestic and international acclaim. While urbanisation has left its mark on Prague, Trafačka no longer sits in a bleak suburb populated by rag-and-bone men and other such ne’er-dowells. Surrounding car parks have become huge shopping centres and office blocks; old multi-storey buildings have given way to modern apartment blocks. So what was meant to take the place of Trafačka has now come to pass, but around it not instead of it. The hall, courtyard, gallery and the large wall – this strangely elegant patchwork on a triangular ground plan has remained stubbornly in place – a testament to its position as a bastion of cultural rehabilitation. A deserted space has become an independent gallery, an established fixture on the art scene, and people living on the other side of the planet have
learned how to pronounce the letter ‘č’. And for the month of May, Trafačka and Red Gallery join forces to showcase how communities can revitalize – and reflect on the power of regeneration from below.
Thursday 1st May from 7pm Private View Michal Cimala live performance DJ’s Udo Kraft, Lazy Eye & Easy Die FREE ENTRY
Saturday 3rd May from 7pm Documentary Film Screening ‘Trafacka – Temple of Freedom' followed by Q&A djs Bagira & Tron FREE ENTRY
Art Which is Also a Disco, Sir Peter Blake, Bishi, Cedric Christie, Mat Collishaw, Adam Dant, Tracey Emin, Angus Fairhurst, Fungarium, Haus of Mirrors, Damien Hirst, Cedar Lewisohn, Paul Sakoilsky, Residence Gallery, Bob & Roberta Smith, Sam Taylor-Wood, Gavin Turk, Jessica Voorsanger, Gillian Wearing and many more… 20 years ago Shoreditch was a derelict part of the East End when Joshua Compston opened his gallery, FACTUAL NONSENSE, on Charlotte Road. Compston staged collaborative street events with a vision to change the world through art. His 1993 ‘A Fete Worse Than Death’ was an anarchic swipe at the notion of a traditional village fête with artists including Gavin Turk, Tracey Emin, Sarah Lucas and Gary Hume running stalls selling art and providing entertainment. Damien Hirst and Angus Fairhurst dressed as clowns producing spin paintings for only £1. In 1994, at the second ‘A Fete Worse Than Death’, FETE Saturday 19th July Midday to Midnight - Red Gallery Midday to 8pm - Rivington Street fete
Compston encouraged ‘organised starry-eyed liberation’ of the art world ranks. Join us this summer for a memorable ART EXTRAVAGANZA to celebrate the 20th anniversary of the historic ‘A Fete Worse Than Death’ in the creative hub where it all began.
Exhibition
19th - 31st July at Red Gallery + special evening reception with guest speakers on 30th July
Curated by Darren Coffield, Alice Herrick and Sam Walker. For more information about Joshua Compston visit www.factualnonsense.com For all enquiries about the Fete 2014 please email: info@herrickgallery.com
Magick Is Freedom! (after Barney Bubbles) is a series of images by Graham Wood, founder member of tomato. The work consists of 23 large scale prints that take as their starting point a print by Barney Bubbles (Colin Fulcher) that appeared in issue 12 of Oz magazine in 1968. The print is a bold, visceral collage piece that, as Graham says, “turned me inside out”.
brings artists and botanists together to explore the medicinal properties of plants that are common to derelict urban environments.Thirty-two species have been sown on a specially created site at the Bethnal Green Nature Reserve. Generally regarded as common weeds, each plant has been selected for its on-going use in phytotherapy and traditional medicine. Visitors are invited to explore the Bethnal Green site, harvest and use the plants for medicinal and nutritional purposes. Phytology aims to challenge ideas of use, value, resilience and the function of wildness within our urban ecosystem.
Admission free The site will be open for public use each Friday & Saturday from April 26th, 2014 Phytology – Bethnal Green Nature Reserve, Middleton Street, Bethnal Green, E2 9RR London For more information on the medicinal meadow visit – info@phytology.org.uk Web - http://www.phytology.org.uk Talks program - http://www.phytology.org.uk/projects/talks/
According to the artist, “When I first saw it (the Bubbles poster) I was questioning a lot of things, not least my adequacy. Things like inspiration, influences, references . . . where do things come from? Copying things—not as ‘homage’ or ‘pastiche’, but dying to get inside a thing. Inhabit it. Nostalgia too. Using machines. Colour. Systems. Perpetual motion. Automatism. Copying things. So I started by copying the Barney Bubbles poster, which led to a series (titled ‘After Barney Bubbles’) of A0 posters, each on a theme (Magick, Dreams, Love, Horror, Music, Literature etc). Gradually the posters took on their own identity, and although every one was made using a similar process, grid and system, they diverge aesthetically more and more from their shared starting point.” With a wide range of cultural influences from The Marx Brothers to Aleister Crowley and Jack Parsons to John Keel; W. G. Sebald to Von Daniken to Leary and Cormac McCarthy; Schoenberg to Eno to Tarkovsky to Jarry to Blake to Graves and Dee; Lovecraft, Jung, Baudelaire, the work brings vividly to life an emotionally charged obsession with form, pattern, process, ritual and interconnection.
The work is rich, maximal, colourful and not only visually powerful but also typographically and textually intricate and rich. Incorporating photography, found imagery, geometric structure, texture, colour fields and print processes, each piece conjures its own intrinsic spell.
Opening night Wed 4th of June by invitation only Open to the public from Thurs 6th of June – exhibition continuous on until Friday 20th of June 2014
Armed with pencils, paper, and black Indian ink, 23 students took part in Le Gun’s School of Drawing at Red Gallery. subjective and ego-driven artistic field. Robert Rubbish and Neal Fox, two artists of When asked about the day’s experience, Neal Fox explains, the famous East London art collective led the daylong drawing school with the purpose of “its about collaborative promoting artistic collaboration and commudrawings, becoming part nal expression. Starting with an introductory lecture on Le Gun’s unique style and philosoof a group imagination and phy, the students undertook a full day of group making order from chaos. work and creative cooperation. For inspiration the students drew cue cards from a hat filled We like to enjoy making with themes, places, and ideas that ranged pictures the way everyone anywhere from Lionel Ritchie to Alice and does when they are a child, Wonderland. What truly makes this event special is that every student gets an opportuhelped by fizzy sweets and nity to work on another groups piece – changpower ballads”. ing the traditional For more info - WWW.LEGUN.CO.UK
“Behind our phones we are distracted by a need to record; behind devices we are merely spectators – not participants. The event becomes secondary. The here and nowness of the event is losing its thrall. What we encourage is a reconnection with the event – such that the only certainty is the experience. “
‘The Only Certainty is the Experience’ magazine is distributed for FREE and published by Red Gallery London. The magazine should not be sold in any manner.All the materials in the magazine may not be copied, reproduced, downloaded or distributed in any way, in whole or in part, without the prior written authorisation of Red Gallery London. Any unauthorised use of the materials without the prior written authorisation of Red Gallery London is strictly prohibited.