Spirit of Hackney Wick

Spirit of Hackney wick
July 23rd, Stour Space, London

A night of artist moving image art, organised by Rebecca Feiner.





I showed the work 'Classic',
which was first shown at the exhibition Driven which I curated in 2006 at the legendary Fieldgate Gallery.
This work has been best described as 'car porn'

TRANSZENDENZ INC. Catalogue Launch, Auto Centre Berlin

'enjoy paradise' by Sarah Sparkes for the CCE (Andrew Cooper, Dean Kenning, Sarah Sparkes)

Part of the collaborative work made with the Cultural Capital Exchange can be seen at the Auto Centre in Berlin from:

July 16th - 31st

opening hours Thurs-Sat 4-6pm

TRANSZENDENZ INC
Approach a piece of your present limit and try to pass it

Catalogue Release

AUTOCENTRE
curated by Heike Kelter + René Luckhardt

with: Kathryn Andrews, Liu Anping, Robin Archer (House of Harlot), Bara,
Quirin Bäumler, Tjorg Douglas Beer, Olivia Berckemeyer, Hanna Mari Blencke,
Mike Bouchet, Pontus Carle, CCE (Cultural Capital Exchange: Sarah Sparkes, Andrew Cooper,
Dean Kenning), Ben Cotrell, Robert Crotla, Matthias Dornfeld, Anna Fasshauer,
Kerstin von Gabain, Gabo, Andrew Gilbert, Mariola Groener, Axel Heil, Thilo Heinzmann,
Andreas Hofer, Valeria Heisenberg, Uwe Henneken, Christian Hoischen, Phillipa Horan,
Axel Huber, Marc Hulson, Marcel Hüppauff, Franziska Hufnagel, John Isaacs,
Heike Kelter, Dean Kenning, Martin Kippenberger, Erwin Kneihsl, Gabriel Kondratiuk,
Rodney LaTourelle, Joep van Liefland, Chris Lipomi, Gavin Lockheart, René Luckhardt,
Roman März, Bernhard Martin, Hans-Jörg Mayer, Joe Neave, Aribert von Ostrowski,
Francis Picabia, Esther Planas, Katrin Plavcak, Janne Raisanen, Robert Rauschenberg,
Berthold Reiß, Anselm Reyle, Stefan Rink, Anne Roessner, Hank Schmidt in der Beek,
Markus Selg, Astrid Sourkova, Friedrich Schröder-Sonnenstern,Thomas Schroeren,
Andreas Templin, Katrin Thomas, Henry Vincent, Milena Vrtalova, Felix Weber,
Dominic Wood, Ulrich Wulff, Iskender Yediler, Philipp Zaiser, Joanna Zawodzinska, Thomas Zipp

184 Seiten, Hardcover im SchuberTextbeiträgen von: Veit Loers, Prof. Dr. Horst Luckhardt, Pfarrer Helmut A. Müller, Berthold Reiß und Dr. A. C. Uhl

Comrades

Screening of 'Comrades' at St John on Bethnal Green



COMRADES
A Lanternist's Account of the Tolpuddle Martyrs
Dir. Bill Douglas *“A poetic and painterly work which was also a vigorous challenge to Thatcherism”

I've selected a film for Phantasmagloria Film events and will introducing be screening it on:


SATURDAY JULY 17th
8.00pm – 11.00pm
(Doors and Real Ale Bar open at 7.00)
Entrance £4 or £2concessions
Eight years in the making, released in 1987 and rarely screened since, 'Comrades' tells the story of the Tolpuddle Martyrs, six Dorset agricultural workers who, in 1834, were sentenced to transportation to Australia for forming a union protesting against unlivable cuts in their wages. The Martyrs cause was taken up by trade unions across the country, who mounted campaigns for their release. Against all odds, the Martyrs were pardoned. The victory became a symbol to a working-class movement of the power of working together to instigate changes in economic, social and political structures.
'Comrades' visual beauty is complimented by the narrative use of many early optical devises from Bill Douglas's own collection. These touch, in a variety of ways, on the history of pre-cinema and the political role that this visual media has played throughout history.
The wealthy and titled are played by well known actors of the day whilst the film's main working class characters are played by then unknowns.
**"We only have to love one another to know what we must do."

