Svg patterns

Social Resource Project for Tennis Clubs is a solo exhibition by artist Stephen Willats.

A pioneer of international conceptual art, Stephen Willats has spent six decades concentrating on ideas that today are ever-present in contemporary art: communication, social engagement, active spectatorship, and self-organisation.

During the early 1970s, while living in Nottingham and teaching at the Nottingham College of Art and Design (now Nottingham Trent University), Willats began several interactive projects exploring the relationship between artist and audience, and people in private and public space. Social Resource Project for Tennis Clubs (1971/2) saw him work with four tennis clubs in the city – all socially, economically and physical separate – with the idea of uniting different social groups within a shared process.

This exhibition features artwork and archive materials from Social Resource Project for Tennis Clubs, on loan to Bonington Gallery from Nottingham City Museums & Galleries. Accompanying it is a new film and photographic series created during the artist’s recent visits to the original tennis clubs, and work produced during Willats’ early years in Nottingham that proved influential to his subsequent career.

A restaging of the Tennis Tournament that happened at the conclusion of the original project will take place on the launch day of this exhibition. Stephen will work with members of The Park Tennis Club to re-model the game of tennis based on their reasons for joining the club – using this site and experience as a simulation of a transformed society.

Stephen Willats has exhibited internationally and his work can be found in public collections held by Tate, Arts Council England and The Victoria and Albert Museum.


Bonington Gallery is very pleased to present QAI/GB-NGM by Warsaw (Poland) based artist Karol Radziszewski. This exhibition will present archival materials from Radziszewski’s Queer Archives Institute (QAI) that focusses on Central and Eastern European queer history and culture.

Consistent with previous QAI presentations, this exhibition will connect to its locality by featuring materials related to Nottingham’s own queer history and culture. This site specificity is reflected in the title of the exhibition that utilises Nottingham’s International Organization for Standardization (ISO) location code ‘GB–NGM’.

Alongside archival materials from the QAI, the exhibition will feature artworks and ongoing bodies of work by Radziszewski.

The QAI

Established by Radziszewski in November 2015, the QAI is a non-profit artist-run organization dedicated to the research, collection, digitalisation, presentation, exhibition, analysis and artistic interpretation of queer archives, with a special focus on the countries of the former Eastern Bloc. The QAI is a long-term project open to transnational collaboration with artists, activists and academic researchers. The Institute carries out a variety of activities and projects – from exhibitions, publications, lectures and installations to performances.

Artist Biography

Karol Radziszewski (b. 1980) lives and works in Warsaw (Poland), where he received his MFA from the Academy of Fine Arts in 2004. He works with film, photography, installations and creates interdisciplinary projects. His archive-based methodology crosses multiple cultural, historical, religious, social and gender references. Since 2005 he has been the publisher and editor-in-chief of DIK Fagazine. He is the founder of the Queer Archives Institute (2015). His work has been presented in institutions such as the Museum of Modern Art and Zacheta National Gallery of Art, Warsaw; Whitechapel Gallery, London; Kunsthalle Wien, Vienna; New Museum, New York; VideoBrasil, São Paulo; TOP Museum, Tokyo; Kunsthaus Graz, Austria; Cobra Museum, Amsterdam; Wroclaw Contemporary Museum, Museum of Contemporary Art in Krakow and Muzeum Sztuki in Lodz. He has participated in several international biennales including PERFORMA 13, New York; 7th Göteborg Biennial; 4th Prague Biennial; 15th WRO Media Art Biennale and recently The Baltic Triennial 14.

In 2021, The Power of Secrets dedicated to Radziszewski’s archival practice was published by Sternberg Press.

Header image credit: Karol Radziszewski, Afterimages, film still, 2018.

Exhibition Resources:

The exhibition has been curated by Tom Godfrey, Director of Bonington Gallery.
Supported by Joshua Lockwood-Moran, Tamsin Greaves (NTU Placement) and Rachael Mackerness (NTU Placement).
Technicians: Harry Freestone, James E Smith, Claire Davies, Emily Stollery.
Thanks to The Sparrows Nest for the generous support, advice and loan of the publications.

Location: Lecture Theatre 2, Newton Building, NTU City Campus

Nottingham Trent University is delighted to invite Dick Jewell to speak as part of the 2019 Fine Art Live Lecture Series.

