History



2018



NOËL LIMITS
III



It's the prophesied return of CHRISTMAS SHOPPING FOR STROPPY PEOPLE!! (We do what we want, and we do it with pride) Featuring......


PERFORMANCE AND ALBUM LAUNCH of 'STAYING HOME' by the very talented RAIL REPLACEMENT


ENGLISH HERETIC


ROBOT OPERA third act, now with 100% more metal





ADAM PIPER- ALEX SHADY -ENGLISH HERETIC-ESTHER PLANAS-GARETH BERWYN-JON TRAYNER-LAURA NICHOLSON -LISA CRADDUCK-MARY YACOOB-MARC HULSON-NICOLA WOODHAM-RAIL REPLACEMENT-ROLINA E BLOK- PIERRE ANTOINE MARTIN-PHILL WILSON PERKIN-ILGA LEIMANIS-WORK'AUS



BLACK IVORY



Mutton Fist Press was proud to Host BLACK IVORY PRINT CLUB for an exhibition of their extensive, exciting and visceral art output!


Opening Night: Fri 23rd November 6-9pm


Black Ivory is a printmaking club that meets every Friday night in Muswell Hill, North London. It currently has two members: Emma Pugmire and Edgeworth.


Black Ivory primarily make woodcut prints, lino cuts, and oil transfer drawings. They also make books, magazines, music CD's, posters and free e-books. They sell cheaper reproduction prints via their site; blackivory.org.


Issue 1 of 'Black Ivory' is the first in a series of 100+ page books, that 'illustrate almost automatically written stories of fantasy science-fiction'. It was available to buy from Mutton Fist Press, on the opening night and throughout the exhibition.


'We make primitive figurative art, primitive abstract music and primitive figurative abstract writings.' - Black Ivory mission statement.



SLIPPAGE



A journalist is attempting to write a feature about a small desert community. All the while being haunted by his dreams of an all-consuming wave. A cracked-dam consciousness, his mental state deteriorates. He sinks deeper into obsession as his dreams start to seep through into waking life. Ebbing and flowing, eroding the boundaries between fantasy and reality. Uncertainty, leaking boundaries, fluidity and transmission are the main themes of Laura Nicholson’s amorphous comic book, Slippage. Produced whilst on residency at Mutton Fist Press, Slippage will be presented in a gallery overwhelmed by productive surfaces. Allowing the audience to both purposely and accidentally mark and be marked. Trace evidence; wet footprints and oily smudges, collapse the distances between finished and unfinished. Between work, artist and viewer. The look is T.V. psychopath’s lair, the comic is absorbent.



Laura Nicholson is an American English artist based in London. Recent solo exhibitions include Climbing the walls, Lomography studio, London (2018); Constantly Terrified, Modern art Oxford, Oxford (2017); and Simhamukha, C.U.P., Reading (2016). They also participated in DEEP ANGER TRUE LOVE TENDER CARE, Horse Hospital. London (2017). Their practice includes print, comic books, painting and performance. Laura’s work often tackles psychoanalytic processes, embodied experience, and the blurry line between performance and authenticity.







V.D.M.I.Æ.



​

Jonathan Trayner

V.D.M.I.Æ. (v3.2)

Mutton Fist Press and Five Years

6-7th January 2018, 12-6pm

*Performance and drinks event;
Saturday 6th January, 6-9pm*


In a collaboration between
Mutton Fist Press and Five Years
Jonathan Trayner will be presenting the first act
of his grand opera for robots –
V.D.M.I.Æ.
– alongside a series of linocut illustrations
from the libretto.





Based on the 1925 play Thomas Münzer
by the German playwright Berta Lask
this piece is a mock-heroic attempt
to create a voice for the voiceless machines,
a pathetic presage of the
future of automatic poetry.

The original play was written as a piece of pedagogic theatre
to instil communist ideas in the German proletariat.
It is the story of the radical German preacher Thomas Müntzer,
a utopian and proto-communist who was one of the leaders
of the peasants’ during the German Peasants’ War of 1525.
The text has been ‘written’ by taking Lask’s script,
scanning it, running the scan through
first text recognition software,
then an automatic translator.

This was then passed uncorrected
through text-to-speak software
to create the voice that was then turned into song.
The glitches and errors create an accidental poetry
that slips in and out of meaning and demonstrates
the failure of communication that is at the heart
of the tragedy of the human condition.​​




Based on the 1925 play Thomas Münzer
by the German playwright Berta Lask
this piece is a mock-heroic attempt
to create a voice for the voiceless machines,
a pathetic presage of the
future of automatic poetry.

The original play was written as a piece of pedagogic theatre
to instil communist ideas in the German proletariat.
It is the story of the radical German preacher Thomas Müntzer,
a utopian and proto-communist who was one of the leaders
of the peasants’ during the German Peasants’ War of 1525.
The text has been ‘written’ by taking Lask’s script,
scanning it, running the scan through
first text recognition software,
then an automatic translator.

This was then passed uncorrected
through text-to-speak software
to create the voice that was then turned into song.
The glitches and errors create an accidental poetry
that slips in and out of meaning and demonstrates
the failure of communication that is at the heart
of the tragedy of the human condition.​