YOUNG
LONDON
Artists 2011–2014
YOUNG LONDON In the middle of the nineteenth century a group of London artists banded together to form The PreRaphaelite Brotherhood. Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt, joined later by Ford Madox Brown, Edward Burne-Jones, Frederick Sandys and William Morris, were the young art stars of their era. No other group of British artists had the same powerful identity or status for one hundred and fifty years until a loosely knit group emerged from London art schools in the late nineteen eighties to change the perception of British art for a generation. Periodically, but rarely, certain exhibitions mark significant instances in the development of art. One such was Freeze that took place in three stages in a warehouse in London’s Docklands, the brainchild of Damien Hirst, a student at Goldsmiths’ College who had come to London from the North of England to study, and with Freeze launched a generation that came to be known as the YBAs – Young British Artists. What a mixed blessing that was. All in all there were probably no more than thirty artists who could be included under the soubriquet YBA, thirty out of many, many more of the same generation whose careers were overshadowed by overriding interest in one small part of a much larger scene. The advantage was to place contemporary British art centre stage on the global art map. It had the disadvantage of appearing to epitomise the latest developments in British art. One generation summed up in the output of a few. The YBAs were grouped together under the umbrella of ‘British’ – and that in itself has always attracted criticism. As part of Tate’s investigation into British Art – The Great British Art Debate – the London based artist John Russell, a founder of the artists’ group BANK – a radical force on the London scene for some years – was asked in an accompanying publication, the GBDA Fanzine, ‘Is the idea of British art a British fantasy?’ He replied, ‘I don’t think British art is a British fantasy. I just think it’s shit.’1 He expanded his view discussing the way in which culture in Britain has been determined by class, until the emphasis started to shift in the fifties with a series of exhibitions in which British artists began to use popular culture as a source. At the same time the higher education opportunities opened up to a far wider cross section of British people. From that point an engagement with popular culture has been a constant within British art and in spite of a close association with US culture. British Pop had its own stars in Peter Blake and David Hockney. Notwithstanding the global nature of contemporary art, its incidence in the UK has always asserted local characteristics, an evolution in Britain that can be regarded in part as a lineage of idiosyncrasies that impinge upon and have sometimes influenced the broader world of art. Its separateness while being also centre stage internationally makes the notion of ‘glocalism’ fit the UK better than most. This is not to say that British artists deliberately strive to affirm a parochial isolationism or espouse what was once described as a ‘Little Englander’ mentality but rather that their practice can contain distinct
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John Russell in conversation with Cedar Lewisohn, The Great British Art Debate Fanzine, Tate Britain, P4, 2012
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characteristics that mark it out from its counterparts in continental Europe and America. Quite how these characteristics may be summarised or from where their impetus stems is harder to determine but, historically, a popular antipathy to mainland Europe, a recent but now nearly defunct colonial past, and a highly structured class system, all play a part. In addition curatorial notions of what was or was not art contributed to a consensus that excluded some types of creative endeavour and confined what remained to an art world governed by concerns that had become increasingly irrelevant. In major cities of the world like London where contemporary art thrives, artists work to push the boundaries of art wider and wider. The latest art is therefore usually working out at the edges of what is commonly acceptable. The partiality of curatorial selection produces powerful paradigms that also leads wider art practice in particular directions. So what has all this to do with Young London? For all its Britishness and with the exception of some outpourings in Scotland, Young British Art was a London phenomenon. If the era of the YBAs was the era of ‘me’, current socially engaged art practice asserts the moment of ‘us’. The artists in Young London fall into neither category but demonstrate the effect of both. Less concerned with the self-analysis or the selfpromotion of some of their precursors, they are the inheritors of the new conceptualism that was used as a catch-all term for the YBAs. They unpick social norms and cultural inflections through popular culture and the global language of contemporary art. The Young London exhibitions don’t describe a movement. In a sense there are no new movements in art. Society moves on for better or worse. Media develop as technology advances but the concerns of artists are essentially the same now as they have been for the past hundred years. Periodically, because like everything else, art does not exist in a vacuum but in the social circumstances in which it is produced, different aspects of art are asserted over others and, for a while at least, the specific concerns of some artists hold sway. The artists exhibiting in Young London have all graduated since 2000. Even in an age of rapid achievement and quickly-attained prominence in the art world, these artists are nevertheless at the start of their careers. Young London sits within a scene comprised of fragmented contexts. Today many artists operate, to use the curator and theorist Nicolas Bourriaud’s term, as ‘navigators of knowledge’ often in association with institutions that are in place to support the teaching, production and display of contemporary art and which define to some extent what art is. But the viability of art’s institutions has been stretched by the nature of contemporary art practice as artists increasingly produce work that is incompatible with established conventions in art. Artists often make artworks that are the result of a long process of research and collaboration that is as much a part of the work as the final product. They make and place their work in a wide range of contexts and their processes cross over into other disciplines that are similarly involved with forming contemporary ideologies. Institutional initiatives to support alternatives to the orthodoxies of the contemporary art world happen gradually and are slow to develop effective progressive models. In addition the main players in the world of contemporary art have drawn so close that their roles overlap or are conflated to the extent that once distinct activities have begun to fuse with one another. In the light of this, combining artists together on the basis of their locality seems somewhat
obsolete if we acknowledge that local identity is no more a marker of value or indeed interest than a hundred and one other characteristics. Although contemporary art is not necessarily Western-centric, the work of contemporary artists is on show throughout the world as part of a homogenised global totality that comprises the art of today. However, as a medium for thematically linking artists without constraining them within the bounds of a curatorial conceit, using London and youthfulness as the conjoining factors is as good as any. The first Young London, was held in Summer 2011 – the oldest works in the exhibition were made in 2008 – and was intended to address a significant gap in the city’s exhibition circuit. It was planned that Young London should become an annual exhibition. Described by V22, the instigators and organisers of the exhibition, as follows – An annual survey that will provide the opportunity for everyone to observe trends closely as they develop and change. In this way, the Young London series will make a vital contribution not only to the promotion and promulgation of London’s fine art zeitgeist, but also to its assessment and critique. In our vision for Young London, youth and innovation are inextricable. We seek to promote work that challenges expectations, and to support bold young artists who are pushing contemporary art in new directions, especially at the beginning of their careers.2 Degree shows are an important part of London’s art scene but, still, few opportunities exist for young artists once they