We are a POC led space with a mission to bridge social and cultural gaps within the field of contemporary art, by working with and providing resources for under-represented artists. We operate across several sites in London, with our focused programme in Harlesden.



CONTACT
︎ Email
︎ Instagram
︎ Facebook

HOSTED & OFFSITE PROJECTS
RESIDENCIES
ARCHIVE
ARTISTS
ABOUT





NUMEN
with Underground Flower
NUMEN is a latin word indicating the ‘spirit or divine power presiding over a thing or a place’: the show explores moments of fleeting emotion and spirit enabled by a communal experience of beauty, adornment as a personal ritual, a quiet contemplation of numinous objects and contemporary artefacts.
10 July - 1 Aug 2021

Guia Bertorello



CASTING THE RUNES
with Underground Flower

Curated by Arthur Poujois

30 June - 21 July 2021

Yasmina Atta, Colombe D’Humieres, Miranda Keyes, Ewa Awe, Joseph Kadow, Malina Heinemann, Sam Langrigg, Jenkin van Zyl, Stefan Kartchev, Hamish Wirgman, Finlay Abbott Ellwood, Tom Hardwick-Allan, Marie Lueder, Joe Highton, Nina Porter and Arnaud Eubelen



TRANSGENESIS
with The Orange Garden
Underground Flower

a new series of experiments by Agnes?


30 April - 23 May 2021

Giovanni Vetere aka
Agnes Demande



Porta Sancta 
with Underground Flower
Working in the peripheral storage room of a former department store, Lim and Harris draw upon their individual research scholarships in Florence to renegotiate symbol and space.
JAN - MARCH 2021

Hannah Lim
Hugo Harris




TUTORIAL: 命运画
with Underground Flower


TUTORIAL is a self-paced learning exercise in making a statement for an unknown future. Here, art acts as a speculative potential, an affirmation of alternative and sustained states of coexisting.



OCTOBER - NOVEMBER 2020

ChillChill, Gondris Cavel, Kludde, Pure Ever, CorpseSimulacrum fka PrsntPrsnt,  Stach Szumski, Underground Flower

Hosted by Bsmnt Gallery
Curated byMarian Luft, Gözde Filinta & Ronny Szillo




SPAGHETTI CLUB
with 650mah
Spaghetti Club is an after school club which challenges children to think about complex (occasionally impossible) problems and goofy nonsense in a fun and frenetic environment. The exhibition will present a varied selection of work the children have produced in the club.
7 MARCH - 4 May 2020




SEMELPAROUS
with Julia Greenway
Joey Holder presents Semelparous, a site-specific installation. Through decimated research of the European Eels complex migration, reproduction, and biological makeup, Holder examines the irreplicable forces of the natural world.
FEBRUARY - MARCH 2020

Joey Holder


BAITBALL 01
with Like a Little Disaster
Baitball Vol. 1 is the first in a series of projects hosted by Like a Little Disaster.  Artists were chosen to fit within a remit of collaboration and engagement with the aquatic surroundings of Polignano a Mare where the project took place place.


JANUARY - FEBRUARY 2020

Finn Carstens , Alessandro Fogo, Neckar Doll, Davide Dicorato', Marco Giordano,  Nicola Gobbetto, Jaana-Kristiina Alakoski, Jens Settergren, Lorenzo Lunghi, Viola Morini, Eva
Vallani, Avery Noyes







NIGHT MARKET VOL 1

Challenging the defined boundaries imposed by mass branding, the bootleg commands a chorus of unauthorized voices which mutate around familiar and established characters and brand. Night Market v.1 presents a collection of such forms - illicit, janked up, unauthorized, and unmeasurably alluring.


APRIL - JUNE 2019

Youada, Jim Feng, Kiki Jiao, Tan Ray Tat, Ala Flora, Mizucat, Simon Hanselmann, Lawrence ‘Raw Dog’ Hubbard, Alex Rathbone, Castell Lanko, Twee Whistler, David Sayre







THE GENERATION OF CHOICE

The cultural output and creative identity of Generation X in 1990s New York is reimagined by a group of American and British artists whose work provokes a romantic view of that period, including street culture, film, video games, and action figures. Hosted by Gern en Regalia.


NOVEMBER 2018 - JANUARY 2019
Hosted at Gern En Regalia, New York

Steve Gee,Joseph McGehee, Mario Miro, Avery Noyes, Asmara Rabier, Guy Oliver






OCEAN WRESTLER COWBOY BRUISE

To grow queer is to break off, unmoor, unlearn, re-learn, self-teach, self-know, self-grow and then self sow.... Will Ballantyne-Reid opens an exhibition that looks at his own self-education.

17 MAY 2019

Will Ballentyne-Reid




RESIST SCIENCE FICTION

Dasha Loyko questions all versions of certainty and so-called 'truth' via the literary trope of the unreliable narrator. Visitors to this exhibition will get to see a staged interview, a fake museum display and a chanting wormhole.
SEP - OCT 2019

Dasha Loyko





VIEWING ROOM

Two rooms on the upper floors of our Covent Garden space, with works repurposed to suit a site specific environment


AUGUST - OCTOBER 2019

Paul Abbott, Solita Allen, AVD, Johanna Flato, Bex Massey, Valerie Savchits

Curated by Bob Bicknell-Knight






DOMAIN ALPHA

Domain Alpha features a combination of web-based works and installations exploring persistent echoes of imperialism (particularly American) ingrained in contemporary notions of digital frontiers free for the taking.
JULY - AUGUST 2019

Johanna Flato




DREAM OF THE SHORE NEAR ANOTHER WORLD

New works by Avery Noyes

MAY - JULY 2019

Avery Noyes





PERFICTION

Perfiction serves as a portrait of human, queer, contemporary experience in all its raw complexities: one which serves as a call for resistance to the greed embodied by contemporary capitalism.

DECEMBER 2018 - FEBRUARY 2019

Roxman Gatt







RUMINATIONS OF THE MIDNIGHT STROLL

I too often forget which of my experiences are from dreams and which are from reality... Ruminations brings together works by international artists who explore the dynamics of desire and the imaginary through a variety of mediums and supports.



APRIL - AUGUST 2018

Miro Arva, Alyssa Davis, Nandi Loaf, Olga Polunin, Dominic Rabier and Ivy and Her Son





    

NOVEMBER - DECEMBER 2017

Joe Cool, Thomas Hamen, Aycesu Duran, Lara Joy Evans and Valentin Rillet






HOTEL 419

Hotel 419 depicts a journey inspired by the complex issues surrounding the definition of success.An array of student and well-established artists gathered to compliment a hotel room, the whole functioning as a single piece, forming a dialogue between generations.


