Happy Holidays to one and all.
What an amazing year it has been and what an exciting time 2020 is sure to be.
See you in the pit.
Exhibition Dates: 12 December – 04 January 2020
Curator: Mishelle Brito
Artist: Husam Al-Deen
‘Unveiled’ is a series of photographs capturing the Muslim female silhouette, maintaining reverence while presenting an internal narrative paying homage to the women empowering a new generation of proud Muslims thriving in society. Influenced by minimalism and surrealist theory, these images are a contemporary and nuanced interpretation of the “Muslim female” aesthetic, placing the veiled woman outside the conventional milieu.
‘Unveiled’ serves as a testament to the enduring strength Muslim women possess while often ostracized or while facing the daily stigmatic discourse around identity. This exhibition seeks to help us better inform our judgements and predispositions serving as a means to emancipate ourselves from the unconscious biases we often carry of ‘the other.’
Husam Al-Deen is a London based British-Iraqi commercial photographer & filmmaker. His interests lie in capturing the nuances of the Arab and Muslim world through a contemporary minimalist lens.
Mishelle Brito is a London based artistic programmer & curator working to create dialogues relating to societal concerns in the Middle East through art, culture & creative based methods.
reACT is an innovative program, established by P21 Gallery & Amal (a Saïd Foundation programme) to promote and support emerging and student artists whose work is dedicated to or inspired by the Middle East & Arab world by providing a space within the P21 Gallery for an artistic intervention. ‘reACT’ aims to contribute in building and strengthening cultural ties and dialogues between the East and West on terms designed by a younger generation.
P21 Gallery is an independent London-based charitable trust established to promote contemporary Middle Eastern and Arab art and culture.
Amal (a Saïd Foundation Programme) Amal – ‘hope’ in Arabic – is a programme of the Saïd Foundation making grants in the UK in support of a rich diversity of arts projects and activities, including storytelling, visual arts, theatre, poetry, film, music and dance. The programme aims to further the following dual interlinked objectives: 1) To increase understanding of Britain’s Muslim communities among people of other faiths and none; 2) To foster a stronger sense of belonging in the UK among its Muslim communities.
The P21 Gallery is an independent London-based charitable trust established to promote contemporary Arab art and culture. The venue in central London is a place where contemporary artistic statements are experienced and appreciated by the artistic community. The facilities at P21 are planned to maximise the potential of contemporary art as a discourse, through multimedia exhibition spaces with supporting facilities for public functions in addition to workshops for training and education.
EXHIBITION | The Meaning Of Prayer | 5th December 2019 – 4th January 2020
EXHIBITION | reACT – Unveiled | 12 December – 04 January 2020
ADDRESS | 21-27 Chalton Street, London NW1 1JD, UK | Map
TELEPHONE | +44 20 7121 6190
Email | email@example.com
OPENING HOURS | Tuesday, Thursday & Friday 12:00hr-18:00hr, Wednesday 12:00hr-20:00hr, Saturday 12:00hr-16:00hr
P21 Gallery is a registered UK charity (Charity Number 1153141), please make a donation to support our cause, all funds go to promote and support young artists and experimental art projects.
Doom metal unit ZOLFO premiere first single from upcoming album!
|Apulian Sludge/Doom-mongers ZOLFO have unleashed the first single from their upcoming debut album “Delusion of Negation“, coming January 24th on Italy’s powerhouse Spikerot Records! Huge riffs and loud amps proceed hand in hand with the slow-paced yet unmerciful drumming while the vocal delivery is harsh as hell and non-human at times.
Listen to “Inner Freeze”, their brand new and relentless doom anthem, now streaming at THIS LOCATION
|Delusion Of Negation out January 24th on Spikerot Records and available for pre-order RIGHT HERE
1. Neural Worm
2. Inner Freeze
3. Existential Prolapse
4. Delusion Of Negation
5. The Deepest Abyss
Dave – Vocals
Nicolò – Guitars
Fabrizio – Guitars
Saverio – Bass
Piero – Drums
For more info visit:
The band also announced two additional dates to their headline tour next year – London’s 100 Club and Wolverhampton’s Steelmill.
They’ve been on the road over the last few weeks playing shows across the country celebrating the news of their upcoming album OK Hotel, which is coming out via Snakefarm Records March 13th! They also recently shared another track from the album called ‘Running With The Wolves’.
The band have been dubbed Birmingham’s answer to Kings Of Leon and their modern blues/rock, Nashville-meets-pop sound has seen them tour the US and Europe with bands such as Whiskey Myers, Blue October and Reef and appear at various major festivals including Ramblin’ Man, Download, Reading & Leeds, The Great Escape etc.
UK HEADLINE SHOWS
19th– Sheffield, The Greystones
20th– Manchester, Night & Day
21st – Wolverhampton, Steelmill (newly added)
23rd – Cambridge, Portland Arms
25th – Leeds, Lending Rooms
26th – Liverpool, Jimmy’s
27th – Leicester, O2 Academy 2
1st – Brighton, Green Door Store
2nd – Southampton, The Joiners
4th – Cardiff, CLWB
5th – Nottingham, Bodega
7th – London, 100 Club (newly added)
Pittsburgh PA’s Molasses Barge have inked a worldwide deal with rising cult label Argonauta Records, who will release the band’s sophomore album in the Spring of 2020!
Titled A Grayer Dawn and set for a release on April 10th, since their critically acclaimed 2017- self-titled debut album Molasses Barge are following their path in the name of doom metal and finest heavy rock grooves, creating a blistering, raw and authentic sound. “We are very excited to bring this new album to our friends and fans around the globe in 2020.” The band comments. “We were first fortunate to have the engineering and mastering expertise of Jason Jouver and Jack Endino for this recording, and secondly to have Argonauta Records sign us on to be a part of their burgeoning label. Thank you to everyone who has supported us for all of these years!” Listen to a first appetizer, the already classic doom masterpiece Control Letting Go, HERE!
The A Grayer Dawn tracklist reads as follows:
Internationally recognized trumpet player and composer-producer-entrepreneur Dan Rosenboom embraces the chaos and seeks to endow us with hope and joy along the way.
Absurd in the Anthropocene – out 31st January 2020 via Gearbox Records – is in line with his abstract musicianship and virtuous experimentalism but, naturally, pushes the envelope. The record’s inspirations run the gamut from Miles Davis and Ornette Coleman to Frank Zappa, Soundgarden, and Squarepusher, and its title refers to the complicated and often surreal times in which we live.
“This album is about responding to our modern world in a way that is reflectively critical yet frenetically joyous,” Rosenboom says. “Maelstrom and cognitive dissonance are everywhere, online and on the news. People cherry-pick what they want to believe and discount factual data. Inequity is rampant. In the face of such overwhelming chaos, turning toward our inner humanity is a powerful move. I want to take all that emotional fuel, and turn it into something creative, spontaneous, and beautiful.”
Rosenboom, a musician at the forefront of Los Angeles’ ever-thriving creative music scene, boasts an international reputation for boundary-pushing projects and relentless productivity. A trumpet virtuoso equally at home in improvised and classical music, the prolific musician has been featured on stages and festivals all over the world, and has been described as “a phenomenon” by the Los Angeles Times.
Absurd in the Anthropocene is loaded with a an absurd crew of musicians, including producer and keyboard master Jeff Babko, legendary drummers Vinnie Colaiuta, Gary Novak, and Zach Danziger, renowned bassists Jimmy Johnson, Tim Lefebvre and Jerry Watts Jr., Rosenboom’s longtime collaborator Gavin Templeton and jazz icon David Binney on saxophones, guitarists Tim Conley, Alexander Noice, and Jake Vossler, electronics wizard Troy Ziegler, and horn-playing colleagues Brian Walsh, Ryan Dragon, Juliane Gralle, and Javier Gonzalez. The record’s first session was recorded at Capitol Records with prized engineer Steve Genewick, while the second and third took place at Stella Sound Studios under the direction of revered producer, engineer, and mixer Justin Stanley.
“When I’m playing music with my compatriots, the world feels right, at least for a moment,” Rosenboom said. “It’s about returning to ‘the now.’”
Creating such an ambitious album sounds like a tall order for any musician. But given Rosenboom’s uniquely learnèd upbringing, his impressive resume, and his balance of confidence and humility, it is a vision and sound that this maverick musician has boldly realized.
