Event Category: Performances

Isabel Nolan in conversation with Declan Long

On Saturday 19 November at 5:30pm, join us for a special in conversation at Void, between artist Isabel Nolan and art critic Declan Long, in response to Isabel’s solo exhibition flotsam, jetsam, lagan and derelict. The exhibition will open to the public at 6pm and drinks will be served, provided by Northbound Brewery.

This is a FREE event but booking is advised.

About the exhibition

 

flotsam, jetsam, lagan and derelict is a solo exhibition by Dublin-based artist Isabel Nolan. The exhibition comprises paintings, drawings and objects, reflecting Nolan’s ongoing interest in modes of human organisation, the shifting status of artefacts and images over long periods of time.

The experience of lockdown during Covid-19 and the slowing down of time has a resonance in this exhibition. Often working at home, drawing, an important element of Nolan’s practice, became the sole conduit of how she made ‘meaning’ happen and manifested a response in a time of huge uncertainty.Drawing is integral to her studio practice, it is a means to conjure new representations of the world, of making it legible. Sketching, scribbling, note-taking, erasing and sometimes simply expending nervous energy is fundamental to the way Nolan draws. Often made without the intention of being exhibited, pages absorb ideas and begin to suggest material ways to formulate and give shape to often abstract ideas. The line, colours, patterns and forms are a starting point for her expanded practice; from there she transfers this mode of working to encompass painting, sculpture or tapestry.

The paintings have an ethereal and otherworldly quality stemming from years of reading and harvesting ideas from diverse fields; philosophy, archaeology, physics and theology. The figures in the paintings, such as shadowy St. Jerome, the patron saint of archaeology, known for his translation of the bible, and St. Columba, the patron Saint of Derry, who is credited with spreading monastic Christianity Christian culture in Ireland, and Scotland (and overseeing the emergence of an Irish historical record,) reflects Nolan’s love for elaborately honed narratives that become the channel for disseminating both troubling beliefs and great spirituality.

The paintings have an energetic quality to them, a hum, a liveness through her use of colour and motifs that recur throughout her work; suns, spirals, and waveforms give this sense of momentum. These forms also express the macro and the micro, the cosmic to the cellular.

Her works are revealing; representing the unseen, a fluid version of the world that continues to explore the periphery, the otherworld, and questions of ‘meaning’. As we have returned to the everyday, and things are as they were, and we are overloaded with quotidian concerns, those philosophical questions concerning the nature of the human condition have receded. This exhibition is a reminder that existence is delicate, unfathomable and our vocabulary often struggles to encapsulate the profundity and strangeness of being alive. In a time where the world feels as if it is teetering on a precipice of cumulative disasters Nolan provides a provisional space for us to occupy and ruminate on the nature and beauty of existence.

Isabel Nolan Biography

 

Isabel Nolan’s work includes sculpture, textiles, paintings, drawings, photography and writing. Her work responds to the fundamental question of how humans bring the world into meaning. How we make, (through science, politics, agriculture, religion, etcetera), reality happens. Whether examining the knees of a 17th C sculpture, perceptions of a Neolithic artefact, the shifting symbolic status of a donkey or images of distant galaxies, Nolan looks for the ways we can like, or even love, the difficult and complex human world we’ve made.

“The arc of almost every little thing I’ve proffered in public, in exhibitions or texts is quite similar. It goes as follows: Life is often hard and without meaning in any grand, a priori sense. Art is a good way to find meaninglessness beautiful. Meaning must be invented. And those inventions must be contested and questioned, and never taken for granted.” Isabel Nolan

Curling up with Reality, 2020, is a monograph featuring select work and writing from 2011 to 2020, published by Launchpad, London; Kerlin Gallery, Dublin, in association with DHG, Dublin. Recent exhibitions include A delicate bond that is also a gap, Solstice Arts Centre, Navan, 2021; Spaced Out Kerlin Gallery, Dublin, 2021; a two-person show (with Stephen McKenna), Boxes Art Museum, Shunde, China, 2019, and solos at Kunstverein Langenhagen, 2018; Grazer Kunstverein, 2017-18; Douglas Hyde Gallery, Dublin, 2017; London Mithraeum/Bloomberg Space, 2017; Mercer Union, Toronto, 2016; Irish Museum of Modern Art, 2014. Isabel Nolan represented Ireland at the 2005 Venice Biennale in a group exhibition. Her work has featured in EVA International, Limerick; LIAF biennial, Norway; Artspace, Sydney; Palais de Tokyo, Paris; Beijing Art Museum, and Glasgow International.

Declan Long Biography

 

Declan Long is a lecturer at the National College of Art & Design in Dublin, Ireland, where he is Course Director (with Francis Halsall) of the MA Art in the Contemporary World, a theory-practice postgraduate contemporary art programme for critics, curators and artists (www.acw.ie). He is a regular contributor to Artforum and Source Photographic Review.

His book Ghost-haunted Land: Contemporary Art and Post-Troubles Northern Ireland, is available from Manchester University Press.

Acknowledgements

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

artwork by Jamie Crewe

Derek Jarman award nominee films – online screenings

Void is delighted to present the six nominated films as part of this year’s films in the Jarman Award Touring Programme 2022. Below you will find links to view each film. If you have any difficulty in viewing these, please contact us at hello@derryvoid.com or phone 0044 (0)28 7130 8080 or DM us on social media @derryvoid.

 

Discover the incredible diversity within the world of artists’ filmmaking in the UK, with a presentation of the work of the shortlist of this year’s Film London Jarman Award. Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change.

 

The artists shortlisted this year are: Grace Ndiritu, Onyeka Igwe, Alberta Whittle, Rosa-Johan Uddoh, Morgan Quaintance, Jamie Crewe. The programme will also feature a Q&A with one of the shortlisted artists. [Venues to customise with name of artist participating]

 

Inspired by visionary British filmmaker Derek Jarman, the Award recognises and supports artists working with the moving image. The shortlisted artists illustrate the spirit of inventiveness within moving image, highlighting the breadth of creativity and craftsmanship the medium has to offer, as well as its powerful ability to engage and provoke audiences. The Award comes with a £10,000 prize. 

