Gordon Dalton

I've lost my way again

The Blue Garden

Things we lost in the fire

Gordon Dalton

When I go deaf
I've lost my way again

Gordon Dalton

Underneath the weeping willow

Gordon Dalton

The Blue Garden

Gordon Dalton

When I go deaf

Gordon Dalton

Things we lost in the fire

Gordon Dalton

I've lost my way again

Gordon Dalton

PV 6-9 PM 26 August 2016
Exhibition open by prior appointment
27 August - 7 October 2016
All works for sale, prices on request.

Daniel Sean Kelly

Monkey holding orange

Three Brothers, Possibly Triplets

Daniel Sean Kelly

Two Men Chopping Wood

Daniel Sean Kelly

Family with well-constructed dwelling

Daniel Sean Kelly

Digging the Hole

Daniel Sean Kelly

Man sawing wood

Raising the Barn, or, a true account of the time when the barn was raised, in which everyone pitched in to make sure things went smoothly - the community being unified by a common purpose.


PV 6-9 PM 24 June 2016
24 June - 20 August 2016

Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith
Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith
Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith
Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith
Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith

Praise of Laziness

A group show of self-portraits and photographic works by
Mladen Stilinović, Stewart Home, Paul Kindersley, James E Smith.

1 November - 13 December

Mladen Stilinović has worked with linguistic and visual signs since the 1960s and his artwork involves photography, collage, art books and experimental films. "I look at the way that everyday language becomes political and how political language becomes everyday".* An extended bio is available here:
http://mladenstilinovic.com/bio/ Solo exhibitions include Nothing Gained with Dice Nothing, E- Flux, New York, Zero for Conduct, Museum of Contemporary Art - Zagreb, GB Agency, Ludwig Museum, - Budapest, VOX - Montreal, E-flux - New York. Group exhibitions include Carnegie International, Pittsburgh, Ostalgia, New Museum of Contemporary Art - New York, Promises of the Past, Centre Pompidou - Paris, Istanbul Biennale, Documenta 12 - Kassel, Sydney Biennale, 50 Biennale di Venezia. *Quote from http://youtu.be/KVQU__kkqzU

Stewart Home works across various aesthetic mediums and uses social media as well as galleries as a showcase for his process based work; much of which is an acting-out of the persona of Stewart Home. This work consists of film, blogs, graphics, status updates and much else. Simultaneously Home has authored 15 published novels, 1 collection of short stories, and 6 books of cultural commentary. His latest novel, The 9 Lives of Ray The Cat Jones, is published by Test Centre (London)

Paul Kindersley is an artist, makeup enthusiast, pervert, video broadcaster, prolific image maker and long time collaborator of Marvin Gaye Chetwynd. Paul’s youtube channel, www.youtube.com/thebritisharecumming has had over 370,000 views. Recent performances and exhibitions include; The Centre For Recent Drawing, Fruehsorge Contemporary Drawings - Berlin, Transition Gallery, Simon Oldfield Gallery, Nottingham Contemporary, Kunstchlager - Reykjavik and the ICA - London.

James E Smith's work is often a product of finding loopholes and quirks in photographic processes, presentation methods and exhibition documentation. He was a DHC Leonardo Fellow at Nottingham University and has exhibited in group print projects at Publish and be Damned, Spike Island, New Art Gallery Walsall, Punctuation Programme at Limoncello, CCA Glasgow and The Modern Institute - Glasgow. He has also exhibited in group and solo exhibitions at Triple OG, OPEM3 and Walden Affairs, Den Haag.

The exhibition also concludes Trade's gallery programme (Feb 2010 - Dec 2014) at Thoresby Street.
(Image: Stewart Home in south Devon summer 1984. Photograph by Diane Gaynor)

Secluded Bronte

Secluded Bronte

Secluded Bronte, Richard Peel, Phillip Henderson, Stuart Faulkner, Simon Raven, Owen Baxter

17 October

Secluded Bronte, a trio of brothers Jonathan and Adam Bohman and Richard Thomas...At their disposal we find a cymbal, knives, forks, bells, file binders, shelf units, tomato slicer, egg slicer, screw threads, fishing line, light bulbs, bowls, rubber bands, balloons, cardboard, plastic, ceramic, metal and much more - this is just half the list of objects they use to scan with their contact microphones ... If you heard their previous work (preferable in concert, as it’s a delight to watch) then you know you are in for a fine treat of electro-acoustic music of a rather vibrant nature...three persons moving quickly between all the stuff they have gathered. Like they don’t want to miss out playing anything they brought along for the ride. No sound effects, no electronics, just amplified daily objects...this is also musique concrete in the most pure form, but then all live and improvised, nothing post-produced or edited. (Information from a review of Secluded Bronte - by Frans De Waal)

Richard Peel Tags: action, adventure, animated, animation, cape, captain, cartoon, cobra,comedy, dangeroid, dc, disaster, fiction, flashtoon, hero, heroes, image,marvel, moon, moonsmash, peel, powers, red, richard, science, scifi,soundtrack, story, super, superhero, superheroes, supernatural, synth
Phillip Henderson / Eǝrth Rod Each of Phillip Henderson's Time Machine Lectures contain a modified version of one or more of the past lectures, remodelled and rearranged, the lectures are created in response to each environment in which they 'appear'.

Stuart Faulkner "I don't want to repeat the Mr Blobby or Jive Bunny ones I am afraid. I can do something and come up with something else - prefer to do that and make it special." We're not entirely sure what Stuart will do - we know what he won't be doing, his obscure 'cover versions' of Mr Blobby and Jive Bunny. He also makes paintings of Hulk Hogan and Hitler, he won't be showing those either.

Simon Raven His works often pivot around visual and gestural associations, linking various ideas with corresponding set of actions, sounds and surprises. The work is sometimes obscure, sometimes direct. We think he is good friends with Aaron Williamson and Brian Catling, he also likes David Sherry's work. His work might be a little like theirs. Simon will be making various performances throughout the evening.

Owen Baxter Revealing the musical potential of found objects, his work explores incidental sounds generated by mechanical devices, blending acoustic sources with synthetic process to produce new music from displaced material. For this gig Owen Baxter will present 'Sonic Washing Machine'.

Mimei Thompson Mimei Thompson Mimei Thompson Mimei Thompson Mimei Thompson Mimei Thompson Mimei Thompson

Mimei Thompson

9 August - 11 October

- Where did you start with the new paintings?

The insects are something that I have worked on before and shown before.
I heard that the caterpillar goes through a liquid stage, making a cocoon around itself and then secreting juices, almost digesting itself and then it becomes something else. There is a stage in between where it has all of the information to become the mature version, but it is actually liquid, and I find that so amazing.

And I think there is some analogy there with paint, there is potential in the liquid stage. And in my work it is a bit like that sometimes. It starts liquid and then it could become anything, like a primordial soup.

- What materials do you use to make your paintings?

I use oil paints, and the surface is really important, and needs to be quite smooth, non-absorbent and white, and I want that whiteness to shine through. The paint and the medium is quite translucent, I can also build it up but that luminosity is one of the key things.

I mix the oil paint with a medium, Liquin which is an alkyd resin. It dries very fast and holds the brush strokes in the oil paint. Whereas oil spreads, the quality of the Liquin is that it holds it together, so in a way it is more like acrylic. Slightly plastic like.

- You trained as a photographer?

Yes, a long time ago.

- What happened?

With the photography, partly I wanted to have more of a touch involved. With photography there is more of a distance from the hand and the gesture. In the training I had it was quite taboo, the things you would do with a bit of intuition or gesture, none of that was really allowed. I started painting again, I did painting for A-level, but after my BA I felt like I didn't have so much baggage, with that not so many rules.

Of course there is the weight of art history, but I didn't really feel that because I had been through this other education of conceptual photography which became too paralysing. After that I just made it up myself, talking to people and getting on with it for years, in an outsider-ish kind of way.

I don't really feel like I have a lot of painterly references. I remember at the Royal College where I studied painting, people and tutors would say 'who is the artist who is sitting on your shoulder looking over you? which some people seemed to have, I never really had that, just doing my own thing.

Mimei Thompson studied at Glasgow School of Art, Central Saint Martins and the Royal College of Art. She was selected for Jerwood Contemporary Painters and the Marmite Painting Prize. Three of her works were bought for the Arts Council England Collection in 2013. She has recently had a solo show at Art First Projects, London, and has an upcoming solo show at Queens Park Railway Club, Glasgow. Recent group shows include exhibitions in Brussels, Los Angeles, London and Glasgow. She lives and works in London

Ruth Beale
Ruth Beale
Ruth Beale
Ruth Beale
Ruth Beale
Ruth Beale

Ruth Beale - Bikes, Caves, Raves

10 May - 19 July

Ruth Beale's work at Trade is concerned with the aesthetic and intellectual outputs of groups, specifically the intersection between political and social arrangements and how everyday culture is archived and historicised. The exhibition is the result of a year's research into various groups' activities.

Taking a speculative position, the exhibition draws together various seemingly unconnected threads: Palaeolithic art from Creswell Crags in North Nottinghamshire, one man's recollections of Nottingham’s music scene in the 70s and 80s; the socialist roots of the Clarion Cycling Club; and the raves, graphics and music produced by the Spiral Tribe collective in the early 90s.

Visual material, texts and interviews are presented across the gallery's four rooms in drawings, prints and videos that distill and highlight shared elements. A series of events, to be announced as the exhibition unfolds, will address the leap from individual motivation to group behaviour.

Major recent exhibitions include ‘Bookbed’, 2013, Peckham Platform (London), ‘Performing Keywords’, 2012, shown at Turner Contemporary (Margate) and Het Veem Theatre (Amsterdam), ‘The Voyage of Nonusch’, 2010, a film commission for Whitstable Biennale made whilst artist-in-residence at the BFI (in collaboration with Karen Mirza), and ‘Now from Now’, 2011, an installation and performance exhibited at Cell (London), Government Art Collection (London) and Basel Kunsthalle. Other exhibitions and performances include Whitechapel Gallery (London), ICA (London), Talbot Rice Gallery (Edinburgh), Kusthal Charlottenborg (Copenhagen), Jerwood Space (London), LGP (Coventry), David Roberts Art Foundation (London) and Wysing Arts Centre (Cambridgeshire).

Ruth Beale is currently working on ‘The Alternative School of Economics’, a collaboration with artist Amy Feneck and the Working Class Movement Library in Salford, ‘Performance as Publishing’, an artist-led project exploring the use of text in contemporary art.

Groups and Things

An afternoon symposium on creativity, collectivity and historicisation within group culture.