Working across film, photography and photo-collage, Jewell has inhabited both gallery and commercial contexts, exhibiting his work internationally at institutions including the Stedelijk Museum (Amsterdam) and Serpentine Gallery (London), as well as producing music videos and promos for musicians including Neneh Cherry and Massive Attack

Growing up in Croydon Jewell spent much of his youth “lugging around an Olympus OM-1 Motor Drive, taking portraits of strangers at any opportunity”  going on to publishing his first book Found Photos in 1978, the same year he completed his MA in Printmaking at the Royal College of Art.

In anticipation of Jewell’s most significant solo show Now & Then (opening January), take a read of this article on his career as an artist/filmmmaker by Dazed & Confused.

Along with various video and photo works, Dick Jewell’s solo exhibition Now & Then also includes a chance to get involved with one of the art works.

Take a selfie in front of Dick’s large-scale photo collage War & Peace and upload it to instagram using the hashtag #djwarandpeace for the chance to win a signed copy of Four Thousand Threads

The winning entry will be selected by Dick Jewell.

The competition will run for the duration of the exhibition – so you have until Saturday 23 February to visit the exhibition and get your selfies uploaded!

UPDATE: The winning entry came from Photography Student, Alice Rodgers — Dick particularly liked the angle of this selfie, which you’d expect from a BA (Hons) Photography student at NTU’s School of Art & Design…

Thanks again to everyone who entered! Check out all of the #DJWarandPeace selfies here.

“In 1978, prompted by my interest in people’s attitude to photography, from beyond the primitive notion of your soul being stolen when you have your photograph taken, to whatever was the contemporary notion, I mailed an image of myself to the 84 people who at that time shared my surname in the London Phone Directory, hoping that having this in common would serve as an introduction. I asked for a photograph in return, with their name on the back so that I would know who was responding, and a very large percentage complied, but most were also accompanied by incidental information.  There were exceptions; a letter saying that there were no photographs in existence of Doris Jewell, an octogenarian living in Barnes, but I was welcome to go and take one.

This outcome led to me producing ‘London Jewells’, a poster size, four-colour lithographic letter containing a montage of all the photographs received and a précis of the written response. I mailed this poster out to my original list, but omitting the names that the Royal Mail had returned to sender as ‘’unknown at this address’’. This secondary mail out solicited a mixed response, photographs and “wish I’d taken your original letter more seriously” from some of those who had not initially responded and “thanks” from those that had.

I then repeated the process but this time with a similar number of Jewells in the USA, utilising the Los Angeles and Miami phone directories. The response was markedly different, not in volume but by the amount of lithographically produced photographs in the form of Christmas and model agency cards etc., and also far more information on lineage with family trees going back to Bishop Jewell of Salisbury in the 16th Century. 

I then framed and exhibited all this material at the 1983 Summer Show at the Serpentine Gallery in London.

In 2009 a publisher enquired of me if I had any plans for another book. I was considering returning to the ‘Jewell’ concept but this time making contact via the internet rather than the postal service; with the development of the world wide web and digital photography, our personal attitudes to portraiture had moved on, the days of Doris Jewell living a long life without a single image of her existence seemed a thing of the past. However, instead I initially ran a Google search of ‘Jewell’ for images, this subsequently also led me to video and audio material baring my surname. The items collated in alphabetical order became Jewell, a Film By Dick Jewell April-August 2010 (133mins), rather than a book it imitates the aspect of multitasking on a computer screen.

My iPhone flower portraits alongside the vitrines, seemed fitting, not only as a traditional subject for wallpaper but in our focus on genealogy when considering the juxtaposition of similar sized subject matter.”

Dick Jewell, 2019.

Now & Then will be Dick Jewell’s most significant solo exhibition in recent years, bringing together a wide range of works produced over a 30-year period. Working across film, photography and photo-collage, Jewell has inhabited both gallery and commercial contexts, exhibiting his work internationally at institutions including the Stedelijk Museum (Amsterdam) and Serpentine Gallery (London). He has also produced music videos and promos for musicians including Neneh Cherry and Massive Attack.

As the title suggests, Now & Then chronicles progression: both from a technological perspective through the shifting media across Jewell’s work, and also in regards to people, as demonstrated by Jewell re-visiting his seminal 1989 film Headcases (shot on Super 8) whereby he has repeated the same set of questions to the same subjects 30 years on.

Other key works that will be on display include The Box, a huge bank of 200 framed photographs that Jewell took from four TVs over seven days in 1980; Four Thousand Threads, which presents a ‘Chinese Whispers’ version of a Google image search; and an audience participatory work entitled War & Peace, in which visitors are encouraged to take selfies against a backdrop and disseminate them online.

In a world bombarding us with millions of images, Now & Then is just presenting a few thousand.

