An excitingly eclectic group of artists, spanning from the mid-60s to the current day, make up the latest exhibition at London’s DRAF, which has been guest curated by Peckham gallery Arcadia Missa (Rózsa Farkas and Zhoe Granger). A strong female line-up dominates Ways of Living, which focuses on that popular London conversation: space.
Space–more precisely, the occupation and transformation of space–is used to great effect in this group show, the long and multi-roomed space of DRAF used to its full potential. The gallery, an old factory which sits, unexpectedly and rather Tardis-like, behind Camden High Street, feels like an interesting cross between white cube and warehouse space; sprawling, whitewashed brick walls allowing rough-and-readiness where needed, smoothed out and freshly painted walls and smaller corners allowing a more formal view also.
The many different ages, working periods and styles of artists in this exhibition—17 in total, including pairings—are presented as part of this question of shared space and there is no strict chronology. While some items sit alone, such as Sharon Hayes’s video work nestled in its own nook, other works invade the larger space, most obviously Beatrice Loft Schulz’s satin seed stipple arsehole hair plait (2016) which weaves its way through the length of the gallery, providing a vibrant and unexpected backdrop to Bernd & Hilla Becher’s Water Towers (1972–2012), an item from the David Roberts Collection itself.
In similar ways, sound and light emanates from one work to the next, Jenny Holzer’s signature blue glow thrusting out onto Schulz’s work in one middle section of the space, and the sound of Adrian Piper’s, My Calling (Card) #1 Meta Performance (1987-88) filling the space that houses two other pieces. Similar to the thread-like shapes of Schulz’s blue and yellow lines, each piece seems to weave one to the next, without the need for overly blatant connections.
‘The works often subvert or cast a spotlight on the institutionalisation of power,’ Arcadia Missa have said of the threads that run throughout the work. ‘Bluntly, we could say this show is about process-as-artwork, and many of these processes involve negotiation and agency–a reality of, or definition of, or even possibly alternative to, the term “collaboration”. We are interested in what documentation is, and how it can operate as a half-life: much of this exhibition explores how a process remains, how the work is an act in its own right, and how something so visceral can still speak to us when taken out of the specific context of its making.’
Aside from the impressive roster of older or late artists on show—amongst them Holzer, Eva Hesse and Peter Hujar—there is a fantastic nod to young creative London (and a bit of New York, we’re looking at you Juliana Huxtable), the sniffing out of which is an ongoing strength of Arcadia Missa. Holly White’s short video work The Estate Agent (2014) offers a chuckle-out-loud look at premier housing options in preparation for the apocalypse—Baskin-Robbins are a sponsor—and Anne Imhof’s Untitled (2015) is welcomingly gross (Do we want to drink the milk? Yes, I think we do).
Alongside the dynamic physical works there has also been an interesting performance angle which has engaged the younger half of the artists on show. Holly White’s Goth Tech and Juliana Huxtable DJed on opening night, where Schulz also performed, and next month Hannah Quinlan and Rosie Hastings will construct a bar with their own light box and video work, that will host performances, guest DJs and readings.
This is the 9th edition of DRAF’s Curators’ Series. ‘Ways of Living’ will show at DRAF, London until 23 July.
