16:9 is a billboard attached to the yard-side of Kingsgate Workshops. It's visible from the street and from Kilburn Grange Park. Kingsgate Project Space commissions new works from emerging and established artists specially for this site.
(for now) by Kobby Adi
16 November - 31 January 2020
Kobby Adi graduated with a BA in Fine Art from Goldsmiths, London in 2018 and is currently studying at the Royal Academy Schools. Solo exhibitions include: like a lit match in a NU-FREEZER; held, Constance Howard Gallery, London (2018); Bad Nu Days, NU ARKHIVES, Accra (2018); and Supernatural Feetwashing, Centre of Pan African Thought, London (2017). Selected group exhibitions include ITEOTW, Apparently (with Mimi Hope), Kupfer, London (2019); and Bloomberg New Contemporaries at Liverpool John Moores University, Liverpool Biennial and South London Gallery (2018). In 2018 Kobby was awarded the Christine Risley Award and was selected to be part of the Art Quest Peer Forum programme at Camden Arts Centre.
CABBAGE by Maisie Cousins
21 September - 6 November 2019
Maisie Cousins (b. 1992) is an artist living and working in London. Maisie completed a BA in Fine Art Photography at Brighton University in 2014. Recent solo exhibitions include: dipping sauce, Elephant West, London, 2018 and grass, peonie, bum, T J Boulting, London, 2017. Group shows include: In The Company Of, T J Boulting, London, 2018; Unseen Photo Festival, Amsterdam, 2018; and Foam Talent, Travelling show, 2019. Earlier this year, Maisie published a new book Rubbish, Dipping sauce, Grass, peonie, bum. with Trolley Books, London.
WOMEN ARE ART SCHOOLS by Nadia Hebson
13 July – 16 September 2019
GREAT MOTHER SPHINX
WOMEN ARE THE REAL LEFT.
WE ARE RISING WITH A FURY OLDER THAN THE FORCE OF HISTORY.
THIS TIME WE WILL BE FREE OR NO ONE WILL SURVIVE.
Power to all the people or to none
Monica Sjöö, 1969
WOMEN ARE ART SCHOOLS takes as a starting point artist, writer and activist, Monica Sjöö’s 1969 handmade poster, GREAT MOTHER SPHINX. In response WOMEN ARE ART SCHOOLS is both an invitation and a provocation to consider the possibilities of art school and the potential of those who identify as women. Made in collaboration with artists Sophie Buxton, Tess Denman-Cleaver, Anna MacRae, Ailish Treanor, Sophie Soobramanien and Heather Reid, the image documents the reading group, an open reading project which explored the subjective female voice in literature and film, from 2013-19 at the Northern Charter, Newcastle upon Tyne.
WOMEN ARE ART SCHOOLS Library
To accompany the billboard commission Nadia has designed a portable library with material relating to the reading group, as well as recommendations from participants and literature relating to women’s art education. The library will travel to other venues where it will accumulate further recommendations. All material is available to loan. The library will be on display in our gallery until 19 October 2019, open Thursday to Saturday during exhibitions.
Nadia Hebson (b. UK) works across painting, large scale prints, apparel and texts, working obliquely with the legacy of women artists her practice has sought to comprehend the relationship between painting, biography, persona and clothing, most recently through a consideration of the legacies of painters Christina Ramberg, Winifred Knights and Marion Adnams. Who she conceives as fictional mentors. Alongside her practice she convenes conversations, seminar series and reading groups, with the intention of making visible creative female friendships.
Recent exhibitions and conversations include Speaking With Her, Royal College of Art, London, Gravidity & Parity &, Hatton Gallery, Newcastle upon Tyne; one on one: on skills, The Contemporary Art Museum of Estonia, EKKM, Tallinn, Material Matters, KKH, Stockholm, I See You Man, Gallery Celine, Glasgow, Alpha Adieu, Museum of Contemporary Art Antwerp, M HKA and Choreography, Arcade, London. In 2014 with AND Public she published MODA WK: work in response to the paintings, drawings, correspondence, clothing and interior design of Winifred Knights (an expanded legacy). In 2017 with Hana Leaper she co-convened the conference, Making Women's Art Matter at the Paul Mellon Centre, London. She is currently working on a new publication which explores the work of Christina Ramberg and her creative female circle.
Nadia Hebson lives and works in Stockholm and is Senior Lecturer in Painting at the Royal Institute of Art. Her practice and teaching have developed through a close consideration of art education and the provocation An appropriate Fine Art education for women?
