Sunday 30 October, 3 ~ 4pm. FREE (no booking required)

Meet in the Willett Collection of Popular Pottery, Brighton Museum and Art Gallery.


(Photo by Bernard G Mills, 2011)

On the final day of his exhibition, ceramics artist Neil Brownsword will give a talk about his work and tour of his exhibition. Responding to the Willett Collection of Popular Pottery and the legacy of the ceramics industry in his hometown of Stoke-on-Trent, Brownsword will speak about the themes and processes explored through this new body of work.

The catalogue that accompanies the exhibition with essays by David Whiting and Ethan Lasser is available for £10 from:

RELIC by Neil Brownsword is at Brighton Museum Wednesday 24 August – Sunday, 30 October 2011. Open Tuesday - Sunday, 10.00am – 5.00pm, closed Monday, admission FREE





Figment: Did I? & Dwelling – Hiraki Sawa

As part of Brighton Japan Festival 2011, Permanent is pleased to present 2 special pre-feature film screenings by Hiraki Sawa at the Duke of York’s Picturehouse.

Figment: Did I?
Hiraki Sawa, 2011, 9′31″
Followed by: Akira, Dir. Katsuhiro Otomo, 1988, 124′
Friday 24 June, 11.30pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Akira


Hiraki Sawa, 2002, 9′20″
Followed by: Godzilla (1954), Dir. Ishiro Honda, 1954, 96′
Sunday 26 June, 1pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Godzilla


Hiraki Sawa was born in Ishikawa, Japan. He currently lives and works in London. Since 2002, he has exhibited extensively, including solo exhibitions at: James Cohan Gallery, New York, 2011; Musée des Beaux-Arts de Besançon, Besançon, 2010; Yu-un, Tokyo, 2009; Knoxville Museum of Art, Knoxville, 2008; Chisenhale Gallery, London, 2007; National Gallery of Victoria, Melbourne, 2006. Sawa has also participated in a number of group exhibitions and international art festivals including: Biennale of Sydney, Sydney, 2010; Asian-Pacific Triennial of Contemporary Art, Queensland Art Gallery, Brisbane, 2009; Automatic Cities: The Architectural Imaginary in Contemporary Art, The Museum of Contemporary Art, San Diego, 2009; Yokohama Triennial, Yamashita Pier, Yokohama, 2005; Lyon Biennial, Museum of Contemporary Art, Lyon, 2003.

Figment: Did I?
Hiraki Sawa, 2011, 9′31″
Followed by: Akira, Dir. Katsuhiro Otomo, 1988, 124′
Friday 24 June, 11.30pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Akira


“The film is a patchwork of narrative fragments, a collage of daydreams that appears to display the lack of overarching logic inherent to all things oneiric. Shot in black and white, Did I? escapes ordinary temporalities. It isn’t necessarily set in the past, but it clearly belongs to an elsewhen freed from the down-to-earth now. A man (the artist?) seats at a desk floating above a Magrittian sea of clouds. On the tabletop, an ordinary glass bottle sparkles as if set alight.”
From “Hiraki Sawa: Figment” by Coline Milliard

“A boy closes his eyes for 25 minutes and wakes up with the world gone from behind his thoughts. His language slips and shifts, he tastes orange juice without knowing anymore to describe it as sour, he likes numbers but cannot put names to faces. His room is filled with a thousand records and many more. He sees the records, unable to listen. He can’t see the floor, has never seen the floor beneath them, wouldn’t recognise it if he met it in the street. He meets people in the street and his only option is to trust that they know him when they say they do. His records become opaque, circular slabs of the unknown and the unknowing. A fog of landscapes without contours, without borders, that can only be read by touching. To move forward he must step out, one foot then the other, and believe that he is indeed moving. His mind like an emptied lake, the sky welling upward and outward, unable to contain the depth of it all, the bottomless, fathomless wealth of the things he lost in his sleep.”
Text by Dale Berning


Figment: Did I? was commissioned by Animate Projects, supported by the James Cohan Gallery, New York

Hiraki Sawa, 2002, 9′20″
Followed by: Godzilla (1954), Dir. Ishiro Honda, 1954, 96′
Sunday 26 June, 1pm
Duke of York’s Picturehouse Cinema. Preston Circus, Brighton
Cost: Inclusive with Godzilla


“At first it simply seems to be a slightly blurred record of a domestic interior: a kitchen, a sitting room, with on the floor, some toys including a couple of model planes. Suddenly one of these planes takes off, then another lands and soon the kitchen and dining room have turned into a busy international airport, planes crossing the room, landing on tables, taking off from work surfaces, and all in total silence. They negotiate the narrow chasm of a slightly open door, deftly avoid a light fitting or a bowl of fruit and its so absurd and silly I find myself grinning like a child.”
From “Untold Stories” by Alan Bennett


These pre-feature screenings are in partnership with Animate Projects and Duke of Yorkʼs Picturehouse as part of Brighton Japan Festival.

