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DTSTART;VALUE=DATE:20251015
DTEND;VALUE=DATE:20251020
DTSTAMP:20260503T085220
CREATED:20250902T120721Z
LAST-MODIFIED:20250902T120829Z
UID:10000567-1760486400-1760918399@counterpoints.org.uk
SUMMARY:Back To Where We Came From
DESCRIPTION:Emanuela Cusin & Sarah Wood\nOpen: 11-5pm \nCo-commissioned and presented as part of the Platforma Festival (October 2025) produced by Counterpoints Arts. \nBack to Where We Came From is an installation made in response to St Peter’s\, Cambridge – an ancient church whose history is rooted in the idea of sanctuary. The church was not only a site of welcome for travellers arriving in the north of the city but was also\, until the early 17th century\, a site in which a fugitive could temporarily rest\, immune from arrest\, a space apart from the legal process of the state. \nNow in a time of closing borders\, when the idea about who belongs and who doesn’t is at the forefront of the world’s right-wing ideological preoccupation Back To Where We Came From will inhabit this historical space to ask how sanctuary today can operate to provide containment and enable reparation in the wider world. \nTaking the artist Gustav Metzger’s aesthetic response to the aftermath of WW2 deportation as a shared starting point artists Emanuela Cusin and Sarah Wood will create an installation that will offer visitors not only the space to imagine future possibilities that counter exclusionary political rhetoric but also to consider how art itself can model hospitality. \nKey works: \nBREAKING POINT \nEmanuela Cusin \nMixed media\, 2025 \nIn a time characterised by economic crises\, political conflict and natural disaster\, we find ourselves caught in a prolonged state of anticipation where anxiety about the future is born from our seeming inability to prevent further catastrophes. \nBreaking Point not only mobilises but also critically interrogates this dark presentiment and perceived powerlessness. Taking inspiration from the ever-changing nature of materials exposed to physical and environmental processes\, Gustav Metzger’s auto-destructive art manifesto and trauma studies\, the work creates a visual and poetic parallelism between the physical and psychological impact of destructive events.\nemanuelacusin.com \nLAND OF THE FREE \nSarah Wood \nMulti-media installation\, 2025 \nAlmost 3000 years ago the Assyrian empire deployed the policy of deportation for the very first time. 4\,000\,000 people were forcedly resettled over 250 years\, in the service of colonisation. \nFast-forward to the 21st century. In a time of spluttering political soundbite deportation continues to be the most common form of immigration enforcement across the world. It’s a policy that couples a fantasy of origin with the idea that resettlement is an action without consequence for the world’s settled populations. \nOut of sight\, out of mind? Land of the Free – will bring into focus the ethics and aesthetics of this economy of visibility/invisibility. Using family archives\, lessons from history and contemporary stories of forced removal\, Land of the Free will offer viewers the space to think about a process more usually elided from wider cultural view. \nsarahwoodworld.com \nThank you: \nAndrews Nairne\, Guy Haywood\, Tom Noblett and all the team (Kettle’s Yard\, Cambridge) \nKaren Moore (Churches Conservation Trust) \nTom Green and all the team (Counterpoints) \nRuth Campbell – Ekins and Sarah Steenhorst (METAL\, Peterborough)
URL:https://counterpoints.org.uk/event/back-to-where-we-came-from/
LOCATION:St Peter’s Church\, Castle St\, Cambridge\, United Kingdom
CATEGORIES:Platforma,Visual Arts
ATTACH;FMTTYPE=image/png:https://counterpoints.org.uk/wp-content/uploads/2025/09/Land-of-the-Free-Sarah-Wood-1-BW-square.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20251017
DTEND;VALUE=DATE:20251020
DTSTAMP:20260503T085220
CREATED:20250914T075757Z
LAST-MODIFIED:20251015T121705Z
UID:10000572-1760659200-1760918399@counterpoints.org.uk
SUMMARY:Refugees Welcome Here
DESCRIPTION:Refugees Welcome Here: Cambridge Artworks welcomes refugees and asylum seekers.\nPresented as part of the Platforma Festival 2025\, produced by Counterpoints Arts. \nFriday 17 th October to Sunday 19 th October\n12 to 6pm\nPreview Friday 17 th October 7pm to 9pm \nThis show brings together the work of studio artists based at Cambridge Artworks and refugees in Cambridge. \nSeveral of the Artworks studio artists have been working alongside refugees and creating art about displacement for many years\, some are migrants or refugees themselves. This exhibition enables us to demonstrate our solidarity and continued\nsupport for refugees in Cambridge and the UK. \nContributing Artists\nJan Ayton\nAnna Brownsted\nRachel Dormor\nJill Eastland\nAli Hunte\nKiarash Khazaei\nSusan Mealing\nIdit Nathan\nMohammad Noureddini\nDell Olsen\nMojgan Rajabpour\nSally Todd\nSarah Wood\nRachel Wooller\nJohn Yayen\nSanam Yousef\nAdditional women refugees attending Cambridge Women’s Resources Centre \nMain image: “Sanam’s Journey”
URL:https://counterpoints.org.uk/event/refugees-welcome-here/
LOCATION:Cambridge Artworks and Artspace\, 5 Green's Road\, Cambridge\, CB4 3EF\, United Kingdom
CATEGORIES:Platforma,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2025/09/Sanams-Journey.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20251031
DTEND;VALUE=DATE:20251103
DTSTAMP:20260503T085220
CREATED:20251023T123943Z
LAST-MODIFIED:20251023T123943Z
UID:10000583-1761868800-1762127999@counterpoints.org.uk
SUMMARY:In Between Meals & Dreams
DESCRIPTION:A new exhibition of work by Yayen & Jessa GY  and Mohammad Noureddini. \nPresented as part of Platforma 2025\, produced and co-commissioned by Counterpoints Arts.
