5 || April
You are warmly welcomed to the launch and sharing of Andy Abbott’s new artwork ‘Oxford: What The Walls Say’ produced as part of his residency for Museum of Oxford & Digital Artist Residency. This event will be the first opportunity to see the work (bring your mobile device, headphones and VR headset if you have one) and hear about its development from Andy. Ivor Wanderlust has also offered to give a live rendition of the poem ‘ Oxford: What The Wall’s Say’ developed from the walk.
7 || April
In his first solo show in the UK, pioneering media artist Eduardo Kac puts poetry into space in entirely new ways and prompts us to ask “How do words work? What happens if we look at them upside down or inside out? What kind of poem could be made by an astronaut in outer space? What has poetry got to do with green bunnies?”. The exhibition runs until 28 May.
Part home-furnishing, part-collage, Notes on a Carpet is the latest collaborative iteration of We Are Publication, a contemporary art research group based at Kingston University, London. At Five Years, a luxurious hand-tufted floor carpet stages underfoot the research concerns of the group’s current contributors. How can the mutability of textiles foster individual critical interests as collective representation? This question attempts to embed the conventions of publishing i.e.,contributors, editors, printers, alongside live aspects of performance and theatre, allowing the carpet to function as magazine, as stage, and as a record recounting the groups’ own sense of shared play and experimentation.
8 || April
Create a unique miniature garden, featuring additions from Hazel Brill, during this workshop prompted by her current installation, Woke Up in Spring. Tickets must be booked in advance.
10 || April
In partnership with MUBI and Serpentine Cinema, the Lithuanian Culture Institute is proud to present an evening with Jonas Mekas. The evening features a screening of his 2012 film OUTTAKES FROM THE LIFE OF A HAPPY MAN, followed by the avant-garde pioneer in conversation with Hans Ulrich Obrist, Artistic Director of Serpentine Galleries, and a signing of CONVERSATIONS WITH FILM-MAKERS (published by Spector Books), which gathers his many interviews for his weekly column in the Village Voice between 1958 and 1977.
11 || April
The preview of the first UK solo exhibition and a major new commission by Buenos Aires-based artist Osías Yanov. Developed on site during his residency at Gasworks, the exhibition transforms the gallery into a ritual space in which to reimagine the relationships between humans and machines.
17 || April
Within a monumental setting, Taryn Simon’s An Occupation of Loss combines performance, sound, and architecture to consider the anatomy of grief and the intricate systems we use to manage the abstract certainty of death. Tickets must be booked in advances. Performances are taking place between the 17 and 28 April.
20 || April
This year’s Performance Festival responds to the dual themes of Censorship and Circus – disparate subject areas that are explored through live performance, film screenings, talks, tours and workshops. The festival runs until the 29 of April.
26 || April
The Listening Party series brings together an array of artists and musicians, each exploring the unique sonic and visual cultures that underpin their practice. For the first event, Imran will be talking to Paul Purgas, a multidisciplinary artist working with sound, performance and installation. Paul is also one half of Emptyset, a London/Berlin based production project formed in 2005 with James Ginzburg. Tickets must be booked in advance.
Join the co-editors of the latest in the Documents of Contemporary Art series, Marcus Boon and Gabriel Levine, alongside artist Kader Attia and philosopher Nina Power, to consider why this term has become crucial to how we talk about art. This event launches Practice, published by the Whitechapel Gallery and MIT Press. Tickets must be booked in advance.
29 || April
An improvised performance by Viki Browne, Maggie Nicols, Danni Spooner, D-M Withers and Bryony Gillard in response to the exhibition, A cap like water, transparent, fluid yet with definite body.
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