Ambiguous Becoming
No
Ambiguous Becoming
Artists’ Moving Image from Canada
Cooper Gallery DJCAD x MOMENTA | Biennale de l’image
A collaboration between the Cooper Gallery (Dundee, Scotland) and MOMENTA | Biennale de l’image (Montréal, Canada)
Featuring artists:
Jérôme Havre, Cauleen Smith, and Camille Turner
Chloë Lum + Yannick Desranleau
Victoria Sin
The human body in all of its iterations is performative. Grounded by materiality, our bodies are caught forever in a flux of becoming, responsive to the innumerable possibilities of being immutably different and other.
Bringing together a broad spectrum of artists and collaborations from Canada, the exhibition draws out and delineates the rich scope of aesthetic, critical, and philosophical positions underscoring the politics of the performative body. Recognising the implicit struggles against colonialism, patriarchy, and capitalism waged on and within the body, the exhibition actively asserts the necessity of claiming ownership of the body throughout its performative and discursive iterations.
Indicating and referencing the multitude of cultures, psychologies, identities, and genders at stake in the artists’ works, the exhibition addresses the dynamics of power and its resistant double, the unrestrained agency of becoming. Underscored by this ambition Ambiguous Becoming offers a portrayal of bodies in the moment of their resistance to the twin horrors of objectification and unfettered consumption.
In their collaborative video work Triangle Trade (2017), Jérôme Havre, Cauleen Smith, and Camille Turner engage with what blackness means in a colonial context composed of the displacement and deterritorialization haunting the after effects of the slave trade. Following a cross-borders conversation, each artist created an avatar puppet and a distinct world to represent themselves. Activated by the artists, the avatars move through their respective surroundings; simultaneously isolated and connected.
Artist duo Chloë Lum and Yannick Desranleau present the two-channel video installation What Do Stones Smell Like in the Forest? (2018), accompanied by the live performance Becoming Unreal (2018). What Do Stones Smell Like in the Forest? shows, on two adjacent screens, a singer and a choir, between them is woven a narrative of chronic illness expressed through a multifold relationship with objects. In these videos, questions of agency and liveness constantly switch between beings and things. Examining the active role of objects, the work considers the restrictive and supportive capacities of bodies—both human and non-human ones. Performed by a soprano at the exhibition preview, Becoming Unreal offers a duet between a performing body and the objects that carry its gestures and weight.
In their video series Narrative Reflections on Looking (2016–17), Victoria Sin addresses issues of identification with images, especially in relation to the construction of gender and cultural identity through language, and highlights the dynamics of power that reside in the act of looking. From a non-binary position and through drag aesthetics, Sin performs femininity as a fluid concept that is not essential to womanhood and not natural to any particular body.
Free
Events
Chloë Lum & Yannick Desranleau | Artists' Talk
Wednesday 22 January, 12noon
Preview: In-conversation & Performance
Thursday 23 January, 5.30–8pm
Outwith Reading Group
Led by Emmie McLuskey
Tuesday 28 January, 5.30–7.30pm
Arresting Masculinity
Wednesday 12 February, 5.30–7pm
SCRIEVE
Thursday 20 February, 6–8pm
Artists' Biographies
Chloë Lum and Yannick Desranleau are multidisciplinary visual artists based in Montreal, Canada. Their work focuses on theatricality and the choreographic; in their performance work but also in their interest in staging tableaus and working with ephemeral materials that can be said to perform through re-deployment and decay. The duo’s recent works investigate the agency of objects, the material condition of the body, and the transformative potential that bodies and objects exert upon each other. These interests are informed by Chloë’s experience with chronic illness and its effect on their collaboration as well the duo’s exploration of narrative tropes from literature, theatre and television. Lum and Desranleau are also known on the international music scene as co-founders of the avant-rock group AIDS Wolf, for whom they also produced award-winning concert posters under the name Séripop. In 2016, Desranleau was awarded the Claudine and Stephen Bronfman Fellowship in Contemporary Art, and in 2015, the duo was long-listed for the Sobey Art Award.