URL:https://counterpoints.org.uk/event/in-between-meals-dreams/
LOCATION:Artworks and Artspace\, 5 Green's Road\, Cambridge\, CB4 3EF\, United Kingdom
CATEGORIES:Platforma,Visual Arts
ATTACH;FMTTYPE=image/png:https://counterpoints.org.uk/wp-content/uploads/2025/10/Screen-Shot-2025-10-23-at-13.37.31.png
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BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260228T100000
DTEND;TZID=Europe/London:20260301T160000
DTSTAMP:20260503T085220
CREATED:20260203T172526Z
LAST-MODIFIED:20260203T172851Z
UID:10000593-1772272800-1772380800@counterpoints.org.uk
SUMMARY:Once We Were Held – SHARP
DESCRIPTION:An immersive installation created with sound\, scent\, visuals\, sculpture and LGBTQIA+ history. \nInspired by the Bethany Project in Bodmin – a radical place of rest and care for people with HIV/AIDS in the 80s and 90s – this installation invites us into a space of rest\, reflection and queer community. \nReclaiming daffodils as a symbol of queer resilience\, the installation connects LGBTQIA+ care with the landscapes of Cornwall. \nDeveloped with Queer Kernow and supported by Screen Cornwall & Creative Kernow Associates’ Immersive Innovation programme (part-funded by Cornwall Council from the Culture and Creative Industries Innovation Fund). Co-commissioned with Counterpoints Arts. \n\nSHARP’s Website\nSHARP’s Instagram\n\nAbout the Artist\nSHARP is a queer\, working class\, socially engaged artist\, activist\, and producer whose interdisciplinary approach incorporates experimental video\, photography\, sculpture\, and sound installations. Their work investigates the human condition from a queer perspective\, focusing on themes of remembrance from both personal and collective experiences. \nBased in Cornwall\, with a studio at Trewarveneth in Newlyn\, SHARP works across the UK and internationally. Their artwork is represented in several private and national public collections\, including Leeds Art Gallery\, Bradford Museums and Galleries\, and the Salford University Art Collection. Recently\, SHARP received an Artist Award from the Henry Moore Foundation and\, in 2024\, won the overall title at The Exeter Contemporary Art Prize. \nCurrently\, SHARP is exhibiting in the Plant Dreaming exhibition at Leeds Art Gallery and in She Sells Seashells at the Alice Austin House on Staten Island\, New York. Most recent exhibitions and performances have taken place at venues such as The Loading Bay Bradford City of Culture\, Yorkshire Sculpture Park\, Newlyn Art Gallery & The Exchange in Cornwall\, The Whitaker Museum\, Cartwright Hall Bradford\, VOID Derry\, and The Gallery 78 in Reykjavik\, Iceland. \nSHARP was the lead artist and creative director of the queer contemporary arts and heritage project KOMPAS with Queer Kernow and Decoder. The installation Once We Were Held was inspired by the research on this project.