emerge from what can be several years in art school. This is frequently a testing time for artists, a crucial moment in the development of a new art practice without the studio or technical support offered in art school and separated from a structured critical discourse. For artists who have settled in London after art school, there are few opportunities for their work to be seen by those who are able to help them develop their careers. V22 sought to address this and conceived Young London as a survey of emerging contemporary practice. The first show included 92 works by 35 artists with many works commissioned expressly for the exhibition and made for the space. Young London has gone on to include a further 44. This field of artists exhibited over three years, however, still represents only a few of the numbers graduating from London art schools each year. V22 believed (and still do) that it was vital to promote the work of emerging artists by providing them with a platform big enough to allow the selected artists free reign in mounting works that could be seen on a larger scale than most galleries would be able to offer. This they could do in their two enormous ground floor spaces, the site of the first three iterations of Young London. The vast spaces in the V22 building in Bermondsey approached the volume and scale of the Turbine Hall at Tate Modern, allowing artists, if they chose, to work at a great height or extend over a large area. This could be a daunting prospect for any artist and one that is full of pitfalls. Artists might be overwhelmed by the space or fired 2
V22 Statement for Young London, 2011
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with misplaced ambition to operate on a scale beyond their creative means. However throughout the process of selection and commissioning the specific characteristics of the space have been thoughtfully considered by all concerned, the artists, selectors and the V22 team who more than anyone else understood the constraints as much as the possibilities of these two massive raw environments. With a budget minute in relative terms with that of the major galleries, V22 has installed three of the most ambitious exhibitions of contemporary art to be seen in London in each of the three years they have taken place. Much of the art that V22 as a contemporary art organisation promotes is experimental and innovative by its very nature. It has built on the tradition of providing artists with studios begun in the seventies in London by Air and Space (these days simply known as Space) and Acme, both of which mounted influential exhibition programmes that revealed the breadth of experimentation occurring among artists, almost entirely based in London, alongside their provision of studios. Both organisations continue to exist and to thrive. The contribution they have made to the support and promulgation of contemporary art in London runs deep. V22 is within the same mould, adapted to suit the times, more pragmatic but still as idealistic as the art world becomes increasingly polarised, creating a growing divide between the supply of art as luxury goods for those who can afford enormously expensive art objects acquired through the dealer system, and small-scale artist run projects. For many artists the mainstream art world has divorced itself from any philosophical ‘truth’ or base that once provided their inspiration. This has led to a disenchantment among many artists with the system and a rejection of the conservative values that dominate the commercial art world and which run counter to the iconoclastic aims of experimental contemporary art. With Young London, the organisers deliberately chose artists who engage with new concepts and practices. These were selected from nominations received through V22’s existing network, including artists from the V22 collection, art world professionals, academics, young curators, and the Young London alumni who were asked to nominate those artists from their peer group whose work they respected. Many of the artists subsequently selected had attended one of the main London art schools, the Royal College of Art, Royal Academy, Goldsmiths’ or the Slade. Most, but not all, had completed studies at post-graduate level and had shown in small emerging galleries in the UK and continental Europe. What might be regarded as a closed circle actually provides an insight into the specialised world of emerging artists, where friendships, networks and collaborations are enormously productive creatively and intellectually but which have still to be recognised beyond a comparatively small scene. The backgrounds of the artists vary enormously reflecting the diversity that makes up London. And, although there are powerful arguments to be made and pursued about the prohibitively high cost of student fees and the exclusion this produces, this diversity is a move away from the class ridden mono-cultural demographic that once predominated in the UK art scene.
While, as the V22 publicity states – Young London offers an eclectic and detailed exploration of the imperatives and artistic practices that resonate today [and] provides a unique platform for emerging artists to show their work alongside a wide group of their contemporaries in a large-scale exhibition3 – this cross section of work resists categorisation. It would be convenient to be able to sum up the work shown during those three years as containing some interconnected characteristics other than the fact it had been produced by recently graduated artists, or those new to a contemporary art practice, all based in London. But, as the fragmented nature of art practice demonstrates everywhere, this is not the case. These were multi-disciplinary shows, which included everything from performance, video, film, vlogs, sculpture, to installation and painting. They demonstrated imagination, engagement with issues, a sophisticated understanding of the place of fine art in contemporary visual culture and an ambition inspired not only by the V22 spaces but by the artists’ own sense of possibility. If there is one unifying characteristic that runs through the art and the Young London exhibitions it is that the artists currently working in London can justifiably claim to make it the most important centre for contemporary art in the UK and one of the principal focal points for art in the world. Its art schools, studio complexes, artist run galleries and projects provide the city with the most dynamic aesthetically and intellectually stimulating context for experimentation across the generations.
David Thorp 2014
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V22 publicity 2013.
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Aaron Angell Born Kent No food no romance, scholarly surface of matted flowersmoke, peaceful aluminium spirit
Bill Turnbull’s Mobile Stabile in barium blue, glazed stoneware, 50 x 50 x 28 cm, 2014
Teen limb, acrylic on clear acrylic, 100 x 70cm, 2012 Police hat, Glazed stoneware, installation view Gallery Peacetime at Kestnergesellschaft, Hannover, 2014
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Adam Thompson
Untitled (NGC 3031 constellation), mylar, 25 x 119 cm, 2010
Untitled (Components & Variables), light deflector panels, mirrors, photographic plates, rubber sheet, dimensions variable, 2010
Alex Virji
Wildman Of Dark Woods, acrylic, gouache, graphite on linen, 25.5 x 30 cm, 2014
Cavesnake, acrylic, gouache, graphite on linen, 60 x 65 cm, 2013
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polyurethane resin, 75 x 25 x 18 cm, 2012
Alice Channer
Tsunami, (detail), digital print on heavy crepe de chine, cast aluminium, chrome bar, steel cables, 1236 x 141.5 x 757 cm, 2013
MAR108, cast, translucent, pigmented
Alice Theobald
I‘ve said yes now, that’s it performance at Outpost Offsite, Norwich, 2014
I’ll finally lose the plot... colour HD video, 2014
Script: Character 1: I’ll finally lose the plot you know, you wait and see Character 2: Come off it, there never was a plot in the first place Character 1: Oh please enough of this pretending, it’s simply ridiculous! Character 2: Don’t you turn your back on me... Character 1: Or what?! Character 2: Or I’ll finally lose the plot, you wait and see Character 1: Come off it, there never was a plot in the first place Character 2: Oh please enough of this pretending, it’s simply ridiculous! Character 1: Don’t turn your back on me! Character 2: Or what?! Character 1: I’ll finally lose the plot, you wait and see Character 2: Come off it, there never was a plot in the first place Character 1: Oh please enough of this pretending, it’s simply ridiculous! Character 2: Don’t you turn your back on me...
