Wednesday, 1 July 2009

Directions to CHIPS

Only 3 days to go until the big day, heres some directions and the mulitmap link for the site.......

Chips is approx 5 minutes walk from Piccadilly Train station.

From Manchester Piccadilly Train Station: Go straight down Store street (under the bridge which goes underneath Piccadilly Train station), cross over Great Ancoats Street (A665) onto Old Mill Street, pass the retail site on your left and the CHIPS building will be on your right.

From Manchester Victoria: Turn left on Long Millgate, then right at Hanover Street, left at Shudehill (A664) then right onto Swan Street (A665) keep following the A665 as it turns into Great Ancoats Street, then left after the retail park onto Old Mill Street, the CHIPS building will be on your right.

Multimap link for all you drivers........

Hope to see you all there

Tuesday, 23 June 2009



Saturday 4th July 2009
Free entry

CHIPS Building, Upper Kirby Street, off Old Mill Street, New Islington, Manchester, M4 6EB

Contents May Vary are hosting ANTIFREEZE Manchester's very first art car boot fair as part of Trade City.
ANTIFREEZE is an exhibition about the high-end art market delivered within the format of low-end trade. It is the grass-roots answer to hugely commercial art fairs allowing independent and non-commercial practitioners to explore ideas of value, exchange and independence with artists and artist-led organisations responding to the physical, social, economical, geographical and literal situation.

Taking in sculpture, printing, drawing, video, performance, installation, photography and collage, Contents May Vary’s ANTIFREEZE offers extreme clowning, trespassed pictures, Nazi poster art, Kun(S)t stylings, Tranni Bingo, naff music, Regal defacement, automobiliart, a gift shop, zines, hunting women, masked men from the woods, black dogs, Kipling, turd polishing, Mainlining (Intercity), dogs in hot cars, Nail art (modern), vernacular diamonds and bread, neatly packaged in the car park of a building lifeless without art.

Manchester's first art car boot fair will be a stroll through the embodied thoughts of over 60 artists from across the UK and beyond, who through no fault of their own have been put in a place beneath and above many others in the art industry. We have given them a platform to vent their airs and graces, woes and praises, present their skills and collections, to succeed and fail, to make money and lose faith, to spend hours in traffic getting here and minutes setting up their work without our help, just so people they don't know can spend seconds judging them on it.

Featuring: 100th Monkey, AirSpace, Richard Aldred, Stephen Ashdown, Frances Blythe, Antony Clarkson, Siân Green, Naomi Lethbridge , Beth Barlow, BearSpace – Isabel Rock, Samantha Bell, Richard Birdseed and Dan Blacklodge, Black Dogs, Sophie Bower, Alice Bradshaw, Megan Broadmeadow, Camp Yellow (Mike Redmond, Faye Johnson and Lisa Handley), Elena Cassidy Smith, Mitra Memarzia and Bec Garland, Cheap Magazine, Ben Connell, Joe Duffy, Eagle and Feather, Exhibit X, Michael Farquhar, Sue Fox, FRUNT, Garth Gratrix, Anton Harding, Annie Harrison/Jane Lawson, Marielle Hehir, Adam Higman and Tim Sargent, Intercity Mainline, Hilary Jack, Gwen Jones, Helen Kaplinsky, Alison Kershaw, Magdalena Natalia Kwiatkowska, L-13 (Harry Adams, James Caouty, Billy Childish, James Reid), M A Longbottom, Felicity Langthorne, Alison Stockwell, Hannah Marsden, Claire Rowlands, Steven Walker and Laura Kirby, Jude Macpherson, Alexis Milne, Mirror Mirror, Liz Murphy, New Curiosity Shop, Caron Ottewell and Victoria Foster, Julia Peat, Pool Arts (Annette Ebanks, Trae England, Tess Lomas, Colin Nixon, Eddie Price, Siobhan Samuels, Nicola Smith, David Speer), Adam Renshaw, Nick Rhodes, Sophie Rogers, Chiz Turnross, Richard Shields, Lucy May Schofield, Diane Shufflebottom, Sketch City, Emily Smallwood, Jared Szpakowski, Joyce Wan, Tom Watson, Olivia Williams, Yes It Is (Anna Beam, Lora Avedian, Laura Gee, Georgina Sullivan), Yorkshire Sculptors Group (Alan Gummerson, Andrew Pert, Victoria Lucas, Rebecca Strain, Linda Thompson, Terry Hammill, Suzanne North, Barry Midgley, Lucy Hainsworth, John Adamson, Paula Chambers, Hilary Burt)

Contains some Adult Content

About Trade City:
Centered on the notion of trade pursued as a livelihood, this exhibition reflects the trading that has taken place between the artists and curators making up 13 independent, citywide, art initiatives. This alternative economy draws reference from and plays off the city's pioneering economic heritage. Through Trade City, Contemporary Art Manchester proposes an innovative approach to displaying the social transactions of contemporary art at this moment.About Contemporary Art Manchester:
The partners within CAM consortium are unified in their role to programme artists’ work, through diverse and innovative curatorial frameworks including exhibition, screening and publication formats. Current partners of CAM include twenty+3 projects, 100th Monkey, B.M.C.A, Bureau, Castlefield Gallery, Contents May Vary, Exocet, FutureEverything, Gymnasium, Interval, Islington Mill Art Academy, Harfleet and Jack, Salford Restoration Office and Rogue Project Space.

Trade City is supported by Arts Council England

Contents May Vary

Contents May Vary show collectively as well as individually and also organize large-scale exhibitions inviting other artists to participate. They find new and challenging ways to exhibit with particular focus on site-responsivitey to non-conventional and everyday spaces. Additionally, they run an independent free-of-charge publication with international distribution.We may not be the first artist collective formed in Manchester but in 2009 we are the only one that matters. A legacy has been created since our inception with astounding effects on our peers, tutors and the excess of artists we have created a platform for.

Now CMV is coming into an age of expertise not only in the production of shows but also as veterans of the site specific as we take Manchester as inspiration in our ever evolving and improving ethos.
Our work incorporates visceral splendor within the many disciplines we employ and we choose to place work amidst the everyday, negating the often too prevalent fear of walking into a clinical gallery space. We create immediate connections with the spectator through the syntax of a common environment. CMV puts art under Manchester's dirty, wet shoes.
Our openings and events create a social platform bringing artists and viewers together from across the social spectrum to the best effect witnessed in Manchester. We're self-perpetuating, we're DIY, we're the A team of art, we're an outlaw's horse, we believe our own hype. No one could do what we do as well as we do it.

Contents May Vary are shortlisted for the Best of Manchester 2009 Awards and will be exhibiting at Urbis 24th July - 20th September 2009. The winner will be announced 23rd July 2009.

100th Monkey

Claire Davison, Bryony Moore, Suzanne Smith (100th Monkey)

It's the insignificance of actions or perhaps the hidden significance that we as humans imply that Claire Davison finds herself most fascinated by. As there seems to be no tangible connection between the observations made, she has come to realize that it's the little things that bridge the gap. You have to watch closely and Davison hopes that she is able to induce some sense of self awareness, be it by trickery or by boredom. It’s the absurdity of being human that tickles her, child's play, a fear of the serious that dominates her work.

