Innermind – the Hackney Wick Late Takeover at the V&A Friday 28th February


 “From the land to the water, from the water through the river, we are Charon. From ancient rituals to our contemporary cities, we are Charon. Innermind performance is exploring the human circle/cycle of life. From its onset in the water, it traverses nature and arrives in the modern world, the city. The travellers  move up the river from the water to the city. This path is comparable to the itinerary leading our species  from the primitive world to the modern one. The journey questions the two societies; one based on mythology and spiritualism and the other on our actual pragmatic presence in this world. Cities, objects, people and random characters from daily life, our routine, are projected in a ritualistic way. The aesthetic of the performance is based on the human world of dreams and the subconscious. The countries were: UK: lee River, Turkey: Capadoccia, Brazil/Peru: Amazonia, Dominican Republic: Carnival de La vega Brazil: Sao Paulo.”

 Performed by Ines von Bonhorst, Yuri Pirondi, Amrit Douque, Mauricio Velasierra and Heidi Heidelberg .

  The shroud of Charon


On the stage, a pile of white fabric was left, as if unattended. Two figures entered and changed the face of our expectation as darkness fell suddenly replaced by the dislocation of a moving image.It was as if the screen was split in two distinct parts. And this was in itself an ironic incidence, the inevitability of physical poetry, the theme of the performance alluding to the journey between two lands, two states of being, sang by many poets, Ovid, Virgil, Dante Alighieri,  Francois Villon, Goethe…

The lose half became animated by two ghostly mermaids while images projected on the flat plane lost their definition, caught in the motion generated by two bodies interacting with light, space and one another, appealing henceforth to the unconscious folds of our imagination, thus bringing the audience to the edge of semi conscious participation. Yuri Pirondi held the projector pointed at the breathing fabric, Ines von Bonhorst and Amrit Douque held one corner at opposite ends lifting the sheet that would transform into a cloud, then a wave, then a sail, catching glimpses of scenes from a series of movies also realised by Ines and Yuri during their travels through England, Turkey, the Dominican Republic and South America.




The dancers, keepers of a language in perpetual motion were clad in white robes and their face shone in the intermittent light like flour masks. Their persona echoed those of ancient plays and the sad burlesque presence of the mime. Perhaps we are all Charon in the sense that we, as guides to the self through the perils of existence, also invoke the caricature of our fears to fend off evil within and without. Here, on stage, the characters were mapping an ancient initiatic rite on the flux of a distended skin, one Charon, also known as dispater, the dystopia of paternal omnipresence, the other, silhouetted in the penumbra of a distant corner, may have been Tuchulcha, one of his/her assistants and alter egos, or Moira, goddess of fate echoing the genial ‘conduction’ of the psychopomp, both ethereal and terrifying medusas slowly drawing the veil upon the deep, and those who await passage in the afterlife. ImageBut this would not have been possible without the beholder of the light, or rather he who captured and redirected it, a promethean shadow man working en coulisse so to speak, although he manoeuvred in the recess of the front stage right before our eyes, his face turned away from us, his black clothes in direct opposition to the pale skeletal features of the two protagonists. Furthermore none would have moved, and all would have remained static, as if turned to stone, had it not been for the musicians Mauricio Velasierra and Heidi Heidelberg, who like Orpheus long before them, charmed the demons of immutability.  We could paint those figures struggling with the elements, whose ancestry adorned many a vase, and the walls of tombs.  Like gods lost in the tempest of a cosmos on the verge of crystallisation, the two performers seemed to uphold the palimpsest of earthly life before or may be inside the collective mind’s eye. One could have imagined a sun sinking behind the back curtain, but this was not a drama or an opera.

Image  Image


 No words were spoken, and this fact made an emphasis on all other sounds produced during the act; the sound of active corporeal interaction with the environment.  This means, the sound of inspiration and expiration, the sound of notes, the sound of feet walking on the floor, the sound of people shuffling, coming and going, the sound of matter colliding with matter, reverberating in the grotto of experience, mixing like living cells. We must talk of it as an act as this was an instance of pure theatricality where text was subdued and inferred but never used, replaced instead by gestures, breathing, music, light, entanglement and spatiality.  



 The words of Antonin Artaud once again were evoked. “Poetry is a dissociating and anarchic force which through analogy, associations and imagery, thrives on the destruction of known relationships.”… “In our present state of degeneration it is through the skin that metaphysics must be made to re-enter our minds.” (The Theatre and its Double.).





