2024-03-31-accounts

CELL FOUNDATION (LIMITED BY GUARANTEE) Company No: 08565097 (England and Wales) Charity Number: 1156554 REPORT OF THE DIRECTORS AND FINANCIAL STATEIVIENTS FOR THE YEAR EIYDED 31 MARCH 2024 Prepared by GENCH & COMPANY INTERNATIONAL ACCOUNTANTS, TAX & BUSINESS ADVISERS 3 JARVIS CLOSE BARKING, ESSEX IG117PZ Tel: [phone] Email.. [e-mail]

CELL FOUNDATION (LIMITED BY GUARANTEE) INDEX TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2024 CONTENTS Page Legal and Administrative Inforniation Report of the Directors Independent Examiner's Report Income & Expenditure Accounts 10 Balance Sheet Notes Forniing Part of the Financial Statements 12- 13

CELL FOUNDATION (LIMITED BY GUARANTEE) LEGAL AND ADMINISTRATIVE INFORMATION FOR THE YEAR ENDED 31 MARCH 2024 Company I Charity Name: Cell Foundation Company Registration Number: 08565097 Charity Registration Number: 1156554 Registered Office and Operational Address: 258 Cambridge Heath Road London E2 9DA Directors: Ms Carol Milika Muritu Mr Richard Michael Priestley Mr James David Healy Chesterman Secretary: Ms Carol Milika Muritu Independent Examiner: Mr Guvench G Gench Gench & Company 3 Jarvis Close Barking Essex IGI17PZ Bankers: HSBC Bank PIC Lion House 25 Islington High Street London NI 9LJ

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OF THE DIRECTORS FOR THE YEAR ENDED 31 MARCH 2024 The Management Committee presents its report and annual financial statements for the year ended 31 March ?024. STRUCTURE, GOVERNANCE AND MANAGEMENT Governing DocuEnent The organisation is a charitable Company limited by guarantee and was forni¢d to promote the practice and appreciation of the arts for the public benefit. The organisation aims to advance the public's education in the arts by establishing and maintaining an art gallery for the provision of exhibitions, lectures and intern training programmes. Additionally, it supports artists wlio are in financial need by assisting with studio workspace for them. Cell Foundation was registered as a company on I l June 2013 and as a charity on 7 April 2014. The company was established under Memorandum of Association, which established the objects and power of the charitable company and is governed under its Articles of Association. In the event of the company being wound up, members are required to contribute an amount not exceeding £1. Recruitment and Appointment of Management Committee The three directors of the company, Carol Milika Muritu, Richard Michael Priestley and James David Healy Chestennan are charity trustees for the purpose of the charity law and the company's Articles. The company secretary is Carol Milika Murttu. All truste¢s are members of the Managyement Committee. Under the r¢quiremeiit of the Memorandum and Articles of Association, the members of the Management Committee are elected to serve for a period of twelve months. After this tiine. they must be re-elected at the next Annual General Meeting. The Charity has a good mixtur¢ of business, community, academic and art specialist skilled reprcscntatives on the Management Cotnmittee. In an eft.ort to maintain this broad skill mixture, members of the Board are requested to provide a list of skills and to update it on a yearly basis. Trustee Induction and Training An induction pack will be provided to new Board members when elected. New Board members will meet with both the chair of the Management Committee and the director of the organisation as part of their induction into the service to cover: _ Obligation of the Management Committee. Main documents which set out operational framework for the Charity including Memorandum and Articles. Resourcing and the current financial position as set out in the latest published accounts. Future plans and objectives. Organisational Structure Cell Foundation has clearly defined structures that allow the members to participate through an elected Manageiiient Committee as governing body for policy and overall management responsibilities and through quarterly member meetings.

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OF THE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 The staff, led by the director, have the responsibility of running day-to-day work and the organisational development. Cell Foundation has a Management Committee, which does not have a maximum number ol trustees, but does have a minimum of two. Th¢ trustees tneet bi-monthly and are responsible for the strategic direction and policy of the Charity. At present the Managen]¢nt Committee has a variety of professional backgrounds relevant to the work of the Charity. The company secretary sits on and chairs the Commit￿e. All members of the Management Committee have voting rights. The directors are responsible for the day to day running of the servic¢, ¢nsuring that the Charity delivers the services specified and that perfomiance targets are met. Operational management is carried out by the Directors or the senior staff member and they ensure that staff continue to develop their skills in line with good practice. CELL FOUNDATION'S OBJECTIVES Cell Foundation's aims and objectives are to continu¢ to improve th¢ quality of exhibitions in the gallery, aiming to widen the public's knowledge about emerging contemporary artist5 in the local community of Tower Hamlets and London wide. The activities are underyjinned by its commitment to public engagement. Cell Foundation aims to: Support artists in financial need and encourage their participation in the wider community. Provide community advocacy to empower their cngagement with the gallery. Improve the quality of inforn]ation and access for our audiences. To actively seek funding partners to ensure our commitment to payingy artists fees for commissioned works. Ensure The Arts Council of England's stratcgic plans are on the agenda at all our org7anisation's strategTric levels with a view to becoming a National Portfolio Organisation if the possibility arises and that the next round's criteria gives access to do so- ACE will share infonnation about their aims for this investment programme. The next National Portfolio investment programme will launch in Spring7 2025. Establish. develop and maintain work relations with local community groups and encoiirage community growth through capacity building, i.e. educational access. Build on and develop fiinding t.or Cell:s student Fellowship to become a regular part of the gallery's roster Reduce isolation by dev¢loping the Cell Foundation network and link up with other agencies in order to generate a broad rang¢ and depth of views and ideas to influ¢nce decisions and change. Links have been made with sharing resourc¢s with Auto-Italia and Chisenhale Gallery. Keep abreast of changes in emerging contemporary art on an international level. Achievements and Performance Cell Foundation activities are continued to capture artist's needs and expectations. Cell Foundation works relentlessly to create the structures and information that enables the Foundation to engage with local, national and international audienccs.

