William Kentridge’s breath-taking animations take the complex history of South Africa as its focus, and particularly the legacy of apartheid. Often contrasting the daily life of an individual with major historical events, Kentridge’s films do not set out to tell us what to think, but instead evoke a range of conflicting emotions that align us at one and the same time with the victims and the perpetrators of injustice.

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The films are often humourous and absurdist, reflecting on the insanity of an apartheid policy presented as a rational system of government. His amazing range of animation techniques include the use of charcoal drawings, which are erased and re-worked for each individual frame so as to make a full-length film, as well as shadow puppets and cut-out silhouettes.

The animations sometimes also incorporate documentary photographs and footage, set alongside cartoon figures, underlining the farce-like nature that even the historic and tragic events of South Africa can assume.

14 February 2004

The focus of Yokomizo’s photography and video-work is the gap between self and other.

In the Stranger series, each photograph shows someone looking out through a window. The artist has never met any of these people. She selected their addresses and then wrote a letter asking if they would stand at a particular window, alone, with the room lights on, at a specific time of night so that she could photograph them from the street. The artist simply promised to be there waiting, at a particular time. The encounter would last for ten minutes, with eye-to-eye contact, but then nothing else was to be exchanged.

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Shizuka Yokomizo was born in Tokyo and lives and works in London. Other works in the exhibition include Untitled (Hitorigoto), an untranslatable Japanese word that describes the experience of inner thought and dialogue.

Forever (and Again) is a two-screen video projection, juxtaposing four elderly women playing the same Chopin Waltz on their pianos, with scenes of their homes and gardens. Yokomizo has said of this work, “the music is a concrete marking of time, it gives tangible form to that which is constantly moving through us, just as old age is an accumulation of traces of time on our body”.

Click here for information about the publication Shizuka Yokomizo: Distance

Related Events

Gallery talk
29 January, 2004, 7pm
Shizuka Yokomizo in conversation with Tom Trevor


6 December 2003

At Spacex, in the context of the Middle England Series, Oladélé Bamgboyé presents a traditional Devonshire cob house, built from straw bales, thatched and rendered in mud, which incorporates a newly-commissioned video-work using locally-sourced archive footage of Devon and Nigeria.

A second aspect of the installation re-contextualises the video-work in a museological ‘white cube’ setting. Bamgboyé’s work has been included in numerous major international exhibitions.

Oladélé Bamgboyé was born in Odo-Eku, Nigeria, in 1963, and moved to the UK when he was 10 years-old. In the 1990s his return to Nigeria led to a series of video-works which focussed on his own relationship with Africa and existence in Europe.

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He describes the aim of his working practice as being “ to challenge the assumed knowledge that perpetuates the continual denial of advancements in Africa, both past and present, in relation to the West… To watch almost anything on television about Africa in the West is to experience varying degrees of voyeurism. We are not presented with anything other than a tragic account of disasters and conflicts, man-made and natural. Africa continues to be naturalized, a poor relation to the developed world”.

Recent one-person exhibitions include Witte de With, Rotterdam, and Helsinki City Art Museum. This is his first solo exhibition in England.

Related Events

The Big Draw
18 October 2003
Artist Ruth Oakley leads drawing workshops relating to Introspect.

Guided walk
30 October 2003
Raimi Gbadamosi, author of The Dreamers’ Perambulator and assistant curator of Introspect, leads a guided walk through Exeter.

Gallery talk
13 November 2003
Cob Construction with Jackie Abey and Jill Smallcombe
Oladélé Bamgboyé’s Devonshire ‘mud-hut’ was rendered in cob by Jackie Abey and Jill Smallcombe. Cob is a mixture of sub-soil, straw and water. This event is a chance to find out more about cob building techniques traditional to Devon and much of West Africa.

1 October 2003


What you see is where you’re at is a film by the Glasgow-based artist, Luke Fowler.

The documentary is based on the ‘Kingsley Hall’ experiment (Philadelphia Association 1965-1969), and the ‘anti-psychiatry’ initiatives of the Scottish psychoanalyst and 60’s writer R.D. Laing. This social experiment consisted in breaking down the established norms of ‘treatment’ for people under-going severe mental distress or breakdown. In Kingsley Hall the pre-conceived hierarchy of doctor-patient relations was dismantled, henceforth no one was encouraged to act out the roles of ‘doctors’ or ‘patients’.

The film is a collage of ‘found’ and archived sound/film recordings, providing an insight into the experiences of the residents at Kingsley Hall, re-appraising its relevance to our contemporary society of oppressive psychiatry and multi-national pharmaceutical companies.

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What you see is where you’re at is presented courtesy of The Modern Institute. It is presented as part of the Free Association series of exhibitions and projects at Spacex, exploring the relationship of art and psychoanalysis.

Related Events

Anti-Psychiatry Now
Gallery talk
18 September 2003
Anti-Psychiatry Now

LEON REDLER, writer, psychotherapist and ex-resident of Kingsley Hall
in conversation with

JEREMY HOLMES, writer, psychotherapist and psychiatrist


26 July 2003

A longboard art exhibition

Longboards designed by: Maia and Damien Hirst, Jamie Hewlett (Gorillaz and Tank Girl creator), Banksy, Adrenalin Magazine, Laird Hamilton (Hawaii), Paul Kaye (Dennis Pennis, 2000 Acres of Sky), A (UK pop-punk maestros), David Carson (US) (‘Surf Culture’ designer) Surfers Against Sewage and Designers Republic / Aphex Twin.

With WAVE by Beth Derbyshire
A powerful film of a permanent wave which never breaks. The looped footage and soundtrack show a huge wave held continuously in the moment before it breaks, on a constantly rolling crest. A mesmerising image of an immense natural phenomena.

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Longboards: some might say that they are the king of all surfboards. With a life spanning over several decades, there’s no denying that they paved the way for past generations of riders and set the progression of the beloved ocean sport in endless motion. Longboards are engrained in the ethos of surfing.

Surfers Against Sewage and Oxbow UK are proud to present ‘Longlife’ an artistic exhibition of Longboard designs, created by some of today’s upfront creative minds and inspired by the threat of coastal pollution. Longlife is a landmark moment in the history of board art.

Ten artists have donated their talents and support to this cause. The exhibition has travelled all over the UK, finishing in Newquay, the true home of UK surfing. At this event, each of the boards will be put up for auction, with all proceeds going to Surfers Against Sewage.

26 July 2003

Ariana, a new filmwork by Marine Hugonnier, investigates the relationship between landscape and history.

In August and September 2002, Marine Hugonnier travelled to Afghanistan to research and film Ariana. Ariana details a journey to the capital Kabul and to the Pandjshêr Valley, located in the north east of the country. Afghanistan had experienced 23 years of war, with the invasion and collapse of Soviet communism in the 1980s and more recently the fundamentalism of the Taliban. The country now faces a new political ideology in the emerging democracy. Kabul bears testimony to the presence of all three political systems, seen in the traces of war inscribed in the demolished buildings and broken infrastructure, and in the current slow reconstruction of the city.

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The Pandjshêr Valley however, pictured in the second part of the film, remains a symbol of independence and resistance as it was invaded by neither communism nor fundamentalism and even today remains a state within a state.

The Spacex presentation of Ariana brings together, for the first time, both elements of the project; the photographs first shown at MW projects and the film shown at Chisenhale Gallery in April – May 2003.

24 May 2003