Art 511 Mag

10 Organisations Helping Artists build Community

Alexandra Arts is named by Art 511 Mag as one of '10 Organisations helping Artists build community' with Ultracultural Others, Minnesota street projects, Beat Global, Culture Push + others. We are truly humbled, to be connected to so many forward thinking creatives who are smashing up the conventional mould of 'community arts'. We are also the only organisation outside the US on the list! Read the full article here

In addition to their dynamic offerings in the park, Alexandra Arts is perhaps best know for its (international) artist residency program Pankhurst in the Park. Inspired largely by the legacy of the suffragette activism that took place in Alexandra Park and named for iconic movement leader Emmeline Pankhurst.
— Art 511 Mag

'Sound of Silence' exhibition review 

Radical artist and feminist writer Katie Cercone did a shimmering review of Alexandra Arts lead Artist Lotte Karlsen's solo exhibition 'Sound of Silence' in New York, last September. It's now available to view at Art 511 Mag

In a highly competitive and commercialized industry like art, where working together or calling yourself “feminist” isn’t always a safe or lucrative career move, Karlsen’s insistence on following through with her total vision for integration of self and community feels all encompassing in her radically interdisciplinary work. Her dexterity with the medium of glass and subtle meditation on the nature of life and death promises to shine through in this kinetic, effervescent installation for many moons
— Katie Cercone, Art 511 Mag

Arts Award

Pankhurst in the Park Arts Award 2016-17

It took us a whole year to complete our Pankhurst in the Park Arts Award pilot, with students from year 4-6 at St Mary’s Primary school in Moss Side. Although It took much longer then anticipated, It’s been so worth it tho, because of our young student artist. Who designed and made some really funny, cool and poignant t-shirts. We also found time to laugh, dance and write poetry. 

If the mind is a key,
to all of creation.
It can destroy or heat,
by input of information.
What control do we have?
Plotting our life’s direction...
It is a simple changing,
Our belief and intention.
— Poem by Manal, year 6

On the day, they left school for summer holidays, we had the Arts Award certificate ceremony. We are so proud of their creative achievements and wish them all the best. 

Pankhurst in the Park NYC

New photo album up!

Alexandra Arts founder Lotte Karlsen is back from a successful solo exhibition in New York! What a great way to end Pankhurst in the Park 2016. Lotte was invited by fellow Norwegian/US artist Scotto Mycklebust to be the first in a Visiting Artist series, at studio 511, in collaboration with West Chelsea Artists Open Studios. Non of this would have been possible without the help and support of radical artist and feminist writer Katie Cercone, co-founder of Go Push Pops. Karlsen also stayed at artist live/work space, called the Mothership in Greenpoint, Brooklyn, run by Norwegian artist Sol Kjok. Sol have the most amazing studio and performance space down the road called The Last Frontiers. And we are already plotting a upcoming collaboration for Pankhurst in the Park 2018. 

Bunny Collective in International New York Times

This years, Pankhurst in the Park Artist in residency Bunny Collective is making waves in the art world, with a full page interview by Ginanne Brownell Mitic in the International New York Times. In connection with their Frieze art fair edition. Both in print and online. We could not be happier for them!

Lotte Karlsen solo exhibition 'Sound of Silence' in New York Next Month

Press Release

Shimmering Sound of Silence travels across the Atlantic

On Thursday 8 September, Norwegian Artist, Lotte Karlsen will officially open her solo exhibition 'Sound of Silence' in West Chelsea Art studios, New York City, as the final installment of an arts programme connecting female artists across the Atlantic.

Highlights:

  • Manchester (UK) based collective, Alexandra Arts, celebrates the final installment of Pankhurst in the Park 2016 arts programme in New York City.
  • The solo show entitled 'Sound of Silence' will showcase a glass installation - involving 241 crystals - by Norwegian artist, Lotte Karlsen.
  • The pop-up exhibition will launch on Thursday 8 September 6-8pm at Studio 511, West Chelsea Arts Building, West 26th St. New York, NY, and runs until 24 September.
  • The exhibition will be housed inside a small white cube nestled inside artist Scotto Mycklebust's studio - executive producer of the Public Art Squad Project. Visitors will have exclusive access to this private artist studio, which is based in the heart of West Chelsea's Arts district.
  • Sarah Gavron, director of award-winning 2015 film, Suffragette, was one of several female artists to have taken part in the Pankhurst in the Park programme, which has also involved New York artists collectives Go! Push Pops and Legacy Fatale.

With an exhibition housed inside a white cube entitled ‘Sound of Silence’, Lotte Karlsen returns to her specialist medium of glass for what will be her first solo show in New York, to create a site specific work which explores and deals with her relationship to her own mortality.

Lotte Karlsen, Artist, founder of Alexandra Arts and curator of Pankhurst in the Park, commented:

“For this final installment of Pankhurst in the Park 2016 in New York City, I’m delighted to have my work showcased in the heart of the west side of Chelsea; NYC’s premier contemporary-art district.

 'Sound of Silence' is an opportunity for me to return to the beginning of my career and specialist medium - glass - which I feel best reflects the fragility of the subject matter. I felt it was time for me to delve deeper and create work that deals with some of the more difficult and darker aspects of my life but through a medium that quite literally shines a light on the more positive outcomes.