 

The winner of the Film London Jarman Award will be announced on the 22 November at the Barbican Centre. The award is presented in partnership with the Whitechapel Gallery. 

 

The tour runs from 23 September to 12 November, in partnership with seven arts venues across the UK.

 

Feedback – we want to hear from you!

 

Please take 5 minutes to complete our anonymous audience survey at the link below. All completed surveys will be entered into a prize draw for a National Book Token £25 voucher. Upon completion of the survey, a link is provided to the prize draw.

FLAMIN Audience Survey 2022: https://forms.gle/mTutp4siY2dBdXfMA

In providing these details you consent to Film London sending you an audience survey link to help us meet our funder requirements. We take your privacy seriously and will never sell or swap your details with third parties. Information about how we protect and use your personal information is set out in our Privacy Notice.

 

Films in the Jarman Award Touring Programme 2022:


Grace Ndiritu, Black Beauty (2021), 29 mins

 

Interview with Grace Ndiritu

 

 

Onyeka Igwe, a so-called archive (2020), 20 mins

 

Interview with Onyeka Igwe

 

Alberta Whittle, Lagareh – The Last Born (2022), 32 mins

 

Interview with Alberta Whittle

 

 

Rosa-Johan Uddoh, Black Poirot (2018-2021), 21 mins

 

Interview with Rosa-Johan Uddoh

 

 

Morgan Quaintance, Surviving You, Always (2020), 18 mins

 

Interview with Morgan Quaintance

 

 

Jamie Crewe, False Wife (2022), 15 mins

 

Interview with Jamie Crewe

 

 

 

About the 2022 shortlisted artists

 

Jamie Crewe

 

Jamie is a graduate of Sheffield Hallam University and Glasgow School of Art. They have had a number of solo exhibitions, including at Gasworks (London), Tramway (Glasgow), and Grand Union (Birmingham). Their work has also been presented in group exhibitions such as Glasgow International Festival Director’s Programme and I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts (London). Jamie was the recipient of the tenth Margaret Tait Award, Scotland’s most prestigious moving image prize for artists, and the resultant work, Ashley, was premiered at Glasgow Film Festival in March 2020.

 

Onyeka Igwe

 

Onyeka is an artist and researcher working between cinema and installation. Onyeka’s video works have been screened at Camden Arts Centre (London), Dak’art OFF (Senegal) and Dhaka Art Summit (Bangladesh) and at film festivals internationally including European Media Arts Festival (Germany), London Film Festival, Media City Film Festival (Canada) and the Smithsonian African American film festival (USA). Solo exhibitions include The High Line (New York), Mercer Union (Toronto), LUX (London) and Jerwood Arts (London). She was awarded the Foundwork Artist Prize (2021) and the Berwick New Cinema Award (2019). 

 

Grace Ndiritu

 

Grace Ndiritu is a British-Kenyan filmmaker and visual artist whose artworks are concerned with the transformation of our contemporary world. Her work is housed in museum collections such as Los Angeles County Museum of Art, The British Council, The Metropolitan Museum of Art and Modern Art Museum Warsaw. Recent exhibitions include the British Art Show (2021/2022), Kunsthal Gent (2021) and Nottingham Contemporary (2021). Her debut short film Black Beauty (2021) was screened at 72nd Berlinale Film Festival (2022), FID Marseille (2021) and 16th Curtas Vila do Conde International Film Festival (2021). Upcoming exhibitions include a mid-career survey at SMAK, Ghent, Belgium in 2023.

 

Morgan Quaintance

 

Morgan is a London-based artist and writer. His moving image work has been shown and exhibited widely at festivals and institutions including MoMA (New York), McEvoy Foundation for the Arts (San Francisco), Konsthall C (Sweden), David Dale (Glasgow), European Media Art Festival (Germany), Alchemy Film and Moving Image Festival (Scotland), Images Festival (Toronto), International Film Festival Rotterdam and Third Horizon Film Festival (Miami). He is the recipient of the 2022 ARTE Award at Kurzfilm Festival Hamburg, the 2021 Jean Vigo Prize for Best Director at Punto de Vista in Spain, and the 2021 UK Short Film Award at Open City Documentary Film Festival, London.

 

Rosa-Johan Uddoh

 

Rosa-Johan is an interdisciplinary artist inspired by Black feminist practice and writing. Solo exhibitions include Stuart Hall Library (London), Bluecoat Gallery (Liverpool), Focal Point Gallery (Southend-on-Sea) and Destiny’s Atelier (Oslo). Group shows include Workplace Gallery (London), Pioneer Works (New York), 68 Institute (Copenhagen) and EXILE (Vienna). Her work is in collections including the Arts Council Collection. She won the Artquest Peer Forum Award at Camden Arts Centre, received a Sarabande: Lee Alexander McQueen Foundation Scholarship – selected by Nick Night (OBE) and is a New Contemporaries Artist.

 

Alberta Whittle

 

Alberta is an artist, researcher and curator. She was awarded a Turner Bursary, the Frieze Artist Award, and a Henry Moore Foundation Artist Award in 2020. She is Margaret Tait Award winner (2018/9). Alberta has exhibited and performed in various solo and group shows including Gothenburg Biennale, Lisson Gallery (London), Liverpool Biennial, Art Night London, British Art Show, Glasgow International Festival, Eastside Projects (Birmingham), GoMA (Glasgow), the National Galleries of Scotland, 13th Havana Biennale (Cuba), The Showroom (London) and the Apartheid Museum (Johannesburg). Her work has been acquired for the UK National Collections, The Scottish National Gallery Collections, Glasgow Museums Collections and The Contemporary Art Research Collection at Edinburgh College of Art. 

