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Will The Last Person To Leave The 20th Century Please Turn out The Lights?

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VIEW UPON REQUEST [see below for contact details]
Monday July 3
Tuesday July 4
Wednesday July 5

OPENING EVENING AND INFORMAL SYMPOSIUM
Thursday July 6 | 6pm – 11pm

Our collective The Retro Bar at the End of the Universe is currently staging an event and exhibition titled Will The Last Person To Leave The 20th Century Please Turn out The Lights?

Through the Leeds-based arts group Skippko   we have gained access to an eerie old building on the road from Bradford to Otley, last used as a pub. This disused pub, and the remnants of all the pasts, in and outside the doors, met with a disconcerting present of endless volumes of traffic for the now-more affluent side of the Urban West Riding, has to be the most perfect of settings for the first proper exhibition our collective has held.

The pub, and the area embody the all the possible hinterlands that epitomise the weird and eerie West Yorkshire landscape; the visual collision of urban, surburban, post-industrial, picturesque-rural; the hauntingly old, the forgotten, and the upwardly new,  the aspirational and materialistic. The only potential downside is that the location is so apt, that it is off the beaten track and difficult to attract people to (I’m hoping ‘ attracting people right now!).

Upstairs, the event’s exhibition begins as we’re met with installation of the recent, but surely prescient, blogpost The End of Long 90s by Flipchartfairytales. The blogpost is accompanied by an appropriate video piece, and forgotten photo frames, showing our perpetually absented collective member.

We move on to a room exhibiting many of my most recent drawings, including Hope of The Nihilized, and Dead Ethics Hysteria, only to become aware of disconcerting sounds from a darkened room opposite; a remix of collective member Benjamin Parker’s composition ‘I Thought I Was Awake’. We reach a dead end, with collective member Rebekka Whitlam’s installation ‘Milly-Mollyy-Mandy Gets Loaded and Other Stories’, which ‘looks at a nation’s 21st century come down from 20th century hedonism’ in the bleakest of ways.

Downstairs in the bar. Events and non-events occur. The one-time resident of nearby Shipley Mere Pseud haunts the room with displays that have run out of time, and now exist like crime scenes for a cancelled future. His Retrospectral Dispatches, a title taken from the words of late theorist Mark Fisher, exhibits residual traces of his formative years, coming of age in the strangest of times when the future began to retreat and arrive us who came after in a place unsure of its time or place.

At the corner of the pub we have an event ,yself, poet Jonathan Butcher, and the writer JD Taylor (author of Island Story: Journeys around unfamiliar Britain) have made spoken word pieces for the event Writings From HMS Brexit to be held this weekend  – the blogger Mere Pseud may or may not still be able to make this event.

In this disused pub, looking back over a dislocating time; an erosion of time and place; a vacuum filled by unfulfilled ghosts from the past. Always in homage to the late cultural theorist Mark Fisher, this series of prose speeches is strange due to the absence of the speakers. Only their half-finished endeavors will be visible; half finished pints and coats flung over the seats – as they proceed to dissect a body that has become to be known as ‘Brexit Britain’

 

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If you can’t get thee by car, here is a map telling you how the hell to get there from the train station!

Directions to station

 

 

Writings From HMS Brexit: performance, this coming Friday and Saturday

As part of ‘Will The Last Person To Leave The 20th Century Please Turn off The Lights?’, The Retro Bar at the End of the Universe presents ‘Writings From HMS Brexit’: a ‘live’ performance.

Myself, poet Jonathan Butcher, and the writer JD Taylor (author of Island Story: Journeys around unfamiliar Britain) have made spoken word pieces for the event to be held this weekend  – the voice of Merepseud, hauntological diarist, and former resident of nearby Shipley, may well be heard also.

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The location is a disused pub, looking back over a dislocating time; an erosion of time and place; a vacuum filled by unfulfilled ghosts from the past. Always in homage to the late cultural theorist Mark Fisher, this series of prose speeches is strange due to the absence of the speakers. Only their half-finished endeavors will be visible; half finished pints and coats flung over the seats – as they proceed to dissect a body that has become to be known as ‘Brexit Britain’.

