On the first weekend of March I went to Art 13, yet another art fair in London. It didn’t feature any of the super-large galleries, which I quite liked, but did include galleries selling high-calibre work, a few more-experimental spaces, some publications and a performance focus.

It wasn’t so OTT that it was incomprehensible, but it had enough muscle to present a powerful view of art from the UK – with some galleries from Europe, Asia and South Africa.


Because art fairs, like biennales, can be simultaenously overwhelming and underwhelming, you need to have a clear method for maximising your experience.

I was lucky enough to be able to go over 2 days. and, I have to say, over that time I think I nailed it. I did a loose sweep of the spaces of Friday and made it a bit social, catching up for drinks with Simone of discoballbreaker fame.

New galleries
I’m not a long-time londoner, but I do visit galleries fairly regularly, so it was refreshing and enlightening to see some of these new-to-me galleries, meet some of the staff and get a feel for what kinds of works they’re showing.

Fold gallery were showing a series of small works, mostly 2D, showcasing the intimate and accessible aspects of their artists’ capabilities. I quite liked the relief sculptures by Mark Pearson, totems of bands like Wall of Voodoo* The rest of the show also struck me as something uplifting and comforting – like I could have walked into someone’s home with a series of small works on the wall. Small enamel graphic paintings, patterns, etc.

Aando gallery is a German gallery which I had seen at a couple of the (comparitively awful) Berlin art fairs during my. It was great to see their works again, especially the work of a German pair  Andreas Greiner and Armin Kiplinger – a live sculpture of evaporating water drops, forming perfect spheres of joy, rolling around on a hot plate, fed from a drip feeder. So simple and beautiful.

In my palatial home, I would have it in the hallway.
That’s just how I would roll. In my palatial home.

Zimmermann & Kratochwill
When I wandered into this gallery space from the crew in Graz, what struck me was the images of nail art. The artist Poklong Anading was using the trend to talk about unskilled labour in the Phillipines. The curious objects on the wall were relevant to the process. I also saw a previous body of work featuring the cleaning rags found on the streets of Manila and really liked the singularity of focus and the street-references.

I have been meaning to get to IMT since forever. It was great to see what they were showing and I really liked the coal eyes for the wall by Laura Pawela (above).

It was such a simple idea and, from a commercial perspective, such a great piece. Cast silicone, coated in coal (which initially I though she meant kohl) and mounted on the wall at the height of the artist. Although, I guess they could be mounted at your height, or any person’s height really. I love the idea that the works come with measurements – how high to hang them. And that their this slightly creepy, but incredibly beautiful works.


The last few art fairs I’ve been to have had lots of talks, but not so much actual performance and I don’t remember being at one that had a booth and a rolling programme dedicated to it. Even if i didn’t get to see too much of it, it was an excellent piece of planning and it helped to make the fair more of an event

I got to see about 10 minutes of the Juneau Projects (above) and their bleak futuro-romantic epic based on future centered wholly around data mining, information and post-civilsiation. They read a spoken text work and played intruments – fluoro-pimped synthesisers, surrounded by fluoro plexi-glass toys and wearing wooden amulets. It was like Children of Men, Kraftwerk and last year’s H&M range all in a blender.

I enjoyed watching it, and having something to watch. Although, the aesthetic, which is part of the current fluoro-woodsy-scando-flavour left me cold and the content slightly depressed. Probably because I’m still in denial and the truth hurts.

Ceri Hand
As someone whose work has hovered between installation, drawing, performance, etc – it’s always refreshing to know that there are galleries who are working with artists to expand that kind of practice into a way to  maybe make a living from it. It’s not easy and it’s not perfect, but Ceri Hand are one of the galleries who are continuing to have the conversation with collectors and artists to bring them together in a way that can serve both sides as much as possible.

Despite my meh kind of attitude towards photography (which is entirely subjective), the performance detail from Bedwyr Williams with false beard, smeary make-up, damsel-in-distress look was striking and an obvious entry point into what performance brings to art collections.

Șükran Moral is a performance artist from Turkey whose work at the Galeri Zilberman stand was of a female mannequin in the middle of the space; legs-up, like in gynaecology stirrups, with a TV hiding her cunt. The movie was of a naked woman coming out of a haman, being covered by an attendent. Although the word Șükran has no significance in Turkish per se, I love the that pronunciation of her name in Arabic/English is the equivalent of ‘Thank You Moral’. What a great performance name. It goes so well with the edgy pushing work that she makes.

