• Come Together

     

    18 February - 20 March 2021

     

    James Bartolacci

    Rhys Coren

    Susie Green

    Hassan Hajjaj

    Hannah Quinlan and Rosie Hastings

    Joel Kyack

    Laura Lancaster

    Hardeep Pandhal

    Matt Stokes

    David Steans

    Sue Tompkins

     

     

    In support of:

     

     


     

     

    Working in a variety of media and with different approaches to their artistic practices, these artists come together here for their connection with the music industry, which manifests in both tangible and seemingly imperceptible ways in the exhibited works. Through a series of exclusive statements these artists share insights into the ways in which music and music venues have touched their lives.

     

    Come Together, as an exhibition and philanthropic initiative, marks the continuation of the gallery’s commitment to working collaboratively and for the benefit of the wider creative community. Thus, part of the proceeds from the sale of works will be donated to the Music Venue Trust to support them in their endeavours to protect grassroots music venues around the UK.

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    James Bartolacci

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    “Music was a cornerstone of my upbringing and a way of escaping the dullness of childhood suburbia. In my teens, I sought out the sounds of new music on the Internet, which influenced my creativity. Now, as an adult in the city, certain DJs draw me to bars/clubs/raves – that in turns connects with the people that frequent these spaces."

     

    - James Bartolacci, 2021

  • Bartolacci’s artwork draws from personal experiences of queer nightlife in New York City. Common themes in his practise include desire,...

     

    Bartolacci’s artwork draws from personal experiences of queer nightlife in New York City. Common themes in his practise include desire, longing, and self-styling. Highly saturated colors combined with an emphasis on lighting conditions create charged atmospheres that evoke the revelry and escapism of a night out. More than just places for dancing and pleasure, the bars and clubs in his work become anchors for connection and personal expression.

     

    James Bartolacci (b. 1988, Easton, PA) currently lives and works in Queens, New York City, USA.  He received his MFA in Painting and Printmaking from the Yale School of Art in 2020. He has exhibited in group and solo exhibitions at Galerie Perrotin and Taymour Grahne Projects.

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    Rhys Coren

  • Rhys Coren
    Harp, 2021
    Animation with sound
    1min 30secs
    16:9

     

    Courtesy of the artist and Seventeen

  • Rhys Coren works with animation, painted marquetry, writing, light, terrazzo, silk screen, carpet, sound and performance. Each media displays an...

     

    Rhys Coren, Love Motion on view as part of Lumiere London (2018) at the Royal Academy of Arts. Photo by Matthew Andrews.

     

    Rhys Coren works with animation, painted marquetry, writing, light, terrazzo, silk screen, carpet, sound and performance. Each media displays an obvious pleasure in rhythm, form, colour, texture, space and negative space. The wall works contain cartoon-like clouds broken by grids of colour and texture, raking perspectives, occasional body parts, drop shadows, dance floors and the interplay of frenetic lines. Coren describes the direct link between his experience of music and the visual language of his practice, crediting the structure and strategies found in electronic dance music, jazz and disco as the genesis of the works.

     

    Rhys Coren (b. 1983, Plymouth, UK) completed a Postgraduate Diploma at the Royal Academy of Art in 2016 and lives and works in London. Solo exhibitions include Shape of Story, Seventeen, London (2019); Main Street Video, Aldrich Museum of Contemporary Art, Ridgefield (2019);Rock-hard aura and the Lost Explorer, Grimm Gallery, NY (2018); click, click, click-clap-click, galeriepcp, Paris (2016); and Whistle Bump Super Strut, Seventeen, London (2017). He also recently curated the group exhibition Cuts, Shapes, Breaks and Scrapes at Seventeen, London alongside Gabriel Hartley and he has co-founded curatorial projects including Opening Times and bubblebyte.org.

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    Susie Green

  • 'Thursday evenings were Top of the Pops. Half an hour of blissful television. It was where I wanted to be.The...

