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.

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BUNK is a safe haven for people of colour to express themselves however they deem fit.


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.


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

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

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

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.

Joey Holder

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.


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


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.


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 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.

Hosted at Gern En Regalia, New York

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


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


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


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


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

Curated by Bob Bicknell-Knight


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.

Johanna Flato


New works by Avery Noyes

MAY - JULY 2019

Avery Noyes


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.


Roxman Gatt


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.


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



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


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.


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

Ayesha Tan-Jones - Tectonic Incantations

✨Tectonic Incantation✨ is an upcoming solo show by Ayesha Tan Jones A-Yes Ha that will open 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

Book here to confirm attendance

Exhibition runs until the 14th of March 2021


Underground Flower Reception by Verity Coward

An immersive soundscape install bleeding into the street. A work in process of making and negotiating space.

Opens 1st December 2020 5-8pm
Runs until 14th February 2021 everday 15:00 - 12 midnight
Book here to visit

Press release
Mandy El-Sayegh’s 𝘺𝘰𝘶𝘳 𝘸𝘰𝘳𝘥𝘴 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘶𝘴𝘦𝘥 𝘢𝘨𝘢𝘪𝘯𝘴𝘵 𝘶𝘴 is a site-specific installation exploring the boundaries of space, language and care. An immersive soundscape, the work-in-progress asks how we might embrace our lack-of (words, self) when building linguistic and cultural meaning. Drawing on intimate dialogues between friends, the installation becomes a second skin, a rhythmic layering of signifiers and memories. As it bleeds onto the high street of Harlesden, the work questions what occurs when modes of exchange shift: when social currency and autonomy fluctuate, when the external absorbs the internal, when the carer becomes the cared-for. As structures of meaning collapse, a new model of care may emerge, that of bodyguard care.

Exhibition Images

Installation shot with black lights only


If you’re getting stopped by the     police, if your dad’s getting stopped by the police and is having bad experiences, he’s gonna tell you and then you’ll feel a certain way about the police.

And it all came to head when a black guy was stopped driving a car, which they suspected he’d stolen. And from that, they went and searched his house, which is illegal. During that there was an alleged altercation with the mum and apparently one of the officers shot at the mum. She subsequently dies from a heart attack […] Why do you think people are mad? 

People are like, ‘I’m tired of being called a racist.’ How do you think it feels to be stopped because of your race? You’ve only been called a racist for the last few months, it’s like, get the fuck out of here.

They don’t believe us, they just don’t. They don’t feel that it’s at that level.

Cus it’s not in your sphere, you don’t experience it.

They’re trying to wear our skin. But performing it, so that’s why I don’t chat to no one.

You need to see it from when you’re a child. J. Cole has a song called Middle Child…

I’m a middle child, that’s why I can’t have no children, cus I’m the child.

You can’t have no children cus you’re a middle child – what kind of nonsense is that?


You’d be the first to have children.

Circular logic, hun.

Has your sister got a partner?


So technically she could raise you?

I don’t know if I want her to have a baby so I don’t have one. I want it to be her.

Why couldn’t you have a baby though if she had one?

Cus I have a vomit phobia.


I haven’t vomited since I was five. I’m just thinking if the metaphor affects me on the level of a baby, imagine that. And I was shook from Aliens 1.

My sister had a phobia.

I’m not scared of spiders  –  or snakes.

Spiders, snakes, vomit… So she calls me up in tears one day. She wakes me up and I’m like, ‘what’s happened to my pregnant sister?’ and she says, ‘there’s a spider in the sink in my kitchen, could you come round and kill it for me?’

She ended up getting hypnotised, because it’s like you’re going to have a baby – what if there’s a spider next to the cot and the baby’s crying, what are you gonna do?

But I don’t trust that hypnotism shit. Is it good for phobias?

The crazy thing is, there’s no such thing as hypnotism. You just move into more of a sedative state.

I don’t want sedation though.

There are parts of it which I don’t remember, so you can lose track of time.