I love contemporary Turkish art – especially that of a performative nature and a lot of women are keening, striving to break out. I saw a lot of it at TANAS in Berlin (thanks to the big Turkish contingent there) and I feel like they have a sense of freedom and energy that loads of European artists are unable to access at the moment.


Their centrepiece was a gorgeous A0 book open to a beautiful shade of aaaah-zure blue, referring to the seas of the world: Thomas Jenkins’ Atlas.

With real focus on print collaboration, they work with emerging artists to create limited edition print-based shows and publications to extend their practices. It reminded me a little of Lucas, Micky and Diego at Big Fag Press, but a little more white-glove. They’re a great gallery/project to be involved with.

I didn’t manage to get back in time to see the live print-run, but Outsiders (the print-arm of Lazarides gallery) had set up ‘shop’/press in the space and were printing and handing out free posters of some of their artists.

I have a bit of a hard-on for Conor Harrington at the moment, so it was great to see a couple of his prints kicking about. I coveted. Hard.

Given that, In a recession people don’t have as much disposable income to spend on blingy things like art, having a print arm is excellent business from Laz & Co and loads of people would leave the fair with a print or two under their arm, that will eventually become an original some day soon.

There were more traditional magazine publication stands along one side of the main hall, but they were pretty light on.

I know that everyone goes on about how print media is dead, blah blah, but I think somethig extra special could have been done with the magazines – online and offline that do continue to bring art to our mediated minds: e-flux, artsy, artinfo, zines, small magazines and even art bloggers. Ahem.

Mind had a stall, showcasing a series of work by Simon Sempel and giving away a free poster of his. Focusing on mental health, Mind have a project working with artists to highlight mental health issues and work with artists on related projects, insittutions, etc.

I am personally interested in what Mind are up to inconjunction with artists, because I have an ongoing belief that artists need to be embedded across most public sectors in order to provide a different kind of relationship to art.

I also think it’s important to include these kinds of organisations/projects in Art Fairs – not just for awareness, but from an investment point of view. It could be an interested area to pursue in art fairs, an investor information section that supports organisations like Mind, those embedding artists in schools and prisons, etc.

Large sculpture

Some of the projects for the art fair weren’t quite as embedded as they could be – certainly not as much as I’ve seen in other art fairs.

The inflatable and mechanical flower by korean artist Choi Jeong Hwa, opening and closing/inflating and deflating at intervals – like something out of a nature time-lapse movie. It was so simple and so captivating, I regressed to a 5-year old and just enjoyed it. Imagine waking to that as your alarm clock in your palatial home? Hello, opening flower! OK, so it’s nothing conceptually rigorous or challenging and is in EVERY art fair right now, but hey, sometimes art just needs to make me feel like waking up in the morning OK?

El-Anatsui is always a crowd pleaser and seeing a couple of his gorgeous, gorgeous works is like seeing your nan. A smile of nostalgia and comfort. He will always sell well and I am glad about that.

Obelisk by Michaël Aerts

Made from custom road-cases, this sculpture is the imagined means by which a trad art piece might be transported around the world – complete with a pulley system and modular road-cases. As a form it was fun, alluding to the globalised nature of art, the practicality to public art and gallery logistics. Also perhaps a reference to how a lot of art purchased for large collections ends up in storage in warehouse somewhere.
Overall, there was some new and interesting work to see, and there is still a market for good work for people to buy and that perhaps the commercial aspect to art isn’t quite as dull or insipid as I had previously perceived.


abc. really not for me.

i left feeling sad. sad at the precarious state of affairs that contemporary art in berlin seems to be in.

i left feeling cynical. cynical that, if i couldn’t find anything to stop me for more than 5 seconds, who would.

i left feeling despondent. despondent that perhaps this is the world of art and that it is exactly as precarious, insecure, listless and flaccid as all this.

i left feeling ripped off. there are some kick-arse galleries in that list. places with some great shows on at the moment. i wish i had saved my €8 and just gone to see them instead.

i did think it was amusing that i walked around the art fair with my bag of groceries – a leek in one hand and the plan in the other. i felt as though i was shopping for art lebensmittel in a supermarket at 10pm on a Sunday, before the shelves had been stacked full again.

i acknowledge that an art fair isn’t really for me. i’m not an art-buying public at all. perhaps, for them, it’s amazing. and a real success.

who knows.

thanks for subscribing to she sees red by lauren brown. xx

berlin art week

I’m sure there’s a well-written article about the shift from stables towards nomadic gallery lifestyles of pop-ups and art fairs. There will be great pieces written about berlin art week and the exhibitions on.

