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DTSTART;TZID=Europe/London:20260317T100000
DTEND;TZID=Europe/London:20260404T180000
DTSTAMP:20260417T094238
CREATED:20260216T120125Z
LAST-MODIFIED:20260227T092159Z
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SUMMARY:Bibby Boys
DESCRIPTION:Bibby Boys documents the experience of the men aboard the Bibby Stockholm barge and the community that rallied around them. It is a collaborative photographic series by Theo McInnes and Thomas Ralph.\nFree Admission \nPrivate View\, Thursday 19th March\, 18:00-21:00. RSVP HERE \nCounterpoints Arts is one of the partners supporting the exhibition. \nIn late 2023\, while visiting Portland\, McInnes and Ralph overheard the phrase “Bain’t narn of we” used to describe the men housed aboard the newly arrived Bibby Stockholm. In old Dorset\, it means “ain’t one of us”. Hearing this prompted them to consider who these men were\, and how they would experience the island as their temporary home. \nThe Bibby Stockholm\, a repurposed maintenance barge moored off the island\, was used by the UK government to accommodate people seeking asylum. Many of the men onboard had fled persecution\, war\, or climate-related displacement\, only to find themselves confined in conditions Amnesty International described as “utterly shameful” and “reminiscent of the prison hulks of the Victorian era”. Promoted as a cost-saving alternative to hotel accommodation\, the Bibby Stockholm became a highly visible symbol of a deterrence-led asylum policy. \nThe Isle of Portland is a small peninsula connected to the Dorset mainland by a single road. Known for its quarries\, prisons\, and industrial port where the barge was moored\, the island has a rugged character shaped by industry\, remoteness\, and long-standing economic challenges. Portland and neighbouring Weymouth include several neighbourhoods ranked among the most deprived in England\, reflecting persistent barriers to housing\, employment\, and access to services. With the arrival of the Bibby Stockholm\, the island became a focal point of a fierce national debate on migration. \nFor many\, boarding the barge did not feel like a choice. Several men later described feeling compelled to go onboard\, fearing homelessness or negative consequences for their asylum claims if they refused. As they waited in limbo for interviews\, often for multiple years\, the men faced a series of severe challenges. These included an outbreak of Legionnaires’ disease in the water supply\, restricted movement\, sustained racist and xenophobic protests\, the threat of removal to Rwanda\, and the death of Leonard Farraku onboard. All of this unfolded alongside the personal trauma many carried and deep uncertainty about their futures. Leonard’s death raised serious questions about the adequacy of mental health care and safeguarding within the asylum accommodation system\, deepening concern about the human cost of prolonged limbo. \nIn late 2024\, the decision not to renew the barge’s contract was widely understood as a response to mounting criticism of its human and financial cost. This followed sustained pressure on the newly elected government\, driven in part by collective strikes organised by the men onboard and by continued solidarity from organisations including Care4Calais\, Stand Up To Racism\, and the local Portland Global Friendship Group. \nFormed by Portland residents\, many of whom were strangers before the barge arrived\, the Portland Global Friendship Group offered practical support including help with Home Office applications\, transport\, clothing\, and access to services\, alongside companionship and advocacy. Operating amid local and national hostility\, the group became a visible presence of welcome on the island. Through shared time and activity\, gardening\, walks\, games\, art\, and volunteering became spaces of mutual exchange. Rather than a one-way act of assistance\, the group grew through reciprocity\, with care and responsibility shared between the men onboard and the wider Portland community. When the barge closed\, both the men who had fought for its end and local residents were left to say goodbye to a community formed under conditions no one had chosen. \nMcInnes and Ralph worked slowly and collaboratively\, prioritising time\, consent\, and repeated encounters. With no access to the barge itself\, they worked from the outside\, observing how the men lived and navigated this period of limbo on the island. Over more than a year\, the connections formed between the artists\, the men onboard\, and the wider community shaped both the work and its meaning. \nMainstream media frequently reduces asylum to crisis