    Susie Green
    Unbound Avatar, 2021
    Acrylic on acid-free tissue paper
    200 x 175 cm
    78 3/4 x 68 7/8 in

     

    "Thursday evenings were Top of the Pops. Half an hour of blissful television. It was where I wanted to be.The sets, the lights, the crowd, the colours, the miming, the artifice. So exciting. Future possibilities.

     

    I loved Madonna, I have a distant memory of her in her pink wig singing 'Like a Virgin'. I was 4, I sung it in the sitting room.

     

    And then Neneh Cherry, pregnant and owning it in cycling shorts. Not long after that I got 'Raw Like Sushi' on cassette for my 9th birthday. I studied the photos on the fold out inlay sleeve, (which I later found out were by Judy Blame), and couldn't wait to grow up so I could pose like Neneh too, and wear gold dollar sign jewellery, heavy around my neck.

     

    As I grew older, Top of the Pops was replaced with The Chart Show on a Saturday afternoon. I would watch it before going to meet my friends outside Boots. I saw the video for 'Venus as a Boy' by Bjork, and was struck. In love. I knew the song was sexy. I had never seen or heard anything like it. Then 13, 'Debut' on cassette for Christmas.

     

    These early influencers, these powerful performers, their environments, stages and worlds, gave me a place to put my aspirations, outside of my small bedroom. When I felt a need for release, as I grew into my dreams, they were there for me. Press play, sing the songs learnt by heart, make up a dance routine or plan makeup based on the videos.

     

    Music videos were my cinema, my first interaction with art. Watching and listening to them was such a kick for me. To not be limited by this immediate world, to go somewhere else. So utterly exciting, glamorous, hopeful."

     

    - Susie Green, 2021

     

  • Susie Green (b.1979) works across painting, performance and sculpture, focussing on empowerment through dress, otherness & disguise. At the heart...

    Susie Green portrait at Interior Report (2018) solo exhibition at Workplace Foundation. Copyright Josefin Bengtsson.

     

    Susie Green (b.1979) works across painting, performance and sculpture, focussing on empowerment through dress, otherness & disguise. At the heart of her work is an exploration into the personal and political powers of intimacy, vulnerability and transgression. She received a BA in Fine Art from Newcastle University (2002) and an MA in Fine Art, Chelsea College of Art UAL (2009). In 2020 she was selected for BALTIC STATES – a 3 month residency at Nida Art Colony, Lithuania, in association with BALTIC, Gateshead, UK.

     

    Susie Green is currently part of a two person exhibition with Cathy Josefowitz, Empty Rooms Full of Love (2021,) at FRAC Champagne Ardenne, Reims, FR. Recent exhibitions and projects include: Double Trouble (2020) online solo exhibition for New Viewings curated by Andrew Renton, Galerie Barbara Thumm, Berlin DE; Club Goddess (2020), live stream commissioned by Kunstraum, London, UK. Jerwood Solo Presentations (2018), Jerwood Arts, London; Interior Report (2018), Workplace, Gateshead; If They be Two (with Kim Coleman), Five Years, London; Pleasure is a Weapon (2017), Grand Union, Birmingham, UK. Group exhibitions include: Something Soft (2019) Kunstraum, London; Idea Home (2017), MIMA, Middlesbrough; Exhibition of a Dream, Gulbenkian, Paris (2017). Recent performances: The Hold (2019) (in association with Huguette Caland exhibition), Tate St Ives, Cornwall; ROMANTI-CRASH (2018), Jupiter Artland, Edinburgh; Dwarling, My Darling (2017) (performance with Rory Pilgrim as The Brilliant State), Oude Kerk, Amsterdam, NL.

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    Hassan Hajjaj

  • Hassan Hajjaj (b. 1961, Larache, Morocco), is an artist working principally in the photographic medium, with bases in both Morocco...

    Photo by Jenny Fremont.

    Hassan Hajjaj (b. 1961, Larache, Morocco), is an artist working principally in the photographic medium, with bases in both Morocco and the UK. Hajjaj’s photographs feature the powerful and rhythmic colours and patterns of North Africa, along with figures adopting idiosyncratic poses. In his portraits, the artist produces creative frames that combine commercial objects consumed in Morocco, including drinks, cans of food, toys, recycled tires, and matchboxes.His artistic vision represents the coalescence of powerful North African visual elements and his experiences with multicultural artistic realms that he encountered as a matter of course in the vast and cosmopolitan city of London during the 1970s and 1980s, including street music, fashion, and interior design.