This is not going to be even close.

But I will be posting a few blogs about art that’s happening in Berlin this week, because I’ve got time to write at the moment.

It’s Berlin Art Week, which also incorporates art berlin contemporary – the art fair that still exists after the whole art forum debacle** (last time i was here there were six art fairs on in a weekend!).

On Tuesday night about a hundred galleries opened their new shows for the year and Berlin was kinda pumping. I only went to 2 complexes (which included about 10 galleries), but they were buzzing.
To my taste, most of it was kind of dull*, but here is a little bit about what I have liked so far.

Galerija Gregor Podnar – Vadim Fiškin
With a series of sculptural works that play on the role of the machine within the works, this show could easily be a series of one-liners. But the main work, Don Quixote Pact/v. Alliance was one work that really stood out – as enjoyable/entertaining visually, but a little more complex in terms of its dynamics (physically and compositionally speaking).

A windmill in a ‘valley’, is powered by the wind of electrical fans on a constructed ‘hill’, which in turn forces air back into the jetstream of these powered devices. It’s a thermo feedback loop. All of these forces sit atop a fibreglass ‘landscape’ (that also looks like the mould of a hot tub/spa bath).

It alluded to more than just a little optical gag –  overproduction, authority, nature, surplus – are all words that come to mind with this work, and aesthetically, was a nice combination of readymade and crafted, designed and collated.

Galerie Opdahl – Chosil Kil
Amongst loads of painting-based work that I feel like I’ve seen tonnes of before, I found this show such a breath of fresh air. And mainly because of the work called Sausages – the first work you see when you walk into the space. It’s a jewellery piece, strapped around the corner of the first wall. I love a work that transgresses its form and obvious exhibition format for something a little different. I wanted to own the work straight away (Hello? Kanye? You need this piece).

The rest of the show did remind me a little of works going around Melbourne at the moment, but this little fragment of the show – re-introducing the sausage-like leather wall sculpture and a haunting sound element – tickled my fancy. I’m happy to report that not all Berlin is monochromatic and geometric canvases.

Both these shows are in galleries amongst a block of austere white cube spaces above the German heavyweight Konrad Fischer Galerie. As we all scooted up and down the stairwell, popping in and out of the galleries’ all dressed up for their first day of school, it was reminiscent of a commercial art version of the Dover Street Market in London. It was almost fun and cute. But for the Very Serious Art Crowd present.

MD72 – Florian Hecker
I like Florian Hecker’s work, but this show, Auditory Objects has completely floated my boat in a way that others haven’t. I’ve already warned the gallery staff that I’ll be back to listen again 🙂

The gallery itself is stunning and holds these minimal scultpural devices so well.

In each room across the main space hang a single speaker with an attached convex/concave mirrored piece of metal***, extending, reflecting and distorting the audience assumptions across both visual and audio planes.  You find yourself listening to the sound works from the speaker, from the cone, between the two, across the space, between the rest of the gallery – in and out of each room. And because of the staccato and sycopation in the electronice sound works, you find yourself also listening to the door opening and closeing, to the ambulance, floor creaks, etc all with the same value.

This work is complimented by a work that spreads itself through the ‘back end’ of the space – in the office, store-room and little kitchen/ante room. It unites and divides the space in equal measure with its electronic intensity and repeated speaker objects. I’m sure it drives the staff nuts, but it’s exciting to see an artist stuffing a new listening experience into the workplace.

The works are influenced by the questions of the phenomenology of sound: How is it perceived? As a discreet object, or an ongoing stream onto which we project meaning, which of course is right up my ally. And yet I’m particularly interested in the bodily and performative influence of this work, so you might hear more about it again.

Salon Dahlmann – In Action. Performance, Actionism and Concepts from the Charim Collection
Showcasing the private collection of the Charim family, this exhibition featured a whole load of VALIE EXPORT photos, documents and original artworks (yes please!), plus ephemera and drawings from the performances of Viennese Actionists and their ilk:  Günther Brus, Otto Mühl, Hermann Nitsch

I’m not from a performance background and the recent residency at ]performance s p a c e [ schooled me.  I was like a new student with this exhibition and the works had different meaning for me yesterday that they might have had a few months ago. What hadn’t changed is the admiration of collectors continuing to collect performance work ephemera.