“What I’m trying to express is that through intelligent thought and spiritual inquiry, there is a way forward culturally that can result in a lot of joy.”
1 – Mr. Lizard Said
2 – Lemonade
3 – Pushed To The Edge of Ideas by Dispassionate Bias-Algorithm Bots
4 – Still
5 – Heliopteryx
6 – Nebulounge
7 – Apes In Rapture
8 – Forget What You Know
9 – Green Moon
10 – Obsidian Butterfly
11 – Drowning On The High Ground
NO LATE OPENING ON 19 DECEMBER
Revisiting the father of photomontage, John Heartfield. Armed with scissors, paste and acerbic wit, Heartfield used art as a political weapon. Risking his life under Hitler’s Third Reich, he subverted Nazi imagery to reveal the political threats of 1930s Germany.
80 years since the outbreak of World War Two, Heartfield’s work foregrounds the need for artistic agitation in challenging times. His striking photomontages offer inspiration in our own era of rising far-right politics, racism and the blurring of fact and fake news.
33 of Heartfield’s scathingly satirical artworks are shown alongside a fascinating collection of historic artefacts.
Pop in and meet the curators, who will be on hand to share insights into Heartfield’s work.
Apologies, this event has been cancelled. The exhibition will still remain open until 8.30pm.
Trademark John Heartfield Professor Andres Zervigon shared John Heartfield’s journey from advertising student to political photomontage artist.
Peter Kennard: Visual Dissent Renowned photomontage artist Peter Kennard joined us to discuss his new book and the influence of John Heartfield upon his work. Part of Insiders/Outsiders Festival, which celebrates the contribution of refugees from Nazi Europe to British culture. The exhibition is curated by Four Corners and John Hyatt, Director of The Institute of Art and Technology, Liverpool John Moores University.
This exhibition brings together work by Dorothy Bohm, Gerti Deutsch and Lotte Meitner-Graf alongside lesser-known women photographers who came to Britain as refugees in the 1930s.
Showcasing portraiture, photo-stories and East End street photography, the exhibition will reflect upon these artists’ representations of ‘Britishness’, considering how their experience as female outsiders shaped their images. It will be accompanied by a one-day Symposium, delivered in partnership with Birkbeck. Further details coming soon.
A public talks programme will collaborate with Fast Forward Women in Photography to explore the work of contemporary women photographers from migrant and displaced backgrounds.
More details coming soon.
Supported using public funding by the National Lottery through Arts Council England, the Barry Amiel & Norman Melburn Trust and the Paul Mellon Centre.
Further information and work by John Heartfield can be found at Akademie der Künste archives and The Official John Heartfield Exhibition, a website curated by John Heartfield’s grandson, John J Heartfield.
121 Roman Road
T: 020 8981 6111
7 November 2019 – 16 February 2020
£6/ £5 (concessions)
£3 tickets for under 25s on Fridays
£3 tickets for concessions and over 60s Monday – Wednesday 10:00-11:00am
Free for Members
The Taylor Wessing Photographic Portrait Prize 2019 is the leading international competition, open to all, which celebrates and promotes the very best in contemporary portrait photography from around the world.
Showcasing talented young photographers, gifted amateurs and established professionals, the competition, showcases a diverse range of images and tells the often fascinating stories behind the creation of the works, from formal commissioned portraits to more spontaneous and intimate moments capturing friends and family.
The selected images, many of which will be on display for the first time, explore both traditional and contemporary approaches to the photographic portrait whilst capturing a range of characters, moods and locations. The exhibition of fifty-seven works features all of the prestigious prize winners including the winner of the £15,000 first prize.
National Portrait Gallery, St Martin’s Place, London, WC2H 0HE
Switchboard: +44 (0) 20 7306 0055
Following presentations of Bruce Conner’s films such as CROSSROADS (1976) in June 2015, A MOVIE (1958) in May 2017, and EASTER MORNING (2008) in Naples, January 2018, Thomas Dane Gallery introduces BREAKAWAY (1966) to a London audience for the first time. Conner was one of the foremost American artists of the twentieth century, whose transformative work addressed facets of post-war American society, from a rising consumer culture to the dread of nuclear apocalypse. Working in a range of media, Conner created photography, collage and graphic work alongside hybrids of painting and sculpture, film and performance. Conventionally lesser known within this diverse practice were Conner’s films, which have been reappraised as an iconic, experimental and independent body of work.