It is recommended that you bring a cushion as the pews can get rather hard during a three hour film!
St John on Bethnal Green, 200 Cambridge Heath Road - Tube: Bethnal Green
PhantasmaGloria is a community arts project of the church of St John on Bethnal Green; St John on Bethnal Green is a registered charity:

*Sheila RowBotham on Comrades re-release; **line from the film Comrades

SOLD OUT

I have a 'Never Afraid' painting at SOLD OUT Elastic Residence, 22 Parfett Street, London, E1 1

2 July - 18 July 2010

Opening Thursday, July 1st,

6 to 10 pm

'Never Afraid 7 - Roman Way' paint and glitter on wall paperSarah Sparkes 2009

Sold Out brings together a group of internationally renowned and emerging artists to raise funds for Elastic Residence and The Palestinian Children’s Relief Fund. Opening night performances include Martin Creed and His Band, whose music has been described as willful, wild and pushing the extremes of noise and silence. Among the internationally renowned artists showing, Beat Streuli provides an image from his Brussels series, characteristic of his street portraiture that captures the extraordinariness of the everyday, urban experience. From the well-known UK contributors, Daisy Delaney donates work that specifically responds to Sold Out, and subverts familiar images to deliver unexpected messages. The event closes with a performance by Gina Birch & Hayley Newman of the Gluts, concerned with the effects of over-consumption, capitalism and climate change. Artists donating work to the exhibition include Beat Streuli, Lee Maelzer, Yvonne Buchheim, Marie Le Mounier, Marc Vaulbert de Chantilly, Paul Sakoilsky, Daisy Delaney, Calum F Kerr, Cathy Lomax, Dolores Sanchez Calvo, Carla Cescon, Shiva Lynn Burgos, Andrew Hurle, Brook Andrew, Laura Oldfield Ford, Linda Persson, Rosa Almeida, Sayshun Jay, Marcus Bering, Isabelle Francis, Jan Savage, Sarah Sparkes, Tod Hanson, Sarah Doyle, Jessica Voorsanger, Rosemarie McGoldrick, Meinbert Gozewijn Van Soest, Richard Ducker, Paula Roush, Peter Bobby, Cyril Lepetit, Deej Fabyc, Simeon Nelson, Sean Edwards, David Blandy, John Hillson, Dave Hoare, Simona Bonomo, the Gluts, & Martin Creed & his BandWork will be for sale by auction on the basis of sealed bids that can be placed at any point during the exhibition until the closing event on July 18th. On this last day, all bids will be opened and the ‘winners’ informed.Dates:1st July 2010: Opening night performances including Martin Creed & his Band, 6-10pm.The exhibition is then open every Saturday and Sunday until 18th July, 1pm to 6 pm, and by appointment (020 72471375).18th July 2010: Closing event, 2pm-6pm Gina Birch & Hayley Newman of the Gluts will be presenting a Gluts(y) Performance at about 2.30pm.Sealed bids will be opened at 4pm. Monies raised will go towards the ongoing development of the Elastic Residence programme, an artist run space aimed at giving artists direct access to exhibition opportunities. 20% of funds raised will be donated to The Palestinian Children’s Relief Fund, a non-political, non-profit organization working to address the medical and humanitarian needs of Palestinian children.PLEASE SEE WEBSITE FOR CATALOGUE AND BIDDING FORMwebsite: http://www.sarahsparkes.com/news/2010/exhibitions@elastic.org.ukemail: info@elastic.org.uk

Chutney 4

CHUTNEY PRESERVES 4 - THE ANIMAL FAIR

I made a painting for this years Chutney Preserves. Its based on Sidney Sheperds painting, 'The Camberwell fair' 1855

SUNDAY JUNE 27th - 1-7pmCAMBERWELL GREEN, CAMBERWELL ROAD, SE5

painting by Sarah Sparkes after Sidney Shepherd's painting 'Camberwelll Fair' c1850

Doctor Moreau meets Doctor Dolittle on Animal Farm!

The Chutney Preserves return to the sacred site of Camberwell Green to host an unforgettable closing event for the Camberwell Arts festival.From 1279 until 1855 a fayre was held on Camberwell Green, one of the many attractions was a menagerie of wild animals captured from distant lands. In homage to the beasts of the ancient Camberwell Fayre, artists will create a fair and foul enclosure of luxurious and curious beasts, transforming the Green into a safari park for human animals and their keepers, with beastly goings on, sideshows and a program of performance in ‘the big top’.

Linda Barck, C.O.T.H. (Cult of the Harvester - Simon Neville and Sarah Sparkes), Helene Corr, Jo David, Daisy Delaney, Sarah Doyle, Rebecca Feiner, Charlie Fox and the Urban Bear Research Centre, Mikey Georgeson, Rachael House, Magnus Irvin, Derek Jordan, Miyuki Kasahara, Marq Kearey, Calum F Kerr, Lady Lucy and Drawing Exchange, Daniel Lehan, Joanna McCormick & Dido Hallett,Jessica Marlowe, Vanessa Mitter, Slow Maurice, Frog Morris, Simon Ould, Devyani Parmar 'PEPOMO', Raul Pina, Paul Sakoilsky, Liam Scully, Vanessa Scully, Libby Shearon, cApStAn StRiNg, Geraldine Swayne, Jacqueline Utley, Ricarda Vidal and the animals of BoSs farm, Julian Wakeling, Sinead Wheeler, Ben Woodeson, a goat and many others.