Exhibition resources:
Associated Events

Fine Art Live Lecture Present: Dick Jewell
Thursday 31 January, 5.15 pm – 7.30 pm
Lecture Theatre 2, Newton building, NTU City Campus

Bonington Film Night #9: Dick Jewell Kinky Gerlinky
Thursday 20 February, 7 pm – 8.30 pm
Bonington Gallery, Bonington building, NTU City Campus

Bonington Vitrines #10: Jewell
Friday 18 January – Saturday 23 February
Bonington Foyer


From Our Blog

The Accumulation of Things brings together seven artists whose work deals with shared interests of experience, circumstance and the familiar. Personal histories, both real and imagined, are examined through painting, photography and sculpture.

Aditya Babbar’s photographs capture the complexities of interpersonal relationships by the creation of meticulously directed portraits. His compositions are littered with evidence, from the decor to the posture of the subjects, all the while suggesting at a possible narrative beyond the picture.

Stories, or snippets of stories are told through the language of painting and drawing by Joe Bloom. He invites the viewer to use elements presented before them, together with their own interpretation and experiences, to make decisions on the connotations of the composition.

Photographer Julie Greve’s work takes the form of portraits and staged visual scenarios made in collaboration with groups of girls. Born and raised in a small town in Denmark, a lot of Julie’s work focuses on the areas in which she grew up.

Alicia Jalloul’s sculptures address the paradoxes that exist with the crossing between cultures, whilst Joy Labinjo draws on her British-Nigerian heritage, inviting the viewer to step into preliminary drawings saturated with colours, patterns and people, reconfigured from her family photograph albums.

Evie O’Connor explores class and identify in her works, and her textiles background has heavily informed the stylistic and decorative qualities within her work. She imagines both a beautiful and droll environment, explored through familiar domestic environments. Max Prus produces figurative drawings and paintings, telling stories with complex narratives representing culture and society.

Exhibition curated by Adam Murray. Adam is a lecturer, photographer and curator based in Manchester. He is co-founder of photography collective Preston is my Paris, and most recently he co-curated North: Fashioning Identity with Lou Stoppard at Open Eye Gallery, Liverpool and Somerset House, London.

Special thanks goes to John A Stephens Ltd. for supplying materials for this exhibition.

Featured Artists
Exhibition resources:

From our blog

We launch our next exhibition Video Days with a programme of talks, screenings and photography dedicated to the local and international skateboarding community.

In conjunction with local not-for-profit community group Skate Nottingham, we’ll be exploring skateboarding’s potential to drive cultural and social change, particularly through the re-engagement of young skateboarders with education and employment by supporting individual creative and cultural interests.

This event reflects Nottingham’s lively intergenerational skate community, and identify a set of themes that link the local and international significance of skateboarding to the objectives of the open cinema we are creating in the gallery. It also shows the rich texture of disciplines and interests reflected across the entire Video Days programme.

Skateboarding is an activity that reflects a consistent theme within the programme of human-kind’s disruptive and subjective relationship with the built environment.

Attend the preview

Email boningtongallery@ntu.ac.uk to confirm your attendance to the Video Days Preview.

Preview programme

An exhibition of photography from local skate photographers: 4 pm onward

Curated by Tom Quigley, who self-publishes Varial Magazine, featuring East Midlands skateboard photography. Alongside Tom’s own work, the exhibition will include contributions from active local skate photographers such as Neil Turner, Vic Camilleri, Dave Bevan, and Andrew Horsley (one of the founders of Sidewalk magazine, the UK and Europe’s longest running skate magazine, and internationally respected skate photographer) and images from Nottingham between the 1970s and 1990s from photographers including Andrew McDermott and Steve Tristram. Tom was recently the subject of the second part of the film series ‘We Can Fly’, and had work featured in the Sneinton Pride of Place collection of photography and visual art published by the Caravan Gallery, 2018.

From transgression to progression: 5 pm – 5.30 pm

A talk on skateboarding and Nottingham’s social, cultural and economic development, Chris Lawton Skate Nottingham.

Chris is one of the co-founders of Skate Nottingham. He is a Senior Research Fellow in economics at Nottingham Business School, here at Nottingham Trent University. He is also a feature writer for Caught in the Crossfire magazine, a long-running web-magazine on skateboarding, punk and radical politics. In this short discussion, Chris will talk about examples of skateboarders proactively driving inclusive development in cities around the world, particularly Malmö, Copenhagen and Tampere, and how both the activity and its wider culture and community provide opportunities for Nottingham (like Malmö, a medium-sized post-industrial city with a young population but significant regeneration challenges).