19th July

Using Ruth Beale's exhibition at Trade as a starting point, the symposium will bring together six speakers from a number of different fields, including a musician, a historian, an archaeologist, and a curator. By describing their areas of expertise, the speakers will draw out threads present in the show. The day will pull together and provoke discussion around the historicisation of various groups' activities, and expand upon ideas of interconnectedness between work, leisure, politics, escapism, mark-making and the shaping of landscape.


Matt Beresford, archaeologist and educator
Wayne Evans, musician
Chris Matthews, historian and designer
Gillian Whiteley, artist-curator and academic
Fatos Ustek, curator

Bank Bank Bank Bank


1 March - 3 May

This exhibition is the first to focus solely on BANK video works, bringing together three rarely seen videos: FuckShitWalk 1996, Viper / BANK TV 1996, and Conference 1998.

Active between 1991 - 2003 BANK was an artists' group that included Simon Bedwell, John Russell, Milly Thompson and Andrew Williamson, with and David Burrows and Dinos Demosthenous featuring in the early years.

The work of BANK was a comic and sometimes brutal relief from the convivial, jargon ridden and professionalised art world of the 1990s. An antagonistic, critical, sarcastic and jeering sensibility that ultimately cemented their part in the story of contemporary art in London with their works later finding their way into public collections such as the Tate, British Council and Printed Matter, NYC.

The 80 minute version of VIPER/BANK TV at Trade is a series of highlights from the hours of footage produced; VIPER/BANK TV featured over 130 artists including many familiar names including David Burrows, Tracey Emin, Hilary Lloyd, Bob & Roberta Smith among many others. This edited version includes Tracey Emin reading a poem, Bob & Roberta Smith performing in the style of an American evangelical preacher as well as an interview with Terry Atkison of Art and Language by Dave Beech “a stand-in for Richard and Judy”.

FuckShitWalk 1996, and Conference 1998, are a perfection of bad visual and conceptual taste, which collectively with VIPER/BANK TV provide an insight to the spirit of the moment; the pop, art and historical references of the time; the technical limits of VHS and the DIY nature of an important, energetic and caustic artists’ group.

BANK produced paintings, videos, print and curated exhibitions. Often the titles of artworks by BANK would interchangeable with exhibition titles and more often than not would be rude or downright silly, such as “COCAINE ORGASM”, “WINKLE THE POT BELLIED PIG AND HIS WOODLAND CHUMS”, “STOP SHORT-CHANGING US. POPULAR CULTURE IS FOR IDIOTS. WE BELIEVE IN ART!“ which went hand in hand with their various gallery names: BANKspace, DOG, and Gallerie Poo Poo.

They also produced the ‘FAX-BAK service, whereby press releases were sent back to various galleries, with added corrections such as highlighting theoretical inaccuracies and grammatical mistakes, each press release was also given a mark out of ten.

Recent exhibitions:

The Banquet Years, Relics And Archives, Mgk Elaine, Basel; The Banquet Years Motinternational, London; Xerography Firstsite, Colchester, Self Portrait: Relics And Archives Treize, Paris Bank curated By Gallien Dejean; Writer In Residence Ormeston House, Limerick, Eire; Rude Brittannia: British Comic Art Tate Britain, London; Grand National: Art From Britain Vestfossen Kunstlaboratorium, Vestfossen, Norway

Images from : 'Conference' (1) 1998 and 'FuckShitWalk' (2,3) 1996 courtesy of BANK and MOT international

Rachel Maclean
Rachel Maclean Rachel Maclean Rachel Maclean Rachel Maclean

Rachel Maclean - Quick Child, Run!

9 November - 14 December

An evening of films selected by Rachel Maclean
Tuesday 4 February

Joyous in their creation the works reinterpret pop videos, films and adverts, skewing the original sources into a new fantastic forms. Lit in neon pinks, sky blues and dark blacks the films and prints of Rachel Maclean are saturated in colour, each scene filled with an overblown baroque aesthetic, warped characters and a fine kitsch sensibility.

Making use of green-screen, Rachel Maclean plays all the characters in her films, layering multiple shots to create a crowd of dancers, a horde of menacing men or a kissing couple, all set within unhinged computer generated landscapes.

The works celebrate pop culture but are also direct in picking and prodding at the underlying themes and conventions that prevail within the film and entertainment industry, offering surreal and alternative ways of looking at familiar tropes.

She recently premiered Over The Rainbow, a 40-minute video piece for Collective Gallery’s New Work Scotland Programme, and Germs, a short film for Channel 4 Random Acts, commissioned by Bold Yin Ltd. She is also the recipient of the Margaret Tait Award 2013.

During 2012 she was commissioned by Edinburgh Printmakers to produce several new works, including The Lion and The Unicorn, a short film for the Reflective Histories group exhibition at Traquair House. She additionally presented solo shows at Generator Projects, Dundee and Metro Arts, Brisbane.

In 2011 Rachel went on a six-month residency supported by Creative Scotland to the Banff Centre, Alberta, Canada and in 2010 received the World Class Visual Effects for Artists Project Grant through the Visual Effects Research Lab, Dundee.

Recent group shows include: Neither Spit nor Diamonds, Flat_Pack Gallery, Dublin, 2013; Costume: Written Clothing, Tramway, Glasgow; Entre Chien et Loup, The Glasgow Film Festival, 2013; CAVE, The Liverpool Biennale, 2012; New Print Generation, The Edinburgh Printmakers, 2012.

Pil and Galia
Pil and Galia Pil and Galia Pil and Galia Pil and Galia

Pil and Galia Kollectiv - Terminal Equilibrium

Exhibition Saturday 17 August - Thursday 24 October

A new exhibition by Pil and Galia Kollectiv, including four special evening events

A gig by Charlie Megira and Gold Bars Plus Earth Rod and Eǝrth Rod 29 August

A live performance of Terminal 28 September

A night of other film works by Pil and Galia 9 October

For Terminal Equilibrium, Pil and Galia Kollectiv present two film installations. Terminal: A Miracle Play with Popular Music from the End of the World explores the politics of post-apocalyptic fiction. A theatrical staging of a morality play for end times and future folk music, it recasts eschatology as a foundational myth for a future society. The piece is accompanied by a live music performance, vinyl recording and a series of traditional craft objects expanding the universe established in the film.

We Are Equilibrium presents a dialogue between two computers. The conversation opens with a simple text book problem in business studies, but gradually the language, mimicking the application of game theory in the business sector, becomes more abstract. The two interlocutors become adversaries trapped forever in a competition without winners.

Both pieces interrogate the latent belief structures underlying neo-liberal thought. Post-apocalyptic writing and cinema are grounded in an ethos of survivalism. Invoking Rousseau’s state of nature, these fictions propose violent scenarios in which nuclear holocaust, environmental catastrophe and other disasters generate a libertarian politics of pure pragmatism, negating the possibility of democratic deliberation. Game theory, originally developed during the Cold War, similarly posits the negotiations of rational, adversarial agents as the basis for a bare society in which cold calculations dictate private decisions. Terminal and Equilibrium both narrate this familiar scenario, but at the same time question its validity.

Pil and Galia Kollectiv are artists, writers and curators working in collaboration. Their work addresses the legacy of modernism and explores avant-garde discourses of the twentieth century and the relationship between art and politics. They often use choreographed movement and ritual as both an aesthetic and a thematic dimension, juxtaposing consumer rites and religious ceremonies.

They have had solo shows, The Future Trilogy at Te Tuhi Center for the Arts, New Zealand, Svetlana, at S1 Artspace, Sheffield, 2008 and Asparagus: A Horticultural Ballet at The Showroom Gallery, London, 2007. They have also presented live work at the 5th Berlin Biennial and the 5 well as at Kunsthall Oslo, Arnolfini, Bristol and Late at Tate Britain. This year they are participating in the Athens Biennial. Their solo show Suck the Living Labour opens at Ort, Birmingham on 4.9.13. They are the directors of artist run project space xero, kline & coma and work as lecturers in Fine Art at the university of Reading.
Terminal is supported by Merz Barn Project and Arts Council England. The performance of Terminal was co-commissioned by Electra for Drugo More and HKD Teatar, Croatia.

Charlie Megira and Gold Bars, Plus Earth Rod and Eǝrth Rod
Doors 7:30pm

For the first time ever in the UK, the unmissable Charlie Megira will be on tour this month with thee amazing Gold Bars, arranged by Pil and Galia Kollectiv

The Bet She’an Valley Hillbillies featuring Charlie Megira
Berlin-based Charlie Megira is Tel-Aviv’s answer to Link Wray. His distorted postpunk surf rock operates on the premise that Elvis is not dead and there is nothing that can’t be improved with more reverb.

Gold Bars
With their crazed, warped and crunched organ-led punk n roll from London, Gold Bars bring keyboards and distress to music you can dance to.

Earth Rod
Serf Punk band Earth Rod is a trio from Leicester, featuring members of Thee Ludds and Meaty Bone-Bone, trading in fast paced, cacophonous and shambolic fun.

Eǝrth Rod
Phillip Henderson has a body - while he is out of it he plays drones, drum kit and electronics - he also chants and sings. Eǝrth Rod (Nottingham)

Film night of other Kollectiv works

Future Trilogy:
In November 2005, IKEA announced a new store opening in Edmonton to be accompanied by an offer of a significant price reduction on leather sofas. When 6000 people arrived to compete for the discount, a riot ensued, injuring 16 shoppers. The Future trilogy takes this event as the starting point for a speculative history of a fictional future. The Future for Less (2006) imagines the consumer riot as the foundation of a new totalitarian state religion imposing the tenets of modernism on the masses. In Better Future, Wolf-Shaped (2008), a rural cult perverts this official creed through pagan rituals of architectural worship performed at Celtic burial sites in Cornwall. The final instalment, The Future is Now (2009), similarly shot on 16mm colour film, stages the triumphant conquest of the industrial wasteland surrounding IKEA Edmonton as a popular uprising, revisiting the original riot as a future reenactment.

Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management:
Based on an online image archive documenting the construction and history of an early computing company, the fictional story of "Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management” follows the development of an experimental approach to worker productivity into a religious cult. The film investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment.

Mark McGowan Where's Daddy's Pig?
Mark McGowan Where's Daddy's Pig?

Mark McGowan: Where's Daddy's Pig?

7 June - 3 August


"This guy has the right attitude why don't the rest of us? What's really stopping us.."


"This guy is a LEGEND!!!!!!!"

Dean Shorrocks

"he sead he wud do the pig push and he did it and that seem to sey a lot . ask youself wud you push a pig on your hands and knees with your noze . respect and well done artist taxi driver "


"I'd also like the Police to explain under which laws they felt they had the right to refuse the toy pig into DowningStreet…"


"Mark...Im sixty eight...and you have made me feel proud...there are people out there that REALLY DO CARE. Well done once agian mate...your a star in my book?"


"Poignant and piss funny all rolled in to one. Brilliant."