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Anthea Hamilton
Manblind no5, mixed media, 273 x 205 cm, 2011
Manblind no6, mixed media, 280 x 381 cm, 2011
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Amy Petra Woodward Rolled wet shirt, UV finished ink on silver reflective stretch, 27 x 35 cm, 2012
CK II, UV finished ink on silver reflective stretch, 51 x 30 cm, 2012
Peckham Palazzo, Venice Biennale, 2013
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Beatriz Olabarrieta Shifty Show (A performance with five voice-overs), detail, mixed media, Cell Project Space, London, 2014
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Model of an Unknown Monument No.16, plaster, 72 x 44 x 13 cm, 2014
Ben Sansbury
Next, Now, Then, installation view, The Goss MIchael Foundation, Dallas, 2014
Installation view, Chalk Blush Kinman Gallery, London, July 2014
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Benedict Drew
Heads May Roll, mixed media, dimensions variable, installation view Matt’s Gallery, London, 2014
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‘Did you just call and respond to yourself?’ ‘I do this when I’m upset.’ ‘You can’t call and respond to yourself.’ ‘I do it when I’m lonely.’ ‘Shit, I do it pretty much all the time.’ ‘I even did it when they lowered my old man into the ground.’
43 Upward inflection, mixed media installation performance, dimensions variable, 2014
CiarĂĄn Ă“ Dochartaigh
Claire Hooper Nach Spandau, video, 52minutes, dimensions variable, 2008
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Damien Roach Thought sculpture #19, electrochemical signals, dimensions infinitely variable, 2014
Shallows, HD video, 8’22� continuous loop, stereo sound, flatscreen monitor, speakers, microphones, amplifiers, specific seating arrangement for room dimensions, 2012
Dan Walwin
Immortality, HD video, 3’21” continuous loop, silent, front projection on freestanding screen, 2011
op, HD video, 6’47” sequentially timed loop, silent, rear projection on fabric screen, 2013
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Excavation V, digital collage, dimensions variable, 2014
Eighth Restorative Stage, HD video, installation view V22 Young London, 2012
Daniel Swan
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David Raymond Conroy I’d be lying if I said I didn’t have designs on you (Flohmarkt am Mauerpark, 14/11/10), photocopy, foil thermal blanket, pins, 160 x 95 cm, 2010, installation view V22 Young London, 2011
It was part of it before. And now.1 David Raymond Conroy I’m not interested in irresolvability, because if you’ve decided that something is irresolvable it is really resolved and if I know that I cannot resolve something, if there is no resolution to be found, and that is the point, I lose interest. I’m not sure of the value of continuing in vain. Part of me wants solutions but on the other hand, I know that if there is an end, and that end is in sight and you know where it is and you reach it, then you’re done. It’s finished. Anyway, so what I mean is that I want to make something that I feel has some sort of efficacy; that you look at it and you get something back and you feel like you are getting somewhere. It is important you bring your own stuff to it because it’s important to me that there is some sort of identification, and well, it needs to be realistic. Somehow, that’s part of what always mattered to me. So, I want to write this piece of writing that says something about what I hope the work might do, or something that might help you out, if you wanted help and turned to this as a source for that. But what is the point of writing this if it is just a clang bird flying in ever decreasing circles until it disappears inside itself? I want to do more than that. I want to write something with which, or to which you might relate. Something about how hard it is to guide someone if you don’t want to show them the way, or even tell them where you hope they might get to. It is not right to say there is a path, or even to try explaining what a path might be and how a new one might be formed. No, what I want is more like saying there is a place I want you to arrive at and you can get to it however you choose. However it is a specific place, and I hope I can indicate where it is, but at least part of the point of getting there is finding the way, because in getting there you create it. So no, you don’t get there by a path, you get there through an area, past which there is another, more specific area, which itself may be crossed and that would get you somewhere else. But I don’t know where that is. I am not making myself clear. Here I find myself resorting to platitudes and stupid analogies and all of these things you’ve heard before, and I’m not helping you. But I want to say that it’s over there, past all these others. Not to say further, but just one amongst a lot of other parts, some of which you might reach before it and some of which extend beyond it. But of course this kind of orientation really just depends on where you started; if you’re drinking or pouring. So I am unsure of what to say, that much is clear. But then I don’t think that these things are the place for explanations. Explanations are the wrong way to go, or at least they are definitely the wrong place to start. Explanations then, if they must come, will come later. And I must stop myself from pointing things out. If there is a joy to be found in a moment of revelation it must be your own, and that seems like it might be a place to begin. I’m never sure about the backs of video boxes and the fly leaves of books.2 I am uncertain of the value of a synopsis. I think that a well-chosen clip or specific extract3 is often a better guide, or a description by a friend, who then regresses; but I don’t want you to expect too much, then you’re bound to be disappointed, I mean, it’s good, I don’t know if enjoyable is the right word, but it’s alright, it’s pretty good I suppose, but it has faults, it’s far from perfect, but I mean, it’s worth seeing, so yeah, it’s worth making the effort. Stein, Gertrude, How to Write, 1931, Los Angeles, Sun & Moon Press, 1995, p.11 Then again there is an a audiobook by David Lynch called “Diane... The Twin Peaks Tapes of Agent Cooper”∆ and on the cover there is a line “...A small town is not unlike a river, lots of hidden currents and eddies, each holding its own secrets”. I always liked that as a description of Twin Peaks.* 3 I remember reading an interview with Jeff Wall somewhere and in it he said, “the work is not a sea of meaning from which the viewer can fish at random”.# ∆ Lynch, David, Diane... The Twin Peaks Tapes of Agent Cooper, New York, Simon & Schuster Audio, 1990 *# I have these water based analogies that have been stuck in my head for years and I’m not sure how they fit together but I keep coming back to them when I’m trying to make work. To be honest I’m not sure, now that I’ve written them down, that they are entirely accurate as quotes, but they’re what I have. 1 2