War & Rees, 2017, (7:17 mins), Daniel O’Neill: 5.30 pm – 5.40 pm

Dan is a skateboarder and academic historian, and is one of the Nottingham skate scene’s most prolific filmers.  This short film charts the final year of Nottingham’s large DIY skatepark project, which occupied waste ground next to the BBC Island – earmarked for development as part of Nottingham’s stalled ‘East Side City’ project; amid wider local political interest in the loss of genuine ‘common’ land in the city centre (and thus the radical potential of skateboarders repurposing blighted brownfield space land-banked by property developers and kept out of public use for more than two decades). The original DIY and a later, short-lived guerrilla skatepark in waste ground by BioCity were both demolished by the landowners towards the end of 2017, land which has, for the time being, been returned to its previously unused state.

A montage of Nottingham skateboarding past and present, (20 mins), Neil Turner: 5.40 pm – 6 pm

Neil has been filming skateboarding in Nottingham for almost 20 years, alongside documentary video work and photography, and is currently working on the first full-length video from Forty Two Shop, Nottingham’s only independent skate store.  Neil has filmed edits for Sidewalk magazine and has amassed a huge archive of footage of Nottingham skateboarders from the late 90s days of Old Market Square and Broadmarsh Banks through to now, which he will draw from and re-edit specially for this event.

Pieces of Palestine, featuring Isle Skateboards and SkatePal, 2017, (20 mins), Jacob Harris: 6.10 pm – 6.30 pm

A short film featuring the Isle skateboard team’s 2016 visit to the West Bank with award-winning charity SkatePal, to be shown with the permission of Jacob Harris (winner of the Bright Trade Show European Skateboard Awards for both his 2013 independent film Eleventh Hour and Isle’s debut video in 2015, Vase). Pieces of Palestine will help raise awareness and support for two of Skate Nottingham’s young female coaches who will be volunteering with SkatePal in the West Bank this October.

Video Days, 1991, (24 mins), Spike Jonze and Blind Skateboards: 6.30 pm – 7 pm

Video Days is a skateboard video released in 1991 by Blind Skateboards, it was produced by American skateboarder and filmmaker, Spike Jonze. It is widely considered to be one of the most influential skate videos of all time, providing early platforms for now legendary skaters including Mark Gonzales, Jason Lee and Guy Mariano.

Alan Lodge, Nottingham Trent University (NTU) BA and MA Photography alumnus, comes from a free festival and traveller background. Living in old buses, trucks and caravans, he drove around the country on ‘the circuit’ with his family and friends. Since the late 1970s he has been photographing events and the people around him.

Documenting all aspects of alternative lifestyles and sub-cultures, Alan has photographed many free and commercial events, environment protests, land rights demonstrations, and rave culture. Providing insight that only people who have been accepted into a community can really achieve, his aim has been to present a more positive view of people and communities that are frequently misrepresented.

The process has not been easy, as many people are suspicious of anyone with a camera and their motives. Conflict with the police in more recent years has become a fact of life, as has eviction from land and squats, and difficulties with children’s education when being continually moved on.

Biography

Alan had produced work for publications, galleries, events, and public spaces. Moving beyond photography, he has experimented with mixed media involving printed and projected text. During his MA at NTU, Alan specialised in issues surrounding representation, presenting himself in print and audio-visual format. A member of the National Union of Journalists, he is a documentary photographer, a photo-journalist and ‘storyteller’ always on the lookout for another tale to tell.

Nottingham Trent University (NTU) is delighted to host, in collaboration with New Art Exchange and Nottingham Contemporary, this guest lecture by Keith Piper, BA (Hons) Fine Art alumnus and founding member of the BLK Art Group.

This event coincides with an exhibition of Keith’s work at New Art Exchange, Unearthing the Banker’s Bones, which opens from Friday 31 March to Sunday 2 July 2017. It also coincides with the current group exhibition at Nottingham Contemporary, The Place is Here, which is open until Sunday 30 April.

Keith Piper (born in Malta, 1960) is a leading contemporary British artist, curator, critic and academic. Piper was a founder member of the ground breaking BLK Art Group, an association of black British art students who exhibited together throughout the country between 1982-83. Their work was noted for its boldly political stance and critique on the state of intercommunal, class and gender relations the UK.

Adopting a research-driven approach and using a variety of media, Piper’s work over the past 30 years has ranged from painting, photography and installation through to use of digital media, video and computer based interactivity.

Image: Keith Piper, Unearthing the Banker’s Bones, 2016, film still. A 70th anniversary commission for the Arts Council with Bluecoat and Iniva. © the artist