"Mark u legend! Lol"

Selected comments from the youtube video of "The artist taxi at number 10 #wheresdaddyspig"

A solo exhibition by the Mark McGowan. Featuring documentation of the performance 'Where's Daddy's Pig', performed on 24th April for Trade.

For this performance Mark McGowan crawled along the road on his hands and knees pushing a toy pig on wheels the 4.1 miles from Kings College Hospital in Camberwell Green to number 10 Downing Street, in protest against the privatisation of the NHS. Kings College Hospital is where he is receiving treatment for recently diagnosed Bowel Cancer. Cheered on by a large crowd mark finally delivered his letter to "David Cameron and His Government"

Mark is preparing for the second leg on the 22nd of May.

The exhibition will also include selected new videos and videos from McGowans +1500 youtube videos.

Heckler Heckler


13 July

A symposium of performative presentations and provocations entitled organised by Loughborough University School of the Artsʼ Lee Campbell and Mel Jordan in association with Trade, Nottingham.
Speaker Abstracts and Biographies here:


Lets upend the conformist definition of the heckle as anti-social and instead think of the heckler as heroic, a kind of public speech super hero, with the ability to suspend rhetoric, preserving the right to speak out of turn. The violence, awkwardness and embarrassment of the heckle are signs of its political courage, fearlessness and agency. The heckler's interruption opens up a space for public discourse. Deprived of the heckler we would have one less method of turning passerbyʼs into assembled publics (Jordan, 2013).

The symposium will explore the potential of the heckler as a speaker that can offer a revised understanding of social exchanges within contemporary debates on participation, linguistics, ethics and communication. Artists’ Campbell and Jordan argue that the heckler, a person who disrupts performances, speeches and public addresses should be considered as a metaphorical figurehead of impoliteness.

At any rate the heckler should appear on the menu of communicative speech acts and as a tactic for understanding the performers relationship to an audience. Furthermore the notion of the heckler enables a review of the troublesome divisions presented in the dichotomies inherent in the coupling of speaker and listener, performer and audience, official speaker and unauthorised respondent. There is no doubt that the philosophies of impoliteness as a behavioural activity have been attacked by some within sociolinguistic

circles as ʻdeviantʼ and ʻto be avoidedʼ (Leech 1983:105), Campbell and Jordanʼs admiration for the heckler as an embodiment of impoliteness may just be the tip of the iceberg, but an iceberg that surrounds a contemporary surge of interest in the whole territory of impolite behaviour as a means of looking at the construction of social relations.

Keynote speakers:
• Daniel Z. Kadar, Professor of English Language and Linguistics, Director, Centre for Intercultural Politeness Research, University of Huddersfield. Provisional paper title: ʻThe heckler's 'impoliteness': A mimetic-relational perspectiveʼ
• Peter Bond (Senior Lecturer, Performance theory and practice, Central Saint Martins College of Art & Design). Provisional paper title: ʻOff-sideʼ.
• Dr. Ian Bruff (Political Scientist, Lecturer in International Relations at Loughborough Universityʼs Department for Politics, History and International Relations).

Other contributors include: Robin Bale, Andrew Brown, Lee Campbell and Claire Makhlouf Carter, Corinne Felgate, Ben Fitton, Mel Jordan, Kypros Kyprianou, David Mabb, Tim Miles, Sarah Sparkes

Jordan, M. Heckle, Hiss, Howl and Holler in Art & the Public Sphere Volume 1 Number 2 APS 1 (2) (Intellect Limited, 2013) 117–119. Leech, G., 1983. Principles of Pragmatics, Longman.

Heckler lapel image designed by Mel Jordan.
The event acknowledges the support of Loughborough University's' Graduate School Research Culture Fund.


Wasteland Twinning Nottingham

27 April

Trade will be providing shelter, and a place to discuss ideas for participants of Wasteland Twinning's project 'Artist Impression'.

"Wasteland Twinning Nottingham needs 30+ people to be part of an event exploring the history and future of The Island site, between Sneinton and the railway station. The event will take place on Saturday , from 11.30 - 1.30pm.

The event is a re-enactment of an image from the unrealised Hopkins Masterplan for the Eastside area of Nottingham. It depicts a crowd of people moving through and using a public square as part of the design.

The idea is to collectively imagine what this place might have been like through acting out the image as if the people arrived but the architecture never did. This will also be an opportunity to discuss alternative visions for the future of the Island; and to share any memories or experiences about the site.

Jaap Blonk

Jaap Blonk



Vile Plumage

Vile Plumage



Jaap Blonk + Bongoleeros + Vile Plumage + Wasps

26 April

Working with RAMMEL CLUB, Trade presents an evening of improvised vocal performances and performance wildcards.

Jaap Blonk is a Dutch avant-garde composer. Blonk is known for a large vocal vocabulary in which words and sounds are twisted and amalgamated into an array of surprising noises. There is also considerable humour in the work, mimicking nature and improvising with the unique audio and social situation of each performance. Blonk is also a leading performer of Kurt Schwitters’s sound works, recently performing 'Ursonate' at Late Tate at Tate Britain.

Bongoleeros deliver animated vocal performances that take the experimental nature of Blonk's performance in a different direction, positioning different qualities of sounds against each other, a upbeat Jazz riff with coarse vocals? sure thing. Before it all comes to familiar they throw other things into the mix, an offbeat dance or strike of a floor tom, to create a whirling, churning, buoyant experience

The event also includes an additional performances by Vile Plumage + W>A>S>P>S>.

Phillip Henderson

Time Machine Lecture #11

Paula Roush (with Stewart Home)

Paula Roush's (MSDM) 'Art Strike 1990-1993'

Artur Zmijewski

Artur Zmijewski 'Them' 2007

David Sherry

David Sherry 'Open' 2008


20 April 2013

Featuring Artur Zmijewski, Paula Roush (with Stewart Home) and Phillip Henderson, the evening is a repetition of the first three exhibitions and events produced as Trade in Nottingham.
This event will also include David Sherry's 'Open' 2008

The absence of the artist is a provocation to both audience and other artists to re-consider their cultural and artistic identity in both Artur Zmijewski's 'Them' 2007 and Paula Roush's (MSDM) 'Art Strike 1990-1993' .

Artur Zmijewski's 'Them' 2007 documents a series of exchanges from representatives from conflicting social groups; The nationalist - All Polish Youth, a group of Young Jewish Liberals, an assortment of leftists and a Catholic women's group, who were all invited to create a banner that represents their idea of Poland. The amicable atmosphere turns volatile when the groups are asked to amend each other's banners.

Paula Roush's (MSDM) 'Art Strike 1990-1993' consists a winding monologue by Stewart Home, in which he discusses the reasons for and wider implications of the 'Art Strike' in he which called upon all artists to cease their artistic work between January 1st, 1990 and January 1st, 1993.

The second half of the evening features a live performance by Phillip Henderson - Time Machine Lecture #11. As if caught in a large game of Chinese whispers, each of Phillip Henderson's Time Machine Lectures contain a modified version of one or more of the past lectures. Remodelled, and rearranged, the lectures are created to suit the physical environment in which they are positioned adding in Henderson's current relation to the theory of time and space, the subject of space and time starts to warp the form of each ensuing Lecture.

All three works set the tone for Trade Gallery's programme, which builds on a rich history of performance and film in Nottingham, the programme pays particular attention to performative, social, collaborative and collective artworks. In addition, the programme at Trade provides opportunities to engage and reconsider the importance of historical artists’ film and video in relation to the current social, political and artistic climate, such as Joseph Beuys' 'I like America and America Likes Me' (1974) and Trade's current exhibition Stuart Sherman: Spectacles (1975-89). Trade is curated by Artist Bruce Asbestos.

Mexico is a space set up and run by artists and curators. Based in Leeds UK, the space was set up to promote curatorial projects in the city. Aiming to facilitate a variety of artists' works and curatorial ideas from around the UK and internationally.

Directors: Joanna Aldoori, Simon Boase, Pat Creedon Ollie Jenkins, James Maxfield, Leo Plumb, Zoe Sawyer, Karl Vickers

Mexico, 25 Wharf Chambers, Wharf Street, Leeds, LS2 7EQ


Stuart Sherman

Stuart Sherman Stuart Sherman Stuart Sherman

Stuart Sherman: Spectacles (1975-89)

March 2 - May 11

Stuart is a performance artist, you're a performance artist right?

Right, filmmaker

How do you get received when you go out to the Midwest to do this stuff? Like, people think it is weird, or what do they think?

I think they think it's enjoyably weird...I think it is weird of course, but they seem to enjoy it, I had a very good response…some people don't think it is weird at all, they think it has great significance and they spend a lot of time analysing every action I perform…or every frame of every film

Do they come up to you with cockeyed theories of what you have done? and present you with them?

Well you'd have to try very hard to come up with a really cockeyed theory because it is pretty cockeyed stuff to begin with isn't it? so…its pretty weird…well, what I do allows for a lot of different interpretations, so actually, seriously, people say some strange things but they have a certain validity, there is a lot of room for them

Stuart Sherman’s work spanned video, performance and theatre. He is best known for his series of performative ‘Spectacles’, of which nine are shown in this exhibition.

Often produced just for camera, these inventive performances took their cues from Sherman’s other outputs such as writing poems and plays. The work combines these other activities into the work in surprising ways; through the poetic substitution of words for objects and the sculptural, aesthetic and narrative possibilities of the live arrangements of things.

Sometimes the objects appear to be used simply because they make a sense visually : the box fits through the hole, in others the organisation of the objects creates mini scenarios : toy car crashes into a chair, the chair falls over. These little narratives move on rhythmically through the length of each work, with the objects, people and Sherman himself in constant movement, adjustment and re-arrangement.

Stuart Sherman’s work is rarely exhibited on this scale and this exhibition is the first of its kind in the UK, offering an overview of the Spectacle series.

Stuart Sherman was born in Providence, Rhode Island, USA, in 1946 and died in 2001. His work has been exhibited at the Performing Garage, The Museum of Modern Art, Mudd Club, The Kitchen, Franklin Furnace, Whitney Museum of American Art, and Theater for the New City, New York; Walker Art Center, Minneapolis; List Center at M.I.T., Cambridge, MA; Kunstmuseum Berne, Kunstmuseum Zurich, and Pompidou Center, Paris.

This exhibition is also the first in a two-year programme at Trade’s brand new exhibition space, covering the ground floor of 1 Thoresby Street, an iconic Victorian building on the edge of the city. Building on a rich history of performance and film in the city, Trade’s programme pays particular attention to performative, social, collaborative and collective artworks. In addition, the programme provides opportunities to engage and reconsider the importance of historical artists’ film and video in relation to the current social, political and artistic climate.

