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half closed eye
by SADESIX31.07 - 16.08
PV: 30.07 / 6-9pm
An intimate group exhibition bringing together nine contemporary artists exploring moments of transition.The in-between moments we salvage, fall into, return to, run away from, run towards, and ultimately surrender to.Through the body, we move between awareness, rest, reflection and transformation.
𝘏𝘢𝘭𝘧 𝘊𝘭𝘰𝘴𝘦𝘥 𝘌𝘺𝘦 considers how these in-between moments shape our experiences, desires and ways of understanding the world through small-scale works.
SADESIX
Named after our mother, Sade, we are a collective of six siblings celebrating her creative legacy through our shared vision and diverse practices across London and Nigeria.
Our practice is rooted in familial bonds and the creative synergies between us. We value collaboration, creative exchange and community building, extending our family ethos into the wider communities we work with. Through curating exhibitions, events and workshops, we champion inclusive artistic dialogue, experimentation and shared learning.
Participating artists:
Akilah Chambers, Barbara Majek, Heera Gul, Ikesha Avo, Moon Hussain, Natalie Charles, Sophia Kaur Hambleton-Grey, Tanya Wilson, Tomilola Olumide
Poster Artwork: Barbara Majek @Barbara.majek
Ọjọ́ Ọjà, Ọjọ́ Ajé (Market Day, the Day of Wealth — Monday), 202
BOOKS x OUTHOUSE
to celebrate BOOKS pop-up at the outhouse shop, we would like to invite you to a series of events organise by BOOKS at outhouse:
Friday 14th August: 6.30
BOOKS Presents: READINGS Actually feat. Ron Seal, Dorothy Spencer & Matthias Connor
Tuesday 25th August 7.00
BOOKS Presents: BOOK LAUNCH
Project sitnaltA: Afterlives
Tuesday 8th September 6.30
BOOKS Presents: BOOK LAUNCH
FONT PRO: THE IRREDUCIBLE PRACTICE OF ROBERT SCHENK
all the rage
by sukhy hullait18 - 31.08
All The Rage is an ongoing photographic project by Sukhy Hullait, made over more than 20 years in Peckham and East Dulwich, South London. Across two decades, Sukhy has returned to the streets, paying attention to the people and places that might otherwise disappear from view. It is a love letter to a community and to an area shaped by continual change.
drowned annihilation
by jamie lee and emily stapleton-jefferis4-20.09
opening night: 3.09 / 6-9pm
outhouse gallery is pleased to present a new interactive art installation by Jamie Lee and Emily Stapleton-Jefferis. This exhibition marks their second together as collaborators following We are All Lichens Now and expands their research into interactivity, sound design and ceramics to form new works that treat London’s deep ecological past as signal of what is to come. In addition to site-specific experimentation this exhibition draws on science fiction tropes from, notably The Drowned World by J.G. Ballard and Annihilation by Jeff VanderMeer.
Drowned Annihilation like Lichen is the combination of two things in reciprocity, sharing resources and site. Lichens embody a queer ecology, being part algae and part fungi they defy traditional scientific categorisation; having shifted from individual, to dyad, to ecosystem. This new exhibition attempts to move the collaboration on, propelled into the frantic future, combining the spheres of technology and ecology to create a more entangled and nuanced relationship between their work and practices in an intimate setting.
Emily’s artworks sculpted from clay, itself the softened residue of weathered rock, show different forms of Lichen on a macro scale. For Drowned Annihilation however, they take on a more primordial shapelessness, appearing as an unintelligible tangle of worms or panel of listening ears. Jamie’s sound piece fills the small, narrow space and seems to bring the writhing mass of worms to life, featuring field recordings taken from the earth of the surrounding park, bringing into the gallery the sounds of organisms that lurk beneath our feet. Also within the show London clay covers the floor, forcing the audience to tread carefully around the central open plinth that bubbles and spills intermittently a viscous, murky liquid.
Following the hottest summer in living memory, where London’s real climate creeps ever closer to that of Ballard’s fictional London, Drowned Annihilation represents a turning backwards of ecological clocks, where time beats like a drum.