Terror

Open publication - Free publishing - More art

Featuring Beverley Bennett, Charley Peters, Gudrun Filipska, Laura Davidson

12 - Pages Issue 9 : Terror

Introduction by Laura Davidson

“For reasons that should by now be self-evident, bearing witness does not imply special access to the essential meaning of critical events. Nor does being in a position to see those events with one’s own eyes privilege the testimony of any individual, no matter where they stand in relation to the presumed center of the drama, since so many other eyes are trained on it from so many uniquely revelatory positions. Logically, this observation is elementary, but as soon as discussion moves from the abstract to the concrete, agreement vanishes in the so-called “fog of war”, that atmosphere of crisis and ambiguity in which opposites confront each other only to lose their bearings, that moment of truth in which sharply defined antagonists begin to resemble each other in their confusion and desperation and truth vaporizes and indiscriminate death has the final word.”

Robert Storr September: A History Painting by Gerhard Richter (2010)

On September 11th 2001, Gerhard Richter was en route from Cologne to his opening at Maria Goodman Gallery in Manhattan. He was due to arrive at 12.30pm, almost 4 hours after the first plane hit the World Trade Centre. Richter and his wife were diverted to Halifax, Nova Scotia and like the rest of the world, became restricted to watching the unedited narrative stream continuously from TV screens. For those who count themselves amongst the most cynical disbelievers in fate, it must be hard not to concede it was Richter’s destiny to be thrust somehow into the sublime horror of one of the defining moments of the early 21st Century. 

The events of that September day are accompanied by a very specific and saturated imagery. It was a horror of an intensity not witnessed on the American homeland since colonial times. Ironically in the latter half of the 20th Century, it was America that had been responsible for creating the subject of such sublime imagery. The H-bombs over Hiroshima and Nagasaki during World War 2 are a subject matter not unfamiliar to Richter. Unlike the atrocities committed in Japan in 1945, images of what happened in Lower Manhattan were unveiled in real time and then replayed continuously to a worldwide audience. 

The string of words “nine eleven” has a meaning so intense in Western nations that it obliterates all that defined it before. Primarily it marked an increased aggression in US and European foreign policy. Retrospectively it is coming to represent a turning point in how media captures our memory of an event. What occurred in New York, Washington and Pennsylvania on the 11th of September 2001 is etched into the collective memory of North American and Western European culture. When discussing the event, the attempt at grasping a meaning behind it often begins with a personal account, as if ‘we’ were all there. As if we all saw it played out in reality. The relentless media coverage for almost two weeks after the event placed us in a 360-viewing platform. We were fed images that gave us the impression of being in Manhattan above all, when everything unfolded across the ubiquitous clear blue skyline. 

Over a decade later, we have become more accustomed to taking part in collective events that we are not physically a part of. Nine eleven was a trigger of this phenomenon. The removal of physical self in the Web 2.0 era has somehow come with a natural ease. It seems logical to concede that there has always been a concealed science fiction desire to be in two places at once. A strong trend has emerged in which major news stories are broken on Twitter by amateurs, often more rapidly than the conventional broadcasters. Major news events are also increasingly made out of something minor. The continual stream of news that is attached to each person through personal computers and smartphones maybe gives us more of a physical sense of being somewhere when we are in fact completely absent.

An absence of physical presence is what defines North America’s 9/11 as equally as an inability to articulate the true terror of those who did witness the events unfold in real time, without constant replay. On Gerhard Richter’s painting September, the art historian Robert Storr remarked that he himself finds it difficult to separate his personal account of the day and the images he saw on the television. In fact, a continual question that arises is how to begin the task of staging the representational on something already so represented? On something so concrete yet buried in the effervescent nature of the photograph? The occurrences in the aftermath of the event in particular, the whole of Lower Manhattan buried in a Pompeii-esque ash of office papers, seemed in themselves a poetic legacy that no artist could ever create. The political fall out has agitated some artistic response but, the decade of the War on Terror seems eerily quiet in contrast to, for comparisons sake, the Vietnam War. It is curious that an event that was so staged and so visual has barely any visual response to it. 