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OFTHE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 New partners include British Council Biennlals Connect, Embassy of Estonia in London. Alvaro Barrington Studio, Patrick Collins, Arcadia Missa, IFA, Mondriaan Fund. Goethe Institute London, Region Orebro lan, Film I Vasterbotten, Cockayne Foundation and the Netherlands Embassy in the United Kingdom, Kunststiftung NRW. The 'Associate Curator's title changed to the title 'Curator' Adomas Nai-kevicius with an agreeinent to ciirate 3 out of 5 exhibition projects per year, with one allocated to the director and one jointly curated with ihe director Milika Muritu. Narkevicius has increased international relations and marketing with Jessie Krish's support delivering community advocacy to target strong international, national and community partners. CEED (Central Eastern European & Diaspora) Feminisms a project instrumcntal to this was a collaboration and invitation work with Feminist Duration Reading Group supported by British Art Network to explore the role of feminist thinking in constructing cultural narratives about Central Eastern Europe and British Central Eastern European diaspora. A programme of reading groups in Autumn 2023 & Winter 2024 brought together a network of practitioners based in and beyond the UK and C¢ntral Eastern Europ¢. The project culminated in a publication- working towards a CEED Feminisms Bibliography to be printed in the summer and planned to be distributed across Europe. CEE and USA to libraries worl-wide. The project's activities and aims will target educational resource centres, from universities, galleries and public institutions. Jessie Krish Gallery Manager & Project Curator resigned in January 2024 with an aim to pursue a freelance career in curation. The gallery appointed a much- needed Production Assistant, Annabelle Modlinger in February 2024, identifying the need for a p¢rnianent and fully focused technical and administrative assistant to oversee all production aspects of installation and commuiiications to support the Leam, to address the imbalanc¢ of curatorial expertise versus practical and technical support in the team and to fulfil the origTinal role of a permanent part-time Gallery Manager, which was the initial oeuvre of the recruitin¢nt process. Cell Foundation's sustained presence in specialist Art Publications included Frieze, Art Monthly, e-flux, Post Clarity, Artforum, Contemporary Art Library, Art Review magazine, Mousse Magazine, along with FAD magazine, The Evening Standard, Art Viewer, Mousse, Another, The Toe Rag. emergent, PA Museum, Art Basel magazine, Zerodeux Our newly established Student Fellowship scheme funded by Art Fund which launched October in 2023 - increased our commitment to creatiiig paid professional practice, rather than the initial voluntary internship to reach students from low-income backg7rounds. Cell Project Spac¢ teamed up with Art Fund to work with and train three early-career practitioners studying in full-time UK education. Fellows were paid one day a week at the London

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OFTHE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 Living wage, £11.95 plhr. with an opportunity to gNain hands on professional experience learning from a critically focused contemporary art organisation, to transform and situate their research interests into practical exhibitions and events production. Funds have been raised from Tower Hamlets Community Chest to a self-initiated project- three events titled 'Permit to Dream, organised by the gallery's Train¢e Fellows, Michelle Lee Johnson, Khadija Niang, Chinaza Ruth Okonkwo The completed new Forest Park premises in Waltham Forest buildings for studio workspace is now sustainable. All maintenance, repairs and refurbishments have been completed and Cell Project Space Ltd hav¢ reduced donations by £90.000 as the Forest Park Premises now continues its full occupancy to pay back their company loan and to contribute charitable donations of £6000 per month to Cell Foundation - totaling £72.000 per annum. En(ragement and support with additional stakeholders Blackhorse Activators. Feminist Duration Reading Group, Arcadia Missa Gallery, Goethe Institute London, Alvaro Barringqon Studio, Goethe Institute London, British Art Network, artist Stuart Middleton, We worked with and developed commissions with artists from Senegal,United States (Coumba Samba and École De Sables) Sweden, (Max Goran, Josefin Amell) Gem]any (Niklas Taleb), UK (Felix Melia) Albania (Silvi NaFi, Doruntina Vinca, and Leah Whitman-salkin), Croatia (Sanja Ivekovic) Yugloslavia (Tanja Ostojic) Bosnia (Selma Selman) Bosnia (Darija Radakovic) Our 400 square ft g%round floor event space is now clos¢d, due to the increased 150 % rental cost during c.ambridge Heath Road's leasehold renewal and therefore vacating the adjacent property. The year was critically successful in serving our audiences, artists and achieving Cell Foundatioii s aims and objectives. Our audience incr¢ased expon¢iitiall)'- however, staff costs have risen due to increased inflatioii and labour shortages. along with increas¢d material costs and services. The teain are struggling to find sufficient funding opportunities to maintain or increase income for growth. Funding in the UK has been cut for ommissioning resident UK artists, therefore 800/0 of our programme funding is sourced from overseas. Financial Review Principal Funding Sources: Cell Project Space Ltd, British Council Biennials Connect, Embassy of Estonia in London, Patrick Collins, IFA, Mondriaan Fund, Region Orebro lan, Film I Vasterbotten, Cockayne Foundation and the Netherlands Embassy in the United Kingdom, Arts Council England, Kunststiftung NRW, British Art Network

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OF THE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 Investment Policy: Cell Foundation's aim to develop an Investment Policy and to source an organisational 'Friends and Patrons Group, has proved unsuccessful. Further funding initiatives need to be researched in Spring - Summer to reach targets for the following Autumn- Winter programm¢ year 20251 2026 Reserve Policy: Cell Foundation has an assurancc from a key-funding source Cell Project Space Ltd to hold 6 months of core cost aside to safeguard the organisation's future in case of financial pi'obleins. This is being reviewed bimonthly as a matter of urgyency. There is a need for enough resources for Cell Foundation to carry out its present and futur¢ activities et"fectively aiid to be less reliant on C¢ll Project Space Ltd:s donations due to the studios development neèding to see growth. ie; major refurbishnient and the purchase of freehold buildings to maintain the organisation's location. Identifyingy the level of risk and how to manage it. Maintain the organisation's ethical approach to investment. A pi'oactive approach in regyards to applkying for National Portfolio status to reduce the 24 years of majority funding and running costs by Cell Project Space Ltd.

CELL FOUNDATION {LIMITED BY GUARANTEE) REPORT OF THE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 Plans for Future Periods Cell Foundation is going to: Source larger funding pots that cover running costs- such as Foyle Foundation, British Art Network, Garfield Weston, and Paul Hamlyn. These funding initiatives require a long and timely application proccss. Develop relations with Education Departments and research funding in Universities for the fellowship programme. Direcector, Milika Muritu will apply for research funds via hcr occasional Associate Lecturer status at UAL, Chelsea School of Art. Improve Cell Foundation's voice in local policy and planning and decision-making- attention to building the charity board. Risk Management The Management Committee has identified that they need to conduct a review of the major risks to which the Charity is exposed, and a risk register has been established. The three areas highlighted are funding (developing varied funding streams), appropriate financial procedures in place. They have identified a need to improve govemance within the organisation. with more diverse representation of varying skills to target th¢ inain areas of risk. Responsibilities of the Management Committee Company and charity laws rcquire the trustees to prepare financial statements for each financial year, which give a true and fair view of the state of affairs of the charitable company as at the balance sheet date and of its incoming resources and application of resources, including iiicome and expenditure, for the financial year. In preparing those financial statements the management committee should follow b¢st practice and: Select suitable accounting policies and then apply them consistently. Make judgements and estimatcs that are reasonable and prudent. State whether the policies adopted are in accordance with the Chariti¢s Statement of Recommended Practice - SORP and with applicable accounting standards: subjcct to any material departures disclosed and explained in the financial statements. Prepare the financial ststements on the going concern basis unless it is inappropriat¢ to assume that the C,harity will continue operating. Thc ManaLyeinent Committee members are responsible for keeping proper accounting records, which disclosc wilh reasonable accuracy at any time, the financial position of the charitable company aiid to enable them to ensure that the financial ststements comply with the Companies Act 2006. The Management Committee members are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud or other irregularities. Members of the Management Committee Members of the Management Committee, who are directors for the purpose of company law, and trustees for the purpose of charity law, who served during the year and up to the date of the report are set out on page J. In accordance with company law, as the company's directors, we certify that: As so far as we are aware, there is no relevant audit information of which the