Jupiter Rising (Onion of Ecstasy) by Nora Berman
18 May - 1 July 2019
For this 16:9 billboard commission, Nora Berman is interested in having the billboard function as an access point to the power of Jupiter, the planet that represents opportunity, fortune, and wisdom. Her approach was to paint the work as a portal, an area elevated in space that invites you in through your gaze, to contemplate the idea of expansion that Jupiter symbolizes. The work portrays abstracted depictions of her figure that drift in and out of each other, void of gravity, in front of the faded planet.
Part of this cosmic expansion is achieved by monumentalizing the artist’s unrestrained femininity pictorially, portraying uncontrollable pubic hair that travels around the picture plane. The nipples of the figures are also portals, cyclone like figures that ground the female figure into a celestial like form, a metaphor for humanity’s bond to the expansive cosmic force of Jupiter. Berman approaches painting as giving; giving energy from her hand, via her cognition, via her soul, in the spirit of Jupiter, the giver of gifts and luck. The title of the work, Jupiter Rising (Onion of Ecstasy), describes a meditation on the tears of ecstasy that come through unravelling the fruitful fate of Jupiter.
The work is a photographic reproduction of a large scale oil painting on muslin made to the actual size of the billboard.
Nora Berman (b.1990, Los Angeles) holds a BFA from the University of California, Los Angeles and MFA from Kunst Institut Academy of Art and Design, Basel, Switzerland. She will be an artist in residence this Spring at La Becque in Vevey, Switzerland. Solo and two-person exhibitions: Downs & Ross, New York, Weiss Falk, Basel; Ellis King, Dublin. Selected group exhibitions: dèpendance, Brussels; Kunsthaus Baselland, Basel; Longtang, Zürich; Mickey Schubert, Berlin; Irish Museum of Modern Art, Dublin; Honolulu, Zurich; Ellis King, Dublin; Charlie James Gallery, Los Angeles; Isabella Bortolozzi, Berlin; Marta Herford Museum, Herford, Germany; and Château Shatto, Los Angeles.
What did Tigress say? by Lauren Godfrey
30 March - 27 April 2019
For the 16:9 billboard commission, Lauren Godfrey has super-sized a drawing that was originally created live in the window of Selfridges department store in London in February 2019. Lauren collected clothes from the shop floor and drew a ‘pattern portrait’ of the garments. Prada rubs up against Topshop, which bustles alongside Kenzo with a dash of JW Anderson – their folds and undulations, flattened onto the drawing’s surface, are distilled into a blur of colours and textures, existing as a sort of alluring and abstracted landscape. The drawing – now enlarged and displayed on a billboard – becomes an exercise in ambiguous advertising, disorientation and immersion.
Lauren Godfrey (b. UK) is an artist based in London. Her work invites interaction and collaboration, often swerving close to furniture or the quasi-useful. Recent exhibitions and collaborations include Hidden Harlequin with Lauren Coullard at Centre For Recent Drawing, London; Alimentari solo show at Geddes Gallery, London; House Work, 53 Beck Road, curated by Art Licks; Doing Easy, Outpost Projects, Joshua Tree; a swimwear display for Karen Mabon at Les Filles in Lisbon and a jewellery display for SVP at House Of Voltaire, London. Godfrey was in residence at Triangle, New York in 2016 and Kingsgate Workshops, London in 2015. Godfrey has an upcoming show at De La Warr Pavilion and a residency at Villa Lena, Italy in 2019.
One More Round, Caitlin Akers
17 November 2018 - January 2019
This 16:9 billboard is a continuation of Caitlin Akers’ research into the language, history and poetry of boxing and the lives of her ancestors who were famous boxers from Salford in the early part of the 20th century. The work touches on ideas of class, barriers, divides, masculinity, fighting and talking. The photograph for the billboard was taken by the artist at the Eccles Boxing School - a boxing gym situated in an old cotton-spinning mill in Salford.
Caitlin Akers (b.1987) lives and works in Manchester and recently graduated with an MA from Camberwell College of Arts (2018). In September 2018, she was commissioned to create a series of prints for b-Side Festival in Dorset. Recent group exhibitions include: MA Select Showcase, Camberwell Space, London (2018) and Xhibit, Bermondsey Art Space, London (2017). She has artist books in many private and public collections, including the University of West England’s Centre for Fine Print Research Collection. Caitlin received a European Cultural Foundation grant in May 2018 and an Academic Residency Fellowship at Scuola Internazionale di Grafica, Venice in 2017.
Investment Opportunity, Marisa J. Futernick
25 August - 3 November 2018
Featuring a new photographic work that continues American artist Marisa J. Futernick's ongoing interest in real estate, property, and place. The billboard is accompanied by a new publication by the artist, and a third element—a short film—presented on Saturday 22 September.
