‘Marianna Simnett’ 5.9.2014 - 21.9.2014
Thursday to Sunday 1pm to 6pm
Private View: Thursday 4 September, 6pm to 8pm
Marianna Simnett at the Acme Project Space, the artist’s first solo exhibition, is the culmination of the year-long Adrian Carruthers Studio Award. The exhibition presents a selection of Simnett’s most recent work, through which the artist explores themes of sexuality, innocence, corruption and martyrdom.
The centrepiece of the exhibition is 'The Udder', a short film commissioned as part of the Jerwood/Film and Video Umbrella Awards 2014. Contextualising this film within a wider practice are 'Noses Off', a series of graphite drawings of disembodied noses, and 'Ryan’s Hymen', a pencil drawing on MDF board depicting a piece of jewellery given to the artist by her first boyfriend.
Words by Patrick Langley
Established in 2002 for artists graduating from The Slade School of Art, the Adrian Carruthers Award provides a free studio for a year, plus a bursary of £6,000. The award was created in memory of the artist Adrian Carruthers, who died in October 2001 at the age of 40.
Acme Project Space
44 Bonner Road
T 020 8981 6811
F 020 8983 0567
Acme Project Space is located in the heart of East London's gallery district, around the corner from The Approach and a short walk from Vyner Street. The venue is well served by public transport (see map on right):
- Underground - Bethnal Green (Central Line)
- Train - Cambridge Heath
- Bus - D3 & 309
- Car - On street pay and display parking (unrestricted at weekends)
The Acme Project Space provides an opportunity for those artists who are part of our Residency & Awards Programme and our International Residencies Programme with a public space within which to develop projects, show new work and engage in a critical dialogue with a wider audience.
The programme of projects and exhibitions is developed in collaboration with those individual artists, who have already been through a selection process and aims to highlight the benefit artists gain from this support. The Acme Project Space therefore, is not currently able to accept unsolicited exhibition proposals from other artists.
Access and facilities
There is level and ramped access throughout the Acme Project Space. All printed material is available in a range of formats, please contact email@example.com or 020 8981 6811 for further information. There are no public toilet facilities on site.
‘Breathless’ 3.10.2014 - 19.10.2014
Thursday to Sunday 1pm to 6pm
Private View: Thursday 2 October, 6pm to 9pm. Live ventriloquism performed by the artist at 7pm & 8pm at the Private View
Sarah Duffy, the current recipient of the inaugural Goldsmiths MFA Studio Award, presents her first solo show at the Acme Project Space. The exhibition features a series of Duffy’s recent works across text, sculpture, video and performance.
Key to Duffy’s current practice is a fascination with the art of ventriloquism, particularly with ventriloquism’s beginnings away from its modern incarnation as a variety act that makes use of a dummy. Instead, Duffy is concerned with the practice of belly speaking, or speaking without movement of the lips, which extends far back throughout various religions and spiritual practices, chronicling the complex relationship humans have had with the voice over time.
Woman were particularly associated with the practice at its beginnings. Like The Pythia, The Oracle of Delphi, many women who were engaged in spiritual and necromantic practices utilised illusion, cunning and trickery alongside the practice of belly speaking. Their bodies were seen as supernatural vessels, a view that obscured the fact that these women were employing their beings as powerful performative instruments, capable of manipulating those around them. However, this history of female cunning is not without tragedy, ambiguity and horror; starlet ventriloquist of her day and likely epileptic, Elizabeth Barton, ended up with her head on a spike after she tried to use her powers of prophesy and ventriloquial utterances to prevent the marriage of Henry Viii and Anne Boleyn.
Fascinated with the history of these lauded and yet often vilified female performative figures, Duffy set out a year ago to learn this discipline for herself. In particular it was her goal to learn how to sing the song 'I wanna be loved by you' without moving her lips, made famous by Marilyn Monroe. Duffy saw that Monroe had something in common with these female ventriloquists; she was electric and wild, a master of her body, but also somehow vulnerable and subject to the gaze of others. She was at once a puppet and a puppeteer. Duffy will perform Monroe's famous song twice at the private view. This work will be shown alongside other video and sculptural pieces that further probe the connections between Marilyn and the art of ventriloquism.
The Goldsmiths MFA Studio Award is a partnership funded by Jane Hamlyn, Acme Studios and ISA Charity and is one of Acme’s growing number of studio awards managed under its Residency & Awards Programme, aimed specifically at recent graduates. These awards have been carefully developed with Acme’s partners to provide a valuable and effective bridge between college and professional practice. Each award provides a rent-free studio for 12 months plus a stipend, and in addition mentoring and exhibiting opportunities.
‘Dirty Pools’ 29.8.2014 - 31.8.2014
Friday to Sunday 1pm to 6pm
Private view: Friday 29 August, 6pm to 8pm
Bringing back to life, that what was
lost, erasing that what was barely
there, painting to remember,
painting to destroy.
