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HOP Project Gallery

360° Street View

HoP Projects CT20 Is an InnovatIve vIsual arts and cultural platform from the margins. It’s designed to promote a pluralistic and intuitive understanding of contemporary culture - transcending established disciplines and genres, responding to rapid social and cultural shifts, and incorporating the unexpected to create new perspectives.

A Programmed Life

The Unframing Photography Project

The Unframing Photography project initiated by the urgency to reconsider the medium as a technology of visuality and its frame as an ideological dispositive of control that distances subjects, sustains an attitude of superiority and enforces an absolute perspective.

Paloma Varga Weisz - Rug People

Folkestone Triennial

Varga Weisz’s five-headed sculpture Rug People, its body wrapped in blankets and cardboard, appears stranded and forlorn. Arrived as if by magic, the group huddles together on the disused railway tracks of the old Harbour Station. The Station, with its history of bringing First World War soldiers to the harbour to embark to France, as well as being the terminus for the Orient Express until 2008, provided the major inspiration for Varga Weisz’s work.

DN:A Gallery

360° interior and exterior view linked on google

D:NA is the home of performance artist Ernst Fischer, and a semi-public performance, meeting and research space located in a small, rented flat in South London. In keeping with its own insignificance and in reflection of its full title, the Archive is (and shall be) the home of small things: beautiful and insignificant, profound and negligible, harmless and useful, as well as harmful and useless, objects, actions and substances, including documentation of the work of LEIBNIZ, a performance art collective, of which Ernst is the artistic director.

Folkestone Triennial

Jonathan Wright - Fleet on Foot

Folkestone Triennial

Jonathan Wright works with images, materials and structures derived from the fabric of modernity. But since he is also fascinated by craft techniques, his compositions using this modernist vocabulary often become mysterious and seemingly functionless through the intervention of personal and felt elements, in a personalised and romantic critique of the modernist project.

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