Conner began making short-films from the late-1950s and created BREAKAWAY in 1966. The film comprises two distinct halves which feature the performer, choreographer and singer Toni Basil. In the five-minute film, Basil dances against an empty black background to her Motown-inspired pop song ‘Breakaway’, released in 1966. Dancing through various states of undress, Basil’s performance is intensified by Conner’s cinematography and camera effects including: stroboscopic effects, quick-cut edits, and diverse frame rates. The alignment of Basil’s performance and Conner’s stylization of motion defined what some consider to be a prototype for the modern music video.
In the second half of BREAKAWAY, everything that has been recorded is repeated backwards, including Basil’s song which devolves into a distorted version of the original. Fellow filmmaker and contemporary Stan Brakhage called the reversal a ‘contravision’, as Basil’s movement transforms into graphic entropy and psychedelia. In one sequence, Basil wears a diaphanous white slip which intensifies the spectral quality of her body. Coupled with Conner’s sharp contrasts in light, accelerated frame rates and chaotic zooms, Basil becomes abstracted, threatening to dissolve almost entirely from view. In this optical overload, ‘what remains is crackling energy,’ as author and curator Gerald Matt writes, ‘a magnificent visual-musical play of light, a hymn to freedom.’ Conner’s reversal of content constitutes a reflection on the medium itself. As Kevin Hatch writes in Looking for Bruce Conner, BREAKAWAY registers ‘the hysteria of film, the hystericization of the cinematic apparatus itself, as it attempts to capture the plenitude of the present.’
Conner’s manipulation of the soundtrack is reminiscent of the ‘backmasking’ techniques popularised by The Beatles as well as tape loops used in psychedelic rock. This combination of image and music paralleled changes in counterculture between the early and late 1960s. These included the abstract experiments with expanded media at the San Francisco Tape Music Center as well as Conner’s involvement in psychedelic light shows at the Avalon Ballroom, similarly constructed around rock improvisation. Cumulatively, Conner’s use of deconstruction, acceleration, reversal and abstraction, infers multiple kinds of desynchronisation. As art historian Johanna Gosse writes of BREAKAWAY, the film enacts ‘a release not only from gravitational space and progressive time, but from language itself.’
Using multiple frame rates at dazzling speeds, Conner destabilises Basil’s performance into a state of evanescence, enhanced by the flickering materiality of celluloid which fragments Basil into a phantomic and faintly sinister image. BREAKAWAY illuminates Conner’s polymathic practice as both psychedelic and realist, capable of articulating a meta-critique of popular moving image and reflecting his long-held interest in syncretism through mesmeric cinematography.
Bruce Conner was born in McPherson, Kansas in 1933 and died in San Francisco, California in 2008. Conner received his BFA from Nebraska University before studying at the Brooklyn Museum Art School and the University of Colorado. Conner came to San Francisco on the wave of the Beat Generation of the late 1950s, becoming an active member of the music scene during the late 1960s. In San Francisco, Conner became a singular practitioner within the underground film community and the flourishing San Francisco art world, achieving international status early in his career.
Recent solo exhibitions include: Please Enjoy and Return: Bruce Conner Films from the Sixties, Mexico Art Museum, Albuquerque NM (2018); Bruce Conner: Untitled Prints, Henry Art Gallery, Seattle WA (2018); University of New Forever and Ever, Speed Art Museum, Louisville KT (2017); A MOVIE, Thomas Dane Gallery, London, England (2017); Bruce Conner: It’s All True, Museum of Modern Art, New York NY; travelled to: San Francisco Museum of Modern Art, San Francisco CA, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain (2016/17) among many others.
For exhibition and sales enquiries please contact François Chantala: firstname.lastname@example.org For press enquiries please contact Alex Bennett: email@example.com
Gallery hours: Tuesday to Friday 10am-6pm, Saturday 12pm-6pm or by appointment. Admission: Free
Tel: +44 (0) 20 79252505
Nearest Tube: Green Park or Piccadilly Circus
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