‘Are we there yet?’ 26.3.2015 - 26.4.2015
Thursday to Sunday 1pm to 6pm
Private View: Thursday 2 April, 6pm to 9pm
Duncan Pickstock, the inaugural recipient of the Rita Harris Studio Award, presents a solo exhibition of paintings made during his year on the award.
Pickstock’s large-scale paintings are an attempt to move on, to move forward and closer to a state of resolve, towards a harmonious conclusion, that is always the goal but one that he accepts is unachievable. Painting is then a journey for Pickstock, a journey that the artist sets out on knowing that the destination, this arrival at a state of resolution, will never be reached.
Despite this, and along the way, the paintings through their juxtapositioning of form, construction and layers of colour and chiaroscuro, maintain a sense of place or shelter that ultimately reassures the viewer that no matter how aspirational the journey might be, the desire to survive is the greater force in answering the visual and vital questions each painting poses.
Pickstock’s investigation often encompasses a preoccupation with layers of paint and how the application and the removal of paint, to and from the canvas, can alter the viewer’s perception of depth, distance and dimension. Through these formal tools Pickstock explores the tension that exists between something that is neither representational nor abstract; that refers to elements of the world around us but refuses to illustrate them.
Accompanying full colour catalogue, with essay written by Paul O' Kane (Artist, Writer & Lecturer) will be available. Designed, printed and supported by Tom Clark and Printhouse Corporation.
Duncan Pickstock is the first recipient of the Rita Harris Studio Award. The award commemorates the life and work of Rita Harris who died in 2013. Rita was an artist and a master of T’ai Chi, which she taught for over 20 years. She was married to Jonathan Harvey, Acme’s Chief Executive and co-founder. She worked with Jonathan at The Acme Gallery (1976-1981) in Covent Garden.
The biennial award, which alternates with the Jessica Wilkes Studio Award, is supported by Jonathan, Acme, friends and family. It provides an artist with a free studio to enable them to devote more of their time to their studio practice. Worth £10,000, the award is made to an artist selected from applications from current Acme studio holders.
Acme Project Space
44 Bonner Road
T 020 8981 6811
F 020 8983 0567
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:
- Underground - Bethnal Green (Central Line)
- Train - Cambridge Heath
- Bus - D3 & 309
- Car - On street pay and display parking (unrestricted at weekends)
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 firstname.lastname@example.org or 020 8981 6811 for further information. There are no public toilet facilities on site.
Milou van der Maaden
‘Planta: Notes on Botanical Dissidence’ 8.5.2015 - 24.5.2015
Thursday to Sunday 1pm to 6pm
Private View: Thursday 7 May, 6pm to 8pm
Students from the Royal College of Art Curating Contemporary Art MA present Planta: Notes on Botanical Dissidence at the Acme Project Space as part of an ongoing partnership between the Royal College of Art and Acme Studios' Residency & Awards Programme. The group show is an investigation into the conceptual potential of plants, often silently present but frequently neglected in the overarching discourses of history. The work of Milou van der Maaden, recipient of the Adrian Carruthers Studio Award, provided a catalyst for the project; in her pieces, plants emerge as both props and prompts, linking the ‘here’ of the artwork with the ‘elsewhere’ of the complex and conflicted legacies of the Dutch-Indonesian colonial past.
The display is premised on the investigative model of note-taking and includes works by artists who explore questions ranging from the symbolic power of plants, to their associations with labour and exploitation, corporate greenwashing and financial commodification, as well as the subtle visual allure and the dangers associated with plants as mobile, migrating beings.
The exhibition also features a new work by van der Maaden especially commissioned for the show called Tell it to the plants (2015), which addresses the parallels between the botanical and the human body, instrumentalised by science at the service of intelligence forces. Van der Maaden uses the research of CIA agent Cleve Backster around the notion of “primary perception” in plants, subverting his interrogation tactics to urge the audience to engage with issues of silence and speech, contested histories and their re-animation in the present.
A publication, produced to accompany the exhibition, will function as an expanded research notebook on the questions raised by the show.
Curated by Inês Geraldes Cardoso, Grace Storey.
‘The World Turned Upside Down’ 6.2.2015 - 8.2.2015
Friday to Sunday 1pm to 6pm
Private View: Thursday 5 February, 6pm to 8pm
The World Turned Upside Down is an exhibition of new work by Iaspis 2013/14 residency artist Love Enqvist at the Acme Project Space. For this exhibition Enqvist has harvested radical gardening references using them to create an environment for imaginary gardens. Each of Enqvist’s layered references begins with an historical character, whose solitary obsession with gardens was inspired by a spiritual belief. The exhibition is a labyrinth of imagery and language, and at its centre is an invitation to create an imaginary garden through a hypnotic process. The title, taken from Leon Rosselson's folk song of the same name, references the 17th century movement the Diggers and introduces the concept that assumed knowledge can be 'turned upside down'.
The exhibition begins with evocative images: in one found image the wife of farmer and tree-shaper Axel Erlandson stands with an intricate geometric tree. In contrast, Enqvist’s work 'Axel Erlandson' (2014) records (on scarce 16mm film) the trees after Erlandson’s death. The branches have changed over time: straightened and rebelled without the work of the solitary sculptor, however they still retain their otherworldly allure.