 In my early thirties I had a brush with cancer, which changed the course of my life and outlook on my work, leading me to found Alexandra Arts and develop the work I do within my own community, especially through Pankhurst in the Park.”

Curated by the Manchester-based, artist-led collective, Alexandra Arts, Pankhurst in the Park 2016 is inspired by Alexandra Park - a Victorian Park in Manchester - and it’s rich historical connection to the Suffrage Movement, whose iconic leader, Emmeline Pankhurst, was born and bred yards from the Park in the neighbouring Moss Side Estate.

This exhibition, Sound of Silence, marks the end of the Pankhurst in the Park 2016 programme, which aims to empower the local communities around Alexandra Park and beyond through engagement with their local environment and social history, and to promote the wealth of talented female artists in Manchester and beyond by providing a platform for their work.

'Sound of Silence' represents a collaboration with Lotte Karlsen, West Chelsea artist Scotto Mycklebust, and artist and feminist writer Katie Cercone, co-founder of NYC radical artist duo Go! Push Pops. Go! Push Pops were artists in residence for Pankhurst in the Park 2014.

'Sound of Silence' will celebrate its opening on Thursday the 8th of September, from 6-8pm, with a public launch and drinks reception. The exhibition is free and open to the public from 8th - 24th September 2016. Opening times are 12-6pm from Tuesday to Saturday, and 6-8pm on Thursdays.  In conjunction with the exhibition, on Thursday the 22nd of September, a new online-based magazine, called ART 511, will also be launched.

For more information, visit: www.alexandra-arts.org.uk.

ENDS

For further information, images and interviews please contact:

Amy Clancy

press@alexandra-arts.org.uk | www.alexandra-arts.org.uk | @AlexArtsMCR   #pankhurstinthepark   

 NOTES TO EDITORS

 Lotte Karlsen

Lotte Karlsen FRSA, born 1974 in Hammerfest, Norway is a multidisciplinary artist working fluidly across the boundaries of fine art, social practice, sculpture and craft. Currently living and working in Manchester, UK. Karlsen earned an early degree in glass blowing from the world renowned Kosta Glass School in Sweden's Crystal Kingdom. Later obtaining an MA in Art as Environment at Manchester Institute for Research and Innovation in Art and Design (MIRIAD), her work in recent years has blurred the lines of conceptualism, artivism and craft. She has exhibited her work in London, Milan, Tokyo, Seoul, Barcelona, Paris, New York and throughout Scandinavia.

http://www.synchronizedliquid.com/#lotte-karlsen

West Chelsea Artist Studios

'Sound of Silence' will be exhibited inside a small white cube inside artist Scotto Mycklebust's studio, which is located in West Chelsea Artist studio complex in New York. The building houses galleries, multiple artists and art dealers, and resides close to the far west side of Chelsea — the city of New York's premier contemporary-art district — which is home to high-profile spaces including Gagosian Gallery and Gladstone Gallery.

http://westchelseaartists.com/

Alexandra Arts

Founded in 2010 by Norwegian Artist, Lotte Karlsen, Alexandra Arts is an artist-led collective based in Manchester's Alexandra Park. The collective aims to empower the local community around the park through engagement with their local environment and social history, and to promote the wealth of talented female artists in Manchester, and beyond, by providing a platform for their work. In 2014, Alexandra Arts established Pankhurst in the Park to highlight Alexandra Park’s rich historical connection to the Suffrage Movement and its inspiring socio-political heritage, which has until now has left no trace locally. 

Pankhurst in the Park 2016

Pankhurst in the Park 2016 is an Arts Council England and Manchester City Council funded, public programme of artist commissions, an international artist in residency and outreach and educational programme, which took place in Manchester from March – May, 2016 and will arrive in New York between August - September, 2016.

Curated by the Manchester-based, artist-led collective, Alexandra Arts, Pankhurst in the Park is inspired by Alexandra Park’s rich historical connection to the Suffrage Movement, whose iconic leader, Emmeline Pankhurst, was born and bred only yards from the Park in the neighbouring Moss Side estate. The 2016 programme, builds on the hugely successful events of 2014/15.

http://www.alexandra-arts.org.uk/pankhurst-in-the-park/

OPEN CALL FOR RADICAL CREATIVES!

Our New York sitas Go Push Pop has started a micro-residency and we would like to give their open call a massive shout out. Please share the Urban Mystery Skool love....