The events are on Friday 6-11pm.

Saturday 10-5pm

Below is a map that shows easy access, via footpath, from the station to our event!!

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“The Art of Menschlichkeit”

“The Art of Menschlichkeit…Some works from the Treadwell Collection and Related Art. Opening Sunday 29th January from 2 till 6 pm

Two of my older works ‘People Factory’ (2008), and ‘We are Watching Ourselves Sink’ (2009) will be on show as part of The Art of Menschlichkeit (‘the human condition’ – English)…Some works from the Treadwell Collection and Related Art. Opening Sunday 29th January from 2 till 6 pm

Kirchengasse 4;  A – 4160   AIGEN;  AUSTRIA; Tel: +43 (0) 7281 20000 or Mobile: +43 (0)664 3449543

http://www.superhumanism.eu

people factory

People Factory (2008, ink on paper)

1.We are watching ourselves sink (FOR INTERNET)

We are Watching Ourselves Sink (2009, ink on paper)

Three works on show this December

I have three works in the open exhibition at The Old Market Gallery in central Rotherham. A town of a 1/4 million people, which has possibly been let down by the powers that be more than my home town Barnsley. I don’t often visit the town, normally spending time in nearby Sheffield when I travel this way. But when I do I feel a massive grievance for a place this size to be given such little, especially in regards to transport infrastructure – which is appalling when you take into consideration how the place now actually makes up a large part of a continuous South Yorkshire urban sprawl of possibly over 700,000 people.

I’m exhibit 3 pieces. ‘Whilst We Were in The Eternal Now…’ from 2014

‘Debtland’ from 2015

And my most recent piece Hope of The Nihilized’

If you are passing, or fancy going out of your way to visit, here are the details:

The open exhibition runs until Saturday 17th December

The gallery opens 11-3, Tuesday to Saturday

Market St, Rotherham S60 1NU

 

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Fighting for Crumbs, at The World Transformed, Liverpool

I was very pleased to be invited to exhibit at The World Transformed, a 4 day festival hosted by Momentum as The Labour Party held their conference,  and the leadership election results were announced, in the very same city. It felt great to be taking our exhibition project ‘Fighting For Crumbs (Art in The Shadow of Neoliberal Britain) to the Black-E in Liverpool, to have our work in the same location as speeches by many figureheads at the forefront of a movement to push for much needed changes to the way politics is done and society is run.


#TWT2016 is about practising the new politics. We believe in a positive, future oriented approach to changing society. We believe in amplifying unheard, grassroots voices. We believe in broadening the definition of politics to include art, music and spoken word. We believe that politics is a bout more than just PMQs and Westminster. 

With Fighting For Crumbs being somewhat instigated by the ask to do something to celebrate the 50th anniversary of The Redshed  (Wakefield Labour Club), we worked with the organisers of The World Transformed find a way of using ‘Redsheds’ to exhibit our work and documentary by Connor Matheson. Here are some photographs of the project.

The World Transformed – Liverpool, 24-27 September

 

I will be showing a few of my pieces alongside more from our recent Fighting For Crumbs (Art in The Shadow of Neoliberalism) project, at The World Transformed, an exciting event going off in Liverpool next week from the 24th to the 27th.

“The World Transformed is a celebration of politics, art, music, culture and community. Hosted by a coalition of grassroots groups and powered by Momentum, The World Transformed will promote a radical, positive vision for the future.

Running alongside the Labour Party Conference, 23rd – 27th of September in Liverpool, we will host over 200 hours of workshops, talks, art exhibitions, gigs and cultural events. While there will be big name speakers, we are particularly excited to host a range of inspiring grassroots groups who wouldn’t usually be able to exhibit at conference..

The vast majority of the festival will be free to attend. All of the festival will be open to the public. Information on tickets, accommodation and transport are coming soon.

THE WORLD TRANSFORMED

24th – 27th September.”

£$[We]€$[Can’t]$£[Take]£€[Any]$€[More!!]$£ (2016) is one of the pieces I will be showing

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Fighting For Crumbs – a Virtual Tour

We were all really pleased with how the works played off one another;  a coherence of many preoccupations that made up the reasons for having this exhibition which addressed political pessimism, the age of disbelief, austerity and the overlooked areas of the UK.

