taking part in this wild show off Brick Lane in london - we made a montage of Brown giving away british money to bankers - we called it Fucking Waste of Money

 

Signs of Revolt–Creative Resistance and Social Movements since Seattle



EXHIBITION AND TALKS

Space Hijackers/Ultimate Holding Company/Reel News/kennardphillipps/ Cactus Network/Jonathan Barnbrook/Pedro Inhoue/Noel Douglas/David Gentlemen/Guy Smallman/Jody Boehnart/ Jess Hurd/Notes from Nowehere/Movement of the Imagination/Rebel Clown Army/ Indymedia London/Laboratory of Insurrectionary Imagination/Creative Resistance Research Network/ Turbulence/War Boutique/Josh On



Opening FRIDAY 13 NOVEMBER 6pm then SATURDAY 14–SUNDAY 22 NOVEMBER 


Opening Times: Weekends 10-10pm, Weekdays 12–9pm

Shop 14


The Old Truman Brewery

 91 Brick Lane 


London


E1 6QL



10 years ago, in November 1999 an alliance of direct action activists, environmentalists and trade unionists shut down the meeting of the World Trade Organisation in Seattle, stopping the next trade round of Capitalist Globalisation. In the process they sparked a Movement of Movements right across the globe its slogan became ‘Another World is Possible’.

This November exactly 10 years from that momentous demonstration, and with most of the predictions of the movements rapidly coming true what with the crisis of the economy, a permanent state of war and the collapse of our eco-system wrecking lives across the planet, the rich and powerful meet again in Copenhagen to discuss the next Climate treaty after Kyoto, yet again activists are preparing to challenge the idea that the Market can solve the problems of the world, and take another step toward that possible world after Capitalism.

Signs of Revolt is an exhibition that weaves together the story of the past decades social movements, drawing out the influences and connections between and across the movements against Capitalism, War and Climate Change. Using archive material and documentary photography and video from movement photographers and filmmakers. It reveals the story of how we got from Seattle to Copenhagen.

Interspersed in this narrative are works by artist and designer activists and collectives, produced during, within and for the movements, this is the first time such a collection has been brought together in the UK and it will be a chance to reflect upon and celebrate the new creative impulses that the movements spawned and the possibilties for developing the creative capacity of future movements, these issues will also be discussed in greater depth during a series of talks during the exhibition. (timetable here).

As Capitalism threatens our very existence, Signs of Revolt defiantly maps out possible routes to a future filled with hope…


signsofrevolt.net

new prints for the Cafe of Equivalent$

G20 New Number of the Beast, disused shop, Carnaby Street, London, UK, 2009.

To mark the G20 arrival in London and celebrate the protesters in the City we’ve made a trashed installation down in shopping central

Happy Christmas From Santa's Ghetto Bethlehem 2007

V22 Gallery, Ashwin Street, London, UK

THIS IS A 3D QUICKTIME IMAGE OF THE 4 ROOMS OF THE GALLERY AT ASHWIN STREET

TO VIEW OUR WORK IN ALL 4 SPACES CLICK ON THE PICTURE AND DRAG THE MOUSE TO MOVE AROUND THE SPACE. CLICK WHEN AN ARROW APPEARS AND YOU’LL MOVE THROUGH TO THE NEXT ROOM. ZOOM IN OR OUT FOR BETTER VIEW

Obscenity at V22 Ashwin Street in 2006

print on apartheid wall around/ in bethlehem
palestine2007

months after we left

and now, 2009..............

The series of prints in ‘Award’ arose out of our need to find a way to express our disgust with the war against Iraq and attempt to revoke our impotence in the face of the raging terrorism committed in the name of democracy. We wanted to use digital technology to make visceral images that used everyday stuff as directly as we could in order to respond to the war’s full horror with thousands of Iraqis being killed.

We had been on the anti-war demos . Now the flat bed scanner became our stage on which we could let rip with our feelings of outrage. We placed medals and bandages, threw dust and blood on to the scanner. We were told the war was over, as the Occupation continued with more and more killing and torture we covered the scanner with the grit and grime of the street outside our studio, asking how to represent this filthy war from a street in East London .

As the Occupation became filthier our prints became denser and denser . The scanner became like an etching plate and through using the newest technology our practice became strangely more and more connected to printmakers of the past . We looked at Rembrandt and Goya etchings, at how the etching , aquatint and drypoint layers on their metal plates became our dust and fabric , set layer upon layer on the computer. We looked at how their etchings developed from state to state becoming darker, denser and more concentrated. Some of our prints went through twenty states becoming more and more imbued with physical matter. We gritted the scanner ; bled on it ; threw torn up rags , flags and ribbons on it ;poured oil, then stamped on the stuff, burnt it and spat on the lot. On some of the images we used photographs taken with great bravery by documentary photographers in Iraq. Their commitment to keeping us informed often showed us the extreme degradation that this war has brought upon the Iraqi people.

It is a continuing process as we search for images that can represent our fury and the fury of the millions who oppose this action . Also we are attempting to make images that can represent the people of Iraq , who have fast become discardable pawns of Western leaders playing a deadly game called profit.