Ultracultural Others

ULTRACULTURAL OTHERS: Urban Mystery Skool

A micro-residency and wellness Immersive in NYC Hosted by High Prieztezz Or Nah & UNDAKOVA w/ Go! Push Pops & Rotating Guest Faculty A MYSTICAL SELF-STUDY AND WELLNESS IMMERSIVE FOR INTERDISCIPLINARY CREATIVES, POST-STUDIO ARTISTS, YUNG SHAMANS, URBAN MONKS, QUEERS, BUDDHA BITCHES, PUNK/ECO/HIP HOP FEMINISTS, RAP NINJAS AND RADICAL OTHERS. LIVE AND LEARN IN MANHATTAN'S LES FOR 1 MONTH. EMBARK ON A PERSONALIZED MYSTICAL COURSE OF SELF-STUDY WORKING SIDE BY SIDE WITH SOME OF NEW YORK CITY'S MOST RADICAL CREATIVES. A BORROWED BIKE, FREE ADMISSION TO BI-MONTHLY WELLNESS EVENTS, SACRED GATHERINGS AND A CSA FARM SHARE ARE JUST SOME OF THE ADDITIONAL PERKS.
Application is LIVE!

http://ultraculturalothers.ontrapages.com/

Email ultraculturalothers@gmail.com for more details

Deadline: Ongoing

SOCIAL MEDIA

Instragram @ultraculturalothers

Facebook @ultraculturalothers

Twitter @ultraculturalX

 

Essay: What we are doing by Kathryn O’ Regan

‘Startling unexpectedness is inherent in all beginnings’:

On Bunny Collective’s What we are doing       

In the prologue of The Human Condition, Hannah Arendt boldly states:

What I propose in the following is a reconsideration of the human condition from the vantage point of our newest experiences and our most recent fears…What I propose, therefore, is very simple: it is nothing more than to think what we are doing.[1]

From this statement, Bunny Collective borrowed the title for their most recent exhibition held in the woodland of Alexandra Park on Saturday May 7 2016. What we are doing was the culmination of the collective’s two month residency as part of Alexandra Art’s Pankhurst in the Park programme and it took the form of a site-specific temporary exhibition held in collaboration with students from the Manchester School of Architecture. From the very outset, What we are doing was based on ideas of combined action and ephemerality, both of which are central to Arendt’s claims.

 Where Bunny Collective’s previous exhibitions, most notably The Young-Girl’s Gaze at SOMA Contemporary, Waterford and SUGAR at TACTIC, Cork, primarily dealt with notions of technology, identity, feminine experience and the digital sphere, What we are doing sought to grapple with broader concerns anchored on Arendt’s distinction between labour and work. Due to the rich industrial history of the city, Bunny Collective wished to tap into ideas related to work, but with an aim to consider what constitutes ‘work’ in the first place: how work can be something other than waged exertion to produce profits or the manufacturing of commodities.

 In The Human Condition, Arendt proposes that there are three forms of activity fundamental to the ‘human condition’: labour, work, and action. For Arendt, labour corresponds to the biological life of man as an animal, work corresponds to the artificial world of objects made by human beings, and lastly action relates to the human condition of plurality. Central to these claims is the labour-work divide whereby labour involves the necessary tasks undertaken by human beings in every aspect of their existence. Where the acts of labour do not leave behind a physical trace and are characterised by their momentary nature, work involves ‘making’ and pivots on the production of tangible objects, which are defined by their permanence and durability.

 Hidden just off the cherry-blossom lined pathway, What we are doing unfolded in a shady woodland clearing. Set-up and displayed over the duration of one day, in its very essence the exhibition corresponded with Arendt’s theory as it was an act of labour in itself: almost as soon as the exhibition was set up, it was dismantled again, leaving behind no physical evidence that an exhibition had taken place here. In this regard, What we are doing felt like a brief but powerful intervention into the daily life of the park. On a regular summer Saturday, while families picnicked, friends lazed on the lawn and teams played cricket in their dazzling whites, What we are doing took over a little patch of the park but with an equally thoughtful and playful sense of purpose.

 This sense of mischievous subversion was pervasive in both the architecture students’ designs and the artwork on display. For example, Hannah Le Feuvre’s and Carmen Hubbard’s piece is part of a larger project titled Secret Branch, which involves designing and creating  wearable art objects during their lunch breaks whilst at work at a large London art gallery. The motive of the project is to challenge the daily routine and boredom of paid employment and particularly, to persist in making art when your waged role is to silently invigilate it. The piece itself consisted of a white-painted branch with a length of a thin white cloth attached. From here, cryptic symbols were appliquéd onto the cloth and multicoloured strands of braided material were tied to the branch and left to fall freely. Within the exhibition, La Feurve’s and Hubbard’s piece operated as a type of makeshift banner -   a triumphant flag promoting a flight of transgressive fancy in the face of gruelling monotony and commerce.

 Sasha Cresdee’s work ‘Potential Completion, Temporal Fulfilment’ performed a similar function in that her knotty webs of rainbow yarn transformed the surrounding woodland into a spectacular otherworld. Previously, Cresdee has spoken about how these woollen nets resemble skin in that they are simultaneously porous and protective. This reading of the work adds another dimension to their effectiveness as art objects as it compels the viewer to be more sensitive to the fragility and tactility of their making. Despite their dreamy purple-pink ombre, these knitted structures are strangely bodily in the way that they twist and turn around branches and snake onto the grass in a tangled cascade. Furthermore, in presenting knitted chains in a collaborative exhibition, Cresdee’s work becomes the physical manifestation of connection and togetherness. Of course, not only do her knitted structures present a permanent object in terms of Arendt’s ‘work’ - although it could be said that they are unravelling with time - the use of textiles in both this work and in La Feuvre’s and Hubbard’s is significant also considering Manchester’s remarkable history as a manufacturer of textiles (particularly cotton) from the time of the Industrial Revolution up until the 1950s.