     

    Hassan Hajjaj was born in the northern Moroccan city of Larache and works and lives in Morocco and England. Hajjaj’s numerous solo and group exhibitions include those at the Hayward Gallery, London; Maison Européenne de la Photographie, Paris; Somerset House, London; Los Angeles County Museum of Art (LACMA); the British Museum, London; the de Young Museum, San Francisco; Centre Pompidou, Paris; and National Museum of the 21st Century (MAXXI), Rome. His work has been collected by a number of leading institutions, including the Los Angeles County Museum of Art, Victoria and Albert Museum, Guggenheim Museum Abu Dhabi, Brooklyn Museum, and the British Museum.

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    Rosie Hastings and Hannah Quinlan

  • Ten Years is a live work created by artists Hannah Quinlan and Rosie Hastings in 2017. Originally commissioned by The David Roberts Art Foundation and performed at KOKO, London the work has been subsequently reproduced for the Pompidou, Paris as part of MOVE Festival and The Southbank Centre, London featuring singer Jesse Hultberg. 

     

  • Hannah Quinlan and Rosie Hastings are an artist duo working in film, drawing, installation and performance. Their work examines the...

    Photo by Anna Lukala

    Hannah Quinlan and Rosie Hastings are an artist duo working in film, drawing, installation and performance. Their work examines the behaviours, history, politics and artefacts of LGBTQ culture in the western context, exploring how this culture is reflective of broader societal structures. Their collaborative practice uses film as part documentary and research, and part cinematic experience with an expert use of sound, colour, and camerawork.

     

    Hannah Quinlan and Rosie Hastings (b.1991, Newcastle / London, United Kingdom) received a BA(Hons) Fine Art, Goldsmiths College, University of London, 2013/2014. They have participated in group shows including ‘Cruising Pavilion: Architecture, Gay Sex and Cruising Culture’, ArkDes, Stockholm; ‘Kiss My Genders’, Hayward Gallery, London; and ‘Queer Spaces: London, 1980s – Today’, Whitechapel Gallery, London (all 2019). Solo presentations include ‘In my Room’, Focal Point Gallery, Southend-on-Sea (2020), ’Something for The Boys’, Two Queens, Leicester (2018) and ‘Gaby’, Queer Thoughts, NYC (2018). Recent performances took place for Image Behaviour, ICA (2019), Art Night (2019), Move Festival, Pompidou Centre (2019), and Kiss My Gender Live, Southbank Centre (2019).

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    Joel Kyack

  • 'My personal relationship with music is as a player in bands over the past 33 years. My aesthetic relationship in...

    Joel Kyack
    A Younger Man's Clothes, 2021
    Pressed board, styrofoam, foamcore, acrylic
    53.3 x 40.6 cm
    21 x 16 in

     

    "My personal relationship with music is as a player in bands over the past 33 years. My aesthetic relationship in my art practice is that my work relies heavily on improvisation, which playing improvisational musical has taught me. Improvised sounds interact in ways outside of any individual’s expectation or control – you make decisions in response rather than through imposition"

     

    - Joel Kyack, 2021

  • Joel Kyack
    TIME TIME TIME
    Single channel video, 2020
    duration: 11:31
    Edition of 3 + 1 AP 
  • Joel Kyack brings together a combination of unlikely components purchased from hardware stores, health care industries and Hollywood prop-houses to...

    Joel Kyack brings together a combination of unlikely components purchased from hardware stores, health care industries and Hollywood prop-houses to create surreal, darkly humorous objects and paintings that evince a dysfunctional and chaotic social context as their origin. Kyack maintains a Dadaist anti-bourgeois position rejecting ‘taste’ and traditional aesthetic sensibilities. He instead finds pragmatic yet subversive relationships between functional objects to achieve an outcome that relates back to the body and to the abject absurdity of the individual in relation to a disturbing and complex social world, always with the potential for violence and the grotesque.

