@ Carlos/ishikawa
Samuel Jeffery, Kitty Kraus, Lucy McKenzie & Gili Tal
6 July – 12 August 2017 
Preview: Wednesday 5 July 2017, 6-9pm


never made it as a wise man

couldn’t cut it as a poor man stealing

turtlehead rock presesnts:
cloth touching anthems
snuggle down next to that cosy collar

because this is where it comes from incase u forgot


This show has been curated by Chris Thompson  :

PV 27th June

156 Wells Way

Victoria Adam   Ellie Barrett   Billy Crosby
Sessa Englund   Stuart Middleton   Chris Thompson 

In European folklore, a Changeling is a fairy child, left by its otherworldly progenitors to mimic the human child they had stolen, exploiting the parents for one reason or another. In Star Trek, the Changeling is a curmudgeonly Constable called Odo, ready to assume the guise of any inanimate object in order to catch the plucky Quark, whilst struggling with his identity as a liquid in a world of solids and their prejudices.

But what’s a trope?

The well-established, predictable laugh in a rom-com, the baggy jeans of feral youth, the Hieroglyphs in the Pharaoh’s Pyramid. A trope is an established, repeating element within a given cultural context. More interestingly though, tropes are the method by which identity is constructed and the means by which culture is structured and navigated.

Look at the shelves in Aldi the next time you’re in.

Yet the power we invest in our tropes means they can dictate to us instead of define. Folklore provided the tools to keep the monsters at bay, but what about within our current cultural paradigm, where objects have secretly gained runaway agency, vitality and influence, proliferating within our habits, ignorance and culture of stuff? When identity is signified by a series of adopted signs, objects or languages then you have a recipe for a Changeling- the trope object with agency gained through a cycle of use.

This show seeks to tackle this issue, by exploiting the agency of its surroundings. The fetish object is the perfect example of a trope object that’s gained too much damn power, but by no means is the only one.

This show puts together the work of artists who operate within an understanding of this agency. Either by exploitation, exposure or usurpation they aim to offer a re-calibratory experience for our relationship with our inanimate friends, in the same way that tales of fairy children provided the tools for keeping the creatures at bay.

Boiling them alive worked quite well, it has to be said.


Victoria Adam | Ellie Barrett | Billy Crosby | Sessa Englund | Stuart Middleton | Chris Thompson 
156 Wells Way

PV 27th June
28, 29th June 11-4
The pristine white spaces of the ICA have been ravaged! Stupid Middlebottom has torn down the ceiling, stripped the walls and ripped up the floor. Where once everything was perfect, now there is only ruins and decrepitude. He’s transformed the hallowed gallery into an abandoned factory, an empty, unused abattoir. A state of quasi Zoolander Derelict√©. Upstairs, a boring stop motion video shows a sickly dog prowling around a white room, barking and sniffing.  This only looks cool because its big.  If I watched it on vimeo i would think it was rubbish.  I walked in and the first thing that struck me was: what a load of bollocks!

You complete Middlebottom’s installation by walking through it – you’re the metaphorical art livestock, the cornceptual cattle, the imaginary pigs of creativity thundering through the institution, the hungry worker returning home after a ruddy long day to find scraps of cultural nourishment in the old factory. You’re a participant in the grubby, filthy, cultural gallery game. gutted for you.

At least, that’s the generous way of approaching it. But if you’d just got off a pendolino from some cultural black-spot in the north or a brexit heart-land on the Kent coast for your first trip to the ICA ever, you’d walk in and just see an empty room. A bit of a grotty one, with peeling walls and rotting wooden floors, but still just an empty room. Theres probably loads of empty rooms you could have gone and stood in round by yours. The only way that’s explained is through a short story written by the artist. There’s no other concession made to helping you understand what the blue blazes is going on. So you’re just stood there like a silly plonker, coming up with ideas for why this empty room is so empty. And thats not your job is it! And an empty room isn’t exactly a new idea, its been done loads of times. The whole installation is unrewarding, and maybe even a bit silly-sausages.