DECEMBER 2016 - JANUARY 2017

David Blandy, Marie-Aimee Fattouche, Ed Fornieles, Madeleine Pledge and Lauren Williamson







THIS IS FOR THE JEEPS
Opening 25th Aug
6-10pm

Open by appointment until the 17th of October 2021
Book here

This is for the Jeeps will feature an interactive memorial to two musicians who died 20 years ago, whose passing left a considerable impact on people in Black communities.

The project presents work from artists curated via both invitation and open-call, launching with an opening event that invites public contributions to a collaborative memorial shrine. Featuring music videos, electronic candles, fan-made apparel and other multimedia works, the exhibition culminates in a public expression of rememberance, collectively assembled by artists whose lives were touched by the departed.

"This is for the Jeeps" was conceived in response to a cultural gap in contemporary art in the United Kingdom and the perceived need to steward cultural references from Black communities in a context that prioritizes artist's voices rather than relegating them to an outsider economy within the mainstream arts industry.

Featured artists

Amanda Ali, Stacie Ant, Casandra Burrell, Charlita Hall,Mandy El-Sayegh, Lawrence Hubbard, Daniel Jasper-Anum, Mellenie Ling, Jasmine Monsegue, Goncalo NetoKoyejo Oloko, Eddie Otchere,Kalli Maria Teresa, Ocean Loren Baulcombe-Toppin and Yujia Wang

With a DJ set performance by

Ashleigh Edwards

Co-facilitated by

Halina Wiliams

Project management by

Katrina Man

Special thanks to Amir Dehghan



Screenings and workshops to follow
Romeo Must Die screening
Sunday 12th of September 7-9:30pm
https://www.facebook.com/events/4296129923816509


Queen of The Damned Screening
Sunday 26th of September 7-9:30
https://www.facebook.com/events/393888402242746

Last Days of Lefteye Screening
TBA

Soundtrack
https://open.spotify.com/user/jonnytanna/playlist/5bE2YP9zVLCs300IYOAo7a?si=vdH2QGb1Tbe11gLUvBI46A

Exhibition images

Mellenie Ling
I Care 4 U, 2021
Electronic candles running on Raspberry P.I. (pictured on the left and right of the shrine installation)


Goncalo Neto
Take My Hand and Come With Me, 2021
Pencil on A5 paper in metallic frame
15 x 21cm


Ocean Loren Baulcombe Toppin
For From Those in the Other Realm, 2021
Biodegradable tea bags, herbal blend: Sorrel/hibiscus, lavender, rose and butterfly pea


Lawrence Hubbard
Aaliyah and Lefteye This is For the Jeeps, 2021
Impact 207 gel pens and acrylic on canvas
45.72 x 60.96 cm




Casandra Burrell
Aaliyah Dana Haughton as I remember her, 2021
Airbrush on Tommy Hilfiger Fleece Jacket






Kojeyo Oloko
Daina, 2021
Lacquer, acrylic and resin on dainese jacket with custom patches to replicate Aaliyah’s jacket from the video ‘More Than Woman’


Yujia Wang
We Need A Resolution, 2021
Airbrush on Tommy Hilfiger Hoodie


Yujia Wang
Too Street 4 T.V. , 2021
Airbrush on yellow Adidas jogging pants






Space Brat
Left Eye Legacy, 2021
Airbrush on cotton White Tee



































Mandy El-Sayegh with Ayesha Tan-Jones and Ashleigh Edwards







Klein making an entrance





Blessings Pon Blessings
Rachel Jones
3rd of July - 1st of August 2021
Open by appointment only
BOOK HERE


“I am blessed
I am blessed
Every day of my life
I am blessed
When I wake up in the morning
And I lay my head to rest
Every day of my life I am blessed”


‘Blessings Pon Blessings’ is a collaborative work that pays homage to Jones’ heritage as a young Black British woman, consisting of an installation, sound piece and musical performances inspired by lyrics from Mr Vegas' song, “I am Blessed.”



The space has been transformed into a performative venue, displaying personal images alongside contemporary art/pop cultural references that inspire Jones’ practice, including posters of works she encountered in her formative years studying at Glasgow School of Art. The imagery, sound piece and karaoke performances coalesce to enact a celebratory and affirmative statement of self love, joy and love for Black culture and the Black community.

Collaborators
Ayo Akingbade, Ifeanyi Awachie, Emmanuel Awuni, G,  Sandra Grandison, Erin Jenoa Gilbert, Sabrina Jones, Cheryl Lucas aka DIVA, MIKE, Elijah Maja, Elijah Maura, Fikayo Oloruntoba, Xin Wang

Images
Artworks by the following artists are included in the installation. Copyright for all images belong to the artists:
Janiva Ellis
Claudette Johnson
Cheyenne Julien
Deana Lawson
Carrie Mae Weems
Kerry James Marshall
Adrian Piper
Lynette Yiadom-Boakye

Special thanks to Grace Owusu, Nana Owusu Anshan Asare, Josephine Fanta Umu Kovoma, Ruby Suleman



Rachel Jones (b. 1991) Previously studied BA Fine Art at Glasgow School of Art and an MA Fine Art at Royal Academy of Art. Her work is held in collections such as the ICA Miami, Arts Council Collection and Pallant House Gallery. Jones has been exhibited in the UK at institutions including the Royal Scottish Academy and The Fleming Collection. She was artist in residence at the Masterworks Museum of Bermuda Art in 2016 and The Chinati Foundation, Marfa Texas, 2019.

Recent Exhibitions include:
Citizens of Memory, The Perimeter, London, UK, 2021
A Sovereign Mouth, 12.26, Dallas, TX, USA, 2020
A Focus on Painting, Galerie Thaddaeus Ropac, London, UK, 2020
Rachel Jones & Nicholas Pope, The Sunday Painter, London, UK, 2020




























































Emmanuel Awuni
Hammer
opening on the 16th of April 2021 
through to 6th June 2021

Open by appointment, book here

The exhibition, ‘Hammer’ is comprised of selected materials, from painting and sculpture to sound and performance by Emmanuel Awuni, inspired by a passage from Toni Morrison's Beloved:


“With a sledge hammer in his hands and Hi man’s lead, the men got through. They sang it out and beat it up, garbling the words so they could not be understood; tricking the words so their syllables yielded up other meanings.” 


Hammer is an operation following the stitched tracks of ‘g’, the layers of the work tracing back to the importance of Black African oral culture to deep roots of black oral culture juxstaposed with litreature and visual image. Translating the relationship between processed materia paint text


The exhibition entails a sound installation and performance from Emmanuel Awuni. Two small speakers will be placed outside the gallery as part of the collection of artworks on display which includes sculpture and painting. The output from the sound is designed to establish a conversation and relationship between interior and exterior.

