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Domestic Work is Work

 

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Domestic Work is Work
An exhibition of recent education projects and campaign work
August 7–11 2019
Open Wed–Sun, 12–6pm

Domestic Work is Work is organised by The Voice of Domestic Workers and hosted by Cubitt. The exhibition will present the group’s recent film My Home is Not My Home a collectively produced arts project that emerged as a response to the exploitation, invisibility and marginality of migrant domestic workers due to UK immigration law and the workers’ class, gender and race.

Since October 2018 The Voice of Domestic Workers have been a part of the current Structures That Cooperate programme at Cubitt. On a practical level the spaces at Cubitt have been made available to support the group’s ongoing work and collaborations with artists, designers, cultural workers and activists. The sharing of space has also been the grounds for developing forms of solidarity across work, precarity, education. Working to align with and support labour struggles in tandem with conversation with W.A.G.E. the Cubitt Cooperative and others to address models of cooperativity and concern around resource distribution in the art field.

Workshops, events and discussions with VODW have asked how strategies of art production and distribution can inform and support social movements related to labour and visibility. The residency intends, in addition to making space to critically reflect, to also build new alliances that can propose strategies for continued working.

A self-organised network and campaigning group calling for justice and rights for Britain’s sixteen thousand migrant domestic workers. The Voice of Domestic Workers provide educational and community activities for domestic workers – including English language lessons, drama and art classes, and employment advice, and mount rescues for domestic workers stuck with abusive employers.​ Their work seeks to end discrimination and protect migrant domestic workers living in the UK by providing or assisting in the provision of education, training, healthcare and legal advice.

www.thevoiceofdomesticworkers.com

Rita Munas: Write It Speak It Move It

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Workshops: July–September 2019
Public Presentation: Sat 7 September 2019 – details to follow

 

Write It Speak It Move It is a project devised by Rita Munus, a writing and events collective comprising of Sop and Charlotte Heather, both of whom live with chronic illness.

Rita Munus will host a series of workshops on writing, vocals, percussion and movement with an invited group of artists across July and August at Cubitt Gallery. Work will be collectively developed to ask how we understand our chronically ill bodies, amplifying words and sounds that need to be heard in relation to capacity, capitalism, institutions, loved ones and the public. The project will not be about generating definitive answers or theories, but to investigate similarities, differences and hidden parts.

BIO:

Rita Munus are a collective that runs writing workshops and events with a focus on radical creative practice and process as a vehicle for topical discussion, exploration, play and catharsis. The collective is made up of writer Charlotte Heather and artist Sop and focuses predominantly on issues of chronic illness, queerness, otherness and capitalism, engaging with and prioritising participants who have direct experience with the themes.

The first series of workshops ILLTH looked specifically at chronic illness, the sick body and capitalism. The sick body is seen as ‘less than’ within a capitalist framework, because it cannot participate in production to a ‘satisfactory’ level. But the sick body is not ‘less than’. Focus on ‘getting better’ or ‘being well’ puts unnecessary force on the sick body to achieve something that for many chronically ill people is impossible. Often this actually makes the body more sick. Capitalism leads to over exertion – capitalism leads to chronic illness – illness struggles to fit into capitalism, thus the circular plot. There is a distinct parallel between ILLTH’s focus on process, not production, and the need for the sick body to be able to focus on just being, as opposed to the binaries of sick and well and ‘getting better’.

Future workshops will cover mental health, the pharmaceutical industry, the physical body and its movement, gender identity and sexual identities and behaviours, all in conversation with capitalism.

“The workshops let you write, but what you write is not for others consumption. You do not create a final product. You enter an ongoing series of discussions with each other on subjects which apply to the participants. You write something that you can do whatever you want with. You write because you have something to say, even if it is only to yourself. You write to play; with words, ideas, the world, yourself, others. You do not write to commodify your feelings, to conform to production, or to make yourself palatable to others. You do not write to be consumed, you write to experience writing.”

rita – to tear, scratch, write

munus – service performed for the community, duty, work

Commissioned and supported by Unlimited, celebrating the work of disabled artists, with funding from Spirit of 2012.

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Self does not understand: A film screening event organised by Erik Martinson

Demikhov Dog - Anastasia Sosunova

 

Self does not understand: A film screening event organised by Erik Martinson
Thursday 4 July | 7–8.45pm
Free, no booking required

 

Taking Serena Lee’s Second Tongues proposition, Canadian curator Erik Martinson has been invited to programme an evening of film and readings.