Their recent solo and group exhibitions include What Do Stones Smell Like In The Forest?, Gallery TPW, Toronto, 2019; What Do Stones Smell Like In The Forest?, FoFA Gallery, Montréal, 2018; Biennale d'art performatif de Rouyn-Noranda, Rouyn-Noranda, 2018; Carteles de Quebec, Centro Provincial de Artes Plasticas Y Diseño, Habana, Cuba, 2018; Realms II, Gordon Snelgrove Gallery, University of Saskatchewan, Saskatoon, 2018; Is It The Sun Or The Asphalt All I See Is Bright Black, Circa Art Actuel, Montreal, 2017; Performance via la caméra, Galerie Hugues Charbonneau, Montréal, 2017; Standing Under Mis, Katzman Contemporary, Toronto, 2017; 5 Tableaux (It Bounces Back), Or Gallery, Vancouve, 2017; Rome, Kiehle Gallery, St. Cloud State University, St. Cloud, Minnesota, 2017. Website: lum-desranleau.com
Victoria Sin is an artist using speculative fiction within performance, moving image, writing, and print to interrupt normative processes of desire, identification, and objectification. This includes:
Drag as a practice of purposeful embodiment questioning the reification and ascription of ideal images within technologies of representation and systems of looking,
Science fiction as a practice of rewriting patriarchal and colonial narratives naturalized by scientific and historical discourses on states of sexed, gendered and raced bodies,
Storytelling as a collective practice of centering marginalized experience, creating a multiplicity of social contexts to be immersed in and strive towards.
Drawing from close personal encounters of looking and wanting, their work presents heavily constructed fantasy narratives on the often-unsettling experience of the physical within the social body.
Their recent solo and group exhibitions, screenings and performances include Transformer: The Rebirth of Wonder, 180 The Strand, London, 2019; Rewriting the Future, Site Gallery, Sheffield, 2019; Age of You, MOCA, Toronto, 2019; The Life of Things, MOMENTA Biennale de l'image, Montreal, 2019; Kiss My Genders, Hayward Gallery, London, 2019; Display, Dortmunder Kunstverein, Dortmund, 2019; Meetings on Art, Venice Biennale, Venice, 2019; Rising Up in the Infinite Sky, Whitechapel Gallery, London, 2019; A Doll's House, Goethe Institut, Baku, 2019; Do Disturb Festival, Palais de Tokyo, Paris, 2019; Chi Wen Gallery, Art Basel Hong Kong, 2019; If I had the words to tell you we wouldn't be here now, Chi-Wen Gallery, Taipei, 2019; Bona Drag, RISD Museum, Providence, 2018; YAEJI One More Tour, The Knockdown Center, New York, 2018; Riding and Dying with You, Whitechapel Gallery, London, 2018; DRAG, Hayward Gallery, London, 2018; Park Nights, Serpentine Galleries, London, 2018; Reproductive Technologies, Market Gallery, Glasgow, 2018; Swinging Out Over the Earth, Whitechapel Gallery, London, 2018; Indifferent Idols (solo), Taipei Contemporary Art Centre, Taipei, 2018; Non-Linear: Magnet 2 with LUX Scotland, CCA Cinema, Glasgow, 2018.
Jérôme Havre, Cauleen Smith, and Camille Turner
Jérôme Havre is a Toronto based artist inspired by the production of natural history dioramas in museums and zoos. He develops in his creations reflexive spaces through immersive processes. He looks for ways to do this through presentation, the creation of situations, or setting the stage with his sculptures and inviting the public to take part “in the show.” Jérôme's work interrogates issues of identity, territory and community through the representation of nature. That is, the manner in which it is presented and yet can be more readily perceived through our cultural filters.
His projections, solo and group exhibitions include #7 clous à Marseille, Patrick Raynaud, Marseille, 2019; The Life of Things, MOMENTA Biennale de l'image, Montréal, 2019; Triangle Trade, Gallery TPW, Toronto, 2017; Viene Così naturale ou la vie immuable—An Unchangeable Life, 8eleven, Toronto, 2017; The Morning Shines With the Lights of Love, Clint Roenisch Gallery, Toronto, 2017; Untitled (2010), Yaletown-Roundhouse Station, Vancouver, 2016; Yonder, Koffler Gallery, Toronto, 2016; Liminal / Necessity and Accident, The Robert McLaughlin Gallery, Oshawa, 2016; La fabrique de l’image, 14°N 61°W, Martinique, 2015; Talking Back, Otherwise, Jackman Humanities Institute, Toronto, 2015.
