Screening
Hello Reverie!
21 Sep 2017
Cost of entry
General admission: £5
Concessions and BAG Members: £4
Tickets on sale via Eventbrite via this link:
https://www.eventbrite.co.uk/e/hello-reverie-tickets-37307378373
Address
- Southwark Park
- London
England - SE16 2DD
- United Kingdom
Travel Information
- Buses 1, 47, 188, 199, 225, 381, C10, P12 all stop at Canada Water
- Canada Water on Jubilee and London Overground Lines
- Canada Water on London Overground Line
CGP LONDON // DILSTON GROVE hosts an evening of live music and the screening of HELLO REVERIE!, a new video by Tom Crawford with music composed by Joseph Rafferty (of Housewives).
About
CGP LONDON // DILSTON GROVE hosts an evening of live music and the screening of HELLO REVERIE!, a new video by TOM CRAWFORD with music composed by JOSEPH RAFFERTY (of HOUSEWIVES). Born out of a collaboration between the two artists over the last year, HELLO REVERIE! reflects their shared interest in the landscape and architecture found at the edges of cities and an enthusiasm for the textures, sounds and images found in these liminal spaces. The work explores themes of suburban loneliness, the eerie, dissonance and the mundane.The evening will start with the first live performance of ‘Music for a Concrete Church’, a new composition by Joseph Rafferty. It will be recorded live and released by Blank Editions as Rafferty’s debut solo release.
TICKETS:
General admission: £5
Concessions and BAG Members: £4
Tickets on sale via Eventbrite via this link:
https://www.eventbrite.co.uk/e/hello-reverie-tickets-37307378373
ABOUT THE ARTISTS:
Tom Crawford works with video, large-scale posters, painting and installation to explore the politics of urbanism and the class antagonisms that go hand in hand. His video work draws on methods of abstraction, using found and original footage to construct narratives that consider nostalgia and its role in disrupting the imaginable future.
Joseph Rafferty’s work focuses on themes of subtraction, repetition, syncopation and the adoption and amendment of musical formats and conventions. His compositions make use of home-made and found physical instruments, alongside urban field recordings and ripped ‘ready made’ media. These compositions are then processed using granular synthesis and production techniques inspired by contemporary pop music.