 One of the most crucial moments unfolded as a penultimate occurrence, bringing the exit unexpectedly. The drape was lifted suddenly as if a giant had blown into it and prompted by this upward surge, the two Charon ran towards the crowd sitting in the darkness covering half of the audience with the surface glimmering with unreadable signs, broken language of our times in the waters of the Styx. This was a coup, like a door slammed shut, or a flash of light through a window. The film still played, and I wondered if some of the members of the public looked up to try and decipher the riddles as the sheet slid swiftly above them, at once pulling one veil off and bringing the sleepers out of another dream.


Copyright © Pascal Ancel Bartholdi 2014

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INTER-SCAPE – Mnemonic City, with the Magma Collective and invited artists


Inter-Scape is the latest in a series of exhibitions by MAGMA under the project title “Mnemonic City”.Mnemonic City embodies the experience of the city through the exchange of personal memories by the artists, exploring the idea of the city as a receptacle, taking inspiration from Plato’s Myth of the Cave. The allegory explores the relation of humans with their environment, questioning what is real and what appearance is.



After the focus on the market place in ‘Moving Streets’, the group’s previous exhibition, Magma Collective moves outward with Inter-Scape to the geographical margin of the city, zooming out after zooming in.


The event will start at 2pm on the 21st of September by the canal outside Tottenham Hale Tube station and will run north along the canal through Tottenham Marshes up to Building Bloqs, with performances, installations and other interventions on the way. The journey will lead to Building Bloqs, the main venue, which is located in Edmonton. Maps, including times of screenings and performances will be provided for each member of the audience to be guided through this gateway between countryside and city, where things are left unresolved and where remnants of nature collide with remains of industry. Behind this itinerary lies the idea of a creative and collaborative re-mapping of the metropolis.


Part of the event will be a collaboration with the art group Tellus Project, based in Milan, Italy. This double bill event will connect the cities of Milan and London through a live stream, where the artists and audience will be able to exchange and share projects and ideas.

Throughout the day, food and drinks will be available from the Bloqs Cafe, and in the evening there will be live music in the Cafe area.


Event Programme


2pm_ Meeting at Tottenham Hale Tube Station for the initial Walk through the marshes up                  to Building Bloqs.


4pm_ Gallery opens at Building Bloqs.


5-6pm_ Art Film Cinema Afternoon in the Cafe Area, where food and drinks will be served.


7pm_ A second session of outdoor performances will take place in the surrounding area.


9-10pm_ The last part of the event will be at the Cafe, with bands performing live.


Building Bloqs is at 4 Anthony Way N18 3QT,London


For directions, please go to:

For more info please contact

For information regarding the Tellus Project, please visit:

Streaming link:

Directions to Building Bloqs

Address. No 4, Anthony Way, London N18 3QT

Below are directions for how to reach us by public transport and by road. You can also reach Building Bloqs via a fantastic walk or cycle ride along the River Lee.

Our closest bus stop is Harbet Road/ Cooks Ferry (500m from our building).
You can reach Harbet Road/ Cooks Ferry by bus from Silver Street National Rail or Walthamstow Central Underground.

Alternatively you can catch a bus from Tottenham Hale to Angel Road Superstores, the massive Tesco and Ikea on the North Circ. It’s a mile’s walk to Building Bloqs from there.

Public Transport

By Bus from Walthamstow Central, Underground (Allow 25 minutes)

Take the Victoria Line to Walthamstow Central
Exit the station and cross the road to Walthamstow Central Bus Station. Find Stop: D towards Barnet Church
Take bus number 34 to Harbet Road / Cooks Ferry bus stop.

From the bus stop, cross the road toward the big blue and grey warehouses/office block and passing through the bollards turn right down the sloping path and cycleway to the river. Turn left and, keeping the river on your right, walk down Towpath Road for 500m. Turn left onto Anthony Way and Building Bloqs is the orange building on the right. You’ve arrived!

By Bus from Silver Street, National Rail (Allow about 20 minutes)

Silver Street is on the line from Liverpool Street, passing through, Bethnal Green, Hackney Downs & Stoke Newington among others.
Exit the station and turn left. Walk a moment till you reach Bust Stop: B towards Walthamstow Central and Chingford Station.
Take bus number 34 or 444 to Harbet Road / Cooks Ferry bus stop.

