Coming together in the seemingly endless summer of 2018, Max Miechowski’s series Burgess Park celebrates South East London and its people. It is a portrait of a community filled with sunshine and optimism, and one which advocates for multiculturalism and diversity.
The virtue of the park lies in the people who visit it. It is a space that facilitates the coming together of ideas, cultures and beliefs. The series is a subtle backlash to the increasingly polarised political rhetoric surrounding national identity.
Max Miechowski is a winner of the Peckham 24 Open Call
Placing focus on their immediate surroundings, these six artists explore themes of history, ritual, and the strangeness of the everyday, navigating the world through photography, sculpture, film and sound. As the very idea of community becomes ever more fluid and complex, these projects seek to engage in a deeper understanding of our place within it.
Through observation and critical thinking they reveal personal feelings of isolation and displacement, and question the impact of human development. While there is tension there is also hope and courage to face our future unflinchingly.
Curated by Emma Bowkett
Go Home Polish began as an instagram performance in 2018. Responding literally to graffiti in Cardiff that said, “Go Home Polish”, Iwanowski drew a line on a map and made a 1900km journey on foot between Wales and Poland with a British passport in one hand and a Polish one in the other. Along the way he asked people about home.
Anticipating confrontation and awkwardness, the reality was refreshingly optimistic. People responded to the question in a deeply personal way - human to human, rather than citizen to foreigner. As the journey progressed, the Go Home Polish slogan became irrelevant but Iwanowski decided to keep the title as a symbolic axis on which the project is set.
Curated by Vivienne Gamble
In 1995 Tom Hunter set off from a squatted street in Hackney with a group of friends in an old double decker bus, loaded with muesli, Sosmix, baby-foot table and a sound system. Fuelled by selling egg butties, veggie burgers and beer, their journey took them through folk festivals in France, teknivals in Czech Republic, hippie gatherings in Austria and beach parties in Spain. Le Crowbar Café became an oasis for a nomadic party community hungry for all night food and a break from the hardcore techno.
‘Le Crowbar’ paints a vivid picture of friends on a journey, exploring new horizons and ways of living on the road, in the wake of the introduction of the Criminal Justice and Public Order Act 1994.
4pm In The Endz is a collaborative project that London based artist D.Wiafe created with a group of young people from Pollards Hill, a housing estate in the borough of Merton. Inspired by a song written by local rapper Teks Sinatra, together with the artist, the young people from the area explored the turn from day to night and the accompanying suspicion of criminal mischief that falls on the doings of the estates young inhabitants.
Made over a six-month run of weekly workshops and presented in a mix of video, illustrations and photography, the work questions the role that stigma, hearsay and truth have played in the representation of the area to those who reside within and the community outside.
In the spirit of this year’s theme Collaboration x Community, Photoworks, Der Greif and Webber Gallery share a space to explore different perspectives on a common theme, Dancing in Peckham. The three days of photography, performance and music will include live performances on Friday evening and Saturday between 2pm and 5pm.
Dance is a universal language of expression. We dance alone, in the privacy of our own homes; we dance together, in pairs and in groups, forming communities based on shared likes and experiences. Photoworks at Peckham 24 explores the intersection between dance, music and movement through contemporary photography, performance and video, celebrating how these freedoms of expression help define different communities.
Webber Gallery examines the transaction between artist and subject afresh at Peckham 24 through a series of newly commissioned moving-image works by Mel Bles, Marton Perlaki & Dorottya Vekony and Senta Simond.
Via these artists’ respective lenses, movement becomes by turns raw, free and universal; prosaic, primal and difficult to endure; intrusive and yet completely compelling. Rooted in a view of image-making as a performance in and of itself, each of these works takes a unique approach to the body. Viewed together they reframe dance within the gallery space, and movement as a form of expression.
