SHOW POSTPONED: I J Brown: Psycetecture

Due to unforeseen circumstances, Foundation & Trust Gallery is moving to a new premises on Chrisp Street and the programme has therefore been postponed for a few weeks.

I J Brown: Psycetecture exhibition and private view due this week beginning Tuesday 13th August 2014 and all future shows have been postponed until further notice. We apologise for any inconvenience caused and will keep in touch with further details.

Although unexpected, we are all really looking forward to opening a new and bigger space which will create more exciting opportunities and allow us to further develop the programme here at F&T Gallery.

Foundation & Trust, founded in 2011 by Paul Macgee, Helen Turner and Brendan Michal Heshka, is a fluid, rolling Artist’s Collective in which artists and professionals from multiple disciplines work together to produce events, performances, sound and text based works.

Their latest collective project sees the opening of a new gallery located in the Balfron Tower. Designed by Ernő Goldfinger in 1963 as part of the high-rise answer to the post- war housing crisis, the building is now Grade II listed and houses the collective’s studio and gallery.

As with all Foundation & Trust projects the gallery is a collaboration between the members of the collective, who have various areas of expertise. Its 26 week programme reflects the collective’s commitment to continuing to develop dialogues between different creative practitioners, theorists, and academics in a variety of fields.

Artists exhibiting include:
Hazel Dowling
Alice Evans
Ben Fitton
Briony Anderson
Anna Miele
Helen Turner
Ian Brown
Tim Brennan
Foundation & Trust
HellFun (Josefin Arnell & Max Goran)
Claire Baily
Paul Kindersley
Roddy Buchanan
Sara Barker
Harriet Foyster
Riccardo Iacono
Marianne Eigenheer

Foundation & Trust tailored this programme in order to collaborate with creative practitioners with whom they have a strong affinity. The series of 26 one-week long shows will explore ideas of collaboration, friendship, multi-disciplinary discourses and hospitality, elements that are at the core of all Foundation & Trust projects.

The programme sees exhibitions by a wide variety of artists, ranging from students who have taken part in F&T workshops to well established, international and prize winning artists, allowing the collective - and gallery - to be liberated from the typical constraints of contemporary gallery trends, traditions and expectations.

For further press information please contact Harriet Foyster (Gallery Manager)
Tel: 020 7538 3196
+44 7983967116

Free Admission | Viewings are by appointment only

Open Tuesday - Saturday 10am-4pm
Closed Sundays and Mondays

Foundation & Trust Gallery
2 Balfron Tower
St Leonards Road
London E14 0QT
Tel: +44 (0)20 7538 3196

All Saints (DLR) 0.4 miles
Langdon Park (DLR) 0.3 miles
Blackwall (DLR) 0.6 miles

309 - Glenkerry House 0.1 miles

115, N15, N550, N551 - Blackwall Tunnel stop D 0.2 miles

108 - Andrew Street stop Q, 0.2 miles, Blackwall Tunnel/East India Dock Road stop L, 0.3 miles, Abbott Road stop W, 0.6 miles

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We are sorry to announce that the Freee show has been postponed to later this year. Updates will be announced as soon as possible. We are really sorry for the disappointment and apologise for any inconvenience. F&T

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The Freee art collective (Dave Beech, Andy Hewitt and Mel Jordan) will exhibit two billboard posters pasted directly on the gallery walls. One is a photograph of a group of people stood at the site of the carpet shop burnt down during the Tottenham riot holding silk flowers that spell out the words ‘Protest is Beautiful’. The other repeats an image of the artists stood in Gezi Park, Istanbul, at the site of the confrontations between protestors and police, holding postcards of the Tottenham photograph. Alongside these two related works, the gallery will provide a service for downloading and/or printing out the full collection of manifestos written by Freee since 2007.

Hazel Dowling: Power Play

Tuesday 24 June 2014 - Saturday 28 June 2014

PV Thursday 26 June 2014

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{image 2 caption = Hazel Dowling, Language Games, 2013, film still}

Since graduating in 2011 Hazel Dowling has been developing a set of concerns relating to practices of performance and the formation of subjectivity. The concept of ideology operating at the point of institutional initiation-as proposed in the writing of Louis Althusser has provided a rich source for Dowling's engagement with the imaginary relationships subjects form together; a continuing concern in Dowling's work and ongoing engagement with various forms of ‘social movement’, from the culture of folk song and dance, to the evolution of syncopated rhythm from slave plantation dance competitions.

Dowling's research has often materialised through the process of re-creating events, documents and images found in archives. These have been the starting point for initiating situations where divergent records of the past can be brought together; a process that often happens through asking participant to rehearse, interpret and perform material such as dance manuals, written accounts, engravings and photographs; in order to reveal the political charge present in these given movements and materials.

Through performances, films and sets Dowling seeks to investigate the nature of theatre through proposing different articulation of its constitutive elements; such as costume, gesture voice and set, considering theatre as both an architectural space and a collective activity. Dowling approaches each new project as a process of collaboration, deliberately seeking to work against presumed divisions or fields of specialisation.