Cauleen Smith is an interdisciplinary artist whose work reflects upon the everyday possibilities of the imagination. Operating in multiple materials and arenas, Smith roots her work firmly within the discourse of mid-twentieth-century experimental film. Drawing from structuralism, third world cinema, and science fiction, she makes things that deploy the tactics of these disciplines while offering a phenomenological experience for spectators and participants. Smith is based in the great city of Chicago and serves as faculty for the Vermont College of Fine Arts low-residency MFA program.
Her recent projections, solo and group exhibitions include The Life of Things, MOMENTA Biennale de l'image, Montréal, 2019; Give It Or Leave It, Institute of Contemporary Art, Philadelphia, 2018; Cauleen Smith: Black Utopia LP, Tate Modern, London, 2018; In The Wake (A Procession), Whitney Museum of American Art, New York, 2017; Whitney Biennial, Whitney Museum of American Art, New York, 2017; Human_3.0 Reading List, Art Institute of Chicago, Chicago, 2017; The Warplands, UAG Gallery—University of California, Irvine, 2017; Conduct Your Blooming, Art Institute of Chicago, Chicago, 2016; Asterisms, Center for Contemporary Art and Culture, Portland, 2016; Conduct Your Blooming, Corbett vs Dempsey, Chicago, 2016. Website: cauleensmith.com
Camille Turner is a Toronto based artist. She is an explorer of race, space, home and belonging. Straddling media, social practice and performance art, her work has been presented throughout Canada and internationally. Camille is the founder of Outerregion, an Afrofuturist performance group. She has lectured at various institutions such as University of Toronto, Algoma University and Toronto School of Art and is a graduate of Ontario College of Art and Design and York University’s Masters in Environmental Studies program where she is currently a PhD candidate.
Her recent projections, solo and group exhibitions include Freedom Tours: Dual Dissonance, A Sense of Site, Art Gallery of Nova Scotia, Halifax, 2019; The Life of Things, MOMENTA Biennale de l'image, Montréal, 2019; Afronautic Research Lab. Arts Against Postracialism, Artexte, Montréal, 2018; The Final Frontier, at; into; across, Ulrich Museum of Art—Wichita State University, Wichita, 2018; Triangle Trade, The Fabulous Festival of Fringe Film, Durham / Segal Center Film Festival on Theatre and Performance, New York, 2018; Triangle Trade, Gallery TPW, Toronto, 2017; Family Matters, McIntosh Gallery—Western University, London, 2017; Wanted, Art Gallery of Ontario, Toronto / SixtyEight Art Institute, Copenhagen, 2017. Website: camilleturner.com
Collaborator biographies
Maude Johnson is the Executive and Curatorial Assistant of MOMENTA | Biennale de l’image (Montréal, Canada). As a curator and writer, she is interested in performative and curatorial practices. She was part of the curatorial team of MOMENTA’s 2019 edition and is co-curator (with Sophia Yadong Hao) of Ambiguous Becoming: Artists’ Moving Image from Canada (2020).
MOMENTA | Biennale de l’image is a contemporary art event taking place in various venues in Montréal (Canada) every two years since 1989. Founded as Le Mois de la Photo à Montréal, the organization was renamed MOMENTA | Biennale de l’image in 2017. Its activities include exhibitions, public events, educational programs, artistic and social collaborations, and more. For further information, please visit: MOMENTA website.
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Venue Information
Address
Cooper Gallery
Duncan of Jordanstone College of Art & Design
University of Dundee
13 Perth Road
Dundee DD1 4HT
Access
The gallery is on two floors. First floor has ramped access and disabled toilet.
Second floor is accessible via lift and for wheelchair access via a stairclimber.
Large print versions of the exhibition information handout are available, please ask our Guides.
For access enquiries please contact [email protected]
Opening Times
Monday – Friday: 10am – 5pm
Saturday: 11am – 5pm
Sunday: Closed
*
Image credits:
Jérôme Havre, Cauleen Smith, and Camille Turner, Triangle Trade (video still), 2017.
Chloë Lum + Yannick Desranleau, What Do Stones Smell Like in the Forest? (video still), 2018.
Victoria Sin, Part Three/Cthuthu Through the Looking Glass from the series Narrative Reflections on Looking (video still), 2017.
*
Ambiguous Becoming has been made possible with funding support from the Québec Government Office, London.
No
Yes
Artists' Moving Image from Canada
A is for Avant-Garde, Z is for Zero: Laura Mulvey & Peter Wollen
No
A is for Avant-Garde, Z is for Zero: Laura Mulvey and Peter Wollen is a retrospective exhibition that uses the gallery space as a means to refract the work of influential theorists and filmmakers Laura Mulvey and Peter Wollen through the prism of art.