If Cresdee’s work is precariously situated between permanence and slow disintegration, Riikke Enne’s text sculpture ‘Devouring Tools’ presented an equally curious dichotomy. Planted in the hard soil, the words ‘USE THIS’ were just about visible in the afternoon sun. Enne’s sculpture was made of metal rods continuously welded, melted down and twisted together - a process that is exceptionally hard on the required equipment. In its solid, metal physicality the sculpture was simultaneously present as an object of ‘making’ in the Arendtian sense, and oddly invisible - merely a thin metallic structure only seen on catching the light. Indeed, it could be said that ‘Devouring Tools’ is a work of playful juxtaposition, not least in how the phrase itself implores you to use what should be a fairly useless art object, particularly one that is made of such spiky and uninviting materials. However, in a peculiar turn of events, the work instigated unexpected involvement from the audience: letters were rearranged and shuffled, accidentally stood and stamped on, and by the close of day, one of the letters had even been pocketed.  

Where Enne’s work engaged with concepts of materiality, production and utility respectively, meanwhile, Saffa Khan’s installation, ‘Tumhari Dua/She prays' quietly explored one’s personal relationship with ritual and devotion. In a concealed corner, decorated with glowing blue lanterns strung from the trees by the MSA students, the work consisted of a pale pink canvas repeatedly printed with the artist’s silhouette, propped upon an embroidered, bright blue Muslim prayer mat. The installation included a number of objects associated with the Muslim prayer ritual of Nimaaz, including a tasbi (prayer beads), a type of alarm clock that summons a call to prayer, and a Namaz topi ( an Islamic skull cap). Nimaaz is a demanding process that requires the devoted to pray five times a day if possible, despite time or location restrictions. In using her own photographic image, Khan appears to be working through her relationship with these arduous requirements and what she herself terms the ‘spiritual labour’ of Nimaaz. Strikingly, the photographs printed on the canvas were taken unbeknownst to the artist - whilst she was praying she had her camera switched on.  This personal fact adds another level to the work: by sheer accident this private and humble act was captured and solidified into a photographic image.

Arguably, Camilla Frankl-Slater’s work ‘100 knives’ is in dialogue with Khan’s work as her piece explores notions of religion and the everyday too. Rather than Muslim ritual, Frankl-Slater’s work is a reflection on the Judaic tradition of Neitzah, which is an ancient ritual involving thrusting a knife into the earth ten times over in order to purify it. Nowadays, the ritual is enacted less frequently due to the widespread availability of chemical cleaning products, yet Neitzah is still carried out during the festival of Pesach (Passover) when Jews temporarily follow stricter dietary laws and are especially attentive to the sanitary conditions of their cutlery. ‘100 knives’ is less a commentary on religious ritual as it as it is about ‘women’s work’ so to speak. In many faiths, much of the preparation prior to a religious celebration is carried out by women, predominantly in the kitchen. According to the artist, the title is also a play on her mother saying that she has a ‘one hundred things to do’. In this sense, ‘100 knives’ is a clever and subtle reminder of the labour-intensive, yet often thankless and easily forgotten work undertaken by women in their homes. Furthermore, there is a certain violence, or rather aggression in sticking 100 knives into the earth and in this regard, Frankl-Slater’s piece is visually arresting, serving to preserve what should be a fleeting act. As the knives shimmer in the sunlight, reflecting the green of the woodland foliage, they become literal ‘blades of grass’.

In continuing this theme of overlooked aspects of domestic labour, Samantha Conlon presented a number of photographs of her young nieces in a series titled Copper Beech - the title of which is borrowed from a local housing estate. The photographs were blown-up and printed on PVC banners, hung from the trees and held taut by bungee cords pegged into the ground.  One of these photographs depicted two blonde-haired girls of about seven or eight, dressed in casual sportswear with one girl standing over a pink Little Mermaid-emblazoned bicycle. The girls look boldly out at the camera; their stern facial expressions in sharp contrast to their angelic features. Another image portrayed a little blonde girl sitting cross-legged on a footpath with an empty McDonald’s cup beside her. Against a redbrick building, she looks away from the camera, poised in deep thought. In general, Conlon’s work focuses on the modest and minor details of growing-up. For example, her previous series Daughters took a close look at the intimate and tender moments between mother and daughter. Similarly, Copper Beech concerns observation, recording the little moments of growing up within a typical Irish working-class family. Yet, in capturing her subjects on grey pavement or particularly against red brick, which features heavily in Manchester’s architectural make-up, Conlon’s photographs could just as easily be of typical youngsters in Manchester or elsewhere. At their core, Conlon’s images are about ‘the everyday’: what it means to grow up within uniform estates and the ways in which residents try to work through that sameness. Her work succeeds as she unexpectedly presents her nieces, as young as they may be, as powerful individuals in their own right, bestowed with rich interior lives beyond their years. Arguably, Conlon’s photographs tie in with Arendt’s belief in the significance of the individual within the collective: how each individual has the capacity to exercise their own agency and the possibility to disrupt the status quo.

