Arts Council England


16 projects in 16 weeks




Allison Katz

1 – 5 May 2018

at Grundy Art Gallery, Blackpool
open daily 10am – 5pm
with exhibition event on
Saturday 5 May,  3 – 5pm

Allison Katz, Green Closet, 2018

Representing the artist’s diverse practice and her refusal to see painting as an independent or privileged mode of production, Allison Katz presents a trilogy of works comprising painting, sculpture and print.

Acting in the spirit of continuity that is at the heart of the fig-futures project, Katz’s exhibition picks up where her presentation for fig-2 left off. The painting Tailpiece, originally shown as part of fig-2 at the ICA Studio, London in 2015, is re-presented here; acting as a link between years and locations. While literally depicting a car, the painting also metaphorically suggests a journey, one that is both physical (the distance between the two locations) and contextual (the painting inevitably reads differently in this new setting).

As a further example of the idea of continuity, Dad Sand 1 Plate 1, links to another of Katz’s paintings which was also shown in fig-2. Seen initially in this earlier work, the central image of the seated figure is now referenced and recreated as a ceramic plate, emphasising the mobility of a motif not only to travel across time and locations, but also across mediums.

Completing the trilogy is a new poster work. The starting point for this print, the image of a woman bathing in a mountain hot spring, was picked up by the artist on her recent travels in Japan. Re-used and re-contextualised in this new work, the ‘black pool’ in which the woman bathes acts a visual and linguistic pun drawing our attention to the name of the town in which the Grundy is located.

Favoured in the 17th century as a sympathetic colour against which to view paintings, Katz has chosen to paint the wall a shade of green that closely matches the damask found in ‘The Green Closet’ at Ham House, Richmond-upon-Thames,a room that was modelled after Charles I’s private exhibition space at Whitehall Palace. Taking place in the smallest of Grundy’s exhibition spaces, this use of colour seeks to transmit and make reference to the intimacy of this historical space. Signalling an outdated trend in exhibition design, the choice to use a coloured backdrop also directly challenges current notions of taste where white gallery walls are frequently favoured.

Allison Katz fig-futures 1/16 installation shots

Allison Katz (b.1980, Montreal, Canada), has exhibited widely across the UK and internationally. Her solo exhibition Diary w/o Dates, opened at Oakville Galleries, Oakville, Canada this past winter, and will travel to The List Centre at MIT in Boston, US, later this May. Recent solo exhibitions also include POSTERS, Billedrommet, Tønsberg, Norway and We boil at different degrees, The Approach, London. Her recent group exhibitions include That Continuous Thing, Tate St. Ives and Sputterances, Metro Pictures, New York. She is represented by The Approach, London, Gio Marconi, Milan and Antenna Space, Shanghai.

View Allison Katz's fig-2 exhibition here


Amy Stephens

8 – 12 May 2018

at Grundy Art Gallery, Blackpool
open daily 10am – 5pm
with exhibition event on
Saturday 12 May,  3 – 5pm


Amy Stephens, Mini landscape for..., 2018

Exploring a minimalist approach to sculpture, Amy Stephens reclaims objects and imagery from the native landscape. Predominantly intuitive, her assemblages range from wood, plaster, metal and Perspex that are suggestive of urban living. Materials are carefully sourced, chosen and collected to create a precise balance and specific narrative. Each work then evolves through a series of stages, with successive layers gaining density until the final form emerges.

The artist’s process relies on the appropriation of existing materials from previous artworks forcing the work to often resist the finite. This spirit of continuity is at the heart of the fig-futures project, which sees artists re-imagining existing works or formulating new ones for the contexts that the Grundy and Blackpool provide.

For her fig-futures presentation, a rock entitled ‘something. anything. everything’ draws from the last artwork made for the artist’s fig-2 exhibition. This physical object bound with fluorescent tape, makes reference to the Blackpool Illuminations. Within the space, site specific structures become activated by architectural steel frames, photographs and objects from around the town. Mini abstract landscapes of local historical sites are depicted using Perspex and Polaroids. Throughout her work, there is a continuous movement from sculpture to architecture and back to sculpture.