 

About the works in the Touring Programme

 

Grace Ndiritu, Black Beauty (2021)



African fashion model Alexandra Cartier (aka Black Beauty) is doing a photo shoot advert for Black Beauty ecological face cream in the desert of Patagonia. When Alexandra is saying her lines, the blazing desert sun momentarily blinds her and she goes into a momentary cosmic hallucinatory state. Her inner vision shows a sound-stage with her as a Late Night talk show host called Karen Roberts, interviewing Argentine writer Jorge Luis Borges about Climate change, pandemics, migration and Time.

 

Onyeka Igwe, a so-called archive (2020)



a so-called archive interrogates the decomposing repositories of Empire with a forensic lens. Blending footage shot in two separate colonial archive buildings—one in Lagos, Nigeria, and the other in Bristol, UK—this double portrait considers the ‘sonic shadows’ that colonial images continue to generate, despite the disintegration of their memory and their materials. Igwe’s film imagines what might have been ‘lost’ from these archives, mixing genres of the radio play, the corporate video tour, and detective noir with a haunting and critical approach to the horror of discovery.

 

 

Alberta Whittle, Lagareh – The Last Born (2022)



Shot on location in Scotland, England, Sierra Leone and Barbados and featuring footage from Venice, Lagareh – The Last Born brings together histories and communities that connect across these geographies to decipher different modes of not only taking care of the dead and confronting grief but also imagining how to create families of kithship. Whittle embraces storytelling as a means of exploring ideas of displacement but also family and community.

 

The themes of the film build on ideas of the Caribbean Gothic and Hauntology, but are also bound by the desire to cultivate hope and personal healing as forms of resistance against a background of catastrophe. The film is intended to offer an insight into different potential layers of resistance that allow for Black love to be situated in proximity with historical sites of trauma that Whittle re-inscribes with rage, hope and exhaustion.

 

 

Rosa-Johan Uddoh, Black Poirot (2019-2021)



Black Poirot is a 20-minute ride on the Orientalised-Other Express, investigating a crime no one can remember, an internalized struggle with latent respectability politics, and featuring a special guest appearance from Édouard Glissant in the role that could have defined him. Appropriating the popular Agatha Christie’s Poirot detective novels, this work uses a well-known format to tell a not-so-well known history, while satirising the current trend for tokenistic casting practices.

 

Morgan Quaintance, Surviving You, Always (2020)



In Surviving You, Always, a narrative opposition between the proposed metaphysical highs of psychedelic drugs and the harsher actualities of concrete metropolitan life, sets up a formal and conceptual study in contrasts. These two realities also form the backdrop of an adolescent encounter told through still images and written narration. Voice-overs by American psychologist Timothy Leary and spiritualist Ram Dass, profess that psychedelic drugs trigger the expansion of consciousness. Simultaneously, on screen text tells us of Quaintance’s own experience as a teenager in 1990s South London, whose acid-infused journeys revealed the city’s built environment to be a nightmarish and alienating scene for the dissolution of self. Following both perspectives simultaneously is a mind-twisting exercise, but Quaintance’s seamless editing, confessional candour and compelling sound design reveal a hidden history of working class multicultural life in London that burns with multiple socio-political resonances, and a deep sense of urban melancholy.

 

Jamie Crewe, False Wife (2022)



False Wife is a work that leads its visitors through an ordeal of transformation. A poppers training video is typically a user-made compilation of pornographic clips, uploaded to adult video hosting sites. These clips are paired with text, hypnotic music, voiceovers, and instructions for action. Viewers are told to masturbate and sniff poppers, to let imagery and sensation meld, and reach a gooning ecstatic fervour.

 

False Wife is a poppers training video, but its material is obscure. Its narrative is drawn from a variety of folk tales in which transformation occurs, and relationships happen. Its footage is scavenged from sources that reflect these themes, reduced to slivers of significant imagery, rubbed together. These originating sources are warped or inflamed to say ambiguous things: to discuss desire, shame, transgression, and the longing for change, and the various ways we want — and don’t want — to face them.

 

The 2022 Film London Jarman Award Touring Programme host venues


Jarman Award 2022 main page on Film London website:
https://filmlondon.org.uk/flamin/the-jarman-award/jarman-award-2022

 

Towner Eastbourne
Friday 23rd September
Q&A with Morgan Quaintance
https://townereastbourne.org.uk/

 

LUX Scotland, Glasgow
Tuesday 11th October
Q&A with Onyeka Igwe
https://luxscotland.org.uk/

Void, Derry
Tuesday 18th October
Q&A with Jamie Crewe
https://www.derryvoid.com/

 

G39, Cardiff

Wednesday 26th October

Q&A with Grace Ndiritu

http://www.g39.org/

 

Nottingham Contemporary

Monday 7th November

Q&A with Rosa-Johan Uddoh

http://www.nottinghamcontemporary.org/

 

Spike Island, Bristol

Thursday 10th November

Q&A with Alberta Whittle

http://www.spikeisland.org.uk/

 

Whitechapel Gallery, London

Saturday 12th November

Event with all shortlisted artists

http://www.whitechapelgallery.org/

 

About Film London

 

Film London is the capital’s screen industries agency. We connect ideas, talent and finance to develop a pioneering creative culture in the city that delivers success in film, television, animation, games and beyond. We work to sustain, promote and develop London as a global content production hub, support the development of the city’s new and emerging filmmaking talent and invest in a diverse and rich film culture. Funded by the Mayor of London and the National Lottery through the BFI, we also receive support from Arts Council England, Creative Skillset and the Heritage Lottery Fund.

 

Film London’s activities include: 

 

  • Maintaining, strengthening and promoting London’s position as world-class city to attract investment through film, television, animation and games 
  • Investing in local talent through a range of specialised production and training schemes 
  • Boosting employment and competitiveness in the capital’s screen industries by delivering internationally facing business development events 
  • Maximising access to the capital’s film culture by helping audiences discover film in all its diversity 
  • Promoting London through screen tourism

 

Film London also manages the British Film Commission (www.britishfilmcommission.org.uk) through a public/private partnership which is funded by the Department for Culture, Media and Sport through the BFI, and UK Trade and Investment.

