WHAT’S ON


PREVIOUS EVENTS


THE ART VINYL DAY | 4TH MAY 2019


MAKE IT RAIN | 20TH APRIL 2019


GEBILDE PROJECT, BAGGAGE | 6TH APRIL 2019


JAMES JESSOP | 29TH MARCH 2019


Take Courage Re-Launch | 8TH MARCH 2019


BORN OUT OF | 7TH MARCH 2019


 
 

COMING SOON


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PROPAGATE MA STUDENTS AT LONDON COLLEGE OF COMMUNICATION | 18TH MAY

THIS GROUP OF PHOTOJOURNALISM AND DOCUMENTARY PHOTOGRAPHY STUDENTS FROM LONDON COLLEG OF COMMUNICATION HAVE BEEN MAKING POLITICALLY CONSCIOUS WORK THROUGH PERSONALISED LENSES.

RETHINKING AND EXPANDING THEIR METHODS OF MAKING, BOTH PRACTICALLY AND CONCEPTUALLY, THE PRODUCED PHOTOGRAPHIC WORK EXPLORES THEMES OF COMMUNITY, FAMILY, MENTAL HEALTH, MIGRATION, RELATIONSHIPS, BODILY TRAUMAS, AND NATURALISATION, WHICH IS UNDERPINNED BY CONSIDERATIONS OF OUR OWN PERSONAL HISTORIES.

HOW WE FORGE NEW LIVES IS EXPRESSED THROUGH IMAGINING THE PROPAGATION OF PLANTS; CULTIVATING NEW ROOTS WHILE COMPREHENDING OUR ORIGINS. WITH OUR FIRST EXHIBITION OF WORK-IN-PROGRESS, WE HOPE TO UNDERSTAND HOW WE ARRIVED AT THIS POINT, AND TO DISSEMINATE OUR FINDINGS.

EXHIBITIONISTS INCLUDE: ALINE ARONSKY, CARLOS SAAVERDRA, COCOA LANEY, EMILY COGHLAN, FLORA THOMAS, KRISTINA SERGEEVA, MARK O’BRIEN, MICHAELA NAGYIADAIOVÁ, NIAZ MALEKNIA AND ZULA RABIKOWSKA.


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CGLAS x TAKE COURAGE GALLERY Crit Session 1 | 29TH MAY

CITY & GUILDS OF LONDON ART SCHOOL IS PLEASED TO BE PARTNERING WITH TAKE COURAGE GALLERY, IN NEW CROSS TO PROVIDE A SPACE FOR A SERIES OF CRIT SESSIONS FOR ALUMNI OF THE ART SCHOOL.

ALL ALUMNI FROM CGLAS ARE WELCOME TO COME TOGETHER FOR A NIGHT OF CRITICAL DISCUSSION AND PRESENTATIONS. LEADING THE NIGHT WILL BE A GROUP OF ARTISTS WHO WILL PRESENT THEIR WORK IN SILENT CRIT FORMAT, THEN AFTER A PAUSE, THE FLOOR WILL OPEN FOR DISCUSSION.

MODERATION WILL BE PROVIDED BY TAKE COURAGE GALLERY CURATOR JOSHUA FREDDIE VAUGHAN, AN ALUMNUS OF CGLAS. ATTENDEES OF CRIT SESSION 1 WILL BE ELIGIBLE TO PROPOSE THEMSELVES AS PRESENTERS FOR CRIT SESSION 2.

PLEASE NOTE THIS IS A CLOSE EVENT FOR THE CITY AND GUILDS OF LONDON SCHOOL OF ART SCHOOL.


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PERFECT IMPERFECT CLARE FRENCH & KAREN LOADER | 30TH MAY — 1ST JUNE

FACEBOOK EVENT

CLARE FRENCH AND KAREN LOADER SHARE SIMILAR ARTISTIC CONCERNS, WHICH ARE MIRRORED IN THEIR PRACTICES AND THE WORK THEU PRODUCE. BOTH EMPLOY THE GRID EITHER AS A STARTING POINT OR A PLACE TO END UP. BOTH TAKE INSPIRATION FROM MODERNIST PRACTICES, FRENCH IN RELATION TO PAINTING, AND LOADER TO ARCHITECTURE AND DESIGN. BOTH ARE INTERESTED IN REDUCING IDEAS AND EXPERIENCE TO THEIR BASIC ELEMENTS: OBJECTNESS, MATERIALS AND ACTION. THIS OFTEN LEADS TO THE COMMON USE OF REPETITIVE PROCESSES IN THEIR WORK. FOR LAODER THIS IS ABOUT LABOUR-INTENSIVE METHODS THAT ENGAGE THE BODY AND LEAD TO OUTCOMES OF SAMENESS AND DIFFERENCE, WHILST FRENCH’S HAND-MADE REPETITIONS COMMUNICATE THIS IMPOSSIBILITY OF THE REPEAT AS A PERFECT REPLICA AND CELEBRATE THE INEVITABILITY OF THE FLAWED AND UNEXPECTED - THE PERFECT IMPERFECT.