Of course not all of the works themselves were amazing. But as remnants of amazing things, and as a collection of a reference of historical significant, it was a great show. I enjoyed seeing the board on which Hermann Nitsch did those gross things with his body and animals and viscera. I liked seeing images of blood and goopy stuff from when blood and goopy stuff was properly new. Günther Brus’ action paintings, Dieter Roth and Arnulf Rainer making Paul McCarthy look like a kid, Peter Weibel being taken for a walk on a chain by VALIE EXPORT – these are seminal images I’ve only ever seen in books.

It was also enlightening, in the face of history. Quite a few of those artists no longer practice performance work.  EXPORT is probably one of the most consistent and has continued longevity – which I always find inspiring. Her and Dieter Roth (what a power combination in just one sentence) are artists I still think are total guns.

I never really liked Otto Mühl works and found his drawings of the body to be crass and slightly cariacature, but then again, I’m not so good at divorcing artists from their abusive actions, so take of that what you will.

Comparitvely Brüs, who has always made beautiful imagery (more than powerful actions I believe), his drawings of skeletal figures were so touching and almost-classical in their form. They reveal a much deeper connection with the image of the body.

As part of the collection, it was also great see works by younger artists like Maja Bajevic and John Bock inspired by the work of these crazy performance pioneers. I think that’s when a collection comes into its own – when you see the dedication to particular artists at a particular time/place, but also to the form through the next generation.

*so much so that even my lily white legs in short shorts caused quite the stir amongst the well-heeled art clientele. I wasn’t even that racy!

** I’m going to abc today and will report back anon.

***a replication of a medical scientific device called a syncrophone – designed to alter the frequency of a listener’s brain waves.

thanks for subscribing to she sees red by lauren brown. xx

london art. fair.

london. january 2011.

weirdly, i chose to not write much about london whilst i was there. i preferred to spend time doin’ stuff: reading, going to galleries, sleeping, catching up with friends.

and yet, i also took my time there pretty slowly. i didn’t rush through london like i normally do. i only saw one thing per day, and focused instead on really appreciating what i saw and who i was with. i saw london in a completely different way this time.

highlights of the last two weeks include some random flirty exchanges with the beautiful boys in london’s east end, seeing the usual awesome peeps, dancing, drinking excellent coffee (including my first coffee overdose) and hanging out in an artists’ warehouse for a week.

i spent a lot of time writing, and reading and thinking rather than looking. but, prompted by my friend anthony, i realised i should probably also blog about some of the shows i saw in london. so if you’re in london, you should go and see them.

modern british sculpture

i’m glad i held off going to the RA until this show opened, as it was actually quite an amazing show.
i dragged my friend john around the gallery, stubbornly refusing to follow the dictated room order, preferring to start with the replica cenotaph, followed by beautiful patina body modernist works by barbara hepworth and henry moore (babs and hank, to the rest of us), then through modernism, abstraction by victor passmore, damien hirst and tony cragg and finally back through some wacko time warp including queen victoria bronze being ejaculated over by a jacob epstein marble figure.

ok, so that last part (which was supposed to be the first part of the show for most people) was one of the weirdest starts to an exhibition ever. so if you struck those first 3 rooms from your memory/experience of the show, it’s pretty damned awesome.

i was kinda disappointed that they didn’t quite stick to answering the three posed questions outlined in the premise: what is british? what is modern? what is sculpture? i think modern british sculpture (and most of the works in the show) do attempt to address at least one of those issues, so it was a bit sad when some of them clearly didn’t. and i was also a bit sad that there wasn’t a work by trace or rachael whiteread in there.

but, overall i was impressed dammit. and confused (we spent about 10 comical minutes trying to work out if an aluminium cabinet on the wall was, in fact, a julian opie work, or whether it was just a cabinet – turns out it was an opie – confirmed by a friend of his. as you do.)

aware: art fashion identity

a collection of amazing designers looking at fashion as a means of communicating identity. there were some absolutely stunning works by hussein chalayan, yinka shonibare,  katerina seta, azra akšamija and my personal favourite: yoko ono’s performance cut piece from 1965. it was so brutal and violent without a drop of blood or physical harm done. it was intense.