Amy Stephens (b.1981, London) has exhibited widely both nationally and internationally. Her upcoming solo exhibitions include, UPFOR Gallery, Portland, Oregon and William Benington Gallery, London. Recent exhibitions include, Synergia, The Galería de Arte Mexicano, Mexico and Retain Reframe, Art Seen, Nicosia. Her work is held in a number of Public and Private Collections including; David Ross Foundation, The Rothschild Collection, Soho House Collection, Villa Lena Foundation and the Zabludowicz Collection. She is represented by Maria Stathi Art Seen, Nicosia, Oonagh Young Gallery, Dublin and William Benington Gallery, London.

View Amy Stephen's fig-2 exhibition here


Ruth Beale

15 – 19 May 2018

at Grundy Art Gallery, Blackpool
open daily 10am – 5pm
with exhibition events on
Saturday 19 May,  1 – 3pm and 3 – 5pm



Found fabric by Golden Realm Tex, 2018
Ruth Beale week 3/16

Ruth Beale’s work considers the evocative relationships between culture, governance, social discourse and representation. Her practice includes performance, drawing, installations, film and socially-engaged processes. For the Grundy’s Rotunda Gallery, Beale has created a site-specific installation comprising a frieze of large-scale works on paper and a collection of hand-stitched fabric banners.

Visually quoting a range of print and online media from the 1900s to the present day, Beale’s new works on paper celebrate the British satirical tradition to critique current news events. An homage to the skill and wit of cartoonists, her multi-layered and dynamic visual effect echoes the overwhelming and disorientating experience generated by our 24hour news-feed culture. Cartoons reflecting on fake news, data harvesting, pollution, global warming, war in Syria, the refugee crisis, Brexit negotiations, issues of privilege, the privatisation of public services, are layered with anatomical and bodily drawings - hearts, guts, shoulders and tiny birthing women - advancing across the paper.

Alongside these works, Beale has also created a collection of new ‘blank’ banners which take their inspiration from individual signs photographed at protests and rallies; from Justice for Grenfell to Trade Union marches. Devoid of any text, the works resist easy identification; instead they allow the viewer to imagine or project onto them the cause that they think the banners represent.

On the last day of the exhibition, a drop-in badge making workshop will take place at Blackpool Central Library. Here participants will have the opportunity to generate their own statements and slogans by responding to a series of questions set by the artist such as, 'What do you want to say?’ and ‘What do you support?’. For more information visit the Grundy website.

Ruth Beale CV

Ruth Beale (b. Cambridge), has exhibited widely across the UK and internationally. Her recent solo projects include School for Commoners at the Museum of London, Who Owns It? Can I hold it?, and Cabaret Voltaire, Zurich. Her collaborative projects include The Alternative School of Economics with Amy Feneck and Performance as Publishing with Nicole Bachmann. The Alternative School of Economics is currently exhibiting as part of The Britishness Project at Firstsite, Colchester, and will be presenting a Phytology Billboard with Nomad Projects, London, in September.

View Ruth Beale's fig-2 exhibition here


Rebecca Birch

22 – 26 May 2018

at Grundy Art Gallery, Blackpool
open daily 10am – 5pm
with exhibition event on
Saturday 26 May,  3 – 5pm

Rebecca Birch Glass blowing, Fylde , 2017, video still, photography Emma Dalesman

The last of four fig-futures exhibitions at the Grundy Art Gallery, Rebecca Birch presents The 'Yellowing, part 1', a site-specific installation that invites the viewer to the telling of a story about material, environmental and social surfaces – paper, textile, and rock; Norwegian forest floors, the fields of the Fylde; a kitchen table, a shared song and a knitting circle. The work investigates the politics of the surface: how we order, protect and privilege some surfaces over others, so as to obscure the instability that frequently lies beneath.

