Magazine: Issue 4
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Copeland Preview: Copeland Book Market
Copeland Book Market Over the weekend of the 24th – 26th June, Peckham will be the place to be for book and magazine lovers. Hosted by Son Gallery, there will be something for everyone at the Copeland Book Market – appealing to the architect, designer, critic, artist, curator and all-round creative enthusiast in you. If that isn’t enough, there will be talks and events taking place throughout the day in the gallery, a pop-up café and bar in the yard, and music, performances and club nights in the Bussey Building to end each day. So much to keep you busy, you needn’t leave the site for the entire weekend. The opening night coincides with the SLAM LAST Fridays, so the rest of Peckham will be buzzing with activity. The evening will finish off with the popular TOP NICE club night. Even if it’s raining there’s no excuse to bail as architect Oleg Bilenchuk has designed and built a series of awnings to cover the passageway, to make sure the publishers don’t have to pack up shop the minute the weather turns on them. There’s a really fantastic list of artists and publishers taking part, but to name a few to look out for: Preston is my Paris, BLOCK, Bedford Press, Arcadia Missa, Jimmy Merris: Downturn Press, and …. Art Licks (sorry, shameful self-promotion there). So if it’s for the books, magazine, events, coffee, music, dancing or just general curiosity, the Copeland Book Market is a not to miss. Written by Holly Willats Full list of publishers / artists: ABC Artists’ Books Cooperative Absalom & Bardsley Arcadia Missa Art Licks Bedford Press BLOCK Brickhouse Fourteen-Nineteen Bookshop Friary Road House Editions Hannah Barry Gallery Jimmy Merris: Downturn Press Libraryman MeøUs Editions One Step Forward Publishing P.E.A.R. We’re All Friends Here Preston is my Paris Steidl+Mack WassinkLundgren White Review Read more on Son Gallery’s website. Launch: Friday 24 June, 6pm - LATE 24 June - 26 June 2011, Daily 12 – 6pm Son Gallery, Unit 9C, Copeland Industrial Park, Peckham Rye, London, SE15 3SN Oleg Bilenchuk, Architect's Impression, Son Gallery Passageway
Review: The Museum of Melancholy No 82
Deptford Review: The Museum of Melancholy - number82 www.number82.org number82 is a relatively new enterprise in Deptford, and one of the South London Art Map’s newest additions. More project base than gallery, number82 have already played host to screenings, installations and more that a few community based projects. Their current venture, The Museum of Melancholy ‘focuses on the social, cultural and mercantile history of both the local area and beyond and includes a growing collection of objects and related ephemera’. A deliberately vague description for a project which I feel has got very specific intentions to reveal bad museum practice. In its current manifestation the Museum of Melancholy comprises Ikea style plans and scale model of the proposed museum and offices boasting conference rooms, ‘ideas areas’ and a balcony that if the scale model were accurate would see the 2D figurine inevitably plunge to her untimely death. The collection of ephemera is as uninspiring as the proposed architecture: So far trophies (no doubt originally awarded to most deserving recipients) emblazoned with ‘most injured player’ and ‘Division 5 – Runners up’ – depressing accolades indeed. For me this all points to our willingness to reward averageness out of fear of offending. Generally this is a fine way of promoting mediocrity and removes the need to excel. Along a similar vain the architectural plans point to an accepted order of things, as well as an abject feeling of lack of control over our built environment. Museums should pay homage to the spectacular, the unique, and the museum with which it is housed should aim through every detail to accentuate the uniqueness of it’s collection. A flat pack museum should never be an option. I’ll be interested to see where this project leads and where the public are willing to steer it. Rachel Price
Venue Spotlight: Alma Enterprises
Venue Spotlight by Jose da Silva Alma Enterprises. SLAM: Q — When did Alma Enterpirses open and what are the gallery’s aims and intentions? 

We opened on Glasshill Street in 2009 after four years on Vyner Street. Our aim for the artists who show in the Southwark gallery is to give them the opportunity to create a singular piece of site specific work after a lengthy engagement with the space and its location – a process that is not completely dissimilar to a residency. Alma Enterprises: A — Our previous space at 1 Vyner Street focussed mainly on showing and developing the work of artists who utilise performance and video in their work. Highlights from the previous space include site specific performances by Brian Catling, Hayley Newman, Thomas Altheimer, Mark Wayman and Kim Noble. We also showed new video work by artists including Laura Parnes, Jennet Thomas, Paul Tarrago, Allsopp&Weir and in large scale group shows such as ‘One must be so careful these days’. SLAM: Q — Why was the gallery set up in its current location, and what are the benefits and limitations of having such a small exhibiting space? Alma Enterprises A — Glasshill Street is disarmingly central and is easily reachable by many transport hubs. The saturation by galleries in the area in Bethnal Green where we previously were had become frustrating; so a change of location was inevitable and we had been interested for some time in the area between South Bank and Elephant and Castle as a site for a gallery. In fact we nearly set up our original space at Elephant and Castle and it was only due to the late offer of a space on Vyner Street that we changed our plans. Working with a considerably smaller space was initially a major challenge, but has enabled us to hone the exhibitions by concentrating on solo shows and from a curatorial perspective we are interested in the limits of the smaller space and have focused on encouraging artists to push their practice by experimenting with the way they work with the space. SLAM: Q — What have been the highlights of the gallery’s programme so far? Alma Enterprises: A— Our inaugural exhibition by Neil Hedger and his installation of a large and immovable wax sculpture showed us the possibilities of the small gallery space. 
Alex Baggaley’s paintings were a great reminder in documentary form of our previous engagement of championing performance art and likewise Rod Dickinson’s ‘Who, What, Where, When, Why and How’ transformed the space once again to allow us to show his film. Suzanne Triester’s Military Training Base transformed the gallery into a temporary showroom presenting designs and ideas for a hypothetical military training base of the future. And finally David Price spent two months resident in the space creating a complex wall drawing that covered all the gallery walls for his show ‘Horror Vacui’.
 
 SLAM: Q — What is coming up next at Alma Enterprises?
 Alma Enterprises: A — We are currently expanding the space (in effect doubling the size by creating a new gallery space adjacent to the current one). This will be completed in time for our next exhibition by Richard Grayson which will incorporate both spaces. Having the extra space will also enable us to exhibit a group show of gallery artists we have been talking about for several years.

 SLAM: Q — What are the best things about having a gallery in south London?
 Alma Enterprises: A — The local historical and contemporary architecture, the development of Elephant and Castle and even the construction of the Shard make it a dynamic place to be. It's also in close vicinity to major museums and galleries. We believe that South London is the next big place for the contemporary art scene and we are happy to be a part of it. 'MTB [Military Training Base]' Suzanne Treister 'I no longer know what the money is' Katie Cuddon 'Horror Vacui' David M
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