 

www.filmlondon.org.uk
@Film_London

 

About Film London Artists’ Moving Image Network (FLAMIN)

 

Since 2003, Film London Artists’ Moving Image Network (FLAMIN) has been at the very heart of the sector’s development, bringing artist filmmakers to a wider audience away from the margins. We provide professional support and expert training along with valuable funding and national and international exhibition opportunities in galleries, cinemas and for broadcast. Funded by Arts Council England, FLAMIN has commissioned over 200 productions and supported the careers of countless other artists. Flagship projects from FLAMIN include the commissioning fund FLAMIN Productions, the prestigious annual Film London Jarman Award, and development programmes The FLAMIN Fellowship and FLAMIN Animations, aimed at early career moving image artists. 

 

www.filmlondon.org.uk/FLAMIN 

 

For further Press Information please contact:


Penny Sychrava PR  |  0796 791 5339  |  penny@pennysychrava.com
Haylie Read  |  0207 6137694  |  Haylie.Read@filmlondon.org.uk

 

Acknowledgements

 

Image credits: False Wife (2022) [still 08]

 

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

 

 

seated people listening to a woman speak

Silver Tongued Deviance – spoken word evenings

Silver Tongued Deviance is a monthly open mic platform event hosted by spoken word artist Frank Rafferty on the last Thursday of every month in Void Gallery.

 

During these sessions, spoken word performers/singers/(acoustic) musicians are invited to come along and perform; they may choose any pieces of work from their repertoire, they can create something new which connects to themes in Void’s current exhibition, or they can perform something else entirely which simply resonates with them. 

 

The viewing public are invited to simply attend and enjoy! There is no requirement to perform at these events.

 

Refreshments are also provided; visitors are invited to enjoy a glass of wine, a beer, or some tea or coffee. 

 

Void is wheelchair accessible.

 

This is a drop-in event so no booking is necessary – however in order for us to prepare for the event we ask you to kindly RSVP here.

 

Upcoming Silver Tongued Deviance session dates are as follows:

 

  • Thursday 26th January 6:45pm
  • Thursday 23rd February 6:45pm

 

Feedback

 

Have you been to one of our Silver Tongued Deviance events before? Please let us know how you have found the experience and if there is anything else that you would like to change. Just click here to fill out this form – it takes 2 minutes!

 

Acknowledgements

 

Silver Tongued Deviance is a collaboration with Bluebell Arts, Derry and hosted by spoken word artist, Frank Rafferty.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund,, Halifax Foundation, The Arts Society.

 

Isabel Nolan logo strip

artwork by Jamie Crewe

Film London Jarman Award award nominees – online film screenings

Film London Jarman Award Touring Programme 2022

 

Tuesday 18 October, 12 midday – 12 midnight

Alongside the live screening of False Wife (2022) by shortlisted Film London Derek Jarman award nominee Jamie Crewe, an online screening of works by all six of the 2022 Derek Jarman award shortlist will be freely available to view here on our website.

They will be viewable via a link sent to your email, from 12 midday to 12 midnight on 18 October 2022. Book your free place here and we will email you in advance of the screenings.

You can also book for the screening of False Wife (2022) by Jamie Crewe and Q&A in between Crewe and Void Director Mary Cremin here.

Further information:

The Film London Jarman Award 2022

 

Discover the incredible diversity within the world of artists’ filmmaking in the UK, with a presentation of the work of the shortlist of this year’s Film London Jarman Award. Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change.

The artists shortlisted this year are: Grace Ndiritu, Onyeka Igwe, Alberta Whittle, Rosa-Johan Uddoh, Morgan Quaintance, Jamie Crewe. The programme will also feature a Q&A with Jamie Crewe at the gallery (book via link above).

Inspired by visionary British filmmaker Derek Jarman, the Award recognises and supports artists working with the moving image. The shortlisted artists illustrate the spirit of inventiveness within moving image, highlighting the breadth of creativity and craftsmanship the medium has to offer, as well as its powerful ability to engage and provoke audiences. The Award comes with a £10,000 prize.

The winner of the Film London Jarman Award will be announced on the 22 November at the Barbican Centre. The award is presented in partnership with the Whitechapel Gallery.

The tour runs from 23 September to 12 November, in partnership with seven arts venues across the UK.

Jamie Crewe Biography

 

Jamie is a graduate of Sheffield Hallam University and Glasgow School of Art. They have had a number of solo exhibitions, including at Gasworks (London), Tramway (Glasgow), and Grand Union (Birmingham). Their work has also been presented in group exhibitions such as Glasgow International Festival Director’s Programme and I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts (London). Jamie was the recipient of the tenth Margaret Tait Award, Scotland’s most prestigious moving image prize for artists, and the resultant work, Ashley, was premiered at Glasgow Film Festival in March 2020.

Films in the Film London Jarman Award Touring Programme 2022:

 

Grace Ndiritu, Black Beauty (2021), 29 mins

Onyeka Igwe, a so-called archive (2020), 20 mins

Alberta Whittle, Lagareh – The Last Born (2022), 32 mins

Rosa-Johan Uddoh, Black Poirot (2018-2021), 21 mins

Morgan Quaintance, Surviving You, Always (2020), 18 mins

Jamie Crewe, False Wife (2022), 15 mins

Acknowledgements

 

Image credit: Jamie Crewe – False Wife (2022) [still 08]

This event is presented as part of Void’s Public Programme of events for current exhibition Being in a Place: A Portrait of Margaret Tait by Luke Fowler. The exhibition is presented in collaboration with the Margaret Tait Estate, The Modern Institute, Orkney Library & Archive, LUX, LUX Scotland, Pier Arts Centre, and Sarah Neely.