or threat. Bibby Boys offers another way of looking\, grounded in proximity\, exchange\, and relationship. The tensions surrounding this work are not abstract: when a small preview was shown in Dorset\, the exhibition was vandalised. That act\, occurring alongside a swell of welcome and support\, reflects the contested ground this project occupies and why exhibitions encouraging dialogue and reflection remain necessary. \nArtist Bios\nTheo McInnes (b. 1992) is a photographer and filmmaker based in London. His practice centres on people and the ways they navigate the world\, using photography and film as vehicles for exploration\, attention\, and empathy. Working across portraiture\, social documentary\, and observational filmmaking\, McInnes focuses on human presence\, character\, and lived experience\, often engaging with communities observed from the margins. His directorial debut\, the short documentary The Fanciers\, received recognition at DOC NYC and Bolton International Film Festival\, and was nominated for Best Short Documentary at the Melbourne International Film Festival. McInnes is a multiple-time Portrait of Britain winner\, selected in 2019\, 2020\, and 2024\, and shortlisted in 2023. He received the Social Documentary Photography Award for Best Series for Showland\, and has been awarded Rugby Photographer of the Year twice for his documentary work on the Men’s Six Nations. \nThomas Ralph (b. 1989) is a film director\, writer\, and socially engaged artist from Dorset whose work is driven by political inquiry and an interest in lived experience. Working across film and photography\, his practice explores culture\, community\, and representation. His commercial work has received nominations and awards from Cannes Lions\, British Arrows\, D&AD\, and the UK Music Video Awards. In 2024\, he was a Portrait of Britain winner. Alongside his commissioned practice\, Ralph develops long-form narrative and documentary projects. He is currently co-writing the feature film Precious Things and the television miniseries The Laughter Of Our Children with Liam Papadachi\, and is adapting writer Max Porter’s arms trade soliloquy Wild West into a short film.
URL:https://counterpoints.org.uk/event/bibby-boys/
LOCATION:Photofusion\, 2 Beehive Place\, London\, SW9 7QR\, United Kingdom
CATEGORIES:Photography
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251029
DTEND;VALUE=DATE:20251109
DTSTAMP:20260417T094238
CREATED:20250813T085833Z
LAST-MODIFIED:20250830T204200Z
UID:10000545-1761696000-1762646399@counterpoints.org.uk
SUMMARY:Touchstones
DESCRIPTION:Touchstone is a participatory arts project designed and led by artist Gillian Allard and funded by The Arts Council England and Suffolk County Council. \nPresented as part of the Platforma Festival (October 2025) produced by Counterpoints Arts. \nThe project is for anyone who feels ready to explore their feelings towards someone who has passed. Participants will use an unusual creative activity alongside the written word to help you create a personal tribute. There will be an art exhibition of the work for the Platforma Festival in Ipswich \nSt Elizabeth Hospice’s bereavement service LivingGrief\, will be partnering with Gillian for the project\, providing support throughout from trained volunteer bereavement counsellors. Writer Roua Horanieh and film-maker Hossam Fazulla will also work on the project. \nMore information is available from Gillian’s website. \nThe project begins in August 2025 and an exhibition of work created will be displayed at Custom House in Ipswich from 29 October – 8 November. \nFull programme\, including exhibition details\, coming soon. \n \n  \nGillian Allard is a photographic artist and educator from Suffolk\, with a passion for storytelling. Her background is in Photojournalism and she has a Master’s degree from the Royal College of Art. In 2017 she became the winner of Sky Arts Master of Photography – a television contest based in Rome. Her journey has led her to create meaningful connections within communities\, including work with the Ipswich refugee community on the theme of ‘Belonging’ for the PhotoEast Festival. Her art invites participants to share their stories\, blending photography and personal narratives into powerful visual experiences using alternative photographic techniques. Her projects include landscape and still life that help her connect with herself and her own thoughts and feelings. \nImage: Mina by Gillian Allard
URL:https://counterpoints.org.uk/event/touchstones/
LOCATION:The Old Custom House\, Key Street\, Ipswich\, IP4 1BZ\, United Kingdom
CATEGORIES:Photography,Platforma
