Author Archives: chelseapublicprogramme

Chelsea Cafe Project #27

Mariana Loewy

But You Don’t Look Colombian

Monday 30 October –  15 December 2017

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Mariana Loewy, part of But You Don’t Look Colombian series, digital illustrations, 2017. More images can be found on the Instagram page @butyoudontlookcolombian

Café Project #27 features the work of artist Mariana Loewy, recent graduate from MA Fine Arts at Chelsea College of Arts.

The following questions were posed to the artist:

Who are the portraits of and what has been your main influence?

The portraits are of my fellow Colombian women. I decided to start this series in response to a phrase that I have come against again and again: ‘But you don’t look Colombian’. A phrase that, after engaging in conversation with them, I found is not alien to my Colombian peers, often even used within my own country. For me it speaks to wider racial preconceptions, extending beyond looks to deeper typecasts and ingrained expectations harking back to colonial notions that have evolved into commercial representations of exaggerated character types.
This series is a celebration of the diversity within the Colombian peoples and a celebration of diversity within my female peers, and a project that will extend to male portraits in the future.

These images were originally conceived as digital drawings to be disseminated on Instagram, why did you chose this platform and medium?

I decided to use Instagram because I wanted a medium that allowed as wide an access as possible. Since starting the project I’ve already found a lot of support from other Latin American women. I want to create social consciousness around the subject of stereotypes and find social media to be a perfect tool for this. I decided to use digital illustration because it allowed malleability.

How does this series relate to your previous work?

This series speaks of identity and thus connects to my previous work through intimacy. It shows how I create an intimate bond with my country through identity in the midst of a third person’s questioning. It is funny that you feel strongest about where you come from the moment someone questions it by saying you don’t seem to be from that place. Your bond is steeled through their apparent ignorance.

About the Artist

Mariana Loewy is an illustrator, writer and photographer. She explores the subjects of eroticism, intimacy, nostalgia, death, and how all of them correlate. Loewy has always been interested in human sexuality, at first its functionality, how we worked as animals on a biological level.

Through my practice I slowly left this type of work on the shelf and instead continued my search for intimacy, one that had started from a young age and as my interest in sexuality grew. As my understanding of intimacy developed I began to comprehend that it existed on different channels. It had different meanings for every person. I began to comprehend that intimacy had no timeline and no face.
My research continues to change in form as I re-encounter intimacy through every human exchange. For it morphs. Mercilessly.
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About the project The Chelsea Cafe Project is a series of displays of work by students and staff from Chelsea College of Arts. These changing displays are a chance to see some of the talent here at Chelsea from across a diverse range of disciplines. The series is curated in collaboration with CHELSEA space (opposite) as part of the Public Programme.

For more information please contact Cherie Silver at or in person at CHELSEA space. 

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RE RE- RE: | MA Curating and Collections 2016/17 Final Show


Opening night: Friday 8 September 2017, 6 – 9 pm

Saturday 9 September – Thursday 14 September, 2017

Curated by MA Curating and Collections 2016/17

Cookhouse Gallery, Chelsea College of Arts, 16 John Islip Street London, SW1P 4JU


Roy Ascott | Sarah Bodman | Tim Etchells | Victoria Lomasko | Jorge Martín García & Yukari Sakata | Polit-Sheer-Form Office | Mark Titchner

RE RE- RE: presents the possibility of an open conversation and aims to establish itself as a platform to explore the infinite potential of collectivity. This exhibition has been, from its inception, informed by Hannah Arendt’s influential book The Human Condition, published in 1958. In this work, the German philosopher examined the differentiations between labour, work and action; power, violence and strength; property and wealth. In the ever-growing state of uncertainty and helplessness that governs the current political climate, it seems to have become, again and increasingly, a pertinent theory to look at.

Arendt offers us sanctuary by affirming that true power cannot be imposed from above – it instead lies in an individual ability to come together in what she calls the ‘spaces of appearance’, a transitory public realm where people can engage in dialogue, and actualise the potential power of the pluralised individual.

The exhibition itself serves as a potential space of appearance for diverse ideas and themes. Re stands for reference and the introduction of ideas into a dialogue. Re- is a prefix that can be applied to suggest the process of renewal and repetition. It references the structural mechanics of the English language. Re: stands for reply and the introduction also calls forth the notion of replying or response in an email thread – drawing Arendt’s concept into the modern sphere.