Based always around the day-to-day business of living, Bryony Moore’s work seeks to aggravate the internal battle waging quietly between our emotional and intellectual selves. She is preoccupied by the lines we draw between ourselves and other people/beings/things and the awkwardness of these complex
relationships which go on existing despite the dissimilarity.

At once gloomy and playful, Suzanne Smith’s work is something of an uptight exploration of brevity and inappropriateness. She tends to dwell on the mundane trauma of social interaction - quietly obsessing on the line between irritation and arousal. A desire for control has been betrayed in previous work by the dictation of rhythm, alphabetisation of images and the striving for manual perfection through the painstakingly handmade.


For ANTIFREEZE, 100th Monkey artists Davison, Moore and Smith have devised a context-specific group show, in which the minutiae of everyday interactions are elephantised, pored over and solutions offered to problems which may or may not exist.

Davison’s work focuses on the absurdity of that simple gesture the wave. It is one movement, but why not another, why not something that signifies more clearly what it is your feeling at the time. By continuously waving at one another, two screens are forever caught in this loop, focusing all the attention on the wave and stripping it down to what it physically is, a hand gesture, a wave.

Moore has been collecting pet portraits from ‘free to good home’ adverts on the website Touched by the pets’ unawareness of their impending fate at the moment these pictures were taken, Moore has rescued the images and seeks to rehome them with kindly ANTIFREEZE visitors.

Smith has placed three tennis ball faces – two happy, one sad – in the boot of her car and filmed them during the drive to and from work. Lit by torchlight, each ball becomes a protagonist in a morbid mini-epic where friendships and cruelties are pointlessly invented and then needlessly exposed.


AirSpace is Stoke-on-Trent’s first Contemporary Art Gallery. As a newlyformed arts organisation, based in Stoke-on-Trent our initative is tohelp develop the contemporary arts culture within the city. Our firstobjective was to utilise one of the many derelict buildings in order tocreate a contemporary arts venue. Exhibiting professional artists aswell as developing artists, the project caters for a range ofcontemporary art forms and artists, and aims to engage with thecommunity.Alongside this we will develop studio spaces at the samesite, in order to build a base for an artists community in the city.AirSpace’s main focus is to regenerate the Contemporary art scene andto assist in developingStoke-on-Trent’s cultural outlook.

As a group we are interested in exploring the notion of value exchange. We have made works in response to the Sunday Car Boot Fair that happens weekly in Hanley, Stoke-on-Trent, on the same street as the AirSpace Gallery. There are all types of people to be found at the fair, and as a group we infiltrated the site and made work in response to the people, objects and conversations to be found there. The finished pieces highlight themes of resourcefulness (working with available resources), and the fact that other peoples junk and waste can be re-used and made into something useful, that can be appreciated once again and put back on the market. Other themes include ideas of trade, waste, environmental concerns, the importance of exchange in its broadest sense and the ability to make and sell products in the recession. Questions about the value of objects come to mind i.e how antiques and art are valued (what makes something precious and valuable- it's age, the artist/maker, the materials it's made from?), and whether rubbish/ found materials can become more valuable when put in the context of 'art'.

Richard Aldred

This series of photographs was taken of and from key buildings within Manchester, including the Chips development at which Antifreeze is being held. They present the views as something to be admired for their own aesthetic value. Many of the views are taken from locations in investment properties. In contrast, the photographs are simply visual images, but present a different kind of value.

Stephen Ashdown, Frances Blythe, Antony Clarkson, Siân Green, Naomi Lethbridge

‘Contained Exposure’.

Artists: Stephen Ashdown, Frances Blythe, Antony Clarkson, Siân Green, Naomi Lethbridge.

We are a group of artists from the current MA Fine Art course at Manchester Metropolitan University. Our work is varied in media, form and subject matter but is united by an interest in the processes of making and the relationship between the investment of labour and time and the value and meaning of the artwork. Antifreeze 2009 is the second in an intended series of exhibitions exploring our interest in the use of spaces outside the traditional gallery environment and the impact this may have on our work.

For Antifreeze 2009 we have created an alternative gallery space where a number of cabinets are on show. Rethinking the practical and conceptual function of a cabinet as a starting point, the show consists of work that makes literal use of the cabinet as a display tool as well as work that plays on its nature as a system of compartments and shelves to be opened and explored.

Transforming the space into a kind of showroom, where the artwork and means of display share equal staging, the work addresses the interplay between the cabinet and its contents; an object that is both defined by what it contains yet also controls what it houses. The viewer is presented with a bric-a-brac of styles and media that interacts with the space, drawing on the ephemera that comprises the car boot sale. Moreover, the varied and experimental nature of the work on show reflects the combination of the ‘high culture’ of contemporary art and ‘low culture’ of the car boot sale.

BearSpace – Isabel Rock

This project ‘The County Gentlemen’ will see Rock, dressed in county riding finery, exhibiting prints of the country with ‘a twist.’ The car will be a blue Volvo Estate decorated in hunting paraphernalia, visitors will be invited to sit on ‘stirrup seats’ drink a hot toddy from a stirrup cup and join in a hunting game whereby visitors can guess the winning horse, for a special prize against the artist. The races will be played via the Volvo stereo.

This project is responding to the current economic climate, looking at ‘new money’ versus ‘old money’ by referencing hunting and the races, but poking fun at both. The purpose of this project will be a participatory moneyed experience; the products will be a series of prints by the artist entitled the ‘County Gentlemen’ and a coloring book by the artist looking at ‘County Life.’

This project is put forward by BEARSPACE in conjunction with Isabel Rock.

Samantha Bell

I use the cityscape as the visual metaphor to explore states of transformation and illumination. To produce my ‘City Zones’ collection, I use analogue photographic equipment to make colour photographs. To create my ‘City Enclaves’ collection, I use the 3D software application Maya and its virtual environment, where I model, shade and texture a city. Once all these stages are complete, I go ahead and record my virtual city with the in-house camera apparatus, which generates electronic files that I convert into hard copy computer generated prints.

The artworks I produce belong in to the city/urban landscape genre. I make portraitures that focus on the night city, and a certain type of urban edifice and space, generally found on the fringes of the city. What Auge describes as a ‘non place’ and what I refer to as the ’dead end zone’ en route to the desirable destination.

I find the potent duplicitous nature of the city is a source of constant fascination. Its brooding, compelling, inviting, disturbing, repugnant, and seductive faces make the city a subject matter worthy of pictorial immortalization.

Richard Birdseed/////////Dan Blacklodge


Black Dogs

Black Dogs are a self-organised collective of artists, musicians, academics, writers, general do-ers and (radical) slackers that formed in 2003 with the agenda of making art happen in Leeds at the grassroots level, taking their cue DIY ethos so prevalent in the cities underground music scene. They have organised numerous exhibitions, events, and interventions as well as producing occasional publications that disseminate this activity in a different form.