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

Luke Fowler funders logos

portion of a human face with a blue and purple filter

False Wife Screening – Film London Jarman Award Touring Programme 2022

False Wife – Film London Derek Jarman Award Touring Programme 2022

 

Tuesday 18 October, 7pm

 

Join us for the live screening of False Wife (2022) by shortlisted Film London Derek Jarman award nominee Jamie Crewe, and a subsequent Q&A between the artist and Void Director Mary Cremin.

 

Book for the Q&A in Void via the link here.

 

Alongside this in-person screening and Q&A, an online screening of works by all six of the 2022 Film London Derek Jarman award shortlist will be freely available to view via a link sent to your email, from 12 midday to 12 midnight on 18 October 2022.

 

Book for the online screening via the link here.

 

 

Jamie Crewe, False Wife (2022)

 

False Wife (2022) is a work that leads its visitors through an ordeal of transformation. A poppers training video is typically a user-made compilation of pornographic clips, uploaded to adult video hosting sites. These clips are paired with text, hypnotic music, voiceovers, and instructions for action. Viewers are told to masturbate and sniff poppers, to let imagery and sensation meld, and reach a gooning ecstatic fervour.

 

False Wife is a poppers training video, but its material is obscure. Its narrative is drawn from a variety of folk tales in which transformation occurs, and relationships happen. Its footage is scavenged from sources that reflect these themes, reduced to slivers of significant imagery, rubbed together. These originating sources are warped or inflamed to say ambiguous things: to discuss desire, shame, transgression, and the longing for change, and the various ways we want — and don’t want — to face them.

 

The Film London Jarman Award 2022

 

Discover the incredible diversity within the world of artists’ filmmaking in the UK, with a presentation of the work of the shortlist of this year’s Film London Jarman Award. Films in the programme use animation, archive, poetry, dance and hypnotic music to explore narratives around abolition and colonial history, adolescent London in the 90s and Fairy folklore, pop culture and climate change.

 

The artists shortlisted this year are: Grace Ndiritu, Onyeka Igwe, Alberta Whittle, Rosa-Johan Uddoh, Morgan Quaintance, Jamie Crewe. The programme will also feature a Q&A with Jamie Crewe at the gallery (book via link above).

 

Inspired by visionary British filmmaker Derek Jarman, the Award recognises and supports artists working with the moving image. The shortlisted artists illustrate the spirit of inventiveness within moving image, highlighting the breadth of creativity and craftsmanship the medium has to offer, as well as its powerful ability to engage and provoke audiences. The Award comes with a £10,000 prize.

 

The winner of the Film London Jarman Award will be announced on the 22 November at the Barbican Centre. The award is presented in partnership with the Whitechapel Gallery.

 

The tour runs from 23 September to 12 November, in partnership with seven arts venues across the UK.

 

Jamie Crewe Biography

 

Jamie is a graduate of Sheffield Hallam University and Glasgow School of Art. They have had a number of solo exhibitions, including at Gasworks (London), Tramway (Glasgow), and Grand Union (Birmingham). Their work has also been presented in group exhibitions such as Glasgow International Festival Director’s Programme and I, I, I, I, I, I, I, Kathy Acker at the Institute of Contemporary Arts (London). Jamie was the recipient of the tenth Margaret Tait Award, Scotland’s most prestigious moving image prize for artists, and the resultant work, Ashley, was premiered at Glasgow Film Festival in March 2020.

 

Films in the Jarman Award Touring Programme 2022:

 

Grace Ndiritu, Black Beauty (2021), 29 mins
Onyeka Igwe, a so-called archive (2020), 20 mins
Alberta Whittle, Lagareh – The Last Born (2022), 32 mins
Rosa-Johan Uddoh, Black Poirot (2018-2021), 21 mins
Morgan Quaintance, Surviving You, Always (2020), 18 mins
Jamie Crewe, False Wife (2022), 15 mins

 

Acknowledgements

 

Image credit: Jamie Crewe – False Wife (2022) [still 01]

 

This event is presented as part of Void’s Public Programme of events for current exhibition Being in a Place: A Portrait of Margaret Tait by Luke Fowler. The exhibition is presented in collaboration with the Margaret Tait Estate, The Modern Institute, Orkney Library & Archive, LUX, LUX Scotland, Pier Arts Centre, and Sarah Neely.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

 

Luke Fowler funders logos

frame of a straight road surrounded by grass

Preview: Being in a Place: A Portrait of Margaret Tait, an exhibition by Luke Fowler

Saturday 10 September, 6:30-8pm

 

You are invited to join us for the première of Glaswegian artist Luke Fowler’s short feature film Being in a Place – A Portrait of Margaret Tait, featuring the work of filmmaker-poet, the late Margaret Tait. Drawing on a wealth of unseen archival material and unpublished notebooks, the film weaves a complex and personal portrait of Margaret’s life, from the perspective of a fellow artist sensitive to the potential Margaret envisaged for film as a poetic medium.

 

The opening will run from 6:30-8pm with a special in conversation between Void Director Mary Cremin and artist Luke Fowler at 5:30pm on the same evening. This event is free to the public but booking is advised – you can register to attend here.

 

Refreshments will be provided – with drinks sponsored by Northbound Brewery.

 

Acknowledgements

 

Image credit: 43mins A967 disused airfield road

 

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

 

an elderly man smiling looking out of frame

‘In poetry, something else happens’. A talk by Peter Todd.

Saturday 8 October, 2pm

Book via the link here.

 

Join us on Saturday 8 October at 2pm at Void as artist Peter Todd talks about the work of Luke Fowler and Margaret Tait – with both of whom he has worked. He explores ideas around works which use poetic form. What happens when a film has a poetic rhythm, chapters, or verses? What happens when written words are used with images, and sounds?