 In an astonishing coincidence, the Little Mermaid as featured in Conlon’s photograph was the subject of Charlotte Cullen’s and Eleanor Cully’s performance piece entitled ‘Siren’s Song’. At 4pm, a group gathered in the woodland glade to hear Cullen read excerpts from their texts interspersed with quotations from texts by Sylvia Plath, Sara Ahmed and most notably, from Hans Christian Andersen's The Little Mermaid. Cullen’s spoken performance was accompanied at regular intervals by Cully’s haunting flute song and was a perfect example of the type of transient collaboration that defined this exhibition. In choosing to use extracts from Andersen’s The Little Mermaid, ‘Siren’s Song’ became a vulnerable exploration of pain, fantasy, risk and the suffering of the human body.  For example, to take one excerpt from The Little Mermaid as read by Cullen:

Your tail will then disappear, and you will feel great pain, as if a sword were passing through you. But all who see you will say that you are the prettiest little human being they ever saw. You will still have the same floating gracefulness of movement, and no dancer will ever tread so lightly; but at every step you take it will feel as if you were treading upon sharp knives, and that the blood must flow.

 Of course, the mention of knives in this quote ties in with Frankl-Slater’s ‘100 knives’ and we are reminded once again of a sort of covert violence. In this work, violence translates into a meditation on the pressure and stress that we put our frail and imperfect bodies under in order to achieve states of unattainable perfection, and ultimately, how we are united by the fragility and limitations of our bodies: ‘Bleeding feet will bond us’.

 In essence, The Human Condition champions new ways of looking at the world. It is about the human capacity to begin, change and start over again. Aoife O’ Dwyer’s twirling reflective mobile titled ‘125%’ invited viewers to take a closer look at their surroundings by presenting photographs of their immediate environment in a 360 degree panoramic layout. The opposite side of the photographs were covered in mirrored paper to give a distorted impression of the same space but from the opposite side. Resourcefully supported by a bright pink hoola-hoop, the work, much like Enne’s, triggered extraordinary levels of interaction from the audience, quite unlike what would have occurred should the piece had been installed in a typical gallery setting. Without a moment’s pause, onlookers - adults and children alike - brazenly stuck their head under the mobile to get a closer look at the wood in which they stood in. The images themselves were grainy and magnified, speckled with whimsical pink dots like flyaway balloons or a punkish paint splatter here and there. Once again, ‘125%’ was a bid for careful and attentive viewing, encouraging viewers to observe and experience their world from multiple sides and perspectives. In this capacity, ‘125%’ was a work of great wonder, instigating both collaborative interaction and individual engagement – with every gentle swivel of the mobile, the viewer was permitted to see the space afresh. As Margaret Canovan writes in her introduction to The Human Condition:

Only the experience of sharing a common human world with others who look at it from different perspectives can enable us to see reality in the round and to develop a shared common sense.[2]

In the end, this is how we can think of What we are doing also: as a vehicle to bring people together; to unite different perspectives and ways of living; to look closer and better at this crazy, troubling and changing world; and lastly to think to oneself that new ways of being and experiencing are infinitely and always possible.

-       Kathryn O’ Regan is a writer and curator based in Cork, Ireland. She has assisted Bunny Collective in the curation of their exhibitions, The Young-Girl’s Gaze, SUGAR and What we are doing and has written accompanying essays for each of these shows.  Her work can be found on kathrynoregan.wordpress.com

[1] Hannah Arendt, ‘Prologue’, The Human Condition, The University of Chicago Press, 1958, 5.

[2] Margaret Canovan, ‘Introduction’, in Arendt, The Human Condition, University of Chicago Press, 1998, xni.

Bunny Collective artist portraits

The Bunny Collective was Alexandra Arts' International Artist in Residence, during the 'Pankhurst in the Park' 2016 Spring programme.

In connection with their residency we have made a video artist portrait of the collective. In fact we did two, because we did not want you to miss out on getting to know the bunnies better, hearing about their artist in residency experience and their time in Manchester. Enjoy!

What We Are Doing - Bunny Collective

Bunny Collective _ Pankhurst in the Park

 

After a two month residency at Alexandra Park for Pankhurst in the Park 2016, during which time they worked with school children, artists, youth groups, and many others, Bunny Collective will reveal their final exhibition titled 'What We Are Doing'. Set in Alexandra Park's woodland, the Bunnies will lead guided tours around their exhibition, before interviewing Sarah Gavron, Director of the award-winning 2015 film, Suffragette, as part of the ‪#‎PankhurstinthePark‬ Spring Showdown with Bunny Collective & Suffragette Director, Sarah Gavron. We can't wait!

Join us and them, this Saturday (7 May), from 2pm onwards. All events are free. However, booking is required for the talk with Sarah Gavron (register via EventBrite) and only a few tickets remain.