From the bus stop, there are some steps that lead down to the river. Turn left under the dual carriageway bridge and, keeping the river on your right, walk down Towpath Road for 500m. Turn left onto Anthony Way and Building Bloqs is the orange building on the right. You’ve arrived!

By Bus from Tottenham Hale, Underground (5 mins by bus & 20 mins walk)

Take the Victoria Line to Tottenham Hale
Exit the station and find Bus Stop: UU towards Enfield Town
Take bus number 192 to Glover Drive / Tesco bus stop.


From the bus stop keeping Ikea on you right, walk past the petrol station on your left to the roundabout. There’s a footpath off to the right. It follows the Ikea fence and is bordered by a low hedge. Follow the path along the fence till you come to a roundabout. Go straight over onto Argon Road. Keeping the dual carriageway to your right, walk past the Ravenside Retail Park (Wicks, Carpetright etc.) on your left till you come to a bridge over the river. At the end of the railings double back down the sloping path and cycleway to the river. Turn left and keeping the river on your right, walk down Towpath Road for 500m. Turn left onto Anthony Way and Building Bloqs is the orange building on the right. You’ve arrived!

On Foot or Cycling

From the Olympic Park, though East London, Past Hackney Marshes, along the edge of Springfield Park and on to Tottenham Marshes the river Lee is by far the best way to reach Building Bloqs. It’s packed with greenery, wildlife, picturesque riverboats and fresh air. Going beyond Building Bloqs the Lee continues a green corridor out into Hertfordshire, well worth exploring.

Going North, the last lock you pass is Stonebridge Lock from where it’s just shy of 1 mile (or 5mins cycle). When you see the bus depot on your right you’re nearly there. Follow the towpath to the end of the palisade fencing and take the first right. Building Bloqs is the orange building on the right. You’ve arrived!
Going South, the last lock you pass is Pickett’s Lock from where its 1.3 miles. When you pass under the A406 flyover you’re nearly there. Follow the towpath for 500m and take the last turn on the left onto Anthony Way. Building Bloqs is the orange building on the right. You’ve arrived!


We are just off the A406 North Circular.

Driving East (clockwise) take the Cooks Ferry Roundabout exit, signed Chingford and Waltham Abbey. Move over to the right and, driving under the flyover, take the second exit signed for the retail and industrial estates.

Driving West (anticlockwise) take the Cooks Ferry Roundabout exit, signed Waltham Abbey and Chingford and at the roundabout take the first exit signed for the retail and industrial estates.


Keep to the left. At the mini roundabout take the first exit and immediately take the first right onto Hawley Road. Follow the road until you come to the river. Follow the road round to the left and, keeping the river on your right, drive down Towpath Road for 500m. Turn left onto Anthony Way and Building Bloqs is the orange building on the right. You’ve arrived!

By Water

Nobody has yet done this but there’s mooring to be had very close at hand. Contact us for details.




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Artist call: INTER-SCAPE. Micro Art festival at Building Bloq, Edmonton, London,21/09/2013

Artist Call!!!! 

Performers, painters, sculptors, photographers, visual artists, sound artists, installation… All kind of Artists!!!!! we need all of you!!!! It will be one day of events spread in different times and locations. From the inside of a big gallery until the infinite zone outside the space. A map will help the audience to find their way and the path will be full of performances and art pieces.

The event will be on the 21st of September but please if you are interested get in contact with us until the 30th of July!!! 



Edmonton is like a doorway between country side and city where things are left to rot, odd half constructions, abandoned, a lost land (re)conditioned by humans. We travel through miles and find one hidden village after another, yet, it is still London; the city does not seem to end. We see the signs of a broken power left by the human impact; it shows an attempt at calculation but its failure gives room to jump and explore new potentials in the use and perception of a space. Artists are humans too and bear a responsibility by generating new structures. We should therefore question our own effect upon this inter-scape through the work derived from our interaction with its ruins, estranged edifices and samples of earth within this post suburban non residential mixture between motorways and factories. We see it as a passage to and from the city, a grey liminal edge. In this tentative natural area kept behind fences, communities live day to day, some have returned to a tribal state living on barges, in tents, on the edge of the canal which was once a high place of trading. We are asking people to leave the city as they know it and experience a sense of possibility, in the dormant state of a place. This means a place which holds the ghostly memories of an activity that became redundant. The work of the artist will consist in creating a point of reference where the margin evolves in the way a landscape passes at very high speed outside the train window. 

