Join us to celebrate Canal’s fresh releases in fiction and poetry, and the latest edition of Canal magazine, with readings and performances by Alice Channer, Gizem Okulu, Hannah Regel, Rachel Pimm, Madeleine Stack, Rebecca Close and Fer Boyd.
A site-specific screening of the concert-film, ‘Regis – Let The Night Return’ (2021) by Vasileios Trigkas, accompanied by a temporary photography and ephemera display.
Self Examination presents a screening of three short films and a talk exploring representation of women’s health on screen
Light Source presents Opti-Mystic Dystopia, a talk by Bones Tan Jones
17th - 24th September
We're delighted to be hosting five screenings as part of Queer East Film Festival 2021. Between the 17th and 24th of September, a range of documentaries, director Q&As, feature films, shorts, and artists' moving image works will be screened in our gallery space. See below for all five listings.
What better way to fill up your Christmas stockings than by visiting our Wyrd Winter Fayre where independent artists and makers have gathered to present some of their most wonderful creations! Be ready on 5th & 6th of December !
An exhibition celebrating the launch of Lesley magazine - a new free print publication with artwork, photography, and archival material from across London’s LGBTQIA+ womxn, trans and non- binary community.
Strange physics, organic forms and spiritual surrealism feature in an exhibition of new holographic sculptures and film by New York City based artist & filmmaker, Eric Leiser.
Terminal O is a clinically tender compost pile of analysis and desire. It is also a group exhibition of 18 Contemporary Art Practice students from the Royal College of Art.
new painting, sculpture and video by Alex McNamee, Ellie Pratt, Sophie Rogers & Josh Way.
The Horse Hospital invites you to view the joyful, absurdist work of Kosovar artist Jakup Ferri, with an exhibition of paintings, tapestries, textiles and video, seen for the first time in the UK.
a new work by outsider artist George Tobias.
With his current assemblage the artist has found 270 worker’s saws, both ancient and modern, each with its own impregnated patina of blood, sweat and sawdust, and painstakingly fused them together in pairs, rendering their original use inept. This re-appropriation challenges the spectator to re-assess their perceived view of these common hardware tools which now take on aspects of erotic pairing and rough spooning, and imagine them instead as sacred sculptural artefacts which once adorned the walls of a grand cathedral or masonic hall.