Marisa J. Futernick was born in Detroit, Michigan and raised in Hartford, Connecticut. Futernick attended Yale University; Goldsmiths College; and the Royal Academy Schools, London. She has exhibited at venues including the Whitechapel Gallery, London; the Royal Academy of Arts, London; Jerwood Space, London; Arnolfini, Bristol; Outpost, Norwich; Rice + Toye, London; and Yale University. She has published several books, including 13 Presidents (Slimvolume, 2016), How I Taught Umberto Eco to Love the Bomb (RA Editions and California Fever Press, 2015), and The Watergate Complex (Rice + Toye, 2015). Her new short film about Trump Tower was exhibited by the Royal Academy of Arts, London in April 2018. After living and working in London for over 15 years, Futernick recently relocated to Los Angeles.
The North is Next by Joy Gerrard
30 June - 28 July 2018
Drawing on over a decade of image-making and research on themes of protest and urban space, Irish artist Joy Gerrard archives and painstakingly remakes media-borne crowd images from around the world. For Kingsgate’s 16:9 billboard commission, Gerrard has chosen to represent a contemporary event. On the 25th of May 2018, Ireland voted with a high majority to repeal the Eighth Amendment which made abortion illegal in Ireland. On the following day, a huge crowd gathered in Dublin Castle to hear the final count announced. Gerrard’s billboard image is a monochrome ink drawing based on a photo-collage of images from that day. A sign is held aloft that reads; “The North is Next”. The moment is both an emotional celebration and a protest. In Northern Ireland abortion is still criminalized, and the issue is currently ping-ponged between a collapsed Assembly in Stormont and Westminster. The result in Ireland has left the North with some of the most illiberal abortion laws in Europe. It’s time for change.
An edition of giclee prints and badges are available to buy on our website's shop page or at our gallery shop, open Thurs to Sat 12-6pm during exhibitions. All proceeds will go to Alliance for Choice.
Joy Gerrard (b. 1971, Ireland) lives and works between London and Belfast, and graduated with an MA and MPhil from the Royal College of Art, London. Recent solo exhibitions include shot crowd at the Royal Hibernian Academy, Dublin (2017) and Protest Crowd, Peer UK, London (2015). Selected group exhibitions include: Graphic Witness at the Drawing Room, London (2017) MAC International, Belfast (2016) and In a Dream You Saw A Way To Survive and You Were Full of Joy; Hayward Gallery Touring show (2016), (2015). She has installed multiple public installations including major works for Facebook and Tideway in London in 2017/18 and also in the London School of Economics (Elenchus/ Aporia, 2009) and Chelsea and Westminster Hospital (Assemble/Move/Map, 2012).
Fox Irving & Katarina Kelsey
26 May - 24 June 2018
Fox Irving & Katarina Kelsey have looked into the marginalia of their practices in their first collaborative project: capitalist sorcery, forced translation, catharsis and queer performance. This is the first time these two antipodal artists have worked together, and during the process they have formulated a method for working, sharing and expanding their practices. In fortnightly reading groups they looked at societal structures and their disruption in the form of silence (as an unrecognisable language, as flesh in the incorporeal archive, irresolution) and met every three weeks to make work together.
The billboard represents what happens in the margins of the space outside their work; the fragments of text, responses, moments and fractures that occur within the reuleaux triangle.
Fox Irving is currently an artist / producer based at the Live Art Development Agency (LADA), London as part of the Live Art Desk Scheme www.foxirving.com. Katarina Kelsey makes prints, books and writes www.katarinakelsey.co.uk. They met whilst studying Book Arts at Camberwell College of Arts (2015). They will be continuing this shared experimental practice at Metal, Southend, August 2018.
7 February 2018 until 14 April 2018
This new billboard commission coincides with Gideon's exhibition of new works BLACK BOOK at the Freud Museum London. Download the press release here
Gideon Rubin (b.1973) is an Israeli artist based in London. He received his BFA from School of Visual Arts in New York and MFA from Slade School of Art in London. He has had numerous international solo exhibitions, the most recent include 'Memory goes as far as this morning: A dialogue between Gideon Rubin and Shu Qun' at Chengdu MoCA, 'Memory Goes as Far as This Morning' at Herzliya Museum of Contemporary Art Israel/San Jose ICA (2015/16), 'Questions of Forgiveness' at Galerie Karsten Greve, Paris (2016), 'Delivering Newspapers' at ROKEBY, London (2015), and 'On the Road' at Hosfelt Gallery, San Francisco (2013).