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2025/08/Touchstone-beachcover.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20251011T133000
DTEND;TZID=Europe/London:20251011T153000
DTSTAMP:20260417T094238
CREATED:20250830T185011Z
LAST-MODIFIED:20250830T194546Z
UID:10000552-1760189400-1760196600@counterpoints.org.uk
SUMMARY:Slidefest
DESCRIPTION:62 Gladstone Street presents Slidefest: a workshop featuring four photographers whose powerful visual storytelling explores first-generation migration.\nArtists: Hicham Gardaf\, Kalpesh Lathigra\, Amak Mahmoodian\, Chris Neophytou \nCurated by Aisha Zia & Mohamed Somji \nCo-commissioned and presented as part of the Platforma Festival (October 2025)\, produced by Counterpoints Arts. \nFull details and free booking \nSlidefest spotlights the work of four photographers whose powerful visual storytelling explores first-generation migration—both economic and conflict-related. \nThrough image-led presentations\, each photographer will share stories of migration that begin with departure: Why do people leave? What do they encounter along the way? And how do they build lives in unfamiliar places? \nThis intimate event will trace personal and collective journeys from displacement to arrival\, offering a deeper look into the lived experiences of those who have shaped diverse communities. Through photography and conversation\, Slidefest invites audiences to reflect on the stories behind the images—and the people behind the stories. \nF(I/U)GUE by Hicham Gardaf  \nA fig plant’s perspective. Uprooted from its homeland\, offered by the family\, we follow it crossing borders\, adapting and becoming\, in a new environment. What is it like to be foreign? To live in a state of constant waiting and delay\, in a perpetual quest of home? Hicham Gardaf (b. in Tangier\, Morocco) works across photography and moving image\, often engaging with ideas of time\, place and transformation. He is drawn to sites that carry social or spatial tension\, such as landscapes shaped by displacement\, urbanisation or quiet forms of resistance. Through slow\, observational processes\, he explores how environments reflect broader political and temporal conditions. Gardaf approaches these mediums not only as tools for documentation but as spaces for speculation\, perception and re-interpretation. His practice is concerned with what images hold and what they fail to reveal\, how they shape memory\, suggest presence or absence\, and shift meaning over time. Recent screenings and exhibitions include the 74th Berlinale in Berlin\, Kettle’s Yard in Cambridge\, Frac MÉCA in Bordeaux\, MACAAL in Marrakech\, and Fondazione MAST in Bologna. \nOne Hundred and Twenty Minutes (2019-2023) by Amak Mahmoodian \nIn One Hundred and Twenty Minutes (the amount of time we dedicate to dream every night)\, I have worked with 16 individuals who are exiled from their native countries. Through photography\, poetry\, drawing and video\, I examine the emotional and psychological landscapes of dreams in exile\, the new lives we create with these dreams\, and the ways in which they keep returning us to our past. “Amak Mahmoodian is a multidisciplinary artist and educator. She began her career as a research-based photographer in Iran in 2003. Since 2010\, she has been living in the UK\, unable to return to Iran. She practices as a visual artist at the intersection of conceptual image-making and documentary photography\, working with photographs\, text\, video\, drawing\, archives and sound. Her practice explores the presentation of gender\, identity and displacement\, bridging a space between personal and political across platforms and formats including installation\, books and films. Mahmoodian’s work has been shown internationally\, including the Carnegie Museum of Art. Pittsburgh; Fototeca Latinoamericana\, Buenos Aires; the Benaki Museum\, Athens; Arnolfini\, Bristol; Rencontres d’Arles\, Arles; and Peckham 24\, London. Her works are held in collections such as the Tate\, and the British Library in London. She has published two books\, Shenasnameh (RRB- ICV Lab\, 2016)\, and Zanjir (RRB\, 2019) which was the winner of The Best Photo Text Book award at Rencontres Arles\, 2020. Her work appears in key titles on photography such as Photography – A Feminist History (Tate Publishing\, 2021)\, Photography Now: Fifty Pioneers Defining Photography for the Twenty-First Century (Octopus Publishing\, 2021)\, and How We See: Photobooks by Women (10×10 Photobooks\, 2019). \nThe Planting of a Fig Tree by Chris Neophytou \n“I don’t know whether there are an infinite number of reasons why people leave home or whether they are all just many different versions of the same thing. Whatever the impulse or circumstance might