For this project, Birch’s own video work is brought into dialogue with a range of natural and archival objects including a selection of original drawings by Patti Mayor from the Grundy’s Collection, and a Harris Tweed sail made specifically for the Rotunda Gallery ceiling. A large table-top conceals the central void between the Grundy’s foyer and first floor gallery. On this table, guided by the audio narration, and supported by the host present in the space, the audience are invited to take part in the unfolding of the installation.

'The Yellowing, part 1' illustrates Birch’s on-going practice of gathering histories and narratives in every new location she engages with. For fig-futures the artist has produced a multi-layered, interactive installation that gives a platform, both physically and metaphorically, to a range of voices whose stories cross time and place.


Rebecca Birch (b.1978) has exhibited widely both nationally and internationally. Her solo exhibitions include; Lichen hunting on the west coast, fig-2 at ICA London, and the days run away, commissioned by Camden Arts Centre and Whitescreen at The Agency Gallery. Her group exhibitions include Matt’s Gallery at Black Rock, TestRun at Modern Art Oxford, Multiplexing at LUX & PeckhamPlex, London. She is the recipient of a number of residencies and awards including, CCA Creative Lab Residency, Glasgow and LUX Associate Artists Programme.

View Rebecca Birch's fig-2 exhibition here


Eva Rothschild & Joe Moran

11 – 15 September 2018

at Kettle's Yard, University of Cambridge
open daily 11am – 5pm
with preview
Monday 10 September 6 – 8pm

Joe Moran, Singular, performed within Eva Rothschild, Alternative to Power exhibition, The New Art Gallery, Walsall. Dancers, Katye Coe and Hilary Stainsby. Image courtesy of the artists.

To mark the opening of fig-futures at Kettle's Yard, University of Cambridge, Eva Rothschild and Joe Moran present A Setup, first commissioned by Block Universe and fig-2 in 2015.

A number of structures by Rothschild will occupy the space, as if mapping a new interior architecture, and provide a setting for two dancers to perform Moran’s Singular (2011). Singular is a durational choreographic performance which explores the idea that a single consciousness could be embodied in more than one form. Dancers are provided with a precise set of instructions that challenge their ability to function subjectively as individuals.

Through their ongoing collaboration Rothschild and Moran explore relationships and tensions between sculpture, abstraction, movement and the human form. The sharp black lines and vivid colours of Inner Temple (2015), that are typical of Rothschild’s work, cut through the architecture of the gallery in dialogue with the organic forms and movement found in Moran’s Singular.

Films by both artists will be screened in Gallery 2. Rothschild’s Boys and Sculpture (2015) depicts a group of schoolboys who are invited to interact with an exhibition of her sculptures. The instinctive cycles of destruction, transformation and joy that follow challenge our notion of what the body’s physical experience of sculpture can be. Moran’s In Land (2008) takes bodies outside into the landscape, where two female performers become locked in a disorderly, sprawling embrace.

Eva Rothschild & Joe Moran fig-futures 5/16 Installation Shots

Eva Rothschild (b.1971, Dublin, Ireland). Lives and works in London. Recent solo exhibitions and public commissions include: Alternative to Power, The New Art Gallery, Walsall, 2016 and A Gated Community, Sonneveld House, Rotterdam, 2016. Forthcoming solo presentations include Australian Centre for Contemporary Art (ACCA), Melbourne, Australia, 2018 and representing Ireland at the 58th International Art Exhibition, Venice Biennale, Italy, 2019. She was elected to the Royal Academy in 2015.


Joe Moran (b.1977, Devon, UK). Lives and works in London. Moran is a choreographer, dancer and Artistic Director of Dance Art Foundation. Recent commissions and performances include Sadler’s Wells (2017), Whitechapel Gallery (2017), Delfina Foundation (2016), David Roberts Art Foundation (Frieze 2014) and The Place Prize (2013). Exhibitions include at Gallery Lejeune (2015). Moran has been a guest artist at a number of institutions including The Place and the Royal Opera House and he is currently in residence at Wysing Arts Centre and Launch Pab LaB, France.