CKLL FOUNDATION (LIMITED BY GUARANTEE) REPORT OF THE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 company, s accountants are unaware. As the directors of the company we have taken all steps that we ought to have tsken in order to make ourselves aware of any relevant audit information and to cstablish that the Charity's auditor is aware of that infomiation. io

CELL FOUNDATION (LIMITED BY GUARANTEE) REPORT OFTHE DIRECTORS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 Review and Results The directors I tnistees report a net deficit of £12.203 on operations for the year. The management committee has been working on a fundraising strategy to increase long and short-terin fundingl for artists, projects. Balance Sheet Details of the major items on the balance sheet can be found in the notes to the accounts. The fluctuations in debtors and creditors year on year arc purely the result of the timing of receipts and payments around the year-end. Accountants Gench & Company was appoint¢d as the charitable company's accountant during the year. This report has been prepared in accordancc with the Statement of Recommended Practice: Accounting and Reporting by Charities issued in January 2015 and iii accordance with the special provisions of the Compani¢s Act 2006 relating to small entities. Approved by the Management Committee and signed on behalf of the Management. Carot< ilika Muritu Richard Michael Priestley Date: ...251011?025

INDEPENDENT EXAMINER'S REPORT TO THE MANAGEMENT COMMITTEE ON THE UNAUDITED ACCOUNTS OF CELL FOUNDATION I report on the financial statements for the year ended 31 March 2024 set on pages l O to I l and notes to the accounts on pages 12 to 13. Respective Responsibilities of directors and independent examiner: As described on page 7 the company's directors are responsible for the preparation of the financial statements: and they consider that the company is exempt from an audit. It is my responsibility to carry out procedures d¢signed to enable mc to report my opinion. Basis of Opinion My examination was carried out in accordance with the Statement of Standards for Reporting Accountants, and so my procedures consisted of comparing the financial statements with the accounting records kept by the company, and making such limited enquiries of the otyicers of the company as I considered necessary for the purposes of this report. These procedures provide only the assurance expressed in my opinion. Independent Examiner's Statement In my opinion: a) I'lie financial statements are in agreem¢nt with those accounting records kept by the company under section 221 of the Coinpanies Act 2006. b) Having regard only to, and on the basis of, the information contained in those accountingv records- Thc financial statements have been drawn up in a manner consistent with the accounting requirements specified in section 249C {6) of the Act" and The company satisfied the conditions for the exemption from an audit of the financial statements for the period sp¢citied in s¢ction 249A (4) of the Act and did not, at any time within that period, fall within any of the categorics of companies not entitled to the exemption specified in section 249B (I). ii) Guvench G Gench FAIA Gench & Company International Accountants, Tax & Business Advisers 3 Jarvis Close Barking, Essex IGII 7PZ Date: 25- 01-J925 12

CELL FOUNDATION (LIMITED BY GUARANTEE) INCOME AND EXPENDITURE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2024 Unrestricted Restricted Notes Funds Funds 2024 2023 INCO1￿￿ Donations Grants 67,979 67,979 51,065 162,993 19,922 51,065 Total Income 119044 182,915 EXPENDITURE Salaries and National Insurance Canteen and Cleaning Expenses Renewals and Maintenance Telephone aiid Kntemet Transport and Travel Postage and Stationeries Exhibition Expenses Legal and Professional Fees Independent Examiner's F¢¢s Bank Charges Donations 31,081 382 540 409 1,565 994 85,125 29,772 236 913 501 1,504 598 66.446 3,465 2,700 94 3,208 1,800 123 300 Depreciation 7.576 9,470 Total Expenditure 131247 118,907 Net (Deficit) Surplus (12,203) 64,008 Amortisation for Leas¢hold Premises (91,591) (91,591) Net (Deficit) After Amortisation (103,794) {27,583) Balance brought t"orward 959,644 987,227 Balance carried forward 50 959,644 The notes on pagyes 12 to 13 fom part of these Financial Statements. 13

CELL FOUNDATION (LIMITED BY GUARANTEE) BALANCE SHEET AS AT 31 MARCH 2024 Notes 2024 2023 Fixed Assets Tangible Assets 854,621 953,788 Current Assets Cash at Bank and in Hand 5,505 13,573 Liabilities Amounts falling due within one year (4,276) (7,717) Net Assets 855 850 959 644 Funds Unrestricted Funds Restricted Funds 30,303 825,547 37,879 921,765 Total Funds 855 850 959 644 For the year ended 31 March 2024 the company wa5 entitled to exemption from audit under section 477 of the Companies Act 2006 relating to small companies. Directors, responsibilities: The members have not required the company to obtain an audit of its accounts for the year in question in accordance with section 476; and The directors acknowledge their responsibilities for complying with the requirements of the Act with r¢spect to accounting records and the preparation of accounts. These accounts have been prepared in accordance with the provisions applicable to companies subject to the small compaiiies, regime. The accounts were approved by the Board and signed on its behalf by-. Carol Milika Muritu Richard Michael Pri¢stley Date: 25101120?5... Th¢ notes on pages 12 to 13 form part of these Financial Statements. 14

CELL FOUNDATION (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 MARCH 2024 Accounting Policies These Accounts have been prepared in accordance with applicable accounting standards and the Statem¢nt of Recommending Practice on Accounting by Charities, and relevant legislation. Accounting Convention The Accounts hav¢ been pr¢par¢d under th¢ historical cost convention. Amortisation Ainortisation is calculated to write off the cost of tangible fixed assets over their estimated useful economic life using the straight line method. The rates of amortisation used is the following: Leasehold Premises Depreciation Depreciation is calculated to write off th¢ cost of tangible fixed assets over their estimated useful economic life using the r¢ducing method. The rates of depreciation iised are the following: Equipinent, Fixtures and Fittings 200/0 Motor Veliicles Remuneration of Directors l Trustees No directors / trustees received any r¢muneratRon in the year. Donations and Grants Receivable 2024 2023 Cell Project Space Auslandsbeziehung¢ Cortez Resourc¢s Henry Moore Foundation Kunstsiftung Lietuvos Kulturos Ministerie Van Buitenlandse National Art College Pablo Genoves Pa Slots OG Kulturst - Denmark St Mondriaaii Fonds Tate Gallery The British Council The Embassy of Lithuania The London Community Foundation Sundiy Donations 67,979 4,415 5,000 5,000 2,905 600 3,065 7,744 3,700 162,993 5,000 1,707 1,736 6,2?5 5,250 7,000 1,425 10,000 54 161 Total 119044 182915 15

CELL FOUNDATION NOTES TO THE ACCOUNTS (Continued) FOR THE YEAR ENDED 31 MARCH 2024 The breakdown of exhibition expenses 2024 2023 Advertising Insurance Canteeii and Cleaning Expenses Exhibition Materials Telephone and Internet Transport and Travel Expenses Printino Postage and Stationeries Legal and Prolessional Fees 3,695 1,777 1,575 9,868 1,361 9,956 1,249 55,644 5,852 1,270 1,734 7.702 512 2,360 3,350 43,666 Total Liabilities: Amounts falling due within one year 2024 2U23 Trade Creditors Other Taxes and social Security Independent Examiner's Fees 1,000 1,476 1,800 1.090 3,927 2,700 Total Tangible Assets Equipmenl Leasehold Fiylures & Premisgs Fillings Motor Vehicles Total Cost: At O l April 2023 Additions 1,099,091 46,684 57.490 1.203.265 Cost at 31 March 2024 1,099,091 46,684 57,490 1203 265 Depreciation: At 01 April 2023 Charged for the year 183,182 91,591 29,763 3,384 36,532 4,192 249,477 99,167 Depreciation at 31 March 2024 274,773 33.147 40.724 348 644 Net Book Volue 31 Mareh 2024 824,318 13,537 16,766 854 621 Ivel Book Value 31 March 2023 915,909 16,921 20,958 953 788 Share Capital The company is limited by guarantee and does not have a share capital. 16

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Five main strands of activity support our mission: :

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“Who knows what might become possible [...] through concerted effort, imaginative powers, determination, trans allyship, an independent gallery behind you and maybe a little funding? Spectacular scenes.”