be that propels us to travel in one way or another it is inevitably linked to our notion of home\, and what home should be. There always seems\, at least to me\, to be this undulating degree of tension between the place we have set out from and the place we arrive at; always this balance between expectation and doubt\, the unknown and the familiar\, the memory and the moment. The people and places captured in these images form a record of a particularly itinerant period in my life. Made in a number of different towns\, cities and countries\, the images that now congregate here suggest a narrative where disparate experiences and observations are unified by a persisting sentiment. My practice focuses on themes of place and is rooted in a documentary approach to photography. Growing up in rural England as a second-generation Cypriot\, navigating between two cultures\, helped inform my interest in place and connected themes surrounding history and identity. My process\, almost archaeological in nature\, involves collecting and recording material fragments and interrogating them for meaning about the past\, in the hope of better understanding the present.” \nDiscarded Fruit by Kalpesh Lathigra \nKalpesh Lathigra is a British Indian artist born in 1971 in Forest Gate\, a suburb of East London. He is a documentary photographer\, concerned with the democratisation of both the real and the ‘staged’ image. In 2000 he received the 1st prize of the “World Press Photo”\, a prestigious award for photojournalism\, and in 2003 he undertook a project documenting the lives of widows in India\, receiving the “W.Eugene Smith Fellowship” and the “Churchill Fellowship”. In 2014 he was awarded a ‘Lightwork Residency’ by the Brighton Photo Biennial to produce\, in collaboration with South African artist Thabiso Sekgala\, a cycle of photographs entitled A Return to Elsewhere. A project aimed at investigating Indian communities in Marabastad and Laudium in South Africa and Brighton in the UK\, studying their history\, memory and loss of civilisation. His first book ‘Lost in the Wilderness’\, published in 2015\, contains a corpus of photographs dedicated to the Oglala Sioux and Pine Ridge Indian reservations\, and has been defined by critic Sean O’Hagan as ‘one of the photographic books of the year’. \nImage: Chris Neophytou \nAbout Platforma in Peterborough \nPlatforma 2025 in Peterborough is produced by 62 Gladstone Street\, a community-rooted arts space in the heart of Peterborough with a particular focus on supporting South Asian and MENA artists. Through exhibitions\, residencies\, and public programmes\, it provides a vital platform for underrepresented voices and fosters meaningful dialogue between artists and the wider community. \nPartners: Counterpoints Arts\, Landmark Theatres\, Peterborough Cultural Alliance\, Metal Peterborough\, Peterborough Presents\, Peterborough Museum\, HELP Charity & the Aziz Foundation \nDedication: “Our programme is dedicated to the innocent men\, women\, and children who have lost their lives\, those who have been displaced by war\, and all those seeking a safe place to call home.” \n62 Gladstone Street’s Platforma programme is supported by Arts Council England as and presented as part of the wider Platforma Festival across the East of England\, produced by Counterpoints Arts.
URL:https://counterpoints.org.uk/event/slidefest/
LOCATION:Peterborough Museum and Art Gallery\, 51 Priestgate\, Peterborough\, PE1 1LF\, United Kingdom
CATEGORIES:Photography,Platforma
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2025/08/ChrisNeophytou_002.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20250616T110000
DTEND;TZID=Europe/London:20250622T160000
DTSTAMP:20260417T094238
CREATED:20250513T142506Z
LAST-MODIFIED:20250529T143310Z
UID:10000501-1750071600-1750608000@counterpoints.org.uk
SUMMARY:Encounters
DESCRIPTION:ENCOUNTERS is a site-specific installation developed by Kingston School of Art’s MArch Architecture students in collaboration with MA Photography students\, fostering interdisciplinary collaboration rooted in circular economy principles and reuse strategies. Featuring photographic and moving image works\, the exhibition responds to the themes of migration\, refuge\, and displacement. \nThe exhibition is running from 16 to 22 June\, 11am – 4pm each day\, at Yorkton Workshops. \nAlongside the exhibition\, a panel discussion will explore cultural production and research practices related to migration\, displacement\, and social justice. These conversations aim to deepen engagement with the themes at the heart of the project. \nThe panel discussion will be led by Dr Maria Mencia\, an artist-researcher in media arts