     

    Joel Kyack was born in Born in 1972 in Pennsylvania, USA and currently lives in California, USA. He received his BFA from the Rhode Island School of Design in 1995, studied at Skowhegan School of Painting and Sculpture in Maine in 2004, and received his MFA from the University of Southern California in 2008. Recent solo projects include The Very First Day at Workplace Gateshead, Old Sailors Never Die and Escape to Shit Mountain at Francois Ghebaly, Los Angeles; Point at the Thing That’s Furthest Away at Praz-Delavallade, Paris; Superclogger, a public project produced in collaboration with LAxART and The Hammer Museum in Los Angeles, and The Knife Shop at Kunsthalle - LA in Los Angeles. He is represented by Workplace Gallery in the UK, François Ghebaly in Los Angeles and Praz-Delavallade in Paris.

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    Laura Lancaster

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    "I have always been interested in how images and sounds/music can relate to/change each other, like when you’re on a train looking out of the window with headphones on and everything you’re looking at out of the window becomes more cinematic."

     

    - Laura Lancaster in conversation with Maxïmo Park, 2020

  • Laura Lancaster makes paintings from found imagery, collected from anonymous analogue photographs and film. She transposes the lost and discarded...

    Photo by Frank Sun

     

    Laura Lancaster makes paintings from found imagery, collected from anonymous analogue photographs and film. She transposes the lost and discarded memories of strangers into an ambiguous territory between abstraction and figuration. Divorced from their specific context and time Lancaster relocates the image to a place of collective memory. Shifting between the sentimental and the grotesque, Lancaster's paintings are uncanny and strange, dreamlike visions from a shared consciousness.

     

    Laura Lancaster was born in Hartlepool, UK in 1979. She lives in Newcastle Upon Tyne, UK. She has shown her work in solo exhibitions worldwide including Night Gallery, Los Angeles; New Art Gallery Walsall; A Stranger's Dream, Sargent's Daughters, New York; Laura Lancaster, Wooson Gallery, Korea; Shapeshifter, Workplace London, UK. Group Exhibitions include: Dismaland, Weston-super-Mare, UK; Private Utopia, Tokyo Station Gallery, Japan; Museum of Art, Kochi, Japan; Itami City Museum of Art, Japan; Prefectural Museum of Art, Japan; Kunstmuseum Bern, Switzerland; Museum of Modern Art St Etienne; Glasgow International; October - Salon, Belgrade, Palazzo Della Arte, Napoli; Accademia d'Ungheria a Roma; BALTIC 39, Newcastle, UK; John Moores Prize, Liverpool, UK. Lancaster's work is represented in numerous international collections including The British Council Collection; New Art Gallery, Walsall, UK; Nerman Museum, Kansas, USA; The Government Art Collection, UK and numerous private collections worldwide.

     

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    Hardeep Pandhal

  • Hardeep Pandhal and David Steans
    Lecture Theatre, 2018
    HD video
    26':27''
    Edition of 3 plus 2 APs

  • Hardeep Pandhal (b.1985, Birmingham. Lives and works in Glasgow) works predominantly with drawing and voice to transform feelings of disinheritance...

    Photo by Matthew Arthur Williams.

    Hardeep Pandhal (b.1985, Birmingham. Lives and works in Glasgow) works predominantly with drawing and voice to transform feelings of disinheritance and disaffection into generative spaces that bolster interdependence and self-belief. Applying practices of associative thinking, his research-led projects exhibit syncretic strains of post-brown weirdness. Across media, his works are imbued with acerbity and playful complexity; at once confrontational and reflective.