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Ed Atkins
Death Mask II: The Scent, still from HD video, 8mins 19secs, 2010
Eddie Peake
Contrapposto Pause, performance with six dancers, a drummer and a keyboard player, performance at V22 Young London, 2011
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MAKE, V22 Young London, 2013
Florence Peake
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Gabriel Hartley
From left clockwise: Pinch, paper, foam and resin, 55 x 65 x 20 cm, 2014 Splays, Brand New Gallery, Milan, 2013 Magnifier, oil, spray on canvas, 162 x 121 cm, 2014
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I hate what you have done to my hair, 2014
George Henry Longly
Take it it’s yours (detail), 2014
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Gino Saccone Interlace 1T [Lacuna], interlace weave, Lacuna object - single image stereogram, 160 x 260 cm, installation view V22 Young London, 2011
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Mind as a Razorblade, acrylic on linen, 175 x 155 cm, 2014
Gorka Mohamed
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Existing Exist Remain Survive Live Be Alive Being Happening Be Real Be Present Be Existent
To accept what exists once I have recognised that I cannot change it, 9ct gold cast olive stone, 2013
Enduring Lasting Subsisting Continue Living Stay
Hannah Lees
Alive Be In This
World Be Animate Endure Keep On Go On . . . . . . . . . . . . . . . . . . . Beneath it is all dark, it is all spreading, it is unfathomably deep, vegetable dyed cloths, wood, 2014
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Kicking My Game, video stills, 2013
Hannah Perry
Always (Kissing), aluminium panel, vinyl, lipstick, silkscreen, paint, digital print, 243 x 122 x 20 cm, 2014
Hans Diernberger Above: VENUS[2] Magdalena Della Luna, 109 x 81 cm, 2013 Right: VENUS[6] Secret Road, digital video installation, 2013
Unit 19, (detail), 78 x 60 cm, 2014
Jack Lavender Point the way nature I’m hungry, plastic doughnut, metal rods, wire, hooks, glass leaf, 182 x 70 x 30 cm, 2013
Now And Then It Comes Back 15, glass, paint, aluminium tape, sand, glue, paper, stickers, metal, marker pen, stones, string, dust, mixed media, 180 x 90 x 3 cm, 2014
Jack Strange
All Dolphins, video still, plastic bags, water, iPod with video file and sound, dimensions variable, 2011
All Fish, plastic bags, water, iPod with video file and sound, installation view V22 Young London, 2011
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Untitled, dyed concrete, chalk, clay, 16 x 22.5 x 4.5 cm, 2013
Untitled, plaster, ink, 34 x 45 x 4 cm, 2014
Jack Vickridge
Untitled, watercolour on paper, 20 x 15 cm, 2012
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Jason Dungan
The camera is sitting on the ground, on the sidewalk next to a residential street. It’s a video camera, probably around five or ten years old. It’s a little battered. On its front, a red light is blinking, indicating that it is recording. If you looked in the viewfinder, you’d see an image of a parked car, some windows on a house, and a partially-crushed beer can in the street. It has been cloudy, but some sun is beginning to peek through, causing the auto-exposure on the camera to fluctuate as it grapples with the changing light. A few minutes later, a man walks by with a dog on a lead. The dog energetically sniffs the camera as it trots along, nudging its nose into the lens and turning the camera ninety degrees or so clockwise. Now it is looking down the length of the street, which ends on a busy intersection. On the other side of that intersection, the road curves down and around a corner. That street is lined with shops, and is busy with pedestrians, bikes and buses. The sun now is shining directly into the lens. The sky is totally whited out, and the sun is causing purple and blue flares to appear in the image. The only thing legible in the picture is to the left, where a pair of disembodied legs hover beneath a black shadow, which has been totally underexposed as the camera struggles to cope with the direct sunlight. Periodically, a hand emerges from the void clutching the smoking butt of a cigarette, which dangles at the side of the legs until the hand re-enters the emptiness for another smoke. Another cloud appears to block the sun, and the rest of the body is revealed: a man in a purple T-shirt, smoking a cigarette and shielding his eyes with his other hand. Now that the sun has temporarily disappeared he drops his left hand, stubs out his cigarette on the ground, and walks across the road, crossing out of frame to the right. It is at this point that a young woman happens upon the camera. She stops to take a look, the tips of her sneakers visible just inches from the camera’s lens. Suddenly, the image becomes a jumbled mess of blocky horizontal lines. Then, the picture settles on an off-kilter framing of the ground, with the woman’s feet in frame at the bottom of the left-hand side. The slow rotational movement in the image implies that the woman is examining the camera, either to decide if she wants it, or if not, what she should do with it. It does not appear that she realizes it is recording. Moments later, the camera drops in height, and begins to swing rhythmically up and down. She is walking up the road, away from the busy intersection. Then, the camera flips up dramatically, where we catch a glimpse of her face. Squinting, she brushes back some hair and examines the front of the camera. A smile appears as she realizes that it is recording. The image blurs again until it alights on a tree whose leaves are gently blowing in the wind. The camerawork is a bit shaky, handheld, but focused. She studies the shape of the tree and pans gently to reveal the whole thing. Discovering the zoom on the camera, she slowly zeroes in on the roiling shapes of the tree’s many leaves, as they twirl and flap. Then, abruptly, the camera whips away from the tree and is placed quickly on to the pavement. It is pointing away, towards the side of a residential block of buildings that contain a small shop in the ground floor. We can see someone leaving the shop, looking directly at the spot where the camera is sitting. It seems that the young woman is under the impression that the camera is owned by this man, so she has put it down on the ground to avoid any hassle. The man stares a bit longer, then turns and carries on down the road. Now the camera is looking at the side wall of the building, and the just-visible sense of activity inside the shop. A few minutes later, the sun comes out again, throwing a large shadow from the tree on to the side wall of the building opposite. The shadow flickers and shifts as the wind pushes the leaves around.
