Koln Nagel, Christian Galerie Courtesy 137 on paper Ink, watercolour, Letraset text Perceptual Frameworks 5. Koln Nagel, Christian Galerie Courtesy 95 Letraset text on paper ink, pencil, Watercolour, Imagined as World the to 4. York New Art, Reena Courtesy Fine Spaulings 115 Ink, pencil, Letraset text on paper 3. York New Art, Reena Courtesy Fine Spaulings 53.5 on paper Ink, watercolour, Letraset text 2. London Miro Victoria Gallery, Courtesy 317.5 LaserJet prints glue, PVA paint, Wood, 2012 1. LIST WORKS OF Twitter: Twitter: @SLG_artupdates 020 7703 6120 [email protected] www.southlondongallery.org South London Gallery 65–67 Peckham Road, London SE5 8UH Data Data Stream Portrait of London An An Endless Sequence of In and Out of the Vortex the of Out and In From the World as Determined Determined as World the From The The Strange Attractor ✕ ✕ ✕ 101.5cm 101.5cm ✕ 83cm ✕ 65 cm 65 64 cm 64 1377 ✕ 20.7 cm 20.7 GARDEN , 2008 , , 2010 ,

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ATTRACTOR SURFING WITH THE WILLATS: STEPHEN 1 JUN – 15 JUL 2012 JUL –15 1 JUN EXHIBITION GUIDE GALLERY LONDON SOUTH STEPHEN WILLATS: SURFING WITH THE ATTRACTOR EVENTS 1 JUN – 15 JUL 2012

London-based artist Stephen Willats is a pioneer of create their own walks, both through the gallery and along Completed Response Sheets were given to an administrator Stephen Willats Book Launch conceptual art and has made work examining the function the two streets, via whichever channels they choose to focus of the installation who was one of the local residents that had Wed 20 Jun, 7pm, free and meaning of art in society since the early 1960s. Willats’ on. The mass of information presented in the data stream, made the Mosaics, and then in turn these were displayed on RGAP publishers invite you to the launch of Stephen Willatsæ first solo exhibition at the South London Gallery was in 1998. and visitorsæ interaction with it, combine to make a clear and Response Mosaics, situated as free standing open grids in the new book, Artwork as Social Model: A Manual of Questions and Entitled Changing Everything, it was the culmination of a two- powerful statement about Willatsæ understanding of reality centre of the Gallery. Each Wall Mosaic had its own dedicated Propositions, which includes texts, interviews and artwork year project which began with a series of public meetings at as a cultural phenomenon which is shared and present within Response Mosaic so that visitors to the Gallery could compare from the last five decades of his career.Artwork as Social various locations including a Women’s Refuge, the Kicking everybodyæs consciousness, albeit through individual and responses to each of the questions. Model describes Willatsæ radical approach to making art that and Punching Club, the Vietnamese Centre, and the Baptist therefore differing registers. challenges the overt determinism of our surrounding social Church, through which Willats started a dialogue with local The displays of the Mosaics were records of the personal infrastructure, from the remote architecture of so many of residents. He then invited those who were interested to go The contributing artists are: Gareth Bell Jones, Laura Bygrave, journeys of the participants, and the Response Mosaics were the buildings that form our daily environment to the nature on a walk with him following a pre-determined route through Reem Charif (Febrik), Lucy Clout, Alex Crocker, Philip Ewe, a wider statement showing the diversity of people’s differing of the art museum and gallery. the housing estates next to the gallery, including Sceaux Luke Kemp, Nicholas Lawrence, Harold Offeh, Paul Pieroni, social perceptions and creative imagination for possibilities Gardens and the North Peckham Estate, and to use a Super-8 Philomene Pirecki, Ros Taylor, Edward Thomasson and of change in the world around them. The Influence of Stephen Willats on Younger Artists camera to film signs, objects, traces of behaviour, or anything Laura Wilson. Thu 19 Jul, 7pm, £5/£3 conc they felt was relevant to life on those estates. Aiming to work Emily Pethick, director of The Showroom, chairs a discussion with participants to create a cultural model of how art might This exhibition also re-presents a series of graphic works Biography with artists Kathrin Böhm, Jacob Jacobson and Nina Pope more closely relate to society, Willats not only made the work from Changing Everything in 1998, made from footage shot Stephen Willats was born in 1943 in London where he exploring the influence of Stephen Willats’ work and ideas for the show with the residents, but also invited them to in the 1990s around the South London Gallery, alongside film currently works and lives. His previous exhibitions include: on a younger generation of artists. invigilate the exhibition and to ask visitors to make their own works on 14 monitors. COUNTERCONSCIOUSNESS, Badischer Kunstverein, contributions to it. Karlsruhe, Germany (2010) & publication, Art Society Book online: www.southlondongallery.org/tickets A catalogue accompanies the exhibition and includes an Feedback. The World As It Is and The World As It Could Be, Or call 020 7703 6120 Fourteen years later, for the current show, Surfing with the interview with the artist and texts by John Kelsey and Tom Victoria Miro Gallery, London (2010); Assumptions and Attractor, Willats re-presents material from and documentation Morton. This catalogue is available online and from the Presumptions, Art on the Underground, London (2007); From Current exhibition of Changing Everything alongside a huge new ‘data stream’ SLG shop for £12. My Mind to Your Mind, Milton Keynes Gallery (2007); How The Febrik: Play, I Follow You made with 14 London-based artists, as well as a series of World Is And How It Could Be, Museum für Gegenwartskunst, 17 May – 22 Jul 2012 diagrams of the ideas informing its creation, and a video www.southlondongallery.org/stephenwillats Siegen (2006); Changing Everything, South London Art First floor galleries work of unedited sequences of signs filmed by Willats using Gallery (1998); Museum Mosaic, Tate Gallery, Liverpool a Super-8 film camera as he progressed down the two streets Text taken from CHANGING EVERYTHING, Stephen Willats’ (1994); Buildings & People, Berlinische Galerie, Berlin (1993); Forthcoming exhibition on which the central data stream was made. Comprising 1998 exhibition at the SLG Contemporary Living, Museum van Hedendaagse Kunst, Gent Rashid Johnson hundreds of carefully ordered images gathered using diverse (1987); Between Objects And People, Leeds City Art Gallery 28 Sept – 26 Nov 2012 media, the data stream documents two contrasting streets The Mosaics presented on the walls of the South London (1987); Grusse vom Medernen Lebe, Stadtische Galerie, Main gallery in London: Rye Lane in Peckham and Regent Street in the Gallery were the outcomes of a workshop conducted by the Regensburg, West Germany (1986); Meta Filter and Related West End. Also extending beyond the gallery space, the artist with a group of local residents who had participated Works, Tate Gallery London (1982); Aperto 82, Venice Biennale, show includes films showing on monitors in three shops on in the work during 1998. Venice, Italy, 1982; 4 Inseln, in Berlin, National Gallery, Berlin Off-site works can be found at: Peckham Road and Camberwell Church Street, as well as (1980), Concerning Our Present Way of Living, Stedelijk van 18. Persepolis,El 28–30ephant Peckham High Street SE15 5DT graphic stickers which are being widely distributed locally Individual residents were asked to accompany the artist on Abbemuseum, Eindhoven (1980), Concerning our Present Way People and Diagrams& Castle, Oxford Street – Film Two, 2010 Ke Super 8 transferred to DVD 4’2”. Courtesy Victoria Miro Gallery, London and are available to visitors to take away with them. a walk through the North Peckham Estate, taking Super 8 of Living, Whitechapel Art Gallery, London (1979), Livingnnin Within New Kent Rd