 

Through a unique selection of films for Void Gallery, in dialogue with Luke Fowler’s show, Todd will reflect on how film makers have approached these questions; with works by Luke Fowler (an early work), Renate Sami, Margaret Tait, and Todd’s own film For You.

 

The event title uses a quote from a passage by poet and film maker Margaret Tait which reflects her search for a way of working ‘The contradictory or paradoxical thing is that in documentary the real things depicted are liable to lose their reality by being photographed and presented in that “documentary” way, and there’s no poetry in that. In poetry, something else happens. Hard to say what it is. Presence, let’s say, soul or spirit, an empathy with whatever it is that’s dwelt upon, feeling for it – to the point of identification.’

 

Peter Todd Biography

 

Peter Todd is an artist who works predominantly with film both as a maker and curator, in collaboration with other artists and filmmakers. His work which is part of an everyday practice, a way of living, has been shown in galleries, cinemas, at festivals, and in alternative spaces. The films record the experience of place, daily life, qualities of light, and time, and have explored the possibilities offered by poetic forms. And the films are often essentially self made (using 16mm film) and he has developed dialogues with other film makers and artists around the possibilities of seeing, exhibiting, documenting, and experiencing works. His film Room Window Sea Sky filmed on a single 100 foot roll of 16mm film and edited in camera was selected for the competition of the L’Âge d’Or Festival, Brussels, and his films have been shown at festivals including Rotterdam, London, Edinburgh, Images Toronto and IndieLisboa. Individual screenings include LUX cinema London, Filmsamstag/Kino Arsenal, Berlin, and the Star and Shadow, Newcastle. He was commissioned by Tate to make the film For Luke of Luke Fowler for the Turner prize show 2012. Curated projects often using both contemporary and archive films include the evolving touring programmes Film Poems (1-4), exploring relationships between the moving image and poetry for which he is seen as a central figure, and Garden Pieces (1-3). Known for his dialogue with, and for curating the work over two decades of, Orcadian film maker and poet Margaret Tait (1918-1999), this work includes retrospectives of her work for the Edinburgh Film Festival in 2004 and BFI London in 2018, and an international touring programme of her work for LUX. Further curating includes a touring programme of work by the New Zealand artist and poet Joanna Margaret Paul Through a Different Lens / Film Work by Joanna Margaret Paul and the two part programme of films Place of Work for the Whitechapel Gallery London. Todd first exhibited with Luke Fowler in 2008 at the Rotterdam Film Festival and later that year they worked together with Keith Rowe on the live film and sound work The Room at Tate Modern, London. He has presented work at MoMA New York, BAFICI Buenos Aires, MIFF Mumbai, and Kino Arsenal Berlin amongst others and his films are in distribution with LUX, London and Light Cone, Paris.

 

Acknowledgements

 

Image by: Sara Leigh Lewis

 

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

 

 

series of photos of a girl with black hair

Personae: Margaret Tait, portraiture and film

A talk + film programme presented by Sarah Neely

Presented as part of the Public Programme of events for Void Engage

As part of Luke Fowler’s solo exhibition Being in a Place: A Portrait of Margaret Tait

 

Like the film poem, the genre of the film portrait was a key focus of experimentation for Margaret Tait. Tait’s film portraits include depictions of fellow students (Three Portrait Sketches, 1951), her mother, (A Portrait of Ga, 1952), friend and poet, Hugh MacDiarmid (Hugh MacDiarmid: A Portrait, 1964), and her neighbour and local crofter, Mary Graham Sinclair (Land Makar, 1981).

 

Taking into account Tait’s semi-autobiographical work, Personae (published by LUX in 2020), the talk will explore the nature of portraiture – its possibilities, as well as its limitations. The complexities of Tait’s own approach to portraiture will be considered alongside the work of other filmmakers, and in relation to Luke Fowler’s new film about Margaret Tait, Being in a Place: A Portrait of Margaret Tait.

 

The talk will be followed by a short programme of film portraits by Margaret Tait, Luke Fowler and two other filmmakers connected to Margaret Tait – Peter Todd and Ute Aurand.

 

Sarah Neely Biography

 

Sarah Neely is Professor in Film and Visual Culture at the University of Glasgow. Her current research focuses on the areas of film history, memory and artists’ moving image. Recent publications include Between Categories: The Films of Margaret Tait – Portraits, Poetry, Sound and Place (Peter Lang, 2016) and, as editor, Personae (LUX, 2021) a non-fiction work by Margaret Tait. She is currently writing a book on memory, archives and creativity. In 2018, Neely was director of Margaret Tait 100, a year-long programme of events celebrating the centenary of the Orcadian filmmaker and poet.

 

Acknowledgements

 

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

frame of a boy using a technical tool with two wheels on a table

In conversation: Luke Fowler & Mary Cremin

Join us on Saturday 10th September from 5:30-6:30pm as Void Director Mary Cremin is joined in conversation by Luke Fowler to discuss his solo exhibition Being in a Place: A Portrait of Margaret Tait. The exhibition opens to the public from 6:30-8pm on the same evening. Drinks are provided by Northbound Brewery.

 

This event is FREE but booking is advised.