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Jesse Wine
Jesse show passion III, glazed ceramic, 29 x 38 x 36 cm, 2014
Jesse II, glazed ceramic, 51 x 53 x 50 cm, 2014
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Jimmy Merris
LONDON, (video still), Bloomberg SPACE, 2013
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Joel Croxson
Swan, gouache on paper, 59 x 42 cm, 2010
Portrait of a Dreamer, gouache on paper, 59 x 42 cm, 2010
Ray Gun, gouache on paper, 59 x 42 cm, 2010
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Johann Arens
Marte e Venere - A Hand Held Monument, digital video, 10 min, 2013
Internet Centre & Habesha Grocery, installation, 2013
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Katia Barrett
The Multiple Lives of Pearl Roundabout, A0 posters, installation view V22 Young London, 2013
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Handbill for a Diaspora, wool felt, A4 poster, installation view V22 Young London, 2013
KERNEL
Mirrors (Scale 021, 027), 2 + 1 x 19�/45 U server-rack steel frames, rack-mount server computer, digitally printed silk crepe de chine, dimensions variable, 2012
Inputs, Loops and Anchors (hook), digital drawing, 2013
Reciting, HD video with sound (16:48), 2013
Reciting (fragments) ...The present is offered as a field of uncertainty and abstraction, but also as the most comprehensible and specific point of our activity‌ Likewise, agency in this century derives from the ability to organize life through the conduct of information, to navigate through what can be both reliable and unreliable material... We ultimately subscribed to the simple idea that everything is connected to everything... From individuals to nations, interlocked in a manner which has never been the case before... Like how it happened when the medical transplant industry became an international network and human bodies became patchworks of the global other... Once the surface is cracked, the movements are disrupted... Frictions want to become invisible... Forms of social action that seemed to have diminished came into the foreground, only to fade again in erratic recurrence... Interfaces mask quickly the origins of raw forms... Novel communal configurations shape and dissolve into fluid, improvised hybrids... Peripheral modes of subjectification are suggested, accessed, broadly consumed... Everything can become a model... It is now expected to produce compatibilities, to make imaginative connections between life and work, to effortlessly adjust and transform... We learn and adapt transferable skills, specializing in everything and crafting nothing.... Concern is sporadically raised around what is shared in common, but is not always perceived as such... Data speak to data in the form of shared inheritance... Dynamic associations and ensembles were suggested, making us ultimately familiar with composite systems of social living, amalgams of technology, laws, desires and physical constraints... A reinvention would be considered an operation of redundancy, not efficiency... KERNEL, 2012-2013 131
Kim Coleman & Jenny Hogarth
Laura Morrison A Beautiful Girl Lets Down Her Hair on a Bus, wall relief, found words and watercolour for Rebecca, 2014
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Wantee, installation view at Tate Britain, London, 2013, includes the film work Wantee, HD video, 14 min, 2013
Laure Prouvost 139
Frank! exhibition view, Rowing Projects, London 2012/2013
Francesco Pedraglio
SCENARIO VI a man possibly a detective all dressed in black and with a pineapple in his left hand enters a crowded bar on the outskirt of a sleepy seaside town. As soon as he steps into the premises the loud mob gathering there stops speaking and silence fills the entire room… now all you can hear are the steps of the man zigzagging around the tables his leather shoes snapping against the worn-out terracotta tiles all eyes fixed on him as if that slender curved body was some sort of a magnet. The man reaches the counter and orders a carrot juice. He’s still holding the pineapple in his left hand.
Don’t expect too much from an object, poster series, ongoing
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Lewis Ronald Untitled, clocks, 45 x 45 x 15 cm each (approx.), 2011
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LuckyPDF
S/S 2013 Young London Collection, fashion line and concept store, 2012
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Results That Move You, 14 min 20 sec HD video, 2014 Â
Lucy Beech
Cannibals, 15 min 12 sec HD video, 2013
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Lucy Clout
Shrugging Offing, stills, 2013
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Bratty, Bratty, Brat, Brat. Lucy Clout 2013 I am embarrassed to write this. My face and neck are red. I am aware that the following comes under a stern and eye-rolling category titled ‘No Way To Live’. It counteracts spontaneity and ambition and is unsuitable for movie plotlines, creative seminars or tutorial pep talks. But, I am not trying to describe a regime worth practising, I am describing the beginnings of things. And the ends too. This is about a ‘NO’. It is not a wait-hang-on-I-need-to-catch-my-breath-NO, but an exertion of presence. Now, here now, at this time, with my body, in my cold studio alone at 1.51pm, NO is a resistance that solidifies my form into a thing that can make. It is my cheerleading squad, my cold hard cash, my assistant. NO conjures the place where something can happen. Things always start like this for me: art making, writing, breakfast – all accompanied by an obnoxious, infantile, all-consuming NO to almost everything. Hiding to avoid having anything asked of me, or inviting the question so that I can dig my heels in, brace and categorically refuse. There is a reason why NO is shouted by children from their prams and by dementia patients from their beds. As thoughts make their way into imperfect language, they ask something complicated of the body; that it should act as the authoritative object whilst always changing. Samantha Murray addresses this, observing that the fat body is “expected to engage in a continual process of transformation, of becoming and, indeed, unbecoming”. It can exist only “as a body aware of its own necessary impermanence”.1 It takes embodying transience with this particular urgency, to understand that “NO, FUCK, NO” makes ecstatic sense. I’ve written about this NO before, in various ways, I’ve made work about it too. The work that this text is pointing towards – a video as yet unmade – was funded by a proposal ending with the words (so pleasing to me) “this is a work about maintenance”, which it is. The materials that have been heaped up in preparation for this video are as follows: a dying clothing factory, garments which are sewn together to never slip or gape or change their minds, the screams of women at a male strip-show, hand gestures of touching and testing for quality, cloth slipping downwards, and living arms used as lifeless props. As well as one repulsive and compelling element, which I am not yet decided on: a boil-lancing video I’ve watched on YouTube many times and which I’ve been looking to use somehow? Or plain old food and shit? Severed thick ankles? Swollen snakes of hair and skin pulled from a plughole to a euphoric crowd (surely it’s time for that again)? The corner of an eyehole nearest the nose, burned skin, greasy hairs, bald armpits, teeth, bones, gristle, in fact everything bodily that is at all hard? Ridged nails, redness and whiteness? Repetition and tessellation, details not wholes: a camera zoomed in on a lumpy face and then zoomed back out again? But before all of these, that NO. I start filming on Friday.