From the outset Magma Collective researched and experimented on the relationship between the psyche and the environment. This led each artist to create a continuous response resonating with the rest of the collective as much as with the surrounding artistic and cultural community. Having initiated work around the idea of Mega City, Magma moved through Mnemonic City, a more detailed overview of the structure of urban survival in relation to the allegory of Plato’s Cave, to focus its attention on the centre of the city itself: the market place, the hub of ambiguous communication. In Moving Streets, the space, observed and transformed into a work of art, appears as the site of an endless repetition. Yet, the details will vary, the values will change, people will be different or walk by at different times, and exchange words and currencies differently. There is therefore no solidity or permanence and this inspired Magma to look for this paradoxical inconstancy and this sensation of dissolving memory elsewhere in the geographical margin of the city. After Dalston, and Ridley Road market in particular, Magma moves to Edmonton, a Saturnian ring around planet London. Behind this itinerary lies the idea of a creative re-mapping of the metropolis. An inversion occurs. Magma leads the audience to zoom out after zooming in. Where do the signals end, from the stone sinking to the water circles ? These signals, Magma follows right into the waste land, where remnants of nature collide with remains of industry. Here nature seems to be waiting in an in between zone to be entirely conquered or re-conquer itself in its entirety. 

written by Pascal Ancel Bartholdi


Ines von Bonhorst

vimeo: Ines von Bonhorst
Skype: vonbonhorst
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EDGE OF THE LAND at Hundred Years Gallery

An exhibition curated by Jaime Valtierra

From 18th to 30th of June

PV 20th of June, from 6pm


22th June: Film/show reel night curated by Pascal Ancel Bartholdi

29th June: Performance improvisation night hosted by Adolfo Healer, ( Digital and Analog Projectionist ) and invited audio-visual-performative Guests from Magma Collective.

Additional performance: Twitterview with Michele Durante and Pascal Ancel Bartholdi, dates to be set.

Jaime Valtierra is curating a show involving himself, Anna Burel, Yuri Pirondi and Pascal Ancel Bartholdi. A compilation of images refer to a sense of place within a milieu somehow parallel to the evidence of visual expectation, a dimension of the imaginary resting on the emotional impact of the archetype. We see the link between the four artists; a certain theme comes to view as the atmosphere generated by their combination leads the eye to travel inward through history as much as through mythology.


 Yuri Pirondi uses the Major Arcana in the tarot deck, perhaps Visconti or Marseille or other , as a basis for his series. This consists of the best known characters, I.e., The Fool, Temperance, The Hanged Man…the Devil… In these scenes the emphasis is placed on the gap that exists between the physical impression of our existence and the metaphorical impression our mind will create through this limitation thus giving the viewer a sense of ‘ surreal realism’.


 Jaime Valtierra’ s paintings, as colourful as they are do not lure us into painterliness or the surface beauty but engage us with the brutal truth of the psyche at war with societal morality. The players are most definitely on a stage and references abound to artists such as Titian, Velasquez and even Picasso and Poussin. The passion here is oozing and we are certain this painter is involved body and soul in the process of composition and execution.


Anna Burel’s work invokes the ghosts…not only of the artistic pantheon but also of the collective unconscious. Here skeletons, masked figures, harlequins and other ambiguous personages roam, appear eerily and lurk in the corners, yet also seducing us into this uncertain world of dark fairy tales…a step into deeper free association analysis. The work also involves collages that feel very early 20th century like Hannah Hoch, an accolade to Dada and Braque and certain understated personalities of those ebullient years such as Leonora Carrington, and Paul Delvaux, and somewhere, Frida Kalo.

ImagePascal Ancel Bartholdi opens a small door into the mythical psychology of symbols we are accustomed to without necessarily noticing them consciously; Venus, Prometheus, Apollo, Lucifer, Lillith, Astarte, the lovers or the fool again thus closing the ring through a direct connection with Yuri’s ‘archives’. These become objects that signal a story unraveling as we are drawn into the scenery. This scenery is founded on the poetic act, an act that begins with the first instance of feeling as the eye of the artist absorbs a minuscule portion of the world.