Black Dogs propose to use the ANTIFREEZE event as a piece of action research in designing an ‘audio almanac’ by setting up an audio distribution centre from the boot of a car which passers-by can either stand by and listen to (via the car stereo), download for free (via battery powered laptops) or pay a nominal amount to take away a physical version. The audio material distributed will range from sonic works, lectures, text readings, documentation of previous works, song playlists, unusual sounds and more oral treats. It is hoped that this form of file sharing will demonstrate alternative possibilities for artistic distribution in keeping with p2p networks and the gift economies that provide the political-philosophical backdrop to the group’s activities.

Sophie Bower

It is also the stories that we take along with us that interest Sophie Bower; she wants to hear others? stories and to tell her own. This is evident in the piece Back Bittern Banana (in collaboration with Kathryn Pattullo as part of the larger GoSuperlambananas project) where she toyed with the idea of possession by asking Liverpudlians to nominate someone or an organisation to be sent a certificate of ownership of one of the 55 pieces marked out on the Back Bittern Banana. (See

Stories of Memory, her current project, Sophie is looking for the patterns and anomalies in the anecdotes that people bring to the project, rather than scientific explanations. Sophie often works around the idea of the processing of ideas and information. In her current work there is an attempt to slow down the processes in order to catch the almost invisible thoughts and actions that might normally be missed? an attempt to ?see? them in slow motion. Introduction to Stories of Memory: Have you noticed the tiny moments when something, someone or somewhere from your past pops into your head? Was there anything that could have triggered the memory? ? maybe a smell, a sound, a certain song, an object, a word, a shape, a colour, a texture, a physical or emotional feeling? What form do memories take, when they turn into stories? If memories could be created, captured or investigated in a lab, what would the lab itself look like? Come along to the Memory Lab, created as part of the project ?Stories of Memory? and see for yourself. You may get the chance to leave a memory there, or take one away with you.

Alice Bradshaw

Alice Bradshaw is an artist, curator and director and is currentlybased between Manchester and Halifax co-directing Contents May Vary and Temporary Art Space. Alice exhibits frequently across the North of England as well as nationally/internationally, most recently inGlasgow, London, Moscow, Melbourne and Chicago.

Alice works with a wide range of media and processes involving themanipulation of everyday objects and materials. Mass-produced,anonymous objects are often rendered dysfunctional caricatures ofthemselves, addressing concepts of purpose and futility. She createsor accentuate subtleties, blurring distinctions between the absurd andthe mundane, with the notion that the environment the work exists inbecomes integral to the work itself.

Megan Broadmeadow

Megan Broadmeadow is an interdisciplinary artist from North Wales. She works in sculpture, installation and performance, and always gives permission for the audience to smile!
Megan explores serious issues in a surreal way, and finds a variety of ways to represent the contrasts and transformations within society. She has a particular interest in revitalising unfashionable or almost obsolete subjects and making them the centre of a piece of work. She enjoys playing madcap games such the ‘Water wheel of Fortune’ to link past and present, and uses interaction to engage and entertain her audience. Often inspired by local history, she particularly looks for unusual personal stories and characters to incorporate into one of a kind, site-specific performances.
Shoes are also an ongoing inspiration and she’s recently exhibited her fantasy floating shoe shaped like a sail- boat (Ship Shape) in Swansea.

With all the trudging round from car boot to car boot, you feet may feel the strain. Why not treat your feet and find the perfect boots for them? Inspired by the classic board game ‘Guess who’, on the ‘Boot Up’ stall, you will be asked simple boot related questions and through a process of elimination your host will find you the perfect boot!
Will you be a ‘boots and saddle’ cowboy boot, or a bootylicious knee high? Play the game to find you inner booty! As an added bonus your boot will be revealed to with your very own presentation and offering the chance to try them and the lifestyle they represent for size, and ensuring a memorable time to boot!

Camp Yellow

Camp Yellow is a camp in America for bed-wetter's but it is also
a secret society from Manchester who share their drawings through books and zines.
† top secret †

Elena Cassidy Smith, Mitra Memarzia and Bec Garland

Elena Cassidy – Smith is a multidisciplinary artist working with sculpture, installation, interventions and hybridised live art. Her work seeks to explore the underbelly of convention, what is acceptable and what lies beneath the veneer of acceptability. The domestic domain, sense of identity and patterns of consumerism are reoccurring subjects in her work.

Bec Garland works in illustration, photography, writing and performance. Recent commissions include artist for 'Culturefeast' - Stockport City Council delivering workshops and commissioned drawing, and facilitator for PhotoVoice workshops in the North West. In 2007 she completed her MA and in 2008 she was a resident artist at Vermont Studio Centre, USA. She is currently developing work which explores notions of narrative and the imagined space.

Mitra Memarzia’s artistic practice spans across a wide variety of styles and media, which include; writing, photography, installation, film, performance, sculpture, illustration and interactive media. Her main artistic aim is to create inspirational dialogue and exchange through a variety of creative productions. Her work is concept driven with an emphasis on connecting and collaborating with a diverse range of individuals and organisations.

One careful owner

Three artists come together to create an installation, which, coupled with spontaneous performance, will engage audiences with the work as we take on the persona of established antiques experts.
With the value of an object in mind such as subjective value being something that has both use and rarity and ethical value referring to the grading of objects, real or abstract, in terms of their importance, we offer an alternative 'cash in the attic' where objects are graded in worth against a new 'valuenometer' that uses random indicators to set the value. Used and found objects will be moulded and manipulated into new hybrid ‘desirable’ items or objects d’art that then will be valued by our team of in-house antiques experts and offered for sale to the public at the Art Boot Sale. All the items for sale will be priced between 1 and 100 pence, with letters of provenance to accompany each item sold, informing the buyer as to the history of the object or work of art.


We are an independent zine called Cheap. We showcase emerging and established makers including painters, illustrators and designers. We use the zine as a platform to meet other creative people and showcase what they are making and to destroy the already eroding line separating art, design and other creative image making practices. We make the zine cheaply by either using a photocopier or desktop printer to reflect the DIY ethic taken by the majority of artists that we have found (generally on the Internet). We also make and sell cheap, accessible art products such as posters, badges and stickers.

Our car boot is transformed into a pound shop stocked with zines, photocopy posters, badges and some new products such as stickers and canvas tote bags. Display copies of past issues are on show to "try before you buy", along with a brand new issue! Posters, bags and other things that hang can be seen peeking through the windows of the car along with the Cheap banner. With Cheap we already try to subvert the distribution of arts away from traditional outlets such as galleries, agents and auction houses to zines and the internet. This is in line with contemporary practices in art and design and want of more accessibility drawn to the visual arts. A stall at a car boot is the ultimate way to distribute art cheaply to the masses.

Ben Connell

Born in Belfast, Ireland - Ben O' Kid is an artist that aims to discover the "things" in life that can have a sentimental meaning, but without a bit of context this (thing) will seem insignificant.

The context of his art work involves needing: wanting: and having. As the infamous poet J.S.C. once said "If you're not consuming, you're only getting weaker". This is a thought also evident in Ben O' Kid's art. By identifying a home for these "things" he can then understand what its conclusion will be.

In the small picture book, My Grey Hat, Ben O' Kid explains the story of a boy who lost his grey hat and the attempts he made in getting it back. The book was originally hand written with an ink pen, keeping all the mistakes in the story were it was then hand photocopied to be reproduced for exhibition.

