last chance

World Famous Babylon

25 Jun 2022 – 3 Jul 2022

Regular hours

12:00 – 18:00
12:00 – 18:00
12:00 – 18:00
12:00 – 18:00
12:00 – 18:00
12:00 – 18:00
12:00 – 18:00

Free admission

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ArtWorks Project Space

London, United Kingdom


Travel Information

  • Buses: 123, 158, 230
  • Tube: Blackhorse Road Station - Victoria Line tube & overground train
Directions via Google Maps Directions via Citymapper
Event map

check for times re Rail Strikes @jakehasap


We have found Solitude and purgatory within a dark lit post-juvenile roadside resurrection of the final years of freedom, a time that some may call the origin of the future. Through calling upon the industrial framework that bred designer teens, we have provided an altar to our coming of age manifesto, written from a birds eye view. We were Birthed in nature, bred in a lab and educated to the highest level we could reach. Re-born Virgins who speak in tongues streaming to the masses. Growing information out of the linoleum flooring, letting fungi tower over us. Sacredly and neurotically holding onto the past in an attempt to re-live the melancholia we all wish to feel, time and time again.


Jake Hasapopoulos (Saint Paul, Minnesota 2000)

Through the exploration of American Mythologies, Political Debauchery, and Violent Hegemony, a return-to-the-womb childlike exploration is created, referencing Christian theology, and his relationship to it, in hopes of understanding and characterizing discomfort and trauma.

He is a Minnesotan pre-teen laughing, then crying, then laughing again through this less than intellectual journey to show reverence to the seemingly inferior fractions of culture.

Lucia Farrow (Caracas, Venezuela 2000)

Farrow’s material of choice is clay, her practice is a dialogue, or marriage between her relationship and love for materiality, with various themes that are rooted in concepts around archeology and the self, a sultry excavation into self-objectification and womanhood. She works within the juxtaposition of cuteness and violence within women; harshness and softness. The materials Lucia uses are particular, always ceramics and the the addition of metal. She works within opposites, combining things that are sterile and harsh with kitsch qualities. Farrow utilises the framework of artefacts/archeology to bridge the gap between materiality and the contemporary. In a more specific way, her ceramics act as a new form of archive, similar to an instagram feed, iPhone camera roll, or blog. The clay acts as a blue- print, a mirror to reflect herself in. In this sense her work is autobiographical; a new archeology, a form of self-preservation.

Arlette (Mexico, 1998)

Arlette is a multidisciplinary artist originally from Mexico, she specialises in performance, sound and sculpture. Her work engages with the production and performance of identity and subjectivity. Not only does her practice explores a framework for examining the context, nature, experience, and limitations of art, but also a language for discussing the complexity of ethnic, religious, gender, and sexual identities. For Arlette, live art is a strategy for navigating and mobilising these discourses. Arlette’s practice takes the shape of various multi-platform projects spanning moving image, live settings, performance, assemblage, and writing. Her work is frequently collaborative and participatory, challenging the processes and conditions of art production. Arlette performs masculinity to undermine its stability, by appropriating and creating different characters.


 Mila Rowyszyn (Warsaw, Poland 2000)

Mila is a lens based artist who is fascinated by the hoards of pointless photos released online that have the aim of nothing else but to zoom into one another’s privacy. Her images, often in the form of stickers, aim to probe clichés and the consumption of everything and everyone: stacks, and scrolls of #fashion, #fun, #friends... snaps from #NightOut(s) and #vacation(s). She considers everyone, including herself to be a ‘fallen blogger’. Victims and perpetrators of spam, who through continuous documentation meld their lives into one continuous and indistinguishable sequence of faces and events. Inseparable from habit or practice, Rowyszyn’s images are of a voyeuristic nature and weld her and her life into one photographic reel.

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