Self does not understand derives its title from a phrase spoken by the character Warlock in the 1980’s comic The New Mutants. Warlock is an alien with the power to meta-morph into any shape or form, though he has a difficult time understanding our world, needing to constantly learn about how humans communicate with each other. He identifies as ‘Self’ and his teammates are his ‘Self-friends’. One teammate in particular called Doug Ramsey, codenamed Cypher, has the mutant power to innately learn and understand languages rapidly, whether they are human, machinic, or alien in nature. These two characters’ lives are intertwined, from first encounter of communicating through patterned light, in the vein of Close Encounters of the Third Kind, to a complicated mutually symbiotic relationship. Through tragedy Warlock must come to terms with death, something his kind experiences and understands in some fundamentally different ways, prompting this programme’s title.

Self does not understand considers tiny translations between: ‘self’ and ‘self’, ‘self’ and ‘other self’, ‘self’ and ‘other’, ‘other’ and ‘other’, and various permutations or these arbitrary structures. When fluency and comprehension are closely examined, the solid ground they present is quickly revealed as ongoing, fragile calculations. Like a decimal place rounded-up, they are an approximation, even within the same language set. Fluency and comprehension are made up of so many encounters, of so many oscillations between understanding and not, until one seems to win out.

The event features a selection of readings and artists’ moving image. Artists presented include: Stephanie Comilang, Jessa Mockridge, Lana Lin, Shanzhai Lyric, Anastasia Sosunova, with a guest appearance by Vrillon.

Programme:

Q!hosa, afterword from Exercises: xhosa textbook fiction (unpublished), Jessa Mockridge, 2015, 15:00 (Live Reading)

The Endless Garment: I am an enemy of fantasy. A Group Poetry Reading by Shanzhai Lyric, 2016 – ongoing, 15:00

<intermission>

The 1977 Southern Television Alien Broadcast Interruption, NowYouKnow (Youtube), 2017, 7:42 (excerpt)

Demikhov Dog, Anastasia Sosunova, 2017, 7:24                                                        

Stranger Baby, Lana Lin, 1995, 13:54

Lumapit Sa Akin, Paraiso (Come To Me, Paradise), Stephanie Comilang, 2016, 25:46

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Erik Martinson (Canada/Latvia) is an independent curator and writer based in London, UK. He worked in Toronto at Vtape, a not-for-profit video art distributor, from 2005-2014, and was a member of the Pleasure Dome curatorial collective from 2006-2014. He completed his MFA in Curating at Goldsmiths, University of London (2016). He has curated screenings/exhibitions for: Art Star 3 Video Art Biennale at SAW Gallery (2007); Vtape’s Curatorial Incubator (2009); the Rendezvous with Madness Film Festival (2010, 2011); the Images Festival (2012); A Space Gallery (2012); Art Gallery of Mississauga (2013); Institute of Contemporary Arts London (2015); Chalton Gallery (2016); LUX Artists’ Moving Image (2016, 2017); Contemporary Art Centre Vilnius (2016); The Ryder (2017); Toronto International Film Festival’s Wavelengths Series (2017); Close-Up Film Centre (2018); Whitechapel Gallery (2018); Process Experimental Film Festival, Riga (2018); Contemporary Art Museum of Estonia (EKKM), Tallinn (2018); and North Norwegian Art Centre (2019). He participated in: Independent Curators International (ICI) Curatorial Intensive on Time-Based Media, New York (2013); and the selection jury for Videonale.15 at Kunstmuseum Bonn (2015). He was assistant editor for the Nuclear Culture Source Book (edited by Ele Carpenter) published by Black Dog Publishing in partnership with Bildmuseet and Arts Catalyst (2016). Recent residencies include: Rupert, Vilnius (2016) and Nordland College of Art and Film, Kabelvåg (2018/2019). He has received support from: inaugural Stuart Croft Foundation Special Projects Award (2017) and Canada Council for the Arts: ‘Research and Creation’ Grant (2018).

 

Supported by Canada House, Canada Council for the Arts, Arts Council England and Outset Contemporary Art Fund.

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Image: still Demikhov Dog, Anastasia Sosunova, 2017, 7:24

Serena Lee: Second Tongues

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Preview Thursday 13 June 6.30–8.30pm
14 June–14 July 2019
Open: Wed–Sun 12–6PM

 

Let’s imagine the future of language; not simply the languages that we hear most often and take up the most space today, nor those that experts predict will survive and those that will not, but every single possible future for all languages that have ever existed, and for everyone to whom they belong, and those that come to belong.