This sense of the intangible is what the brief for the Terror issue was based upon. In the years leading up to the Iraq War, the apocalyptic visions of September 11th were pulsing through the veins of the world media when the Invasion of Afghanistan was announced. These representations were continually recycled to justify the War on Terror. The world had become a place saturated with hyperactive illustrations, replayed over and over, filling the citizens of predominately western nations with a fear of this unknown, slippery, indefinable enemy known as Terror. The Invasion of Afghanistan was only the beginning of this stretching decade of conflict. The War on Terror left in its wake a trail of imagery, of spectacle, of war and of the sublime that is so dense in it’s recording (coinciding with the new digital era) that grasping the concept of the conflict: Terror, is still difficult a decade later.

Contextualising these events within the realm of art has not been forthcoming –Richter began working on September in 2004 and even he struggled to grasp how to proceed with his initial drawings. In order to allow a basis for response to the Terror brief, 12-Pages directed the respondents to consider wide resources from the imagery of war to the poetic mechanisms of the sublime, to begin to render a dialogue that describes the preceding decade. 

Terror will be published on 12-Pages, Thursday August 16th. Featuring new work by Beverley Bennett, Charley Peters, Gudrun Filipska and Laura Davidson.

Project News: A Message To... Marfa

Marfa, Texas, located at 30°18′43″N 104°1′29″W

TBC members Laura Davidson, Charley Peters and Beverley Bennett are currently working together on a collaborative project, A Message To... Marfa. Marfa is a town in the desert of West Texas, founded in the early 1880s as a railroad water stop. Marfa Army Airfield was located east of the town during World War II and trained several thousand pilots before closing in 1945, the abandoned site still being visible 16km east of the town. In 1956 the film Giant was filmed in Marfa, famously the last film featuring James Dean, who died before filming was completed. The city is now best known for housing Donald Judd's Chinati Foundation, occupying more than 10 buildings and permanently exhibiting work by artists including Carl Andre, Dan Flavin, Richard Long and Roni Horn. 

A Message To... Marfa involves Peters and Bennett, in London, providing Davidson with a list of instructions for actions that she must undertake in Marfa. These actions will generate material that Davidson will send back to Peters and Bennett, which they will curate and interpret to generate a remote 'drawing' of Marfa. The project will be realised over the next two months, and published online shortly afterwards.

Beverley Bennett, Laura Davidson, Paul Mendez and Charley Peters, Along the Line (2011/12)

TBC have recently collaborated on a book project on the theme of 'Along the Line'. Part of a large project involving artists from around the world, the book will tour to 14 international venues in 2012  before joining the collection of the Brooklyn Art Library. The first show of the tour opens in April in Brooklyn and will then travel to Chicago. The tour will reach London in late 2012.

12-Pages Issue 7: Radicals

Open publication - Free publishing - More art

Smartphones: To access Radicals and other TBC publications, please click here.

Radicals and Non-Conformists

Poster design by Shia-ying Wallis

Founding member, Co-Director and this year’s curator of the Staff Art Show at the National Portrait Gallery, Beverley Bennett, commissioned fellow creatives to follow the brief ‘Radicals’ in conjuction with the 12-Pages Online Project Space.

Exhibitors were asked to take inspiration from sitters within the collection located in Room 18, Art Invention and Thought: The Romantics, which features the likes of William Goodwin, Lord Byron, John Constable and Mary Shelley.

As the project evolved, participants began to move away from the chosen theme by selecting new or existing work. In doing so, individuals emerged to become Non-Conformists, free-thinking Radicals. For more information visit radicalsartshow.blogspot.com.

12-Pages Issue 7: Radicals Cover and Introduction

Introduction by Paul Mendez

A group of artists, writers, musicians and thinkers in the early nineteenth century, among them the British notables Mary Wollstonecraft, Lord Byron, Thomas Paine, William Blake and Mary Shelley, became known as the Romantics. Priding intuition and imagination over reason and empiricism, their original thought and free speech was a radical departure from Enlightenment rationalism, yielding a cannon of seminal works, such as Paine's Rights of Man and Wollstonecraft's Vindication of the Rights of Woman, whose legacies are enduring.

It has become a topic of contention as to what the term 'radical' means today, such is its ever-changing context. Arguably, since the events of September 11, 2001, pejorative connotations have been dominant. Radical Islam and the threat of terror hang over the globe like the Armageddon of Revelation, precipitating a war between the secular and pious that has prattled on bloodily for a decade. Indeed, the 'radicalisation' page on Wikipedia focuses almost solely on the path to jihadisation and subsequent commitment to the performance of terrorist acts. It can thus be argued that, paradoxically, radicalisation today serves to create something conventional: a homogenous army of self-destructive followers as opposed to the individual, free-thinking, independent agent for positive change that each of the Romantics is remembered as being.

