Public Exhibitions

Georgia Horgan explores precarity + resistance in relation to labour + gender in All Whores are Jacobites at Public Exhibitions, Feb 23 – Mar 31

20 February 2017

Georgia Horgan is presenting solo exhibition All Whores are Jacobites at London’s Public Exhibitions, opening February 23 and running to March 31.

The show will also present a performative lecture alongside, which will take place on the opening night at 7:15 and “discuss the stories of radical women from three different times, over a period of six hundred years.” In addition, there will be a film element that follows characters who were all residents of the now-named Borough of Tower Hamlets. 

Exploring precarity and resistance related to ideas of labour and gender, the lecture and exhibition looks at these ideas through the lens of a capitalist structure relating to the global textile industry, and will be experimenting with non-linear narrative.

See the FB event page for details.**

Georgia Horgan, ‘Mechttttthild’, (2016). HD video. Installation view. Courtesy the artist + velyn Yard, London.


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Joseph Buckley @ Public Exhibitions, Sep 29 – Oct 12

19 September 2016

Joseph Buckley is presenting solo exhibition Days of Madness and of Learning at London’s Public Exhibitions, opening September 29 and running to October 12.

The multi-disciplinary show is placed within the “conditions of white supremacy” and will include a large-scale painting among performance, film and figures made of wax. The press release notes that his work A Unified Theory of Love will be central to the presentation and looks into the mechanics of “objectification and dehumanization”.

Buckley is a Black British artist of caribbean and Irish extraction who now lives in New York. A 2015 graduate from the Yale MFA program, he also recently completed the NY Community Trust Van Lier Residency at the International Studio & Curatorial Programme (ISCP) where he presented solo exhibition The Demon Of Regret (2016).

See the Public Exhibitions website for details.**

 Joseph Buckley, 'No News News' (2016). Felt tip marker on cardboard and self adhesive vinyl. Courtesy of artist + ISCP, New York.
Joseph Buckley, ‘No News News’ (2016). Felt tip marker on cardboard and self adhesive vinyl. Courtesy of artist + ISCP, New York.

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Susu Laroche + New Noveta @ Public Exhibitions, Sept 1 – 12

29 August 2016

A new project by Susu Laroche with New Noveta will be presented at London’s Public Exhibitions, opening on September 1 and running to the 12.

Curated by Ed Leezon, the show will take the form of a four-screen installation and will show for the first time in its entirety, four episodic films called ‘Vesmir Peklo’, ’17:17’, ‘Widows’ and ‘Flood’ made between 2014 and 2016. In addition, there will be a sculptural element; natural materials such as mud and sand and various other detritus seep out into the gallery space, relating back to the landscape of Earth, Fire, Air, and Water found in the videos. The press release describes the works as “visual metaphors for emotional reaction to traumatic events: loss of home, car crash, death of a loved one, natural disaster.”

Examining the way female hysteria is presented, Laroche is working with the duo Keira Fox and Ellen Freed of New Noveta who explore anxiety through their performance.

Visit the FB event page for more details.**

Ed’s note, Sep 8: The exhibition has been extended to September 25.

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Eloïse Bonneviot @ Public Exhibitions, Jul 22

20 July 2016

Eloïse Bonneviot is presenting performance Friend and Foe at London’s Public Exhibitions on July 22.

The event is a continuation of her ongoing series Thinking Like a Mountain, a term coined by Aldo Leopold. The series explores thinking of the mountain’s ecosystem in terms of what is good for the mountain, rather than what is good for the human.

Friend and Foe “translates the desire for humans to assimilate with their surroundings” and “sums up the contact with this danger and the fascination with it”. It is about the merging of humans and tools — instead of nature, but more specifically the “prosthesis they are using to survive”.

See the Public Exhibition gallery website for more details.**

Eloise Bonneviot, ‘TLAM – Load Trailer’ (2015). Courtesy the artist.

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Kitty Clark, Humans Unite (2016) exhibition photos

27 June 2016

Humans Unite, a solo show by Kitty Clark at new London space, Public Exhibitions ran May 27 – June 12, 2016. Curated by Valentina Fois, the show presented a new series of works by Clark that address futile desires and contemporary anxiety through what Fois describes as “a transhuman mentality”.

Kitty Clark, 'A New Post Appears' (2016). Installation view. Courtesy the artist + Public Exhibitions. Photo Original&theCopy.
Kitty Clark, ‘A New Post Appears’ (2016). Installation view. Courtesy the artist + Public Exhibitions, London. Photo Original&theCopy.

It’s comprised of mainly sculptural pieces featuring materials and arrangements such as aluminium, etched text onto acrylic, dead flies, and laminate. Some air vents with printed text look to be providing air to an empty see-through chamber that acts as an arm rest for an animatronic hand perched, armless on top. A large-scale digitally projected 3D virtual environment of a ‘Wheatfield (FEEL KNOW)’ presents Humans Unite as a clinical space for its items, the projected work acting as a perfect backdrop for a perfectly possible emotional transformation. 


To accompany the show the London-based artist provided the following text with the press release, which was also printed in ‘stages’ snaking around each aluminium air vent installed in the space:

Stage 1.0 – Alpha:

Unreliable – repeated major system failures

Erratic – total lack of administrative control

Infested – bugs crawling all over the desk

Stage 2.0 – Beta:

Free – Enslavement seems a long way off!

Chaotic – surge of largely illicit content

Prophetic – reactionary critics emerge

Stage 2.5 – Enlightenment:

Bias – early adopters gain superior competency

Divergence – basis of persisting hierarchy forms

Unrest – the path to the top becomes steeper

Stage 3.0 – Passivity

Mutation – interface optimised for ease of use

Integration – convenience breeds compliance

Contentment – the environment is seamless

Stage 4.0 – Return

Collapse – overcrowding triggers power outage

Despair – irreparable damage to infrastructure

Cure – regression, acceptance, euphoria.**

Kitty Clark’s Humans Unite was on at London’s Public Exhibitions, running May 27 to June 12, 2016.

Header image: Kitty Clark, Humans Unite (2016). Exhibition view. Courtesy the artist and Public Exhibitions, London. Photo Original&theCopy.

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Kitty Clark @ Public Exhibitions, Apr 27 – Jun 3

26 April 2016

London-based artist Kitty Clark will present solo show Humans Unite at Public Exhibitions, opening April 27 and running June 3.

The exhibition, which takes form in two parts: an online piece and a physical show in the space hosts a new series of works that address, according to the press release, “futile desires and contemporary anxiety [that belong to] the transhuman ideal of remodeling and enhancing the body” with things that might radically transform human intellectual physical and emotional capabilities. 

In the space will be a severed animatronic hand of a silicone love doll incessantly tapping one finger, and a stomach breathing peacefully in spite of the screws that hold it down, for example, while the accompanying text prefaces the show with a short bullet point-based story about bugs and their human ‘adopters’. 

Clark has recently shown work in group shows, Difference and Repetition in Bari and in A British Art Show at New York’s Meyohas.

See the Public Exhibitions website for details.**

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