Second Tongues is the title of a speculative fiction narrative developed by Toronto-based artist Serena Lee, developed collectively with others and exhibited in multiple parts for Cubitt’s ongoing Structures That Cooperate Programme.

The project departs from a premise where in the future, we all speak a second language not of our choosing. Second Tongues becomes a speculative fiction world-building framework for critically engaging with experiences of nationhood, kinship, market-driven globalisation as they relate to histories and practices of language. Second Tongues is a proposition for reimagining futures decentered and reorganised.

The exhibited elements of Second Tongues have been developed through conversations with London-based language education organisations, migrant worker and newcomer community services, socio-linguistic researchers and public audiences. In addition the artist has collaborated with Black Shuck, a London-based co-operative to develop and present an augmented reality layer to the exhibition space for further speculation and translation.

The narrative plays out as fragments of conversation with the Second Tongues collaborators across a 3-channel video installation (duration 11-minutes), and a constellation of augmented reality aspects.

The installation continues to use and adapt Clemence Seilles’ ongoing scenography for the Structures That Cooperate programme. The foam slabs, previously used as a sound insulating flooring for Ain bailey’s exhibition have been rolled to reference cylinder seals, an ancient form of communicating narrative. Salt dough magnets were produced with members of The Voice of Domestic Workers during a language discussion workshop; wall texts contain questions derived from conversations with Second Tongues collaborators. Second Tongues is an ongoing project that also lives online at: serenalee.hotglue.me/secondtongues

Events:

Thurs 4 July | 7-8.30pm Self does not understand: A film screening event organised by Erik Martinson
Free, no booking required
Read more here

The Sounds of what we’ve always known: a song-writing workshop with The Voice of Domestic Workers.
Free, no booking required
Details to follow

Serena Lee is a Canadian artist whose practice stems from a fascination with polyphony – a musical term for multiple, simultaneous melodies – and its radical potential. Serena’s art work integrates a broad range of media: for example, current projects involve elements of VR, textile-based sculpture, public conversation, and tai chi.  More broadly, she incorporates cinema, performance, voice, image and text, and references classical piano performance and musical theory.

Her work has been presented across Canada and internationally in Europe, the UK, the USA, Indonesia and China; she is a member of the feminist art collective, Read-in, based mainly in the Netherlands, which explores the embodied, situated, and political aspects of collective reading aloud. Serena also collaborates with artist Christina Battle as SHATTERED MOON ALLIANCE, to unpack narratives of time travel through a series of participatory workshops and transmedia publication.
Serena holds a Master of Fine Arts degree from the Piet Zwart Institute in Rotterdam (NL)  and an Associate Diploma in piano performance from the Royal Conservatory of Music (CA). She is an active member of the creative community in Toronto as an artist, educator, and in artist-run-centre governance. .http://www.serenalee.com/

Ongoing and off-site collaborations include working with Clemence Seilles on the scenography of the gallery space, The Voice of Domestic Workers in residence, Schooling & Culture working at Arts and Media School Islington and research with W.A.G.E.

This is exhibition is supported by Canada House, Canada Council for the Arts, Arts Council England and Outset Contemporary Art Fund.

 

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Cubitt Education: International Exchange

 
Throughout 2018, Cubitt Education hosted visits from Education staff at Ujazdowski Castle Centre for Contemporary Art, Warsaw as part of an Erasmus-funded exchange project. Ujazdowski staff have been expanding their experience of engagement techniques and travelled to Amsterdam to learn storytelling techniques, before taking part in workshops with older people at Cubitt with Lucy Steggals and Joshua Sofaer, as well as visiting each of the three Community Studios sites (St Luke’s Community Centre, 75 Mildmay Street and Arts and Media School Islington).


To conclude the programme, Esther Collins and Lydia Ashman from Cubitt Education took a trip to CCCA Warsaw in April. They spent time with Anna Kierkosz and her colleagues in the Education department, learning about how the team works with and in response to the exhibition programme. They also met with Marianna Dobkowska, Residencies Curator, and heard about the evolution of the residency programme and how it increasingly supports socially-engaged practice. We found common interest in working with specific marginalised groups, making artists’ studio work and residency activities more visible to the public, and allowing the development of these programmes to be led by artists’ practice.