and Snappy Snap 35mm cameras, looking for signs, objects, Contained Conditions, Museum of Modern Art, Oxford (1978). Wa

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Willatsæ intention for the data stream is to present a dynamic textures etc., that they felt had another meaning and that Further information: www.stephenwillats.com on lwor People and Diagrams, Rye Lane, Peckham, 2012Ol picture of the transient world we live in, or a multiplicity of through their perceptual transformation they could see Rd d Super 8 transferredth Rd to DVD, 3’24”. Courtesy VictoriaKe Miro Gallery, London individual viewpoints on a shared experience, in this case that as having a new association with their life on the Estate. nt Rd of walking down two contrasting streets of London. The work All participants in the workshop had made the same walk, Kennin20. gtCamberwellon Superstore, 32–34 Camberwell Church Street SE5 8QZ relates closely to Data Stream Portrait of New York, 2011, for to show the relativity of personal perception. People in Pairs with Diagrams, Regent Street, 2012 ny Rd which Willats worked with artists living in New York to create Super 8 transferred to DVD 3’ 52”. Courtesy Victoria Miro Gallery, London Alba the centrepiece of his exhibition there, The Strange Attractor, In a second workshop, participants edited their Oval at Reena Spaulings Fine Art. The data streams both for that documentaries into a series of images and texts that reflected Cambe

So Pe show and for Surfing with the Attractorwere made through a a question or problem situation that they wanted to ask the uth ampt ck process of allocating each participating artist a medium (such viewer about how life on the Estate could be changed. rw Camber on ha el Wa as a disposable camera, digital camera, video camera, audio l Rd y m Hi description, rubbing etc.), and a 'channelæ, such as 'facial The resulting set of fourteen mosaics were viewed with the well New

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Br Rd documentation of the two very different streets. Willats then at the back, contained a set of Response Sheets on which Peckham Rd High St ix 20 19 18 worked with some of the artists to edit and 're-media-iseæ the viewer’s own response to the Mosaics could be expressed ton

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their documentation into the diagrammatic format of the in whatever way they wanted. Pens and pencils, tables and Rd ou data stream in which the multiple viewpoints and channels chairs were provided in the Gallery so people could create harb ld Peckham are brought together. Cutting across the gallery space, the their own conceptualisations on the Response Sheets. There Co k Hi Rye vast data stream divides it in two, analogous to the separation were no right or wrong answers to the questions, and all the Denmark

ll Hill between the two streets recorded, and invites visitors to responses were made anonymously.