and digital poetics\, codirector of the research group Sound/Image/Media/ Encounters (SIME) and postgraduate coordinator at Kingston School of Art. Guest speakers will include Dr Amak Mahmoodian\, a multidisciplinary artist and educator\, Kate Watson\, visual artist\, researcher and educator\, Liz Hingley\, artist and anthropologist and Edwin Mingard\, visual artist working principally with moving image. \nThe panel will take place on Thursday 19 June 2025 from 3 to 6pm. Reserve your free place here. Spaces are limited. \nThere will also be a Private Viewing on Thursday 19 June 2025\, from 6.30-9pm. \nThis project is created in partnership with Refugee Week (the world’s largest arts & culture festival celebrating the contributions\, creativity and resilience of refugees and people seeking sanctuary)\, Counterpoints (a leading national organisation in the field of arts\, migration and cultural change) and Yorkton Workshops (home to award-winning design studio Pearson Lloyd). \nThe Project:\nEncounters began as a live brief module for MA Photography students\, developed in partnership with Refugee Week and Counterpoints Arts. The students were invited to respond to a brief set by the Refugee Week team and independently devise projects that explore the themes of migration and displacement. For many\, this marked their first direct engagement with refugee experiences and the complexities surrounding displacement. \nTackling such a profound and challenging subject matter has proven to be both a demanding and deeply rewarding journey. It was a process of learning\, and in many cases\, of unlearning: questioning assumptions\, cultivating empathy\, and discovering new ways of seeing. This exhibition presents a diverse range of creative responses\, reflecting not only on the realities of displacement\, but also on the process of coming to understand those realities. \nThe final installation emerged from yet another meaningful Encounter – this time with 17 exceptionally talented MArch Architecture students. Volunteering their time\, they collaborated with MA Photography students to create a site-specific installation that responds to the themes of displacement and refuge. Their design is grounded in circular economy principles\, bringing a sense of lightness/ transience and a commitment to adaptability\, reuse and sustainability. \nThis exhibition is\, above all\, a reflection of all these Encounters – between disciplines\, between people\, and between perspectives. It seeks to convey the insights and growth our students have experienced as they engaged with this vital and urgent topic. \nParticipating Artists:\nAnchen Li\, Anna Jannepalli\, Tommy Pai\, Edith Robinson\, Eghbal Raoufifard\, Jaewoo Lee\, Jay Lin\, Justin Pappoe\, Meng Zhang\, Jingyao Yan\, Rui Zheng\, Shubham Kakade\, Tilan Xue\, Zixin Luo\, Tom Cai\, Yang Tonge\, with Nana Varveropoulou as MA Photography module leader. \nRify Hossain\, Chelsea Richards\, Cam Heslop\, Priyanshi Dhanrajbhai Jain\, Pete Goding\, Alice Parker\, Azsvina Ragunathan\, Eadan Filbrandt\, Babitha Ravi Kumar\, Telma Ferraris\, Rama Shetty\, Rio Jablonski\, Ian Karuhanga\, Berfin Tas\, Valerie Wan\, Shadi Rashedi\, Anisha Iqbal\, Rajan Savaliya\, with Aoife Donnelly as MArch Architecture Lead.
URL:https://counterpoints.org.uk/event/encounters/
LOCATION:Yorkton Workshops\, 1-3 Yorkton St\, London\, London\, E2 8NH\, United Kingdom
CATEGORIES:Digital,Film and Photography,London Refugee Week,Multi-Art Form,Photography,Refugee Week,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2025/05/encounters-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20231018T180000
DTEND;TZID=Europe/London:20231018T193000
DTSTAMP:20260417T094238
CREATED:20230917T093336Z
LAST-MODIFIED:20240709T144538Z
UID:10000354-1697652000-1697657400@counterpoints.org.uk
SUMMARY:Picturing Displacement - Symposium & Exhibition (Bristol)
DESCRIPTION:A symposium\, exhibition and new network that will explore the ways visual art can illuminate and reshape narratives around migration\, identity and belonging. \nFree booking \nFeaturing Amak Mahmoodian\, Frankie Mills\, Adiam Yemane\, Liz Hingley and Aida Silvestri. Panel moderated by Fozia Ismail. \nCounterpoints Arts and the Martin Parr Foundation present a series of short talks led by artists whose photographic practice focuses on migration\, identity\, refuge and care. \nThe discussion will touch on questions of representation\, activism and lived experience. \nAll are invited to view the exhibition after the talks and share food inspired by Middle Eastern\, African and Eastern Europe cuisines made by Houria. \nThe featured photographers work will be on show outside the Royal