– Isabel Weidner on Alex Margo Arden & Caspar Heineman at Cell Project Space for Frieze, Feb 2020. Author of We are Made of Diamond Stuff , Goldsmiths-prize shortlist.

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About Cell Project Space

Cell Project Space is a not-for-profit contemporary art gallery founded in 1999. The gallery was initiated as an artist-run space and, in 2014, formed a registered charity, Cell Foundation. The Project Space supports emerging and underrepresented artists by developing ambitious new commissions and revisiting historically overlooked projects, playing a unique role between an artist-run organisation and a larger institution. Throughout the 24-year history of the organisation, Cell Project Space has provided affo dable workspace for visual artists, which, in turn, financially supports the gallery’s core operational costs.

Cell Project Space’s initial experimental ethos continues to guide the gallery’s vision and approach.

Over more than two decades, Cell has established an international reputation for significant solo commissions with artists at an early or pivotal point in their careers. Part of a dynamic international network of artists and organisations, the gallery has grown into a widely-recognised site for artistic experimentation, with a proven track record of celebrating innovative practices and responding to politically urgent issues.

Accessed through an industrial yard in Bethnal Green, and brimming with sub-tropical plants, the gallery is situated in the heart of a diverse residential neighbourhood in the London Borough of Tower Hamlets. Cell facilitates local networks and partnerships, which support young people, academics and community groups London-wide and in the local area, taking a proactive role in supporting urgent conversations drawing from a breadth of diverse cultural perspectives and celebrating historically overlooked projects. Developed against the backdrop of a buoyant art market in the early 2000s, and a period of political austerity, Cell Project Space foregrounded the advancement of new cultural capital in the UK by developing emerging practices that focus on research, multimedia, digital culture, group work, DIY methods and collaboration.

Early collaborators include multi-award winning artists and writers Goshka Macuga, Paul O’Neil, Caroline Achaintre, Barbara T Smith, Laura McLean-Ferris (curator Swiss Institute, NYC), Celia Hempton, Peles Empire, Morgan Quaintance (acclaimed writer and filmmaker), Rebecca Lewin (curator Serpentine Gallery), Ursula Mayer, Benedict Drew, Lillian Lijn, Mark Aerial Waller, Eddie Peake, Kathy Noble (curator Performance Space, NYC), Emma Hart, Yuri Pattison, Jonathan Baldock, Angelo Plessas, Céline Condorelli, Jessica Warboys, Adham Faramawy, David Blandy, Athanasios Argianas, Anne De Vries, Attilia Fattori Franchini (curator Kunstverein Gartenhaus, Vienna and Director Emergent section of miart Milan).

Cell Project Space Gallery & Event Space (pictured to the right) accessed through an industrial yard in Bethnal Green, via an entryway brimming with subtropical plants.

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Caspar Heinemann, Ghislaine Leung, Anne Sophie Berger, Mimosa Echard, Aude Pariset, Eglė Kulbokaitė & Dorota Gawęda, Jenna Bliss, Anharad Williams, Emanuel Almborg are all recent collaborators that have gone on to present in major public institutions worldwide including KW Institute, Kiasma International, Swiss Institute, NYC, Basel Kunsthalle, Chisenhale Gallery, British Art Show 9, Lux Moving Image, Kunstverein für die Rheinlande und Westfalen, Mostyn Gallery, Kunstverein München, Palais De Tokyo, Walker Art Centre, Nottingham Contemporary, and Pompidou Centre and appearing in international press world-wide. Recent and past successes include Jenna Bliss winning the Massimo Giorgetti Prize in 2023, Mimosa Echard’s prestigious Marcel Duchamp Prize in 2022, and Eglė Kulbokaitė & Dorota Gawęda winning the Collide Award in 2021. Since exhibiting at the gallery, Caspar Heinemann, Ghislaine Leung and Atiéna R. Kilfa are currently represented by Cabinet Gallery, London and have had solo presentations at Basel, Liste, and Armory art fairs.

Three years of generous support from partners have included Art Fund, Boris Lurie Foundation, NYC, Cockayne Foundation, Phileas Fund, Fluxus Art projects, Adam Mickiewicz Institute, The Elephant Trust, Pro Helvetia, and The Austrian Cultural Foundation and London Borough of Hackney.

Alongside exhibitions, Cell Project Space delivers a longstanding public programme through gallery tours, talks, events, workshops and screenings to disseminate artists’ ideas to a host of audiences, community partners, local schools and universities led by a diverse range of leading artists, theorists, curators and researchers that have included; Yates Norton (curator Robert Institute, London), Hans Ulrich Obrist (artistic director, Serpentine Gallery), Derica Shields (writer, author and researcher) Mathieu Copeland (author and philosopher), Cedric Fauq (director, CAPC Musee, Bordeaux), Philipp Kleinmichel, (philosopher and cultural theorist), Omar Koleif (Sharjah Art Foundation’s director of collections and senior curator) and Lisa Le Feuvre (executive director Holt/Smithson Foundation) artists including Matilda Tjader, Ayesha Tan-Jones, Hannah Quinlan and Rosie Hastings.

For 2019/21 press coverage included Flash Art, Art Review, Elephant Mag, The Guardian, Art Monthly and Frieze magazine and social media channels, extending the programme’s reach to new audiences, which have continued a steady following ever since.

Publishing

The gallery continues to develop its short-run editions of artists’ publications in conjunction with the exhibitions which include the acclaimed publication ‘Partners’ 2009 by Ghislaine Leung, ‘Shit and Doom, NoArt’ 2019, with an introduction by Mathieu Copeland, and ‘Hindsights’ 2022 by Peng Zuqiang.

