Through her often playful and humorous practice, Güreş explores female identity, the relations between women and their homes, and the public realm, as well as the image of Muslim women in Europe, and what it means to be a migrant today.
Støckel's practice centres around investigations into the medium of sculpture, with a conceptual focus on the trajectories of history and their possible futures.
Wang Preston originally studied clinical medicine, working as an anaesthetist for three years in Shanghai, but in 2005 she moved to the UK and shifted career to focus on photography, documenting the rapid social and economic transitions taking place in China, specifically as experienced through their impact on the natural environment.
Liu lived in Shenzhen between 2001-2007, in China’s ‘Special Economic Zone’, and this experience has strongly influenced his work, which reflects upon the personal experience of globalisation, commenting upon the socio-political context of contemporary China and its relation to the wider world.
Through her video-works, essays and performance lectures, Steyerl articulates the contemporary status of citizenship, and the changing idea of the civic, in the digital age.
Vermeir & Heiremans use their own home – a self-renovated loft apartment in a post-industrial building in Brussels – as source material to examine the dynamic relations between art, architecture and economics.
Henda's work engages with the colonial past of Angola and the African continent in a humorous and ironic way, here relating the Soviet vision of Luanda that never came to fruition to the post-war civic architecture in Plymouth city centre.
Rodney will be present in absentia in the form of an autonomous wheelchair he developed as an artwork, Psalms (1997), to attend exhibition openings when he was unable to in person, due to Sickle Cell Anaemia.
Dawood's multi-media works are inspired by his varied cultural heritage, taking the form in Plymouth of a site-specific installation, incorporating a series of films, intertwining themes of migration, mental health and marine welfare.
Drakes Island will be the location for a new site-specific work by the US-based artists' collective, entitled Repellent Eye (Plymouth), connecting ‘Old Europe’ to indigenous narratives of cultural self-determination in North America.
Ikeda works with sound, electronic media and digital data, reducing them down to their simplest forms as sine waves and pixels, to produce large-scale immersive installations, operating at the intersection of contemporary art and experimental music.
Referencing the history of a building that was central to Union Street’s club culture of the early 90s, Slater reinstates a time and a place within the heart of 'The Warehouse' - drawing upon video archives and hyperreality to evoke a collective experience of counter-culture and mass euphoria.
Building on their long-term open source brewing project, SUPERFLEX have developed FREE BEER version 6.0 (the Atlantic brew), as part of the launch of a new community-owned brewery in Devonport.
A group exhibition exploring the inter-dynamic relationship human beings share with the Earth and Cosmos.
A new version of Grant and Matthias’ large-scale sound installation, which mixes pre-recorded underwater sound with live acoustic transmissions from the River Tamar.
Jane Grant & John Matthias
250 years after the 'First Voyage' of James Cook to the Pacific, Cook's New Clothes marks the occasion in 1768 when Joseph Banks and Daniel Solander (the voyage artist) boarded the Endeavour ship in Plymouth, critically reimagining and reconfiguring its departure in new colours and with new stories.
Khadija von Zinnenburg Carroll
Referencing the Four Major Rivers Project in Korea, and the pollution of the waterways that resulted, Chang draws parallels between the corruption of the landscape and of the human body.
Chang Jia
Using his research into the history of mining in the Tamar Valley and its continued impact on local people and the landscape, Orlow’s camera follows the river, and the mineral effluent that flows with it, in a reverse journey from the sea back to its source in the caves and mines deep below the surface.
Uriel Orlow
Biemann's artistic practice is strongly research-oriented and involves fieldwork in remote locations where she investigates climate change and the ecologies of oil, ice and water - here exploring the sonic ecology of marine life in the cold North Atlantic and a future amphibian world.
Ursula Biemann
Gillard takes the work of female modernist poet, H.D., and her retreat to the Isles of Scilly in 1919, as a starting point to explore relationships between landscape, women’s writing, jellyfish and subjective experience.
This interdisciplinary project brings together electronic sound artist and multi-instrumentalist Eberhard Kranemann (founding member of Kraftwerk) with experimental ‘neo-noir’ architect, Mathew Emmett.
