CORRESPONDENCE O: PANEL DISCUSSION SUN 25 FEB 2018
6PM, CLORE STUDIO, £5/£3
A panel discussion exploring the themes of Ilona Sagar’s exhibition Correspondence O chaired by Nina Wakeford with Lisa Curtice, Owen Hatherley and Ilona Sagar. This event marks the close of Sagar’s exhibition which draws on the history of the Peckham Experiment, an innovative health care system which proceeded the NHS.
This event also forms part of the ongoing research by the SLG’s youth forum, the Art Assassins who are currently working with Sagar on their year-long project The Peckham Experiment: A Centre for Self-organisation.
The exhibition will be open to the public until 6pm.
Correspondence O has been co-commissioned and produced in partnership with The Ballad of Peckham Rye. Supported by a Wellcome Arts Award. Sound Partner: Bowers & Wilkins. The SLG’s Young People’s Programme is supported by Esmee Fairbairn Foundation and Heritage Lottery Young Roots Fund.
To book call 020 7703 6120, the box office is open 11am-6pm, Tuesday-Sunday and 11am-9pm on Wednesdays.
Lisa Curtice has been a trustee of the Pioneer Health Foundation (founders of that the Peckham Experiment) since the mid 1980s. She is a social scientist and third sector manager who facilitates participatory action research with groups whose human rights are threatened. She is an Honorary Senior Research Fellow at the Centre for Health Policy, University of Strathclyde and Director of the Craighead Institute for Life and Faith. Lisa is passionate about inclusive research methods and bringing the views and experiences of people who are marginalised to the attention of policy makers.
Owen Hatherley was born in Southampton, England in 1981. He received a PhD in 2011 from Birkbeck College, London, for a thesis which was published in 2016 as The Chaplin Machine (Pluto Press). He writes regularly for Architects Journal, Architectural Review, Dezeen, the Guardian, the London Review of Books and New Humanist, and is the author of Militant Modernism (Zero, 2009), A Guide to the New Ruins of Great Britain (Verso, 2010), Uncommon – An Essay on Pulp (Zero, 2011), Across the Plaza (Strelka, 2012), A New Kind of Bleak (Verso 2012), which was set to music by the group Golau Glau; Landscapes of Communism (Penguin 2015), The Ministry of Nostalgia (Verso, 2016) and Trans-Europe Express (Penguin 2018). He also edited and introduced an updated edition of Ian Nairn’s Nairn’s Towns (Notting Hill Editions, 2013), and wrote texts for the exhibition Brutalust: Celebrating Post-War Southampton, at the K6 Gallery.
Ilona Sagar lives and works in London. Using a diverse range of media spanning moving-image, text, performance and assemblage, she has formed a body of work that responds to the social and historical context found in the public and private spaces we inhabit. A significant aspect of her practice is the broad cross-disciplinary dialogue generated through collaboration with a range of art and scientific disciplines; including dance, architecture and neurology. She has a practice that explores the link between language, surface, technologies and the body through our increasingly mediated encounters in social, political and experiential space. Illusion and material [dis]honesty set the stage for works which seek to seduce, alluding to something familiar yet other.
Recent projects include: HereAfter residency White Building, SPACE Studios, London (2017); Solo Show, Pump House Gallery, (2016); solo show, Art Licks Weekend with DKUK and Ballad of Peckham Rye (2016); performance commission, The Performance Studio (2016); solo show with performances Tenderpixel, London UK (2015); solo show with performance, Vitrine Gallery, London UK (2015); Acadia Missa, Bátor Tábo Budapest (2015), STO Werkstatt in collaboration with Tomas Klassnik (2015); Art Rotterdam, Main Section, Rotterdam NL with Tenderpixel (2015).
Nina Wakeford is an artist and sociologist. Her work begins with the unfinished business of past social movements, and the challenges of revisiting the energies that these movements created. She is interested in the way in which identification and disidentification are forged, modes of empathy and inhabitation, and the risks of staying loyal/respectful to the kinds of materials that initiate the work. Recently, drawing on a personal collection of feminist materials from the 1970s and 1980s, Nina has made a series of film and performance works that involve singing as a way of attaching herself to objects or images. Nina is the co-editor of Inventive Methods: The Happening of the Social (Routledge, 2012) a collection that explores, amongst other things, how research might better work with openness and ambiguity. She teaches at the Royal College of Art and Goldsmiths, University of London. Upcoming projects include: Glasgow International (2018), Art On the Underground (2018-2019).
Image: Still from Correspondence O, Ilona Sagar, 2017