Interview Text: A truncated version of Kestutis Nakas' interview with Stuart Sherman on'Your Program of Programs' 1980's cable TV show. Watch here

Room 1 (1975-76)
Selections from the First Spectacle

1975, 28:47 min, b&w, sound

Second Spectacle

1976, 45 min, color, sound

Seventh Spectacle

1976, 31 min, color, sound

Room 2 (1978-79)
Tenth Spectacle

1978, 29:40 min, color, sound

Selections from the Eleventh Spectacle (The Erotic) and Eighth Spectacle (People's Faces)

c.1979, 20 min, color, sound

Room 3 (1980-89)
Thirteenth Spectacle (Time)

1980, 38 min, color, sound

Twelfth Spectacle (Language)

1980, 32 min, color, sound

Fourteenth Spectacle Performance

1989, 52:48 min, color, sound

Image: “Selections from the First Spectacle” 1975
Courtesy Electronic Arts Intermix (EAI), New York.

Robin Deacon
Robin Deacon

Robin Deacon
Approximating the art of Stuart Sherman

16 March 2013

Approximating the Art of Stuart Sherman is part of an extensive project in which Robin Deacon explores the art of the late American performance artist Stuart Sherman through documentary film, interviews and performance re-enactments. Using gathered video footage, testimonials and written descriptions of Sherman's solo performance works, Robin Deacon explores Stuart Sherman's creative methodologies through transcription and physical re-enactment of the artist's performances. Deacon is interested in how the work and legacy of an artist like Sherman may live on not just in the work itself, but also in the work of artists who have been influenced by him. The performances re-enacted are selections from The Eleventh Spectacle: The Erotic, from 1979.

Robin Deacon is an artist, writer, film-maker and educator currently based in the USA. Working since the early 1990’s, his performances and videos have been presented at conferences and festivals in the UK and internationally in Europe and the USA. His interdisciplinary practice has spanned a variety of disciplines and themes, including explorations of performer presence and absence, the role of the artist as biographer, and the possibility for journalistic and documentary approaches to arts practice. Most recently his practice has shifted into the area of documentary film with a series of works that aim to interrogate the mapping and ethics of performance re-enactment. He is an Assistant Professor in Performance at The School of the Art Institute, Chicago, USA.

How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office How to Solve Problems in the Office

How to Solve Problems in the Office

Part-public part-private the new office will act as a problem for the exhibitions programme; inserting tables, chairs, computers, wires, folders, people and photocopies forcing the exhibitions to respond to the new environment, as the gallery is converted into a permanent working office.

How To Solve Problems In The Office is a manifestation of new bureaucratic structures necessary for Trade to expand, and a musing on the opportunities and problems these structures create.

At the core of the exhibition is a changing arrangement of artworks, alterations, additions and adjustments to the space and various office utilities by Russell Herron, Tom Godfrey, Oliver Braid, Candice Jacobs.

In addition there is a changing programme of themed wall based works. The first of these exhibitions includes works by: Simon & Tom Bloor, Andy Holden, Edoardo De Falchi, Elena Damiani and Sophie Percival, that document existing artworks, public sculpture and architecture, in various ways.

1st Instalment (1st December 2012)
Russell Herron, Tom Godfrey, Oliver Braid, Candice Jacobs and Daniel James Wilkinson

2nd Instalment (18th December 2012)
Simon & Tom Bloor, Andy Holden, Edoardo De Falchi, Elena Damiani and Sophie Percival

3rd Instalment (2nd March 2013)
Tomas Chaffe

How to Solve Problems In The Office’s publicity image is based on a riso printed poster by Daniel James Wilkinson, available free from the gallery.

See more images of the exhibition here Images © Krystina Naylor 2013

Short Sharp Blow to the Head
Programme of short exhibitions and online takeovers:

Eyes on The Prize

A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head..,

Eyes On The Prize

16 August

Curated by Bas Hendrikx, HMK {Hotel MariaKapel} (NL) Kasper Jacobs (NL), Yarre Stooker (NL), Bas Schevers (NL), Harry Meadley (UK), Alex Farrar (UK)

Eyes On The Prize deals with the differences and similarities between the fields of sports and the arts and applies the rules of the game to the unwritten laws of the visual arts.

Bas Schevers was coached by artist Andre Kok, Kasper Jacobs collaborated with inhabitants of Hoorn on the script for the film 'Extra Cives', and Alex Farrar and Harry Meadley show the outcome of their collaboration based on the 'Code Duello'; a set of 19th century rules for one-on-one combats. All works made in may and june this year during a residency held at HMK {Hotel MariaKapel} in Hoorn, Netherlands.

One Night Stand

A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head..,

2nd August

Trade Gallery present One Night Stand, a one night only show featuring one piece of work each by nine artists from across the UK.

A one-night stand conjures images of furtive glimpses across a room, an exciting instant attraction. There is the ever-present fear of rejection, disappointment and danger. They come with a baggage of guilt, a messy morning after, and the long walk home. Yet there is a hopeful longing for something more, to ask for another chance, to build long-term relationship.

The paintings in One Night Stand are here for one night only, full of boastful exaggeration, bashfulness and a need to be wanted and loved, with all their accompanying ugly flaws and beauty on display for your pleasure.

Curated by Mermaid and Monster, Cardiff.
Yelena Popova (Nottingham)
Gordon Dalton (Cardiff)
Merlin James (Glasgow)
Neil McNally (Pontypridd)
Tom Goddard (Cardiff)
Neal Jones (London)
Lloyd Durling (London)
Kevin Hunt (Liverpool)
Nicholas Deitrich Williams (Bristol)


A Short Sharp Blow to the Head.., A Short Sharp Blow to the Head..,

Trade website takeover by http://Pyramidd.Biz

Pyramidd.biz have been invited to visually disrupt the Trade Gallery website for 6 weeks this summer. Having taken their ongoing web-based series WACKY BACKY as a starting point they have invited 6 international artists to create alternative background images for the Trade website based around the perpetually current, and eternally popular, theme of the relationship between the internet and cats. Each artist project will be housed on the home page for 1 week.

Alongside this pyramidd.biz are replacing all of the sites images with randomly generated photographs of cats sourced live from flickr, rendering Trade's online presence a visually useless resource for visitors. A poster displaying all of the websites original imagery is available for free from the gallery, printed onto newsprint to be absorbent enough to use in your cats litter tray.

WEEK SIX (30/07)
Michael Ray-Von


WEEK FIVE(23/07)
Brad Troemel,
'DANNY BROWN WHEATGRASS plant (Dormroom Accessories)' 2012
(http://thejogging.tumblr.com/) A Short Sharp Blow to the Head..,


WEEK FOUR (16/07)
Georgie Manly
(https://twitter.com/GeorgieManly )


Miner Pie 'Matthew Fox Cats'
( http://www.minerpie.net/ ) A Short Sharp Blow to the Head..,


WEEK TWO (2/07)
'OWLY' by Emotion Driven Processed Based Parallel Identities.
EMDPBPI are an artist collective from South London.
http://edpbpi.tumblr.com A Short Sharp Blow to the Head..,


WEEK ONE (25/06) 'Tumblr Cat T-shirt Background Image (with Rolling In the Deep)' by Holly White ( http://holly-white.com/)

A Short Sharp Blow to the Head.., With big thanks to: Ben Scott, and Takeshi Shiomitsu.

very talented and cute. omg this cat is funny. what cat breed is it that climbs out the chicken? kkk. this is funny and every time my cats stare at me they make me laugh and it’s like they’re saying, ‘what’s so funny?’ fuck YOU!!! America is the best country EVER. at 6:43 the cat eating the shoe, it’s funny cus the song said get the shoe on… and the cat stuck its head in the shoe ^.^ KITTIES ARE SO FLUFFLY AND ADORABLE!!! is that cat touching a mirror at the end? i need my Pop Tarts and stuff... this video is so misleading. cats do funny things about once every 2 months.....the rest of the time they are just lounging on the sofa or hiding in the closet. FUCK AMERICA! 2:49 that is exactly why i do not like cats. 1. why are you watching this video if you hate them? 2. cats were worshipped by Egyptians. 3. i’m a child. i love cats. and cats were voted the cutest pet many years ago. so knowing you, you’ll probably think the cutest pet ever is the toad. whoa whoa whoa! did i just see a fat cat climb out of a couch? if you like cats check out my video of spooky! why is there something about 9/11 on the right set of links, when this is about funny stuff? so confused... the cats were part of the whole conspiracy! i’m high thank oyuu.

Chuck Kissick

LIE - 6 Volumes

6 Volumes produced by Library of Independent Exchange for 'Short Sharp Blow to the Head'.

The Library of Independent Exchange (L.I.E) is an independent reference library presenting a selection of the most interesting and significant works of contemporary independent arts publishers and artists. In the absence of anything of it's kind within the South West of England, L.I.E provides a rare opportunity within the city of Plymouth to encounter and explore such works.

The aims of the Library of Independent Exchange are to develop discussions and exchange exploring the processes of publishing, collaboration, and dissemination whilst highlighting the wealth of resources available.

L.I.E now holds a growing permanent collection of over 300 articles, the vast majority of which have been kindly donated by the publishers, organisations, and individuals who produced them. Since its inception in September 2011 L.I.E has worked with over 60 contemporary independent arts publishers, artists, and organisations, such as:

Anita Di Bianco (DE), Ed Ruscha (USA), Book Works (UK), Gagarin (BE), JRP Ringier (CH), Lubok Verlag (DE), MACK books (UK), Torpedo/Torpedo Press (NO), Whatever Press (JP), Van Zoetendaal Publishers (NL), Circuit (CH), Hans Ulrich Obrist (UK), New Jerseyy (CH), Nieves (CH),White Columns (US).

The Library of Independent Exchange is directed by Christopher Green and Mark James.

http://issuu.com/libraryofindependentexchange A Short Sharp Blow to the Head..,

A series of 6 Volumes produced by Library of Independent Exchange in association with Trade Gallery Nottingham UK. April - August 2012 http://issuu.com/libraryofindependentexchange

A Short Sharp Blow to the Head..,

Tim Hattrick

5 July

Tim Hattrick's work troubles itself with the creation of display devices for objects that have been hand crafted or meticulously produced.

In Trade, Tim will be working up to 6pm on Thursday to produce a work to transform the gallery space - creating a new veneer for the gallery floor.

Tim's work is the first in a line of exhibitions for 'Short Sharp Blow to the Head' that move towards exhibitions that include sculptural and paper based artworks, and it will be Tim's first solo exhibition.

Tim is a member of Nottingham's newest Atelier, studio and fraternity "Death Of A Mauve Bat" that shares occupancy with the Attic project space on the top floor of One Thoresby Street

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Jackie Berridge

19 July

Jackie Berridge's paintings and drawings focus on anthropomorphic beings, often with human like bodies and animal heads.