Brighton Japan Festival is a week-long celebration of Japanese film, art, performance and culture supported by Moshi Moshi and Asahi Beer.



The Customer is Always Wrong – Bill Aitchison


Spiral Charity Shop (opposite Permanent Studio, 20 Bedford Place)
103a Bedford Place
Brighton BN1 2AA
Saturday 14 May, 7.30pm (including after performance discussion with Bill Aitchison)
Sunday 15 May, 7.30pm (Doors 7.00pm)

£7 / £4 concessions
Book tickets here (booking in advance advised, limited tickets available on the door)

One of a kind performance artist, traveller and all round professional eccentric Bill Aitchison, has been artist in residence at the Chinese European Art Centre in Xiamen, South China for the last three months. This has given rise to a new performance of imperfect translations, misunderstandings and insights into how the British (i.e. Bill) come over to the citizens of Xiamen.

‘The Customer Is Always Wrong’ uses the state of being a visitor to China to creatively plot the intricacies of national and cultural identities and take a sideways look at the hypocrisies of commercial culture. Expect a humorous and insightful take on identity confusions in the 21st century.

Performed entirely in Mandarin with English translation.

The Customer Is Always Wrong is presented in partnership with Permanent and is supported by British Council China, Arts Council England and Spiral Charity Shop, as part of House Festival

Bill Aitchison is a performance artist who has shown his solo performances and videos at theatres, festivals and galleries across Europe, Asia, the Middle East and America. He has spent extensive periods in New York’s downtown theatre scene and the European performance circuit working as a solo artist, writer and performer. He has published critical and creative texts and has a PhD from the University of London.

(NOTE: ticket price for Saturday 15 May includes after performance discussion with Bill Aitchison which will take place at Permanent, 20 Bedford Place. The performance lasts for approximately 1 hour)

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Phil Root Artist Talk


Sunday 15 May, 3pm
£5/ £3 Concessions (including glass of wine/juice)
Permanent Studio, 20 Bedford Place, Brighton, BN1 2PT

Phil Root’s practice is driven by an inquiry into what painting is and why it fascinates. For this talk he will speak about his expanded approach to painting and the process of creating an installation specifically for the Permanent window space.

This event accompanies ‘Wood Painting’ Phil Root’s window exhibition at the Permanent Studio, 8 May – 12 June 2011, part of a series of window exhibitions, Pavement. This project is part of House Festival.

Book tickets here



Ruins Exhibition Talk

Saturday 19 March, 3pm
The Regency Town House, 13 Brunswick Square, Hove
Jonathan Miles (Fine Art Critical & Historical Studies Tutor, Royal College of Art) will respond to the exhibition Ruins and speak to Lara Viana about her work.
Ruins is an exhibition by Lara Viana at The Regency Town House, 13 Brunswick Square, Hove. The exhibition continues until 27 March, open Saturdays and Sundays, 11.00am – 6.00pm.
This event is free. No booking required.
Teas and Coffees available.



T Orimoto talk 1 (web SM)

Saturday 16 October, 2pm
Permanent gallery

(A clip showing Tatsumi Orimoto performing with Finger Dolls at Permanent gallery during the in conversation event)

(Tatsumi Orimoto speaks to Mark Waugh about Bread Man)

Tatsumi Orimoto is a leading name in the global performance art scene known for his seemingly bizarre work in which he deals with everyday life, ageing and questions of communication. Orimoto’s persona of Bread Man, whereby he appears with his face obscured by bread, is a clear example of what Orimoto describes as “communication art” and attracts many bewildered and curious looks from passers-by as they are invited to engage in his world.

In this conversation with Mark Waugh, Executive Director of A Foundation and Curator of Tatsumi Orimoto’s recent retrospective in the UK which included hundreds of documentary photos and video works of Orimoto’s recorded performances, Orimoto will reveal the motivations and meanings behind his work, and explain the processes of his creative activities, as well as the relation between his work, his personal life and society.

Orimoto lives and works with his mother in Kawasaki City, Japan. He has shown extensively in exhibitions and major museums across Asia, Europe, USA, and South America.

This event accompanies Live in Translation by Tatsumi Orimoto: a single billboard poster, at 30 North Road, Brighton, as part of the Brighton Photo Fringe.