Ben O' Kid sees the picture book as an achievement by using art to make a new home for My Grey Hat. But in making art about this, it becomes a new "thing". Meaning the art work concludes itself but that it can also be reproduced again and again. Understanding that this (thing) will not seem to be the same, again.

Joe Duffy

Joe Duffy is an artist and educator working and living in Manchester. His practice involves moving image, photography and installation. 

Current research is focused on multi-spatial installation and the representation and archiving of found objects as artefacts of cultural archaeology. Other projects involve automated investigations into childrens toys, discarded electronic ephemera, simulacra and migration. Interests and influences involve Tower Blocks, TV Towers, Urban Peripheries, Apocalyptic landscapes, Elizabethan Alchemists & Archduke Ferdinand, architectural space and narrativity.

Duffy also collaborates with the sound artist Eimer Birkbeck as Birkbeck & Duffy. Recent projects involve investigations of narrativity through place, space, sound and image. Latest large scale project is concerned with Offshore Windfarms


His solo and collaborative work has been exhibited nationally and internationally in the context of film and media art festivals as well as gallery spaces.
About the work

Photographic, Moving Image, Object Works

Series of prints from found objects dug up in my garden. The objects reveal the relationship of imagination constructed through the activity of play and it’s relationship to real or simulated worlds. There is an inherent violence insinuated through the object as revealed through intent and physical damage whilst he relationship to politics and economic realities is also evident. Object based works explore narrative aspects and politics through discarded childrens toys while current climate and apocalyptic fears are expressed through destructive model environments.

Eagle and Feather

Stephen Earl Rogers is an artist working mainly as a painter. He is held in permanent collections in the UK and United States and has exhibited many times at the National Portrait Gallery. Julian Lloyd Butler is a film-maker, television producer and writer. His work has appeared on The BBC, Channel 4 and ITV and at the Edinburgh, London and Cannes film festivals.

Collaboratively, Eagle & Feather have been putting their own interpretation on the term KIPPLE for a number of years. Through regular visits to charity shops, car boot sales, public libraries and jumble sales they have amassed a collection of absurdly peripheral and esoteric videotapes, selected for their distinct peculiarity. By various means – editing, manipulating, combining and reducing – they make videos imbued with new qualities - humour, drama, pathos and poetry.

‘Unnerving Fun’ Headpress Magazine
‘I’ve Been Meaning to Ask… What is Kipple?’ Metro Nov 20th 07
‘It just gets funnier each time I watch it.’ Robert Popper, Writer Channel 4’s ‘the IT Crowd’

In September 2008 a DVD was commissioned by and screened at Conjunction 08 which was compiled by video artists Eagle & Feather and made entirely from KIPPLE, in the form of VHS videos, found entirely in Stoke-on-Trent charity shops including:

Fish for a Quid, Introducing the new Velux Roof Window System, Electronic Monitoring for Offenders, How to Hang Wallpaper, How You Can Win Competitions, Egyptian Belly Dancing for Intermediates, The Story of the Red Mason Bee, Ray Reardon Master Class, Traction Engines, Master Bakers: A Golden Opportunity, Tony Allcock's Art of Bowls, Get That Job, Game for a Job, Is Work for Me?, Learning Tenor Banjo, Horse Sense for Riders, Super Tours in Super Somerset, Learn to Knot Vol 1, Sports Boat, The Fun of Cake Decorating, Fimo Modelling Project, Breastfeeding: A Gift for Life, What you Really Need to know about Problems with Fertility, Incontinence: Out and About and Dry.

In November 2008 1000 copies of this DVD were given to Stoke-on-Trent charity shops to be distributed free to customers.

At the Antifreeze Art Car Boot Sale 2009 Eagle and Feather plan to display some of the original VHS videos and flog the remaining copies of this DVD.

Julian Lloyd Butler (AKA Eagle)
0 (044) 781 4501 654

Stephen Earl Rogers (AKA Feather)
0 (044) 774 3195 692

Watch KIPPLE here:

Buy KIPPLE DVDs here:

Exhibit X

Exhibit X is a collective founded on a love affair with the image. We act as the link between art and audience by exhibiting the work of artists from culturally diverse backgrounds to the attention of the widest possible public.

We propose an installation of 6 60x40 inch prints by Japanese photographer
Satoshi Minakawa. ‘Dekotora’ (Decoration Trucks) is a Japanese subculture in which mainly suburban truck owners customize their trucks for fun but approached with much sincerity, with owners striving to create something totally original, reflecting their own personal lifestyle, beliefs, ideals and virtues.

For more information please contact : Kevin Martin :

Michael Farquhar

Michael Farquhar

Michael will be polishing turds all day.

Sue Fox


by Sue Fox Fox

Sue Fox is an internationally recognised photographer with 'The Dead', 'Vile Bodies', 'The Liminal Body', 'The Cunt Show', 'Death Exposed - ARTE', 'Transgressions - The Offences of Art', 'Six Feet Under', 'Post Mortem', 'Art & Obscenity', 'The New Visibilty of Death', 'Flying over Water', under her belt to name but a few shows, books and films. Fox works with aspects of the transgressive, the taboo and the profane to bring out what is unknown and largely unsaid and unseen. Fox is currently working with a publisher on a novel about art, sex and dark minds which is almost finished and ready to be edited and published for 2010. Fox recently made a film for German and French TV for ARTE and an audience of fifty million people worldwide with the artists Christian Boltanksi, Gregor Schneider and Walter Schels in May 2009 at her studio in Piccadilly, Manchester.

THE PROJECT:- A range of domestic and family orientated gifts relating to the word 'Cunt'. These are all cheaply bought and turned into unique artistic products in the celebration and the de-mystification of the challenging word 'CUNT'. These objects will include t-towels, hip flasks, underwear, pillow cases, t-shirts, badges, vouchers and so forth. Sue will be selling these as her alter-ego character 'the cunt bride' who works in the cult clown renegade band 'The Dirty Honkies' with Alexis Milne & Co.. and has performed and toured in Ireland and the U.K. The word cunt was first derived from the Indus Valley from the goddess Kali. It wasn't considered a bad word until in the last few centuries; it just meant a woman's genitals. Some linguists see it as a way to control women..........offending her as a body part and therefore negating her. It is after all only a word, but it is about context. It has Germanic roots in kunte and kunton. In Latin, the root iscunnus. There is figa, kut, kus, keus, yoni, gun, gynae, ka-t, kun, qefen-t, counte, kunat, quim, queynthe (from Chaucer’s original and 'Miller's Tale'......"Pryvely he caught her in the quenyte' it alludes to the word 'quaint'......also chuint, cunnende, cunning, queen, coney, cunny, coynte, lap and country (in Shakespeare's writing). Fox will toy with the notions of the word 'cunt' and place it into an artistic and historically new context and meaning.


Frunt – we are the group/collective. Artists T.B.C

Frunt are a group lead by Liz Shaw* who curate exhibitions for Neuxs Art Cafe. Currently producing 6-8 exhibitions per year and beginning to link with other organisations to create a diverse presentation of contemporary art work.