Whilst John Wilkinson’s paintings addressed the damage done both by once worker-hungry industries, and then their disappearance in a global market economy that then told these workers to become entrepreneurs of themselves, Connor Matheson’s photography documents these very areas a generation on, a landscape with little more opportunity than call-centre dead-end jobs. The Dearne Vallery, Sheffield, Rotherham, Barnsley, Wakefield.

John Wilkinson’s paintings also deal with the post-colonial nationalism that chokes the UK’s horizons, clouding out a future that would lead us from making the same mistakes and get us out of spiraling destructive cycles. Amidst these paintings is an installation by Corinne Deakin, which, more than anything, I feel looks either like flotsam and Jetsom in-the-making or something in decay that refuses to accept it; a empire built on maritime dominance that refuses to give up its ghosts and in process drags everything else down with it.

I wanted to put works into the show that both addressed the mood of the land and looked at the geography of the area that connects up the Post-industrial Yorkshire towns intrinsic to the Fighting For Crumbs project. First off I wanted to get the poet Jonathan Butcher involved. John’s poetry is subtly political, a gritty realism and focus on the landscape he has seen community disintegration and lost futures from within. I worked with him to make a way of getting his words into an art exhibition. Growing up on Hall Road, in the Handsworth area in the eastern suburbs of Sheffield, I tried in to incorporate some of my memories of seeing the nearby Manor Estate in a state of dereliction, with the fact that the Sheffield Parkway trunk road slices Hall Road in two, to make a place for Jonathan to write his poetry that visualised community/social disintegration.

I made a installation centred around a large memory map of The West Riding of Yorkshire I undertook in 2013, mainly focussing on Barnsley, Wakefield, Leeds and Sheffield that documents the visible impacts of austerity next to feelings of confusion, frustration, alienation. I incorporated a other geographically-focused works that look at the mood of the country through the first ‘season’ of austerity, the run up to the 2015 election, and then the run up to the EU referendum. Always intent on tying together the areas where Fighting For Crumbs is based around, being held at (The exhibition continues 20+ miles north of Sheffield at the Wakefield Labour Club, ‘The Redshed’, on Saturday 13th). And I have installed some of my drawings in the somewhat smaller Redshed venue

Somewhat hidden in the corner is Rebekah Whitlam’s installation ‘Vanitas Britannia’ that talks about how the riots, kettling, protest and upheavals at the turn of the decade have been swept under a ‘handmade’ carpet of a ‘keep calm and carry on’ crafts culture, satirising the tactics of a nation that retreats into its mythical past, by playing on the morbid theme of mortality that occupies the Dutch Vanitas paintings. “As a textile artist…[Rebekah} feels a pressure of balancing a vision of socially inclusive creativity without undercutting [herself] and other artists financially.” Adding that as a craft-skilled artist it is hard not to become part of the problem when “as handmade, locally sourced business cashes in on developing the streets, financial and emotional security remains distant for their neighbours and the divide becomes increasingly widened.”

It connects up with a running narrative in the show about the gentrification of a few ‘hip’ areas in these post industrial towns to the cost of all the surrounding working class communitiess which become invisible in their struggles. The fact the there is no lighting in the room both seems to reflect the dark colours of the Vanitas paintings. and, I felt, becomes a satire on the ‘keep calm carry on’ ‘Blitz-spirit’, austerity = black outs, narrative etc etc. Just make sure the that fact the room is unlit doesn’t make you think it’s not part of the exhibition!

The exhibition doesn’t so much dwell on the past as look at the inertia of the present; the future we have forgotten in favour of ways to guide us through the day in hand. We seem to have forgotten that we need something to believe in. The world appears a place in a downward spiral of cruelty and sadness, but dead-end pleasure-seeking in a depressed landscape doesn’t quite hold its excitement for very long – it just sets in stall a pursuit of even more extreme pleasure seeking later on. Fighting for Crumbs somewhat tries to visualise a country that wake from a defeatist slumber that it perhaps doesn’t even recognise as being in.