That’s scary – cus that happens when you’re happy or sad. It happens in the studio. I don’t like it when I lose track of time. I want to track time.

Not monitoring time is the best thing sometimes.

But [your sister], she got through it, she was stomping on spider webs, and did it balance out?

Ya, she’s fine.

How did she get fine?

From the hypnotism.

[Excerpt from audio work in installation, edited transcript from a conversation between Mandy and a friend]   

Text and transcription by Tamara Hart

Article in the Brent and Kilburn Times

Harlesden Safari Shop Vol. 1:
Where Do We Go From Here?
3rd Floor
23/24 Margaret Street

Opening 25th July 2020 3-8pm
The exhibition will be open until the 10th of October Wednesday-Saturday 12-6pm
In accordance to safety guidelines, we are making the space accessible for 10 persons at a time per 30 minutes, book your slot here

Emmanuel Awuni, Clémentine Bedos, Ibiye Camp, Farrah Riley Gray and Randa Asma Osman

Project manager:
Linda Mognato

Harlesden Safari Shop Vol 1: Where Do We Go From Here? is an exhibition of an ongoing discussion, exploring the engagement of art away from institutional values and framework. Through this collaborative process, Harlesden Safari Shop symbolises a space in which complex conversation can occur. This exhibition makes use of the transformative nature of an art space, redefining public interaction with art, encouraging new audiences to participate and explore new forms of artistic practice.

We have been trying to explore how to present & question access to art and the importance of culture in our everyday life.
As part of the invite we would like you to participate in our short anonymous survey.

Click here for our survey

This exhibition will take place in one of our Fitzrovia sites:
3rd Floor, 23-24 Margaret Street
London, W1W 8RU

Nearest tube station: Oxford Circus Station

Open Wednesday – Saturday, 12PM – 6PM (only by appointment. Please use this link to book in advance)

Safety Measures:
Our first priority will be to make sure we are keeping visitors safe. Access will be made via this link only. Please book to ensure access, we cannot accept more than 10 visitors per 30 minute sessions to maintain that we keep in measure with government guidelines

Step free route available via lift to exhibition space.
Lift measurements: entrance 65inch (inside dimensions : 121 x 94 inch)

There are no wheelchair accessible toilets in the building. The nearest accessible toilets can be found at the pub The Champion located on 12/13 wells street (5min walking distance).

No artificial lighting in exhibition space.

No loud sudden sounds will be present in any work.

No strobe lights/flashing images will be present in any work.

Online viewing room (coming soon):
Underground Flower

With workshops and talks to be announced

Exhibition images

Work titles to be updated soon

Randa Asma Osman
Dropping Tablets like I was moses, 2020
Wooden frame with string and tablet
40 x 50cm

Randa Asma Osman
Lost in Translation, 2020
Wooden frame with string
40 x 50cm

Randa Asma Osman
The parallels between Brent and Eritrea got me.., 2020
Some lead I found and some copper shit hanging around the back
Dimensions Variable

Randa Asma Osman
Stonebridge needs no introduction, hit the bricks, 2020
Bricks from a site I escaped

Emmanuel Awuni
Exodus Installation, 2020
Ceramic, screen print, spray paint, paper, Synthetic hair, Thread, Voile, Glue on Metal bar
ink druget, board, synthetic hair, acrylic on tarpaulin

Emmauel Awuni
Shine II, 2020
Glazed ceramic

Emmanuel Awuni
Escaping the bleak, pursuing a feeling, 2020
Bisqued terracotta, spray paint

Emmanuel Awuni
Hold Tight II, 2020
bisqued chucky black, spray paint, synthetic hair, print photo

Emmanuel Awuni
PENTAX film, Photograph
6 x 4 inches

Clementine Bedos
Great to Chew, Even Better To Share, 2020
Installation Shot

Clémentine Bedos
MUCOSA #1, 2020
Silicone, bubblegum essential oil

Clémentine Bedos
MUCOSA #2, 2020
Nike Air Max 95, silicone
Uk size 6.5

Ibiye Camp
Polygons and Peels, 2020
Oil paintings on peels with metal structure, digital pad
With custom AR programme