A mythology can be detected within all these images. The figure of a goddess comes to light, ancient idols. From one work to another, a path is created, each narrative contained yet speaking to another. What we see becomes the experience of a latent conversation around a fire, long ago deep into the primordial night of the psyche, ramifying memories with emanations of the self, on the liminal edge of the land. The head of Orpheus is transported by the river down to the mouth of the ocean where the pieces that make up the entire picture are left for us to assemble according to our personal history.

Copyright © Pascal Ancel Bartholdi 2013

Hundred Years Gallery , 13 Pearson St. London E2 8JD +44 (0)20 3602 7973
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Follow the Bark at DOOMED GALLERY

With Ruth McMillan and Sandra Griskeviciute ‘Endless However‘

17th to 21st April

Ruth McMillan: Follow the Bark

Ruth McMillan and Sandra Griskeviciute are two photographers who have embarked on a walkabout through life….and with an eye for every detail along the way. But the aim is not to follow a given itinerary and record it mechanically, or more correctly, systematically, since their tool of choice is mechanically based rather than digital: the analogue camera. On the contrary, they love getting lost and staying lost because it is life on the move that matters to them. In this they follow a trend that Doomed Gallery is putting out there with the previous shows, Joe Skilton The magic 8 ball, and the Photocopy Club, Xerox and Destroy as well as upcoming shows with Magma collective and Calvin Russel, all of which have some roots in their approach, their aims and their methods in the Situationist movement.
But what defines all of these artists, seen in groups rather than solo form, while all retain their individuality, is the idea of DIY and accessibility. We cannot say it is absolutely new, nor were impressionism or expressionism because all movements if we can still use this term, originate in the trail of some other vision that grew from yet another past …nevertheless, this is not mainstream material, a refreshing jump into the ditch where the viewer is invited to pick and bag, because the art is cheap, but it sure is art.

Ruth, Post Real Photo
The story goes that most of these photographers, who don’t stick to the trigger happy club of ‘fb’ pagers and certainly will go to any length to degloss the patina of the perfect photo, have found the apparatus of their art in some attic, a shoe box, a cellar…abandoned by their Gran, the outmoded tools of their parents, the vestiges of a bygone era left behind because it appeared no one would need them again…Wrong! That ‘s the story. While our grand parents are fumbling with the virtual gadgets, while some even get nerdy, their grand children pick up the Polaroid, the compact camera or the vintage SLR, because they want film, they want to feel it as it is. So those new tools are old, salvaged from older generations’ lives, salvaged from oblivion and destruction or worse, from museum status. We are observing a strange reversal of tendencies.
Ruth and Sandra work together. They live it and think it together and separately simultaneously. Sandra bid and won a cheap SLR on ebay and started shooting mostly in black and white. Ruth bought her first compact camera for a few pounds, later getting a tattoo representing it on her arm. She and Sandra share their cameras, they take it in turns and occasionally argue on who is going to take a photo of what. But invariably, the angle is different, that’s what makes it a greater adventure. They exercise their emotional connection to each other as much as to their environment. This is what was coined “Psychogeography” by Guy Debord in as far back as 1955. “ …an approach to geography that emphasizes playfulness and “drifting” around urban environments…” a whole toy box full of playful, inventive strategies for exploring cities…just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.”. But this is photographed, and the journey goes on right into the gallery where the public can follow the same path and buy the work of the wall.

Sandra Griskeviciute: Follow the bark 2
Ruth is also a poet. She combines the image that can be torn and reassembled, written upon, painted, graffitied…there is no end to the alterations that will turn a record of a place into a record of the emotion that was felt in that place. Some of the background material was lifted from National Geographic, because it is what her eye spots and what she feels about it that matters. Other pieces are like love letters, others are collages.
Sandra experiments with monochrome, and recently came up with wondrous Polaroid images that have been partially destroyed and have become fuzzy, hazy, or abstracted.
The experiential and the anecdotal come up a lot in the conversation. Some people might point to candid or vernacular photography and it is true that some of their influences have sprung from these corners such as Wolfgang Tillmans and Nan Goldin. Other influences are photographers like Nobuyoshi Araki and Daido Moriyama, quite a different set. That’s to show that the work is multi facetted and that we cannot find a way to pigeonhole it as it was the case up to the era of postmodernism. Thereafter, all was a defiance to any new ‘ism’. What has been regarded as the age of the baroque universe of random signs is kicking in. But we realise as we look at the work that there is nothing random about it, and that what catalyses it is emotive content. The pictures are popping up as Ruth says. They grow organically and for that they need the right tools. A pixel does not carry the atmosphere of the moment in the same way. It seems to miss out on the sense of touch, smell, place…So why not using film to get the chemistry going again?
Because it is about going beyond the saturation point of the ubiquitous gratuitous image upload. A return to the sensual involvement of the artist.