 

Centre image: Installation shot of Janek Simon’s exhibition Synthetic Folklore at Ujazdowski Castle Centre for Contemporary Art
Right image: Installation shot of Marta Krześlak’s exhibition Party at the Artists Club at Ujazdowski Castle Centre for Contemporary Art

Photos: Esther Collins

 

Serena Lee: Second Tongues

 

second tongues

 

Preview Thursday 13 June 6.30–8.30pm
14 June–14 July 2019
Open: Wed–Sun 12–6PM

Let’s imagine the future of language; not simply the languages that we hear most often and take up the most space today, nor those that experts predict will survive and those that will not, but every single possible future for all languages that have ever existed, and for everyone to whom they belong, and those that come to belong.

Second Tongues is the title of a speculative fiction narrative developed by Toronto-based artist Serena Lee, developed collectively with others and exhibited in multiple parts for Cubitt’s ongoing Structures That Cooperate Programme.

The project departs from a premise where in the future, we all speak a second language not of our choosing. Second Tongues becomes a speculative fiction world-building framework for critically engaging with experiences of nationhood, kinship, market-driven globalisation as they relate to histories and practices of language. Second Tongues is a proposition for reimagining futures decentered and reorganised.

The exhibited elements of Second Tongues have been developed through conversations with London-based language education organisations, migrant worker and newcomer community services, socio-linguistic researchers and public audiences. In addition the artist has collaborated with Black Shuck, a London-based co-operative to develop and present an augmented reality layer to the exhibition space for further speculation and translation.

The narrative plays out as fragments of conversation with the Second Tongues collaborators across a 3-channel video installation (duration 11-minutes), and a constellation of augmented reality aspects.

The installation continues to use and adapt Clemence Seilles’ ongoing scenography for the Structures That Cooperate programme. The foam slabs, previously used as a sound insulating flooring for Ain bailey’s exhibition have been rolled to reference cylinder seals, an ancient form of communicating narrative. Salt dough magnets were produced with members of The Voice of Domestic Workers during a language discussion workshop; wall texts contain questions derived from conversations with Second Tongues collaborators. Second Tongues is an ongoing project that also lives online at: serenalee.hotglue.me/secondtongues

Events:

Thurs 4 July | 7-8.30pm Self does not understand: A film screening event organised by Erik Martinson
Free, no booking required
Read more here

The Sounds of what we’ve always known: a song-writing workshop with The Voice of Domestic Workers.
Free, no booking required
Details to follow

Serena Lee is a Canadian artist whose practice stems from a fascination with polyphony – a musical term for multiple, simultaneous melodies – and its radical potential. Serena’s art work integrates a broad range of media: for example, current projects involve elements of VR, textile-based sculpture, public conversation, and tai chi.  More broadly, she incorporates cinema, performance, voice, image and text, and references classical piano performance and musical theory.

Her work has been presented across Canada and internationally in Europe, the UK, the USA, Indonesia and China; she is a member of the feminist art collective, Read-in, based mainly in the Netherlands, which explores the embodied, situated, and political aspects of collective reading aloud. Serena also collaborates with artist Christina Battle as SHATTERED MOON ALLIANCE, to unpack narratives of time travel through a series of participatory workshops and transmedia publication.
Serena holds a Master of Fine Arts degree from the Piet Zwart Institute in Rotterdam (NL)  and an Associate Diploma in piano performance from the Royal Conservatory of Music (CA). She is an active member of the creative community in Toronto as an artist, educator, and in artist-run-centre governance. .http://www.serenalee.com/

Ongoing and off-site collaborations include working with Clemence Seilles on the scenography of the gallery space, The Voice of Domestic Workers in residence, Schooling & Culture working at Arts and Media School Islington and research with W.A.G.E.

This is exhibition is supported by Canada House, Canada Council for the Arts, Arts Council England and Outset Contemporary Art Fund.

 

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OPEN STUDIOS. Saturday 11 May 2019. 12-6pm

Cubitt Open Studios. 11 May 2019. 12-6pm

Cubitt Open Studios.

EVERYONE WELCOME: Open Studios, Saturday, 11 May 2019. 12-6pm

FREE

Beyond Cubitt Gallery is a labyrinth of studios, occupied by Cubitts 32 artist members. This is a rare opportunity to meet them, see some of their work in the place of its making, and find out how one of Londons most established arts cooperative functions.

On the day:

12:30pm: Fishfinger Sandwich. Artist talk by Sarah Stanton. Studio 3.