This event is kindly supported by Moshi Moshi Brighton

Live in Translation by Tatsumi Orimoto is realised in partnership with A Foundation and is part of the Brighton Photo Fringe

A Foundation(small)



Lotta Antonsson & Jason Evans In Conversation

(photo by Amy Knight)

Sunday 3 October, 12pm
Lotta Antonsson speaks to photographer Jason Evans about her exhibition Experiments in Black, at the Regency Town House, 2 October – 14 November 2010

DOWNLOAD MP3 (Right Click Save As)


Onomatopee 51: White Smoke Launch

Onomatopee 51: White Smoke
by Hexaplex
book and website launch
Saturday 21 August 2010
7 – 10pm
Talk at 8pm
Free entry
Pay bar

‘In the White Smoke project man and machine meet: the audience engages a world of colour codes and names. White Smoke lays down poetic and semantic tensions between man and machine and encourages the audience to enter the information society with human, poetical effort!’ – Hexaplex

White Smoke* is an online and offline design project inviting participants to contribute personal interpretations of web-standard colour terms through submission of images and writings. The submissions are collected on to a website. The initial contributions were translated in print form as a limited edition 28 page booklet and poster, published by Onomatopee, Amsterdam, May 2010. Permanent hosts the UK launch of the White Smoke book and website.

The offline publication features especially commissioned texts by Audrey Samson (new-media theorist) on the evolution of colour experiences from the perspective of new media, Freek Lomme (Onomatopee) on the cultural poetry of White Smoke, and a transcript of a conversation between Hexaplex and Steven Pemberton (W3C) about the history of web colours.

Hexaplex (Cheryl Gallaway and Micha Bakker) formed in Amsterdam, 2007, to test work methods and deepen insights into their design practice. Hexaplex view the internet as a network of connected texts, images and sites. Without these connections the network can’t exist. Ideas and dialogue within this network change constantly, and content and movement as more determining factors than just aesthetics. The content is the foundation and the internet is a network!

Via its projects, Onomatopee researches and displays the parameters of our (visual) culture. Progressive notions of cultural production arise by professional know-how and wayward stances. Resulting perspectives are offered both via experiences within expositions as in-depth through publications. This way, Onomatopee brings progressive culture to life. Onomatopee negotiates between progressive notions and (professional) audience. Presentation and publication always go hand in hand.

*White Smoke is a web colour with a hexadecimal value of “#F5F5F” or a RBG value of “245, 245, 245”



Saturday 10 July
5pm – 6pm

Current artists in residence KIMI CONRAD in conversation with Simon O’Sullivan, Senior Lecturer in Art History/Visual Culture and course convenor for the MA in Contemporary Art Theory at Goldsmiths College, University of London. He also has a collaborative art practice with David Burrows, under the name Plastique Fantastique.



Saturday 10 July
6pm ~

Performances and closing event

Both events are free and all are welcome.



Social Pasta II (web)

(A taste of screening by åbäke, Alex Rich and Markus Bergström)
On Friday 21 May 2010, starting at 7:30pm, åbäke, Alex Rich and Markus Bergström are proud to present SOCIAL PASTA 8, an evening of film screenings accompanied by culinary equivalents.

£5.00 per person (booking is essential)
For reservations, please mail to

This event is part of ‘A boat can fit on a ship, but a ship can’t fit on a boat‘ by Alex Rich and Markus Bergström.

Charlotte Cotton & Jason Evans


Saturday 31 October, 3.30pm, Free
Permanent Gallery, 20 Bedford Place, Brighton

The initiator of the Itchy Scratchy picture show discusses the exhibition with Charlotte Cotton whose quote inspired the project. All welcome.

Charlotte Cotton is the Creative Director of the proposed London galleries of the National Media Museum. She was the curator and head of the Department of Photography at the Los Angeles County Museum of Art (2007 – 2009), head of programming at the Photographers’ Gallery (2004-2005) and the curator of photographs at the Victoria and Albert Museum (1993-2004). Her books include Imperfect Beauty (2000), Then Things Went Quiet (2003), Guy Bourdin (2003), and The Photograph as Contemporary Art (2004). She is also the founding editor of

For information about Jason Evans, go here

The Itchy Scratchy picture show is at Permanent Gallery from 3 October – 8 November 2009.


Itchy ScratchyBANDS
Permanent presents…
The Sticks / ViV / Arthur Brick / The Old Dolphin Brigade
Saturday 31 October, bands on 7.30pm – 10.30pm (doors 7pm)
Westhill Hall, Compton Avenue, Brighton
£6/£5 concessions
Tickets available on the door and in advance from Permanent Gallery and Rounder Records

This Halloween Permanent presents a night of music as a satellite event to the Itchy Scratchy Picture Show. Four bands have been asked to play Itchy Scratchy sets, comprised of untypical musical styles or new directions as yet unplayed out in public. Initiator of the Itchy Scratchy Picture Show, Jason Evans, will Dj Itchy Scratchy records. Halloween dress code: Spooky itchy scratchy. Including a temporary Permanent Bookshop. The Westhill is a bring-your-own venue.