Indeed, worryingly, the gloved hand of the state, fearing the might of the people as demonstrated in the 2011 Tunisian and Egyptian revolutions, is frequently creeping round to silence such independent voices, even in the second decade of the 21st century. Following Ai Weiwei's arrest and detention by the Chinese government, the Booker-Prize-winning Indian novelist Arundhati Roy told The Guardian of the increasing persecution she has received as she continues to polemicise about the problems of the Indian state, its stance on Kashmir, its scant regard for the environment in favour of rapid development and its record on corruption.

Two hundred years after the Romantics paved the way for independent minds to help change the world for the better, and in a world where each individual has the capacity to express and propagate their opinions via free blogging software and microblogging sites such as Facebook and Twitter, it seems inevitable that governments will stymie the potential for anarchy these technological and social developments can engender, for better or worse. Individuals become more radical as societies homogenise. Something must break.

12-Pages Online Project Space Call for Submissions - Issue 7

TBC Artists' Collective has now announced an open call for submissions to its June 12-Pages Online Project Space. Applicants are asked to make a new artwork in response to the theme of 'RADICALS'.

The Regency era spawned a group of revolutionary artists, writers and thinkers - including Thomas Paine, Mary Shelley, Mary Wollstonecraft, William Blake and Lord Byron - who became known as the Radicals. It was a period in British history in which the opinions voiced and artistic expression were at a level never before witnessed.

For this brief you are invited to consider modern-day radicals of the last twenty years. Work can be created by means of homage, reference, quote or interpretation. Submissions should incorporate elements of drawing process within finished outcomes, with an emphasis on your chosen radical. The notion of 'radical' can be as rigid or as loose as you feel comfortable with.

SUBMISSION GUIDELINES

• Send all images as JPEGs, minimum 72-maximum 150dpi, min 400Kb, max 1Mb
• Send all text documents as .doc, unless presented as a 'drawing' or 'image' in PDF format. Limit body text to 3,000 words
• If the contributing artist has a clear idea as to how their word should be displayed, the desired layout should be submitted as a PDF. The editor's decision is final.

 OWNERSHIP

• 12-Pages does not accept previously published material, and does not expect works commissioned for 12-Pages to be used elsewhere before publication of the issue concerned
• The contributing artist retains full rights to their work. If the artist wishes to reprint or publish the work in future, TBC Artists' Collective asks that the relevent issue of 12-Pages be credited
• Due to the high volume of submissions received, TBC Artists' Collective can only enter into correspondence with those whose works have been accepted, and cannot give critical feedback on submissions.
• Editor-in-chief has final say over all editorial decisions.

All responses should be sent to Beverley.Bennett@tbcartistscollective.org by midnight on 31st May 2011 to be considered for inclusion in the 12-Pages Online Project Space. RADICALS will be published online in June 2011.

Commission News: SLICE

Slice, a Pakistani–UK collaboration, curated by Fatima Hussein and Scale

TBC Artists' Collective have today been commissioned to produce work for SLICE, a Pakistani–UK collaborative website and accompanying exhibitions in London and Lahore curated by Fatima Hussein, artists and co-director of Other Asias, and Scale, the collaborative arts project run by artists and theatremakers Simon Daw and Paul Burgess. SLICE aims to encourage dialogue between two diverse cultures by linking communities in both countries via the creation of a new artwork that enters into dialogue with the social and physical fabric of two iconic, complex and historically linked cities. Ten artists from London and ten from Lahore have been commissioned to take part in SLICE.

TBC members Beverley Bennett, Charley Peters, Laura Davidson and Paul Mendez will produce a collaborative work for the project, which will be exhibited in both cities online. The group members will also participate in two international web conferences.

The exhibition dates are as follows:
July 2011 Exhibition opens and SLICE website launch at Ideas Store, Whitechapel, London
September 2011 Exhibition opens at Rich Mix, London
September 2011 Exhibition opens at Zahoor ul Akhlaq Gallery, Lahore

TBC are very excited by the project and will post more news about their developing work on 12-Pages during the duration of their involvement with SLICE.

12-Pages: Hybrid

Open publication - Free publishing - More literature

Featuring: James Jeff Lindley, Paul Mendez, Charley Peters, James Tuitt, Gen Doy, Vitesh Vithlani,
Adam Nathaniel Furman, Laura Davidson, Christina Shannon, Beverley Bennett, Aman Sagoo,
Rebcecca Seal, Toby Cisneros, Elizabeth Oniri

Editor: Beverley Bennett

Smartphones: For access to all 12-Pages issues, please click here.