organised by Sarah Sparkeshttp://www.chutneypreserves.blogspot.com/ http://www.sarahsparkes.com/chutney.htmlJOIN FB group

Chutney Preserves is supported by Space Station Sixty-five and Camberwell Artshttp://www.spacestationsixtyfive.com/

http://www.camberwellarts.org.uk/

Look Harder

Look Harder



'Solid' edition of 5 - placed around the lake - all were stolen, Sarah Sparkes, 2010

Site specific and performance art in and around Lakeside Cafe and the lake in Alexandra Palace Park.


Saturday 29th May till Sunday 6th June daily 10am - 5.30pm.Private view Saturday 29th May 5pm till 8pm.



For work by: Elaina Arkeooll, Ol`i Bonzanigo, Judith Brocklehurst, Hazel Brocklehurst, Sian Collins, Gail Burton, Sakara Dawson-Marsh, Damian Ellis, Tim Flitcroft, Phillip Goodman, Russell Hodgson, Lisa Jones, Sarah Jones, Calum F. Kerr, Kylie McManus, Shelley Malcolm, Marco, Janitzio Moreno, Mother Courage with Anna Smith, Devyani Parmar, Tony Peakall, Gayna Pelham, Mia Pfiefer, Della Rees, Sarah Sparkes, Beth Williams.



Organised by re:kindle public arts 07778789414 www. rekindlepublicarts.org/

ART OF MURDER

Seminar in Visual Culture 2010: The Art of Murder
'Never Afraid at Crimes Town'

Institute of Germanic & Romance Studies, Room ST 274(School of Advanced Study, Stewart House, 32 Russell Square, WC1B 5DN London)Wednesday 26 May 2010, 6.30pm – 8.00pm

Sarah Sparkes, “Never Afraid – Murder at Crimes Town”A illuminated sign with the words NEVER AFRAID spelt out in fairy lights and pulsating like a slow heartbeat hung over the threshold of a forbidding looking metal door. This sign was in fact an artwork created for my recent solo exhibition 'Never Afraid' at the North London gallery 'Crimes Town’. The sign was both a welcome and a challenge to enter and to explore an exhibition that questioned our fears and superstitions. Part of the work included an installation with a coffin acting as a focal point in place of a TV or fireplace in a domestic living room. I had also created a series of cursed artworks, which visitors could have free but which came with a curse laid on the work by myself and promising 'misfortune, ill health and an untimely end’. The show was going well, it received a good review and lots of people visited and were responding to the questions that the work was meant to provoke - the superstitions we cling to to ward off death and our living fear of this great unknown. And then, half way through the exhibition a young man was murdered outside the gallery’s main entrance. Almost overnight the entrance was turned into a shrine, which grew daily in scale and content. The decision was made by the gallery directors to take down the 'Never Afraid' sign from above this 'real' ritual site and to limit access to the gallery to a side door and by appointment only. Effectively the art was safely isolated and sealed off from the real world, a doorway sealed out of fear or respect for a greater force?Lisa Downing, “Monochrome Mirror: Representing Dennis Nilsen”Perhaps more than any other British serial killer except Jack the Ripper, Dennis Nilsen, a homosexual necrophile strangler, who killed at least 15 young men between 1978 and 1983 in London, has caught the imagination of artists and writers. This paper will explore a series of aesthetic representations of Nilsen, including Dieter Rossi's portrait in oils "Dennis Nilsen" (1993), physical theatre company DV8’s performance of David Hinton’s "Dead Dreams of Monochrome Men" (1989), and the postmodern gothic novel "Exquisite Corpse" (1996) by Poppy Z. Brite. Alongside these cultural products, I will consider extracts from Nilsen's journal and his own sketches. My paper will pursue the argument that the representations created by the murderer, and those created OF the murderer, exist within a continuum. In his journals, Nilsen describes in detail his wishful identification with the corpses he created on the one hand, and his attempts to render them aesthetically pleasing as objects on the other (positioning them, washing them, dressing them, photographing them, drawing them). In the artistic/ literary representations discussed, the figure of Nilsen becomes the art object that is beheld. The represented, fictionalized, mediated Nilsen can be seen to function for the viewer/ reader much as the corpses functioned for Nilsen – as a mirror to an alterity tamed by the processes of (violent, aesthetic) fixing. Nilsen fascinates the artists who portray him, I suggest, because the idea that his project resembles a more extreme, more ethically troubling, version of their own is one deeply ingrained in our cultural imaginary.
For more info on the Seminar in Visual Culture 2010: The Art of Murder see our website: http://igrs.sas.ac.uk/index.php?id=434