Hindsights Publication, Peng Zuqiang, 2022, Cell Project

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In 2021 the gallery received an Arts Council England ‘Cultural Recovery Grant’ to develop ambitious new bodies of work that reached out to local and international audiences after the pandemic; many of who identified with the programme through collective lived experiences. Highlights included intimate gatherings of music, discussion and readings. Acclaimed scholar and writer Kara Blackmore responded to Renée Akitelek Mboya’s film ‘A Glossary of Words My Mother Never Taught Me’; Latin American Youth Forum’s Cajón Drum Remix, a percussive workshop explored languages of migration as coded communication with Bryan Giuseppi Rodriguez Cambana. As a continuation of Cell’s publishing initiatives, the gallery produced Peng Zuqiang’s debut 120-page publication ‘Hindsights’ during his solo exhibition at the gallery and launched it together with an evening of public readings by the book’s contributors – curator Alvin Li (Adjunct Curator, Tate Modern), and artist and writer Sanaz Sohrabi. Marking the latest project in a string of multi-disciplinary collaborations, US musicians and recording artists, Pink Siifu and ConQuest Tony Phillips presented an evening of live experimental sound sets in collaboration with the artist Cudelice Brazelton IV.

Sideways Looking, solo exhibition, Peng Zuqiang, 2022, Cell Project Space

Supporters and partners in 2022, which included Arts Council England, Antenna Space, Beijing, Foundation for Contemporary Arts, USA, Henry Moore Foundation, Finnish Institute, Lithuanian Culture Institute, Embassy of Lithuania in the United Kingdom and the Danish Arts Foundation. Subsequent to their exhibitions Peng Zuqiang won the Illy Present Future award at Artissima 2022, receiving a scholarship at Rijksakademie, NL. Rodriguez-Cambana received a residency and commission at Gasworks, London and

Opera Balcon , Bryan Giuseppi Rodriguez Cambana 2022, Cell

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Cudelice Brazelton’s installation for his solo exhibition was acquired by the Dallas Museum of Contemporary Art in collaboration with Wschod Gallery, Warsaw. The 2022 programme received wide-press coverage appearing in Art Review, Art Monthly, Contemporary Art Daily and Mousse alongside a range of online aggregates such as Art Viewer, Kuba Paris and many more. Each exhibition reached a record 1221-1435visitors on-site (a 20% increase from pre-pandemic 2019), an audience of up to 3500 for each digital programme engagement, and extended. visibility of 60 000+ unique views via online press and social media mentions.

Renée Akitelek Mboya, A Glossary of Words My Mother Never Taught Me , 2020. HD digital video, 14:40.

Alongside the film, to interlocute in the violent history its imagery evidences, Renée Akitelek Mboya reimagines a songbook of 1960s and 1970s ideological ‘freedom’ songs as part of a nation-building tool kit, presented alongside an audio-conversation between the artist and academic Kara Blackmore as well as reading companions offering methodological inroads into the ongoing operations of coloniality.

Renée Akitelek Mboya, A Glossary of Words My Mother Never Taught Me, Songbook , Detail, 2021

Partners & Supporters 2021- 2023

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2022-2023

Cell Project Space’s programmes in 2023 were centred around the notion of ‘home’ in relation to class belonging, access to housing, identity formation, parenthood and forms of kinship inside and outside of the nuclear family structure. In June 2023, German-Algerian artist Niklas Taleb presented his fi st solo exhibition in the United Kingdom which considered the process of self-identific tion as a child, adolescent, and parent, critically revisiting genres of family photography and vernacular snapshot. In Autumn 2023, Ukrainian artist Ksenia Pedan created an installation of paintings and sculpture, forging a claustrophobic intimate space of a home with that of a non-descript public space.

Josefin Arnell and Max Göran’s exhibition completed and concluded Cell’s 18-month-long engagement with questions regarding the domestic space. ‘Cowboy Hell’ (working title) examining upbringing and coming-ofage as both a time of potential emancipation and the establishment of normative behaviours. Making use of the site of Cell Project Space as a former stable, Josefin A nell’s in part auto-biographical installation environment and moving image work will prompt themes of friendship, misfit, normativity, fetishisation, and female empowerment, starring a pack of teenage girls.

In Autumn 2023 Cell Project Space led a British Art Network (BAN) research group in collaboration with the Feminist Duration Reading Group, to form a research group exploring the role of feminist thinking in constructing cultural narratives about Central Eastern Europe and British Central Eastern European diaspora in relation to concerns cutting across Cell Project Space’s 2022/3 programmes. This included Lithuanian artists Agnė Jokšė and Anastasia Sosunova’s exhibition ‘Dance As You Wrestle’ and the live performances celebrating queer, ‘Eastern’ European solidarity featuring Lithuanian bedroom pop collective Liudmila, alongside Polish artist spalarnia, and a major new solo exhibition by Ksenia Pedan. Building on the Feminist Duration Reading Group’s tried and tested methodology of reading under-known and under-appreciated feminist texts from outside the Anglo-American canon out loud, together, activities developed collaboratively amongst invited practitioners. BAN is a Subject Specialist Network supported by Tate and the Paul Mellon Centre for Studies in British Art, with additional public funding provided by the National Lottery through Arts Council England.

Dance As You Wrestle, Agnė Jokšė, Anastasia Sosunova, 2023, Cell Project Space

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Queer ‘Eastern’ European Anti-Colonial Solidarity Fundraiser with spalarnia, Liudmila, Taras Gembik, Vlad(a) & T Vazheyevskyy 11th March 2023

Agnė Jokšė, ‘Dear Friend’ , 2022 Dance As you Wrestle, 2022

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Anastasia Sosunova, The Visitation, Messed Up Terrains, Dance As you Wrestle, 2022

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CEED Fe.mini8m8 .8, ce.ll Pr(Jjec.t spac.e, 2023

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CEED Feminisms Bibliography 3, Cell Project Space, 2023

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Niklas Taleb, Simon , 2023, Cell Project Space

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Private View Documentation Solo Yolo, Niklas Taleb, Cell Project Space

Ksenia Pedan, Autonomy , 2023, oil pastel on board, 50 x 38 x 3 cm

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Exhibition view, Ksenia Pedan, Reversion , Cell Project Space, 2023 (From top: FOG , 2023, oil pastel on board, 60 x 47 x 3 cm; Storage 2 , 2023, installation, 2023, melamine chipboard, 120 x 89.5 x 17 cm)

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Private View Documentation Reversion, Ksenia Pedan, Cell Project Space

Ksenia Pedan, Gate 57 , 2023, oil pastel on board, 40 x 31 x 3 cm

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Josefin A nell, Beast and Feast , Installation View, 2023, HD video, 25:10, single-channel video installation

Max Göran, Exhibition view, brave and pathetic is better than drowning in sham e, 2023, Cell Project Space, 2023

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Coumba Samba and École des Sables, Performance FIFA, 2024, Coumba Samba, Capital, 2024, Cell Project Space

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Private View Documentation Reversion, Ksenia Pedan, Cell Project Space
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Partners & Supporters 2022 & 2023

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20 2023/24 Programme Report

Cell Project Space’s successful completion of the ‘2023-24’ exhibition and events programme included solo exhibitions by Algerian-German artist Niklas Taleb (‘Solo Yolo’), Ukrainian-bor artist Ksenia Pedan (‘Reversion’), and a two-person exhibition by Swedish artists Josefin A nell and Max Göran (‘brave and pathetic is better than drowning in shame’) and (‘Capital’) the fi st UK solo exhibition by US/ Senegalese artist Coumba Samba. Additionally, it featured the Central Eastern European & Diasporic (CEED) Feminisms research group and public programme. For most of these artists, except Josefin A nell, this was their fi st major solo exhibition in the United Kingdom.