To accompany the exhibition, a publication was conceived as a parallel platform for artists and intellectuals to reflect on Arendt’s relevance in contemporary society, through the lens of their personal practice. With a foreword by Lynton Talbot, contributors include David Gothard, Weiping Hu, Narelle Jubelin, Memo Kosemen, Sophie Loss, Fereshte Moosavi, Kata Oltai, Fabian Peake, Francesco Pedraglio, Carlos Saavedra, Cally Spooner and Nahal Tajadod.

Accompanying publication and pamphlet, designed by Molly Burdett and Léna Rigoleur

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More information can be found on the show website.

JOCELYN HERBERT: Design for Film

 Jocelyn Herbert Archive at the National Theatre:

Design for Film

Curated by MA Curating & Collections

Private View: Tuesday 14 March 2017, 6-8.30pm
Exhibition: Monday 
13 March – Friday 17 March 2017, 11am – 5pm 

Cookhouse Gallery, Chelsea College of Arts, 16 John Islip Street London, SW1P 4JU


Jocelyn Herbert, polaroid and text from journal (1968) related to the production of ‘The Whales of August’. From the Jocelyn Herbert Archive at the National Theatre JH/3/101.

For the third year, the Exhibition Studio Workshop collaborates with the National Theatre Archive to highlight the seminal work of Jocelyn Herbert (1917 – 2003) who was among the most important and innovative theatre designers in the UK since the 1960s.

This year, the exhibition focuses on Jocelyn Herbert’s design for film. Reflecting on her working processes, personal and professional experience, the following films are represented: Tony Richardson’s ‘Ned Kelly’ (1970) and ‘Hotel New Hampshire’ (1983); Karel Reisz ‘Isadora’ (1968); Lindsay Anderson’s ‘O’Lucky Man!’ (1973) and ‘The Whales of August’ (1987); and, Tony Harrison’s ‘Prometheus’ (1988).

Categorised as pre-production, production and post-production, the exhibition will showcase photographs, sketches, drawings, costumes, diaries and correspondence from the Jocelyn Herbert Archive at the National Theatre, from the time when these films were made.


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The Morgue – 04 / 06 July 2017

Private View – 1730 / 1930 – 04 July 2017

Exhibition & Autopsy conducted by




Layered Spaces is a project coming from a shared interest regarding the concept of space and especially the history and atmosphere that a certain place lived and still lives in its years and times. As MA students at Chelsea College of Arts, we were interested in the discovery of the space’s layers of where the College is now existing. Therefore, with this exhibition we aim to investigate the history of the area and how the buildings changed their functions according to the context.

How could a thin layer of white paint completely change the use of something ?

The featuring of George Perec’s Species of Space (1974) represents the genesis of the spacial concept that Layered Space investigates. In his text, the author invites us to a journey through different dimensions illustrating how many layers and forms space could inhabit.

Where you are now, was once the Royal Army Medical College’s Morgue; the place where autopsy and studies of the bodies’ anatomies were developed and researched. The post mortem instruments set is here to recall the past medical function and yet to metaphorically represent the autopsical process the exhibition is illustrating.

The approach of dissecting the different layers and the evaluation of now present hidden or evident materiality of the building leads to a chronological and narrative journey of the history of Chelsea College original environments through the concept of space: from the present (Chelsea College of Arts) moving towards (Royal Army Medical College) to the very beginning of the places’s history: the Milbank Penitentiary.

Thus the visitor, once arrived in the Morgue, is invited to place himself as an atomist and to deeply investigate the layers of the space which shows the environments’ successions and changes.

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Brief History

For most of the 19th Century the river frontage to Millbank was dominated by the huge bulk of the Millbank Penitentiary (1816-1890), the first national prison. When it opened in June 1816, the Millbank Penitentiary was the largest prison in Britain.

Forged from Scottish Collalo stone, the penitentiary was set out in a hexagonal architecture encompassing six-petal shaped wings with a chapel in the centre. This particular typology is called Panopticon and it is a reference to Panoptes who is a giant with hundred eyes and known to be an effective watchman. The Millbank Penitentiary closed in 1890 and the lengthy demolition process commenced two years later.

Millbank Penitentiary (1816-1890) original area is the group formed by the now Tate Britain (1897), the Royal Army Medical College (1907-1999), the Queen Alexandra’s Military Hospital (1905-1970’s) and the Millbank Estate (1897- 1902).