Moving further into the exhibition imagery gives way to sound. In a darkened space, with a raised carpet, a voice carries a string of parallel metaphors. Inspired by the self-induced trances of the San Francisco Diggers and 18th century theologian Emanuel Swedenborg's 'correspondence' through gardens. 'Andramandoni' (2015) uses hypnotic language to discover what cannot be explored in imagery. Each listener finishes the narrative by building an image of his or her own garden.
Enqvist further explores the lapse between image and language in 'Magellania' (2014). Intertwining narrated moments of darkness with silent footage the artist tells the story of Cristina Calderón, the last speaker of the Yaghan language. Referencing Jules Verne's final book, this essay film rethinks the colonisation of language and image, suggesting instead that 'silence is not passive'.
Text by Olivia Leahy
- Love Enqvist — “The World Turned Upside Down” (6 Feb 2015)
- Stephen Fakiyesi & Harold Offeh — “FAKIYESI/OFFEH: How to Speak to Power?” (30 Jan 2015)
- Briony Anderson, George Charman, Bridget O’Gorman, Maria McKinney and We Colonised the Moon (Hagen Betzwieser and Sue Corke) — “From a Studio Exchange” (8 Jan 2015)
- George Charman & Adam Knight — “The Tiny Lag” (28 Nov 2014)
- Jamie Hosegood — “PUBLIC IMAGE” (24 Oct 2014)
- Sarah Duffy — “Breathless” (3 Oct 2014)
- Marianna Simnett — “Marianna Simnett” (5 Sep 2014)
- Matthew Hunt — “Dirty Pools” (29 Aug 2014)
- Kate McMillan — “The Potter's Field” (4 Jul 2014)
- Clare Price — “I Killed a Viper” (6 Jun 2014)
- Sarah Duffy and Maaike Anne Stevens — “DELVE” (9 May 2014)
- Maaike Anne Stevens — “Black Sea” (21 Mar 2014)
- Sophie Jodoin — “how permanent is permanent” (20 Feb 2014)
- Virginia Bradley — “Jeopardy” (5 Dec 2013)
- Various — “Postcard From My Studio” (4 Oct 2013)
- Ninna Bohn Pedersen — “Perforations” (19 Sep 2013)
- Rhonda Weppler and Trevor Mahovsky — “Rhonda Weppler and Trevor Mahovsky” (1 Aug 2013)
- Mathieu Beauséjour — “To Be Governed” (12 Jul 2013)
- Ben Cove — “Vernacular Hangover” (7 Jun 2013)
- Ninna Bohn Pedersen, Rafał Zajko and guests — “Adjacent Practice Colliding Daily” (8 May 2013)
- Peter Burgess — “Bryant and May . . . and” (28 Mar 2013)
- Tiffany Parbs and Greg Fullerton — “Gloss” (14 Feb 2013)
- Craig Leonard — “Finesse” (7 Feb 2013)
- Roger Kite — “Pathways” (17 Nov 2012)
- Joss Cole — “What's Outside the Window?” (25 Oct 2012)
- Luke McCreadie — “Blob-content” (5 Oct 2012)
- Kate Atkin — “Like A Stone” (6 Sep 2012)
- Anna Moderato — “In Use” (22 Jun 2012)
- George Charman — “Once Again And Always New” (5 May 2012)
- Vishwa Shroff — “One eye! Two eyes! Three eyes!” (1 Mar 2012)
- Helen Johnson — “Dead Metaphor” (26 Jan 2012)
- Andro Semeiko — “Lily of Blythenhale” (11 Nov 2011)
- Rose Davey and Sarah Poots — “Rose Davey and Sarah Poots” (8 Oct 2011)
- Hagen Betzweiser & Sue Corke — “101 Harmless Scientific Experiments To Try At Home” (11 Aug 2011)
- Tom Polo — “Disappointed with many people and things” (7 Jul 2011)
- Briony Anderson / Paul McGee, George Charman, Amy Gee, Adam Knight, Haroon Mirza, Emma Smith, K. Yoland — “Sum Parts” (10 Jun 2011)
- Nedregard & Hillary — “Entrances” (6 May 2011)
- Jan Hendrickse — “Transient” (31 Mar 2011)
- Chantal Faust and Paul Knight — “I'll sit slightly behind you” (3 Mar 2011)
- Gemma Anderson — “Portraits: Patients and Psychiatrists” (12 Nov 2010)
- Stephanie Kingston — “Sydney Road” (7 Oct 2010)
- Janne Malmros — “Black-veined White” (3 Sep 2010)
- David Blandy, Harold Offeh and Jan Hendrickse — “Contort Yourself” (4 Jun 2010)
- Michelle Ussher — “An Elaborate Fiction” (21 May 2010)
- Christian Quesnel — “Hearts of Clay (Coeurs d'Argile)” (4 Dec 2009)
- Margarida Gouveia, Tina Isabella Hild & Martin Karlsson — “Chance Meeting on a Drawing Table of a Zebra and a Meteorite” (2 Oct 2009)
- Revati Mann — “Re :ri: rm: hm: ha: h:i ho: hum:” (11 Sep 2009)
- Howard Dyke — “Dance of the Techno Polar Bear” (5 Jun 2009)
- Acme Studios
- 44 Copperfield Road
- E3 4RR
- T +44 (0)20 8981 6811
- F +44 (0)20 8983 056
Between 1996 and 2012 Acme received £3.2m of capital funding from Arts Council England which supported the creation of six permanent affordable studios in London: Copperfield Road, Fire Station, Galleria, Harrow Road, Leven Road and Matchmakers Wharf. This resulted in 186 studios and 12 work/live units in four London boroughs.