The programme aligned with Cell Project Space’s long-term goals: supporting risk-taking visual vocabularies and material art-making responsive to the current social and political landscape while fostering dialogue, knowledge exchange, and solidarity-building among art professionals globally. The programme addressed contemporary art issues and debates, including non-Western Feminisms in Eastern Europe, working-class and sub-cultural irreverence, and the artistic refusal to conform to dominant politics of representation. These themes were particularly evident in the projects by Ksenia Pedan and Niklas Taleb. This year of programming, supported by Cockayne Grants for the Arts, has underscored Cell’s role as London’s leading artist-centric exhibiting platform.

CEED Feminisms Research Group and Public Programme

Cell Project Space launched the CEED Feminisms research group and public programme in partnership with the London-based Feminist Duration Reading Group (FDRG). FDRG is a non-hierarchical knowledge-sharing platform focusing on lesser-known feminist texts, movements, and struggles from outside the Anglo-American canon.

The programme, informed by Cell Project Space’s team and FDRG founding members, academics Helena Reckitt and Lina Džuverović, addressed Russia’s colonial and imperialist history and the xenophobia faced by ‘Eastern European’ immigrants in the UK, particularly in the context of Russia’s invasion of Ukraine. The recurring reading groups addressed subjects such as feminism, anti-colonialism, parenthood, domestic labour, desire, power, humour, and repression.

CEED Feminisms Public Events:

1. CEED Feminisms 1 (September 2023): An in-person reading group examined Central Eastern European feminisms through extracts from Ewa Majewska’s Feminist Antifascism (2021) and discussions on ‘Border Thinking and Disidentific tion’.

2. CEED Feminisms 2 (October 2023): An online reading group led by Ukrainian scholars explored transnational feminist solidarity in the context of Russia’s war in Ukraine.

3. CEED Feminisms 3 (November 2023): A screening event featured performance documentation and moving image works by feminist artists from the former Yugoslavia, followed by a discussion moderated by Dr. Lina Džuverović

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1. January 2024: A 24-hour online screening of Sanja Iveković’s ‘The Invisible Women of Erste Campus’(2016) focused on the labour of cleaning staff t a bank’s headquarters.

2. CEED Feminisms 4 (March 2024): An online session by the Tirana-based Radical Sense reading group introduced contemporary Albanian feminist discourse through a dialogue and a microreader exploring radical feminist texts.

3. CEED Feminisms 5 (April 2024): The series concluded with the launch of a pamphlet and digital document, distilling the CEED Feminisms network’s research into a published bibliography.

Exhibitions:

1. Solo Yolo by Niklas Taleb (24 June – 13 August 2023):

This exhibition featured twelve newly commissioned photographic prints exploring contemporary social contracts in the West, family dynamics, and generational aspirations. Taleb’s work defamiliarised intimate family moments, highlighting the social reproduction of habits and mechanisms.

The exhibition included an artist and curator tour and was selected as a ‘Must See’ exhibition in Artforum International’s Artguide. Online, it reached approximately 150,000 users through the combined effect o advertising in Art Monthly, a review by Marcus Verhagen for e-flux Criticism, a review on Artforum by Daniel Neofetou, a feature in Mousse Magazine, Cell’s website, regular posts on Instagram (15,400 subscribers), Facebook, Twitter, and Cell’s monthly newsletter (8,000 subscribers).

2. Reversion by Ksenia Pedan (14 September – 19 November 2023):

This exhibition transformed the gallery into a site-specific install tion, addressing the mundane apocalypse and drawing parallels with the war in Ukraine and London’s housing crisis. Pedan’s work featured handmade pigments and ready-made furniture sculptures.

The project included artist and curator tours, and a workshop titled ‘Mouldings’ with Blackhorse Responders. It bolstered Cell’s engagement with the Central Eastern European and Ukrainian diaspora communities in London. The exhibition was noted among the best exhibitions in London during Frieze Week by Mousse Magazine.

3. brave and pathetic is better than drowning in shame by Max Göran and Josefin Arnell (7 December 2023 – 25 February 2024):

This exhibition premiered new film and photo raphic works, featuring bespoke video installations utilising the gallery’s space. It included a film sc eening, Q&A event, and a workshop for sociallydisadvantaged young adults.

The exhibition was advertised in print in the December 2023 issue of Art Monthly, reaching an approximate audience of 20,000. It was recommended in Mousse Magazine online, featured on Frieze magazine’s ‘Top Picks’, and the Evening Standard’s ‘Best Exhibitions in London’ bulletin. It received a review by art writer Michael Kurtz in Art Monthly’s February 2024 print issue and in the Spring 2024 print issue of Zerodeux magazine. Online, it reached an extended audience of approximately 150,000 users through advertising in Art Agenda (e-flux), Cell s website, regular posts on Instagram (16,200 subscribers), Facebook, Twitter, and Cell’s monthly newsletter (8,500 subscribers).

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5. Capital by Coumba Samba, collaborations with Gretchen Lawrence and Ecole Des Sables (28 March 2024 – 2 June 2024):

This exhibition premiered the fi st major UK solo exhibition by Senegalese-American artist Coumba Samba, featuring a room-sized mud enclosure, photographic prints, and a commissioned performance titled ‘FIFA’ produced in collaboration with École Des Sables (Dakar, Senegal), and artist Gretchen Lawrence (UK/Estonia) to produce a permanent soundscape for the exhibition. The project revolved around the circulation of objects, forms, materials and ideologies between the West and West Africa; a feedback loop of defined futu es, economic suppression, and the event of hope.

The exhibition received substantial support from British Council’s Connect programme and was featured in Contemporary Art Library, Mousse, Emergent, Art Viewer, and Art basel online. The exhibition was filmed y Occula and was ‘an Artist to watch’ by Emalin gallery’s founding director, Leopold Thun. Online, it reached an extended audience of approximately 150,000 users through advertising in Art Agenda (e-flux), Cell s website, regular posts on Instagram (16,700 subscribers), Facebook, Twitter, and Cell’s monthly newsletter (8,500 subscribers).

Cell Project Space is dedicated to supporting emerging artists and fostering boundary-pushing visual art practices that responsively address contemporary artistic, social and political issues. The exhibition and public programme exemplified this mission y showcasing the work of international artists, engaging local Tower Hamlets communities, and creating opportunities for knowledge exchange and solidaritybuilding among art professionals. The programme’s themes, such as non-Western Feminisms in Eastern Europe and the refusal to conform to dominant politics of representation, reflected Cell s commitment to risk-taking and responsive art-making. This initiative reinforced Cell Project Space’s role as a leading artist-centric contemporary art platform in London, facilitating significant partne ships and leveraging additional funding to sustain its impactful work.

Evaluation and Assessment

Throughout the project, Cell Project Space monitored website and social media analytics, visitor attendance, and feedback from participants and visitors. The gallery team held bi-weekly meetings to discuss exhibition planning and implementation. Visitor surveys and feedback forms were used to assess the impact and effecti eness of the programme.