 

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‘Development Opportunity’ and ‘We’re all in it Together’ – John Wilkinson

 

 

 

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Installation by Corinne Deakin in front of ‘Draped in Faded Glory’ by John Wilkinson

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(Right to Left) A Man hesitantly looks at Thermal Socks for Sale in Barnsley – Connor Matheson, ‘Keep Calm and Keep Shopping’ – John Wilkinson

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Corinne Deakin’s installation in front of ‘The Imposition of Conformity’ by John Wilkinson

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Youth Riding a Small Motorbike – Shirecliffe

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Broken Slates – installation piece – Jonathan Butcher and John Ledger

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Poppies (For Jonathan Butcher) – a painting John Wilkinson produced for the show in response to one of Jonathan’s poems.

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Installation by John Ledger

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West Riding of Yorkshire: A Pyschogeographical account

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<p><a href=”https://vimeo.com/144591777″>Lost Bus Routes and Pre-Election Rambles</a> from <a href=”https://vimeo.com/user18137640″>john Ledger</a> on <a href=”https://vimeo.com”>Vimeo</a&gt;.</p>

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Vanitas Britannia – Rebekah Whitlam

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At the Redshed, Wakefield on Saturday, 1pm onwards, we will be showing our Fighting For Crumbs documentary, which will look at all the artist involved. We will be showing the brilliant documentary Sleaford Mods – Invisible Britain, and JD Taylor will be giving a talk. JD Taylor is the Author of Negative Capitalism: Cynicism in The Neoliberal Era, and Island Story: Journeys Through Unfamiliar Britain

Images of Redshed show

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12.08.2016. Performance and poetry@Fighting For Crumbs

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On Friday 12 Aug from 6:30pm on-wards we’ll be having a performance and poetry event, alongside a last chance to see The Fighting For Crumbs exhibition

Nick Kilby

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Artist Nick Kilby will be breaking his two year performance fast to put something together for the Fighting For Crumbs event on August 12th at the Gage Gallery in Sheffield, located inside KIAC, Sheffield, S3 8DB. 6:30 – 9pm

‘”To the 330’ is a noise/aktion blood hex against an occupying administration. Be fun to see some of y’all. There will be no milk x”

 

Jeff Jethro Platts

Jeff is a singer with Parson’s Lot and CAMBODiA, a writer, performer, activist, campaigner, ex miner, ex many things.

 

follow our events page on facebook to keep up to date. https://www.facebook.com/events/1766943633588740/permalink/1777196522563451

6:30-9pm, Gage Gallery. The Lions Works, 40 Ball St, Sheffield S3 8DB

 

 

Fighting For Crumbs…

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I’ve been involved in setting this project up for the best part of a year…

Over the past few years or so I have found a few people who were agreeing with my growing sentiment:

That the mood and spirit of this society (global too) was in a deep depression, and that this had to be addressed before there could ever be a popular movement that would well and truly galvanise the daily-downtrodden’s into believing in something so much that they were prepared to fight for it.

(Let’s be honest. I’m a daily-downtrodden myself. I’m no freedom fighter.)

Trying to hold a belief that another world is possible up to the light of a new day in UK2015 was like holding a flower up to a nuclear blast – it withered and recoiled before the toothpaste was on the toothbrush. Before you know it the old depressive-pleasure-seeking kicks in: cider after cider, angry self destructive acts, a spree of undecipherable text messages  – enough to write another day off until a new dawn fades.

Art has been my backbone in a world which seems bent on being cold and meaningless in equal measure. Without it I’m a mollusc looking for the nearest dark spot to dwell in For “there are brighter sides to life and I should know, because I’ve seen them, but not very often”. And I always recoil to my work as an antidote-maker.

I’m bored of expressing this. Deeply bored.

I…..

Another world….

…a better world

Isn’t there a plant in the desert that only flowers once a generation? Is that not a perfect analogy for English optimism?

The week that followed from May 8 2015 was actually a special week for me, for it felt like I was sharing something with others. What I felt I shared was a despair and fear now that the Tories and the media were taking their gloves off for some sadist pleasures. And I felt this sharing of despair beginning to jolt people into a sort of action most of us hadn’t engaged in before. But it didn’t last…

Rotten Soil….