Der Greif is delighted to invite musicians and artists to be inspired by, react and respond to images submitted through an open call – in live-performances, DJ-sets and happenings. Der Greif encourages an exchange of diverse voices by inviting contemporary practitioners crossing various disciplines. Over the course of the exhibition we aim to explore the different iterations of community.
Brought to Peckham 24 by Photoworks, Webber Gallery and Der Greif.
London’s many independent car yards exist on the margins of our daily lives. They inhabit typically ramshackle spaces on the city’s edges and wastelands. In this new body of work, Jo Dennis pays homage to George’s car workshop situated on the Old Kent Road behind the artist’s studio. The yard has been sold to a developer and will be disassembled later this year to make way for new flats.
These places of labour and human endeavour are integral to the richness of London communities. But they are vulnerable to the continuous creep of regeneration which pushes small businesses out - a cycle which is witnessed and mirrored by artists who are in the same position. Dennis’ images are layered, painted onto directly and some will be displayed under Ultra Violet light.
Curated by Trine Stephensen
Rehearsing the Real shines a spotlight on a group of contemporary artists and artworks that unravel, erase and rewind across media including photography, film, performance and text. These acts of undoing will come in the form of undoing narratives, histories and visual language.
A central element of the exhibition will be a live collaborative work that will unfold throughout the duration of Peckham 24, and will bring together artists Erola Arcalís, Emma Bäcklund, Ramona Güntert, Steff Jamieson and Joshua Leon in one creative space.
Curated by Tom Lovelace
Martin Seeds grew up in Belfast at the height of The Troubles in the 1970s and 1980s. Through his practice he engages with the conflicting experiences of Northern Irish identity, politics and culture. The exhibition will include a large-scale installation of Seeds’ latest body of work, Masks - over 150 unique silver gelatin contact prints of balaclava ski masks, hand-made in the darkroom with the screen of an iPad.
This series marks a new departure in the artist’s practice driven by the fact that Northern Ireland and the “Irish Question” has been thrust into the centre of political discourse surrounding the Brexit negotiations. The Masks are an expression of the artist’s darkest fears that Brexit could lead to a complete unravelling of the 1998 Good Friday Agreement and a return to the sectarian violence that was the backdrop to his early life. The exhibition will also include new works from the series Disagreements, part of a long-term project made in the grounds of the Stormont Estate, home of the Northern Ireland Assembly in Belfast.
Moving The Image proposes that the contemporary conditions of photography might be best understood through an expanded conception of its actions, gestures and performativities.
The conventional still/moving dialectic that focuses upon what is within and not around the image, which shapes many conventional discourses of the photographic, belies a multitude of industrial and social functions which constitute a wider ‘photographic universe’, including processes of production, interventions and mediations, and formal and informal channels of distribution. The exhibition proposes that photographic images are not at all static, but are instead shaped and altered through a multitude of processes and encounters, becoming, performative and playful.
Curated by Duncan Wooldridge
"This house is a threshold, a prelude, an opening… mingling and dissolving on the soft palate. What results is a collection of objects which enact a continual palimpsest; where recognisable narratives unfurl and roll off the table and into the street to be trodden on with mucky subjectivity." Kit Edwards, 2019
Curated by Augustine Carr
Baud Postma explores interconnected themes of construction, authenticity and artifice as they exist within both memory and photography. Using a distinctive analogue process, he examines these ideas within the context of our current preoccupation with social media.
Using his first shared photo album on Facebook as the work’s genesis, Postma expresses varying perspectives of the desert; encompassing re-photographed imagery from his early personal archive, film stills from Lawrence of Arabia and long exposure photographs of time-lapse video footage. Alongside these photographic works, Postma has created an installation in collaboration with set designer Jabez Bartlett, which spans the lower floor of the exhibition, placing the viewer in a desert-like, immersive display.
A collective exhibition featuring artists actively pushing the boundaries of contemporary analogue practice, large format printing and darkroom technique. With work from the 1920's through to future digital applications, the exhibition will showcase progressive thinking from artists and photographers dedicated to their craft.