The gallery will be following the guidelines of lockdown as such a licensed security will be at the door to control the number of people allowed in the space which is a maximum five people security will also maintain and police social distancing rule if necessary. The exhibition will be open to the public people are encouraged to engaged with the artworks on display however there would be no supply of alcohol from the gallery.

List of works





1. yh bre rabbit, 2021, spray paint, 54 x 74cm      
 
 



Interior install shot




2.OFF IC3, 2021, Jesmonite, Spray paint, Steel scaffold
  8ft high




3. IC3 man Red Heart, 2021 print on pink paper with finger prints in custom wooden frame
   24cm× 33cm
 



4. Otitis, 2021 oil, pastel charcoal on canvas
   120 x 180cm












5. Hammer, 2021
Music and DJ Performance on both the opening and closing 
Emmanuel Awuni Djaying Through The Window


Rachel Jones with Gunsmoke


Rachel Jones with Emmanuel Awuni


Yasmin Akim and Daniel Rockman


Ayesha Tan-Jones and Monique Etienne Upon Arrival



Ayesha Tan-Jones, Leroy Simpson and Monique Etienne


Melissa Newbery-Welcome and Farrah Riley Gray Posing with their Sandwiches


Jenkin van Zyl with Ayesha Tan-Jones


Fikayo Oloruntoba aka Swampmangram with Ayesha-Tan Jones, Monique Etienne and Emmanuel Awuni


Emmanuel Awuni is a multi-disciplined artist living in London. He completed his undergrad at Goldsmiths University and is currently studying at the Royal academy schools. His work is concerned with the re-imaging of the architectural structures that construct our sense of hierarchy, space and time. Hip Hop is an integral element in the configuration of his practice, utilising that model to develop the poetics of relation between object and subject. Previous shows include:
Premiums, Royal Academy of Art, 2019
House of Togetherness, Harlesden High Street, 2020
Rather Be Your Lover, Underground Flower, 2020
Harlesden Safari Shop, BUNK Studios, 2020


Selected Press
Art Forum Listing
Daily Lazy feature


Opens 14th February 2021
Runs until 12th April 2021

Daily 7 days a week
Local stores: 9am - 6pm
Main space: 6pm - 12 midnight

Book by clicking filling out the contact form here

Press release

The American landscape and automobiles are interpreted through the lens of a Saudi-American artist incorporating photography, installation and video into a sprawling project taking place in the main space and surrounding businesses in Harlesden.

Within the gallery, a UV light attracting insects and tropical, prehistoric plants set the scene to an experimental video work.

_________________


Click here to view the artist statement


Samar Al Summary (b. 1989, Jeddah, Saudi Arabia), lives and works in the daydreams of an artist displaced in continental Europe. She records the seismographic humping of fleas on continental fault lines; dabbles in sunset prophecy; and regards photography as the bastion of artists without the personalities to rival God and create new dooms in icing thick colors. Her photographs were recently published in Aperture Magazine.


Recent exhibitions include: Hesitant Images, Organ Vida Photography Festival in the Contemporary Art Museum in Zagreb, Croatia, 2020; Film Festival Oberhausen, Oberhausen, Germany, May 2020; Rencontres de la Photographie, Marrakech, Morocco, October 2019; Voies Off Awards Screening, Arles, France, July 2019.

Selected Press
Artforum Listing
Gallery Talk Net

Images

Video installation of ‘Make it a combo’ in the main space








Video installation of ‘Cars Galore’ in the main space










The project sprawls throughout High Street, Harlesden, so besides the video installation at the main space, below are installed works in local businesses for patrons to visit.

Big Ben Fisheries
9-11, High St, Harlesden, London NW10 4NA




Mountain Range in a Peeling Window Film
50 x 40cm

Shimmer Blah-Blah
8.43 x 12.68cm



Quality Fresh Fish
14 High St, Harlesden, London NW10 4LX




Tradition quenches the spirit
80 x 100cm




Bilal Halal Butcher London

88 High St, Harlesden, London NW10 4SL






Dusty Baklava!
60 x 34cm

Somexchange

101 High Street, Brent Park, London, NW10 4TS


After the accident, they towed the car home; the TV was uninjured in the trunk; you aren't from insurance, are you?
33.79 x 45cm



Harlesden Cars

130 High St, Harlesden, London NW10 4SP




  
Left:
Picnic Wreck                                                            
A4 paper in plastic holder

Right:
The towel wipes the sweat so the boxer can get back into the ring without slipping on his fear
21.3 x 28cm




Iftin Express - Internet Service Providers
136 High Street, Harlesden, NW10 4SP







Quran and Makeup Bag
34 x 50cm


Oh what a beaut
24 x 32.23cm




JJ Food & Wine London
4 Park Parade, Harlesden, London NW10 4JH






Serena Pharmacy
7, Library Parade, Craven Park Rd, Harlesden, London NW10 8SG
This pharmacy was in ‘Eastern Promises’ by David Cronenberg, it’s interesting because the space was so tight, at the front the desk between the shelf and desk there’s only 10 inches, it’s crazy.



A Cosmetic Mortal Wound
53 x 51cm










Ayesha Tan-Jones - Tectonic Incantations

✨Tectonic Incantation✨ is a solo exhibition by Ayesha Tan Jones that opened to public on 10 December. Produced by Harlesden High Street the show will premiere at the new off-site location Underground Flower - Belsize Park Gardens, a deactivated gym and swimming pool in North West London.

In the interview with Daria Khan, Ayesha talks about growing mushrooms, moss, and chlorella as elements in the show; disintegration and re-birth; working in an abandoned swimming pool, and using the tools of speculative fiction and queer optimistic dystopia to vision a regenerative future.

Ayesha’s new artworks expand from their previous operatic performances and the upcoming book, Parasites of Pangu commissioned by Serpentine Galleries

Stay tuned for further updates and Ayesha’s new interactive website that will be launched soon as part of the show, where you will be able to feed the organisms and contribute to their growth in the show. 

Tectonic Incantation is curated by Daria Khan with support from Mimosa House Mimosa House

Opening on the 10th of December at
Underground Flower - Offspace
81a Belsize Park Gardens
NW3 4NJ

Book here to confirm attendance

Exhibition runs until the 14th of March 2021

Curated by Daria Khan
Project Management by Lucia Rios Gonzalez

Images

Underground Flower Reception by Verity Coward
















































TRANSGENESIS by Agnes?

The Orange Garden is pleased to present TRANSGENESIS, a new series of experiments by Agnes?, curated by Arturo Passacantando, Tommaso de Benedictis and Charlie Mills and in partnership with Harlesden High Street and The Muse at 269.