Struck by the shadow of a plane
Dirty Pools is Matthew Hunt’s first solo exhibition in the UK. Coming at the end of his Associate Artist Residency as part of Acme Studios' International Residencies Programme, Hunt has produced a body of work that combines painting, photography and sculptural elements that explore the dynamics between subjective and cultural history. Delving into the past, using the process of painting as a conduit to remember personal and cultural histories, Dirty Pools collapses time and space.
This coalescing of the past and present creates a whole, and yet at the same time, a dislocation from both locations. The dirty streets of London do have a relationship with the algae and insect ridden swamps of Hunt's childhood in Australia. The metaphorical fear of the London sewer and the untested quicksand of North Lake become part of the same beast.
But it is also the re-found recorded moments from black and white photography that holds interest. These fragments are discarded and contextless – and we are forced to form a narrative from our own subjectivity.
Key to all this is a consideration of composition, both as an aesthetic exploration but also as a more indescribable, intuitive link between the form of the subject and the surrounding context.
Special thanks to Janet Holmes à Court & Copyright Agency Australia
- Matthew Hunt — “Dirty Pools” (29 Aug 2014)
- Kate McMillan — “The Potter's Field” (4 Jul 2014)
- Clare Price — “I Killed a Viper” (6 Jun 2014)
- Sarah Duffy and Maaike Anne Stevens — “DELVE” (9 May 2014)
- Maaike Anne Stevens — “Black Sea” (21 Mar 2014)
- Sophie Jodoin — “how permanent is permanent” (20 Feb 2014)
- Virginia Bradley — “Jeopardy” (5 Dec 2013)
- Various — “Postcard From My Studio” (4 Oct 2013)
- Ninna Bohn Pedersen — “Perforations” (19 Sep 2013)
- Rhonda Weppler and Trevor Mahovsky — “Rhonda Weppler and Trevor Mahovsky” (1 Aug 2013)
- Mathieu Beauséjour — “To Be Governed” (12 Jul 2013)
- Ben Cove — “Vernacular Hangover” (7 Jun 2013)
- Ninna Bohn Pedersen, Rafał Zajko and guests — “Adjacent Practice Colliding Daily” (8 May 2013)
- Peter Burgess — “Bryant and May . . . and” (28 Mar 2013)
- Tiffany Parbs and Greg Fullerton — “Gloss” (14 Feb 2013)
- Craig Leonard — “Finesse” (7 Feb 2013)
- Roger Kite — “Pathways” (17 Nov 2012)
- Joss Cole — “What's Outside the Window?” (25 Oct 2012)
- Luke McCreadie — “Blob-content” (5 Oct 2012)
- Kate Atkin — “Like A Stone” (6 Sep 2012)
- Anna Moderato — “In Use” (22 Jun 2012)
- George Charman — “Once Again And Always New” (5 May 2012)
- Vishwa Shroff — “One eye! Two eyes! Three eyes!” (1 Mar 2012)
- Helen Johnson — “Dead Metaphor” (26 Jan 2012)
- Andro Semeiko — “Lily of Blythenhale” (11 Nov 2011)
- Rose Davey and Sarah Poots — “Rose Davey and Sarah Poots” (8 Oct 2011)
- Hagen Betzweiser & Sue Corke — “101 Harmless Scientific Experiments To Try At Home” (11 Aug 2011)
- Tom Polo — “Disappointed with many people and things” (7 Jul 2011)
- Briony Anderson / Paul McGee, George Charman, Amy Gee, Adam Knight, Haroon Mirza, Emma Smith, K. Yoland — “Sum Parts” (10 Jun 2011)
- Nedregard & Hillary — “Entrances” (6 May 2011)
- Jan Hendrickse — “Transient” (31 Mar 2011)
- Chantal Faust and Paul Knight — “I'll sit slightly behind you” (3 Mar 2011)
- Gemma Anderson — “Portraits: Patients and Psychiatrists” (12 Nov 2010)
- Stephanie Kingston — “Sydney Road” (7 Oct 2010)
- Janne Malmros — “Black-veined White” (3 Sep 2010)
- David Blandy, Harold Offeh and Jan Hendrickse — “Contort Yourself” (4 Jun 2010)
- Michelle Ussher — “An Elaborate Fiction” (21 May 2010)
- Christian Quesnel — “Hearts of Clay (Coeurs d'Argile)” (4 Dec 2009)
- Margarida Gouveia, Tina Isabella Hild & Martin Karlsson — “Chance Meeting on a Drawing Table of a Zebra and a Meteorite” (2 Oct 2009)
- Revati Mann — “Re :ri: rm: hm: ha: h:i ho: hum:” (11 Sep 2009)
- Howard Dyke — “Dance of the Techno Polar Bear” (5 Jun 2009)