Nexus Art Cafe is a project run by the Methodist Church & Church of England and has been running for five years. Nexus has had an arts presence for the majority of that time. Frunt began working with Neuxs in 2008 and work on two exhibitions/projects annually in collaboration with Sanctus 1 - a group of Christians who meet at and are part of Nexus.
Frunt as a group aim to develop projects, exhibitions & events that work outside of the formal gallery. We hope to present a high level of contemporary art to engage new audiences in an easily available context.

*/Gaunt, graduate of Goldsmiths BA Fine Art based at rogue studios

The project

She Laughs at the boot sale
She laughs at the boot sale will be a for-runner to an exhibition happening at Nexus Art Café this autumn and will be based around the idea of laughter and entertainment. Our stand at Antifreeze will include illustration and fanzines.

By using easily available materials we hope to create a home-made, pseudo commercial aesthetic, with this we hope to join this gentle critique of ‘the art fair’. Making our stand very approachable for rummaging and flicking, perhaps highlighting the consumption of the visual arts as entertainment or something to own.

We will be using the name ‘she laughs’ as a lo-fi branding- stencilling it onto our homemade fittings and uniforms. Re-enforcing our allusion towards the independent ‘good’ record shops of Manchester this as a parallel to the consumption of the boot sale; ad hoc and evolutionary.
With the use of illustration and fanzines the artists will be accepted to be part of the work until the day before. By doing this we hope to make an inclusive, intriguing, fun stall that visitors to Antifreeze will maybe spend a pound or two to take a drawing or photocopied book or just enjoy having a look. It is the unprocessed and light-hearted that we want to offer in our space at Antifreeze.

Garth Gratrix

I have recently formed a union within my work by using a specific object as the initial starting point for constructing my art installations, therefore much like reality I aim to produce art in a way that responds to circumstance and also projects ambition alongside humility for time and space. This is being achieved through the use of vintage leather (‘Have Art Can Travel’) suitcase that I have gathered from various resources and I then place my art inside these boundaries to be transported and carried.

I like to be a contemporary artist that is inevitably an everyday person, hence why I believe my suitcases filled with ambiguous art rather than clothes and a clean pair of underwear, creates a sense of confusion towards what we expect and perceive within our day-to-day environments.

Fundamentally I show a reality that is staged performed, but truthful.
I would seek to utilize the perimeters of a car park space for ‘antifreeze’ with these suitcases and construct and deconstruct works of art throughout the event. Using objects that have been taken from ‘car boot’ and ‘market’ spaces in Preston and giving them new meaning and narrative. We purchase objects in a way that is dependant on how we identify with persona and project that image to others. We quickly dispose of these attachments to the objects if they no longer mimic our opinions of ourselves. Taking these objects and allowing them to be placed back into a ‘car boot’ and or ‘market’ environment from the perspective of having a new owner such as an artist, provides importance and a hierarchical shift between objects and human beings.

Anton Harding

Biography Anton Harding, b. London 1966, studied printing, printmaking, photography, history of art and architecture, media at London College of Printing (1984-88), film, video and photographic arts at University of Westminster (1989-92) and 16+ Education at University of Huddersfield (1997-98). Now living and practicing in Huddersfield, Anton is a member of Yorkshire Sculptors Group and Riverside Artists Group. He has been exhibiting in individual and group exhibitions since 1991.Anton’s practice has ranged from the documentary and political statement of Abolishing the Currency and Deathwish, the surreal quality of his Dreamscapes Xerograms and assemblages, to the pure play of light and exploration of perception seen in the recent Temporary Art Space Changeover installation Safelight and in many of his photographs.

Antifreeze 2009 project Title: AVDescription: A four-part display featuring:

1.Old Rearguard Action zines available for resale. I contribute copy and graphics as its irregular isues appear and help distribute these small runs.

2.Two folios of labelled, signed, board-backed and wrapped print (digital C-type and Xerogram) edited from those made over the last eight years. These are one-off's and editions limited by size of enlargement from the film strips, i.e., regular postcard size digiprints are limited to 67 while any print size greater are limited to 20 or less. Purchasers requiring exclusivity should then pay the full cost of an edition, obtaining no discount for the privilege of owning an artist's proof at any size of enlargement from the film strip. The digital C-type prints displayed are Budget quality and so crop the full view compositions to a significant degree. Any archival and museum standard print request is subject to part payment in advance to meet the extra production expense fully.

3.If It's Good Enough for Media Moghuls (MM) Then is it Good Enough for All?. A pay to view service where subscribers lift the lid on a box of 32 small, wrapped prints and/or get me to. Prospective participants receive instructions and decide to consent or not to a recording of their viewing. Running orders and times are for viewers' to set. Prints may be purchased even though these function as frames in an inverted film projection. The box shall have a full set of prints with spare prints replacing any sales as soon as any immediate technicalities of sale are over. Image attached of an embelished Projector Inversion Coin-op, is from a diptych Dreamscape.

4.Portable stereo sound of CDs, tapes and/or radio will be an extra if no-one objects. It is my intention that complete and current lists of works are made available for all four parts of the display on the day.

Annie Harrison/Jane Lawson

Annie Harrison has just completed a degree in Embroidery from MMU. In her previous life she was a human rights researcher and a counsellor, working in drug and alcohol and community health projects. She has run art workshops with refugee and asylum-seeker women and with young people. She is currently working as a freelance artist.

Jane Lawson is a former knitwear designer for many years and founder member of Manchester-based art collective UHC. More recently she has focused her creative practice on climate change and Palestine. Jane Lawson and Annie Harrison have been friends for ten years.

What do we leave behind?

In the past, only the rich and important left behind any trace of their existence; portraits and written records were mainly the preserve of the wealthy. Now, it seems as if we are all leaving behind vast tracts of information, digital images, blogs, websites…but some people are still being left out of history.

For many marginalised people, a photo of themselves can be a precious item, representing an acknowledgement of their existence and worth by the outside world. This project will enact an exchange of images between participants at Antifreeze and people who may have no access to images of themselves.
At Antifreeze, we will sell people Polaroid images of themselves taken on site. As part of the sale, we will take a digital photo of the purchaser with their portrait, and enter into a contract with the purchaser to take a second picture of someone who does not normally have access to images of themselves. Working alongside refugee and homelessness projects, we will then offer their clients free framed Polaroid images of themselves, in return for allowing us to take a digital image of them with their photograph.

The images of all the portrait subjects will be exhibited in a real or virtual gallery alongside information about the issues of refugees and homelessness and about the people in the photos. There will thus be an exchange of gazes and attention between the subjects of the onsite portraits and the subjects of the portraits taken afterwards.

Marielle Hehir

The work intends to reference from an extensive repertoire of sources; cross-cultural and cross time scale which are all symbolical. Such influences are used to build a language of motifs which interact in an intriguing and visually impacting manner. The roles of the traditional motifs I use within my work are shifted out of their appropriate setting, whilst creating a clashing of the boundaries. Design from thousands of years ago is paired with design from now in order to create a chaotic blur between two extremes whilst echoing shifts in values. Without being overtly political, the intention is to comment upon the world we live in.
A hallucination like presentation of the past, present and future, existing simultaneously.

