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women’s day
by small works8.03 - 21.03
PV: 8.03 2-4pm
opening times: Fri-Sun / 11am-5pm
‘Like my kith and kin before me, I swagger-staggered in high heels, and I wore a dress and hat to church. But my fabulous tail often fell below my hemline, and my ears twitched until my hat pitched, at the very least, down over both my eyes, and sometimes clear across the room...’
‘...This house is alive, bursting with enthusiasm, with joyous life. These attributes are the main fundaments of the archetypal psyche of Wild Woman; a joyous and wild life force, where houses dance, where inanimates such as mortars fly like birds, where the old woman can make magic, where nothing is what it seems, but for the most part, is far better than it seemed to begin with.’
from ‘Women who run with the wolves’ by Clarissa Pinkola Estés
This exhibition grew out of our desire to celebrate our community—the women we are, the women we know, and the women we’ve yet to meet. There’s no need to remind anyone how rough the world feels right now, which is exactly why coming together matters. The artwork for this exhibition was selected through a free open call, selected by Small Works co-directors and artists Sylwia Narbutt and Monica Perez Vega and guest judge, Rose Davey, artist and director of Corner7 project space.
OUTHOUSE 2ND BDAY
OUTHOUSE MAGAZINE
ISSUE 3 LAUNCH
21.03
4:30-6:30pm
reading starting from 5pm
at peckham pelican (not the gallery!)
alhaja
lucía scarsellettacurated by isabel reed
27.03 -12.04
PV: 26.03 / 6-9pm
opening times: Fri-Sun / 12pm-5pm
In Alhaja, artist Lucía Scarselletta conducts an investigation into traditional Gaucho braiding and the manual leatherworking practices of the gaucho cowboy. This braiding technique was traditionally made by men to produce functional ranching equipment, formed from a mesh of Indigenous craft, Hispanic, North African, and Arab cultural lineages, and typifies layered histories of migration, exchange and cultural hybridisation.
As settler expansion intensified across the Río de la Plata region, braiders honed a personalised manual language in response to the suppression of traditional craft during the colonial period. Over time, these techniques evolved in acts of persistence and resistance, adapting new technologies while refusing erasure, generating contemporary forms.
Against this backdrop, the exhibition reconsiders gaucho braiding as a manual technology capable of articulating new material ethics. Scarsellettas' work addresses the violent infrastructures of ecological extraction within the land of the Gaucho and the modern agro-export model of Argentina, rereading Gaucho braiding and the leather industry through a post-humanist lens encompassing systems of labour, land, animal bodies, and cap