Sandra, Follow the Bark
In the process which is most important, there is no guarantee of success, no sure thing. You cannot see the result until it is developed. You work with your gut feeling, in the dark. And this element of risk adds to the fun. The images thus regain an emotional value. Corporeality and emotion are essential to this form of art.
And we feel it as we look at the work.

Pascal Ancel Bartholdi

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A flaneur’ s eye for the uncomfortable detail.



Review by Pascal Ancel Bartholdi

Among many mobile sites of morbid origins, a crowd immersed itself in conversation, oblivious to the zoophical signs, the portrayals of decay and morosity, the vampiric outpourings, the dismembered cadavers, the distorted genitalia, the subtle torture instruments, the inquisitional glimpses. This was a plethora of Victorian oddities, the same objects we will find in the Last Tuesday Society, the Natural History Museum, or some other tiny shop hidden in the guts of a city eating its own past with ferocity. We wondered in these sanitised entrails… The Cabinet of Dr. Caligari without ever coming across the solution to a gothic puzzle that pursues the primitive imagination…can this severed hand move again? Can this coagulated blood flow once more?…can this man walk again despite a missing head? There is humour and there are humours. We are partly seduced by the sexual profligacy oozing out…

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SUBTEXT with Héloise Bergman  Coral Howard  Kate Kotcheff


SUBTEXT with Héloise Bergman Ÿ Coral Howard Ÿ Kate Kotcheff

Three contemporary photographers exploring ‘surface’ image,
Presented for Photomonth 2012 at Doomed Gallery

Wednesday Oct 31st -Sunday Nov 4th

Review by Pascal Ancel Bartholdi

I was reading from my favourite book, Mysterium Coniunctionis when I came across a sentence that brought me right back to this somnolent circular film…the stop animation piece by Kate Kotcheff: The Hour Glass Machine. In the book, The Mound is described as a symbol of the ever growing womb of the matrix, and this sounds ambiguous, but the mound is in fact empty, yet alive with the promise of birth, of renewal, and becoming. Adjacent to the idea of a natural promontory lay the monumental  construct of a civilisation, the Pyramid. This is no tomb but a catalyst.  In effect, as has been established by certain anthropologists, the temple, were it be a Ziggurat…

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photomonth east london International photography festival presents FILMS BY PHOTOGRAPHERS

Cell Divide Osmosis 59, A & E

Out of the big Blue, images in motion…

International photography festival



12noon – 3pm

Pascal Ancel Bartholdi, Tim Bowditch, Philippe Calia, Oliver David, Raphael Franco, Begona Garcia, Sonal Kantaria, Monika Kita & Nigel Jarvis, Victoria Kovalenko, Monika Marion, Wendy Pye, Dougie Wallace, Joan Alexander, Suelan Allison, Gregoire Bernardi, Elizabeth Blanchet, Hana Ros, Imogen Ogilvie & Peter Larkin, Marc Schlossman, Max Colson, Amit Lennon, Elina Moriya, Helen Spackman & Manuel Vason.Rod Morris.

Rich Mix

34-47 Bethnal Green Road, Shoreditch E1 6LA

Shoreditch High Street Stn, Liverpool Street tube.

Admission Free

The Rich Mix Bar and Café are open all day.

Alternative Arts


020 7613 7488/9

34-47 Bethnal Green Road, Shoreditch, E1 6LA

Shoreditch High St Stn

Sun-Thurs 10am-12midnight, Fri & Sat 10am-1am

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The Art of Imperfection : Negative/Positive, the unpredicted permutations of the photographic phenomenon, Out of the box Photo show with music performance by Itamar Henry.



The Art of Imperfection :

Negative/Positive, the unpredicted permutations of the

photographic phenomenon

P.V Wednesday 17.10.2012 from 6 – 9.00 pm

Out of the box Photo show with music performance by Itamar Henry.