Adam Higman and Tim Sargent

We are a duo of artists called Adam and Tim. This is our first collabrative project together, we were drawn together as a result of our shared passion for problem solving and interest in creating and conceiving similar projects. We have both recently been living in Falmouth Cornwall although now we intend to move further afield.

We are interested in making art projects that are concerned with and question aspects of contempory life. In the past we have worked individually on projects engaged in species loss and environmental threats. Alongside this we have established a social drop-in workshop for the fabrication of work.

Our intentions are to convert a Suzuki Carry 1.3 into a work of art. With the doors open we will seal airtight the Cargo bay of the Van using clear PVC sheeting. In the two panels that are opposing each other we will fit PVC gloves. The participants will be able to use the gloves to reach into the space within the van. Inside the van, they will only find each other’s hands.

The work questions the value of human exchange. Human contact at a car boot-sale is often an over-looked aspect that comes with a person to person sale. With modern exchanges increasingly taking place remotely with little or no physical contact, is human contact truly missed? The skin of the gloves disrupts the exchange. No exchange of objects takes place while interacting with the piece, there is only an exchange of touch, when the two hands meet in the middle. We want to to encourage thought on what touch means within a commercial context. By making human contact more apparent, is it possible to try and subvert the selfish intentions associated with capitalist exchanges?

Adam higman:
Tim sargent:

Intercity Mainline

InterCity MainLine is an exciting new Arts Council funded publication created by artist; for artists, about artists. Consisting of recent Fine Art graduates living and working out of Bristol the publication aims to highlight and showcase the diverse and unique ecologies of artist led operations nationwide. The publication itself is manifested as a bi-monthly black and white fanzine, with the content being the result of a number of research trips to cities across the U.K that have prominent artist led activity. For ANTIFREEZE, InterCity MainLine will be selling the first installment of this year long project, zine includes limited edition artist postcard and hand made badge.

Hilary Jack

Hilary Jack works across media in research based projects often using discarded material found on city streets, in charity shops and EBay.

For Anti Frieze Hilary will exhibit "Arthur The Lurcher" in the boot of her car. Hilary and Arthur will also be selling a selection of thier limited edition collaborative art works.

Arthur was found as a puppy wandering the wandering the streets of Harperhey in Manchester with his greyhound mother and six siblings and was taken to Manchester Dogs Home. In exhibiting Arthur as part of Anti Frieze Hilary will highlight the plight of rescue dogs, in particular, Lurchers and Greyhounds which are abandoned on city streets in their thousands by the greyhound racing industry. Many are killed illegally and inhumanely while others end up in Dogs Homes across the country.
All proceeds from the exhibition of Arthur The Lurcher will go to the charitable foundation The Greyhound Trust.

Gwen Jones

A photographer, I am interested in the world that surrounds us. 'Photography describes, defines, intervenes in, makes sense of and changes culture and society' (JD, Meatyard Arts). I photograph The Everyday, the common place - that which often goes unnoticed - but which can reveal so much about the culture and society that surrounds us.
Based in Manchester, England other forthcoming exhibitions include Rencontres D'Arles 2009, France. Past exhibitions include New York, Blackpool, London, Manchester and Leeds.

Live Photographic Portraits.
Any passerby can volunteer to have their portrait taken. In the moment that the subject freezes for the photograph, an image of them is on show to the world - a live exhibition.
The act of photographing in this way explores questions of representation, identity and the self in the realm of the everyday - the subjects will not be primed and prepared for a photo shoot, rather they will simply step in front of the camera as they are. What is the image that we see, is it a 'true' representation of the self?
Furthermore, in the context of the Art Car Boot Fair, the photographer is restrained to the boundary of the parking space, an interesting metaphor for the highly debated issues of surveillance and control, both within the specific field of photography, and general society as a whole. Following the event the live photographs can be viewed and discussed as stills on a blog at

Helen Kaplinsky

My stall table will be tiled with business cards and their gradual dissemination will form both a visual and conceptual dimension to the work. The cards are screen printed with a design of two paperclips standing side by side, anthropomorphising office ephemera; the paperclips characterize my attachment to the punter. The receipts for exchange of contact details will be detailed in a carbon duplicate book. One copy of the receipt will go to the punter and the other will remain in the book. This book will form the final, ongoing art work.

My practice is concerned with the position I occupy as an emerging artist/ curator/administrator. I work in a context of gradual crisis in arts education and a mire of questions around professionalisation. Young artists today can spend their time usefully googling other artists, writing funding applications and milling around private views networking. After spending a lot of my time on aforementioned activities, and not a lot of time making work, the obvious move was to have these activities form my art practice. Another inevitable and time consuming activity is working as an administrator for a temp agency. For years I have compartmentalised my practice as an artist and my job as an administrator. However, I have come to question what expertise I possess, and how administration includes the use of skills not least separate from my art practice.

I am more proficient at taking minutes than screen printing because of the division of my time based upon economic need. In this work my relatively poor technical art fabrication skills are employed to promote a seemingly non-existent art practice which has become series of clerical tasks, haplessly learned keeping my bank balance afloat. The realms of art and business are unavoidably blurred.

When considering what to produce for the Art Car Boot Fair I found myself asking what skills do I possess and what do I hope to gain from my participation in this work? My proposal responds to the overall theme of the Car Boot Sale; the exchange/ relationship between artist and punter whilst using my skills to shamelessly promote myself and gain exposure as the market requires me to.

Alison Kershaw

My works include videos, objects, site related installations, curatorial projects and the development of new organisations or structures. I work with both professional and non-professional artists: for example contributing to the development a contemporary arts programme in a derelict swimming baths; running a studio for people with mental health problems; the installation of a permanent text work that surrounds a modern church building.

My stall, Abstract Nail Art will feature a real nail artist who will paint a classic work of Abstract Expressionism on your fingernail for a small charge. Playing with the idea of the art as commodity, Abstract Nail Art combines the crafts of the painter with those of the beautician, bringing us the ultimate intimate experience of personalised individualism through the popular idea of a “nail bar”

Contact 07767356302

Magdalena Natalia Kwiatkowska

My name is Magdalena Natalia Kwiatkowska .I arrived in the UK in 2008
after a had graduated from the Academy of Fine Arts in Prague
In my works I have always been interested in creating out of things of everydaylife. Beauty of ordinariness and simplicity is often overlooked in day-to-day turmoil. Common activities take up most of our lives and our attention is focused on anything but their good side. I’m fascinatedby "art" fresh baked in the oven, made in workshops or cultivated in the garden. I try to reinvent everyday objects in completely new environment I search for new background for people and things.

Good advice works are presented by different media: installation, object, performance and picture depending on subject's character. My works are made of ordinary and common objects such as flowers, vegetables and everyday things which make up something entirely new when taken out of their original context. I am interested in their effect on each other. I combine them and put objects together although at the first glance they look strange and unnatural. My installations, however, are not made at random and can be decoded with the use of texts extracted from Good Advice books. These advice are supposed to be helpful in everyday life activities like cooking, cleaning or gardening. My installations are made to illustrate the bizarre nature of good advice texts.