The work Dowling has developed for ‘Power Play’ presents a a sequence of scenario's that relate to the performance of power relations within social groups, the ritualised activity of criminal cults and anthropological studies into the idea of ‘Deep Play’. Dowling has considered these ideas in relation to the specific instance of Rainer Werner Fassbinder's play ‘Pre- Paradise Sorry Now’, which deals with the real events of Myra Hindley and Ian Brady-as subjects who constructed and lived through a fantasy.

Alice Evans: Hiraeth

Tuesday 1 July 2014 - Saturday 5 July 2014

PV Thursday 3 July 2014

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{image 9 caption = Alice Evans, Hiraeth, 2013, still from film, credit to 'STUDIOCANAL Films Ltd' for the still from Last Days of Dolwyn in the middle of the frame}

{image 12 caption = Alice Evans, How We Were, 2014, still from film}

Working within the field of photography and film a central interest in the work of Alice Evans is the revealing of the artifice of artwork’s construction, whether this is photography or video. Through a manipulation of surface an understanding of the constructions of our own perceptions of reality are revealed. This exhibition explores multiple points of convergence through physical interventions, digital manipulations and staged performances.

Alice Evans’ video pieces seek to expose the mechanisms of the filmmaking and photographic processes by leaving elements of the construction of the image within the frame. The inspiration for this technique is the filmic reveal shot. The films have fragmented narratives yet don’t offer up a fully-fledged story. The high production values suggest traditional narrative film, yet deliberately clumsy elements challenge this convention. The two films on display in this exhibition are ‘Call of the Klondike’ based on a western set during the 1849 gold rush, a film previously shown in Switzerland, and ‘Rusalka’ an operatic pub fight. Alice’s most recent photographic works are based on the Rorschach test, a psychological test used from the 1950’s onwards to detect an unconventional mind – this is the only test the artist has ever passed.

Ben Fitton: Various Weak Singularities and Fowl

Thursday 10 July 2014 - Saturday 12 July 2014

PV Thursday 10 July 2014

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Ben Fitton (born 1972, Sheffield) is a London-based artist whose work employs performative interventions, text, and large-scale temporary forms of public address in order to dramatise political aspects of presentation and receivership. Using sometimes brutally simple means, his works burden the base materials and processes of architectural division and transformation with ungainly representational or rhetorical tasks, coercing spectators into arduous games of retrieval. He has shown extensively in the UK and internationally, including solo exhibitions at Site Gallery, Sheffield; Floating I.P., Manchester; The Economist Plaza, Redux and IBID.Projects, London. He has recently collaborated with Dylan Shipton on a series of temporary structures in the public realm, including GUNSGOOFFTHEMSELVES for Töne 2014, Chatham; Monument to the Excluded Middle for HOUSE2013, Brighton; and The History Still to be Made Shows Itself (2012) and The Overbearing Mother (2011) for outdoor sites in St. Leonard's-on-Sea.

For this exhibition, the walls of the gallery will have been freshly re-plastered. As the surface of each wall dries out, variations in the thickness of the plaster will cause some areas to dry faster than others, gradually and imperfectly revealing a series of images and texts as shifting areas of lingering moisture. These spectres will attempt to mimic their own transience by recounting the eventual passing of specific moments of threat or rupture: situations which will have appeared insurmountable or catastrophic in the moment, but whose consequences will most likely recede or fail to fully materialise. Over the course of the exhibition, these areas of moisture will themselves dry out, leaving only the faintest trace of their existence in the smooth plaster surface, which will then be painted over in readiness for the next exhibition.

Matt Moser-Clark: Letters to Maurice

Tuesday 22 July 2014 - Saturday 26 July 2014

PV Thursday 24 July 2014

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Download Letters to Maurice

Matt Moser-Clark is a sculptor born in Oxford and currently based in London. Moser-Clark has exhibited across the UK including solo projects at Modern Art Oxford and Leighton House Museum, as well as showing internationally in Finland and Japan. Aside from his own artistic practice Moser-Clark founded and runs artisjustaword, a charity with its aims focused around securing a creative future where everyone can have a stake within the arts. Whilst supporting emerging and established artists is key, artisjustaword’s aim is to include our community by facilitating series of bespoke projects. For example these projects include talks, debates, master classes, exhibitions, film screenings and performances. Moser-Clark studied at Central St Martin’s school of art and recently completed an MA in Sculpture at the Royal College of Art.

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Anna Miele: Pleasant Remembrances

Tuesday 29 July 2014 - Saturday 02 August 2014

PV Thursday 31 July 2014

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Helen Turner

Tuesday 05 August 2014 - Saturday 09 August 2014

PV Thursday 07 August 2014

Helen Turner works both independently and collectively, which are both research and production based. After studying Fine Art at Chelsea College of Art, London and The Cooper Union, New York Helen completed an MA in Psychosocial Studies under tutor Slavoj Žižek at Birkbeck College London. With an international exhibition history Turner’s independent and collective practice is concerned with interrogating static institutional structures or frameworks and colliding different expertise together, such as art and science, in order to critique, expose and develop these very structures.

Helen Turner is also a founding member of Foundation & Trust.