1. Samantha Murray (2005): (Un/Be)Coming Out? Rethinking Fat Politics, Social Semiotics, 15:2, 153-163
Ludovica Carbotta
il mio spazio 01, inkjet print on cotton paper, 50 x 35 cm; il mio spazio 04, inkjet print on cotton paper, 50 x 35 cm; il mio spazio 05, lambda print on photographic paper, 70 x 46 cm; il mio spazio 06, lambda print on photographic paper, 70 x 44 cm; il mio spazio 07, inkjet print on cotton paper, 50 x 35 cm; il mio spazio 08, inkjet print on cotton paper, 125 x 110 cm; il mio spazio 09, inkjet print on cotton paper, 125 x 110 cm
159
Magali Reus
Installation view Kestnergesellschaft, Hannover, Germany, 2014
Parking (Disc), polyester resin, fibreglass, pigments, clear PVC, vinyl sticker, powder coated steel, powder coated aluminium, rubber stop-end, Men’s Health magazine cover, Car magazine cover, 57 x 142 x 49 cm, 2013
161
Maria Taniguchi Untitled, acrylic, canvas, wood support, unframed, 304.8 x 137.16 cm, 2014
Untitled, acrylic, canvas, wood support, unframed, 228.6 x 114.3 cm, 2014
Focusing on an invisible horizon, lino, metal, paint, fabrics and materials found on site, detail of mixed media installation at the Moving Museum, London, 2013
Marianne Spurr
Untitled, plastic bag, cable ties and black tacks on wooden stretcher, 50 x 40 cm, 2012
167
Mark Barker
London Group, welded steel, plaster, willow, gesso, oil, inkjet print on foam board, 110 x 100 x 115 cm, 2013
Private Corners (video still), colour video with sound, 14 minutes, 2013
Stuart Certain (video still), colour video with sound, 15 minutes 54 seconds, 2014
169
Matthew David Smith
GLAMROCKBOG, Toilet Disco at OPEN HEART SURGERY curated by THE MOVING MUSEUM, 2013
171
CUSTOMISED JACKET NO.2, inkjet print, plumbing pipes, foam, cable ties, 2012
Michael Dean (Untitled) Analogue Series, concrete, paperback books, 200 x 25 x 25 cm, installation view V22 Young London, 2011
175
Minae Kim
Behind the Scene, framed canvases, fluorescent tubes, MDF, 200 x 110 x 10 cm, 2 pieces, installation view V22 Young London, 2012
Flat, aluminium, acrylic panel, LED lights, 40 x 360 x 9 cm, 2014 Three Authors, site-responsive installation, partition wall, framed partition walls from the previous exhibition, carpet, screw nails, 2014
177
Natalie Dray
Zone Heater, bespoke engineered heater, flame proof powder coated aluminium and steel, stainless steel, ceramic connector, IRZ1000 lamp holder, 240V 1500W ruby jacketed lamp, 1.5mm 3 core butyl flex, M20 cable gland 42 x 23 x 34 cm, 2014 6 Sheet, flame proof powder coated aluminium angle, UV acrylic, steel bolts 180 x 120 x 6 cm, 2014 D. A. Dray and Sons, modified workbench, flame proof powder coated steel, black valchromat, vinyl, 92 x 180 x 75 cm, 2014
179
Nicholas Brooks
Transit of the Megaliths, film stills, 2013
Friendly Things From the Future, film still, 2014
183
2
1
1 Treatment Room, (video still), digital video 5 minutes 19 seconds (loop), 2014 2 Stud, pencil rubbing on paper, 304.8 x 450 cm, 2014 3 Currency, (detail), performance exhibition view Jerwood Space London, 2014 4 Foot work, (video still), digital video, 6 minutes 18 seconds (loop), 2013 5 Impressions, performance exhibition view PAMI at Bold Tendencies, London, 2013 6 After Work, installation view V22 Young London, 2013
3
Nicole Morris 5
6
4
187
Sun and Moon Futures, mixed media intervention, installation view V22 Young London, 2012
No Fixed Abode
189
Rotherhithe / Chanel, stolen neon sign, perspex, chain, transformer, 2014
Paul Kneale
Paul Kneale Poems, hacked colour photocopies on paper, edition of 100, 2011
Die Online II, gouache, graphite, oil stick on builders’ cotton dust sheet, 2014
mediafire.bump.ws, PDF addendum to a sculpture with stainless steel, laser-cut perspex, chain, wire, 2014
Dreamjacking / Cool Hole / Lust for Like, laser-cut cardboard, plastic chain, serigraphs on aluminium, toner on paper (framed), A0 posters, plasterboard, spray paint, packing tape, garbage bags, installation view V22 Young London, 2013
191
Peles Empire EVER BUILD 2, installation view GAK, Bremen, 2014
195
Rhys Coren If We Can Dance Together, looped animations and audio installation, dimensions variable, 2013
Apparel & Ornament, installation view SPACE gallery, London, 2013
199
Richard Sides Kill the Gibson (enjoy voting conservative just to spite chumbawamba) 20.30 - 22.30 / 28.09.2013, live sound installation, V22 Young London, 2013 As part of his ongoing project Kill the Gibson, Richard Sides presents an event based around a multi source sound piece. Free jacket potatoes with chilli con carne and drinks included.
201
Rochelle Fry The Idiot, installation detail V22 Young London, 2012
203
The Idiot, installation view V22 Young London, 2012
Sam Austen Then I Get An Image, 16mm, silent, 9 minutes, 2012
 Such Animals, 16mm transferred onto HD, sound by Kugan Vijayatharan, Jackson Blumenthal and Sam Austen, 19:03 minutes, 2014
205
Lonely Planet, foam camping mattress, pigments, incense sticks, plastics, fruit, breadsticks, argos pencils, 75 x 210 cm, 2012
Samara Scott Aquarelle Gastebuch, glass, silicon, eyeshadow, mixed media, 14.5 x 300.5 x 200 cm, 2014
Heavy Heads, spray paint on hessian, sand and maize, 600 x 600 cm, 2012
Rusty tongue sticking out, steel, rust, spray-paint, 60 x 40 x 20 cm, 2013
Sara Nunes Fernandes
Man with Coppers, steel, 200 x 200 cm, 2014
Light feet, socks from other artists in the show, sand and maize, installation view V22 Young London, 2012
213
Sophie Lee
Bermondsey Hex (detail)
Bermondsey Hex, spray-paint, plaster, installation view V22 Young London, 2013
215
Sophie Michael
Chapters One to Five, single screen 16mm film, 30 mins, 2012
217
Susan Conte Dwellers, poem and digital photograph, 2014
Thorbjorn Andersen 90 projections. A series of continuous experiments in projected paint: in particular with shape and texture in the colours Hansa Yellow, Pthalo Green, Pthalo Blue, Quinacridone Magenta, slide projector, acetate, acrylic resin, dimensions variable, 2011
223
1
Toby Huddlestone
2
4
3
5 1 Recap, Onwards..., exhibition view at g39, Cardiff, 2013 2, 6 Falling, four-channel video installation, 2012/13 3 Versions (Pressure Drop), performance at Turner Contemporary, Margate, 2013 4 Soul Sell, 3D printed sculpture, 2013 5 Proposal for Tate Modern, drawing, 2013
6
227
Image Acquisition Methods, installation view Limoncello London, 2013
Tomas Downes
I.A.M.1.b, wool, lambda print, 205 x 141 cm, 2013
Untitled no.3, mild steel, 203 x 139 cm, 2011
231
Extended finger, cast bronze, 130 x 1.5 cm ø, 2014 with Mirage, reflective foil, size variable, 2014 and Navel, cast wax, 28 x 28 x 4cm, 2014