The now Tate Britain opened in 1897 as National Gallery of British Art and the remaining vacant land became home to a housing estate, the Chelsea College of Art and Design and the former Royal Army Medical School. Today, the angled street layout surrounding Tate Britain gives an idea of where the Millbank Penitentiary once stood. The Millbank Estate, in the western part of the former penitentiary site, was one of the fist large council housing estate for the working classes, and accommodated 4500 people. It is, by reason of its date and design, an important milestone in the development of local authority housing and the evolution of ‘Arts and Crafts’ principles of architecture as applied to large-scale housing projects.

In 1986, Royal Army Medical College became what today is Chelsea College of Arts.

Curators would like to thank Colonel Frank Davis, Chairman of Friends of Millbank for his help on this curatorial project. We would like to thank Rob Macintosh, curator of Museum of Military Medicine in Aldershot for the loan of the artefact.

Thanks to City of Westminster Archive Centre and Allies & Morrison Studio for the documents and maps.

Thanks to Donald Smith, director of CHELSEA space for his support and the equipment during the installation.

Artists’ Lives & Chelsea College of Arts: an audio exhibition

Curated by Yuen Yu Ho, Georgia Keeling, Deborah Lim and Xiaodeng Zhou

29 June to 28 July 2017

In a special collaboration between National Life Stories and Chelsea College of Arts, four MA Curating and Collections students curated an exhibition featuring edited sound clips from the Artists’ Lives collection of recordings. The exhibition is divided into three zones, and this blogpost presents an outline of each section. This exhibition has been generously supported by the Rootstein Hopkins Foundation.

Image 1_Fourth Floor Studio

The first section contains interviews with former students and teachers at Chelsea, who provide an introduction to the history of the school. Jock McFadyen describes the architecture of the Manresa Road campus and the different art movements represented in the studios, such as Pop Art and Systems Art. David Nash and Flavia Irwin address the curriculum and learning experience, including lecture series with artists such as Claes Oldenburg, classes in the Life Room and the Fine Art programme schedule. Anthony Fry talks about teaching painting in art schools, and Bernard Meadows highlights Henry Moore’s tenure at Chelsea and his working process of creating sculptures. Finally, Barbara Steveni introduces a paper she wrote during her teaching stint at Chelsea, which led to the development of the Artist Placement Group with John Latham – addressing where artists would go once they graduated from art school. Photos showing images of the exteriors and interiors of the building, such as the studio departments and galleries, are presented in this section as well.

Image 2_Chelsea School of Art

In the second section, the friendship between John Hoyland and Patrick Caulfield is explored in the form of two interviews. Hoyland’s recording begins with a reading of the address that he gave at Caulfield’s funeral, and goes on to honour in greater detail his friend’s life and work. This is a composite clip edited together from the recording of John Hoyland (1934-2011) interviewed by Mel Gooding, 2005-2007, National Life Stories: Artists’ Lives, C466/205 © British Library Board. You can listen to the full tracks at British Library Sounds: Tape 4 side B/track 8Tape 6 side B/track 12Tape 11 side A/track 20Tape 11 side B/track 21.

Caulfield in his interview discusses his first encounter with Hoyland, as well as his own teaching experiences. This is a composite clip edited together from the recording of Patrick Caulfield (1936-2005) interviewed by Andrew Lambirth, 1996-1998, National Life Stories: Artists’ Lives, C466/64 © British Library Board. You can listen to the full tracks at British Library Sounds: Part 6Part 12Part 13Part 14. Both recordings also provide reflections on Chelsea at the time they were both teaching.

Finally, the last section features five excerpts from an interview with Clive Phillpot, exploring his eight-year tenure as librarian at Chelsea and his acquisitions of Artists’ Books. These recordings also reference his colleagues such as Frederick Brill, Anthony Hill, Norbert Lynton and Edward Wright who inspired and supported Clive Phillpot to produce critical reviews in magazines and exhibition catalogues. Phillpot’s influence on the development of artists’ books is reflected in two recordings by Jock McFadyen, a former student of Chelsea, and artist Telfer Stokes. Accompanying the recordings is a vitrine containing Telfer Stokes’ first book, ‘Passage’, published in 1972. Clive Phillpot wrote a review of the book in a monthly column of Studio International magazine in 1973. A series of black and white photographs documenting individuals in Chelsea, taken by Dick Hart in the early ‘70s, is also presented.

