Advancements in information technology have left a messy physiological residue. The body swiftly responds even to subtle shifts in everyday tools and regular environments. The fixation of virtual space as indiscriminate to absolute space reinforces corporeality as the site where internal and external languages collide. Ilona Sagar’s exhibition Human Factors analyses international physical measurement standards and the science of responsive design through short film, digital imagery, performance, text and audio. Ergonomic syntax, both scientific and fleshy, fuels the film’s idiosyncratic logic and Sagar’s vivid output.
3.00 – 4.10pm, Screening Programme
FREE, ALL WELCOME
Héloïse Delègue, Beverley Gadsden, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
4.30 – 6.40pm, Guest Contributors
>>> FREE, BOOK NOW <<<
4.30 – 5.00pm, Ellen Kenyon Peers, 'Ana Key is Imagining Utopian Futures: Can art be used as a tool for change in contemporary politics?’
5 – 5.30pm, Emily Rosamond, 'Distortions'
5.30 – 6pm, Simone Rowat,' Forensic Aesthetics'
6.00 – 6.10pm, Guest Film Screening, Joey Holder, ‘Adcredo’ (2018)
6.10 – 6.40pm, Q&A
7 – 9pm, Private View
FREE, ALL WELCOME
8 – 8.10pm, Performance, Paul Gaudet, 'A Glimpse Inside (Introducing Darren Reeves)', Performed by Darren Reeves (2018)
Exhibiting Artists, Héloïse Delègue, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, Norman Mine, Denis Mortell, Miriam Naeh, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort
Conspiracy of the Real: Artistic Perspectives in a Post-Truth Climate was developed by:
Paul Chapellier, Héloïse Delègue, Saskia Fischer, Beverley Gadsden, Paul Gaudet, Samantha Greer, Parinot Kunakornwong, James Low, Norman Mine, Denis Mortell, Miriam Naeh, Phillip Reeves, Serkan Sarier, Varvara Shavrova, Marios Stamatis, Joseph Steele, Emily Willey, Johanne Wort. Project supervision by: Kate Pickering and Sam Plagerson. Special thanks to Michael Newman and Borbála Soós. Produced in collaboration with Tenderpixel and the MFA Fine Art programme at Goldsmiths College.
Ilona Sagar (b 1985), lives and works in London. She received a BA in Fine Art from Goldsmiths College in 2008 and completed an MFA in Sculpture at the Royal College of Art in 2012.
Recent projects include HereAfter: Outcome Project as part of the SPACE HereAfter residency, The White Building, London UK (2017); a solo project at Pump House Gallery, London as part of The Ground We Tread (2016); solo show with performances Haptic Skins of a Glass Eye Tenderpixel, London UK (2015); solo show with performance Mute Rehearsal, Vitrine Gallery, London UK (2015); Art Rotterdam, Main Section, Rotterdam NL with Tenderpixel (2015); solo show and performances PROSOPOPOEIA : MANUAL : HAND : BOOK, Assembly Passage Project, London UK (2014); performance I fell backwards and you were there at Hayward Gallery Project Space, London UK (2014); group exhibition What Love has to do with it, Hayward Gallery Project Space, London UK (2014); exhibition and performance Soft Addictions Embassy Gallery, Edinburgh UK (2014); exhibition Eupnea, Saturated Space research cluster, Architecture Association, London UK (2014); screening of Human Factors at Caroll/Fletcher, London UK (2014); performance Human Factors at Parasol Unit Foundation for Contemporary Art, London UK (2014); solo show Human Factors, Tenderpixel, London UK (2014); exhibition The Ballad of Peckham Rye, Bussey Building, London, Peckham UK (2013); performance Human Factors, Art on the Underground as part of Art Licks Weekend, London UK (2013); performance Heart of Darkness, Le Centre National d’Art Contemporain, Nice FR (2012); exhibition The Visionary Trading Project, Guest Projects, London UK (2012); solo exhibition and performance States of Matter, the Swiss Church, London UK (2011); and performance Architectural Playgrounds, Barbican, London UK (2010).
Upcoming projects include Correspondence O, solo exhibition at South London Gallery, London UK (December 2017), accompanied by a new publication with Black Dog Publishing.
We are grateful for the support of: