Archive for the ‘Stephen Lawrence Gallery’ Category

‘Oceans on Azimuth’ Album Launch by Lola de la Mata + special guest Maria Chávez (+ Silvia Mal DJ)

Wednesday, April 24th, 2024

Wednesday May 15th 2024 | 7pm doors

Lola de la Mata / Maria Chávez


Hosted by the Stephen Lawrence Gallery, experimental Composer Lola de la Mata presents a performance and exhibition of musical sculptures for her Debut Album ‘Oceans on Azimuth’, alongside special guest Abstract Turntablist, Sound Artist and DJ, Maria Chávez.

Wednesday 15 May 2024 | Doors: 6:30pm

Tickets on RA:
General Entry + 1 Drink included: £16 + fees
Student Entry + 1 Drink included: £13 + fees

The night will feature a talk around Tinnitus and Aural Diversity between Lola de la Mata, Maria Chávez and Jono Heale, Director at ACS (custom musician earplugs) and moderated by Amy Skjerseth.

The event will be opened and accompanied by a fine selection of music by Silvia Mal DJ (Sagome).

There will be the opportunity to have impressions taken of your ears. As a creative method of archiving the listening focused event, these will be displayed in the space throughout the night. After the event, Lola will combine these into a cast sculpture.

Sound will be provided by the wonderous Isa, along with installation/tech from Eduard….yes- the IKLECTIK dream team!

An Avant-garde Auditory Odyssey Into Tinnitus – Lola’s compositions feature sonic landscapes crafted from throbbing heartbeats and tinnitus phantoms. Translated forms of hearing and listening are explored throughout the project in collaged poems which ricochet amongst field recordings, prepared string instruments, a Claravox theremin, an ear canal shaped gong, and other glass inventions.


6.30pm – Silvia Mal DJ
7.30pm – Talk (moderated by Amy Skjerseth)
8.30pm – Lola de la Mata
9.30pm – Maria Chávez
10.15pm – Silvia Mal DJ

The project features collaborations with biophysicists A.J.Hudspeth and Francesco Gianoli, and resident musicologist Lana Norris from The Hudspeth Laboratory of Sensory Neuroscience, NYC.

About the Artists:

Lola de la Mata
London born French/Spanish conceptual sound artist, composer, curator and musician (violin/voice/theremin). Lola harnesses improvisation in her collaborative performances with fellow musicians, dancers and queer performance artists, most recently with Eve Stainton. With her gaze focused the architecture of the ear and its auditory illusions, Tinnitus and Aural Diversity form the core of her research practice, inspiring sculptural musical instruments. She has received commissions from the Riot Ensemble, Zubin Kanga, Nonclassical, Lisson Gallery, Spitalfields Music Festival, and crafted soundtracks for experimental film, documentary and the award winning feature film STOPMOTION by Robert Morgan, which will received its North America release February 2024.

Maria Chávez
Born in Lima, Peru and based in NYC, Maria Chávez is best known as an abstract turntablist, sound artist and DJ. Coincidence, chance and failures are themes that unite her work across mediums, including improvised performance, sound and marble sculpture, visual art, and book objects. Her approach is rooted in Deep Listening, a form of embodied listening developed by her late mentor Pauline Oliveros.
Maria is the only abstract turntablist in the world who performs with a rare needle known as the RAKE Double Needle. This special device contains two needles on one head, allowing it to read two different segments of a single record at the same time. Her work has been featured and supported by a myriad of institutions over the past decades including Rewire Festival, Counterflows Festival, Donau Festival, MoMA & MoMA PS1, The Getty, The Wire, MOCA Jacksonville, Black Mountain College Museum, Cambridge University Press and many, many more.
Chavez’s 2012 book, Of Technique: Chance Procedures on Turntable has garnered a reputation as both an academic resource on turntablism and a foundational text for a new generation of turntablists.

Amy Skjerseth
Amy Skjerseth is Lecturer/Assistant Professor in Audiovisual Media at the University of Liverpool. There, she also co-directs the Music and Audiovisual Media MA program. Her monograph-in-progress, Audiovisual Thinking: Visual Waves of Popular Music (under contract with University of California Press), explores how 1960s transistor radios to 2000s vocaloids influenced both musical and visual culture. Her second book, also in progress, is called The Feminist Wall of Sound. She publishes on topics ranging from sound for stop-motion animation to gendered and raced representations of pop stars in media. Her work appears in Journal of Popular Music Studies; Music, Sound, and the Moving Image; and more. She also creates video essays and podcasts.


Slidefest Palestine

Wednesday, April 10th, 2024

GPP Slidefest, an event founded in Dubai by Gulf Photo Plus, is an evening of inspiring photography presentations by artists around a central theme. Each photographer takes the stage for 5/7mins to share their photography series followed by a Q&A with the audience.

Since its inception over a decade ago, GPP has held over 30 of these Slidefest evenings and have presented them in Cairo, Jeddah, Riyadh and Bahrain; the most recent one being held in London at the ICA last July in partnership with the Safar Film Festival.

GPP and the University of Greenwich are teaming up to present Slidefest Palestine centered on Palestine with presentations from photographers based in Palestine or the diaspora. The presentations will share work from the ground in Palestinian featuring an array of stories – from the skateboarding community in Palestine to the plight of expectant mothers at checkpoints to archival photos from the 50s in Gaza.

Come join us for an evening of powerful photography presentations by Palestinian artists unveiling the resilience and struggle within the heart of Palestinian existence.

Admission to the event is free, but you will need to register to attend.

Register for free via eventbrite HERE.

OR, if you prefer to contact the gallery directly to register, please email

Maen HammadLanding

Landing is a collaborative look at the purposeful escape that skateboarding provides to a handful of Palestinian skaters, including Hammad himself. This purposeful escape is a radical form of resistance to a headspace of violence, situated in the mundane and explicit layers of Israeli domination in Palestine. Woven throughout are also tales of his own family’s experience of displacement, diaspora, and partial return. 

“I brought my skateboard with me to Palestine in 2014 when I moved back after living 19 years in the US, because I knew I would be a stranger. I needed the kid in me to remind himself that all is well, while I tried to find home. Skating leads us into a parallel world, where we can participate in our surroundings. This participation is an interpretive dance with the built environment, a tool to assemble a community, and most importantly, a centering on the imagination. This project serves as a reminder for this pocket of freedom, as we all try to find our landing. Throughout the project are photos taken by myself, as well as those taken on disposable cameras from the core group of skaters. I simply asked them to photograph the world around them.”

Rehaf BatnijiFables of the Sea

In Rehaf Batniji’s project Fables of the Sea” she captures portraits of fishermen paired with images of their catches. This juxtaposition creates a narrative of intertwined destinies, suggesting a moment of convergence between the fishermen and their catch. The series serves as a response to the life-threatening conditions put on Gaza’s fishermen due to the aggressions imposed on them. For the people of Gaza, the sea isn’t just a livelihood but a vital source of sustenance and survival. Rather than merely documenting struggle, Batniji focuses on portraying moments of resilience and contentment amidst adversity, offering a light-hearted approach to the nuances of daily aggression imposed on the people of Palestine.

Ozge Calafato (Archives of Kegham Djeghalian)
Kegham Djeghalian Jr.
– Preserving the Visual Archive of Gaza | Disrupted Histories and Photo Kegham

The first photography studio in Gaza was founded by Kegham Djeghalian Sr. in 1944. His grandson, Kegham Djeghalian Jr, works on activating the surviving fraction of his grandfather’s endangered archive. Focusing on the legacy of this exceptional photographer, Özge Calafato will share images from the collection and also briefly discuss the significance of preserving Gaza’s precarious visual history and cultural heritage in light of the current critical crisis in Gaza.