2pm: Artists Talk. Annabel Frearson: Studio 5.

3pm: Amazing Grace. Performance by Elaine Mitchener as part of Ain Bailey: And We’ll Always be a Disco in the Glow of Love. Gallery.

4pm: Artist talk by Ben Edge. Studio 5.

Throughout the day:

Treasure hunt (for children)- ask a member of staff for a map to go on the treasure hunt around the studios and find the prize. Created by Nicky Hoberman.

Cubitt: An artist led history. By Morgan Quaintance. Screening. Studio 5.

Portrait drawing: Sarah Pickstone. Studio 31.

And more throughout the day!

 

No problem if you don’t want to attend the talks, you can just come in and have a wonder.

A full list of artists who have studios at Cubitt can be found here.

 

Ain Bailey: And We’ll Always Be A Disco In the Glow of Love

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3 May–2 June 2019 
Open: Wed–Sun 12–6PM

And We’ll Always Be A Disco In the Glow of Love presents new work by London-based artist Ain Bailey. This will include a commissioned audio composition installed in Cubitt’s gallery within a spatial design by Mexico City based designer Clemence Seilles.

And We’ll Always Be A Disco In the Glow of Love takes Ain’s own sonic biography around loss and thinking through how to sonify grief as a starting point. It asks how we might create a collective dialogue around the personal experience of dealing with death and mourning.

This new work has been developed through conversations with eight close friends who have experienced a bereavement. Ain’s own contribution links these together to form nine distinct parts. These nine contributions centre on the sound(s) of that experience – an audio memory, a song, affect or emotion. The process of working with and from these recordings asks how we think about death sonically and produces a collective composition. The number nine is significant as it draws on the Caribbean funerary tradition of Nine-Nights, in which a wake takes place over several days.

Ain Bailey’s practice involves an exploration of sonic autobiographies, specifically how people use sound to create a sense of place. Central to this is the idea of ‘sonic biography’ is the personal constellation of sounds that form an individual identity and collaboration with performance, visual and sonic artists.

As part of the exhibition Ain Bailey has invited three musicians, Elaine Mitchener, Hannah Catherine Jones and Rebecca Bellantoni to perform live within the space across three weekends in May, responding directly to the context of the exhibition.

A new scenography for the gallery designed and installed by Clemence Seilles continues the collaboration between Cubitt and Seilles initiated at the start of the Structures That Cooperate programme that opened in October 2018. This new design and spatial arrangement is the second part of an evolving support structure to host, hold, make space for (and adapt to) the work of artists, collectives, commissions, film screenings, events and workshops.

Sat 11 May | 3pm a performance by Elaine Mitchener. Born and raised in East London of Jamaican heritage, Elaine Mitchener is a contemporary vocal-movement artist and composer who has worked leading artists as: Moor Mother, Mark Padmore, The Otolith Group, Sonia Boyce, David Toop, Tansy Davies, Van Huynh Co, Irvine Arditti, Apartment House, London Sinfonietta, Steve Beresford, Christian Marclay, Phil Minton, George E. Lewis, Jason Yarde, Alexander Hawkins. Her UK/European performances include: Bimhuis, Café Oto, 56th Venice Biennale, ICA London, Southbank Centre, Maerzmusik/SAVVY Contemporary, London Contemporary Music Festival. She is co-founder of experimental jazz group Hawkins/Mitchener Quartet; founder of electro-acoustic trio The Rolling Calf and featured vocalist with ensemble Apartment House.

Sun 19 May | 1pm – A performance by Hannah Catherine Jones. Hannah Catherine Jones (aka Foxy Moron) is a London-based artist, scholar, multi-instrumentalist, radio presenter and DJ (BBC Radio 3 – Late Junction, NTS – The Opera Show), composer, conductor and founder of Peckham Chamber Orchestra – a community project established in 2013. Jones is currently an AHRC DPhil scholar at Oxford University for which the ongoing body of work The Oweds will be presented as a series of live and recorded audio-visual episode-compositions using disruptive sound as a methodology of institutional decolonisation.