The Sticks
‘A kind of bone scraping minimalism’ (The Wire)
With a sound which takes its lead from surfy 60s garage rock, The Sticks play taut energetic music on drums, guitar and base. Live shows often feature some instrument rotating between songs and whistle blowing.

Arthur Brick
Arthur Brick are a five piece London-based band which were apparently formed out of a calamitous performance at a central European wedding reception. Playing drums, double bass, charango and electronics they sing songs about Bermondsey war veterans, night buses to Catford, and religious fervour in the home counties.

The Old Dolphin Brigade
‘A whale mumbling… hopefully’ (The Old Dolphin Brigade on myspace)
Currently formed of 83 members from across the country acting on a permanent but fluctuating basis, The Old Dolphin Brigade compose their music via long distance communication. Members meet to play the songs together for the first time at gigs or recording sessions. Whoever is able to attend will be playing for this night, number as yet unconfirmed.

‘It sounds as if the clarinet player had left the room and stands around a corner’ (
Brighton based improvisers ViV (formally Vole) make gently erratic music by deftly interweaving parts in brass, violin, clarinet, cello, harp, percussion, drums and cow bells, with groans, hums and shouts.


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Stephen Cornford is joined by fellow turntablist Daniel Jones to play an improvised set amongst Cornford’s current exhibition at Permanent Gallery
Works for Turntable, (22 August – 20 September 2009)

Daniel Jones is an improvising musician based in Brighton. He makes music with tuntables, electric guitars, CD players and modified CDs, samplers, and amplified objects. He last appeared on the ‘Leaving Room’ disc alongside David Papapostolou and ‘Tierce’ a trio with Jez riley French and Ivan Palacky and he has an upcoming release on the Another Timbre record label alongside Patrick Farmer and Sarah Hughes.

For more information on the performers and to listen:
Daniel Jones:

Stephen Cornford:

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Wednesday 3 June
8pm (Doors 7.30pm)
£4/£3 concessions (students and NVT members)
At New Venture Theatre, Bedford Place
‘Modern Times’ (1936, 87 mins), by Charlie Chaplin and ‘One Week’ (1920, 19 mins) by Buster Keaton.

Modern Times is a comedic portrayal of the industrialised work place as experienced by Charlie Chaplin’s iconic Little Tramp character. Chaplin plays an assembly line worker who undergoes a breakdown after being subjected to a number of adverse situations involving being force-fed by a “modern” feeding machine and an ever accelerating assembly line. The film follows his struggle to keep up with the absurdities and pressures of modern working life.
One Week is a short comedy directed by and staring Buster Keaton in which he experiences calamitous set-backs while attempting to build a flat-pack house for his new bride, Sybil Seely.

This films in this screening were selected by Ocean Mims to accompany his current exhibition at Permanent Gallery, Things for Here, Now and There, 2 May – 7 June 2009. In association with cinematheque.

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Saturday 6 June, 3pm, Free
At Permanent Gallery
Ocean Mims and artist Steve Bunn will make presentations about the nature of mass-produced objects and their materials, exploring the notion that limitations are a necessary basis for creative processes. Followed by an open discussion.

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Image: The Fountainhead

Wednesday 8 April, 8pm (Doors 7.30pm)
£4/£3 concessions (students and NVT members)
At New Venture Theatre, Bedford Place
The Fountainhead (PG, 1949), Dir. King Vidor. Staring Gary Cooper and Patricia Neal
House (2005/7, 5 min, 16mm, b/w) and We the People (2004, 1 min, 16mm, b/w) by Ben Rivers

In The Fountainhead individualistic and idealistic architect Howard Roark is expelled from college because his designs fail to fit with existing architectural thinking. After finding a job with like-minded Henry Cameron, Roark’s character finds himself involved in a series of battles to realise his architectural vision, without compromise, striving at all costs to retain his artistic integrity. Seen as overwrought and morally suspect at the time of its release, the film has become recognised as a powerful piece of surrealist film-making, and a thought provoking explication of the artistic disposition. Based on a novel of the same name by Ayn Rand.

Preluding the feature will be two films by Ben Rivers which re-imagine scale models as central characters in mini film dramas. ‘House’ depicts a miniaturised abandoned interior in a state of decomposition, the peeling walls and broken floorboards open up a magical world of dereliction. In ‘We The People’ an invisible mob torments an equally invisible lone character in a chase scene evoked through found sound laid over side-ally and street corner views of an off-season model village.

Image: We The People

This programme was selected for the exhibition Hidden Persuaders by Louise Bristow, in association with cinematheque.

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Saturday 25 April, 3pm, Free
Louise Bristow will be in conversation with Christopher Stevens, painter and senior lecturer in Fine Art at Brighton University. This event accompanies Louise Bristow’s exhibition at Permanent Gallery, Hidden Persuaders, 28 March – 26 April.

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