Laura Mulvey and Peter Wollen are best known as film theorists and filmmakers. As writers, they made highly influential interventions in film theory such as Mulvey’s ‘Visual Pleasure and Narrative Cinema’ and Wollen’s ‘The Two Avant-Gardes’ (both 1975). Seeking cinematic forms that investigated and countered dominant languages of looking, signification and narration, Mulvey and Wollen made six films between 1974 and 1983 that engaged the viewer in a rigorous and still timely conceptual debate that brought into contact semiotics, feminism, psychoanalysis, alongside histories and theories of the avant-garde.
Mulvey and Wollen’s engagement with art and artists has always been a central dimension of their activities, exemplified by their numerous documentaries and ‘theory films’ about or featuring artists, critical writings, teaching, curating, their production of artworks, and their role as important interlocutors for artists. Incorporating moving-image works, audio recordings, drawings, diagrams, photographs and archival materials, A is for Avant-Garde, Z is for Zero maps the co-ordinates of two transdisciplinary, overlapping practices which includes collaborations and conversations with esteemed figures in art and culture such as Faysal Abdullah, Kathy Acker, Emma Hedditch, Mary Kelly, Mark Lewis, Yvonne Rainer and Kerry Tribe.
In addition to proposing that Mulvey and Wollen can be understood within the broader frame of artists and art theorists influenced by and contributing to the discourses of feminism and socialism, the exhibition utilises Cooper Gallery’s art school context to suggest their important role as teachers and the mutual influence between educational and artistic work.
Art historian Griselda Pollock stated that the 1970s can be understood as an ‘avant-garde moment’, characterised by overlaps and interactions between independent cinema, video art, conceptual art, feminist appropriations of psychoanalysis, and the reanimation of activist practices and reinvigorated production of theoretical discourses relating to gender and sexuality. The constellation of materials presented in the exhibition demonstrates how Mulvey and Wollen sustained the critical and innovative energies of the 1970’s beyond that decade, keeping the urgent inquiries inherent to this ‘avant-garde moment’ open.
The exhibition title, A is for Avant-Garde, Z is for Zero, alludes to Mulvey and Wollen’s interest in avant-gardes as models of cultural production, especially the Soviet avant-garde of the 1920s and post-revolutionary Mexican avant-garde. It also signals their ambition to anatomise and reinvent film language, and cites Wollen’s deployment of the alphabetic form in some of his essays, as well as the use of numbers and games as generative constraints in other writings and in Mulvey and Wollen’s films. The ‘zero’ of the title foregrounds Mulvey and Wollen’s desire to completely break with the past, to negate previous cinematic forms and start again from nothing, an aspiration succinctly crystallised in their work of the early to mid-1970s: the scorched earth of counter-cinema.
Curated by Oliver Fuke and Nicolas Helm-Grovas in association with Cooper Gallery.
Further reading available here.
Free
Biographies
Laura Mulvey (born 1941 in Oxford) is Professor of Film and Media Studies at Birkbeck College, University of London. She was Director of Birkbeck Institute for the Moving Image (BIMI) from 2012 to 2015. She is the author of Visual and Other Pleasures (1989); Citizen Kane (1992); Fetishism and Curiosity (1996); Death 24x a Second: Stillness and the Moving Image (2006); and Afterimages: On Cinema, Women and Changing Times(2019). She has co-edited British Experimental Television (2007); Feminisms (2015); and Other Cinemas: Politics, Culture and British Experimental Film in the 1970s (2017). Mulvey made six films in collaboration with Peter Wollen, including Riddles of the Sphinx (1977), and two films with artist and filmmaker Mark Lewis.
Peter Wollen (born 1938 in London, died 2019) was a radical filmmaker, film theorist, and screenwriter, whose crucial book, Signs and Meaning in the Cinema (1969), continues to challenge and provoke. His other books include: Readings and Writings: Semiotic Counter-Strategies (1982), the alternative history of 20th century art Raiding the Icebox (1993), Paris/Hollywood: Writings on Film (2002), and Paris/Manhattan: Writings on Art (2004), all published by Verso, as well as a BFI Classic on Singin’ in the Rain (1992). He taught film at a number of universities and was Professor Emeritus at the University of California, Los Angeles. Wollen co-wrote the screenplay for Michelangelo Antonioni’s The Passenger (1975) and subsequently worked outside mainstream cinema, collaborating on six films with Laura Mulvey. His final feature film was a solo project, Friendship's Death (1987) starring Tilda Swinton as an alien who lands in Amman, Jordan, during Black September, 1970. His expansive interests included organizing paradigm-shifting art exhibitions, such as Frida Kahlo and Tina Modotti (with Laura Mulvey, 1982) and On the Passage of a Few People Through a Rather Brief Moment in Time: The Situationist International (with Mark Francis, 1989).