…A couple of months later I discovered the Sleaford Mods. Their channeling of the rotten soil of nowhereland sank into hole where a soul, a love of life should’ve been. An Antidote. Later that year I was surprised to find that a film called Invisible Britain, that followed the band, was following them on a tour of the Ingored-lands. The Ignored-lands I meandered within and wrote about: mainly Barnsley and Wakefield.

I felt an idea coming along..

This idea was given one leg to stand on when I was asked by friends to put on an exhibition at the Wakefield Labour club (Aka The Redshed).

2016 marks the 50th birthday of The Redshed, also known as The Labour club. Situated in the heart of the Yorkshire city of Wakefield, the place is somewhat unique, and has defiantly resisted the capitalist forces that have penetrated nearly everything else around it. A year-long line-up of events are now marking this anniversary.

Sandra Hutchinson, a lifelong supporter of the club, spoke of how The Redshed began at the height of the social and political changes happening in the 1960’s. In-spite of the seismic troubles around the world, it was an age of political optimism, and there was a strong belief that things could be and would be changed.

I needed to put something on that spoke of the disbelief that has penetrated the years I’ve been an adult.

Artist Corinne Deakin coincidentally came up to me thinking of doing something very similar. Looking at the way the arts were being pushed out of the reach of many people due to 5 years of needless austerity, low wages and high living costs. I must’ve said the words ‘fighting for crumbs’, in one of my waffles that I never remember, and Corinne remembered it and said that we need to call our project this.

And then it just seem to fall into place. I’d worked with the artist John Wilkinson the year before, and knew his work and thoughts were ideal for our project. And during conversations with friends Rebekah Whitlam and poet Jonathan Butcher I realised how appropriate their work was to addressing the cultural mood of this secretly unhappy Island. Corinne knew a photographer from Barnsley called Connor Matheson, who was just that little bit younger than my own town centre social circles for me to have know him prior to the this project, but I think I’d already seen his photographs and thought they would work well alongside our works, especially John Wilkinson’s paintings. In a way that is sort of Inspired by Invisible Britain, I thought it would be great to make a talking head documentary for this project – the Fighting for Crumbs documentary will be on show at the Redshed event, and hopefully all way through the Gage Event. Anyway, here’s a link to all that. https://www.facebook.com/events/1766943633588740/

Here are a few lines from each artist. All I can say is that I hope whoever reads this can make it to at least one of the events that we are putting on:

John Wilkinson (B 1962 – Sheffield based)

 

The price of coal

The Price of Coal

Austerity, the ugly reality of post-war Britain and the backdrop to the founding of the welfare state has come back to haunt us once again. Trying to invoke that spirit that enabled us to survive and rebuild the last time, David Cameron famously said ‘We’re all in it together’ but the truth is that we’re not, and it isn’t the same. A North decimated by industrial decline and unemployment is not the same as the manufacturing centres that provided the growth and foreign trade that led us to economic revival in the 50’s. A class abandoned because the education bar has become too costly to climb over is no longer the motor of the economy, and so the economic benefits of whatever financial services revival they paid for never reach them. Instead of building the State that supported growth we are dismantling Health, Education, Housing and Welfare, and replacing all but the cheapest labour with technology that frees us from work and with it income. As an artist, my work is a response to the world I live in – a mirror that reflects reality, and what it might become. Through it I express my compassion for a people who built the foundations of our world, and will be left to rot in its basements until we can see what is happening, and ask for better. Then I’ll paint pretty landscapes.

Corinne Deakin (B 1988)

Corinne Deakin

During the past 5 years, or perhaps longer, we have seen old architecture and independent business give way to gentrification and cuts that effect the working class. Education is being stifled and the youth of Britain are entrenched in large debts they may never be able to pay off, with suggestions of unfair consequences. The idea of community is disintegrating, as we are encouraged to evolve into self absorbed, cutthroat individuals where its constant networking and making a career for yourself is based more and more on who you know, not what you know- and it never hurts if you’re born into wealth. Glorifying low paid internships and getting very little in return. This is the ideology that’s being sold to aspiring artists; the dark introduction of how to make it as a successful artist today.