Felicity Langthorne, Alison Stockwell, Claire Rowlands, Hannah Marsden, Laura Kirby, Steven Walker

The Alternative Village Fete comprises of 6 artists: Alison Stockwell, Felicity Langthorne, Hannah Marsden, Claire Rowlands, Steven Walker and Laura Kirby. This collaboration will investigate and subvert the traditional British phenomenon of Village Fetes. By exploring British eccentricities of Best in Show, Craft Fairs, Aunt Sally, tacky souvenirs, prize winning leaks and musical talent the Fete aims to get the public involved throughout the ANTIFREEZE Car Boot Sale.

Statement about each project for Alternative Village Fete

Alison Stockwell invites members of the public to take part in her project 'from Ada with love'. Using a hand pixilated image of Ada Lovelace (believed to be the first female programmer) as a template for cross stitch/needlepoint, she looks at the idea of mass production and human fallibility.

Felicity Langthorne presents ‘Best in Show’, a calico dress covered in hand crafted, brightly coloured rosettes. Throughout the day the rosettes will be handed out to a suitable winner, investigating how society judges and values art and those around them.

Claire Rowlands explores the innocent nature of game playing at traditional village fetes. The Coconut shy aka Aunt Sally, pin the tail (or moustache on the famous artwork) and a prize-winning tombola will feature at the fete to engage in discussion and to draw upon the competitive nature within us all.

Hannah Marsden will be making souvenirs of the ANTIFREEZE experience for the other artists that participate. The work examines the nostalgic impulse to collect and preserve an experience; to capture it in a sign or sample of that experience.

Steven Walker will give the punters of the ANTIFREEZE Car Boot Fair the chance to own one of his prize winning Leaks. Winning him accolades from Staffordshire’s WMC allotment team as ‘best in show’! Expect to see amazing limited edition leaks from: refrigerators, allotment plants, engines, old boilers, pens and more!

Laura Kid Kirby will be providing musical entertainment throughout the day with her guitar and beautiful voice!

Contact info to be included:

Alison Stockwell:

Felicity Langthorne:,

Claire Rowlands:

Hannah Marsden:

Steven Walker:

Laura Kirby:



The L-13 Light Industrial Workshop and Private Ladies and Gentlemen’s Club for Art, Leisure and the Disruptive Betterment of Culture is a new art space that opened in Clerkenwell, London in May 2009.

Its remit is to promote the socio-political and personal expressive work of the L-13 artists whilst blurring the distinction between the creation, production and display of art.

A programme of actions and exhibitions has been devised to expound this process whilst encouraging the involvement of others, creating a dialogue within a broad and inclusive cultural context.

The L-13 artists are Harry Adams, James Cauty, Billy Childish, Jamie Reid, Geraldine Swayne and A.S. Waghorne.


NATIONAL ART HATE WEEK has been instigated for the disruptive betterment of culture.

For one week in July the children of Albion will wake up and HATE ART on mass.

NATIONAL ART HATE WEEK is a call for direct action against the mass acceptance of art as a false economy for the smug manipulative elite and their ensuing grip of control over culture as a tool for mediated emotion, market lead non-critical homogeny, and boring popularism.

NATIONAL ART HATE WEEK presents a unified front of non-unified creative individuals against all that is despicable and loved by the people. We oppose the deliberate socio-economic strategy to make us all complicit in our own idiocy. We oppose the affront of state endorsed auto-cryptic balderdash and oppose the ruffians who have been pulled from the ghetto and polished up for elevated status and easy consumption by the masses.
The Central Committee of Free Artists for NATIONAL ART HATE WEEK will use their stand at Antifreeze to disseminate propaganda and raise funds for the cause through the sale of specially produced information posters and pamphlets.

Jude Macpherson

My art practice encompasses both painting and site specific art works. I have created art works for several non gallery venues in the North West including Liverpool John Lennon Airport , Chorlton Ees Nature Reserve, Platt Fields Park , Victoria Baths and as part of Art Transpennine 08, on Flower Scar Hill, Todmorden Moor. This approach to presenting audiences with new work suits my unconventional methodology and use of diverse materials which has included pebbles, fur, latex, and plastic bags.

I have an MA in The Study of Contemporary Art Theory (Liverpool University 1996), and my career path to date has included work with Castlefield Gallery, Chorlton Arts Festival, Hot Bed Press and SMALLpond.

Can’t Draw For Toffee is a spontaneous exchange idea which invites Antifreeze visitors to draw a picture in exchange for a bag of toffees. Can’t Draw For Toffee playfully confronts the oft heard lament that contemporary artists are not trained to be skilled at drawing. Participants will be provided with a range of drawing materials to draw a picture of whatever they like. In a subversion of the usual relationship between artist and audience, the audience becomes the creator and the artist the spectator. All of the drawings will be displayed on the pitch at Antifreeze in an impromptu exhibition.

Alexis Milne

Alexis Milne
Alexis Milne’s current conditionAlexis Milne is undergoing surgery at New Cross Accident & Emergency (MA at Goldsmiths). His work was about shouting clowns but now has entered a place of deep reconciliation with Dirty Honky, his pig nosed - alter ego clown, and now enjoys contemplative Sunday strolls and filth free weekends away.

The Space Agency
Following on from his current guerrilla campaign in London, Alexis Milne will be transporting his latest project, The Space Agency to Manchester, where he will be selling non-space to the public. Reclaiming urban space with the use of palette wrap (big cling film) and spray paint, the Agency has an extensive portfolio of non-space to sell to the public. The Space Agents will be happy to assist members of the public in making that crucial decision of what non-space they should purchase, how to make a shrewd investment in air and how to transform the property wasteland into a gentrified utopia of empty lies and greed.

Mirror Mirror

She’s the toast of the town in her Paris Gown.
She put the’It’ into Grit.
She’s the face of a Thousand Covers &
She’s Manchester's First Lady of Drink and Drama.

Amber Swallows will be bringing all the oozing style and panache of Her now infamous Monthly Club Night, MIRROR MIRROR to the Antifreeze Festival in the from of TRANNY BINGO. Eye's down, and enjoy a big juicy line as there will be 3 sets of TRANNY BINGO throughout the day. Prizes will be in the form of 'Lucky Trips', where winners will have to follow directions and secret maps to retrieve their loot.

Liz Murphy

An artist and curator hailing from Leeds but now firmly rooted in Manchester, Liz is Co-Founder and Co-Director of Contents May Vary and has recently become the Coordinator for the Blackpool Museum of Contemporary Art .The (B.M.C.A) is an artist led organization founded by Stuart Edmundson and Magnus Quaife.

Using installation, intervention and performance Liz’s work invites the spectator to create narratives drawn from suggestions laid within the work. By involving the audience in the creative process this then gives them a claim to the works authorship sharing the burden of making. By incorporating objects we are familiar with in the 'everyday' an atmosphere of confidence is created born from familiarity, when dealing with the work.
Now That’s What I did Call Music (Vol 53)

For 10 months between 2002-2003 every week Monday to Thursday (term time only) myself and four other 18 year old girls drove in a red VW polo from the LS25 region of Leeds to York College (campus opposite Big Tesco’s). This journey was undertaken in order to complete a foundation diploma in Art and Design. Shirking the conventional ‘shop-bought’ compilations for a DIY mix tape the original copy of this tape looped everyday throughout every journey within this time period.