Exhibiting Artists: Aoife O Dwyer, Camilla Frankl-Slater, Charlotte Cullen, Eleanor Cully, Hannah Le Feuvre, Riika Enne, Sasha Cresdee, Saffa Khan and Samantha Conlon

What We Are Doing - text by Kathryn O'Regan

Taking the title from a quote by Hannah Arendt – "What I propose, therefore, is very simple: it is nothing more than to think what we are doing" – the exhibition, which will be located in the park’s fairy-tale woodland setting, invites the participating artists to consider what it means to emphasise aspects of the human condition that frequently go unobserved, or those acts which are discounted, intangible, insubstantial or fleeting. In particular, What we are doing will hope to explore Arendt’s distinction between labour and work.

For Arendt, labour encompasses the elements of human existence that are characterised by their ephemerality and that which are not physically quantifiable. In Arendt’s view, life depends on these humble acts of labour which do not leave behind a material trace, yet are wholly necessary for human survival. On the other hand, for Arendt, work involves the physical production of consumable things. Work is characterised by its permanence, artificiality, durability and reliance on manmade tools for production.

The goal of What we are doing will be to shine a light on that which may be deemed insignificant or disregarded within a contemporary society that privileges the commercial, the consumable, the physical and the permanent.

Like Bunny Collective’s previous exhibitions, notions of correspondence, connection and collaboration will be paramount. What we are doing asks the artists to consider what these concepts might mean in terms of Arendt’s labour and work divide; industry; history; heritage and political action.

Image © Samantha Conlon, Bunny Collective

Where to find us and how

Where and how to find us

‘Tea Hive’ Pavilion-  The nearest park entrance is on Demesne Road, where it meets Smalldale Avenue. Satnav postcode M16 8PJ https://goo.gl/maps/cJBaAURvkWk

The 85 bus stops along Alexandra Road South where it crosses Demesne Road. https://goo.gl/maps/7Ddhv3RDWxr Bus 101, 104, 015 and 109 stops by the Shell garage on Princess Parkway https://goo.gl/maps/vJDbJDHRsfF2

Woodland exhibition area – Nearest entrance to the woodland is on Alexandra Road South, opposite Range Road. Satnav postcode M16 8ER. https://goo.gl/maps/PNWvvQBRDJ82

Bus 85 does three stops along the parks boarder on Alexandra Road South, get off at the second of three. Coming from town or Chorlton. https://goo.gl/maps/omg1eNdJs3v

Chorlton Lodge – the Parks Lodge house is located on the corner of Smalldale Avenue and Claremont Road. Satnav postcode M16 7JH https://goo.gl/maps/9it2NDv2MAJ2   

Bus 101,104, 105 and 109 stops on Princess Road, where it meets Claremont Road https://goo.gl/maps/D8ZASZRkndE2

The official address for Alexandra Park is 180 Russell Street, M16 7JL Manchester https://goo.gl/maps/QN38NgZVvcn

 

'High Tea' Menu by Tea Hive

Lil' Fee and Veba's Caribbean-infused High Tea: Menu 

A selection of sandwiches per person, selection including:

2 slices of cake per person from an extensive range

A freshly made fluffy Tea Hive sweet scone - served with homemade jam selection and Cornish clotted cream

Pots of tea/cafeteria of coffee

There is also a bar on site serving alcoholic beverages 

All served and made by the lovely people at Tea Hive Pavilion 

Alexandra Arts High Tea

Bunnies begin International Artist Residency in Manchester’s Alexandra Park

for our savvy social media followers, this will come as no surprise...

...but we are thrilled to formally announce that the Pankhurst in the Park 2016 international artist(s) in residence will be the celebrated Bunny Collective, who will take up residence at Alexandra Park in Manchester, from March – May 2016.


Bunny Collective is comprised of eighteen female artists from Ireland, UK, South Korea and The United Arab Emirates whose practices span photography, design, illustration, installation, fashion, and multi-media. Founded in 2013 in Cork, Ireland, by Samantha Conlon, the group aims to showcase the work of emerging artists with a focus on issues of gender, the body, sexuality and technology. 

© Hazell Caitlin, Bunny Collective

© Hazell Caitlin, Bunny Collective

Pankhurst in the Park's international artist residency will see Bunny Collective create a dynamic project of skill-sharing and mentoring. With an emphasis on ‘sisterhood’, Bunny Collective will interact with local teenage girls, encouraging them to engage with art and the significant feminist history of suffrage in the area around Alexandra Park.

By providing workshops in fields that are either historically male-dominated (such as technology and art) or dismissed as feminine labour or ‘women’s work’, Bunny Collective will aim to provide access to skills that local girls might otherwise be alienated from, and encourage them to foster a deeper connection to their own community.

The residency will culminate in a collaborative exhibition exploring the theme of ‘Sisterhood’ through the lens of the site-specific history of radical feminist action. The exhibition will be installed in Alexandra Park in collaboration with The School of Architecture at Manchester Metropolitan University, and will be accompanied by a series of live performances and public lectures interrogating the life and work of Emmeline Pankhurst within the context of contemporary feminist culture and practice.

Read more about Bunny Collective.

Meet Bunny Collective on Saturday 9 April.

Watch AIR artist 2014, Go! Push Pops.

 

Wonder Women 2016 highlights, Part 2: Mean Girls & Suffrajitsus - Yes, that's us!