Oreet Ashery

18 – 22 September 2018

at Kettle's Yard, University of Cambridge
open daily 11am – 5pm
with preview
Monday 17 September 6 – 8pm

Oreet Ashery, 2017 Passing through Metal, Sonic Performance still, LPS, Malmo

Oreet Ashery’s sonic performance Passing Through Metal will be staged for the first time in the UK, involving participants from Cambridge creating sound through a mass knitting event in the Sackler Gallery, accompanied by live death metal band Anoxide at the opening event on Monday, 17 September.

These sounds will be played back for the rest of the week, with physical remnants of the performance left behind in the space. The two art forms brought together in Passing Through Metal may seem different, but this unique sonic experience typifies Ashery’s highly original approach to making, and speaks to a range of concerns that flow through her work including potential communities, gender materiality and technologies of death and dying. What does it mean to be part of the world? What is our role? What does it mean to die or be dead? These questions touch each of us as individuals and institutions, crossing geographical, political and social borders.

Three episodes of Ashery’s award winning video series Revisiting Genesis will also be screened within the exhibition. The series explores ideas of political loss as well as controversial emerging digital technologies that are associated with extending a person’s life online and offline, beyond death. The work presents real life interviews with people who have life limiting conditions, including friends of the artist.

Booking is recommended for Monday evening's Preview. A Death Café will take place on the morning of Wednesday 19 September. Revisiting Genesis will be screened in full during a special event on the evening of Wednesday 19 September, when the artist will be in conversation with curators Guy Haywood (Kettle’s Yard) and Yves Blais (fig-futures).


Oreet Ashery is an artist living and working in London. Recent solo and group projects include: Hayward Gallery 2018, Rennes Biennial 2018, Thessaloniki Biennale 2017, Stanley Picker Gallery 2016, Tyneside Cinema 2016, Donaufestival Festival, Krems 2018, LPS Malmo 2017, Whitechapel Gallery 2017, Tate Modern Turbine Hall performance and zine, 2014 and Party for Freedom, an Artangel commission 2013. Ashery won the Film London Jarman Award 2017 for her film ‘Revisiting Genesis’. She is an Associate Professor of Art at the Ruskin School of Art, University of Oxford.


Broomberg & Chanarin

25 – 29 September 2018

at Kettle's Yard, University of Cambridge
open daily 11am – 5pm
with preview
Monday 24 September 6 – 8pm

Broomberg & Chanarin, 2018, popcontacts (colour) 182

A recent body of work by artists Broomberg & Chanarin is shown for the first time in the UK in week three of fig-futures. Bandage the knife not the wound (2018) is an ongoing series of overlaid photographic prints produced by the artists in what they describe as a ‘visual exchange’ – images that have been significant to them during the course of their collaborative career are revisited and printed by one and left for the other to overprint with another image.

The artists have created over 40 of these beautiful, ethereal works that give a unique insight into their thought processes and provoke questions around the changing nature of photography and image production in the 21st century.


Adam Broomberg (b. 1970, Johannesburg, South Africa) and Oliver Chanarin (b. 1971, London, UK) live and work between London and Berlin. Recent solo exhibitions include: Centre Georges Pompidou (2018), the Hasselblad Center (2017), Centre for Contemporary Art Ujazdowski Castle, Warsaw (2015). International group shows include: Yokohama Trienniale (2017), Documenta, Kassel (2017), The British Art Show 8 (2015-2017), Conflict, Time, Photography at Tate Modern, London and Museum Folkwang, Essen (2015). Their work is held in major public and private collections including Tate, MoMA, Yale, Stedelijk, the V&A, the Art Gallery of Ontario, Cleveland Museum of Art, and Baltimore Museum of Art. Major awards include the ICP Infinity Award (2014) for Holy Bible, and the Deutsche Börse Photography Prize (2013). They are Professors of Photography at the Hochschule für bildende Künste, Hamburg, and MA Photography & Society, The Royal Academy of Art (KABK).