Feedback from artists, partners, and visitors was collated and discussed by the gallery team to refine and improve future projects. This data was also included in the charity’s annual report for review by the Trustees.

a. Number of Beneficiaries

Artists: First UK solo exhibition opportunity of an international scale for 4 emerging artists, 3 of them from under-represented backgrounds; 20+ emerging art professionals from CEE diaspora involved in CEED Feminisms public programmes and working groups with a network-building opportunity.

Local Communities: 150+ local residents engaging with the programmes through public artist & curator

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Cell Project Space’s inclusive approach has engaged diverse demographics in the approximation of (through visitor surveys, guest book sign-ins and written feedback): 18% of beneficiaries ere from Black, Asian, and Minority Ethnic (BAME) backgrounds, 22% were LGBTQ+, and 16% were from Central and Eastern European or/and CEE diaspora.

b. Geographic Location of Beneficiaries

The majority of beneficiaries ere located in London, specifically Cell s local area of Tower Hamlets, and young people participating in Blackhorse Workshop in Walthamstow. Additionally, Cell paid a particular focus on fostering local artist’s international representation and representation of earlycareer emerging international art practitioners in the UK. The programming reached a wide array of participants from various boroughs of London, leveraging Cell’s extensive resources and global networks to platform early career artists.

c. Impact on Organisation and Additional Funds Leveraged

The grant significantly impacted Cell P oject Space by enhancing its ability to continue to support risk-taking visual vocabularies and material art-making responsive to the current social and political landscape. This support has also acted as a leverage to attract funds from esteemed public funding bodies such as Paul Mellon Centre, British Art Network, Tate, Mondriaan Fonds, Art Fund.

Impact on Organisation:

1. The exhibition and public programme underscored Cell’s role as London’s leading artist-centric exhibiting platform.

2. The grant enabled Cell to strengthen its connections with UK-based and international artists, partners, art professionals, and funding bodies resulting in invitations for the Cell team to professional development opportunities such as to attend funded curator trips and artists’ studio visits.

3. The inclusive programming approach has led to new methods of co-creation with diaspora communities and collaborations with grassroots organisations and collectives.

Additional Funds Leveraged:

1. Mondriaan Fonds in relation to Josefin A nell project 2. British Art Network Grant (Paul Mellon Centre and Tate Partnership) in relation to CEED Feminisms project

2. IFA in relation to Max Göran; and Niklas Taleb projects

3. Art Fund in relation to Cell Project Space Student Fellowship

4. Henry Moore Foundation and Swedish Artist Council Mobility Grant in relation to Ksenia Pedan project

5. Kunststiftung NRW in relation Niklas Taleb project

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Public Programme, Live Art & Performance Overview

Cell Project Space has developed a public programme, which forms a key component within Cell’s wider exhibitions programme. Recognizing the expanding practices of artists working today the programme intends to connect artists, writers and academics with new audiences through workshops, events, talks and performances to work with early career artists and provide them with a platform to either disseminate knowleged and parctive or to support early stage ideas for smaller events within the programme. The initiative offe s opportunities for artists to test out, and discuss their work with the others, enabling communities to become involved and be part of their conversation, to form understanding and relationships that otherwise may not occur. The aim of the public programme is to broaden our local community networks both locallly and on a wider scale to promote social cohesion.

Through tours and workshops the gallery has established relationships with local schools and charities including: Mowlem Primary School, Globe Primary School, Clapton Girls’ Academy, Project Indigo, Step Out at Step Forward, Women’s Environmental Network, London Environmental Educators’ Forum, Arts for All, ReThink, Headway East London, Green Candle Dance Company, Hub Club ,Blackhorse Activators and many others.

Cellular Sessions was a new strand of programming in 2020 at Cell Project Space that ran alongside the exhibitions programme at the gallery as an experimental event space that offe ed artists a sustained and prolonged period of residency to develop new research, test ideas and present a final li e work during the pandemic when audience contact was limited. The programme continued the gallery’s engagement with supporting emergent art practices, particularly those by under-represented artists, placing a strong focus on the use of the space to present works across time-base and media arts. This ethos has become a continued part of our programming.

Morpeth Primary at Aude Pariset’s Greenhouses Exhibition 2017

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Hindsights, Publication Launch, 2022, Peng Zuqiang

Workshop; Permit To Dream; Toch Method with Ocean Loren with Cell Project Space Fellows

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Systems for Sharing with Sean Roy Parker, , 2017 working with ReThink , (Support to those affected y a mental illness)

The War Room, an Opera! by Harriet Middleton-Baker 2022, working with The Green Candle Dance Group for Seniors

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January Noons, Josephine Callaghan 2018 with London Environmental Educators’ Forum (LEEF) and Women’s Environmental Network (WEN)

Sistxrs Fight Club (SSFC), Xtracts, 2018, working with members from the QTIPoC community

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28 Selected Press Coverage

Cell Project Space exhibitions programme is regularly featured online and in print on a regular basis throughout the year. Selected publications include: Art Review, Frieze, Art Monthly, Mousse Magazine, Art Viewer, The Standard, Artforum

Further press for all projects can be accessed here: http://cellprojects.org/press

London. The show features a soundscape by Lawrence, adding an extra dimension to Samba’s artwork 28

Coumba Samba at Cell Project Space April 24, 2024 1ThPryX4q￿'Sfirn￿l0¢￿hlbiINwIllEutv.11rf¢hirclrmtPF¢￿tr Artlst Coumba Samba Aiknbknkithrth￿t'shamEIOw￿01Ch￿kn￿r￿.iThyi￿1£I.thrs1tCDf Exhlbltlon iftl•: Capital ￿￿￿i￿tF￿￿￿llEyof¢o￿Um￿hK￿P1l￿lilvWOlk￿h￿fr￿￿sfUrndvwft Curated by. Milika Muritu and Adomas Narkevièius rr¥￿￿￿￿trtQIWdlty￿￿Pl￿eU￿dcT￿-WC5thrln￿¥Jts￿llty Vonuo: Cell Project Space, London, UK •iliAnfLL. PlA•V.IMTALLATh)Iiv￿W.a1• QILL FdmdirtawJoJellnAwneJl•ndTmu￿•fflx￿￿G1anh￿￿ longsl•ndin8¢oU•boratiwèp￿1ceHe1lFUft ￿lIhi$￿ewtxhl1X"d whlch u5eshuny)￿r*Trd#bs￿[d1tywaSkY5￿ts•hOuidlss