Unfolding in three parts, TRANSGENESIS represents the evolutionary process of perpetual self-transformation which culminates in Agnes?’s long-durational performance: 184 hours of performance over the course of 23 consecutive days, 8 hours each day. Agnes?’s act of bodily defiance is emphasised by Magnus Westwell’s choreography, of which a special programme of dancers will further activate the space on select days, with sound design by Portamento and costumes by Erica Curci.

To visit the choreographed performance, please book through the link below:

Exhibition Opening Times:

30 April - 23 May | 12 - 8 pm

Address:
Underground Flower: Offspace
81 Belsize Park Gardens
NW3 4NJ, London


Performance Schedule:

Friday 30 April | 6 pm - 8 pm
Saturday 1 May | 6 pm - 8 pm
Friday 7 May | 6 pm - 8 pm
Saturday 8 May | 6 pm - 8 pm
Saturday 15 May | 6 pm - 8 pm
Sunday 16 May | 4 pm - 6 pm
Saturday 22 May | 6 pm - 8 pm
Sunday 23 May | 4 pm - 8pm

Human evolution is taking place right before us, only a tentacle length away and undeterred by the sapiens’ claim of dominion over natural selection. The cognitive and technological capacities to overcome humanity are no longer science-fiction tropes, but stark reality. By acknowledging and harnessing the power of our bodies as potential biogenetic systems  for change, we will no longer surrender  to the binary forces that have castigated our society with repressive measures of control and oppression.

TRANSGENESIS, the process of transferring genes from one organism to another, has the potential to change the physical characteristics or traits of an organism. The technology is developing quickly and is expected to become the most significant actor in the future of human speciation. As a species we already cultivate transgenic animals and plants for pharmaceutical applications and human consumption, this exhibition aims to explore the idea of becoming one ourselves. TRANSGENESIS  investigates the possibility of transcending the limitations of our given physiognomy.

In TRANSGENESIS, a metamorphosis is taking place. Agnes? has been conceived deep within Giovanni Vetere. They are a new spieces, a genderless half-human half-cephalopod creature; a multicellular being and symbiotic organism that has the ability to multiply themself. Agnes? is a fluid creature, a liquid entity that takes new forms and shapes, constantly destroying themself to give birth to new life. They are the destruction that leads to construction. They are the necessary death that leads to life in a never ending evolutionary process. Through their embodiment of the octopus they manifest the ultimate sacrifice of motherhood.

Exhibition Images



Underground Flower: Offspace, Reception





Fetal
, 2021



Fetal Gestation Stage I - Larvae, 2021



Fetal Gestation Stage III - Larvae, 2021



Fetal Gestation Stage IV - Embryo, 2021



Fetal Gestation Stage V - Fetus, 2021

Anemone, 2021
Clock wise from left:-
Clione Cthulhu
Ancistrocheirus Lesueurii
Clione Limacina
Flabellina Polaris 
Coryphella Polaris







Anemone, 2021





Octosapiens, 2021


Selected Press
Timeout Article by Chris Waywell
iD article by Will Ballatyne-Reid
Ofluxo feature
Coeval Magazine
Solo Show



PORTA SANCTA
Hannah Lim & Hugo Harris







Street Shrine, 2021  Mdf, wax, steel 70x35x20 cm






Altarpiece, 2021  Mdf, plaster, foam 90x25x100cm







David and Goliath, 2021  Mdf, wax, cement 140x22x22cm






Spider, 2021 MDF 160x130x160cm




Suspended Font, 2021  Mdf, Wax, Steel 45x60x45cm



Relic, 2021 Mdf, wax, steel 28x16x28cm





The soul exists partly in eternity and partly in time. - Marsilio Ficino

Porta sancta, por anima: a holy door for the soul. Like the architectures of the contemporary world, the symbols and structures customary to early ecclesiastical spaces existed on the threshold of politics. The particular doxa and hallowed grounds of any earthly sacred is forged, after all, from the brick and mortar of mercantile enterprise, conquest, and relation (or resistance) to Empire’s rule. In the transubstantiation of capital to edifice, of edifice to custom, and of custom to salvation, the tectonics of geopolitics define spaces, rituals and ornaments which etch deep grooves into the shadowed glass through which we perceive the spirit.

The visual arts have always existed within a certain preserve; originally this preserve was magical or sacred. But it was also physical: it was the place itself in which the work was made. The experience of art was set apart from the rest of life — precisely in order to be able to exercise power over it. Later this preserve of art became a social one, entering the culture of the ruling class. In pre-Christian Italy, the conversion of political leaders was followed gradually by other powerful families, marking the beginning of a period of remarkable social change - accompanied by a surge of patronage.

The system of patronage enabled the ruling class to craft a paradise in their own image: a bespoke vision of the sacred was executed by an artist retained for the purpose and tailored to the sensibilities of the buyer, aggregating the aura of metaphysical power in specific symbols, motifs, and gestures unique to the upper classes of a given place and time. The practice was further reified in the architectural endowments of the Church: the delineation of sacred ground, the relative value of expiation housed within golden ornament, the construction of side-altars within the church where families of ample means could negotiate the commission of space, decoration and ritual. Representing a privatized space within the body of the Church proper, the side chapel was a place where politically and economically significant parishioners could orchestrate prayer for their familial dead; the currency value of a soul bound indelibly to the greater visibility (and, perhaps, perceived moral superiority) of those with earthly purchasing power.

To arrive at a visual history of eternity, the flights of the soul are mapped to feet of clay and interpreted through a given paradigm of technology. The facial features of the unknowable Christ slowly morphed throughout the Renaissance to resemble the aristocracy of its age via the commission of paintings by rulers, estate-holders and merchants; wealthy citizens commissioned civic buildings, churches, frescoes and other works, all of them embodying and apportioning power within the new humanistic ideals of individual greatness that fuelled prosperity. The bodies which supported and fostered economic growth - aristocrats, guilds, monastics - used artistic patronage to reinforce social structures fundamental to civic sustainability: loyalty to family, church, and state.

With the ascendency of bourgeois culture, art began to lose its direct social function; aristocratic and church patronage declined, and new forms of aesthetics developed. Church services and public works were no longer the artist’s primary engagements. When an artist stops working for an ecclesiastical or secular patron, and offers their work for sale to buyers whose tastes and identities are not fully known, the artist begins to function within the market, producing works which bear greater autonomy to reflect their own values. This growing autonomy goes hand-in-hand with commodification, and the historical figure of the artist was caught between a situation of patronage on the one hand, and the market on the other. They could no longer count on the security of a tradition and taste they still shared with their aristocratic or clerical patrons, and their new bourgeoise audience was anonymous, fickle, and hungry for novelty.