Hierarchies, factions, prima donnas, leaders and minions coexist in these fantastical landscapes; depictions of lone characters and clusters of individuals suggest social hierarchies reflective of the workplace, the staffroom and the boardroom.

A Short Sharp Blow to the Head..,

Zachary Formwalt

21 June

Unsupported transit is set on a construction site in Shenzhen, the first of China's Special Economic Zones, where a new stock exchange designed by Rem Koolhaas's Office for Metropolitan Architecture is now being built. On this site, a story is told that begins with Eadweard Muybridge's early sequential photographs and a commissioned work he carried out for Leland Stanford before the famous horse pictures were produced. The mechanism by which the images in the film were produced becomes clearer as the story moves on to a description of time-lapse photography and what Karl Marx described as the "abbreviated form of capital" a form that makes capital appear to move of its own accord.

Curated by Hannah Conroy

Eastside Projects

A Short Sharp Blow to the Head..,

7 June

Selected by Katy Woods 'This is the Point' is a selection of films by artists including An Endless Supply, Anne Guest, Michael Lightborne, Joanne Masding, Josephine Reichart, Ben Sadler, Adam Smythe and Grace Williams.

An Endless Supply - The Most Cool Books 2011, 8' 11"
Jo Masding Stool 1906 (basement) 2011, 8" (1 rotation)
Ben Sadler - To the Stars 2004, 3' 17"
Jo Masding - Stool 1906 (bathroom) 2011, 5" (1 rotation)
Jo Masding - Stool 1906 (living room) 2011, 4" (1 rotation)
Grace Williams - Spiritual Ectoplasm 2011 ,Hand tinted film, 1' 10"
Jo Masding - Stool 1906 (my bedroom) 2011, 5" (1 rotation)
Adam Smythe - This is the Point 2010, 31"
Jo Masding - Stool 1906 (Sarah's bedroom) 2011, 6" (1 rotation)
Josephine Reichert - Voice Over Nothing 2 2011, 2' 36"
Jo Masding - Stool 1906 (tower) 2011, 3" (1 rotation)
Anne Guest - re:produce 2011, 2'13"
Jo Masding - Irish Sea 2 2011, 13" (1 wave)
Michael Lightborne - Cinema is Rubbish 2011,
Single channel version, HD, 9'
Grace Williams - Untitled 2010, 8"
Anne Guest - Dog Eat Dog 2007, 36"
Grace Williams - Untitled 2010, 15"
Ben Sadler - More Than This 2004, 3' 38"

A Short Sharp Blow to the Head..,

Kelly Large

24 May

Our Name is Legion documents a spectacle of mass participation within a small, rural Lincolnshire town, during which 3000 young people, from local secondary schools were invited to wear high-visibility, fluorescent yellow vests from the moment they left school to the moment they arrived at home. The public spaces of the town were flooded with colour as the students followed their usual routes, flowing along the main thoroughfares, congregating in habitual locations such as the central Market Place and bus stops and then over a period of one hour, gradually disbanded. Those who were excluded from or chose not to take part in the mass assembly, such as the town's people, the artist, the commissioner and the student dissenters remained as visible as those who actively participated in the production of the work. The title of the art work is taken from a biblical parable in which Jesus meets a man possessed by many demons, and when asked their name, they respond: 'Our name is legion, for we are many'. It has been referenced in political and pop culture contexts to suggest the destabilising power of the assembling mass and the power-play between multitude and individual. Used here, it points towards the artwork offering possibilities for acting collectively or alone and the agency these positions afford in different social arenas; it also acknowledges society's uneasy relationship with the colonization of public space by groups of people. Our Name is Legion was commissioned by BEACON and produced during a residency at Sleaford and Kesteven High School.

Kelly Large is an artist based in London and Birmingham. She has a social practice that is both research and production based. Her work is often developed out of a long-term engagement with an organisation or institution involved in culture making - including archives, libraries, schools, museums and universities amongst other places. She uses these situations to explore the conditions that shape cultural production and the artist's role within this. Her current work is pre-occupied with acts of public appearance and the agency attached to 'being visible'; especially how different registers of visibility and public-ness are entangled with the social relations of art practice. The projects she produces unsettle the encounter between artist, participant, audience and artwork. She employs a multi-disciplinary approach to making work and uses a diverse range of forms including events, video and sound broadcasts, performances, texts and objects.

Recent solo exhibitions and projects: The Becoming, commissioned by Inheritance Projects for Milton Keynes gallery, involves a group of Open University BA Art History students, who are geographically dispersed throughout the UK, collectively metamorphosing into an art object on a given night at the end of their studies using the technique of lucid dreaming (2012); We, the Object for Art House Foundation, an on-going sculptural project that aims to connect the gallery with the school on the same site though transforming a class of thirty pupils into an object during the their seven years of primary education (2011); 744 x 744 x 744, Limoncello, London, an exhibition exploring the least used books containing the word 'artist' in the British Library collection (2010); Our Name is Legion for Beacon, a video work and a spectacle of mass participation within a small, rural Lincolnshire town (2009); Me, Myself and I, exploring the function of the artist-in-residence, New Art Gallery, Walsall. Strategic Questions: What is Comprehension? was a publication recording readers' interactions with the British Library catalogue for the 52nd Venice Biennale (2007). Recent group exhibitions include: Acoustic Mirrors, Zabludowicz Collection, London and Among Other Things, Camberwell Space, London (both 2012), Fig. 3: I don't know what to say, David Roberts Art Foundation, London (2011); Book Show, Eastside Projects, Birmingham (2010) and Hollywood Wonderland, Seventeen, London (2009).

Curated and introduced by John Plowman, Beacon

A Short Sharp Blow to the Head..,

Radar - Life in the Woods, Olivia Plender and Patrick Staff

10 May

In the spring of 2011 artists Olivia Plender and Patrick Staff invited a small group of participants to live together for a week in John's Lee Wood, Leicestershire, in a critical exploration of folk revivalism, communal living and collaborative film-making. Borrowing a format from radical outdoor educational programmes started in the early twentieth century, such as the Kibbo Kift, Woodcraft Folk and Forest School Camps, this temporary intentional community explored how histories, traditions and ideologies are made. Through workshops, discussion and the collaborative film-making process, the participants addressed the history of the counter culture in relation to queer politics in the British context. The resulting film, rather than telling the story of their experience in the woods, reflects on whether living experiments such as this have the potential to produce new forms of collectivity.

Life in the Woods was commissioned by Radar and funded through the National Lottery by Arts Council England.

Participants - Daniel Bower, Red Chidgey, Ade Clarke, William Clarke, Jesse Darling, Richard Dowling, Zia Dowling-Haigh, June Gillert, Amy James, Michael Mertens, Jamie Partridge, Natalie Raven, Hester Reeve, Yerang Seong, Sofia Tornblad
Additional input - Bob Trubshaw and Matt Killip

Image Credit : Julian Hughes

A Short Sharp Blow to the Head..,

Short Sharp Blow to the Head..,

Bubblebyte - Energia Della Danza

1 - 30 April

Online Takeover

Paul Flannery, Rhys Coren, Laurel Schwulst and Oliver Sutherland

During April, the 'Short Sharp Blow to the Head' series sees bubblebyte.org present Energia Della Danza, an online collaboration of artists working together to disrupt the online presence of Trade and its usual way of working. This transformation of the usually clean, white Trade website consists of revised webpage coding (html+css) by Paul Flannery, dancing backgrounds by Rhys Coren, looped sound files by Oliver Sutherland and a special spinning globe navigation bar image (.ico) by Laurel Schwulst.

Energia Della Danza pays homage to the early 90s TV show Dance Energy, part of the BBC's DEF II programming directed solely at teenagers in the UK. (http://www.youtube.com/watch?v=cw1vd9o1uM0)

http://bubblebyte.org/ is an online gallery showcasing artists that engage in a creative way with the digital space, stressing the multiple possibilities of the media. http://bubblebyte.org/ is a project by artist Rhys Coren and curator Attilia Fattori Franchini.

Click here to see an archive.

A Short Sharp Blow to the Head..,

11 April

Ewoud Van Rijn

Often large scale and overwrought Ewoud Van Rijn's images are both a metaphorical and fictional space that positions itself to one side of everyday reality. Its content is fuelled by the ever recurring Ouroboros like discussion around the demise and rise of particular types of creativity. Out of this psychosis comes a rich visual vocabulary of exploding boats, twisted sheet like ghouls and dripping words, often rendered without the corresponding explosion of colour, the works are executed in inky blues and sepia oranges.
Dipped in fantastical narratives, greek mythology and science fiction references, Van Rijn's works allow us to enjoy looking, again.

A Short Sharp Blow to the Head..,

Iva kontic

29 March

For Short Sharp Blow to the Head..,Iva Kontic will present two video works that explores the relationship between personal and collective space, the exhibition is an extension of the themes raised in the previous exhibition Yelena Popova / Grandad Hill.

Na danasnji dan (ili 25. maj & ja) deals with the relationship between the history and the individual experience through the context of 25 May, or the Youth Day. Introduced by Tito in 1957 and celebrated until 1987 (7 years after his death). Each year youth day it would start with a national relay all around the Yugoslavian territory and its former republics, accompanied by various manifestations organised in each town and city.

The biggest manifestation called 'Slet' would take place, when the relay arrived in Belgrade at the stadium of Yugoslavian National Army (now Partizan Stadium). The Slet spectacle, which included massive gymnastic exercises and music repertoire was transmitted via the national television. The work investigates the personal everyday memory in relation to 25 May through a mixed collage of the extracts from the interviews - all with former citizens of Yugoslavia.

For An Urban Story, Iva invites a friend who lives in a small city in Northern Italy, to make a guided tour in his car. As the car drives around we see buildings and places that are from his personal experience and memory, rather than those that are sights of historical and cultural importance. The friend introduces the urban landscape through mixture of general information, anecdotes and comments.

Iva Kontic was born in Belgrade (former Yugoslavia) in 1982.

A Short Sharp Blow to the Head..,

A Short Sharp Blow to the Head..,

A Short Sharp Blow to the Head..,

Yelena Popova
Grandad Hill

15 March

For Trade's second exhibition in the series 'Short Sharp Blow to the Head..,', Yelena Popova presents a new video 'Particulate Matter', conceived during her Red Mansion residency in Beijing, and a collection of paintings by local amateur artist J.W. Hill (Grandad Bill Hill).

The exhibition reflects on our industrial past and the uneasy interrelationship between both East and West and Capitalism and Communism in the global economy. Past, present and improbable future come together, raising complex moral questions about the absence of independent trade unions in China, the nature of social progress and organisation in relation to the environment, climate change and economic expansion.