Jonathan Butcher (poet, B 1978, Sheffield)

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Over the last 40 years the structures that should constitute a society have been eaten away by ideals which have been instigated by the few, with the intention to pollute the many. Ideals that strive to restrict us and attempt reduce human expression to the level of the banal and the superfluous; achievements considered wasteful,and without worth. We have been left empty, yet we are expected to remain grateful for the meager gains we have scraped together; gains which when pursued only through shear necessity, place money above time and psychical and mental strain above thought and basic fulfillment. Slivers of hope are offered, but are usually temporary, and for the large part conducted by those just as driven by this machinery as those they purport to despise. This now continual scenario enforced upon us attempts to define us. It claims to speak on our behalf, without offering a single answer to this problem or a solution to our fate.

John Ledger (B 1984, From Barnsley, works in Wakefield)

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There has arisen a deep disbelief in the abilities of the human race, without much shared understanding of how we came to feel this way. Maybe it comes from the fact that with what we now know (regarding climate change, the impacts of social inequality, living memories of 20th century horrors), there’s a sense that we SHOULD be in the process of building a far better world to live in. But NO: in 2016 we are within a state of affairs that is making us scrap amongst ourselves for pieces of barely anything. Are we surprised if nervous breakdowns and spells of aimless rage are commonplace amidst this deeply absurd situation?”

Rebekah Whitlam, Sheffield, 1984

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Vanitas Britannia.

Since the recession there has been a pseudo-nostalgia of post-war Britain. Kettling, rioting, and protests were swiftly detracted from by weddings, jubilees, and cake on the BBC. The “keep calm and carry on” craft trend has escalated; beer, baking, and bunting have become synonymous with community togetherness.

Whilst we crave authenticity in ourselves and our society, empty slogans are sold back to us. The commodities of craft offer us promises of a community, but leave us all the more alienated. As handmade, locally sourced businesses cash in on redeveloping the streets, financial and emotional security remains distant for their neighbours and the divide becomes increasingly widened.

As a textile artist I feel a pressure of balancing a vision of socially inclusive creativity without undercutting myself and other artists financially. The lapping of cushions, cards, and craft is at my feet, but how do I not become part of the problem?

Austerity strains us economically and is having a detrimental effect on personal integrity and creative freedom.

Connor Matheson (B 1992 Barnsley)

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The works I am showing in Fighting For Crumbs explore the everyday lives of normal people in the Post-Thatcher era, with particular focus on themes such as family relationships, the local economy and drinking culture. With a specific focus on the north of England, this project is an accurate representation of working class culture, depicting the everyday lives of people who are often vilified in the mainstream press as “scroungers” or “yobs”. The work shows the effects of government economic policy yet also shows the human element, relationships and humour in life and celebrates the diversity of people and the character of areas.


Gage Gallery, Ball Street, Sheffield, S3 8DB

Monday 8 August: Opening night. 6:30 – 9pm
Friday 12 August. Music and poetry night. 6:30 – 9 pm
11-4pm

The Redshed, 18 Vicarage St S, Wakefield WF1 1QX

Saturday 13 August. 1Pm onwards. Film-viewing, and talk by JD Taylor
Normal gallery opening times: 8 August – 13 August, 7-11pm (call 01924215626 to check room is not in use)

 

 

 

 

Friday 12 August. Fighting For Crumbs – Poetry and performance night

On Friday 12 August as part of Fighting For Crumbs (Art in The Shadow of Neoliberal Britain) there will be performance and poetry within our exhibition at Gage Gallery, Sheffield, starting at 6:30 and running until 9pm.

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Artist Nick Kilby will be breaking his two year performance fast to put something together for the Fighting For Crumbs event on August 12th at the Gage Gallery in Sheffield, located inside KIAC, Sheffield, S3 8DB. 6:30 – 9pm

‘”To the 330’ is a noise/aktion blood hex against an occupying administration. Be fun to see some of y’all. There will be no milk x”

Our poets and poetry readings are yet to be confirmed, but follow our events page on facebook to keep up to date. https://www.facebook.com/events/1766943633588740/permalink/1777196522563451/