Such was the scenario in which the stylized characteristics of Chinoiserie emerged: artifacts obtained via mercantile trade and colonial conquest fell into the gaze of the early Modernist leisure-class’ appetite for exotica. Reproducible by new modes of industrial fabrication, factory machinery wrought new posessions with tropefied motifs; these ornaments were supposed to carry and confer the aura of a tantalizing terrain outside their owner’s realm of experience and belonging. Such objects occupied a profitable compromise at the threshold of high and low art - objects imbued with qualities supposed to separate their appreciator from the madding crowd, yet sufficiently materially accessible to be possessed by the common bourgeoise.

Today, at a new kind of threshold, what kind of door for the soul can we envision? Working in the peripheral storage room of a former department store, Lim and Harris draw upon their individual research scholarships in Florence to renegotiate symbol and space. Lim’s works mirror the flat-pack tactics of globalized logistics, and provide structural supports for Harris’s reproducible wax-cast sculptures. Familiar motifs from Catholic iconography and Chinoiserie are admixed and reconfigured through an intimate grammar relative to the artists’ shared and individual practices. The work, having first been developed digitally, permitted the artists a sculptural dialogue, sending work rendered by photogrammetry back and forth to one another, adding and manipulating the object with each ‘reply’ prior to beginning the material fabrication and installation process.

Destined to be viewed only through online documentation, the space remains sacred to the artists’ motions within it, yet we can intuit their gestures – the logic of liminality, of the street-side shrine, neither set apart from the rest of life, nor fully defined by its boundary; such is a niche embedded within our daily activities and requiring no official sanction to hold its force or abstract value to carry its remainder. Against the backdrop of a present-day London, shrouded in snowfall and quarantine, we encounter a constructed moment - artificial, sensitive and burdened - extended into eternity.




PORTA SANCTA by Hannah Lim & Hugo Harris
Curated by Torre Alain

at Underground Flower: Southside
Produced in partnership with Harlesden High Street
Photography by Jennnital and Hannah Lim
Reviwed by Solo Show




House Of Togetherness

Private View: Saturday, 7th March, 6–9 PM

House Of Togetherness (back entrance of Harlesden High Street, Shorts Gardens)
14-16 Betterton Street
London
WC2H 9BU

House of Togetherness brings together four emerging artists who utilise painting or sculpture to play with reality and reshape objects and subject matter.

Presented in a former health club in Covent Garden, central London., the works are mischievously woven into the spa-like setting, brought together collaboratively by the four artists who achieve a single purposed narrative of unity under this troubling climate.

Emmanuel Awuni (b. 1993) is a multi-disciplined artist. He finished his undergrad at goldsmiths university and is currently studying at the Royal academy schools. His work is concerned with the re-imaging of the architectural structures that construct our sense of hierarchy, space and time. Emmanuel is predominantly inspired by hip hop culture and attempts to use its structure as a blueprint to penetrate, invert, deconstruct and reconfigure the condition of making.

Sally Kindleberg (b. 1987) is a Swedish born, and London based artist. Kindberg’s paintings are predominantly figurative and accentuate shapes and display a disproportionate reality, playing for prenotion attached to subject matter. With these disproportions, she points at the disparities in our current contemporary society and creates a humorous approach to address other social issues. Recent exhibitions include A High Hang, Eccleston Project Space, and The World Without Us, APT Gallery, both in London.

Pascal Sender (b. 1988, Locarno, Switzerland) lives and works in London, and started his career studying painting under Peter Doigin the Düsseldorf Kunstakademie. Sender is currently finishing his MA at the Royal Academy School and focuses on new media and mixed media art. In some of his recent works, he experiments with new time-based media formats such as interactive face-filters and live-stream platforms. His works have been exhibited at Mur Brut Kunstgalle Dusseldorf, Ampersand Galerie, Galerie Walbroel, NEXTEX in St. Gallen Switzerland.

Maximilian Siegenbruk (b.1990, Leipzig, Germany) lives and works in Düsseldorf where he studied at the Kunstakademie. Siegelbruk predominantly works with acrylic, airbrush oil/pastel and charcoal, creating beautiful representations of humans and nature. He uses repetition and patterns to explore the relationship between abstraction and perception. His work is currently included in the group exhibition ‘In Order of Appearance’ at the K21 Museum in Dusseldorf, Germany. Siegelburk’s work has also been exhibited at the Kunstpalast, Dusseldorf and Kuenstlerforum, Bonn.






















Baitball Vol.1

"I'll slip an extra shrimp on the barbie for you"
Opening 5th January 2020 6-9pm
6th January - 29 February 2020


Baitball Vol. 1 is the first in a series of projects hosted by Like a Little Disaster, has kindly invited Harlesden High Street to host the gallery with curation by one of our de-facto represented artists, Twee Whistler.

The project factors into Harlesden High Street’s ethos of bridging cultural gaps, not only bring an audience to the artists but introducing the homogenous sectors of the art market to the artists outside of their scope.

Artists were chosen to fit within a remit of collaboration and engagement with the aquatic surroundings of Polignano a Mare where the project is taking place.

The exhibition space is composed as if it was the drift of a shipwreck, in which the sunken remains of a ship came to integrate with the seabed.

The baitball, a fleet of fish that compacts to escape predators, is portrayed here in a vain attempt to escape marine surroundings dotted with the remains of capitalism in the post-Anthropocene era.

Within this scenario, Jaana-Kristiina Alakoski fits into the guise of a mermaid obtained by distorting her appearance starting from a hot photo of her. Through this operation, she hides what initially intrigued her of the photo. The two opposite actions (selfie-shot and its modification) meet as a desire to conform to an ideal and in opposition to it in a context linked to the body /gender thematic.
The print by Diana Gheorghiu plays on the same topic, by adopting a process of digital disincarnation to critique today's obsession with healthy lifestyles and the growing wellness industry.

Finn Carstens proposes a painting with the tiles of a spa, which can be considered as a sort of human domestication of natural hot springs.
Alessandro Fogo works on a similar path; in his painting The ring of Fire he places fire in a swimming pool with the aim of investigating the semantics of objects, which - although removed from their original context - often maintain a sort of defined aura, becoming ambiguous, religious and sacred elements.
Similarly, Neckar Doll assembles compositions of objects (mashups) of different cultures and subcultures, that - by stratifying over time - merge in the same place, almost as if they wanted to prophesy a second return to Panthalassa (the only and gigantic ocean present on Earth at the time of the Triassic).

Davide Dicorato's work instead consists of a hybrid of "naturalia" (natural objects), and "artificialia" (human artefacts), this dualism is also present in Marco Giordano's practice,
who in his works reflects around the classic organic/artificial, man/machine, nature/artifice dichotomies, and their relative unhinging.
Nicola Gobbetto also revisits a natural element with artificial elements, making mythological references to the birth of Venus, which therefore mirrors the mechanisms of capitalist overproduction.