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SEASON: SS 2018
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Young Girl Reading Group
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: 4 ‘i r seriouslyA extreme’ words by Federico Sargentone
f ff a SAF]= The artist talks shout unpicking the story of William
—_— - Hogarth’s
te - ‘ explore architecturalA Harlot's Invited to join the 2,895 members of a Facebook group whose de-scription reads “Young Girl, I did love you once,” I start skimming Progress form, power and using herdistributionlatest and thop e ra to ings enforcing the public, collective dimension of the text. “In our performances, the readers are placed in casual lounging positions,
‘ ‘ : 9 =\ ~ a ambivalence of feminism the feed, wandering through art opening e-vites, installation views-and queer-theory articles. in a corporate climate bringing to mind bodies hanging out in bedrooms,” they explain. ”In doing so, a sense of intimacy and vulnerability is generated—a
The group’s admins, Dorota Gaweda and Eglė Kulbokaitė, send me sense of girl-on-the-Internet catharsis, where feminist theory rubs
a co-signed email on their arrival day in New York. They are embark- against ‘girlish’ reading practices.”
ing on a residency at Art in General after a busy year spent between Paul B. Preciado, Nina Powers, Ursula K. Le Guin, Richard Sen-
‘3 Zz eri, Basel and Athens (where the two live and work) and traveling around a nett and Donna Haraway are just a few of the key authors that
European art institutions; their solo show at Cell Project Space in have been, or will be, performed by the group. The out-loud or-
London has recently come to an end, while their work at the 13th atoria performed by breathing bodies, as well as the gestures
Baltic Triennial is still on view in Tallinn and Riga. Even though captured by a rounded iPhone flashlight, prompt a process of
Studio links ea Y I’ve never met Dorota and Eglė IRL, various interconnections, both virtual and factual, paved my way into their work. In our email ex- 1 self-affirmation, which is in turn livestreamed and disseminated. As Gaweda and Kulbokaitė put it, “By performing the text, as-
change, the answers they hand over are poignant, relaying an acute suming uncomfortable positions to read, or writing down some
Frances Starke ‘Tam _ consciousness of what Young Girl Reading Group (YGRG) is and of the words in the space and on their clothes, the readers com-
desperately trying , will be. Named after Tiqqun’s seminal text Wy Preliminary Materials for a plexify the perception of the body, the space and the text itself.”
connectart world!outside of the Theory of the Young-Girl the performative entity develops from the formulation of a paradig- J ij , published in English by semiotext(e) in 1999, Self-described as a “sonar-social architecture of shared curiosity and synchronicity, a live Instagram hangout, and a self-conscious
matically centered identity, breaking similar ground in the spheres aesthetic chamber for intimacy and discovery,” Young Girl Reading
Monica Bonvicini: of identity politics, self-determination and economy of presence. Group happens simultaneously in real life, onscreen, and through
notsculpturesbutit meansamerelypraxisto andaprodacn, displayabout what objects‘tt of is a- : Initially operating on a weekly basis as an actual, queer-enthusiast bookclub from the artists’ apartment, Young Girl Reading Groupbecame a community seeking new ways for approaching text, read-ing, and sharing knowledge. Indeed, text is still at the core of their every activity, and is the central element of the performative instal- —aeca!“a language. This ubiquity of sorts allows their Young-Girl to act as a main character at the center of the stage. Her body is pivotal, her voice of paramount importance—both to herself and to bystanders, her daily experiences of sexuality, desire and legitimation framed and reclaimed through the public action.
showand display’ lations through which YGRG exists in the realm of contemporary Tiqqun writes, “The Young-Girl never creates anything; she re-
CenixanesCreatrix:kins, 200 by IZABELLA SCOTT art institutions. Their diverse and playful output, encompassing films, merchandise products and, most recently, fragrances, ulti-mately adheres to an overarching language. Selecting performers through word of mouth or from self-initiated communities such as creates herself”—and it’s the enactment of this particular, polar image that concerns Young Girl Reading Group most. With the body becoming a proxy for language, the “seductive power” of the Young-Girl becomes an exchangeable value—a dramatic yet ironic
YOUNG GIRL READING GROUP IS A COLLABORATIVE PROJECT INITIATED IN 2013 BY ARTISTS DOROTA GAWĘDA (POLISH, B. 1986) Simon Fujiwara: White Facebook groups, Dorota and Eglė stage Instagram-streamed read- replacement of the everyman’s “labor power.” K
13AND EGLĖ KULBOKAITĖ (LITHUANIAN, B. 1987). THEY ARE CURRENTLY IN RESIDENCE AT ART IN GENERAL IN NEW YORK, AND A NEW PRODUCTION WILL BE PRESENTED AS PART OF THE THIRD CHAPTER OF THE BALTIC TRIENNIAL IN RIGA (LT), THROUGH NOVEMBER 2018. [IMAGE COURTESY OF THE ARTISTS AND MMOMA, MOSCOW.] DayWilliamFortuna Kentridge: SixHarrietHarlot’s Acts Middletorn-BakerProgress:(2017) shown Proposalat Guest(b1989)for ProjectsaNewdevises Operain feminist London,in the opera:Sci-Fiand, more The Genre in 14
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Programme Hstory

2020-2021’s commissioning programme included notable solo presentations by Olu Ogunnaike, ‘London Plain’, Shenece Oretha, ‘Call To Respond’ and Atiéna R. Khalifa’s ‘Nevermind (Screen Test I)’, responding to questions of labour, production and regeneration as integral to the artists’ practices. Featured in Frieze magazine and Art Monthly, the projects’ institutional critique became a poignant reminder of the heightened social and political responsibilities of care during the pandemic. Ogunnaike has subsequently presented solo exhibitions at CAPC Musee, Bordeaux curated by Cedric Fauq, gb Agency, Paris in 2022, with a scheduled solo exhibition at Spike Island later this year; Oretha received public commissions at the British Museum, Jerwood Space, London and Brent Biennial 2022; Atiéna R. Kilfa presented her fi st institutional exhibition at KW Institute, Berlin and Camden Arts Centre, London in 2022-23.

London Plain, solo exhibition, Olu Ogunnaike, 2020, Cell Project Space

Pivotal group exhibitions have included ‘Civic Duty’, featuring works by Carolyn Lazard, Sam Lipp, and Adrian Piper with the fi st airing of the late Donald Rodney’s pivotal and timely AI work ‘Psalms’ since his solo exhibition at South London Gallery in 1982. ‘Shit and Doom’ – No!art, showcased forgotten historical works by Stanley Fisher, Yayoi Kusama, Boris Lurie, and Stella Waitzkin, amongst many others using negation, pessimism and anti-aesthetics as a protest against the buoyant mainstream of Abstract Expressionism and Pop-Art that dominated the market of the period. ‘X6 Dance Space (1976–80): Liberation Notes’, was the fi st collective presentation of the X6 Collective and their work, which brought the former members together publically after 40 years.

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Installation Documentation - Liberation Notes, etc., 1987, Fergus Early, New Dance magazine, Issue 40, p.10-12

Psalms , 1997, Donald Rodney, Walk , 2019, Sam Lipp

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Suzanne Long, Not without Men , c. 1962, Shit and Doom - NO!art, 2019

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Ghislaine Leung, The Moves , 2017. Cell Project Space

Ghislaine Leung, The Moves , 2017. Cell Project Space

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Gulle, Julia Crabtree & William Evans, 2018. Cell Project Space

Performance: Federico (2015 - ongoing), Alex Baczynski-Jenkins, 2017. Cell Project Space.

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Shit and Doom - NO!art, 2019. Cell Project Space

The Farmyward is not a Violent Place and I look Exactly Like Judy Garland, Alex Margo Arden & Caspar Heineman, 2020

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