Sat 25 May | 3pm – A performance by Rebecca Bellantoni. is an artist born and living in London, of Caribbean descent. She works with everyday occurrences and abstract them; with a focus on the lives and experiences of Black British people. Researching the smaller communities that have developed with the larger one. Viewing through the lens of pre and post colonial culture, metaphysics, comparative theology, religion and/or spirituality; the crossovers, the aesthetics of them. Simultaneously working with colour and its codes and objects and their ascribed cultural meanings to further question and describe. In terms of material and process, my practice is gleefully sprawling and encompasses video, performance, sound-text, photography, textiles, printmaking, drawing, sculpture, installation, writing and silversmithing.

photo credit: Alice Marcelino

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Ongoing collaborations include working with Clemence Seilles on the scenography of the gallery space, The Voice of Domestic Workers in residence, Schooling & Culture at AMSI and research with W.A.G.E.

This is exhibition is supported by The Elephant TrustArts Council England and Outset Contemporary Art Fund.

The invitation to Clemence Seilles to design and develop an ongoing scenography for the gallery launching with Ain Bailey’s work has been generously supported by FLUXUS

  FLUXUSGREEN

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And We’ll Always Be A Disco.. Rebecca Bellantoni performance

Rebecca Bellantoni_Aura

 

Sat 25 May | 3pm – A performance by Rebecca Bellantoni
Free, no booking required

As part of And We’ll Always Be A Disco In the Glow of Love Ain Bailey has invited three artists, Elaine Mitchener, Hannah Catherine Jones and Rebecca Bellantoni to perform live within the space across three weekends in May, responding directly to the context of the exhibition. Each performance will take place within the exhibition setting and will last for approximately 20-minutes.

Rebecca Bellantoni is an artist born and living in London, of Caribbean descent. She works with everyday occurrences and abstracts them; with a focus on the lives and experiences of Black British people, her research looks at the smaller communities that have developed within this larger diaspora. Observed through the lens of pre and post colonial culture, it’s metaphysics; comparative theology, religion, spirituality as well as their cultural crossovers and aesthetics; Bellantoni simultaneous works with colour, it’s codes and objects and their ascribed cultural meanings to further question and interpret. Bellantoni’s interdisciplinary practice encompasses video, performance, sound-text, photography, textiles, printmaking, drawing, sculpture, installation, writing and silversmithing.

 

Audio Recording

And We’ll Always Be A Disco.. Hannah Catherine Jones performance

 

rebecca

Sun 19 May | 1pm – A performance by Hannah Catherine Jones
Free, no booking required

As part of And We’ll Always Be A Disco In the Glow of Love Ain Bailey has invited three artists, Elaine Mitchener, Hannah Catherine Jones and Rebecca Bellantoni to perform live within the space across three weekends in May, responding directly to the context of the exhibition. Each performance will take place within the exhibition setting and will last for approximately 20-minutes.

Hannah Catherine Jones (aka Foxy Moron) is a London-based artist, scholar, multi-instrumentalist, radio presenter and DJ (BBC Radio 3 – Late Junction, NTS – The Opera Show), composer, conductor and founder of Peckham Chamber Orchestra – a community project established in 2013. Jones is currently an AHRC DPhil scholar at Oxford University for which the ongoing body of work The Oweds will be presented as a series of live and recorded audio-visual episode-compositions using disruptive sound as a methodology of institutional decolonisation.

 

Audio Recording

 

And We’ll Always Be A Disco.. Elaine Mitchener performance

elaine

Sat 11 May | 3pm a performance by Elaine Mitchener
Free, no booking required

As part of And We’ll Always Be A Disco In the Glow of Love Ain Bailey has invited three artists, Elaine Mitchener, Hannah Catherine Jones and Rebecca Bellantoni to perform live within the space across three weekends in May, responding directly to the context of the exhibition. Each performance will take place within the exhibition setting and will last for approximately 20-minutes.

Born and raised in East London of Jamaican heritage, Elaine Mitchener is a contemporary vocal-movement artist and composer who has worked leading artists as: Moor Mother, Mark Padmore, The Otolith Group, Sonia Boyce, David Toop, Tansy Davies, Van Huynh Co, Irvine Arditti, Apartment House, London Sinfonietta, Steve Beresford, Christian Marclay, Phil Minton, George E. Lewis, Jason Yarde, Alexander Hawkins. Her UK/European performances include: Bimhuis, Café Oto, 56th Venice Biennale, ICA London, Southbank Centre, Maerzmusik/SAVVY Contemporary, London Contemporary Music Festival. She is co-founder of experimental jazz group Hawkins/Mitchener Quartet; founder of electro-acoustic trio The Rolling Calf and featured vocalist with ensemble Apartment House.  www.elainemitchener.com

 

Photo credit: Jana Chiellino

 

Audio Recording 

 

 

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