Image 3_'Passage'

Material from the exhibition comes from: the Artists’ Lives section of National Life Stories courtesy of the British Library, the Special Collections section of the Chelsea College of Arts Library courtesy of Gustavo Grandal Montero, and archival images courtesy of Donald Smith.

Special thanks to Cathy Courtney, Mary Stewart, Gustavo Grandal Montero, Donald Smith, Cherie Silver for their assistance in making this exhibition possible. This exhibition is generously supported by the Rootstein Hopkins Foundation.

The curators would like to thank the late Patrick Caulfield, the late Anthony Fry, the late John Hoyland, the late Flavia Irwin, Jock McFadyen, the late Bernard Meadows, David Nash, Clive Phillpot, Barbara Steveni and Telfer Stokes for sharing their experiences through the Artists’ Lives project. Listen online to these recordings at British Library Sounds.

The exhibition runs from 29 June to 28 July 2017, and is installed at Chelsea Landing, E-Block (first floor), Chelsea College of Arts, 16 John Islip Street, Westminster, London SW1P 4JU. It is curated by Yuen Yu Ho, Georgia Keeling, Deborah Lim and Xiaodeng Zhou.

Sean Mullan | Blaupause

Private View: 18 August 2017 6 – 9 pm

Exhibition continues: 18 – 22 August 2017

Site-specific installation curated by Nadine Cordial.

Sean Mullan Side Room (14 von 18)

In Blaupause the German-Irish artist Sean Mullan explores the immeasurable zone in which an old state passes into a new. When experimenting with light, Mullan came across the photographic technology of Cyanotopie in which a chemical reaction with UV light causes the creation of Prussian Blue – a cool, greenish-blue mineral colour pigment also called Berlin Blue, whose story bears a lot of mystery. Coincidentally discovered in 1704 and widely used throughout history across various disciplines, it did not only become an important artists’ pigment in the 18th century, it also serves as an antidote to eliminate radioactivity or as a marker in pathology to diagnose defect heart cells.

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Side Room

Project space, currently residing at Chelsea College of Art
16 John Islip Street
SW1P 4JU London

Gallery Directors: Ilana Blumberg  and Mark Lungley

Chelsea Cafe Project #26

Michael Iveson

Tuesday 11 March –  5 May 2017


Michael Iveson, Untitled, 2017, Mono Print


Café Project #26 features the work of artist Michael Iveson. In his work, Iveson challenges the parameters of the spaces he works within, whether that be a room, a canvas or sheet of paper, creating physical interruptions and visual restrictions. Manipulating and finding new ways to use materials that already exist, Iveson’s work encourages the viewer to a different way of seeing and experiencing.

In this display, the three larger mono prints are based around the idea of creating an image that has a visual restriction inserted into its making. The paper onto which they are printed has a triangular grid pattern from which the stencil shapes that form the architecture are also drawn. This shapes the structure of the architecture into exaggerated forms and visual paradoxes.

In the smaller print, ‘View of a room’, pigments are used that have been leached from newsprint in a process of collage where an image is erased and remade as something else. In this case, the pigment comes from the Swiss newspaper ‘Blick’ to create an image of a windowless room, a room without a view. (Blick translates from German to English as ‘view’).

In all of these works the image is covered in a barrier of dots that creates a visual restriction and begins a process of breaking the image back down again into a grid pattern.

All of the works are mono prints on paper: ‘View of a Room’, ‘Double Whammy’, ‘Untitled’, ‘Untitled’.

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About the Artist

Michael Iveson is a London based artist who has exhibited widely in London, the UK and in select international exhibitions. For his most recent solo exhibition at the Averard Hotel in 2016, Corridor, Iveson created five impressive bodies of work displayed throughout the derelict building.

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instagram | iveson_m

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PLEASE NOTE: Chelsea Cafe opening hours: Monday – Saturday 8.45am – 3.45pm


About the project The Chelsea Cafe Project is a series of displays of work by students and staff from Chelsea College of Arts. These changing displays are a chance to see some of the talent here at Chelsea from across a diverse range of disciplines. The series is curated in collaboration with CHELSEA space (opposite) as part of the Public Programme.

For more information or to purchase an artwork please contact Cherie Silver at or in person at CHELSEA space. 

cactrust-logo-2009-copy           UAL_Lockup_Chelsea_BLACK