Opening 9th September 2017 16H - 20H30
Exhibition 11th - 16th September by Appointment Only
I remember, years ago, a very young man who suddenly took it into his head to refuse to say 'Good morning' to everyone in the customary way. He said that it was meaningless because everyone knew that it wasn't a good morning at all because they were all at work, and that it was hypocrisy, too, to wish people a good morning when you knew you'd be sneering and carping at them behind their backs before the teabreak had started. Of course he was technically right - but he nearly had a nervous breakdown, and finished up on his knees begging people to say good morning to him. He had to leave, and I never did hear what became of him.
Extract from Smallcreep's Day, Peter Currell Brown, Victor Gollancz Ltd 1965
A mop, casual in a bright pink bucket, is replete with a solid bronze strainer. Lovely crafted and wax polished. Used nonetheless. Pit fired bookends hold books on a simple shelf, and a candle burns. Dogs. There is something we can’t quite put our finger on? Dogs? Two steel welded frames hold unfired clay structures reminiscent of factory chimneys, covered in a rust coloured salt and red clay mixture, crystallising before our eyes. Dogs. Perhaps the frames also remind us of dogs? Two hanging boots made from rawhide, cooked in beef stew, elicit a kind of game. Another dog is dreaming, face to face with the biggest chewy toy he has ever seen. Passing through the chains a tablet awaits us. Salt crystals peeping out through the plaster, and formed like the back of an old comfortable chair. It begs the question, what is behind the fridge? Probably, dog biscuits.
Laurence Sturla (b.1992) is a British artist based in Vienna. BEHIND THE FRIDGE is his first solo show and the book accompanying the exhibition is the first book of his work. The publication is edited in 25 signed and numbered copies, and will launch at the opening. [publication]
Performance, 19th May 2017 18H - 20H30
Video Projection 20th May - 26th May by Appointment Only
"WHAT'S WRONG WITH ASSHOLES, BABY? YOU'VE GOT AN ASSHOLE, I'VE GOT AN ASSHOLE! YOU GO TO THE STORE AND BUY A PORTERHOUSE STEAK, THAT HAD AN ASSHOLE! ASSHOLES COVER THE EARTH!" Post Office, Charles Bukowski 1971
Goswell Road presents a performance work by Charlie Le Mindu featuring Dustin Muchuvitz. In an immersive site-specific installation, the spectator becomes the performer, the performer becomes the spectator, and back again.
YOUR ASSHOLE, MY ASSHOLE, THE WORLD IS FULL OF BILLIONS OF ASSHOLES.
Alongside the performance we have produced a 60 page animated flipbook, DUSTIN TO DUST, featuring Dustin Muchuvitz shot by photographer Jérôme Lobato. The book is edited in 25 numbered copies, and each first edition comes with a postcard signed by the artist. The book will launch at the performance, and is also available online: [publication]
Opening 25th March 2017 16H - 20.30H
Exhibition 25th March - 3rd April 2017
La chair de poule
Les instants chavirés
La petite porte
Le mouton blanc
Le château d'eau
Life is in every way more interesting than art, Raphaël Fanelli, 2017
A sixty-page photo book, published by Goswell Road, with the works photographed by the artist, accompanies CADAVERE. The book will launch at the opening, and is also available online [ publication ]
Raphaël Fanelli is a French artist living in Paris. CADAVERE is Raphaël Fanelli’s first solo show and the book accompanying the exhibition is his first book.
Opening 28th January 2017 16H - 20.30H
Exhibition 28th January - 6th February 2017
And because I am happy and dance and sing,
They think they have done me no injury. The Chimney Sweeper, William Blake 1795
INTELLECT We are like a pregnant woman in labour. We are inspired. We want to realize our fantasies in our own ways. We are possessed. The desire is true.
TRANSITION We turn our back on our problems. Metaphorical transition. We see a wall. We are able to go beyond it.
FEELINGS We fully embrace our own sincerity through self-expression. We have heart. We are ready to take risks. We find validation in ourselves.
CONQUEST / PURPOSE We want to create our own language. Weakness or strength, narcissism can elevate us if we choose. We know life is hard but we are able to face the emptiness and the fullness it holds. We are comfortable with our own femininity. We are ready to play.
NEW ERA Our position is clean. We are gamesters. Our guts are out on show. We don’t follow. Immediate pleasure without destruction. It is a new chapter.
Goswell Road publishes PAGE OF PENTACLES to coincide with the exhibition, a sixty-page book, featuring all of the drawings on show. [ publication ]
PAGE OF PENTACLES is Thomas Cap de Ville’s first solo exhibition, and the accompanying publication is his first book.
Opening 26th November 2016 16H - 20.30H
Exhibition 26th November - 4th December 2016
We have to understand that with our desires, through our desires, go new forms of relationships, new forms of love, new forms of creation. Michel Foucault, August 1984.
Weldé’s appropriation of digital performance culture, and his re-imagining of the selfie, the primary visual form to the new global majority’s conversation with itself, is the backbone of his exhibition at Goswell Road, FUCK THE SYSTEM.
We present three distinct bodies of work; the selfie informed FUCK THE SYSTEM series, which, though drawing on the long history of the self-portrait, is faceless. The second body of work is a selection of images from the artist’s own Instagram feed printed in high gloss square format slightly larger than the biggest current iPhone screen, and for the most part candid, though abiding by Instagram’s strict image rules. The third body of work is the oldest on show, an edited selection of disposable photographs, taken over the last four years, with a distinctly post-millennial lack of filter. It shows a tender side to the artist and his friend circle, and the purest form of trust.
Goswell Road publishes FUCK THE SYSTEM to coincide with the exhibition, a sixty-page photo book. The first edition of the photobook comes packaged with an Instagram photo, and is edited in 50 numbered copies.
[ publication ]