Part two of creative tourist's Wonder Women 2016 highlights includes a Mean Girls pop-up in an Ancoats theatre and Suffrajitsus in Alexandra Park.  

With over 50 events taking place in ten days as part of Wonder Women 2016 (3-13 March), we are super chuffed that creativetourist.com has pick our Pankhurst in the Park launch party event, 'Wonder Warrior', as a must see festival highlight! It's less than a week to go now until Legacy Fatale hits the streets of Manchester on International Woman's Day. Check out Creative Tourist's description below, and visit our events page to find out what to expect...

"Alexandra Arts kicks off the Pankhurst in the Park 2016 programme with New York based collective Legacy Fatale, whose newly commissioned piece is a celebration of Mrs Pankhurst’s ‘Suffrajitsu’ body guards. These, if you aren’t familiar, were women trained in the martial art of Bartitsu. This event represents Pankhurst in the Park’s 2016 official launch party with DJ Andrea Trout, at ‘Tea Hive’ Pavilion in Alexandra Park. Suitable for ages 18+, ‘Tea Hive’ Pavilion, Alexandra Park, 12 March, 6pm-12am, free" @ creativetourist.com

Over 50 and live close to Alexandra Park?

Then join us on Sunday 6 March for 'Rebels and Rollers', a free art workshop in the beautifully restored Chorlton Lodge in Alexandra Park, from 12-2pm. Free transport and refreshments will be provided, so do let us know if you would like to come. 

This first workshop will be followed by a free screen printing session on Sunday 3 April and an exhibition on Saturday 7 May.

Find out more here.





Pankhurst in the Park Returns with Warriors and Wonder Women

Pankhurst in the Park 2016 Presents Legacy Fatale
Pop up performances: 8-11 March, 2016; Manchester City Centre locations.
Free, all ages.
Launch event: Saturday 12 March; 'Tea Hive' Pavilion, Alexandra Park, M16 8PJ. 6pm - midnight. Free, 18+.

Alexandra Arts has announced the return of Pankhurst in the Park, a public programme of free, age-friendly events, artist commissions, an international curator in residency and educational programme, taking place in Manchester from March to May, 2016, and in New York between June and July, 2016.

 Curator of Pankhurst in the Park, Lotte Karlsen said:

“Pankhurst in the Park aims to empower the local communities around Alexandra Park through engagement with their local environment and social history, and to promote the wealth of talented female artists in Manchester and beyond by providing a platform for their work. We are thrilled that Arts Council England and Manchester City Council have recognised the value of the work we are doing, and have granted funding for the Spring programme." 

Kicking off the programme with an ‘animal print extravaganza’, performance art collective, Legacy Fatale, will travel from New York to channel the ancient, nomadic, warrior women of the Amazon on the streets of Manchester from 8 to 11 March, during Wonder Women 2016. This will lead up to an interactive 'Wonder Warrior' performance and artist presentation as part of Pankhurst in the Park's official launch party with DJ Andrea Trout, at ‘Tea Hive’ Pavilion in Alexandra Park on 12 March, 2016.

Curated by the Manchester-based, artist-led collective, Alexandra Arts, Pankhurst in the Park is inspired by Alexandra Park’s rich historical connection to the Suffrage Movement, whose iconic leader, Emmeline Pankhurst, was born and bred yards from the Park in the neighbouring Moss Side Estate.

For the Pankhurst in the Park programme, Legacy Fatale's commission will be a "Suffrajitsu" choreography piece inspired by Emmeline Pankhurst's bodyguards - women trained in the martial art of Bartitsu to form the elite secret society known as the “Amazons” - and an animal print extravaganza inspired by the ancient, warrior women of the Amazon.

Coco Dolle, Founding Leader and Curator of Legacy Fatale said:

"Taking cues from the legendary Amazon Warriors, the iconic Wonder Woman, and the fierce Suffragettes, we will integrate social protest, ancient symbology and Bartitsu practices paying homage to feminism's ferocious heritage."

The Spring programme builds on the success of Pankhurst in the Park 2014/15, and will again be accompanied by an integrated educational programme with investing partner St Mary’s CE Primary School in Moss Side. 

Following the launch event, an international artist collective will take up residence and begin an engagement project with local teenage girls, and a series of free events will take place in and around Alexandra Park. This will include free, age-friendly art workshops for older residents of Whalley Range and Moss Side, as well as a heritage cycle ride for all ages as part of Transport for Greater Manchester's Women on Wheels campaign.

Pankhurst in the Park presents Legacy Fatale

Pankhurst in the Park kicks off with a Suffrajitsu Wonder Warrior performance

Alexandra Art is kicking off the 'Pankhurst in the Park' 2016 programme of events by taking part in 'Wonder Women'. For this radical fem fest Alexandra Arts are working with New York based collective LEGACY FATALE, led by artists Coco Dolle and Shawn Bishop.

LEGACY FATALE is a performance choreography group founded in 2008 that celebrates the ancient nomadic warrior women of the Amazon. The collective represents a breed of hybrid historic and pop cultural icons, a cross-pollination of mythical and contemporary female archetypes.