Farrah Riley Gray
Together, 2020
Synthetic hair, Thread, Voile, Glue on Metal bar

Randa Asma Osman
The Bridge, 2020
Video work

Emmanuel Awuni
Where Do We Go From Here?, 2020
Plinth with acrylic paint

In Partnership with The Muse At 269
Registered Charity no. 09561179

JJ Charlesworth’s review on Safari Shop Vol. 1 in Art Review (November 2020)

Private View: Thursday, 20th February, 6–9pm
Runs Until 20th March 2020
Performance by Daria Blum at 7.30pm

The Muse Gallery/Harlesden High Street 
3rd Floor
23/24 Margaret Street
Fitzrovia, W1W 8RU

‘Marigolds’ is a group exhibition featuring works by Daria Blum, Guendalina Cerruti and Mary Stephenson, hosted by Harlesden High Street.

The three artists insert paintings, sculptures, and live performances into an empty Fitzrovia office space; using elements of humour, tragedy, and nostalgia, they navigate the territories between the workplace and domesticity, apathy and neurosis, chaos and control.


Daria Blum works across performance, video, music, and installation to consider the awkwardness of performance, thematizing conflicts in self-representation and the use of the performing (female) body. She recently exhibited at Youkobo Art Space, Tokyo; Il Colorificio, Milano (solo); MAXXI Museum, Rome; Latvian National Museum of Art, Riga; Annka Kultys Gallery and Somerset House, London; Kunstmuseum Luzern. She currently studies at the Royal Academy Schools. www.dariablum.com

Guendalina Cerruti (b.1992, Milan, Italy) lives and works in London after graduating from an MA at the Royal College of Art in 2017. Guendalina’s work consists of installations, sculptures and paintings, micro-universes dense with sentiment, sarcasm and psychological depth, creating aesthetic and emotive experiences which lie between reality, representation and imagination. Recent exhibitions include: Vivace, Balcony Gallery, Lisboa, Garland, Treignac Project, Treignac, Playful Agressions, Greengrassi, London, Love you, Bye, Studiolo, Milan and That’s IT, MAMBO, Museum of Modern Art, Bologna. www.guendalinacerruti.co.uk

Mary Stephenson was born and raised in London. Spending a short period living and working in Madrid and then Lisbon, Stephenson now resides back in London where she studies full time at The Royal Academy Schools. www.mary-stephenson.com

Joey Holder Presents

Preview: Thursday February 13, 2020, 6.30–9.30PM
Exhibition continues: 14 Feb – 22 March 2020
OPEN Thurs–Sun 4–8PM
Undergroud Flower Belsize Park Gardens, 81A Belsize Park Gardens, NW3 4NJ

Joey Holder presents Semelparous, a site-specific installation in the Pool and Spa of the now-closed Springhealth Leisure Center. Through decimated research of the European Eels complex migration, reproduction, and biological makeup, Holder examines the irreplicable forces of the natural world.

'Semelparous’ characterises a species that undertakes a single reproductive episode before death. A unique and generative strategy in which the organism inputs all available resources into maximizing reproduction at the expense of future life. Each autumn, European Eels leave their freshwater river homes and migrate more than 3,000 miles across the Atlantic Ocean, to the bottom of the Sargasso Sea, to breed for a single time. The eels' reproductive life has eluded scientists and philosophers for centuries, as humans have never witnessed nor recorded their spawning rituals.

Semelparous revolves around Holder’s newest video work, situated within a complex physical structure, the eel is depicted as a mythological symbol, biological specimen, and it’s most controversial role: food. Unable to replicate the species enigmatic reproductive life in captivity, young European Eels have been extracted and illegally trafficked to farms throughout various regions of Eastern Asia. These practices have severely impacted the populations, and as of 2011, the European Eel has remained critically endangered.