Photographic Society in Bristol from 13th October\, curated by Liz Hingley. \nAmak Mahmoodin was born in Shiraz\, Iran and now lives in Bristol. Her artistic practice explores the representation of gender\, identity and displacement\, bridging a space between personal and political. Working with images\, poems\, archives and videos\, she looks for the lyrical reality frames in the photographs. \nFrankie Mills is a photographer and writer based in Devon. She is interested in the ways in which people create a sense of home and belonging that doesn’t derive from location. She is currently creating a body of work on Ukrainian refugees in her local community. Work from the series won OpenWalls Arles (2023) and has been shortlisted for the Taylor Wessing Photographic Portrait Prize (2023). \nAdïam Yemane\, an Ethiopian-Eritrean visual artist and storyteller\, embraces a profound love for nature. Her artistic journey steers toward freelance portrait and research photography\, a platform through which she illuminates contemporary issues\, notably in social justice and community development. Her art aspires to convey heartfelt global stories\, transcending surface narratives\, and beckoning viewers to connect with the world on a deeper level. \nLiz Hingley is an artist and anthropologist based in London. She founded The SIM Project\, a mobile collection of unique personal artefacts made at workshops in 8 countries to date. The SIM-scale artefacts combine analogue and digital photography processes with jewellery making to give tangible meaning to peoples virtual networks\, and value and archive stories of migration. The project is a collaboration with Frank Menger of the Centre for Print Research\, UWE and a growing\nteam. \nAida Silvestri is an interdisciplinary artist and educator of Eritrean descent. She creates mixed media artworks that challenge the status quo of stigma\, prejudice and social injustice concerning race\, class\, identity and health\, often combining text\, image and experimental techniques to manipulate the photographic surface. \nFozia Ismail is a scholar\, cook and founder of Arawelo Eats\, a platform for exploring politics\, identity and colonialism through East African food & co- founder dhaqan collective a Somali feminist art collective based in Bristol. \nHouria CIC is a Bristol-based anti-slavery & anti-racism organisation\, training & hiring women migrant cooks and survivors of slavery in a Bristol-based catering company. \nThis event is supported by the University of West England. It is part of the Platforma festival 2023\, produced by Counterpoints Arts and partners across the South West of England. \nImage by Adiam Yemane
URL:https://counterpoints.org.uk/event/picturing-displacement-symposium-bristol/
LOCATION:Martin Parr Foundation\, 316 Paintworks\, Bristol\, BS4 3AR\, United Kingdom
CATEGORIES:Photography,Platforma
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2023/09/Adiam-yemane.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231007
DTEND;VALUE=DATE:20231009
DTSTAMP:20260417T094238
CREATED:20230915T110318Z
LAST-MODIFIED:20240709T144538Z
UID:10000351-1696636800-1696809599@counterpoints.org.uk
SUMMARY:The South West SIM Project: memories in motion at BOP festival (Bristol)
DESCRIPTION:‘As an immigrant\, I don’t really have roots\, I have tendrils\, which stretch to different places in the world where there are people I love’\nArgentinian project artist\, Cyprus\, 2022 \nThe SIM Project install a mobile exhibition in the Paintworks Event Space\, for BOP festival 23\, presenting over 100 personal glass and metal artefacts made by participants from countries including Afghanistan\, Syria\, Turkey\, Venezuela\, Hong Kong\, Senegal and Libya. \nThe SIM Project gives tangible meaning to people’s virtual networks and explores how the images we create and exchange through our smartphones map our place in the world. The unique wearable artefacts in the project collection have been made in workshops across Europe using a process which combines analogue and digital photography with jewellery making. \nThe project is led by artist and anthropologist Liz Hingley with the support of jeweller Sofie Boons and Frank Menger of the Centre for Print Research. It is inspired by and continues to evolve through conversation and craft with refugees and others who have experienced displacement to shape new ways of sharing\, valuing and archiving stories of migration. This chapter of the project is produced with Counterpoints Arts and supported by the University of West England and Martin Parr Foundation. \nPart of the Platforma festival 2023\, produced by Counterpoints Arts and partners across the South West of England.