     

    Hardeep Pandhal received his BA from Leeds Beckett University, Leeds in 2007 and an MFA from Glasgow School of Art, Glasgow in 2013. His work has been shown in numerous solo and group exhibitions, including, most recently: Goldsmiths Centre of Contemporary Art (2020); Tramway, Glasgow (2020); New Art Exchange, Nottingham (2019); Whitechapel Art Gallery, London (2019); South London Gallery, London (2018); New Museum, New York (2018); Nottingham Contemporary, Nottingham (2018); Eastside Projects, Birmingham (2017); Modern Art Oxford, Oxford (2016). Pandhal’s work is part of a number of prestigious public collections, including Arts Council Collection, UK; British Council Collection, UK; Gallery of Modern Art, Glasgow. He was shortlisted for the Jarman Award (2018) and selected for Bloomberg New Contemporaries (2013).

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    David Steans

    • David Steans The Walls 4, 2014 Graphite on paper, eyelets 262 x 152 cm 103 1/8 x 59 7/8 in...

      David Steans
      The Walls 4, 2014
      Graphite on paper, eyelets
      262 x 152 cm
      103 1/8 x 59 7/8 in

       

    • David Steans The Walls 3, 2014 Graphite on paper, eyelets 262 x 152 cm 103 1/8 x 59 7/8 in...
      David Steans
      The Walls 32014
      Graphite on papereyelets
      262 x 152 cm
      103 1/8 x 59 7/8 in

       

    • David Steans The Walls 1, 2014 Graphite on paper, eyelets 262 x 152 cm 103 1/8 x 59 7/8 in...

      David Steans
      The Walls 1, 2014
      Graphite on paper, eyelets
      262 x 152 cm
      103 1/8 x 59 7/8 in

       

  • David Steans
    Puppy the Goblin ENGLISH SUBS, 2020
    Digital video, sound
    14 minutes 10 seconds

  • David Steans, Icey Man 3, 2016, Sound, 03m 38s

     

    “Growing up (in Long Eaton), independent music venues (along with Warhammer and skateboarding) were vital outlets, providing access to creative communities years before I’d have any experience of art spaces. I started making music myself when I started making videos, using video-editing software to piece together fragments of sound and found music. I didn’t know how to categorise the results, but the idea of ‘noise’ or ‘experimental’ music appealed because it seemed you didn’t need any conventional musical ability. I listen to all sorts of music, and it would be hard to overstate its impact on my work (for example, rap has had a significant influence on the way I write)."

     

    - David Steans, 2021

  • David Steans (b.1984 Stockport) is an artist based in Leeds, UK. His practice encompasses writing, moving image, music, performance and...

    David Steans (b.1984 Stockport) is an artist based in Leeds, UK. His practice encompasses writing, moving image, music, performance and installation. He works with narrative and storytelling, and employs the ‘blurring’ of reality and fiction as a creative method. He sees the voice as a material and a medium, and it is a recurring subject and feature in his practice. Genre horror is a key reference point and influence.

     

    Steans has exhibited widely nationally and internationally. In 2018 Deptford X published ‘From the Lounge’, a collection of Steans' short stories, as part of his PLATFORM commission. His writing has also been included in Cadavere Quotidiano (2014), an anthology of writing by contemporary artists published by Project X Foundation for Art & Criticism. He makes music in several projects, most recently as Goth Pub, and has had work released by the record label Art into Life. He participated in the founding year of the alternative art school project The School of the Damned, and has been involved in numerous collaborative projects, including Medieval helpdesk (2015 – 2019). In 2019 he completed a practice-led PhD in Fine Art at University of Leeds. He teaches on the MA Fine Art and BA Fine Art at Leeds Arts University.

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    Matt Stokes

  • “My first clear memory of music was, as a child, being carsick whilst listening to John Denver on the car...

     

    “My first clear memory of music was, as a child, being carsick whilst listening to John Denver on the car tape player during a family camping holiday. This odd epiphany was quickly supplanted by a fascination in Ian Dury after seeing him for the first time on TV. As I entered my teens, hours were spent compiling cassettes from radio shows and VHS tapes from MTV. And then, there it was like a bat to the head, ‘Jack Your Body’ by Steve “Silk” Hurley, followed soon after by the strobing video of ‘Wrote for Luck’ by the Happy Mondays. Play, rewind, repeat. A few years on, clubs beckoned, like the Jazz Rooms, Escape and Zap in Brighton. But, it wasn’t until my 20s that live music gigs took precedent… and I’m so very glad they did."