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Venue Information
We are delighted to be re-opening and welcome you back to Cooper Gallery. To help us to keep you and others safe we have introduced new safety measures in line with Scottish Government and University of Dundee COVID-19 guidelines.
Our staff will be wearing face coverings within the gallery, observing physical distancing and guidance on regular handwashing. We have put in place additional cleaning measures including for all contact points within the gallery and wheelchair accessible toilet.
During your visit we would ask that you please:
· Sanitise your hands on entry using the dispenser provided
· Wear a face covering inside, unless you are exempt from doing so
· Maintain 2 metres apart from other visitors and staff
. Observe one-way signage in the gallery
Booking
The exhibition is free but ticketed. Please book one ticket for each person visiting.
Please book in advance selecting an available 1hr time slot on Eventbrite.
If you wish to extend your visit please feel free to book multiple time slots.
Address
Cooper Gallery
Duncan of Jordanstone College of Art & Design
University of Dundee
13 Perth Road
Dundee DD1 4HT
Access
The gallery is on two floors. First floor has ramped access and disabled toilet.
Second floor is accessible via lift and for wheelchair access via a stairclimber.
Large print versions of the exhibition information handout are available, please ask our Guides.
Due to additional safety measures please email in advance if you require lift or stairclimber access so we can arrange support.
All enquiries please contact: [email protected]
Opening Times
Tuesday – Saturday: 11am – 4pm
Sunday: Closed
*
Image credit: Laura Mulvey and Peter Wollen, Riddles of the Sphinx (film still), 1977. Image courtesy the artists and BFI.
*
The exhibition has been supported by funding from Kings College London
No
Yes
Retrospective exhibition
Trinity Buoy Wharf Drawing Prize 2020
No
Cooper Gallery hosts the prestigious annual open call exhibition; Trinity Buoy Wharf Drawing Prize 2020. Featuring 71 works by 56 artists selected out of 4274 entries from 42 countries, the exhibition includes works shortlisted for the Drawing Prize and Working Drawing Award.
The exhibition reflects a broad scope of contemporary drawing practice produced by artists, designers and makers at all stages of their careers—from students to established artists—located across the UK, France, Italy, Spain, The Netherlands and Turkey.
The Trinity Buoy Wharf Drawing Prize has an established reputation as the UK’s most important annual exhibition of drawing. Led by Professor Anita Taylor, Dean of Duncan of Jordanstone College of Art and Design at the University of Dundee, and supported by the Trinity Buoy Wharf Trust, the Drawing Prize exhibition is known for its influential role in promoting and celebrating contemporary drawing practice and championing the role and value of drawing as a vital means of communication and expression.
Trinity Buoy Wharf Drawing Prize 2020 was selected by Sophia Yadong Hao, Principal Curator of Cooper Gallery DJCAD; artist Ian McKeever RA; and Frances Morris, Director of Tate Modern.
The Working Drawing Award 2020 was selected by Sir Ian Blatchford, Director of the Science Museum, London; Piers Gough CBE RA, Architect; and Sophie McKinlay, Director of Programme at V&A Dundee.
Artists
The artists shortlisted for the Trinity Buoy Wharf Drawing Prize 2020 are:
Akash Bhatt, Andy Black, Anna Barratt, Ayeshah Zolghadr, Becky Allen, Bob Deakin, Camilla Brueton, Carolyn Black, Catrin Webster, Cheryl Lewis, Chris Bruce, Christopher Jones, Demeter Dykes, Eleanor Wood, Frank Leuwer, Helena McGrath, Holly Mills, Hormazd Narielwalla, Iain Andrews, Isabel Rock, James Robert Morrison, Joe Dean, Kay McCrann, Laura Jacobs, Louise Schmid, Lucy Anderson, M. Lohrum, Mandy Bonnell, Mark Clay, Nancy Haslam-Chance, Nicola Grellier, Nigel Bird, Nina Chua, Peter Sutton, R & F Mo, Rae Fior Lowe, Rebecca Bramwell, Ruth Richmond, Sally Wood, Sandy Kendall, Seamus Staunton, Setenay Alpsoy, Siân Bowen & Simón Granell, Simon Brewster, Tricia Gillman, Wai Yin Ryan Tung, and Yutavia George.