 

~~~

 

Void is delighted to present the première of Glaswegian artist Luke Fowler’s short feature film Being in a Place – A Portrait of Margaret Tait, featuring the work of filmmaker-poet, the late Margaret Tait. Drawing on a wealth of unseen archival material and unpublished notebooks, the film weaves a complex and personal portrait of Margaret’s life, from the perspective of a fellow artist sensitive to the potential Margaret envisaged for film as a poetic medium.

 

At the centre of the film is an imagining of an unrealised script for a feature film discovered amongst Margaret’s documents in Orkney titled Heartlandscape: Being in a Place. Heartlandscape was originally written by Tait in 1986 but never got beyond the proposal stage. The proposal describes several sections and films – including Garden Pieces which was realised and became Tait’s final 16mm film. At the heart of Tait’s proposal is the description of a landscape, and a journey through it – covering a terrain of moorland and hillside that Margaret knew intimately as her daily drive; from her home in Aith – to her work at Orquil Studio, in Rendall. The journey encompasses views over Rousay and other Orkney isles and beyond it to the Atlantic ocean and Hoy but it was the diversity of the terrain that fascinated Margaret; covering everything from peaty wilderness areas, to pre-historic dwellings and signs of modernity – including TV towers and experimental wind-turbines.

 

Although Margaret’s films have been acknowledged recently as pioneering and ahead of their time – she lived a largely isolated life in Orkney. Her body of work – some thirty-two short films and one feature film were for the most part self-funded and self-distributed, and, compared to the work of her male counterparts, often dismissed or ignored for appearing too “amateur-ish”.

 

This film sets about to offer a new reading of Tait’s life and work based on her own notebooks, film scripts, recordings, correspondence and portraits of people that she filmed. The exhibition provides an opportunity to discover the works of Margaret Tait through archival material that demonstrates her multifaceted practice through her drawings, assemblages, poetry and films. Fowler’s film draws on the landscape and the terrain that was so significant in her work and creates a unique portrait of one of Scotland’s most significant, and proudly independent, filmmakers.

 

Luke Fowler Biography

 

Luke Fowler (Glasgow, 1978) is an artist, filmmaker and musician based in Glasgow. He studied printmaking at Duncan of Jordanstone College of Art and Design. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create complex portraits of counter-culture and other marginalised figures. Fowler was awarded the inaugural Derek Jarman Award in 2008 and was shortlisted for the Turner Prize in 2012 for his first feature film All Divided Selves. In 2019 he won Best Short film at both Glasgow Short Film Festival and Punto De Visto international documentary festival, Pamplona, for his film Mum’s Cards.

 

Margaret Tait Biography

 

Margaret Tait was one of Scotland’s most important female independent filmmakers; she died in her home town of Orkney in 1999 at the age 80. 2019 marked her centenary with a series of exhibitions and events taking place worldwide to broaden the distribution and appreciation of her work (MT100). Tait made one feature film in her life (Blue Black Permanent, 1992) but was best known for her short 16mm poem-films (or film-poems). It’s not surprising that she also wrote and published poetry and short stories (publishing two volumes in her lifetime). After studying with Roberto Rossellini at the Centro Sperimentale film school in Rome (1950-52) she based herself in Edinburgh where she ran the Rose Street festival – rubbing shoulders with the likes of John Grierson, Hugh MacDiarmid, Sorley Maclean and Norman MacCaig. She returned to her birthplace of Kirkwall, Orkney in the late 60’s – which became the landscape and subject of the majority of her following films until her passing.

 

Acknowledgements

 

Image credit: 43mins A967 disused airfield road

 

This exhibition is presented in collaboration with Creative Scotland, Donald Porteous, LUX Scotland, the Margaret Tait Estate, The Modern Institute, Sarah Neely, Orkney Library & Archive, and Pier Arts Centre.

 

Void Gallery is supported using public funding from Arts Council Northern Ireland, Austin and Hope Pilkington Foundation, Arnold Clarke Foundation, Derry City and Strabane District Council, The Ireland Funds, Ragdoll Foundation, Art Fund, Halifax Foundation, The Arts Society.

a boy and a girl talking

Eshk Wa Dosti (love and friendship) – In conversation and clips screening

Presented as part of Void’s Public Programme for current exhibition Above Us the Milky Way (25.06-27.08.22) featuring the work by artists Orna Kazimi, Kubra Khademi, Mario García Torres and Erkan Özgen.

This event is free but booking is essential.

~~~

Screening of clips from one of the oldest archival films Eshk Wa Dosti (love and friendship), 1946, followed by a discussion with AVAH collective, filmmaker Parwana Haydar and Void Director Mary Cremin.