Refresh, refresh (Lemons the size of melons), cast aluminium, each 13 x 16 cm ø, 2013
End of Days, vase, water, mud, used light bulbs, 68 x 15.5 cm ø, 2013
Vanessa Billy
235
Working Painting No.2, hand-painted acrylic textile ink and fixative on stretched denim cotton fabric over wood stretchers (with four routed wood boxes for mechanism, aluminium tape, metal brackets, screws), four high-torque uts quartz clock motors (20.1 mm shaft), four aa batteries, hand-made balanced aluminium (0.5mm) clock hands (hours, minutes and seconds), matt spray paint, painted wood frame, nails, 140 x 140 x 4 cm, 2014
Yonatan Vinitsky
Acid Test (“I wish I could be in two places at once�), assorted digital prints (8 x 10 cm, 9 x 13 cm, 10 x 15 cm) on office magnetic board, magnets, googly eyes, 60 x 90 cm, 2013
Second Lesson, back-painted gloss paint (0603-g70y) on scratched soft pastels (orange, blue, turquoise, brown, red, green, grey), graphite, pencils (hb, 7b, 3b), pens (blue, black), glass pencils (black, red, white), coloured pencils (purple, red, blue, green, yellow, brown), permanent markers (black, green, blue), yellow highlight marker and black marker pen on clear archival polyester film (75 micron), stretched and framed (beech tray frame), 42 x 60.5 x 4 cm, 2012
239
V22 / Young London This book has been inspired by a series of exhibitions known as Young London. Initiated by V22 in 2011, the series has an annual iteration, usually in the form of a large scale exhibition, with every fourth year a chance to reflect on and evaluate what has been done under the banner of Young London in the immediate past. This book is part of 2014’s opportunity for reflection. V22 is a contemporary art organisation which specialises in the collection of contemporary art, the production of exhibitions and events, and the provision of artists’ studios (and also artisans’ workshops) at affordable rates. Our ethos is one of shared ownership and collaborative endeavor toward a more sustainable art ecology, one which puts artists not merely in a less precarious role, but in a powerful one – both in terms of decision-making and ownership. This ethos is reflected in V22’s shared ownership structure – it is the first publicly traded contemporary art organisation – listed on the smallest of London’s three stock markets (ISDX), as well as on the Social Stock Exchange. It is currently over 35% owned by contemporary artists, and this share continues to grow. Young London is an important part of V22’s exhibition programme. Not only does the programme enable us to learn about what is happening in contemporary art, but it provides an important way to grow our collection at the emerging end of the art world. Many of the Young London artists have gone on to become part of the V22 collection and have also taken studios in our buildings in London. Not many organisations can provide such a wide range of support to artists and we are proud of what the Young London series has managed to achieve on an institutional level. Although one is used to hearing the complaint that the amount of support available is skewed in favour of young artists, I do not believe this to be true. Now more than ever, artists are leaving colleges in considerable debt; the part-time jobs traditionally available to them – technicians, artists’ assistants, college jobs, etc – have been drying up in the past few years as funding is cut and circumstances straitened; they are entering a career, in an expensive city, in which the average annual salary is currently estimated at under £15k. These circumstances, quite unfairly and unnecessarily in my view, require them to continue a tough and profound human endeavor on the mere faith and optimism of youth. On the contrary, brave young souls deserve the most support we can give their efforts. It has been a pleasure and a privilege to work with many of the artists who have been through the series thus far. Many have gone on to achieve international success and growing critical acclaim, while others continue the daily slog toward their goals which reflects most of our experiences of art. I would like to thank all of the artists for the opportunity of working with them, as well as the members of the selection panel of each year: David Thorp, Conor Kelly, Paul Pieroni and Rebecca Warren, and the team of technicians and supporters who make such enterprises possible. I hope you all may be as proud of this book and this series as I am. Tara Cranswick Founder V22
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Picture credits and courtesies V22 and Grey Tiger Books are committed to respecting the intellectual property rights of others. We have therefore taken all reasonable efforts to ensure that the reproduction of all contents on these pages is done with the full consent of the copyright owners. If you are aware of unintentional omissions, please contact the company directly so that any necessary corrections may be made for future editions. Aaron Angell www.aaronangell.com Gallery: www.robtufnell.com All images courtesy of the artist and Rob Tufnell, London Adam Thompson www.adamthompson.co.uk All images courtesy of the artist Alex Virji Gallery: www.manandeve.co.uk/artists/alex-virji All images courtesy of the artist Alice Channer Gallery: www.theapproach.co.uk/artists/channer All images courtesy of the artist MAR108 Photo: Cary Whittier Tsunami Photo: Marc Doradzillo Alice Theobald www.alicetheobald.blogspot.co.uk Gallery: www.pilarcorrias.com/artists/alicetheobald All images courtesy of the artist I’ll finally lose the plot... Photo: Andy Keate I’ve said yes now, that’s it Photo: Andy Crouch Anthea Hamilton www.antheahamilton.com All images courtesy of the artist Photo: Joe Clark Amy Petra Woodward www.amypetrawoodward.tumblr.com All images courtesy of the artist Beatriz Olabarrieta www.beatrizolabarrieta.blogspot.co.uk Gallery: www.motinternational.org/beatrizolabarrieta.html courtesy Cell Project Space. Photo by Damien Jacques. Ben Sansbury Model of an Unknown Monument No.16 Photo: Lewis Ronald Image courtesy of the artist Installation View, Ben Sansbury, Next, Now, Then: Photo: Kevin Jacobs Image courtesy of The Goss Michael Foundation Installation View, Chalk Blush Photo: Ben Westoboy Image courtesy of Kinman Gallery
Benedict Drew www.benedictdrew.com Gallery: www.mattsgallery.org/artists/drew/ home.php All image courtesy of the artist and Matt’s Gallery, London Ciarán Ó Dochartaigh www.ciaranodochartaigh.org All images courtesy of the artist Claire Hooper Gallery: hollybushgardens.co.uk/?page_id=271 All images courtesy of the artist and Hollybush Gardens, London Damien Roach www.syntxrrr.com/rrrdr.html All images courtesy of the artist
