Saturday, 26, September, 2015


Oranges from Afar

Gen Doy

Oranges from Afar is a performance by Gen Doy, which includes a specially written song of the same title. The words of the song refer to experiences of agricultural and migrant workers, as well as their movement from the warmth of the south to the cold of the north...just like oranges and other fruits. In eighteenth-century Britain, orange trees were cultivated by the wealthy in specially built orangeries, and were prized as rare and exotic fruits. Now with the rise of agri-businesses, oranges are cheap, plentiful and almost throw-away commodities, like the labour which produces them.


Three sculptures in three hours

Teresa Albor, Miriam Carroll, Eleftheria Tzamtzi

Over three hours, three artists will make and then deconstruct three sculptures from found materials. This is “task-oriented” performance art, about labor and art, and the methods and systems of cultural production. The work plays with many of the tensions inherent in the perception that art is a repository of value, a commodity that can be sold, a means of revenue for the artist, i.e. his/her “livelihood.” The paradigm involves a “white cube” gallery in New York, LA or London where “precious” art made mysteriously in the studio of an artist is sold by dealers for prices only the elite can afford to pay. In this case, we are in an outdoor market, the work is temporary, and it is produced openly, almost as if in a factory.


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Saturday, 31, October, 2015


Morgan O'Hara


New York based O’Hara has perfected a way of mark-making that requires close observation and actual drawing in real time with multiple razor-sharp pencils and both hands. She condenses movement into accumulations of graphite line, combining the controlled refinement of classical drawing with the sensuality of spontaneous gesture. Through this performance, which involved drawing from various places in the market, she rendered visible normally invisible or fleeting movement patterns, through seismograph-like drawing. Her work is culturally contextualized in the practice of drawing as a fundamental human endeavour and is continuous with the time-honoured practice of drawing from life. It requires connection and direct observation. Through this work, she transcends the arbitrary "oppositions" between abstract and figurative art, between purely gestural expression and documentary intent, creating narrative work, which is not figurative. The drawings themselves become a third actor or mediator in the experience.





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Saturday, November 28, 2015

Rufus Stone 2015 Winter Residents

Bianca Hlywa, David Frankovich and William Kherbek


The three performances over the course of the day will seek to engage audiences in unique, highly participatory ways, either by creating intimate contact with a single individual, reimagining sculpture as a consciously performative and participatory endeavour, or invading the most personal space possible in the contemporary technosphere: an individual’s mobile phone. Each work is an outgrowth of the artists’ participation in the Rufus Stone residency which seeks to bring together artists, curators and other bodies in order to establish and explore new understandings of and contexts for contemporary art.


The works will be presented individually over the course of the market, seeking to both reimagine as well as to reify the normative relations that the context of a street market entail and produce. Hlywa’s performance seeks to involve both market stallholders and customers in the process of realising a transient sculptural work. Frankovich’s work, presented in the nearby Jugged Hare pub (172 Vauxhall Bridge Road), disrupts conventional expectations of both relational art and confessional performance. Kherbek’s piece explores relationships of production, consumption and demand vis-a-vis aesthetic objects and the discourses that surround them. The works will begin as follows: Khebek’s work, “Syllable Generator”, will take place in the Market itself at the Rufus Stone pitch. It will begin at 11AM and last until 3PM. Bianca Hylwa’s performance, “(Hopefully) Many Things Balanced”, will take place at around 1PM in the Market. David Frankovich’s performance, “Vanishment Made Easy”, in The Jugged Hare will take place between 12PM and 2PM.








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Saturday, 19 December, 2015, 10.00 – 15.00


Ash Roberts, Vivian Barraclough, Becky Sumpter, Catherine Wynne-Paton


A site-specific exhibition of images that have been created by people within the market and within a set timeframe, all portraits taken with disposable cameras purchased locally and developed at the local camera store: a collaborative performance, together with local people: a self-portrait of themselves within the market.  The concept is based around ideas of “people in place” and the taking of a self-portrait using an outdated technology where the person taking the photograph will not see the image until it is developed. The performers asked: What is a portrait today? How important is the person? How important is the place? The practice of taking selfies with a smartphone and editing/airbrushing and discarding images at the click of the button allows the photographer complete control. What happens when that control becomes limited, both in terms of making the image itself and whether to make the image public, i.e. within an exhibition?  The individual photographers will have control over what they wish to try and capture.  How much of themselves and how much of the ‘place’ will be revealed?  Placing the exhibition within the gazebo, within the market and using, as far as possible, locally found objects to stage it, places the art firmly within the place it is created.  How will this be received?











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Saturday 06, February 2016


Hawaii-based artist Reed sells global tourism at a marketplace designed to sell fruit and veg to local consumers. In this site-specific piece, the parrot character spins a world globe stuffed with fortune cookies formed from London souvenir postcards. The audience is invited to take away postcards that combine images of London with Hawaiian tourists holding parrots, representing the altered and absent reality of tourist culture. And, as a parrot, Reed only repeats what is said to him, giving voice to the audience (in this case also the consumers) reaction to and perception of consumption. His assistant Sister Gracias Para Nada (Sister Thanks for Nothing played by Sheri Young) is dressed as a friendly storybook character. Responsible for herding the crowd towards the parrot, she also plays a role in the selling of paradise.

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Saturday 26 April 2016


The market pitch will become a temporary base for S.P.A.R, the Society for the Preservation of Admirable Rubble. S.P.A.R is a quasi-membership organisation that looks closely at building demolition and rubble creation and how it reflects wider housing concerns. The artist, Calum F Kerr, who is based in London, will invite 'Brian Guest', the founder and general secretary of S.P.A.R to talk about the campaign.

Saturday 11 June 2016

As a medium, sound art has its roots in Dada, the Situationist International and Fluxus. In the groundbreaking 1983 exhibition catalogue Sound/Art at the Sculpture Center in New York, the curator William Hellerman stated that “hearing is another form of seeing.” As an artistic medium, sound art focuses on the role of the viewer as a participant in real time and space. The show’s title, “Volume” reflects the many definitions of the word: a book, amount of space an object occupies and a measure of the intensity of sound.

Thursday, 25 August, 2016, noon - 15.00

RUFUS STONE PERFORMANCE SPACE, Tachbrook Market, Pimlico, London


Sexcentenary sets up shop!  Everything you need to look deliciously older from wrinkle cream that speeds up the process to wigs and walking sticks. Sexcentenary is a collective of women, who identify as older, committed to the collaborative performance of gender, feminism and ageing.