A Message To...

TBC Artists' Collective are working on a new long-term project called 'A Message To...' The project will take members of TBC to various UK and international locations to make ephemeral interventionist works based on the cities they travel to. On 22 January 2011 members of TBC Artists' Collective - Charley Peters, Beverley Bennett, Laura Davidson, Paul Mendez, James Tuitt - travelled to Oxford to complete the first part of the project. Each artist made a piece of work specifically as a message to a person linked to Oxford who has contributed to national cultural, creative or academic history. 

Charley Peters, A Message To… Ann Oakley (2011)

Installed in Pitt Rivers Museum and Modern Art Oxford

Peters' work pays homage to Ann Oakley, a writer and a sociologist who graduated from Somerville College, Oxford. She has written extensively and influentially around issues of sex and gender, housework, childbirth and feminist social science. Her 1974 book 'Housewife' inspired Peters work for this 'A Message To' project, in which she wrote, 'Housework is work directly opposed to the possibility of human self-actualisation'. Peters' drawing is made from dirt samples collected in her studio.

Peters installed one of her dirt drawings in a display cabinet in the Pitt Rivers Museum. The cabinet, on the first floor of the museum, is directly underneath a vitrine containing ethnographic objects relating to marriage, which seemed particularly relevant to the research concerns of Oakley. The second of Peters' drawings was installed in Modern Art Oxford, hidden in a rack of postcards representing artworks that have been shown in the gallery in past exhibitions.

Beverley Bennett, A Message To… Richard Baker (2011)

Installed in Blackwells Music, Broad Street, Oxford

Richard Baker (born 1972) is a British composer and conductor, known equally for his own highly charged and distinctive music and for his performances of contemporary music, especially the music of his contemporaries in the UK. Bennett chose Baker as her subject due to his connection to her place of birth in the West Midlands, and the striking rhythms of his compositions which complement the visual tones of her drawings. 

Bennett installed her drawing on a notice board in Blackwells Music store on Broad Street, Oxford.

Laura Davidson, A Message To… Maurice Bowra (2011)

Installed in a bicycle basket on Parks Road, Oxford

Maurice Bowra was an Oxford Don who was just as famous for his private life as he was for his academic career. He studied the classics and wrote several books on the subject. He wrote poetry based on his experiences of the First World War. He lived from 1898-1971. He attracted infamy when he was caught bathing nude at Parsons Pleasure in the River Cherwell by the police. Bowra apparently said to them "I don't know about you, gentlemen, but in Oxford I, at least, am known by my face."

Davidson left a message in a bottle for whoever came across her work first - a set of written instructions for how the recipient should undertake a recorded performance as a reference to Bowra.

Paul Mendez, A Message To… John Ruskin (2011)

Pad of Khadi papers deposited at the Western Computer Store, Broad Street, Oxford

‘John Ruskin was a generous man, and so am I…’

One of Oxford University’s most celebrated alumni, John Ruskin was a man who used his means for the benefit of progress, both as stern sage writer and philanthropist, evinced by the plethora of streets, schools, colleges and foundations named after him. His disciples included the likes of Mahatma Ghandi, Marcel Proust, Leo Tolstoy and Oscar Wilde.

Khadi paper is associated with Ghandi and the Khadi movement of 1930s India, where the focus was on decentralisation, taking work back to the villages and making things by hand. By installing a pad of Khadi papers at an Apple Authorised Retailer Mendez gave someone the opportunity to explore their own creativity through drawing or handwriting, thus invoking the generous spirit of John Ruskin.

James Tuitt,  A Message To… Wilbert Vere Awdry (2011)

Installed at Oxford Station

Wilbert Vere Awdry OBE, (15 June 1911 – 21 March 1997), studied in Oxford, and was the creator of Thomas the Tank Engine. Tuitt produced his drawing for Awdry  as his stories were a part of his childhood.

The work Tuitt created came from his interest in pattern and repetition and the feelings (frustration, impatience etc.) that come from using these processes in drawing. He chose train tracks as a motif in direct relation to W.V.Awdry, and as it was also reminiscent of the time consuming drawings he did as a child of trains, train tracks etc., all because of his fondness of Awdry's story.