An Afghan-Indian co-production, Eshk Wa Dosti (love and friendship) was shot in Lahore (still part of British India at the time). It is a sweet musical about a poet and an independent woman. Two clips from the film will be shown as the digitised by a project the full film print used for the tape is in very bad condition.

~~~

The title of the exhibition is taken from a novel by Fowzin Karimi that explores the complexities and the impact of war through memories, loss and notions of home.

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

The effect of war on women is prevalent in parts of the Middle East especially in the past year, most significant is the transformation of Afghan society in terms of girls’ access to education and women losing basic human rights and limits to their freedom. Women and girls suffer disproportionately during and after war, as existing inequalities are magnified and social networks break down, making them more vulnerable to sexual violence and exploitation.

Displacement due to war and conflict has significant implications on people’s sense of place and culture. This dislocation is passed through generations. Postwar, returning generations reach a location that only exists in their imaginations and through the stories of their parents or ancestors what remains is often just a memory and a decimated landscape. This question of how do we change this trajectory, imagining a new way forward that attunes to a more equitable way of being and breaking the repetition of the cycle of history is something that we need to address and is as urgent now as it has been throughout the history of war and conflict.

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

Acknowledgements

 

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

a crying baby with a white blanket leaning against a wall. in the background other people with blue blankets

Osama (2003) – Film Screening

On Thursday 11 August from 7-10pm Void will screen the film Osama (2003) by Siddiq Barmak.

 

Presented as part of Void’s Public Programme for current exhibition Above Us the Milky Way (25.06-27.08.22) featuring the work by artists Orna Kazimi, Kubra Khademi, Mario García Torres and Erkan Özgen.

 

The films have been co-curated by AVAH collective and filmmaker Parwana Haydar. The films chosen represent three different entry points into Afghan Visual Culture that affect our conversation on collective memory and consciousness as art workers that have biographical ties with Afghanistan.

 

This event is free but booking is essential.

 

Synopsis

 

A 12-year-old girl, her mother, and a boy (spandi) have survived the repressed demonstrations launched by Afghan women at the beginning of the Taliban regime. The girl and her mother work in a hospital and soon become aware that the Taliban have dismissed all the people working there and have closed the gate.

The Taliban make sure that no women can get out of their houses without a legal companion (without any member of their family). If they do so they will be punished.

To support the family, the girl’s mother, who has lost her job, decides together with the girl’s grandmother to change the appearance of the girl in order to look like a boy. This decision terrifies the girl. She is afraid of what will happen in the Taliban finds out that she is a girl.

To get a job, the mother and the girl go to the milkman who was an old friend of the girl’s slain father.

The next adventures begin from here…

The religious police of the Taliban force the people to go to the mosque for noon prayer. The girl who is still not familiar with these regulations makes mistakes during prayer session, which then causes a Taliban to become suspicious.

On the next day all the boys, including the girl (looking like a boy) are taken to the religious school called Madrassa, which is also the centre for military training by the Taliban. After some adventures the Taliban discovers the real face of the girl. The girl is put in jail. The Taliban’s judicial court, which advocates stoning and execution, force the girl to marry an old Mullah. After they are married the girl discovers that she is the Mullah’s fourth wife…

 

Directing, Editing, Script: Siddiq Barmak

 

 

Siddiq Barmak – Biography

 

Siddiq Barmak was born in Afghanistan in 1962. He earned an MA in cinema from the VGIK institute in Moscow. His debut feature, Osama (2003), was awarded at many prestige Festivals like Cannes, Busan, London and was named as best foreign-language film at the Golden Globe Awards (2004). His second film, Opium War (2008), was named Best Film at the Rome Film Festival, Batumi IFF 2012 and many other film festivals around the world.

 

Filmography:

 

The Wall, short movie, (1984)

The Circle, short movie, (1985)

Stranger, short movie, (1987)

Osama, feature movie 84 min ( 2003)

Opium War, feature movie 91 min, (2008)

 

Documentary films:

The disaster of withering, (1988)

Narration of Victory, (1991)

Invasion File, (1997)

 

As a producer:

Sacrifice (2002)

Earth and Ashes (feature film , France , Afghanistan 2004) Delight, short film 2009

An Apple from Paradise, feature film, ( 2009)

The Neighbour, feature film, (2010)

 

Above Us the Milky Way

 

The title of the exhibition is taken from a novel by Fowzin Karimi that explores the complexities and the impact of war through memories, loss and notions of home.

 

Many who are forced into exile face forced migration, and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

 

The effect of war on women is prevalent in parts of the Middle East especially in the past year, most significant is the transformation of Afghan society in terms of girls’ access to education and women losing basic human rights and limits to their freedom. Women and girls suffer disproportionately during and after war, as existing inequalities are magnified and social networks break down, making them more vulnerable to sexual violence and exploitation.

 

Displacement due to war and conflict has significant implications on people’s sense of place and culture. This dislocation is passed through generations. Postwar, returning generations reach a location that only exists in their imaginations and through the stories of their parents or ancestors what remains is often just a memory and a decimated landscape. This question of how do we change this trajectory, imagining a new way forward that attunes to a more equitable way of being and breaking the repetition of the cycle of history is something that we need to address and is as urgent now as it has been throughout the history of war and conflict.

 

AVAH Collective

 

AVAH Collective is an independent and global research collective and multimedia platform with contributing artists, art historians, curators, art world professionals, writers, and creatives covering Afghan Visual Culture, inclusive of its diaspora and minorities. AVAH contributors engage critically with Afghanistan-related and Afghan-diasporic themes at the nexus of mainly visual culture and contemporary art. The collective came together upon recognising a lack of obtainable information and long term initiatives concerning the historical and contemporary practices originating in or relating to Afghanistan.

 

Parwana Haydar

 

Parwana Haydar is an early career filmmaker who centers memory, family and collectivity in her practice. Her interest in how political organising merges with art started when she organised in Kin Collective – a film collective for racialised creatives. She is now Activities and Events co-president in the Student Union at SOAS and a student in Other Cinema film school.

 

Acknowledgements

 

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

I call out to my children at least ten times and I call the little one by the elder one's name. an elderly woman with short hair and a white veil seated. behind it are many carpets and suitcases

Erkan Özgen in conversation with Mary Cremin

Tuesday 5 July, 6pm

 

 

Join us for an online in conversation between Erkan Özgen, exhibiting artist in Void’s current Above Us the Milky Way Erkan and Mary Cremin, Director of Void Derry. They will discuss the work in the exhibition Purple Muslin (2018) and his overall artistic practice.

Erkan Özgen (Derik, Turkey, 1971) lives and works in Diyarbakır. He graduated from Çukurova University Painting Department in 2000. He works on video based installations and has participated in group exhibitions in Turkey and abroad. Most of his recent films deal with migration and human rights. The film Purple Muslin premiered at Manifesta 12 (Palermo, Italy, 2018), winning unanimous public acclaim.

Many who are forced into exile face forced migration and the burden of carrying the past into the present and future. The legacy of war, the repression of minorities and women, and the trauma that seeps through the generations forms the focal point of this exhibition.

Displacement due to war and conflict has significant implications on people’s sense of place and culture. Women and girls suffer disproportionately during and after war, as existing inequalities are magnified and social networks break down, making them more vulnerable to sexual violence and exploitation. Erkan Özgen’s movie Purple Muslin (2018) was created in collaboration with Yazidi women who escaped the menace of the so-called Islamic State of Iraq and al-Sham forces and sought refuge in Northern Iraq. The film is an inquiry into the ways in which these women cope with their traumas in an environment full of violence.

This event is free but booking is essential. A Zoom link will be sent prior to the event.

Acknowledgements

 

Void Gallery is supported by Arts Council Northern Ireland, Derry City and Strabane District Council, Halifax Foundation, The Ragdoll Foundation, The Ireland Funds, Austin and Hope Pilkington Foundation, and Arnold Clarke Foundation.

Image: Erkan Özgen, Purple Muslin, 2018. Courtesy of the artist.