     

    - Matt Stokes, 2021

  • Matt Stokes's practice stems from a long-term inquiry into subcultures, particularly musical ones. He is interested in the way music...

    Photo by Emile Holba

     

    Matt Stokes's practice stems from a long-term inquiry into subcultures, particularly musical ones. He is interested in the way music provides a sense of collectivity, acting as a catalyst for particular groups to form, shaping and influencing people's lives and identities. Stokes produces artworks that depart from a context-specific research and take on a conceptual and aesthetic life of their own through films, installations and events.

     

    Matt Stokes was born in Penzance, Cornwall and has lived, studied and worked in the Northeast of England since 1993. In 2018 he was the recipient of Paul Hamyln Foundation Award for Visual Artists and in 2006, was the winner of the Beck's Futures Prize. Recent solo shows include a commissioned film installation as part of We The People Are The Work, Plymouth, 2017; Matt’s Gallery, London, 2015; Site Gallery, Sheffield, 2014; Grundy Art Gallery, Blackpool, 2014; Whitechapel Gallery, London, 2012; De Hallen, Haarlem, 2011; Kunsthalle Fridericianum, Kassel, 2010. Stokes’s work has been exhibited in group shows at important institutions and biennials including: M_HKA, Museum of Contemporary Art Antwerp; Lentos Kunstmuseum, Linz; National Galleries of Scotland; Stedelijk Museum, Amsterdam; Witte de With, Rotterdam, Netherlands; Dundee Contemporary Arts; ICA, London.

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    Sue Tompkins

  • 'Music makes me feel alive' - Sue Tompkins, 2021

    "Music makes me feel alive"

     

     - Sue Tompkins, 2021

      

     

     

     

     

     

     

     

  • Sue Tompkins
    Plain, 2017
    Acrylic, PVA, glitter (framed)
    27.2 x 22.2 x 3.2 cm

    10 3/4 x 8 3/4 x 1 1/4 in 

                         

    Enquire
     
     
     
  • “Contact contact Je suis remember contact Boom! Contact contact Your first Your last Your only Contact O oh o oh...

    “Contact contact

    Je suis remember contact Boom!

    Contact contact

    Your first

    Your last

    Your only Contact

    O oh o oh o oh o oh o oh

    Bounce!

    Twirl!

    I don’t trade

    I don’t trade

    Yeah!

    Yeah!"

  • Sue Tompkins
    r, 2018
    Acrylic on canvas, aluminium frame
    159.6 x 55.6 x 4.5 cm
    62.8 x 21.9 x 1.8 in

     

  • Sue Tompkins (b. 1971, Leighton Buzzard) lives and works in Glasgow. Working with fragments of language gathered from everyday encounters...

     

    Sue Tompkins (b. 1971, Leighton Buzzard) lives and works in Glasgow. Working with fragments of language gathered from everyday encounters and experiences, Tompkins’ practice incorporates text, sound, installation, painting and performance.

     

    Tompkins graduated from the Glasgow School of Art in 1994, and has been involved in exhibitions and performances worldwide, including solo exhibitions at The Gallery of Modern Art, Glasgow at Glasgow International; The Modern Institute, Glasgow; Inverleith House, Edinburgh; Spike Island, Bristol; and Contemporary Art Museum, St. Louis. She has presented performances and been included in numerous group exhibitions including those at: BBC Scotland, Glasgow; White Columns, New York; Midway Contemporary Art, Minneapolis; Wysing Arts Centre, Cambridge; the 29th São Paolo Biennale, São Paolo; the British Art Show 7 at the Hayward Gallery, London and touring; MACBA, Barcelona; ICA and the Tate Modern, London; and Artists Space, New York. Tompkins was shortlisted for the Beck’s Futures Prize in 2006, and received the Paul Hamlyn Award in 2011.

  • Listen to music by some of the artists in the exhibition

     

  • David Steans:

     

  • Hardeep Pandhal:

     

  • Sue Tompkins:

     

  • Susie Green:

     

  • Joel Kyack: