coming up

photo breakfast //  first wednesday of every month

9:30-11am, pop coffee (grindlay street)

We miss having a direct line to the wider photo public and are big fans of breakfast, so are organising a monthly photography brunch open to everyone. Join us in the Atrium underneath our studio from 9:30-11AM where we'll provide basic hot beverages and something tasty to munch.

A great opportunity to have a blether about your works-in-progress, celebrate your triumphs, bemoan the broken systems of the world and know that in the comfort of caffeine and buttery pastry you'll at least not be alone. Free, all welcome, you can book here if you'd like an email reminder.

Image on left: Christina Webber, 2021

 

Film und FOTO KLUB //  next SCREENING tbc

previously: THE WOODMANS @ THE BANSHEE LABYRINTH (SOLD OUT)

The Woodmans are a family of well-known artists bonded in their belief of art-making as the highest form of expression. But for their daughter Francesca — one of the late 20th century's most recognized and influential photographers — fame came only after a tragedy that would forever scar the family. With unrestricted access to all of Francesca's photographs, private diaries and experimental videos, The Woodmans traces the story of a family broken and then healed by their art.

 

readers 3.1 // next event tbc

PREVIOUSLY in 2025:

For this session of READERS we have teamed up with our dear friend Christina Riley: writer, photographer, artist and founder of The Nature Library who has chosen this session's text.

CORAL EMPIRE by Ann Elias traces the visual and social history of coral reefs through the works of John Ernest Williamson in the Bahamas and Frank Hurley in Australia. The book explores how their modern media spectacles yoked the tropics and coral reefs to colonialism, racism, and the human domination of nature and how their reckless treatment of the sea prefigured attitudes that caused the environmental crises that the oceans and reefs now face. Using the labour and knowledge of indigenous peoples while exoticizing and racializing them as inferior Others, Williamson and Hurley sustained colonial fantasies about people of color and the environment as endless resources to be plundered. In the selected chapter, Mad Love, Elias looks at the way the visual spontaneity of underwater photography appealed to the Surrealist movement's attraction to "figuration, dream images and hallucinations", suggesting that "a diver, like an artist, symbolised an explorer of the unconscious".