LEGACY FATALE

A Thousand times Thy Light

BYRDCLIFFE CENTER

Woodstock, New York

2015 

This commissioned choreography piece is a fusion of Mrs Pankhurst’s ‘Suffrajitsu’ bodyguards - the elite secret society of “Amazons”, women trained in the martial art of Bartitsu - and an animal print extravaganza that will be popping up across the city (look out for locations via social media) between Tuesday 8th March (International Woman's Day) and Friday 11th March. This micro-residency will lead up to an interactive 'Wonder Warrior' performance and artist presentation as part of PitP's official launch party with DJ Andrea Trout at the 'Tea Hive' Pavilion in Alexandra Park on 12 March, 2016.

“Through a series of intensifying performances, Legacy Fatale will expand upon the lexicon of the female power struggle, bridging myth, history and pop culture. Taking cues from the legendary Amazon Warriors, the iconic Wonder Woman, and the fierce Suffragettes, we will integrate social protest, ancient symbology and Bartitsu practices paying homage to feminisms' ferocious heritage” - Coco Dolle and Shawn Bishop of LEGACY FATALE

Alexandra Arts

Pankhurst in the Park 2016 – presents Legacy Fatale

'Tea Hive' Pavilion, Alexandra Park, M16 8PJ Manchester

Date: 12 March, 2016

Times: 6pm - midnight (18+)

Free

Wonder Women

This event is part of Wonder Women, Manchester’s annual feminist festival. From 3-13 March 2016, 'Wonder Women' celebrates the women’s movement, which was born in our city, through film, art, music, walking tours, gallery takeovers, comedy and debate, asking how far we’ve come in 100 years – and how far we have yet to go.

Pankhurst in the Park

Pankhurst in the Park 2016 is an Arts Council England funded, public programme of free age-friendly events, artist commissions, an international artist in residency and educational programme, taking place in Manchester March – May 2016.

Stay up to date with with the 'Pankhurst in the Park' 2016 programme by following us:

Pankhurst in the Park 2016

Alexandra Arts is thrilled to announce that we have been awarded funds from Grants for the Arts for Pankhurst in the Park! Kicking off in spring 2016. Thank you Arts Council England!

'Pankhurst in the Park' 2016- taking inspiration from Alexandra Park's rich heritage connected to Iconic Suffragette, Emmeline Pankhurst; this years programme includes a International Artist Residency (AiR), artist commissions and age friendly engagement opportunities. Accompanied by an integrated Arts Awards educational program with St Mary's Primary School in Moss Side.

This year we will do things a bit different with the Artist in Residency – it will be done by invitation only. We secured our funding later then expected, so unfortunately we have run out time to do a open call for this years AiR.

We will continue to strengthen our ties with New York, capitalising on the connection made during 'Pankhurst in the Park' 2014. In the pipe line is a series of transatlantic exchanges and an exhibition in New York. Watch this space......

The full park programme, including the Artist in Residency and New York venue will be announced on Friday the 29th of February 2016.

Gifs by Pablo Melhor

Gifs by Pablo Melhor

The Maverick Expo

The Maverick Expo

Alexandra Arts founder Lotte Karlsen will exhibiting at the Maverick Expo

10th - 13th December 2015

Bargehouse
Oxo Tower Wharf
South Bank
London
SE1 9PH

Thursday December 10th - Opening Night 5-10pm

RSVP for Opening Night

Opening Daily 10th - 12th December 11am - 10 pm. December 13th 11am - 5pm

Entry is free, please register to avoid queuing

Register to attend

The Maverick Expo is curated by Joseph Latimore gallery owner, curator, collector, artist and film maker. He has been active in the New York art scene for many years, managing and founding renowned galleries Passerby, Panda and Gallery Sensei. These spaces were galleries and late night hangouts for New York's vibrant community of artists. It is this mix of quality, informality and surprise that The Maverick Expo will introduce to London this December.

The event will feature the artwork of over 30 emerging artists from seven different countries.

Featured artists include, Animamus Art Salon, Aurelie Freoua, Ben Brunnemer, Damon Johnson, Derek Des Islets, Elena Moaty, Eli Elysee, Holly Anne Buck, Lotte Karlsen, Michael Amter, Philippe Nuell, Sarah Anderson, Sylva Dean, Ventiko, Yuliya V Krylova, Zdzislaw V.

In addition, there will be a curated selection of cinema works by up and coming filmmakers and screenings of select short films by Andy Warhol.

The event will include a program of music including local singer songwriter Lisa Marini, performance, and talks.

Every evening there will be a series of DJ driven sundown dance parties in a 2,000 square foot space above the exhibition.

For general information and press enquiries about The Maverick Expo please contact rory@designersblock.org.uk

How to travel to the Maverick Expo

Bargehouse is 5 minutes walk from Blackfriars and Waterloo stations. Accessed from The South Bank through the Oxo Tower.

Tube

Blackfriars, Waterloo, Embankment or Southwark

Bus

1, 4, 26, 59, 68, 76, 139, 168, 171, 172, 176, 188, 243, 341, 521, X68 to Waterloo Bridge, 45, 63, 100 to Blackfriars Bridge, 381 to Stamford Street, RV1 to Upper Ground.