perhaps i’m too critical, but i did leave feeling that the show, despite its great works, didn’t necessarily dig as deeply into the areas of identity that it suggested. i would have loved to see something investigating more about fashion as THE interface between public/private lives and the sociality or ostracisim inbuilt in particular cuts/fabric/trends, and the link between dress and power.

on the way home from the show i left such a critique behind and promptly fell in love with the new issey miyake black/silver/geometry range. i wanted a particular dress/top so badly, but had to walk away. i swear it’s only a lack of financial committment to buying designerwear that keeps me in my accustomed jeans/t-shirt slovenly attire. ahem.

anish kapoor at kensington gardens

kensington kapoor with swans 1

my friend calls anish kapoor a spectacle artist. and i’m sad to say that i’m starting to agree. even though i still have a big soft spot for his big soft works, the reflective pieces in kensington gardens don’t really reflect what i particularly love about kapoor’s work.

they’re big, shiny shapes in the big pond, on a hill, on the grass and near the creek. and people will probably think they’re boring or too easily digestible. which they kind of are, but i still like them. i particularly like how much they mess with your perception of that landscape as a whole, if you let them.
and, thanks to a renewed crush with maths and physics, i also particularly loved the infinity-curve work that makes a white, inverted black hole in the middle of kensington gardens. it’s got a touch of the doctor who/hitchhiker’s guide about it. fun. nothing wrong with a nice bit of fun.

rei nakajima and ken bonnet at sound fjord

i do love trekking up to sound fjord. it’s a small gallery space that focuses on art and sound and the show on at the time was a strangely compelling compelling collaboration between an artist and a blind piano tuner, ken bonnet. we listened to the whole keyboard being tuned, all recorded binaurally. listening to someone else listening was excellent research for some of my future works. and it was interesting to have some discussions about the nature of listening and knowing.

dover st market

claire took me to dover st market, on the way to checkin’ out the cindy sherman at sprüth magers, and i fell in love. it was floors and floors of new fashion designer ware, mixed with fantastic visual merchandise, some select home ware, fabulous jewellery and accessories.

ok, i know, it sounds like every other department store you’ve ever been into. but this is different, really. i got to touch/see/feel the newest pret a porter collections by hussein chalayan, comme des garçon, alaïa, ann demeulemeester and lanvin. ok, so i’m not a desiger-for-designer’s sake kinda girl. i have a love and an admiration for the craft and skill and amazingness of some of these designers who keep pushing fashion/code/structure/art/gender boundaries. we had an amazing chat with one of the staff members about how the market works – they’re ostensibly like an art gallery, which completely changes elaborate installations and setups each collection season. amazing to see.

doug foster at lazarides

this show was at the new rathbone place gallery and it was astounding. accustomed to a more urban, grimey street feel, this show was a very mature and adult show. the content was mesmerising, with a respectful nod/wink to bill viola and jean-pierre jeunet.

there were two works in particular that i would have totally bought if i had a squillion dollars: the fantastic tank stereoscopic viewing work was stunning. reminiscent of viola’s angels works, it was a 3D video work of a couple kissing under water, with two sets of peep holes: one at water level, and the other underneath.

the other work that should be snapped up is bob, a dystopian loop of a distressed man, in hospital/sleeping gear carrying baggage down a hallway. sounds thrilling doesn’t it. well, you just have to check it out – it was subtle and yet charged with frenzy, emotion and anxiety. amazing.

art superstar claire and i had a ball hanging out at the opening, flirting with security guards and plotting her upcoming comedy shows at edinburgh. most excellent evening.

over those two weeks i had such a great time. and unashamed shoutouts to the people who made me almost fall in love with london a little bit again. they say you shouldn’t have sex with an ex-lover, but maybe it’s different when it’s a city like london:

to the whinging kent, the lanky midlander, the comedian, my coffee buddy (and soon-to-be-newyorker), the audacious caffiend, the art historian and the musicologist, the tailor and the german you’re all amazing.

image credits: hepworth/moore and yoko ono images from the royal academy site. doug foster work from

thanks for subscribing to she sees red by lauren brown. xx

melbourne jaunt part 1

hey kids,

I’m stealing a quick 5 minutes to update you all on my melbourne sojourn. am at the melbourne art fair, working at a stand and so far it’s going pretty well! there was lots of ‘sweety darling’ action last night with the who’s who of the australian art scene and me standing, watching and trying to figure out who was who. apparently name tags aren’t in this year.
there are a few really ace stands which i’ve had a little bit of a chance to check out and hopefully when i’m back here on saturday i can check out the balcony level.