Responding to the eels population crisis, spawning migration, and structural characteristics of the Springhealth pool, Semelparous is a monument to the European Eel. Sculptural elements are extended from the existing architecture as plants and organic materials spill out from the skylights overhead to the depths of the pool. Through its immersive nature and biological sources, Semelparous speculates on our inability to replicate the encoded phenomenon present within an organism’s biological makeup.

Curated by Julia Greenway, Semelparous is presented in partnership with Harlesden High Street. This exhibition is generously supported by the Zabludowicz Collection and the artist's work appears courtesy of Seventeen, London.

RSVP to the opening

Photos by Damian Griffiths


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

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




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

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)
29th April 2018 - 31 August 2018

« I too often forget which of my experiences are from dreams and which are from reality »

Ruminations Of The Midnight Stroll reflects on the interstitiality of identity and contemplates the peripheries of human interactions within a societal and individual framework. The collective exhibition brings together works by international artists who explore the dynamics of desire and the imaginary through a variety of mediums and supports. The idiosyncratic works that adorn, inhabit and invade an anonymous apartment can be grasped among a series of visitor-objects that oddly efface the dichotomy of ‘work’ and ‘decoration’. While the virtual experience of the display distances the spectator from the Real, its domestic setting alludes to an intimate space of self-exploration and self-exposure.

The exhibition stages the figure of the contemporary flâneur who drifts through the hidden alleys of a big city, the quotidian objects that furnish an apartment, and the conflicting drives that pulsate our inner life. The character embarks on an onirical journey in which desire supplants the inhibitions that are imposed by the outside world and societal constructs. In the interstice between dream and reality, nature and construct, desire and fulfillment, the wandering eye sweeps the space of the apartment and touches upon the limits of desire, peeping through a closed door and uncovering the vicissitudes of the self and the other, of the self as other.

Text by Sofia Dati

Featuring new works by Miro Arva, Alyssa Davis, Nandi Loaf, Olga Polunin, Michael Pybus, Dominic Rabier and Ivy and Her Son

Photos by Miro Arva

The Path To Nowhere and everywhere , 2018
Install shot

From Left to Right
Ivy & Her Son
National Crip Day Catchin’ Dem Hotpoints ‘94, 2018
LED display board with custom logos and illustrations

Olga Polunin
The Friends, 2018
Pencil, ink, and pen on alluminum frame

Dr Maya Chan
Nature Boy, 2018
Soluble marken pen on glass lightbox

Dr Maya Chan
The Pervert Gets his Just Deserts (aka Pervert Man Becam Shark Fin Soup), 2018
Microwave with custom metal National label
LED screen custom fitted to the door

Ivy & Her Son
For Him It Was Just Tuesday, 2018
Bowl of mandarines in melamine soup bowl, with handwritten biro on the back of a bill envelope.
Ivy tells her son about some gypsies trying to steal her

Ivy & Her Son
Wrapped In Plastic Since '98, 2018
Air Max '98 with Church Interconental Shoe Horn (from 1992)

Olga Polunin
Reflection Of My Reflection, 2018
Oil and Gouache on Canvas

Ivy & Her Son
Digital Panel Into The Midnight Situation, 2018
Custom menu on home entertainment control panel

Ivy & Her Sons
Asmara Wins, 2018
Repurposed LED panel with animated gif

Michael Pybus
Artworks Aiming For Luxury, 2018
Install Shot

Michael Pybus
Natural Selection, 2018
Pencil Illustration on yellow paper
in rare Mallorca exclusive Ikea wooden frame

Michael Pybus
Western Society, 2018
Pencil Illustration in Maya's text book

Bathroom Of The Royal Court
Install Shot

Dr Maya Chan
Good Morning ‘96, 2018
Repurposed hand stitched towel celebrating the last year of independence in Hong Kong.
1996 was also the death of culture

Dr Maya Chan
Midnight Masks With Your Hosts Dr Maya Chan and Snoop Doggy Dogg, 2018
Laser cut 3D photo crystal of illustration

Dominik Rabier
mermaids02, 1995
Plastic Mermaid on Video Cd’s of early work by the artist

