Acme Studios, supporting art and artists since 1972
 
 
 
 

Directions

Acme Project Space

44 Bonner Road
London
E2 9JS
T
020 8981 6811
F 020 8983 0567
E mail@acme.org.uk

Acme Project Space is located in the heart of East London's gallery district, around the corner from The Approach and a short walk from Vyner Street. The venue is well served by public transport (see map on right):

  • Underground - Bethnal Green (Central Line)
  • Train - Cambridge Heath
  • Bus - D3 & 309
  • Car - On street pay and display parking (unrestricted at weekends)

 

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Information

The Acme Project Space provides an opportunity for those artists who are part of our Residency & Awards Programme and our International Residencies Programme with a public space within which to develop projects, show new work and engage in a critical dialogue with a wider audience.

The programme of projects and exhibitions is developed in collaboration with those individual artists, who have already been through a selection process and aims to highlight the benefit artists gain from this support. The Acme Project Space therefore, is not currently able to accept unsolicited exhibition proposals from other artists.

Access and facilities

There is level and ramped access throughout the Acme Project Space. All printed material is available in a range of formats, please contact mail@acme.org.uk or 020 8981 6811 for further information. There are no public toilet facilities on site.

 

Next

Matthew Hunt

‘Dirty Pools’ 29.8.2014 - 31.8.2014

 
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Private view: Friday 29 August, 6pm to 8pm

Bringing back to life, that what was
lost, erasing that what was barely
there, painting to remember,
painting to destroy.

Struck by the shadow of a plane

Dirty Pools is Matthew Hunt’s first solo exhibition in the UK. Coming at the end of his Associate Artist Residency as part of Acme Studios' International Residencies Programme, Hunt has produced a body of work that combines painting, photography and sculptural elements that explore the dynamics between subjective and cultural history. Delving into the past, using the process of painting as a conduit to remember personal and cultural histories, Dirty Pools collapses time and space.

This coalescing of the past and present creates a whole, and yet at the same time, a dislocation from both locations. The dirty streets of London do have a relationship with the algae and insect ridden swamps of Hunt's childhood in Australia. The metaphorical fear of the London sewer and the untested quicksand of North Lake become part of the same beast.

But it is also the re-found recorded moments from black and white photography that holds interest. These fragments are discarded and contextless – and we are forced to form a narrative from our own subjectivity.

Key to all this is a consideration of composition, both as an aesthetic exploration but also as a more indescribable, intuitive link between the form of the subject and the surrounding context.

Special thanks to Janet Holmes à Court & Copyright Agency Australia

 
 
 
 

Previous

Kate McMillan

‘The Potter's Field’ 4.7.2014 - 13.7.2014

 
Private view of The Potter's Field. Image: Acme IRP (2014)
Private view of The Potter's Field. Image: Acme IRP (2014)
Private view of The Potter's Field. Image: Acme IRP (2014)
Private view of The Potter's Field. Image: Acme IRP (2014)
Private view of The Potter's Field. Image: Acme IRP (2014)
Private view of The Potter's Field. Image: Acme IRP (2014)
 
 

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Thursday to Sunday 1pm to 6pm

Private View: Thursday 3 July, 6pm to 8pm

In this exhibition, Australian Council for the Arts London Residency artist Kate McMillan, uses film, photography, sculpture and sound to excavate the residue and ruins of place and memory.

This exhibition features the residue of images and sounds that have been traced and collected from sites associated with symbolic early memories, including a naturally occurring clay field next to the artist's childhood home, a decaying Roman castle and the sodden clay cliffs along a beach on the Isle of Wight. These residues have been manipulated and intuited into a series of small sculptures that suggest the shape and form of anxiety and heaviness. Importantly the work emphasises the use of hands as a way to mark presence and evidence the traces of self.

The work includes a two-part film that mirrors the artist's hands during studio play and the hands of percussionists and object players in the London Improvisers Orchestra during a recording for another of McMillan’s work that took place at the Rivolli Ballroom in Brockley, South East London. Parallels are made between playing instruments and making sculptural objects and the Proustian association with memory triggers. Sound has long been a key component in McMillan’s work as it defines the emotionally reading of her work.

During the private view, a series of vignettes will be performed by members of the London Improvisers Orchestra. These performances will be recorded and will provide the foundation for subsequent work. This process highlights the linkages between informing, creating and playing as new ideas evolve, incorporating them into the presentation of work. The exhibition will be accompanied by a small catalogue with text by Elizabeth Stanton.

 
 

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Acme Studios
44 Copperfield Road
E3 4RR
T +44 (0)20 8981 6811
F +44 (0)20 8983 0567
E

National Housing Federation member | NFASP member | Supported using public funding by Arts Council England