Samar Hazboun – Beyond Checkpoints

More than 67 Palestinian women were forced to give birth at checkpoints between 2000 and 2005. Comprehensive closures during the Second Intifada (2001) resulted in complete prohibitions on Palestinian movement into Israel, and between the West Bank and the Gaza Strip. These restrictions remain until this day and Israel stands behind this policy by arguing that it is necessary to protect its citizens. This project explores a series of births that took place at checkpoints by pairing portraits with relevant belongings of the subjects involved. Whether it is a premature death certificate or clothes prepared for a child that were never worn, these elements were inanimate witnesses to an otherwise undocumented event. They aim to introduce personal narratives by taking the viewer into images beyond what is usually seen, inviting them to explore stories through their secondary characters. The project is an intersection of memory, loss, grief, and a sad truth that all that remains from these tragedies are mere objects that bear witness to a slowly fading history.

Tanya Habjouqa – Birds Unaccustomed to Gravity

Birds Unaccustomed to Gravity is a photographic mapping of the boundaries –  psychic and physical – that define contemporary Palestinian lives under occupation. Palestine requires an ability to accept the existence of contradictory and often hostile realities at once. Recent developments in Israel bode only a darkening future. Having spent 13 years living in East Jerusalem, raising two Palestinian children, Tanya has come to see the complexities of Palestinian reality in anguished and joyous detail. This series traces the losses and victories that define Palestinian life, shattering confrontations, microscopic liberations, and the forging, holding, and remembering of space she explores the tensions within and around landscapes and characters etched into the lives of the land’s occupied and occupying populations.


For Want of (not) Measuring

Tuesday, December 19th, 2023

For Want of (not) Measuring brings together artists Ron HaseldenJim HobbsPatrick Adam Jones and John Timberlake who explore the problematic and poetic use of systems and measurement. Whereas measurement often focuses on quantitative results, the artists instead choose a metaphysical approach to exploit the corporeal use of measuring apparatus as a vehicle for critique. Here, surveying sticks, cameras, physical grids, and light meters (amongst many other tools) are all used to point out the futility, absurdity and impossibility of truly knowing the world around us; seascapes and passages are investigated though their human relationships to the measurement of time, perspective, location and memory.

Ron Haselden

Ron was born just downstream from Greenwich and visits to the Maritime Museum were quite frequent when young. Meridian zero establishes a place as either a beginning or ending and travel always comes to mind – travel and distance – in either direction. 

The work Passage exists currently as a small sculpture for a large scale pathway to be later constructed in a field for a period of time at La Land Chauve, in Brittany, France, surrounded by trees using lightweight materials…coloured fishermans’ cord supported on fine 3 meter high steel rods enabling people to be able to walk through.

For the Greenwich exhibition it is being reconstructed as 1.70m long structure built in fine rod and coloured cotton in high relief to be suspended across a wall. 

Jim Hobbs

For the Stephen Lawrence Gallery, Jim Hobbs has built a large scale sculpture/structure which houses the filmic installation H(xy)/V(z) = Ø. The work stems from an interest in the nocturnal and the use of artificial lighting to create or enhance an augmented form of vision. The recollected experience of being blinded by lights while driving at night is the catalyst for a series of loosely linked moving images and graphics which in turn create a type of hallucinatory experience. The film is projected onto a monumental blackboard surface which has been enhanced with a hand-drawn grid made with engineers’ chalk. The structure/screen relates to Hobbs’ father’s work at General Electric, where automotive lighting was tested out by projecting street scenes onto a gridded wall and then shining head lamps onto it – measuring the technical/numerical/ visual range of the light while also destroying the superficially projected image. The piece also includes a 4.1 audio installation* where sounds gathered from various light sources (using electromagnetic microphones) have been manipulated and edited into a multi-frequency soundscape. *Special thanks to Jono Crabbe for the edit and mastering of the audio.

Patrick Adam Jones

The current work is a continuation of an ongoing series based on The Schiehallion Experiment of 1774 which attempted to calculate the density of the Earth. Here, there is an interest in how we continue to use measurements in an absurd manner as a way of packaging our relationship to the world around us, making safe, explaining away, avoiding, etc. Working with a surveying stick on a mountain or in a gallery, the work begins as photographic documentation of “performative measurements” which in turn become the source material for drawings, collages and paintings. Within the Stephen Lawrence Gallery, these will be assembled in response to the measurements of the gallery and the “measurements” of the other artists work.