Dr Maya Chan
Please Have Hygiene Teeth, 2018
vinyl printed illustration on bathroom mirror
Install Shot

Dr Maya Chan
Please Make sure Sex to take sex tablet, 2018
Laser cut tin, with printed, raised illustrations

Ivy & Her Son
Smoke Not Allow Please Help Yourself, 2018
Garcian Cigarette packet with printed glossy cardboard

Miro Arva
The Neverending Nature of Self Absortion, 2018
Obscure photographia on Resin (piece in yellow at the back)

From Left to Right
Dominic Rabier
Nip, 19xx
Printed image on foam backing with film strips beneath and LED lights

Ivy & Her Son
Destination To Nowhere, 2018
Pioneer Laser disc custom cd-g menu playing ‘the Destination to nowhere’ video work (pixel animation and ink illustrations)

Nandi Loaf
The Crucible, 2018
Cast brass Crucifix

Ivy & Her Sons
Passive Smoking On This Side of Long Beach, 2018
Custom Cigarette Dispenser with illustration

Alyssa Davis
crucible.nyc (accessed October 3, 2017), 2017
Digital video capture of website

Ivy & Her Sons
National Television, 2018
Repurposed LCD television with National metal bar badge and custom alluminium bevel

Olga Polunin
Baby Maya and Sofia, 1999
Oil and gauche on Canvas

Ivy & Her Son
Stay Go Or Di̶e̶ , 2018
Playable dating sim on luggage with dot matrix screen

Dr Maya Chan
Not Shoes Allowed, 2018
Printed plastic sign

Ivy & Her Son
Peter Lou Access To The Red Dynasty, 2018
Ang Pao with hidden WeChat Access

Asmara Rabier
Fanta Nam Daeng ‘93, 2018
Installation representing the blood sacrifice we offer to our ancestors through red fanta.
From Left to right

Justine Aubrit
Animated by Qiao Chen
Bokete Ikkyu-San, 2018
Animation on LED Screen

Ralph Bashki
Scenes From American Pop, 1981
Window vinyl

Dr Maya Chan
Red Fanta Nam Daeng, 2018
Repurposed water dispenser and refidgerator, fitted with
plastic backlit Red Fanta sign and fridge filled with Red Fanta bottles from Nam Daeng, Thailand

Annika Shwartz
Bokete Ikkyu-San - Praying, 2018
Illustration on wall
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.

Exhibition hosted at Harlesden High Street.

Installation Shots (Courtesy of Rob Harris)

Frieze Article - Spaghetti Club Asks Children to Rethink Modern Art

Daily Lazy Article


In collaboration with Underground Flower


Solo Show:            


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

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.


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...

Darryl "Joe Cool" Daniel (b. 1968) is an artist from Long Beach, CA. His artwork has graced the covers of millions of records sold worldwide, starting with the cover of his cousin Snoop Dogg’s smash success, ‘DoggyStyle’.

In the pantheon of hip-hop’s visual history, Joe Cool’s artwork is iconic, and his unique illustrations hark back to a time before commonplace computer graphics.

Joe has partnered with many global brands and retailers to create memorable original designs including ADIDAS, 7-11 and Supreme Clothing to name a few.

Joe Cool also travels the world touring with Snoop Dogg. He has performed onstage in over 30 countries and 48 states as "The Nasty Dogg" as well dozens of broadcast television shows and events.

When not drawing or touring with Snoop, Joe stays busy in comedic acting as well as touring giving motivational speeches. He works with several recovery and art therapy non-profits.

He is currently based in the Long Beach, California.