Patrick Coyle & Francesco Pedraglio

3 – 7 October 2018

at Kettle's Yard, University of Cambridge
open daily 11am – 5pm
with preview
Tuesday 2 October 6 – 8pm

Francesco Pedraglio, 2018, Sketch for The violent origin of imitation - Spoken Sculpture #6 (in 5 ACTS), + Patrick Coyle, 2018, Panoram Bathroom [detail]

New performances and installations by Patrick Coyle and Francesco Pedraglio take place in week 8, the final fig-futures show at Kettle's Yard. Coyle and Pedraglio have developed ambitious complementary projects through long-distance conversations from their current homes in New York and Mexico City respectively.

The artists’ new works are activated through live spoken word performances during the evening of the opening event on 2 October. Coyle creates an installation in the Sackler Gallery depicting residential spaces, including household objects and large-scale textile prints of domestic interiors. In Gallery 2, Pedraglio continues his ongoing series of Spoken Sculpture, with a new installation that draws together objects and materials that he has made alongside works from Kettle’s Yard’s collection, activated through spoken word.

The two artists' practices will come together in a performance within in the context of the Kettle's Yard house on evening of 3 October, followed by a Conversation with Kettle's Yard Curator Dr Amy Tobin, Coyle and Pedraglio.

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Patrick Coyle (b. 1983, Hull, UK) lives and works in New York City, USA. Recent solo exhibitions and performances include: Aberystwyth Arts Centre; Recent Activity, Birmingham; Tŷ Pawb, Wrexham; Haltemprice Leisure Centre, Hull; 53 Beck Road, London; Austrian Cultural Forum, London; LAM GALLERY, Los Angeles; The Mile End Art Pavilion (Wellcome Collection), London; Central Booking, New York; White Rainbow, London; Danielle Arnaud, London; Global Committee, New York; The Third Policeman, New York; El Tercer Lugar, Buenos Aires; DKUK Salon, London; Institute of Contemporary Arts, London; Westminster Reference Library, London; Catalyst Arts, Belfast; Van Alen Institute, New York; Tate Modern, London; Oxford Central Library; ANDOR Gallery, London; Ferens Art Gallery, Hull; Pump House Gallery, London and Kunsthal Aarhus, Denmark.


Francesco Pedraglio (b. 1981, Como, Italy) lives and works in Mexico City.
Recent solo exhibitions include: Museo Leonora Carrington, San Luis Potosí (2018); Norma Mangione Gallery, Turin (2017); P///AKT, Amsterdam (2017).
Recent group exhibitions include at Kunstverein Munich (2017), CRAC Alsace (2017), Jose Garcia,mx, Mexico City (2016), Sheffield Fringe, Sheffield (2016), Parallel Oaxaca, Oaxaca, Mexico (2015), The Physics Room, Christchurch, New Zealand (2015), Kunsthalle Wien (2015). He has performed, amongst others, at CART Copenhagen (DE), Instituto Svizzero di Milano (IT), Museo de Zapopan (Guadalajara, MX), Modern Art Oxford (UK), Palais de Tokyo (FR), Hayward Gallery (UK), Kunsthalle Basel (CH).
A collection of poems ‘99 Battle and 1 War (an extract)’ was published by Piano Nobile (CH) in 2016. Together with artist Tania Pérez Córdova, Pedraglio runs the publishing project ‘Juan de la Cosa / John of the Thing’.

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May 2018

Grundy Art Gallery


Allison KatzAmy Stephens; Ruth Beale;

Rebecca Birch

September 2018

Kettle’s Yard

University of Cambridge, partnering with

Norwich Castle Museum & Art Gallery

Eva Rothschild & Joe Moran;

Oreet Ashery; Broomberg & Chanarin;

Patrick Coyle & Francesco Pedraglio

November 2018

The Gallery

De Montfort University, Leicester

Anna Barham; Kathryn Elkin;

Ben Judd; Annika Ström


March 2019

The Box, Plymouth

Laura Eldret; Eva Grubinger; Charlotte Moth; Suzanne Treister