Using wrapping paper on which to produce a checked pattern inspired by the identity/fabrics of Burberry, Tuitt suggests its classic/traditional appeal, the iconic status of its pattern (much like the enduring strong status of Thomas among children), and also how this fascination with trains seemingly disappeared.

Tuitt left this piece of work in the only place he felt suitable; Oxford train station. He bound the work together with string, and wrote on the covering piece of card:

Dear Wilbert Vere Awdry, 

Thanks for helping to make me feel almost normal. 

I needed it back then.

The 'A Message To...' project will continue to develop as TBC travel to national and international locations and intervene, through drawing, where they visit. Updates will be posted on 12-Pages.

Project News: A Message To...

The locations of TBC's 'A Message To...' artworks in Oxford

Yesterday TBC members Beverley Bennett, Charley Peters, Laura Davidson, Paul Mendez and James Tuitt travelled to Oxford to take part in the first stage of a long-term project, 'A Message To'. Each artist made a new artwork in homage to someone linked to Oxford who has contributed to national culture. These works were then installed in various locations across the city, intervening in public spaces. The locations chosen by each artist were as follows:

Beverley Bennett: Blackwells Music store on Broad Street
Charley Peters: Pitt Rivers Museum & Modern Art Oxford
Laura Davidson: A bicycle basket on Parks Road
Paul Mendez: Western Computer store on Broad Street
James Tuitt: Oxford Station

More details about the 'A Message To...' project and the artworks created for it coming soon...

Project News: Trace Elements - Press Release

Trace Elements

TBC Artists' Collective comprises four London-based artists – Beverley Bennett, Charley Peters, Laura Davidson and Paul Mendez – who work collectively to generate projects with a focus on drawing and its scope within contemporary art practice.

Established in 2009, their recent first show Delineation: Contemporary Dialogues with Drawing considered the presence of drawing beyond its traditional parameters and within such disciplines as writing, film, sculpture, painting and embroidery. Delineation began a series of projects that will engage the collective with other artists, writers and curators, who are invited to participate based on their individual perspectives on drawing.

Always keen to challenge creative identities and generate new ideas, the 12-Pages Online Project Space enables members and associates to regularly produce new work by means of short deadlines and notional themes, often instigating fresh lines of inquiry. 12-Pages Magazine seeks to document each key stage in the development of these and other of the collective’s investigations.

The collective’s latest exhibition project Trace Elements will continue to develop the initial themes first outlined in Delineation, exploring drawing through erasure, repetition, accumulation, trace, memory and the interruption of surfaces. 

Trace Elements

Member News: The Show

TBC Artists Beverley Bennett, Charley Peters, Laura Davidson and Paul Mendez will be participating in The Show. Their exhibition of drawings, 'Trace Elements' selected by curator Eddie Otchere will open in January 2011 as part of The Show's cultural events programme on Millbank.  The Show presents 'the freshest concepts and objects amongst the spectacle of art, music and magic' (theshowlondon.com)

More information to follow...

Jim Mooney - Critical Responses to Delineation

Dr Jim Mooney in conversation with members of TBC Artists' Collective

Today TBC was joined in The Crypt Gallery by Dr Jim Mooney, Reader in the Theory and Practice of Fine Art at Middlesex University, who led a discussion based on his responses to the exhibition Delineation, Contemporary Dialogues with Drawing. During the afternoon Jim shared his critical observations of the curatorial policy of the show and led the artists through the gallery in order to give a close reading of each work and identify underlying shared concerns among the exhibiting artists.

TBC would like to extend their thanks to Jim for his insightful and generous contribution to the exhibition programme. A transcript of the discussion will constitute part of the catalogue for Delineation, Contemporary Dialogues with Drawing, which TBC will be writing over the forthcoming months. This publication will also contain a transcript of yesterday's panel discussion led by artist John Timberlake and featuring TBC members Beverley Bennett, Charley Peters, Laura Davidson and Paul Mendez, as well as a collection of critical essays addressing current concerns in artists' drawing practices.

Studio Views: Beverley Bennett

by filmmaker Timothy Knights


The film documents Bennett in her studio in London creating work for Scratch Black Light. The film accompanies her solo exhibition entitled 'Process' currently showing at Arena Gallery, Liverpool as part of this year Biennal programme.

12-PAGES Online Project Space: October 2010

CHARLEY PETERS

Displacement (2010)

    Graphite square (erased) and accrued erasings.

12-PAGES introduces the Online Project Space, a monthly project set to create specially-prepared works for the 12-PAGES blog, that interrogates individual theory and presents works on a digital wall space.