cool stuff on the ground floor so far has been Alasdair Macintyre’s Journeyman dioramas. i’m so in love with alisdair’s work it’s ridiculous! When I have a cool couple of grand lying around, Joanna and Ursula from Sullivan and Strumpf can expect a knock on their door from me. Other highlights include Darren Knight’s stand – haven’t had a chance to really check it out, but when i walk outside for a cigarette, i love gazing at the whole thing. Kate Just’s LOVE work is cuddly as always, as is her super-furry policeman that just makes you want to hug a law enforcement officer for the hell of it. There are these amazing wall pieces which look like Kyle Jenkins‘ work in a gallery somewhere along the back.. possibly Conny D, possibly Greenaway… as you can tell, i’ve been here with my note pad and pencil and a killer memory!. The thing is with the fair, it’s overkill. There’s so much stuff that some of it all melds into one, like acrylic paints in egg containers at the Belvedere Kindergarten. But we all know that and we do what we can.

Yesterday i popped into CCP and checked out the show with Kate Just, Guy Ben-Ner, Derek Henderson, Julie Davies and Dominic Redfern. Julie Davies’ A Study of the Insignificant was amazing, although I wanted to throw up. I walked through the gallery with my hand almost over my eyes. The images of dead birds were almost more than i can handle and i’m a tough nut when it comes to blood and guts. The way she presented them reminded me of Anne Ferran’s works of children’s dresses a few years ago. The other work at the CCP that almost made me throw up was one of Guy Ben-Ner’s video works. He was trapped in a cot, a prisoner of a nursery and couldn’t reach the desperately-needed bottle of water. He chewed his finger off to get it and you got it in high definition detail! Oh my god, it was revolting. In an exciting kind of way. Dominic Redfern’s discussion to a lover was quite entertaining video too. Apart from being in the little hidey hole gallery, which is a nice place to sit and ponder, the work was intimate enough to want to stay there for a while. Although the main character, which may or may not be Dominic, had a very hairy chest, which was not quite as bad as the dead birds, but definitely more disturbing than the images of New Zealand outback by Derek Henderson. His photos were beautiful, but honestly, I’m bored of urban, suburban, pastoral portraits on 6 x 6. Nothing personal, there’s just a lot of them and i’m a little ho-hum about them now.

And speaking of ho-hum, the Picasso Love + War at the NGV was BORING!!! I took my mum and my nanna, so there was a nice little intergenerational appreciation of Picasso thing happening, but that was probably the most gratifying thing about the whole day. I love Picasso’s work. I’m daggy and think he is one of the most important artists of the 20th Century and without him we wouldn’t have a whole bunch of artists, etc. But the NGV did an absolute disservice to the man by putting on this exhibition. The choice of works were loose, the connection to Dora Maar was tenuous and there was loads of works by her, which is fine, but put her in a room of her own, for crying out loud. The way the show was over texted – ie too much wall text for the general public, which i always find slightly patronising. Although the audio guides are now iPod, which is rad, ‘cos a whole bunch of people walking around a gallery with a mobile phone-looking audio guide used to drive me spare. The best pieces of the show were actually sculptural works, although a few of his early Minotaur etchings were beautiful and his Vert Galant piece is amazing in its separation of spacial treatment. I loved it and I kept thinking of Ron Adams’ work. Which is not meant to be a put-down, although Ron, if you’re reading.. hi.

The other thing that pissed me off was that the show was supposed to be about Love and War, according to the title.
Well, they didn’t really address the plethora, yes plethora, of Picasso’s other lovers and they sure didn’t investigate Picasso’s treatment of War. A few death heads and vanitas pieces just don’t cut it really. Nothing from Guernica. And I mean nothing, not even a little drawing study of the left hand corner! Maybe I’m mistaken, but isn’t Guernica the most well-known discussion he ever did on war?

Enough ranting from me.

Tomorrow I’m off to West Space, Platform 2 and Outre Gallery, to see my friend Gemma Jones and hopefully I’ll get to see Conical and Gertrude on the weekend. Watch this space for more rants and ramblings.

thanks for subscribing to she sees red by lauren brown. xx