The thing is, for too long now the caviar slurping big wigs at the ICA have been pulling the wool over our eyes spending tax payers money on shows that are unapproachable, unappealing, utterly ugly and unclassy. They choose interesting young white male artists, but the results are too often completely underwhelming, too ensconced in a bubble of art fart-puff and too locked in a world of ‘La la laaaah we don’t have to explain this because it’s art and if you don’t get it then you’re an idiot doo be doo’ (just to clarify this is the latter AKA pretentious crud. because I cant find any art guff, (well theres a bit on the website) just the aforementioned silly story, which like I said you lot wouldnt get and youd be bewildered and humiliated and then youd be spitting feathers about it, trust me.) Which is fine, and it has its place, BUT NOT IN ENGLAND! What about something decent like a frigging shark in a massive tank or some original-hardcore-punk stuff like Banksy does? or what about something that people can actually understand like the stuff thats on TV for crying out loud? whats wrong with some interesting stuff and then a long text explaining what all that stuff is about that I can read on the tube!? but they must realise how alienating that is to the likes of you. I don’t think it’s Middlebottom’s fault, really. Hes just a guoy. He deserves some your time, (maybe just take 5 minutes to check out his blog its really interesting and cool), but the ICA phat-cats need to think about who theyre trying to appeal to, because right now it's none of you lot.  but its all fair do's because im entitled to my oppinion arent I. cheers
Boxes, models, architectures, aquariums, terrariums. Can we put the exhibition together? Mathis Altmann, Maggie Lee, Tris Vonna-Michell, Tetsumi Kudo, Paul Thek, Mike Kelley, Ajay Kurian, Tobias Madison, Robert Graham, Max Hooper Schneider, Anicka YI, et al.

The box is a headspace, and cardboard is like a reconstituted tree flesh, and the diorama is like an architecture, ventilated to breath, did you know a lot of planning into a building's breathing, it's HVAC, like lungs, controlling moisture, and soggy cardboard is like a rotting flesh, we are repulsed by it, and looking into the flesh pool in the grotto is like the oracle, shimmering like the laptop screen, whose lid can be closed, locked and sent, it is transportable, and it is like a transportable headspace, and these objects are like primitive waypoints between many boxes, models, architectures, aquariums, terrariums we've been talking about.



brum brum off to the eurozone again beep beep parp


av u bin up the m6 junction 15 - 18 recently ?

mansplaining a terror attack

there was a shift from 'an act of terrorism' to 'a terror attack' in media coverage at some point in the last few years wasnt there



cheers rich


monday night scooter recovery mission 
middleton moments art transport ltd post brexit diversification

diagnosis merde

Raisin’s first two novels were published by Penguin, but here too A Natural brought about a departure. He and Penguin “saw the book slightly differently”. The novel went on submission, to be bought by Jonathan Cape, and “even in conversations with publishers who saw the book, and some of them turned it down on the grounds that - they were quite upfront about saying this - ‘We don’t know how to sell it to women because it’s about football, but at the same time we don’t know how we sell it to football supporters because it’s got gay in it.’ And that’s incredible,” he says. “Well, it’s not incredible at all. It feels completely unsurprising. But I’m interested in how the book is received because it’s not a book for men, it’s not a book for football supporters, it’s a book for readers. You can write fiction that is searching and empathetically complicated about any subject.” He is drawn to situations – and this is the only time he sounds vehement – with a “dead crust of opinion around them”.
you cant reach younger audiences with a wagging finger, but you can reach them in their bedroom with a fantasy of someone they can be says patti jenkins
non - universal character

artist johnny phatatoes presents a bunch of inaccessible partially-uncompleted codswallop


sub from n.p
I did a postcard for Te Tuhi's fundraiser



If you were born in London in 880, the name ‘England’ would have meant nothing. Fifty years later it would. How did that happen? Through war. Almost continuous war.
-bernard cornwell