Selected group exhibitions include ’The Reading Room’ at Rokeby, London (2017), ‘Nourish', Napa Valley Museum, Yountville, CA (2015) 'Disturbing Innocence' at Flag Art Foundation, New York, 'Daily Memories' at Klosterhaus in Magdeburg, Germany (2014), 'To Have a Voice' at the Mackintosh Museum, Glasgow and 'Kunstlerkinder' at Kunsthalle Emden, Germany (2012), 'Lines Made By Walking' at Haifa Museum of Art and 'Facelook' at Tel Aviv Museum of Art (2011), Beijing Biennale at the National Art Museum, China and ‘Family Ties’ at Israel Museum, Jerusalem (2009). Gideon Rubin received the 'Shifting Foundation' grant in 2014 and Outset residency program, Tel Aviv in 2013.
Mondragon from the series The Man with The Midas Touch - A Botanical Index Of Narcissus, by Anna Skladmann
18 November - 16 December 2017
This work was shown as part of the exhibition ripe in the main gallery alongside works by Bea Bonafini, Paloma Proudfoot, Gery Georgieva, Matthew de Kersaint Giraudeau and Jala Wahid.
Anna Skladmann (b. 1986, Bremen, Germany) graduated in 2017 from the Royal College of Art and previously studied at Parsons School Of Design. Recent solo exhibitions include: A Memory of a Ceremony, The Vinyl Factory, London, 2013; 1991, Zurab Tsereteli's Art Gallery, Moscow, 2013; 1991 - Generation Putin, Upper Orange Gallery, Berlin, 2012 and Little Adults that toured: State History Museum, Chelyabinsk, 2013; History Museum, Ekaterinburg, 2013 and Museum Of Modern Art, Moscow, 2012. Anna’s work is included in a number of permanent collections, including: The Maramotti Collection, the Museum of Fine Arts Houston, The Moscow Museum of Modern Art, Stiftung für die Hamburger Kunstsammlung and The Pinault Collection.
2 September - 4 November 2017
Alice Hartley graduated in 2013 with an MA in Printmaking from the Royal College of Art, having previously graduated with a BA in Illustration and Animation from Kingston University in 2010. Recent exhibitions include; Site Strike, Pi Artworks, London (2017), In This Soup We Swim, Kingsgate Project Space, London (2016), Follow Me Around the Room, London Print Studio, London (2015), and Bloomberg New Contemporaries, ICA, London (2014). Alice was awarded the For Grace residency in Athens, Greece in 2016, and the Tim Mara Residency at Calgary University, Canada, in 2012. She has also worked on album artwork for the band Slow Club, and recently collaborated with fashion designer Sophie Cull Candy for her SS17 collection.
Iain Forsyth & Jane Pollard
21 July - 19 August 2017
Everybody else is wrong. It’s an idea reinforced by our physical and virtual echo chambers every single day. In an ever-more connected world, our world-view grows increasingly isolated. Algorithms ensure we’re only ever confronted with views that support our own. The rest? Well that’s fake news and trolls.
We’re plummeting into the abyss, with no way to process the 24 hour news cycle of atrocities, bombs, murders, riots, disaster and destruction. So we look elsewhere for our monsters. And we find own particular demons, because it’s comforting to assume that each crime is committed by the devil we know. We see the world through a prism of our own assumptions.
So, who’s to blame? It’s the media. The Tories. Islamists. The old (or the young). Snowflake libtards. Republicans. Benefit scroungers. Gays. Blacks. The EU. Bankers. The Russians. Hipsters. Anarchists. Zionists. The metropolitan elite. Stupid northerners. Illegal immigrants. Islamic State. Corbynistas. Jews. Trump supporters. Soap dodgers. Globalisation. Google. Facebook. Liberals, moderates. Hate preachers. The New World Order. New Order? Who really cares? In our post-truth world of finger-pointing, whistle-blowing and virtue-signalling.
We want to decontextualise the accusation; to examine the role we play in creating insular neighbourhoods. We want to try and afford the scope for self-questioning. We’re all drawn to people and ideas that reinforce our own truths, but what better tool could there be for bursting out of the echo chamber than each other?
Text written by Iain & Jane to accompany the work.
(Pyramid, Pink), 2010 by Jack Pierson
26 May - 25 June 2017
This work was shown as part of the exhibition The Man with Night Sweats in our main gallery. This exhibition was inspired by the energy generated within the bourgeoning gay/queer cultures that emerged out of the changing political and social landscapes of the 1960s and 70s. It included works made in the last 10 years that emphasised how this energy persists and transforms amid the constant change of recent histories. It featured work by Steve Farrer, Neil Haas, Dietmar Lutz, Mike Silva and Jack Pierson.