Jens Settergren examines another type of ideal representation; in fact, the artist uses the tropics as an instance of a collective (western) imagination: tropical scenography as a heterotopia that includes both pure idyll, recreational tranquillity and some more disturbing elements.
Harmful by nature, parasitic is the sculpture of Lorenzo Lunghi, capable of connecting via Bluetooth to nearby devices; in correlation, we can place Viola Morini's Cromo that reconstructs a crucial moment in life by transforming it into an archaic alien symbol.
Of a more biographical nature is the contribution of Avery Noyes, who places the emphasis on maritime life and the culture surrounding the Chesapeake Bay where he grew up.
Finally, Eva Vallania, inspired by Vittorio De Seta's Contadini del mare (peasants of the sea), provides an almost hyper-realistic representation of a ruthless battle (that of fishing) never really experienced, in an immobile image that does not tell but releases sounds.

Hosted works below


Selected Press
https://www.artforum.com/artguide/like-a-little-disaster-12485/baitball-01-181102

https://www.ofluxo.net/baitball-01-ill-slip-an-extra-shrimp-on-the-barbie-for-you-a-group-show-of-curations/

http://www.daily-lazy.com/2020/02/baitball-01-ill-slip-extra-shrimp-on.html/

https://tzvetnik.online/article/baitball-01-a-group-show-at-palazzo-san-giuseppe-polignano-a-mare



29th Nov 2018 - 16th Jan 2019
The Generation Of Choice, Gern En Regalia (hosting Harlesden High Street)
55-19 Metropolitan Ave. Ridgewood NY 11385

Harlesden High Street is proud to present ‘The Generation of Choice,’ the third iteration in a series of projects that employ both physical and online platforms to realize integrative, collaborative exhibitions. Involving over twenty-five emerging artists, ‘The Generation of Choice’ is informed by the history and lasting cultural memory of Tower Records — a company founded by a small group of music lovers whose specific tastes helped define the sounds of an era and whose retail enterprise expanded to become a global phenomenon.

With this presentation, the cultural output and creative identity of Generation X in 1990s New York is reimagined by a group of American and British artists whose work provokes a romantic view of that period. These artworks make direct references to the street culture, film, video games, and action figures that came out of the 1990s.
It has been said 1996 was the beginning of the end of culture. ‘The Choice of a Generation’ aims to achieve an insight into the stretch of time which surrounds this supposed calamity by recalling idiosyncratic media and entertainment history from this period through the guise of Tower Records. This project attempts to grapple with what it means for an iconic international media franchise to be faced with decline at the end of the 1990s and the related economic violence associated with the progression of media technologies into the new millennium. 


Press release here

featuring
Steve Gee
Joseph McGehee
Mario Miron
Avery Noyes
Asmara Rabier
Guy Oliver

special guest appearance by Jon Spinelli










Avery Noyes - A Time-Plated Paradise Lost (From Utena, Thanks Ross), acrylic on canvas, (2018)

















Steven Gee - Look at that subtle off-white colouring. The tasteful thickness of it, sometimes there's so much beauty in the world, Wall vinyl (2018)

Guy Oliver - We Got To Move These Color TVs, acrylic on laser disc, (2018)




Asmara Rabier - Untitled, Calculators with repurposed liquid crystal display, (1983)




Uknown - Wise desicions,based on lies we livin', Digital print on sweatshirt, (2018)



Ivy and her son - The End Of The New Generation, 6 hour video compilation of archive and rare footage blended to seemlessly appear as a single broadcast on MTV 1993 (2018)


Avery Noyes - My Body Will Become Wind, Resin, epoxy, spray paint (2018)
Spaghetti Club
Hosting 650mah
8 March - 4 May 2020
Opening: Saturday 7 March, 2-6pm


Spaghetti Club is an after school club held in Grasmere Primary School in London every Thursday, 3.30 - 4.30pm. Initially conceived as a creative writing club, it has evolved into more of a loose set of exercises and activities which involve things like drawing, dance, sculpture, photography, and more.

The children (generally ranging from 6 to 10 years old) typically complete worksheets which challenge them to think about complex (occasionally impossible) problems and goofy nonsense. Each child knows they're under no pressure to get anything right, and it is simply playful work which might get on Instagram at some point (something which drives the children to create interesting answers). The club is run for free, squeezed in around a full-time (non-teaching) job which lends it a type of frantic, fun energy.

The exhibition will present a varied selection of work the children have produced in the club, much of which has never been seen before.

Michael Crowe runs Spaghetti Club with Emmi Beber.
@spaghetti_clurb

Exhibition hosted at Harlesden High Street.

Installation Shots (Courtesy of Rob Harris)


Press
Frieze Article - Spaghetti Club Asks Children to Rethink Modern Art

Daily Lazy Article





ENTER

In collaboration with Underground Flower
   

       

           
Solo Show:            
CHAPTER 4 

       


           
Rather be your lover


            With works by


Ayesha Tan-Jones,
Angelique Heidler,
Clémentine Bedos,
Emmanuel Awuni,
Damian Griffiths,
Giacomo Serpani,
Joshua Hopping,
Randa Asma Osman
       
            Curated by Harlesden High Street & Underground Flower
       
           
12 Feb 2018 13:00-14:11

Man With Tree Lump House (dream)

I fell asleep briefly and I was in a Viet friend's house (may have been Asmara's friend Brendan). It was a small place that was quite cluttered but was very clean and had new grey carpet that was soft and good to walk on. When we entered the house you take the stairs straight into the basement. It was all carpeted and brightly lit. I was in a room where Brendan was studying and it had two high bench tables and it was a cube room. As I came down the stairs (which was in the far left corner of the viewer's perspective). There were two televisions on the North and East part of the room. On the North wall there was a scene from a game that maybe Brendan was working on. It was a parking lot outside an office block with the dark blue tint you find at nighttime in 16-bit video games. There were two cars in the middle of the parking lot. Then a countdown appeared '3,2,1 GO' suddenly two little racing figures (one in red and one in yellow) jumped out their cars and ran as fast as they can into the building and they crashed through the glass architecture and the bottom of the building caught fire. The one in yellow won. 'Winner' said the commentator in an English/Japanese accent.

I then went up the stairs and I saw Brendan's dad walking past and there was a metal gate and fence around me. As I reached the metal gate which was about 2 foot high I saw a card sign. It said 'please go outside and use the front entrance' so you'd have to go downstairs and come back up to another exit to the front door to come back into the ground floor interior. I didn't want to as I didn't have my shoes as they were on the ground floor. I wanted to climb over but suddenly I looked to my left and the fence was high and the ceiling was too low to go through so didn't want to jump over the gate incase I broke it. Brendan's dad came by and he was bald, short and portly man with a tiny moustache (well thin like tiny cat whiskers) who was approximately in his mid 50's-early 60's. Brendan's dad told me that the gate is broken so I have to go back down. Brendan came up the stairs and asked what the problem was. His dad said 'are you boys ready for tonight?' (I can't recall but I think we were preparing for Chinese New Year so was going to get masks or something). Brendan's dad said 'if you aren't then I can give you a tree mark like mine' to which he turned around and showed us the caved part of the back of his neck which was a shade darker of brown than him (he was tanned) and it had three thick lumps that looked like a bulldogs cheeks or a plate of folded crepes. 'No thank you' said Brendan 'I've got mine ready'. I'm not sure what happened next.