Previous exhibitions
Dogg House at HVW8, Los Angeles (2011) and Just a Small Introduction to The G-Funk Era at Harlesden High Street ,London (2019)

Selected press
Joe Cool - Dogg House Exhibition at HVW8

Images from Dogg House Exhibition

Snoop Dogg discusses Joe Cool's Dogg House Exhibition

Riskie Brent (b. 1968) An artist from Compton, California. Riskie's dedication to his art caught the attention of Death Row CEO and rap mogul, Suge Knight, in 1996, who introduced him to Tupac Shakur. Riskie’s first project for Death Row was the insert for the Tupac’s All Eyez On Me album. Based on the quality of his first assignment, Riskie was commissioned again to complete the album cover for one of the most illest and influential albums in hip-hop; Tupac’s Makaveli: The 7 Day Theory. Tupac informed Riskie of his vision for the album cover. Once Riskie had the idea sealed in his mind, he set out to create one of the most talked about album covers in the history of hip-hop. Though Tupac never received the opportunity to see the outcome of the new album due to his untimely death, he was able to witness Riskie’s finished product for the album cover. Needless to say, he loved it! Other members of Death Row began to embrace Riskie as well.

He did several album covers for the label to include Death Row’s Greatest Hits and Death Row’s Christmas Album, album covers and inserts for Snoop on the Snoop Doggy Dog's Tha Doggfather album, Daz Dillinger’s Retaliation, Revenge and Get Back, and Nate Dogg’s G-Funk Classics, Vol. 1 &; 2.

Not limiting himself to airbrushing and album covers, Riskie is versed in painting everything from canvas pictures to murals, customizing articles of clothing, shoes, skatedecks, and the list could go on forever. Riskie works with everyone from the celebrity A-list to the everyday people just trying to survive. He is a father, artist, mentor, visionary and creative giant far beyond his years.

Recent Exhibitions include
Just a Small introduction to the G-Funk Era, Harlesden High Street, London (2019-2020)
Roxman Gatt (b. 1989, Mosta, Malta), lives and works in London. The multidisciplinary artist’s work encompasses, text, painting, 3D, video, sound, photography, sculpture, installation and performance. Roxman’s research explores sexuality, identity, gender and consumption. Most recently the artist has been working with themes of humanising and interacting with consumer objects. Making the inanimate iconic and fetishised. Mundane aesthetics and the internet become both a tool and a trigger to produce work. Roxman was awarded the Chris Garnham Prize (2015) as well as the Magnum Showcase Online Photography Award (2013).

Recent exhibitions include:
Perfiction, Ultrastudios, Los Angeles, Harlesden High Street, London, UK, Visions, Programme 3 | Bedwyr Williams, Nunnery Gallery, London, UK, Here & Now, Valletta Contemporary, Malta, The Well, Open School East, Margate, UK, Homo Melitensis: An incomplete inventory in 19 Chapters, Malta Pavilion, Venice Biennale, Venice, IT, The Sacred 419, The Square Gallery, London, UK, Bloomberg New Contemporaries, ICA, London and Bluecoat Liverpool (2016).

Moving forward from their first solo show Roxman will install a selection of works in the second floor viewing room of our studios in 16a Newman Street as well as start working on new material to showcase alongside the already existing body of work from debut show 'Perfiction’.

performance with BMW E30

Roxanne featured in a line up of recommended artists at Venice Biennale






Perfiction was in the top 7 exhibitions in London during February 2019
Ayesha Tan Jones (b. 1993)

Ayesha's work is a spiritual practice that seeks to fuse activism and art to present an alternative, queer, optimistic dystopia. They work through ritual, meditating through craft, and building forms from their dreams. Ayesha approaches activism through art, creating diverse, eco-conscious narratives that aim to connect, enthral and induce audiences to think more sustainably and ethically. Traversing pop music, sculpture, alter-egos, digital image and video work, Ayesha sanctifies these mediums as tool's in their craft.

Ayesha is the founder of Shadow Sistxrs Fight Club, a physical and meta-physical self defence class for women, non binary people and QTIPoC, combining Brazilian JuJitsu and magical/medicinal herbalism to create a holistic approach to self defence. Through community ritual and collective healing, the energy created at SSFC is powerful and creative.

In June 2016, Ayesha was awarded the Yorkshire Sculpture Park’s graduate residency award, giving them space and materials to research and make work on the grounds. This culminated with a show in March 2017.

