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LONDON Programme 2026
April 2
Gavin Wade: L is for Landscape
Without Dirt
Ella Belenky, Harun Morrison , Oona Wilkinson
May 1
David Blamey
Matthew Cornford
Schirin Kretschmann
May 2
Genre [machine] Painting
Andee Collard
May 16
The Taraxacum officinale
Growth Growth Growth!
Hilary Jack
May 23
Old Skool - Artist Talk 2-5pm
May 28
Saulius Leonavičius invites
Jez Dolan, Lewis Graham, Joanne Masding.
Paul Vivien,
more to folow...
May 30
Pallet Show
Daniel Pryde-Jarman
June 4
Old Europe2
Saulius Leonavičius
June 6
Ostalgie Reading Room -Performance
Old Europe2 - Artist Talk
2-5pm
June 11
Angelina May Davis
Ceder Lewisohn
June 11
Andrew Lacon
June 20 -21
Film Weekend
Céline Berger, Priscila Fernandes,
Duncan Poultan, more to follow...
June 27
Old England - Artist Talk 2-4pm
-end-
2025
NewsRoom News on Demand
The Myth of Barter
Minor Attractions
Village Greens . .
DreamLife
Stop the Chaos Turn the Page
The Nasty Book
2024
Preserving Hole
Dreaming Upon a White Stone
More News About Flowers
Crate on Pallet
Tree & Leaf
Imagine What We Can Do Tomorrow
Hyper_DEFLATION
P.A.L
Pressing
Songs of the Modern World
Cool - Warm - Hot
Fayre Share Fayre
NHS
Abstract Kab - Radical Plagerism
Council of Voices : Vanley Burke
Collected Domestic Conceptualism
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The Taraxacum Officinale
Growth, Growth, Growth!
16 May 12-8pm
16.05 - 24:05:2026 (also open Sundays 11-4)
Hilary Jack (Manchester UK)
The Taraxacum Officinale is a fictional cultural event, an annual exhibition to be repeated every spring. It imagines a world where we try again and again to reverse our impact on the earth. For the title of this solo exhibition, Hilary Jack borrows and subverts the political and economic slogan “Growth, Growth, Growth!”. In doing so she questions a system in which economic expansion is prioritised over the well-being of nature, community and the Earth itself.
This year the Officinale re-imagines the depletion of Para rubber tree (Hevea brasiliensis) and looks to new inventions in dandelion cultivation as a way to alleviate deforestation and the slow regeneration, as the stock holders (some estimates show 71% are men with invested assets) snap at the heels.
The work in this exhibition reflects on the relationships between everyday objects, the natural world, and the industrial extraction of natural resources. A chair made of wood reminds us it was once a tree; a Duchampian bicycle wheel, echoing Marcel Duchamp, mounted on a stool is reimagined as manufactured from dandelion serum; a series of collages juxtapose rural landscapes with scenes of industrial extraction, revealing how natural resources are removed and consumed, driving environmental degradation and social inequality, a contradiction often described as the “Paradox of Plenty”; a set of found and altered gardening tools point toward an alternative possibility of a future rooted in care, cultivation, and regeneration.
The Taraxacum Officinale, or the dandelion, is as much about commodity as it is about the fetish of rubber latex and conceptual art. Latex is understood here not simply as a material, but as a circulating form of capital*, historically extracted from Hevea brasiliensis and embedded within systems of ownership, speculation, and industrial power. The dandelion is repositioned within this logic as a speculative commodity, an abundant and overlooked plant recoded as future asset, demonstrating how capital continually seeks new ecologies to occupy, even under the guise of sustainability.
At the same time, rubber carries a libidinal charge, picture automobile tyre sales advertising, fresh black tyres, elasticity, sheen, and proximity to the road and the body situate it within a field of desire, fetishisation, and control. The material operates both industrially and erotically, revealing that commodity is never purely economic but also affective, bound to sensation, fantasy, and projection.
Through the lens of conceptual art, and in dialogue with Marcel Duchamp’s readymade, the dandelion becomes a gesture of designation rather than transformation. It is lifted, named, and reframed, hovering between weed and resource, artwork and commodity. Yet here the readymade is extended: it is not only an aesthetic operation but an economic one, exposing how value is assigned, circulated, and desired.
The Officinale ultimately stages a space where commodity, libidinal desire, and conceptual designation collapse into one another, questioning whether systems of extraction can truly be undone, or whether they are simply rearticulated, allowed to take root again in new, more palatable forms.
Notes:
*The pneumatic tyre industry itself remains predominantly male, with the following men at the ‘wheel’ from the last 100 years; John Boyd Dunlop, Frank Seiberling and Charles Seiberling (Goodyear Tire and Rubber Company), Harvey S. Firestone (Firestone Tire and Rubber Company), Paul Litchfiel, who guided Goodyear through the Great Depression and World War II, consolidating its dominance across rubber and aerospace and Paolo Ferrari (Bridgestone Americas/Firestone).
Notes:
The title also riffs on the tradition of genre painting, which flourished in seventeenth-century Holland with scenes of domestic life, taverns and everyday labour turn Hogarth, Swift satire.
PV - May 16 2026
12-8pm
Division of Labour Holy Trinity, Cloudesley Square, London N1 0HN, UK c/o The Florence Trust - Tube: Angel / Bus No19 Islington Green