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FRENCH’S WORK CONSIDERS THE CONTINGENT NATURE OF SYSTEMS OF MEANING, PARTICULARLY IN RELATION TO VISUAL AND WRITTEN LANGUAGES. HER PAINTINGS’ SURFACES ACT AS TRACES OF HER LABOUR, TIME AND CONSIDERATION, BASED ON ARBITRARY SYSTEMS THAT ALSO OPERATE THEIR OWN INTERNAL LOGIC. SHE EMPLOYS PROCESS, REPETITION AND A CONCRETE USE OF MATERIALS AS MEANINGFUL IN THEMSELVES. REPEATING SIMPLE, SINGLE ACTIONS OR MARKS THAT EXPOSE THE INCONGRUITIES OF HER LABOUR, SHE GENERATE UNCERTAINTIES AND TRANSFORMATIONS OF HER PAINTINGS. IN THIS CONTEXT, THE GRID OPERATES NOT AS AN END IN ITSELF, BUT AS A POSSIBLE OUTCOME OF HER PROCESS-BASED PRACTICE.

FRENCH’S LARGELY MONOCHROME PAINTINGS OPERATE AS POETIC OBJECTS THAT ELICIT A SLOW, ENGAGED LOOKING AND AFFECTIVE RESPONSE IN THE BIEWER. WORKING IN A SERIES ALSO UNDERMINES TRADITIONAL CATEGORIES OF MEANING AND FACILITATES A MULTIFACETED ENGAGEMENT WITH INDIVIDUAL PAINTINGS AND THEIR RELATIONSHIPS.

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LOADER EMPLOYS THE GRID AS A STRUCTURAL FRAMEWORK THAT EMULATES THE VERTICALITY AND HORIZONTALITY OF THE BODY TO EXPRESS HOW WE INTERACT PHYSICALLY AND PSYCHOLOGICALLY WITH DIFFERENT PLACES. SHE IS INTERESTED IN HOW THE BODY AND MIND RESPOND SENSORIALLY AND INSTINCTIVELY TO SPACE, PARTICULARLY IN UNFAMILIAR TERRITORIES, TO BUILD UP A PICTURE OF ONE’S SURROUNDINGS.

“MOVING THROUGH THE CITY WE ARE CONTINUOUSLY MAPPING OUR PHYSICAL RESPONSES TO WHAT WE ENCOUNTER IN TERMS OF NEAR AND FAR, SIDE TO SIDE, UP AND DOWN, IN AND OUT. IT IS THIS RHYTHMIC EXPERIENCE OF SPACE THAT FORMS OUR UNDERSTANDING OF PLACE.”

HER PAINTINGS ARE MADE BY DIVIDING THE SURFACE AND REVERSAL THAT REPEAT TO CREATE PATTERNS OF VARYING SPATIAL INTERVALS. THE MUTED COLOUR PALETTE, WHILST SUBJECTIVE, IS INTENDED TO REFLECT SEASONAL AND DIURNAL CHANGES THAT AFFECT HOW WE ALL FEEL ABOUT DIFFERENT SPACES AT DIFFERENT TIMES AND HOW THIS GENERATES A UNIQUE EXPERIENCE OF PLACE. THE CHANGE IN SCALE WITHIN THE PATTERNING & SIZE OF THE WORK DRAWS ATTENTION TO IDEAS OF SAMENESS AND DIFFERENCE - HOW WE DO NOT SEE THE SAME THING IN THE SAME WAY TWICE AND HOW THERE CAN BE NO ABSOLUTE REPETITION, AS EACH TIME SOMETHING IS REPEATED IT DIFFERS SLIGHTLY FROM THE TIME BEFORE.

EXHIBITING TOGETHER FOR THE FIRST TIME, FRENCH AND LOADER SET UP A DIALOGUE ABOUT THE SIMILARITIES OF THEIR PRACTICES, INCLUDING THEIR PROCESSES, METHODS AND CHOICE OF MATERIALS AND THE WAY IN WHICH THEY BOTH CONSIDER THE RELATIONSHIP BETWEEN INDIVIDUAL WORKS, THEIR ENVIRONMENTS AND THEIR AUDIENCE.


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SUPPORT BRUNHILD Leonie Silye | 4TH JUNE

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TAKE COURAGE ANNOUNCES: A HAPPENING AND PAINTING SALE TO SUPPORT BRUNHILD’S RESEARCH TRUP TO THE AMAZON.

BRUNHILD IS GOING ON A SIX MONTH RESEARCH TRIP TO SOUTH AMERICA, TO EXPLORE AND LEARN FROM DIFFERENT PEOPLES: THEIR RITUALS, TOOLS AND CEREMONIES, ALL OF TWHICH CONNECTS US TO THE SPIRITUAL AND NATURAL THAT IS CONTINUOUSLY AROUND.

THREE YEAR’S WORTH OF LEONIE SILYE’S PAINTINGS WILL BE FOR SALE AND ALL THE MONEY RAISED WILL GO DIRECTLY TO BRUNHILD’S RESEARCH FUND.

INSTAGRAM

WEBSITE