John Timberlake

John Timberlake’s pair of large sea paintings, Beyond the Wall Lies the Ocean, executed in oils on linen, are painted from viewpoints of actual immersion, as if the viewer is struggling to keep their head above the waves. Whilst referencing genre painting and the fabled fathomlessness of the ocean, Timberlake’s paintings also resonate with the historical specifics of Greenwich’s history at the centre of empire, the oceanic of psychoanalysis, and of course, climate change and rising sea levels.


The exhibition is accompanied by a publication with a text by Stephen Kennedy; Design by Elena Tzilini; Installation Team: Max Holdaway and Lauryn Keift-Wilshere; Sound Editing and Mixing (Hobbs): Jono Crabbe; Sound Installation (Hobbs) FTV support.

Image: Elena Tzilini, Photo Credit: ‘Building The Sackett Receiving Reservoir 1898 – Engineering Party Members’,  Source:  Westfield City, MA Photo Archive.


Tuesday, February 20th, 2024

Closed Easter Weekend (Friday 29th and Saturday 30th March)

Recent video art from Africa:

Works by Halida Boughriet (Algeria); Cesar Schofield Cardoso (Cape Verde); Djibril Drame (Senegal); Victor Mutelekesha (Zambia); Harold Offeh (Ghana); Minnette Vari (South Africa); Haythem Zakaria (Tunisia).

Technological advancement and interculturalism have transformed contemporary African art, introducing a broad range of new forms of expression along with new perspectives on culture and society to Africa’s thriving art scene. With particular attention to contemporary video art, House of Reasoned Truths taps into the vitality of this recent work, capturing its aesthetics and broad range of formal strategies, while focusing specifically on its capacity to address the challenges of modern life in an era of globalization.

The artists in this show come from across the continent. They work reflexively, using the conventions on their respective social worlds to meditate on them and their contradictions. They speak to questions of community, social cohesion, feminism, diasporic subjectivity, geopolitics, environmental forces, performativity, and power – provoking reflection on Africa and the world today, beyond historically reductive classifications.


Halida Boughriet (Algeria) graduated from the Ecole Nationale Superieure des Beaux-Arts in Paris and the Exchange Program of the SVA New York in cinematography. She explores a broad media range and does make performance a central issue to her artistic expression, through varied elements, references and tools. The omnipresence of human bodies is an essential aspect of her poetical/experimental work. 

Halida Boughriet has exhibited at several institutions such as the Documenta, Museum of Modern Art of Algiers; Hood Museum, Hanover, USA; Centre Pompidou, MAC/VAL Museum, Institut du Monde Arabe, Paris; Haus der Kulturen der Welt, Berlin; Dakar Biennale to name a few.

Cesar Schofield Cardoso (Cape Verde) is a photographer, videographer, and software developer. His work engages with history, memory, politics, and everyday life, aiming to grasp the complex dynamics that characterize the conditions and possibilities of the place where he was born, Cabo Verde, at the heart of the Atlantic Ocean.

Cardoso’s work has been showcased in a variety of contexts, including Venice, S.Tomé e Príncipe Biennales; Apexart, New York; Hangar Artistic Research Center, Lisbon; Es Baluard Museu d’Art Contemporani de Palma, Spain; La Base sous-marine, Bordeaux.

Djibril Drame (Senegal) is visual artist based in Dakar after living in Los Angeles for years. His work strives to shed light on socially relevant and potentially controversial issues affecting our world today. It reflects the many aspects of Africa’s multifaceted history and innumerable intertwined cultures, offering an alternative African narrative.

Drame has had numerous exhibitions internationally including Fowler Museum, Los Angeles; Lincoln Film Center, New York; Somerset House, London; MACAM – Modern and Contemporary Art Museum, Byblos; Haus Der Jugend, Freiburg; Dakar Biennale.

Victor Mutelekesha (Zambia)’s work deals with subjects such as hybridity, diaspora identity, and the human condition, and has been featured in such international exhibitions as the Venice, Havana, Dakar Biennales. Mutelekesha has been the subject of solo exhibitions at the Gallery Palazio Tito in Venice, Italy; the Henry Tayali Art Centre in Lusaka, Zambia; and the Interkulturelt Museum and Kunstnerforbundet Gallery for Contemporary Art in Oslo, Norway.