Recent commissions include a Summer Saturdays Live performance at the Serpentine Galleries where Tan-Jones wrote, produced, and performed Parasites of Pangu, an apocalyptic opera.

Selected recent commissions/exhibitions include: Shanghai Biennale (2021) Athens Biennale (2021) Serpentine Galleries, London (2019) IMT Gallery, London (2019) Mimosa House, London (2018),  ICA, London (2018-2020) Cell Project Space, London (2018) Gropius Bau, Berlin (2018) Yorkshire Sculpture Park (2016-17).
Mandy El-Sayegh (b. 1985)

Mandy El-Sayegh (b. 1985, Selangor, Malaysia) East Acton based, had her first institutional solo show, the specially commissioned installation Cite Your Sources, at London’s Chisenhale Gallery in 2019. She was shortlisted for the biannual Max Mara Art Prize for Women in collaboration with the Whitechapel Gallery, London in 2017.

Selected recent commissions/exhibitions include: Sursock Museum, Beirut, Lebanon (2019); SculptureCenter, Long Island City, NY, USA (2019); The Mistake Room, Guadalajara, Mexico (2018); Instituto de Visión, Bogotá, Colombia (2018); Sifang Art Museum, Nanjing, China (2017); and the New York Art Book Fair at MoMA PS1, Queens, NY, USA (2016)

Solo exhibitions


Mandy El-Sayegh: The Amateur and problems with metaphor, Home Works 8: A Forum on Cultural Practices, Sursock Museum, Beirut, Lebanon

Mandy El-Sayegh: White Grounds, Bétonsalon, Paris, France

Dispersal, Lehmann Maupin, Hong Kong

Cite Your Sources, Chisenhale Gallery, London, UK



Mandy El-Sayegh: assembled at Tell el Ajjul, The Mistake Room, Guadalajara, Mexico


Figured Ground: Meshworks, Carl Kostyál, London, UK


Mandy El-Sayegh: Taking Part, Galerie Mihai Nicodim, Bucharest, Romania

This is a sign, Carlos/Ishikawa, London, UK

Group exhibitions


British Art Show 9, Wolverhampton Art Gallery and University of Wolverhampton School of Art, Wolverhampton; Aberdeen Art Gallery, Aberdeen; The Box, KARST, The Arts Institute’s Levinsky Gallery and The Gallery at Plymouth College of Art, Plymouth; HOME, Manchester Art Gallery, Castlefield Gallery, The Whitworth and the Centre for Chinese Contemporary Art (CFCCA), Manchester, UK


A Focus on Painting, Galerie Thaddaeus Ropac, London, UK

your words will be used against you, Frieze LIVE 2020, The Institute of Melodic Healing, London, UK

Our ashes make great fertilizer, cur. Saelia Aparicio and Harminder Judge, PUBLIC Gallery, London, UK


Searching the Sky for Rain, SculptureCenter, Long Island City, NY, USA

Ecologies of Darkness, SAVVY Contemporary, Berlin, Germany


Deterioro y Poder, Instituto de Visión, Bogotá, Colombia


Lessons in Agronomy, Sifang Art Museum, Nanjing, China

The Mask Makers, cur. Marcel Dzama, Independent Art Fair, Brussels, Belgium

Boundary Work, Sharjah Biennial 13: Tamawuj, cur. Christine Tohme, Sharjah, United Arab Emirates


Room Services (with Oscar Murillo and Yutaka Sone), New York Art Book Fair, MoMA PS1, Queens, NY, USA

For Pete’s Sake, Carl Kostyál, Stockholm, Sweden


Elizabeth House, London, UK

Responsive Eye, London Gallery West, London, UK

RCA Painting Degree Show, Royal College of Art, London, UK


RCA Panting Interim Show, Royal College of Art, London, UK

Public and private collections

Start Museum, Shanghai

United Arab Emirates
Sharjah Art Foundation, Sharjah

Kamel Lazaar Foundation, London
Collection Nicoletta Fiorucci Russo, London

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