The songs on this tape aren’t great, and they positively aren’t cool, there is definitely no Joy Division or Morrissey, there is certainly no Kinks and no Led Zeppelin, we weren’t try hard art students and we all had haircuts that were the same length on both sides. No one at college spoke to us for the first 3 months as they all thought we were ‘common’. I think they couldn’t understand that because of our accents we talked at least one notch louder than everyone else.

After passing said diploma we all chose separate careers, I now do art, the others probably should too because they were better at it than me.

A limited edition of 200 copies of this tape will be on sale at ANTIFREEZE 2009

Monday, 22 June 2009


Caron Ottewell and Victoria Foster

Caron Ottewell explores memory and identity with an interest in the surface. Using found images she breaks these down into layers to create a sense of space in which to explore fragments of memories. Graduating with a fine art degree in 2007 Caron is a studio holder and trustee of Crate Studios and Project Space in Margate.

Exploring notions of ‘place’, our many and varied relationships with space, and the objects we encounter, Victoria Foster investigates how art can influence and encourage the viewer to engage with their surroundings. She is an interdisciplinary fine artist currently based in Folkestone, Kent working within the arts collective, 'Club Shepway'.

Statement Outlining the Project

Caron Ottewell

In this current climate of economic distress thoughts often turn to the past which becomes imbued with a sense of nostalgia and longing. What, however, is it like to not be able to remember the past, to have no childhood memories?

Caron presents two bodies of work. Her first, Wish you were here? 2009, starts with 3D postcard assemblages of fictional events or places. These have been made into something more permanent, almost a “souvenir” to act as a reminder of a certain place or time.

Her second body of work, The Ladybird Series, 2009 uses simplified vintage Ladybird images to represent something darker but hidden from the viewer.

Vicky Foster

Still Life? Series of drawings, 2009
In a society so focused on regeneration, what traces of domestic histories will remain whilst others disintegrate under the weight of the new?
The objects drawn in white ink onto lengths of lining wallpaper are on first glance, barely visible but on closer inspection the everyday items are revealed.

Fancy That! Series of collages, 2009
Embracing the myth of quintessential Englishness, nostalgic activities such as letter writing, cake baking, tea drinking, bird watching, walks in the countryside and dips in the sea are all jumbled up and brought together in one-off collages.

Web links

Julia Peat

Participating artists: Julia Peat with assistance from CArgos casual team member Jayne Seddon

I am an artist whose work crosses disciplines, embracing sculpture, installation, lens-based and performance work. The work is often site-specific and a response to the history and social aspects of a place. Humour plays a part in my practice and this is often reflected in text, perhaps informed by a background in journalism. Since graduating from the University of Salford five years ago, I have been involved in commissioned and artist-led projects/events in places as diverse as a prison, reclaimed factory site, slate quarry and WWII lookout post, have exhibited and performed around the UK and will be showing in ‘Thoroughly Modern Dora’, part of the Dora Gordine retrospective season in London next month.

‘CArgos’ presents a catalogue shop extravaganza of the weird, wonderful, wacky, the tat and tacky – all genuine car booty! The work will take a playful poke at car boot culture, dodgy dealers, the crap-you-never-realised-you-needed-until-today catalogues that fall out of the weekend papers and the mass-produced goods sold in High Street stores.

Dazzled by the glowing and extremely witty catalogue item listings, shoppers will complete slips to request the coveted hunk of junk. But in a nod to online auctions, there can only be one winner! CArgos staff, including artist Jayne Seddon, will be on hand to help enhance/inhibit the catalogue shopping experience!


M A Longbottom

M A Longbottom representing design58 and platform58 showcasing recent artwork, has been producing, exhibiting and performing since 1984 and living since 1964.
Providing full creative design agency services with design58 and a creative art network and monthly art e-zine with platform58.

The space will house a hatch back (suitcase). A site specific showroom including platform58’s big brother (seen on home page). With ready to wear circular metal artwork and larger collaged pieces of mixed media


Pool Arts:
Annette Ebanks, Trae England, Tess Lomas, Colin Nixon, Eddie Price, Siobhan Samuels, Nicola Smith, David Speers.

Pool Arts

Pool Arts aims, through its very existence to educate the public about the positive effects of artistic practice on well being, and provide studio space, support, training, professional and personal development opportunities for members.
The artists involved come from diverse backgrounds and their chosen art forms are equally varied. Pool Arts include writers, photographers, textile and fashion artists, craftspeople and a rock DJ as well as contemporary visual artists. They are working to create a supportive framework, facilities and opportunities to produce, promote their work.

This year Pool Arts will be opening its first permanent flexible studio facility in Ancoats, thanks to the generous support of Arts Council England and The Lankelly Chase Foundation

we will beat you with our prices

An exhibition of art works on the theme of the ubiquitous “Pound Shop”: We all know and love a pound shop on our local high street and who can resist their charms?! Browse these delightful emporia of everything and anything from “luxury-style” ornaments to pan scrubs, whose products are as seductive and tempting as those in the finest art gallery!

Pool Arts take a wry look at how globalised consumer culture impacts on our everyday lives, whilst creating new interpretations of some cut-price “objets trouves”!

The work aims to re-value these anonymous yet ingenious items that have arrived from across the globe and represent hours of human endeavour, exploitation, ecological cost, design, manufacture and trade, only to be snapped up for mere pennies and without a thought in this microcosm of global trade.

Find out more about Pool Arts at or e.mail

Adam Renshaw

between me and my self. For this q&a I am Me and I am also playing the part of myself.

Me question: what is the title of your project
Myself Answer: although initially put off by the idea of a fixed title I think ultimately (THE GIFT SHOP) as a title gives me the freedom to research and develop my own ideas without any constraint

Me: in a nutshell how do you intend to use the space. And more importantly what is the proposed end point
Myself: ideally A fully Functioning gift shop that’s blurred the lines between performance reality and installation. I felt it vital to keep a clever balance between actually looking like a gift shop and playing with the memorable and meaning associated with mementos and their attachment to memories’

Me: is there any media or materials you are particularly interested in using
Myself: I think it is important to let the nature of the idea influence the use of the material or media and not be trapped by any limitation. The thought or notion that something could work better maybe as video in relation to a sculpture or vice versa has a valuable effect on it meaning.


Switchopen is the Illustration and design company run by Nick Rhodes. Nick has been involved within the rock poster scene since 2000. He has designed and illustrated posters for many bands within the UK and United States. Creating hand screen printed limited edition posters for bands including Queens of the Stone age, The Decemberists, Elbow and Ian Brown to name but a few.

He began by illustrating rock posters for his friends band, progressing in to Screen-printing when he purchased and set up his own screen print shop with in Manchester UK. Nick illustrates and hand prints all of his poster work, delivering unique hand drawn and detailed imagery within each of his Rock posters. He has shown his artwork nationally and internationally.

Switchopen is a fully functioning art studio, housing a range of print machines (screen/lino/digital), all primed ready for action to handle a full spectrum of design projects. If you are interested in commissioning Switchopen to design and produce artwork, please do contact Nick at