The artists shortlisted for the Working Drawing Award are:
Ben Johnson, Jack Green, Jeanette Barnes, Malcolm Franklin, Myyen Dang, Rachel Duckhouse, Savvas Papasavva, and Zihao Mei.
Events
An online event programme expanding the depth and spread of drawing accompanies the exhibition at Cooper Gallery.
Trinity Buoy Wharf Drawing Prize 2020 | Opening Event & Panel Discussion
Friday 13 November, 2020, 6–7.30pm
Nina Chua | A Prompt for a Drawing
13 November – 19 December 2020
Rhona Jack | Freehand Weaving
Tuesday 24 November, 1–3pm
IN AND EASE
26 November 2020, 6–8pm
Paul Noble | Time draws...
Thursday 3 December 2020, 1-2pm
Adam Benmakhlouf | As Empathic As It Is Unfaithful: An Illustrated Talk on Drawing
Tuesday 8 December 2020, 6–8pm
Free
M. Lohrum, You Are It, performance
Video documentation
M. Lohrum won the Trinity Buoy Wharf First Prize for the participatory drawing, You Are It, seen here at Cooper Gallery, performed by Rachel Ashton, Mary Baker, Lucia Edgar, Declan McCourt, Sara Pakdel-Cherry, and Beth Radic; Contemporary Art Practice students at Duncan of Jordanstone College of Art and Design, University of Dundee, on 16 November 2020.
____________________
Venue Information
We are delighted to be re-opening and welcome you back to Cooper Gallery. To help us to keep you and others safe we have introduced new safety measures in line with Scottish Government and University of Dundee COVID-19 guidelines.
Our staff will be wearing face coverings within the gallery, observing physical distancing and guidance on regular handwashing. We have put in place additional cleaning measures including for all contact points within the gallery and wheelchair accessible toilet.
During your visit we would ask that you please:
· Sanitise your hands on entry using the dispenser provided
· Wear a face covering inside, unless you are exempt from doing so
· Maintain 2 metres apart from other visitors and staff
. Observe one-way signage in the gallery
Booking
The exhibition is free but ticketed. Please book one ticket for each person visiting.
Please book in advance selecting an available 1hr time slot on Eventbrite.
If you wish to extend your visit please feel free to book multiple time slots.
Address
Cooper Gallery
Duncan of Jordanstone College of Art & Design
University of Dundee
13 Perth Road
Dundee DD1 4HT
Access
The gallery is on two floors. First floor has ramped access and disabled toilet.
Second floor is accessible via lift and for wheelchair access via a stairclimber.
Large print versions of the exhibition information handout are available, please ask our Guides.
Due to additional safety measures please email in advance if you require lift or stairclimber access so we can arrange support.
All enquiries please contact: [email protected]
Opening Times
Tuesday – Saturday: 11am – 4pm
Sunday: Closed
*
The Trinity Buoy Wharf Drawing Prize project is led by its founding Director, Professor Anita Taylor, artist, educator, curator, founder of Drawing Projects UK and Dean of Duncan of Jordanstone College of Art and Design at the University of Dundee. The Drawing Prize project was founded in 1994 as the Rexel Derwent Open Drawing Exhibition and was known from 1996-2000 as the Cheltenham Open Drawing Exhibition. From 2001-2017 it was known as Jerwood Drawing Prize, with Jerwood Charitable Foundation the principal benefactor. Previous supporters have included Westland Nurseries, The Summerfield Charitable Trust, CHK Charities, Rootstein Hopkins Foundation and Evelyn Williams Trust.
Touring venues
All shortlisted works will be exhibited in the following venues:
• Drawing Projects UK, Trowbridge, 2 October – 31 October 2020
• Cooper Gallery, Dundee, 13 November – 19 December 2020
• Trinity Buoy Wharf, London, 9 January – 22 January 2021
• The Gallery at Arts University Bournemouth, Spring 2021 (dates TBC)
No
Yes
Cooper Gallery hosts the prestigious annual open call drawing exhibition