Shout out to the world leaders, to the Jeffreys and Karens, to the people that hate us and all those who have kept us down throughout this period. Peace




<< ✌🏾 >>




~ Jonny Tanna

       
    With a text by Jonny Tanna    | Curated by Harlesden High Street & Underground Flower
   
   






4DLGBT
Charlie Pike
14 - 27 June 2021
RSVP HERE

The identities of digitally captivating LGBT bodies are shown through the installation and portrait paintings of Kai, Munroe, Bimini, PJ and Marsha. Translating as visibility and something to be seen amongst the surrounding businesses in Harlesden.


Within the space, a cubed frame stands centre focus titled 4DLGBT. Navigating itself as an object to foundational relations whereby it functions as something of the size to a child playhouse; a space which negotiates values of fantasy, play and reality. Operating as a 4-dimensional tesseract; the portraits motive in the work projects ideals beyond the canvas, contributing to discussion and thought on identity, while physically being sat within a 3D frame.


Pike’s interest in these figures stems from an upbringing of otherness and near to no LGBT role models. Positioning these figures into a space of subjectivity provides an influential impact on identity into existence and allows for acceptance to be voided with respect to acknowledgement of physicality.


The exhibition takes place within an inner-city borough in North West London, where works typical of contemporary art presentations are apposed with offsite placements in cab offices, butchers, off-licenses and grocery stores. Viewers are invited to experience the work within the gallery walls as well as in the surrounding environs - exploring questions of access to contemporary art, and what may be taken for granted.


Recent exhibitions include: Works from home, Hundred Years Gallery, 2021, First in first out, Protein Studios, 2021

Exhibition Images




























Private View: 6 September 6 - 9 PM
Opens: 7 - 22 September 2019
Monday - Saturday 12 - 6 PM

For her first solo exhibition, Dasha Loyko saturates scientific method with deadpan humour, and deploys it as a narrative device. The exhibition title takes a stance against itself: Resist Science Fiction establishes several overlapping and contradictory storytelling currents, weaving together speculative archaeology, personal anecdote, and popular science. Tropes of epistemic authority are entangled with error and speculation. The unreliable narrator embraces her short attention span and follows tangents, allowing coincidence, free association, and word-play to guide the plot.

Containing a staged interview, a chanting wormhole, a photo prop, and a fabricated museum display, Resist Science Fiction gestures at the apparatus of knowledge-making. Perpetually pointing at the audience’s complicity - through the use of scale and anthropomorphic references - the exhibition challenges the myth of an impartial pursuit of truth and the distinction between consumption and production of knowledge.

Loyko’s materially-promiscuous practice functions at the intersection of science, humour, and desire. She embraces the distracted state of mind as a mode of romantic attunement to the world in a climate of perpetual overstimulation by excess information. Looking beyond the idea of a poststructuralist narrative, Loyko’s key concern is the constant renegotiation of the porous, leaky border between the linguistic and material worlds.

Dasha Loyko (b.1995, Minsk) holds a BSc in Philosophy, Logic and Scientific Method from the London School of Economics and an MA in Contemporary Art Practice from the Royal College of Art. Recent projects include: Le Grand K, Science Museum, London, 2019, Terminal O, The Horse Hospital, London, 2019, Cooked And Raw, Liverpool Independents Biennial, Liverpool, 2018; upcoming projects include: Taking Places, Garage Triennial of Russian Contemporary Art, Garage Museum, Moscow, 2020.


Artist In Residence
Throughout August and September 2019, Dasha Loyko will be the taking up a studio residency in the new Harlesden High Street space in Camden, culminating in a solo exhibition of her work.

Informed by her background in philosophy, Dasha Loyko’s practice makes use of various narrative devices and logical structures, and functions at the intersection of science, humour, and desire. By frivolously combining scientific theories, word-play, speculation, and error, Loyko uses storytelling and fictioning as political and aesthetic devices for unhinging and re-engineering some of the narratives that dominate our understanding of the world.

Dasha Loyko (b.1995, Minsk) holds a BSc in Philosophy, Logic and Scientific Method from the London School of Economics and an MA in Contemporary Art Practice from the Royal College of Art. Recent projects include: Le Grand K, Science Museum, London, 2019, Terminal O, The Horse Hospital, London, 2019, Cooked And Raw, Liverpool Independents Biennial, Liverpool, 2018; upcoming projects include: Taking Places, Garage Triennial of Russian Contemporary Art, Garage Museum, Moscow, 2021.

Installation shots

Resist Science Fiction, 2018
Installation shot



Parody of the Sun, film still, 2018. Photography: Ralph Pritchard.






Misc works


Mother I Dislocated My Hip, RAW, Hockney Gallery, London, 2019. Photography: Dawoon Kim


Broccoli/Mushroom Cloud, BITE, Dyson Gallery, 2019. Photography: Dasha Loyko.

PRESS


Clot Magazine Article

Contemporary Lynx Article

Timeout Article
Ella Fleck will be taking residence in Gloucester avenue from the 29th of October 2019 until sometime in the near future.

This is not an open exhibition or event, but she can be viewed through the glass window throughout the week from across the street.

Workshops may or may not happen...


Nereida Patricia (b. 1996, New York) is a multidisciplinary artist and writer based in
Chicago, IL. Nereida’s practice spans sculpture, text, and performance, and
explores themes of history, trans poetics, and identity. Her work draws from
postcolonial and feminist theory, Peruvian symbolism, as well as autobiographical
fragments, to build new mythologies around the transformation of the human body.
She holds a Bachelor of Fine Arts from the School of the Art Institute Chicago and
has also studied at The New School. Her work has been exhibited at venues
including Museum of Contemporary Art Chicago; Museum of Contemporary Art
Detroit; Roots and Culture, Chicago; Prairie Gallery, Chicago; Annka Kultys,
London; the Museum of the Moving Image, Queens; The Knockdown Center,
Queens; and POWERPLNT, Brooklyn, among others.