Grandad Hill's paintings of collieries and lone cottages represent a familiar local industrial history - a personal account of his life in the Nottinghamshire landscape. Bill Hill was born in 1920, and his life spans a period in which the number of mines in Britain has gone from 170 (The start of the miners' strike in March 1984) to just a handful of functioning mines.

Yelena Popova is a Russian born artist, living and working in Nottingham at Primary Studios. Yelena graduated from MA Painting at the Royal College of Art in 2011. She was awarded the Red Mansion Prize and residency in Beijing, China (September 2011).

Yelena's painting installation was exhibited at New Sensations in London (October 2011) and her film 'Unnamed' was screened at Bloomberg New Contemporaries 2011 at the ICA, London and in Sheffield. Yelena also took part in Moscow Young Artists' Biennale in 2008 and 2010.

A Short Sharp Blow to the Head..,


1 March

Olaf Breuning, David Blandy and DVVID

'On the difficulty of believing you can be somewhere else' is a subtitle, or a summary of the three works by Olaf Breuning, David Blandy and DVVID Presper Watson, selected and presented by M-E-X-I-C-O in one half of the Trade space, the evening will also see the launch of an accumulative open source artist list madprops2012.xls supported by a proposal for an exhibition derived from the file.

"In order to recognise the need to share with and learn from our contemporaries as well as the inevitable assimilation, appropriation and replication that occurs during this process. Mad Props seeks to make more visible the support structures and interdependency that creative practice relies upon."

M-E-X-I-C-O is a exhibition space set up and run by 10 artists and curators. Based in Leeds, UK the space was set up to promote contemporary art and curatorial projects in the city. Aiming to facilitate a variety of artists' works and curatorial ideas from around the UK and internationally. M-E-X-I-C-O is: Joanna Aldoori, Simon Boase, Pat Creedon, Polly Hodson, Ollie Jenkins, James Maxfield, Chloe Plumb, Leo Plumb, Zoe Sawyer and Karl Vickers

Perfect Lives

Robert Ashley - Perfect Lives

An opera for television

11 November - 23 December

Perfect Lives was produced over a period of six years from 1977 - 1983, these dates neatly envelop the launch of the US Music channel MTV in 1981. Ashley took the music-plus-video format in a different direction to that of MTV, opting for elongated, and rambling narrative structures, Ashley defines this epic body of work as an 'opera-for-television'.

Visually, the works share many similarities with the visual experimentations of American New-Wave bands such as Talking Heads - the use of multi-layered visuals, 'green screens' and computer generated graphics and edits. Thematically, Perfect Lives also reflects much of the rye ironic wit of the time, and ponders the seemingly pedestrian end of the American dream, where life of possibility and promise ends up as a multiplicity of loosely connected, but ultimately meaningless list of decisions and ideas.

Although at times a challenge to watch, Perfect Lives, is a rewarding multi-disciplinary experiment that sought to imagine a future of opera that was uniquely American in style, proudly designed for the public arena and relentlessly inventive in form.

Invited by the artist and producer of the project, Candice Jacobs, to work in tandem with the exhibition, 'An action, event or other thing that occurs or happens again', Perfect Lives echoes the main themes of the adjacent exhibition space - repetition, and the relationship between sounds and image in the creation of meaning and experience.

As an exhibition within an exhibition, Perfect Lives adds an additional perspective to the dialogue between audio and visuals presented within the larger multi-site exhibition, and the selection, made collaboratively, was also intended to mimic the repetitive, sampled theme - the artwork was selected from a pre-existing selection made by the artist.

An exhibition within the exhibition 'An action, event or other thing that occurs or happens again' Curated by Candice Jacobs


Three artists have been commissioned to produce new artwork based on an existing piece of their own artwork. Each date during the Retrogression programme will consist a live performance or headline event from one of the artists, accompanied by earlier versions of the artworks from all the artists including documentation of the live performances at subsequent events.

The lecture, story teller, physical performance and presentation devices come under the spotlight in the artworks selected, each involving differing levels of reuse, repetition and retelling, which reconfigure meaning and images through documentation, abstraction, and translation.

To be completely retrogressive artistically is an impossible state to achieve - we are always moving forward through time, experience and so forth, and even if we are not moving fast the world is, and so the conceptual connections and associations change and regroup slowly but consistently. There is no reverse to an earlier state, just development to another state.

All of the artists in the exhibition have worked with Trade at some point in the past, so curatorially speaking the choices of artist are intentionally tinged with a sense of retrospection, and re-treading covered ground.

Informed by a sense of political and economic retrogression, the programme has provided an opportunity for artists to use this sense of retrogression as a starting point for artistic adventure and escapism.

Phillip Henderson

Phillip Henderson
Time Machine Lecture 10

27 February

60 Minutes

As if caught in a large game of Chinese whispers, each of Phillip Henderson's Time Machine Lectures contain a modified version of one or more of the past lectures. Remodelled, and rearranged, the lectures are created to suit the physical environment in which they are positioned adding in Henderson's current relation to the theory of time and space.

Time Machine Lecture #10 seems to collapse in on itself, as if the lecture is a transparent film, layered on top of the previous lecture - parts of previous lectures can be seen and parts obscured - ultimately the subject of space and time starts to warp the form of each ensuing Lecture.

Image: Jaskirt Dhaliwal and The Event 2011

Alexander Stevenson

Alexander Stevenson
Eigg Lectures Version 2

12 March

60 Minutes

In essence the Eigg Lectures are an anthropological study into an island without indigenous people. The development of the work was greatly affected by suspicion of the islands current residents of being studied, and Stevenson's recreation of his own activities on the island in subsequent visits.

The Eigg Lectures Version 2 is a musing on the creation and re-telling of history through mythology, iconography, dance, music, story telling and Academic structures.

A limited number of free tickets available here -

Oliver Sutherland

Oliver Sutherland

30 April

Broadly speaking Oliver Sutherland's artwork focuses on visual presentation tools, working with over used or aging presentation devices, which prod at our indifference to computer generated and transformed images.
Sutherland will present a short film based loosely on his previous work 'Nothing For Chroma Key'.

Retrogression curated by Bruce Asbestos / Trade Commissioned by Broadway

The Green Man.gif

Reactor Reactor Reactor Reactor

The Green Man & Regular Fellows

30 September - 2 October


The Green Man & Regular Fellows is a newly commissioned, live artwork in the form of a pub, complete with adjoining function room. Here Reactor's interest in the nature of membership as a social construct manifests itself in a series of temporary groups and levels of fellowship. The structure of the work plays with the traditions and conventions of the 'public house' and 'private members' clubs', producing unexpectedly dis lodged behaviours.

This brief materialisation of The Green Man & Regular Fellows presents a set of mysteries, inviting speculation about its symbols and purpose. Where did it come from, and who is it for? The Green Man & Regular Fellows offers membership, invites you in for drinks and provides a rich environment of song, laughter and games. As the Landlord calls upon the Regulars to lend a hand and the more Irregular members burst out of the back rooms, the atmosphere increasingly becomes more intense and behaviours more frenzied. It will soon become clear why our Regular Fellows like to come back time and time again.

If membership is not for you, and you prefer not to participate, the Function Room will house Reactor's new video installation, The Guild.

Whichever position you choose, you will receive a warm welcome.

Want to know more?

Just sign-up to receive our regular newsletter, and apply for membership at the 'The Green Man & Regular Fellows' website www.theThe Green Man.vze.com

The Green Man & Regular Fellows is a 'members only' social pub for over 18s, early application for membership is recommended to avoid disappointment. However, events in the Function Room are open to non-members of any age.

Note to Editors:

Reactor is an art collective based in the UK. Reactor creates scenarios that assemble new collective realities where audiences and those involved with the group co-participate. Through ongoing research into belief systems and their place in collective action, Reactor explores the ways in which culture and common beliefs hold together specific social groups. Seeking to transcend the parameters of an exhibition; Reactor employ an extensive and lateral development of the possibilities of what the artwork can be, encouraging it to spill out from its initial structure into an expanded field of activity.

'The Green Man & Regular Fellows' is a new artwork created by a newly assembled Reactor, including core members Niki Russell and Dan Williamson, guest member Stuart Tait and host member Bruce Asbestos (Director of Trade Gallery).

Recent Reactor projects include:
Double Take Triple Give - MoBY (Israel); Big Lizards Big Idea - Donau Festival (Austria), Wunderbar Festival (UK) and Schirn Kunsthalle (Germany); The Munkanon Centre - The Model (Ireland) and The Knot (Germany); The Geodecity Project, Grizedale (UK) and SSW (UK); and The Tetra Phase - Castlefield Gallery (UK).


Karin Kihlberg Reuben Henry
Karin Kihlberg Reuben Henry
Karin Kihlberg Reuben Henry
Karin Kihlberg Reuben Henry
Karin Kihlberg Reuben Henry
Karin Kihlberg Reuben Henry

Consequence of Retrospect
Karin Kihlberg and Reuben Henry

7 May - 4 June

Taking a selection of video artworks from the last seven years of collective practice the exhibition Karin Kihlberg & Reuben Henry : Consequence of retrospect; draws together a series of artworks that use cinematic devices, forms and structures as departure points for exploring relationships between the viewer and the (moving) image.

Specifically, in each piece of work in the exhibition, one or more crucial cinematic device is missing, replaced, or used within an unfamiliar context. With cinematic reality and imagination somewhat undone, the structure is laid bare, reminding us that the seductive power of cinema is reliant on the complete collaboration of all of its devices.

By their nature these works are consequences of retrospective activity, edited and arranged after the fact, to form some coherent or intentionally incoherent sense in relation to familiar modes and forms of films.

It is within this seductive language that a number of different themes are smuggled; the reliability of documentary video, the intimidating power of high culture, the behavioural science of meeting new people and the condition of the film in the memory of the viewer, to name a few.

In all of these subjects lies a questioning of the formal and social norms of viewership, and what is expected both of the viewer and producer.

The exhibition Karin Kihlberg & Reuben Henry : Consequence of retrospect will be the first solo exhibition to use all three public spaces in the building.

Karin Kihlberg & Reuben Henry have been collaborating since 2004. They live and work in London - Recent Exhibitions include: Artsway, Apeirophobia, Sway, New Forest, UK - ASPEX Gallery, Portsmouth, UK- Galleri BOX, Gothenburg, SE, Danielle Arnaud Contemporary Art, Abandon in Place, London, UK - VIVID, Inbindable Volume, Birmingham, UK

Flash Bang
Flash Bang

Flash Bang - Elisa Pone, Katie Davies

15 April - 29 April

Flash Bang comprises two works - Elisa Pone's I'm looking for something to believe in, 2007 and Katie Davies' 38th Parallel, 2008.