The theme for October was notions of the home, incorporating the importance of having a home, and perhaps experiences of not having a home. Contributing artists were asked to spend a short time applying this theme to the process of their current practices.




SUSANNAH KING

Home and my Camera Obscura (2010)

I am a Key Worker (I teach) and  live in Key Worker rented accommodation (intermediate housing, they call it). I don’t get to choose whom I live with; it could be any other eligible key worker. Someone, I don’t know who, has decided that Key Workers are all young and single and don’t mind sharing with strangers. I live there, as it is just about all I can afford and is easy to get to work from.

I’m priced out of buying or renting a place of my own as it’s London and this city is affordable to but a few. But I like where I live, I like the area and I love my balcony. It is a shared balcony but few others use it. In June this year I transformed an unoccupied room near the balcony into a temporary camera obscura. I spent the month watching in full colour, the world upside down, from traffic jams on the A40, to airplanes and birds flying across clouds or observing windows from neighboring flats anonymously opening and closing.  The environment surrounding me is projected directly into my own camera space.
I might not own the space I inhabit, but I can certainly lay claim to a month-long period where this space and the territory surrounding us belonged to my camera obscura and I.


ELIZABETH ONIRI

Moving Slowly with Collar Pulled High (2010)

JAMES TUITT

Run Away (2010)

This drawing aims to tell us that sometimes, we need to run away from home. Home is often referred to as a place of comfort, warmth, security, familiarity and so on. although this is very true, these ideas can also be the things that hold us back. sometimes, one needs to get away from the security and the familiarity and the constraints of home in order to be achieve physical, mental, emotional and creative freedom. this is home in the physical walls, windows and doors sense, but also in the mental sense.

BEVERLEY BENNETT

Untitled (2010)

PAUL MENDEZ

Dear Jonathan,

How are you? It has been a long time, indeed. I’m touched that you thought of me and took the time to write such a heartfelt message. Only you and my brother have ever done so.

So what’s going on? Are you married? Kids? How are your family? What do you do for a job? Are you baptised now?

I’m struggling along in London as an artist and writer. I have my first exhibition at the end of this month and a second following quickly after, so I’m very busy – and stressed – at the moment. I’ve had small pieces of writing published here and there but, like most people, I’m still waiting for something real to happen. I’ve been here for six years now and can’t imagine living in another city.

I live with, amongst others, a girl from my year at high school, who is also an artist. We produce a magazine of contemporary art, for which I am the editor. Busy, busy, busy.

I have been through some bad times since I left the truth ten years ago, and wallowed in dreadful emotions that I still feel twinges of now and then, even today. Nobody’s life is perfect, or totally happy, but I do genuinely feel that I am being true to myself and leading the only possible life I can lead. Of course I can see the world for what it is – the very streets of London manifest the declining apocalyptic world painted in prophecy – and I’m sure that something will happen soon. Trust that I am not simply pretending that nothing is happening; I just feel that my time now is best spent outside of Jehovah’s organisation, knowing both good and bad, just as Christ did.

I know that you will think I'm just brushing you off and making excuses. Jehovah's people gave me my education, which has gone on to inform and ask questions of everything I have subsequently thought or acted upon. Thank you for reminding me of what I should be thinking about, however. ‘You are still my brother, and I love you’ is what my sister Sarah said to me once, and I repeat that to you now.

Best wishes,

Paul

Look out for more news from the 12-PAGES Online Project Space next month.

TBC Members News: Beverley Bennett

Beverley Bennett's 'Tomorrow is Uncertain', Featured Artworks on Art Review Online

TBC Member News: 100 the Highway featuring Beverley Bennett and James Jeff Lindley

100 The Highway is a one-night exhibition of new works, works-in-progress and site-specific works by a selection of artists, self-publishers and past collaborators, at the former location of Maritime Printing Co.

The exhibition features works by Aishan Yu, Alexander Bates, Alexandra Hughes, Andrew Ra...nville, Beverley Bennett, Catalina Niculescu, Charlie Coffey, David Lilley, Hiromi Kawasaki, James Jeff Lindley, Kala Newman, Kathryn Faulkner, Margarita Myrogianni, Marie Roux, Pernille Leggat Ramfelt, Rachel Ichniowski, Richard Bevan, Rona Smith, and Sarah Andrew.

Impulsive Random Platform will produce a free publication especially for the exhibition, in response to the works and site.