Show open FROM 17. 10 to 28.10.2012
Gallery open from Wed to Sunday, 12 – 8 pm

67 Ridley Road, Dalston, Hackney
Dalston Kingsland,Dalston Junction rail, bus 38, 56, 242, 277, 149, 30

This show explores the ambiguous and ambivalent photographic medium with a conscious disregard for flatness, reproducibility and static design entering the quantum realm by unifying the instant and the eternal the distant and the local, the probable and the uncertain. Misty photography moving through with a body, transmuted into a personal understanding of the Mandala through composition and natural forms or fathomed as a receptacle of visceral and psychic phenomena, with an accolade to the Dada artists, the anonymous visionaries of medieval times and the creative shamans who painted on rocks and bodies more than 15 thousand years ago.

Curated by Pascal Ancel Bartholdi

Ryuji Araki Lives and works in London.
“Each object that I create has a human perspective, as you could imagine every object having a different appearance of style and feeling. These objects were composed with the thought of a particular position in society.
All creatures have their own consciousness and an irreplaceable lifetime. It is hard to think there is a solution, a better future for our society, however we cannot go back to the past; we, as humanity, will advance into the future”

Bernhard Deckert studied Photography in Germany where he focussed on abstract photography and photographic concepts. He took part in various exhibitions and symposia. In 2006 he moved to London and gained an MA in photography at LCC, university of the Arts, London in 2007. Since then Bernhard works in his own studio in London, practising commissioned photography as well as his own projects.

“I never believed in ‘the truth’ of the photographic media. The so-called pencil of nature is only a projection of one truth, we chose lenses and emulsion, film, paper, etc to mime what we see as true with our own eyes, or better what our brain makes out as reality.
I started working on contact-prints, 1:1 imprints on photographic paper and I used my own body as subject to explore the difference between posing in front of a camera to being directly in touch with the surface of the image.
In a very restricted way these images are true and perfect – but again, by practising the technique, the image-maker gains control over the process and the escape from the truth becomes rather tempting!
Every print is unique, there’s no failure and no perfect picture.

Pascal Ancel Bartholdi lives and works in London. His research revolves around the paradox of personal reality versus institutional realism, the ambiguity and ubiquity of the photographic image while concentrating on the marginal question of emotive and psychic content intrinsic to visual expression in general and photography in particular. His projects include monochrome chemical transformations, short cine-animations as well as stories, essays, performance and curatorial experiments. He exhibits regularly as part of a wider form of psychological and cultural exploration.
“The images included here reflect the theme of the show which is also an extension of my practice. They derive from several series and are brought together as a new combination of notes, a deliberate improvisation balanced between asymmetry, physicality, disintegration and affirmation.”

Doomed Gallery
65-67 Ridley Road
London E8 2NP United Kingdom

+44 (0)20 7812 9344

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Preview, Jonny Rotten at Domed Gallery



  Preview  Wednesday 10th October 12   6 – 9 pm/Wednesday 10-Oct to 17-Oct


DOOMEDGALLERY is thrilled to open a new exiting show as part of the Photomonth festival, this will be more like a party celebrating the achievement of Johnny Rotten and the Pistols. We are going to have The Hackney Secular Choir giving their renditions as well as various clips and movies.

 Johnny Rotten became a fast rising front man not only for a band, the Sex Pistols we all have in the back of our mind even now, but for a movement, a counter current, an impulse against the smooth polite grain of English society.

Rotten embodied this new independence that “meant the overthrow of the establishment music industry through people seizing the means of production, making their own entertainment, and selling it to other creative and autonomous spirits”, in the words of protopunk band The Desperate Bicycles.

It is funny to think the Desperate Bicycles hired a studio in Dalston in 1977, now that, 35 years later, Ken Flaherty, the founder of Doomed Gallery is putting up a show that also commemorates their importance and legacy, by choosing a point of focus, non other than an iconic photograph of Johnny Rotten getting heated up on stage. But the Desperate Bicycles like Rotten symbolised this new independence that “meant the overthrow of the establishment music industry through people seizing the means of production, making their own entertainment, and selling it to other creative and autonomous spirits”.

This show pays homage to free spirit above all, and defies anyone to deny that a world without it is worth living in at all.



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