URL:https://counterpoints.org.uk/event/once-we-were-held-sharp/
LOCATION:St Petroc’s Church\, Church Square\, Priory Road\, Bodmin\, Cornwall\, PL31 2DP
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2026/02/Sharp-7b509f97-4272-4607-83c3-e15e5d397304-1.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20260409
DTEND;VALUE=DATE:20260419
DTSTAMP:20260503T085220
CREATED:20260330T163029Z
LAST-MODIFIED:20260401T142923Z
UID:10000611-1775692800-1776556799@counterpoints.org.uk
SUMMARY:Uprooted
DESCRIPTION:Ieva Sudargaite Douaihi presents new work in response to a time of mass displacement in Lebanon\, continuing the twinning and solidarity between OUTPOST in Norwich and Takeover Beirut. \nThe photographic prints featured in this exhibition will be available for purchase\, with all proceeds donated to Buzuruna Juzuruna. \nLocated in the Bekaa Valley\, Buzuruna Juzuruna operates a vital heirloom seed library and educational farm. Their work mirrors the themes of this exhibition: a commitment to the native landscape and a refusal to let the roots of Lebanese ecology be swept away. They have been chosen not only for their immediate impact but for their long-term mission to secure a sustainable\, local future for the region’s agriculture. \nCounterpoints first worked with OUTPOST last October to present work by Maria Proshkowska as part of Platforma 2025\, and we are delighted to be able to collaborate again to bring this important new exhibition to the UK. \nIeva Saudargaite Douaihi is a transdisciplinary artist working at the intersection of photography\, architecture\, and material research. Rooted in an ongoing exploration of vernacular landscapes\, memory\, and overlooked ecologies\, her practice spans image- making\, spatial interventions\, and hybrid objects composed of found objects\, natural matter and household materials. Drawing on her background in architecture and a deep sensitivity to ecological and social entanglements\, she engages with overlooked spaces and slow processes of growth\, decay\, and adaptation. \nThrough layered relationships between nature\, memory\, and the built environment\, Douaihi explores how spaces carry histories\, absences\, and the potential for renewal. Her work gives form to questions of permanence\, access\, and belonging—unfolding as quiet gestures that trace the ways in which people and places shape\, resist\, or intertwine with one another.
URL:https://counterpoints.org.uk/event/uprooted/
LOCATION:OUTPOST Gallery\, 10b Wensum Street\, Norwich\, NR3 1HR\, United Kingdom
CATEGORIES:Visual Arts
ATTACH;FMTTYPE=image/png:https://counterpoints.org.uk/wp-content/uploads/2026/03/Screenshot-2026-03-30-at-17.19.12.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/London:20260412T103000
DTEND;TZID=Europe/London:20260412T123000
DTSTAMP:20260503T085220
CREATED:20260407T091221Z
LAST-MODIFIED:20260408T042800Z
UID:10000613-1775989800-1775997000@counterpoints.org.uk
SUMMARY:To Re-Cite: Ayat al-Kursi - Sound\, Faith\, and Collective Listening
DESCRIPTION:We warmly invite you to a workshop as part of the wider development of our newly co-commissioned project with artist Aliaskar Abarkas\, exploring sound\, music\, and listening through faith and collective experience. \nThe session brings together members of our community with Muslim backgrounds to share ideas\, and reflections on how sonic practices – from recitation and prayer to breath\, rhythm\, and silence – shape spiritual\, emotional\, and communal life. The starting point of the project is the Quranic verse Ayat al-Kursi\, whispered across generations\, transmitted as both lullaby and sonic protection. \nThis session is the first in a series of workshops forming part of a longer-term project. \nFurther confirmed sessions will take place on: Sun 26 Apr\, Sun 17 May\, and Sun 31 May. \nAliaskar Abarkas is an Iranian artist based in London. \nRooted in alternative and communal art education\, his practice stages choreographic encounters that move from individual elements into collective expression. Often in dialogue with historical sources\, Abarkas builds collaborative frameworks that invite participants to interpret and activate inherited scores through music\, exhibition\, and performance-making. \nHe is currently an Associate Artist at Sadler’s Wells / Rose Choreographic School (London\, 2024–26) and Lead Artist at Autograph Gallery (Acts of Solidarity\, in partnership with All Change\, London\, 2025–28). He holds a BA in Visual Cultures from the University of Tehran and an MA in the Theory of Contemporary Art and Politics from Goldsmiths\, University of London. Previous residencies include Cubitt Gallery and the Swiss Church (London)\, as well as Rupert (Lithuania)\, the Institute of Postnatural Studies (Madrid)\, Castro (Rome)\, Open School East\, and Syllabus V (UK)\, among others. \nHis work has been supported by institutions including the Barbican Centre\, ICA\, The Mosaic Rooms\, TACO!\, Pushkin House\, LUX (London)\, CAPC (Bordeaux)\, LOCALES (Rome)\, Scuola Piccola Zattere (Venice)\, and CIRCA. Upcoming projects include commissions and collaborations with Arts Catalyst (Sheffield)\, YDP Foundation (London)\, and the Singapore Art Museum. \nCo-commissioned by Counterpoints Arts and Whitechapel Gallery. \nImage credit: Anne Tetzlaf
URL:https://counterpoints.org.uk/event/to-re-cite-ayat-al-kursi-sound-faith-and-collective-listening/
LOCATION:Clore Creative Studio\, Clore Creative Studio\, Whitechapel Art Gallery\, 77-82 Whitechapel High St\, London\, E1 7QX
CATEGORIES:Community & Participation,Sound Art,Visual Arts
ATTACH;FMTTYPE=image/jpeg:https://counterpoints.org.uk/wp-content/uploads/2026/04/Photo-credit-©-Anne-TetzlafDSC01760-1170x655-1.jpg
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