He’s the founder of Lusaka Contemporary Art Centre (LuCAC) in Zambia.

Harold Offeh (Ghana) studied Critical Fine Art Practice at the University of Brighton, MA Fine Art Photography at the Royal College of Art and completed a PhD by practice exploring the activation of Black Album covers through durational performance. Offeh is an artist working in a range of media including performance, video, photography, learning and social arts practice. He often employs humour as a means to confront the viewer with historical narratives and contemporary culture and is interested in the space created by the inhabiting or embodying of history.

He has exhibited widely, including Tate Britain and Modern, London; Studio Museum Harlem, New York; Miami Art Basel; Museum of African Diaspora, San Francisco; MAC VAL Museum, Paris; Kulturhuset, Stockholm; Kunsthal Charlottenborg, Copenhagen.

Minnette Vari (South Africa) lives in Johannesburg. As Kendell Geers observes in a catalogue essay published in 2004 by Kunstmuseum Lucerne, “Minnette Vári has in her lifetime witnessed the fall of apartheid and all its structures, followed by the new democracy.” In response to this history, Vári has written a history of herself in relation to this trajectory, one that attempts to recover what is lost, to give shape and voice to forgotten or erased memories. Her work conflates self and history, examining how identity arises out of the traumatic past. In her videos and drawings, Vári frequently depicts her own body enduring a disfiguring metamorphosis – she merges with and emerges from nature as well as from the concrete architecture of modern cities. The female “protagonist” of her video works is sometimes archetypal and sometimes spectral, a persona who ingests and is ingested by time. Vári has exhibited her work since the early nineties, participating in such group exhibitions as Banquet, ZKM Karlsruhe; Personal Affects: Power and Poetics in Contemporary South African Art, Museum for African Art, New York; the Venice Biennale (2001 and 2007); the 1oth Havana Biennale and The Divine Comedy: Heaven, Hell and Purgatory Revisited by Contemporary African Artists, MKK Frankfurt.

Haythem Zakaria (Tunisia) attended the Fine Arts School of Tunis. His visual creations, largely imbued with Sufi spirituality, use unconventional visual techniques (glitch, meta-image, cine process) that guide him and involve him in the experimentation with matrix and protocol devices. He is thus led to explore methods aimed at ‘over-producing’ the image through integration, grafting, and superimposition of visual or sound information.

His works have been hosted by Fondation Hippocrène, Paris; Centre Wallonie Bruxelles, Paris; Halle 14, Leipzig; Japan Media Arts Festival, Tokyo; Kamel Lazzar Foundation, Tunis; Goodman Gallery, Johannesburg among others.

About the curator

Kisito Assangni is a Togolese-French curator who studied museology at Ecole du Louvre in Paris. Currently living between London, Paris and Togo, his research interests gravitate towards the cultural impact of globalisation, psychogeography, critical education, and archival systems. He inherently aims at going beyond the usual relations between artist, curator, institution, audience, and artwork in order to engage audiences in encounters with art that are unexpected, transformative, and fun.

His discursive public programs and exhibitions have been shown internationally, including the Venice Biennale, ZKM Museum, Karlsruhe; Whitechapel Gallery, London; Centre of Contemporary Art, Glasgow; Museum of Contemporary Art, Sydney; Malmo Konsthall, Sweden; Torrance Art Museum, Los Angeles; National Centre for Contemporary Arts, Moscow; HANGAR Centre of Contemporary Art, Lisbon among others.

Assangni has participated in talks, seminars, and symposia at numerous institutions such as Palais de Tokyo, Paris; Ben Uri Museum, London; Kiasma Museum of Contemporary Art, Helsinki; Kunsthall 3.14, Bergen; Depart Foundation, Malibu; Cambridge School of Art, UK; Sint-Lukas University, Brussels; University of Plymouth, UK; University of Pretoria, South Africa; Motorenhalle Centre of Contemporary Art, Dresden.

He coordinates a vast array of cultural projects.