George Henry Longly www.georgehenrylongly.com/ All images courtesy of the artist and Jonathan Viner, London Gino Saccone www.gabrielrolt.com/image.aspx?pos=16 All images courtesy of the artist Photo: Joe Clark Gorka Mohamed www.gorkamohamed.com All images courtesy of the artist Photos: Gelo Bustamante Hannah Perry www.hannahperry.com All images courtesy of the artist
Dan Walwin www.danwalwin.co.uk All images courtesy of the artist
Hannah Lees www.hannahlees.com All images courtesy of the artist Photo:Tim Bowditch
Daniel Swan www.danielswan.co.uk www.vimeo.com/user219967 All images courtesy of the artist
Hans Diernberger www.cargocollective.com/jaburger vimeo.com/user7190243 All images courtesy of the artist
David Raymond Conroy www.davidraymondconroy.co.uk www.seventeengallery.com/artists/david-raymondconroy All images courtesy of the artist
Holly White www.holly-white.com https://www.youtube.com/user/hollyharriet All images courtesy of the artist
Ed Atkins www.edatkins.co.uk www.atumour.tumblr.com Gallery: www.cabinet.uk.com/index.php?ed-atkins All images courtesy the artist and Cabinet, London Eddie Peake www.eddiepeake.com/ whitecube.com/artists/eddie_peake/ All images courtesy of the artist Francesco Pedraglio www.acertainrealism.com vimeo.com/francescopedraglio All images courtesy of the artist Florence Peake www.florencepeake.com MAKE Dancers: Katye Coe, Amaara Raheem, Margarita Zafrilla, Rachel Gildea, Susanna Recchia, Nikki Tomlinson, Daliah Toure, Iris Chan, Rosalie Wahlfrid, Kathy Crick Gabriel Hartley Gallery: www.foxyproduction.com/artists/487 Pinch Photo: Robert Glowacki Splays Photo: Brand New Gallery Magnifier Photo: Robert Glowacki All images courtesy of the artist
Jack Lavender Gallery: www.theapproach.co.uk/exhibitions/ lavender/ All images courtesy of the Approach gallery London Jack Strange Gallery: www.limoncellogallery.co.uk/artists/jackstrange.html All images courtesy of the artist Jack Vickridge www.jackvickridge.com Gallery: www.supplementgallery.co.uk/artists/ jack_vickridge All images courtesy of the artist Jason Dungan www.zabludowiczcollection.com/collection/artists/ jason-dungan All images courtesy of the artist Jesse Wine www.jessewine.com Gallery: www.limoncellogallery.co.uk/artists/jessewine.html All images courtesy the artist, Limoncello, London and Mary Mary, Glasgow * Courtesy Private Collection
Jimmy Merris www.jimmymerris.com All images courtesy of the artist Joel Croxson All images courtesy of the artist Photo: Joe Clark Johann Arens www.johannarens.com Photo: Ollie Hammick Katia Barrett All images courtesy of the artist Photo: Joe Clark KERNEL www.kerneloperations.com All images courtesy of the artist Kim Coleman & Jenny Hogarth www.kimcolemanjennyhogarth.co.uk All images courtesy of the artist Laura Morrison All images courtesy of the artist Image detail: Harry Meadley Main image: Daniel Lichtman Laure Prouvost www.laureprouvost.com Gallery: www.motinternational.org/laure-prouvost. html Courtesy of the artist and MOT International Photo: Joe Clark Lewis Ronald www.lewisronald.com All images courtesy of the artist Photo: Joe Clark LuckyPDF www.luckypdf.com/ www.vimeo.com/luckypdf Left Page: Photography by Oskar Proctor, Styling by Hannah Hopkins, Hair and Makeup by Lucy Joan Pearson. S/S 2013 Young London Collection, fashion line and concept store, 2012 Photo: Joe Clark
Magali Reus www.magalireus.com Gallery: www.theapproach.co.uk/artists/reus/ All images courtesy the artist and The Approach, London Maria Taniguchi www.mariataniguchi.com Gallery: www.silverlensgalleries.com/artist. php?maria-taniguchi=14 All images courtesy of the artist Mark Barker All images courtesy of the artist Matthew David Smith All images courtesy of the artist Michael Dean All images courtesy of the artist Minae Kim www.minaekim.com All images courtesy of the artist
Sam Austen www.samausten.co.uk www.vimeo.com/samausten All images courtesy of the artist Samara Scott www.samarascott.com All images courtesy of the artist Sara Nunes Fernandes www.vivyanefernando.info/oidwi/ theschoolofthedamned.com All images courtesy of the artist Sophie Lee www.sophielee.info All images courtesy of the artist Sophie Michael www.sophiemichael.co.uk Gallery: www.seventeengallery.com/artists/sophiemichael/ All images courtesy of the artist
Natalie Dray All images courtesy of the artist
Susan Conte www.susanconte.com All images courtesy of the artist
Nicholas Brooks www.nickbrooks.info All images courtesy of the artist
Thorbjorn Andersen www.thorbjornandersen.com All images courtesy of the artist
Nicole Morris www.nicolemorris.co.uk All images courtesy of the artist
Toby Huddlestone www.tobyhuddlestone.net www.collaborativeresearchgroup.co.uk All images courtesy of the artist
No Fixed Abode www.nofixedabode.org.uk All images courtesy of the artist Paul Kneale www.paulkneale.net rhizome.org/editorial/2013/mar/21/artist-profilepaul-kneale All images courtesy of the artist Peles Empire www.pelesempire.com pelesempire.tumblr.com All images courtesy of the artist
Lucy Beech www.lucybeech.com www.vimeo.com/lucybeech All images courtesy of the artist
Rhys Coren www.rhyscoren.co.uk/All images courtesy of the artist
Lucy Clout www.vimeo.com/lucyclout Gallery: www.limoncellogallery.co.uk/artists/lucyclout.html All images courtesy of the artist
Richard Sides www.richardsides.com/ Gallery: www.carlosishikawa.com/artists/ richardsides/ All images courtesy of the artist
Ludovica Carbotta www.ludovicacarbotta.com All images courtesy of the artist
Rochelle Fry All images courtesy of the artist
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Tomas Downes Gallery: www.limoncellogallery.co.uk /artists/tomas-downes.html All images courtesy the artist and Limoncello, London Vanessa Billy Gallery: www.limoncellogallery.co.uk/ artists/vanessa-billy.html All images courtesy the artist and Limoncello, London Extended finger Photo: Gunnar Meier End of Days and Refresh, refresh (lemons the size of melons Photo: Alexander Hana Yonatan Vinitsky Gallery: www.limoncellogallery.co.uk/artists/ yonatan-vinitsky.html All images courtesy of the artist
2011 2012 2013
Colophon
Published by Grey Tiger Books GTB, 10-16 Ashwin Street, Dalston, London, E8 3DL 10 9 8 7 6 5 4 3 2 1 Copyright © Grey Tiger Books 2014 All rights reserved A catalogue record for this book is available from the British Library Edited by Tara Cranswick and Fergal Stapleton Designed by Zoë Anspach Compiled by V22
ISBN: 9780956441997