URL:https://counterpoints.org.uk/event/the-south-west-sim-project-memories-in-motion-at-bop-festival-bristol/
LOCATION:Paintworks Event Space\, The Airstream Main Courtyards\, Bristol\, BS4 3EH\, United Kingdom
CATEGORIES:Community & Participation,Multi-Art Form,Photography,Platforma
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2023/09/SW-SIm-Memories940.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231001
DTEND;VALUE=DATE:20231101
DTSTAMP:20260417T094238
CREATED:20230805T195835Z
LAST-MODIFIED:20240709T144537Z
UID:10000345-1696118400-1698796799@counterpoints.org.uk
SUMMARY:Good Evening We Are From Ukraine by Frankie Mills (Devon)
DESCRIPTION:“Good Evening We Are from Ukraine” follows a small community of Ukrainian women and children who have landed in Moorhaven\, Devon\, UK after being uprooted by Russia’s invasion. Photographer Frankie Mills has teamed up with Libraries Unlimited and Counterpoints Arts to deliver the work as part of Platforma Festival. \nEXHIBITIONS\n3rd – 14 October: Ivybridge Library \n17 – 31 October: Paignton Library \nFREE EVENTS\nAll welcome! \nIvybridge Library\nSaturday 7 October 9am – 12.30pm: Activist Prints – Printmaking workshop with Anna Boland\, suitable for families (FREE). Make your voice heard and try your hand at making an activist print with messages and thoughts about the theme of freedom and sanctuary and works in the exhibition. \nPaignton Library\nSaturday 21st October \n10am-1pm: Workshop and Talk with photographer\, Frankie Mills \n\n 2pm \n\n\nPerformance from Ukrainian Harmony women’s choir from Cornwall : Torn from menfolk defending their homeland\, Ukrainian women\, with their children\, began arriving in mid-Cornwall last spring. Inspired by the conviction that song is a strong part of any national identity\, this resilient group started singing together\, and Ukrainian Harmony was formed. All welcome! \n“Good Evening We Are from Ukraine”\n\nWhen Ukrainian refugees first started to arrive in Moorhaven\, a village on the foothills of the open moorland Dartmoor\, it seemed impossible that the consequences of a single decision had reached some of Devon’s most rural and remote regions. For the first time since the blitz\, households were choosing to open up their doors to strangers from a far corner of the world despite that many had voted to leave the European Union. Through those doors came people who would have never heard of Moorhaven had it not been for war – and now this unfamiliar place would have to be called home. \nThis project is about the need for purpose and meaningful relationships in the face of absolute loss. It is about viewing the environment from the perspective of an outsider when arrival is determined by war and chance. It is about holding onto who you are while adapting – or attempting to – an entirely alien place. It is about how people create meaning when the future is obscure. \nThis work has been made at a time where refugees have been deemed “illegal” based upon how they arrive to the UK. Abandoned places that are cut off from society have become the supplement homes for asylum seekers. \nAt a time when so many asylum seekers\, even those on schemes like Afghan resettlement\, are being left in temporary accommodation or homeless\, a total of 129\,300 Ukrainians have come to live in the homes of people across the country\, an estimated 32\,325 of which have now found their own independent homes. \nThis project documents what a functional asylum system could look like and how people fare within it. It is about our capacity to care for other people when we are given the incentive and financial aid to do so. It is about the experience of being a refugee when people are treated with dignity. \nThe title of this project are lyrics from a song that has become a symbol of Ukraine’s resistance within the country. \n“Good Evening We Are From Ukraine” resonates strongly with Libraries Unlimited’s Vision. Their spaces are vital community hubs which run year-round programmes of cultural events and activities. Libraries Unlimited play a crucial role in creating tangible long-term change by inspiring participation in cultural activity\, building knowledge and skills\, and creating a more equitable\, inclusive\, and fair society for all. Collaborating on this project is one of the many building bricks Libraries Unlimited are putting in place to ensure their spaces are free\, welcoming places of sanctuary. \nDuring Platforma\, 30 images will be shown at Paignton and Ivybridge library. The exhibition will be an opportunity to give a voice to members of the Ukrainian diaspora community and celebrate diversity within the southwest. \nFrankie will be presenting and discussing the work as part of a group symposium this October at the Martin Parr Foundation\, organised by Counterpoints Arts. \nPart of the Platforma festival 2023\, produced by Counterpoints Arts and partners across the South West of England.
URL:https://counterpoints.org.uk/event/good-evening-we-are-from-ukraine-by-frankie-mills/
LOCATION:Paignton Library\, Great Western Road\, Paignton\, TQ4 5AG
CATEGORIES:Photography,Platforma
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2023/09/Frankie-Mills2-940.jpg
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