Weblinks
https://linktr.ee/nereida.patricia

Samar Al Summary (b. 1988) is a Saudi-American artist who works in video, sculpture, installation, and photography. Through her work, she reveals the historical, economic, and material contexts in which the hallucinations of power take place. Her most recent exhibitions include Organ Vida International Photography Festival in zagreb, Croatia (2020), Film Festival Oberhausen at Oberhausen, Germany (2020); Rencontres de la Photographie at Marrakech, Morocco (2019); Voies Off Awards Screening at Arles, France (2019). She was a part od Ashkal Alwan Home Workspace Educational Fellowship from 2019 to 2020.

Previous exhibitions include:
Glad You Aren’t Here, Harleden High Street, London, Uk, 2021
Trust the Beauty BankOrgan Vida Festival, Vilnus, Lithuiania, 2020


Selected Press:
How Photographers Responded to the Arab Sping, 2020


Weblinks:
https://samaralsummary.com/



Farrah Riley Gray’s (b. 1994) practice has a focus on misogynoir and the experiences of Black Women. Working through textiles, audio, and text, how marginalised communities can be given representation in-with art and art spaces. Her focus in a modern-day archival of the stories and skills passed down to her.

Riley Gray is interested in the rituals in fabric and weaving materials, how they can convey relationships between culture, race, gendered product making; and their possibility to hold a story of an individual or group. She believes that textiles are often highly emotional for their makers and owners, and due to being associated with women’s work, it has led to it being a means to document women’s histories. In particular, Black Women, whose stories are often erased. While also considering there to be a language in fabric and other weaving materials, that can tell us about being in a diaspora that other archival or historical sources, such as those that are written, cannot; or that has been whitewashed and/or appropriated by western culture.
Riley Gray is currently Youth Platform Coordinator and Project Assistant for Create Civic Change at Peckham Platform.

Recent Exhibitions include:
Hair, Untold Stories Horniman Museum, London 2021
After Hours, Bowes-Parris, London 2020
Harlesden Safari Shop Vol. 1, Harlesden High Street, London, 2020
Weaving Archives, Goldsmiths, London, 2020
Knotted, Deptford X, London, 2019

Selected Press:
Goldsmiths Preview on Knotted
The Christine Risley Award 2019
Contemporary Arts Society: Artists to Watch

Website:
https://www.farrahrileygray.com


Emmanuel Awuni (b.1994) is a multi-disciplined artist living in London. He completed his undergrad at Goldsmiths University and is currently studying a post graduate the Royal academy schools. His work is concerned with the re-imaging of the architectural structures that construct our sense of hierarchy, space and time. Hip Hop is an integral element in the configuration of his practice, utilising that model to develop the poetics of relation between object and subject.

Selected exhibitions
Premiums, Royal Academy, London (2019)
House Of Togherness, Harlesden High Street, London (2020)
Harlesden Safari Shop, Harlesden High Street, London (2020)

Website
http://emmanuelawuni.co.uk/

Lawrence “Raw Dawg“ Hubbard, co-creator and illustrator of Real Deal Comix with Herald Porter McElwee, the late Real Deal writer.

Lawrence (Rawdog) Hubbard is a cartoonist , fine artist, and Lecturer. Born in Los Angeles in August 1961. He started drawing at the age of 3. Has studied at Otis Art Institute, UCLA, and Santa Monica College.Co-founder of Real Deal Comix with the late H.P Mc Elwee in 1989. Real Deal Comix is currently published by Fantagraphics.Besides being a cartoons and painter, Lawrence has designed T-Shirts for Stussy, the 7 Days of Funk Album cover for Snoop Dogg, and Skate Boards for ‘Patsy's and Deathwish!’

Selected Exhibitions:
Nightmarket Vol. 1, Harlesden High Street, 2019






Selected Press
https://www.vice.com/en/topic/lawrence-hubbard

Click here to enter our store


Private View 6 September 6 - 9 PM

7 - 22 September 2019
Monday - Saturday 12 - 6 PM

For her first solo exhibition, Dasha Loyko saturates scientific method with deadpan humour, and deploys it as a narrative device. The exhibition title takes a stance against itself: Resist Science Fiction establishes several overlapping and contradictory storytelling currents, weaving together speculative archaeology, personal anecdote, and popular science. Tropes of epistemic authority are entangled with error and speculation. The unreliable narrator embraces her short attention span and follows tangents, allowing coincidence, free association, and word-play to guide the plot.

Containing a staged interview, a chanting wormhole, a photo prop, and a fabricated museum display, Resist Science Fiction gestures at the apparatus of knowledge-making. Perpetually pointing at the audience’s complicity - through the use of scale and anthropomorphic references - the exhibition challenges the myth of an impartial pursuit of truth and the distinction between consumption and production of knowledge.

Loyko’s materially-promiscuous practice functions at the intersection of science, humour, and desire. She embraces the distracted state of mind as a mode of romantic attunement to the world in a climate of perpetual overstimulation by excess information. Looking beyond the idea of a poststructuralist narrative, Loyko’s key concern is the constant renegotiation of the porous, leaky border between the linguistic and material worlds.

Dasha Loyko (b.1995, Minsk) holds a BSc in Philosophy, Logic and Scientific Method from the London School of Economics and an MA in Contemporary Art Practice from the Royal College of Art. Recent projects include: Le Grand K, Science Museum, London, 2019, Terminal O, The Horse Hospital, London, 2019, Cooked And Raw, Liverpool Independents Biennial, Liverpool, 2018; upcoming projects include: Taking Places, Garage Triennial of Russian Contemporary Art, Garage Museum, Moscow, 2020.


Artist In Residence
Throughout August and September 2019, Dasha Loyko will be the taking up a studio residency in the new Harlesden High Street space in Camden, culminating in a solo exhibition of her work.

Informed by her background in philosophy, Dasha Loyko’s practice makes use of various narrative devices and logical structures, and functions at the intersection of science, humour, and desire. By frivolously combining scientific theories, word-play, speculation, and error, Loyko uses storytelling and fictioning as political and aesthetic devices for unhinging and re-engineering some of the narratives that dominate our understanding of the world.

Dasha Loyko (b.1995, Minsk) holds a BSc in Philosophy, Logic and Scientific Method from the London School of Economics and an MA in Contemporary Art Practice from the Royal College of Art. Recent projects include: Le Grand K, Science Museum, London, 2019, Terminal O, The Horse Hospital, London, 2019, Cooked And Raw, Liverpool Independents Biennial, Liverpool, 2018; upcoming projects include: Taking Places, Garage Triennial of Russian Contemporary Art, Garage Museum, Moscow, 2020.



Parody of the Sun, film still, 2018. Photography: Ralph Pritchard.



Resist Science Fiction, RCA Degree Show, London, 2019. Photography: Dasha Loyko.


Mother I Dislocated My Hip, RAW, Hockney Gallery, London, 2019. Photography: Dawoon Kim


Broccoli/Mushroom Cloud, BITE, Dyson Gallery, 2019. Photography: Dasha Loyko.