In form at least, the structure of the exhibition is largely the same as the previous exhibition The Perception Instruction, it therefore seems appropriate to repeat a slightly modified version of the introductory paragraph:

Placing these two artworks together, at a very basic level, encourages us to look for patterns and similarities between the artworks, which appear both incidentally and intentionally. From the outset the works have little in common, aside from the fact that they are both video works, shown in the same space.

Some Assumptions

- The works may act as a counterbalance to one another.
- The calm but politically intense 38th Parallel might balance out the visually climatic, and audibly explosive I'm looking for something to believe in.
- The combination of both works in the gallery might lead the sense of one or other astray.

Additional information

- Katie Davies' 38th Parallel was filmed at the Demilitarized Zone on the border between North and South Korea, a boarder that has been in place since the Korean War ended in 1953, and is one of the most heavily militarized borders in the world.

Elisa Pone, lives and works in Paris - Recent Exhibitions include: Musique Plastique, Galerie du jour agn&eacute;s, Paris - Ils chantent et ils jouent, les gens entrent, Maison des arts de Grand Quevilly, France - Decadence and Decay, Mol's Place, London- Bons baisers de Bialystok, Bialystok, Poland - Let's Dance, Mus&eacute;e d'Art Contemporain du Val-de-Marne, Vitry sur Seine, France - Loading, PM galerie, Berlin, Germany

Katie Davies, lives and works in Bristol - Recent Exhibitions include: 15, S1 Artspace, Sheffield, UK - IDEAL #12, SAISON VIDEO, Espace Crois&eacute;, Roubaix, France - Spring Screen 2010, Spacex, Exeter, UK - Seriously..? University of Hertfordshire, Hatfield, UK - The Salon Video Art Prize, MRA Project Space, London UK

The Perception Instruction - Richard Paul, David Sherry
The Perception Instruction - Richard Paul, David Sherry
The Perception Instruction - Richard Paul, David Sherry

The Perception Instruction
Richard Paul, David Sherry

18 February - 5 March

The Perception Instruction positions two artworks together: Richard Paul's The Stereo Realist 2011 and David Sherry's Open 2008.

Placing these two artworks together, at a very basic level, encourages us to look for patterns and similarities between the artworks, which may appear incidentally or intentionally. From the outset the works have little in common, aside from the fact that they are both video works.

The Perception Instruction is (or will be) created out of accidental and intentional connections exclusive to the pairing of these particular artworks. Between the two artworks we might see an erratic dialogue, a complementary dialogue or any shade of grey in between.

Awareness, patterns, similarities and connections between the artworks can be heightened and modified as the work is transmuted into a gallery's press release. For example, this press release was written weeks before the work is installed in the gallery, so the exhibition outlined here is an approximation of future events. In other words, the press release about the exhibition is based on a hypothetical, imagined exhibition, which this press release will later come to describe.

Furthermore, the press release cannot respond - as it is already written - to any events, or observations that arise at the time of the exhibition, and so it is limited in scope to talk about the experience of the work beyond that of a preconceived and imagined conditions of the (future) exhibition.

As the perception of the work within this setup has a focus on physical experience of the artworks in the gallery, the press release will not describe the artworks any further only to give some additional information and some assumptions which may be useful when in the gallery.

Additional information

The quotes in Richard Paul's The Stereo Realist are based on Henri Bergson's Matter and Memory and Dave Hickey's views on the difference between 16th C and 17th C painting.

Some assumptions

The dual images within Richard Paul's The Stereo Realist may mirror the relationship between the two artworks in the Trade gallery space, in that, at moments the works may look like they do relate to each other, but probably only because of their proximity - that they are in the same room.

Editors notes

Richard Paul, lives and works in London - Recent Exhibitions include: Richard Paul, Theodore Art, New York - Make, Believe, Blank Gallery, Brighton, UK - Cabin Fever,, On Gallery , Oslo , Norway - In Substantiality, Theodore:Art New York, USA - Indoor Life, Walden Affairs , Den Haag , Netherlands - I Was A Teenage Hand Model Too, Seventeen, London

David Sherry, lives and works in Glasgow - Recent Exhibitions include: Mothers tankstation, Dublin, Royal Standard, Liverpool Biennial, UK, One fine morning in May, GAK, Bremen, I am not here, De Appel boys school, Amsterdam, Singing Yoghurt, Log Gallery. Bergamo, Italy


Joseph Beuys
I like America and America likes me

22 October - 18 December

36 years ago in May 1974, Beuys spent three days in a gallery in New York with a coyote.

After arriving at the airport he was swathed in felt and loaded into an ambulance, and driven directly to the Rene Block Gallery. Beuys spent the next few days with the coyote - its behaviour shifting from cautious to aggressive, indifferent to companionable reacting to Beuys's shepherd like actions, and the fifty new copies of the Wall Street Journal delivered each day. At the end of the three days, Beuys was again wrapped in felt and returned to the airport without having once touched American soil.

The work 'I like America and America likes me' connects together some of the vital strands of Beuys's practice; performance, political debate and his trademark use of felt and animals (often in the form of animal fat).

Beuys is said to have seen the coyote as a symbol of native Americans and the debasement of the coyote as symbolic both of the damage done by white men to the American continent and its native cultures, and on the Vietnamese people during Vietnam war - which eventually ended a year after the action took place on April 30, 1975.

The exhibition of 'I like America, and America likes me' at Trade Gallery provides a rare opportunity to see the documentation of Beuys's most famous action in isolation. It will also provide a chance to engage and reconsider the importance of the artwork in relation to the current social, political and artistic climate - and that of the work of contemporary artists in the British Art Show and Sideshow which the exhibition at Trade co-insides with.

Beuys Lecture
Beuys Lecture

Joseph Beuys
I like America and America likes me - Lecture and Panel Discussion

13 November

Lecture, Broadway Cinema

Curator of Trade, Bruce Asbestos, will give a context to the artwork 'I like America and America likes me' by Joseph Beuys including a panel discussion by Frank Abbott and John Plowman

Download the lecture here


Rotterdam VHS Festival

13 November - 18 November

Trade is working with The Rotterdam VHS Festival to present a group exhibition by Dutch and Central European artists in the Attic accompanied by an evening of short experimental film.

The Rotterdam VHS festival takes place in the artist run space, "Kunst "&amp;" Complex", and is currently located in a former factory building on the edge of Rotterdam's city centre. Rotterdam VHS festival is organised by Niels Post, Jeroen Bosch, Jeroen Kuster, Han Hoogerbrugge and Leon Duenk.

The Rotterdam VHS Festival will feature artwork by;

Abner Preis, Aeneas Wilder, Anja Masling, Ate M Hes, Bryan Fu, Casandra Tytler, Daniele Pario Perra, Danny Plotnik, Dennis Madalone, Deven Green, Egill Saebjornsson, Ellen Lake, Flimfilm, Franzis Wiese, Han Hoogerbrugge, Hope Tucker, Jasper van Es, Jeroen Kuster, Joe Kisser, Johannes Maier, JR, Leon Duenk, Maxime Tymenko, De Hondekoekjesfabriek, Mendel Hardeman, Niels Post, Poh Wang, Rik de Boe, Sietske Tjallingii, Tomas Schats, Winkel "&amp;" Koperl, B.A.M.B.I., Niels Post, Ate M Hes, Gummbah "&amp;" Chantal Rens,Matthias Wermke "&amp;" Mischa Leinkauf, Erik Olofson, and 10 years of VHS opening/closing credits.

Eternal Atlas

Mark Essen

4 September - 16 September

Trade is pleased to present a solo exhibition by Mark Essen.
Essen's artwork has previously included record exchanges, morris men and ambiguous film work.

To coincide with the show is a new text about the work by Tyler Woolcott (see below)

Recent exhibitions include - Meanwhile in Birmingham, Rougue Studios, Manchester, Children of the Reservation - Central Reservation, Bristol, VIDEO PROGETTO- 26cc, Rome, Mark Essen record exchange and celebration - Testing Ground, 176 / Zabludowicz Collection, London

Eternal Atlas - Text by Tyler Woolcott

If the luminous figure of Atlas first re-entered the popular imagination with Ayn Rand's 1957 novel Atlas Shrugged, as an embodiment of the earnest rationalism necessary for modern capitalism, then the famous Titan's Reagan-era incarnation on the cover of Van Halen's 1986 album 5150, with the equally timeless hit 'Why Can't This Be Love,' seems to eerily epitomize the Atlas-in-an-age-of-excess prefigured by Rand a generation earlier.

Weaving together visual topoi from the myth of Atlas circulating throughout popular culture and classical literature such as these, Mark Essen's Eternal Atlas, 2008, explores the myth's shifting modes of representation through time and different media. Eternal Atlas playfully subverts these representations by adding antagonistic new layers to the Greek god's increasingly Frankenstein-like identity.

What began as an oral tale passed down through generations is transformed into a digital visual experience void of its original mode of transmission - sound and the spoken word. A sense of longing for the past however is kept in check by the artist's light-hearted embrace and appropriation of contemporary visual symbols and references. By substituting the burden of Atlas' heavenly sphere for a large glittering ball, updating the backdrop of the ancient cosmos with a digitally rendered image taken by the Hubble telescope, and putting a sleek professional black bodybuilder in the starring role, Essen's Eternal Atlas is a comment not only on the myth's enduring legacy, but also the slippery conventions that it presents us with. The idiom of male fortitude or issues of race, for example, or the worldly concepts, such as Rand's, that the Titan has been called upon to represent and uphold.

Spinning without end atop an invisible pivot, Eternal Atlas stands not only as a nod to the timeless human drive for collective storytelling, but also points to how our culture has come to identify itself through the myths of the past, and from out of which new ones are continually created.

Ben Woodeson
Ben Woodeson

Ben Woodeson
Violations #10 and #15

04 September - 19 September

Both artworks featured in Ben Woodeson's exhibition at Trade are aesthetic repercussions of designing machines that flout health and safety rules, which govern space, movement and intention.

The motion activated vacuum pump of Violation #10 removes the atmosphere from the sealed gallery, literally, but subtly, modifying the physics of the space. This artwork is complemented by Violation #15 a visually seductive contorting, black noose-like form that whips and rubs the gallery walls and floor.

Like sawing through a branch on which you are sat, the works invite us to consider the inevitability of their own Tom and Jerry style demise. Whether the gallery would eventually implode or be stroked to death, taking the works with them, is actually of little consequence - what the artworks offer is a very human trait - to be the masters of their own downfall.

Recent exhibitions include: The Tomorrow People, Elevator Gallery, London - Die Panke, Berlin - The Electric Return of Revenge, LoBe, Berlin - Scary stupid spinning thing, The Tank Room, London - Chemical Spill, Space (Foyer), London - Me love you long time (AKA Five in Five), Basement 43, London - Twisted (Selected Works), Electrohype, Skanes Konstforenings, Malmo, Sweden.

Oliver Sutherland

Oliver Sutherland - Nothing for Chroma Key

4 August - 19 August

Image - Nothing for Chroma Key installed in the attic of One Thoresby Street

Commonly used in televised weather reports, Chroma keying is a technique for compositing two separate film scenes together. Typically, a colour is removed from one of the digitally layered scenes so that the film underneath is revealed. This technique often fails if a presenter accidentally wears or reflects similar colour as the Chroma Key.

In Sutherland's setup in 'Nothing For Chroma Key' a slender man dressed head to toe in a bright, unnaturally green bodysuit is felling a Norwegian Spruce. The unknown motive of the character's primitive like actions, and the fetish look of the synthetic bodysuit riddles the scene with conflicting, ambiguous symbols. The work prods at our indifference to computer generated and transformed images.

Recent exhibitions include - Acid House & Water Colours, The Exchange Gallery - Gloria, Bash, London - Tischtennis, Rhys & Hannah Present..., Bristol - Can We Stay Over Tonight? Plan9, Bristol - Journey to the Centre of the Earth, Newyn Art Gallery, Cornwall

Jemma Egan
Jemma Egan

Jemma Egan

Swiss Dogs

4-19 August

Famed for its legendary mountain rescues, the St. Bernard dog's name originates from a travellers' hospice on the often-treacherous St. Bernard Pass in the Western Alps between Switzerland and Italy. The pass, the lodge, and the dogs are all named after Bernard of Menthon, the 11th century monk who established the station.

Although not trapped on a mountain in any dramatic film-worthy way, Egan was by all accounts culturally stranded during her stay in Switzerland; she knows enough German to ask, but not enough French to understand. And so, Egan remained in a one-way call for help throughout her stay.

The repetitious interpretations of the image of the St. Bernard's dog illustrates her unfulfilled desire to engage in dialogue with Swiss culture and her ad hoc strategy to keep sane, whilst stranded.

Recent exhibitions include - Global Studio, The Bluecoat Liverpool - No Soul For Sale, Tate Modern London - Miscellany, Outlet Gallery Manchester - All Change, Rogue Project Space Manchester.

Tomas Chaffe
Tomas Chaffe
Tomas Chaffe
Tomas Chaffe
Tomas Chaffe

Tomas Chaffe
Sometimes Artists Work Here

10 - 31 July

Tomas Chaffe will present Sometimes Artists Work Here a new artwork, commissioned by Trade gallery.

The work comprises a vinyl banner, often seen on temporary shops and businesses (of which there are many in the area), a photograph and postcard all containing the same slogan. The temporary and make-do feel of the banner neatly complements the building's uncertain future.

Reflecting on both the physical location of the gallery, on a busy main road in the heart of a redevelopment zone and the site of the gallery within a cultural complex of artists studios - Sometimes Artists Work Here is an unforgiving take on the state of affairs of the gallery and building.

Recent exhibitions include - Saturday, Sunday art fair, Berlin - A Strangers Window, Nottingham Castle Museum and Art Gallery - Gallery, Galerie, Galleria, Norma Mangione, Turin and Present Future, Artissima 16, Turin


Abigail Reynolds
Mount Fear (East London Police Statistics for violent crimes 2002-3)

19 June - 3 July

Visualising the frequency and position of crimes in East London, Mount Fear's troubled terrain of peaks and troughs gives massive physical form to hard numerical data. Central to the work is the dramatic contrast between the sedate forms of the cardboard vista and that of the violence that the mountainous forms represent; areas with the highest recorded violent crimes have the highest peaks.

Huge swathes of data, including that used in Mount Fear are deployed within the public domain to shape our perception and fear of crime in everyday life. Mount Fear could be interpreted as a metaphor for an anxious society fixated on numerical justification and accountability.

Recent exhibitions include - Seventeen Gallery London, Voges Gallery Frankfurt, Ceri Hand Liverpool, Villa Arson Nice, Gimpel Fils London, Nettie Horn London, Leicester City Gallery.
Exhibition in the Attic, One Thoresby Street


Sarah Doyle
Jackson, Madonna, Prince

19 June - 3 July

Sarah Doyle's lively series of drawings are created on the pages of a colouring book - of which the printed, bubbly outlines of monkeys, houses, gardens, jolly looking people and so forth are still visible. Printed images like these are approximations of reality and at early age form the foundations of our ability to read, recognise and participate with images, icons and symbols.

Doyle's felt tip pen drawings respond to the call of the book, to colour in, but the response uses a completely different set of imagery, that of iconic pop stars. In spite of what we know about the subject matter - Michael Jackson, Prince, Madonna - Doyle's multifarious representations manage to carve out a space that avoids a kind of pop art nausea caused by an over-familiarity with the subject, and the interpretation of the subject in art.

In short her deployment of two sets of imagery, the book's, and the pop stars' complicates our reading of the work and creating a deeply peculiar and idiosyncratic set of drawings.

Trade will present a selection of artworks from Doyle's series of 100 Michael Jacksons, 100 Madonnas, 100 Princes, in the main gallery space.

Recent exhibitions include - 'The Nexus Treatment', Space Station Sixty-Five Gallery and 'Celebrated Sobriquets', The Surgery London. Group Exhibitions include - Transition Gallery, London, Primo Alonso, London The Portman Gallery, , London and Elevator Gallery, London. Doyle's work also includes collaborations with Elle magazine, Tatty Devine, Upset! The Rhythm, Surface 2 Air.

play ( quicktime .mov)


Time Machine Lecture #6



Time Machine Lecture #7

Phillip Henderson
Time Machine Lecture #7

Phillip Henderson will demonstrate the machine at 20:45 BST (GMT+1) on Thursday 15 April 2010 at Trade, One Thoresby Street, Nottingham. The Time Machine Lecture #7 will refer to the primordial chief's invisible book The Primordial Phrase - a cochlean exposition of cacophonics. Previously unheard readings from the warhorse appendix will occur, followed by a demonstration of the machine.

Image: time machine lecture #6

trade trade

Endless Supply #10
- Guest curated by Trade

Including work by, Butje (Berndnaut Smilde, Vincent Bruijn and Jeroen Brouwer) Russell Herron, Brian Kennon, Alexander Stevenson, Heidi Vogels and Richard Paul.

The magazine was launched at The Reading Room to coincide with the opening of Trade Gallery.
Downloadable PDF available here

Artur Zmijewski
Artur Zmijewski

Artur Zmijewski

20 February - 13 March

Trade presents a solo exhibition by Polish artist Artur Zmijewski, featuring his film 'Them', 2007 as shown at Documenta 12. 'Them' documents a series of exchanges from representatives from conflicting social groups; The nationalist - All Polish Youth, a group of Young Jewish Liberals, an assortment of leftists and a Catholic women's group, who were all invited to create a banner that represents their idea of Poland. The amicable atmosphere turns volatile when the groups are asked to amend each other's banners.

Recent solo exhibitions include; MOMA, New York, Polish Pavilion at the 51st Venice Biennale, Modern Art, Oxford and Cornerhouse, Manchester.

Image: A still from 'Them' 2007, Courtesy the artist and Foksal Gallery Foundation

Parasitical Event

May 28

'The Art Strike 1990-1993'
Screening and Discussion

Campaign launched in 1986 by Stewart Home which called upon all artists to cease their artistic work between January 1st, 1990 and January 1st, 1993. Unlike the art strikes proposed by Gustav Metzger and the Art Worker Coalition in the 1960s, it was not merely a boycott of art institutions through artists, but a provocation of artists addressing their understanding of art and their identity as artists.

Trade Gallery presents a screening and discussion of Paula Roush's (MSDM) 'Art Strike 1990-1993', which contains a monologue by Stewart Home. The intention is to create an additional form of discussion, engagement and criticism, developed to complement Nottingham Contemporary's Disobedience programme.

'Art Strike 1990-1993' can be viewed in advance within the Disobedience exhibition's normal opening hours

Nottingham Contemporary,
Mount Street,


Rae Hicks

Gordon Dalton

Daniel Sean Kelly


Praise of Laziness
Mladen Stilinović
Stewart Home
Paul Kindersley
James E Smith

Secluded Brontes
+ Guests

Mimei Thompson

Ruth Beale
Bikes, Caves, Raves

Groups and Things



Rachel Maclean
Quick Child Run!

Pil and Galia Kollectiv
Terminal Equilibrium

Mark McGowan
Where's Daddy's Pig?

Heckler Symposium

Wasteland Twinning

Artists Impression

Jaap Blonk
Vile Plumage


Artur Zmijewski
Paula Roush (with Stewart Home)
Phillip Henderson
David Sherry

Stuart Sherman
Spectacles (1975-89)

Robin Deacon
Approximating the art of Stuart Sherman


How To Solve Problems in the Office Interim Exhibition

Short Sharp Blow to the Head
Programme of short exhibitions and online takeovers:

- -

Eyes on The Prize
Hotel Maria Kapel

One Night Stand
Curated by Mermaid and Monster

Six Week Online Takeover

6 Volumes

Tim Hattrick
Buffalo Horn Flooring

Jackie Berridge
Solo Exhibition of New Drawings

Zachary Formwalt
Curated by Hannah Conroy

This is the Point
Selected by Katy Woods/Eastside Projects

Kelly Large
Curated by Beacon

Olivia Plender and Patrick Staff
Life in the Woods

Online Takeover

Ewoud Van Rijn
Large Scale Ink Drawings

Iva Kontic,
A Short Sharp Blow to the Head..,

Yelena Popova
Grandad Hill

Olaf Breuning, David Blandy and DVVID
Curated by M-E-X-I-C-O

- -

Retrogression Programme
Offsite at Broadway Cinema

Phillip henderson
Time Machine Lecture #10

Alexander Stevenson
Eigg Lectures 2

Oliver Sutherland


Perfect Lives
Robert Ashley

Green Man & Regular Fellows

Karin Kihlberg and Reuben Henry
Consequence of Retrospect

Elisa Pône, Katie Davies
Flash Bang

Richard Paul, David Sherry
The Perception Instruction


Joseph Beuys
I Like America and America Likes Me

Rotterdam VHS Festival
Exhibition and Short Film Evening

Mark Essen
Eternal Atlas

Ben Woodeson
Violations #10 and #15

Oliver Sutherland
Nothing for Chroma Key

Jemma Egan
Swiss Dogs

Tomas Chaffe
Sometimes Artists Work Here

Abigail Reynolds
Mount Fear

Sarah Doyle
Jackson, Maddonna, Prince

Phillip Henderson
Time Machine Lecture #7

Endless Supply #10
Guest curated by Trade

Artur Zmijewski


Parasitical Event