Curated by Sean McLusky / Kevin Quigley / Bjørn Hatleskog

The second instalment in the LIMINALITY series, exploring new cross-disciplinary works in visual-sound-performance. Focusing on ‘the Unknown’ as a central theme, Liminality 2 includes artists and performers working across diverse practises, from film, installation, sculpture, live performance, drawing and printmaking:

[THE UNKNOWN] enters us into a new avant-boundary of thought, a new set of experiences that is cloaked both in equal amounts of horror and fascination. In the domain of the unknown we can only reach out to tangible known phenomena – attach ourselves to ‘known somethings’ as we fumble around in various chaos states searching, grasping for the familiar – Fear and trepidation can drive us on or we can choose a different path; an upward path – to find an harmonic tone of understanding and a meditative bliss full of glowing colours and sounds.





Performance / Installation

Experiments on the borders between live art, theatre, sonic art, sculpture, installation and their documentation, actuateing the deformation and metamorphosis of the human subject and material object, and through these the emergence of anomalous configurations and hybrid entanglements, between form and formlessness. The manifestation, binding and discharge of primal energies through viscerally affective actions, objects and residual detritus, collapsing boundaries of inner and outer worlds in encounters with the unknown.

Luke Jordan has performed and exhibited within Europe at numerous institutional and non-institutional sites and events including squats, boats, caves, living rooms, ICA London (UK), Chelsea College of Arts (UK), Byham Shaw School of Art (UK), University of Cambridge (UK), Auto Italia South East (UK), Area10 Project Space Peckham (UK), The Minesweeper (UK), Cafe Oto (UK), Noise=Noise (UK), Musica Dispersa (UK/ES), EVTV (UK), Lords of the Hedonist (UK), RUN (UK), Grotto Promotions (IE), Modern Panic (UK), Deliquium Festival (UK), Primal Uproar Festival (DE), Supernoize Festival (DK), Antiuniversity Now Festival (UK).

The work has been published in magazines such as Ground (DE) and Rapsodia (IT).  Since 2013 he has instigated various experimental performance and sonic art events in London, and from 2017 as Psychosonic Action Lab.



Sculpture / Performance

Disinformation is a kinetic and sonic arts research project, which has been active in electronic music since 1995. The Guardian described this project’s visual artworks as “some of the most beautiful installations around”, the Metro described Disinformation as “the black-ops unit of the avant-garde”, Sound Projector magazine spoke of audio works producing “potent drug-like trances of utter black mysteriousness”, while Vital Weekly described Disinformation text pieces as “beautiful, like a Surrealist poem” and as “like Surrealists on ketamine”.

The “Hex Series” sculptures

The “Hex Series” sculptures exploit a play on words between the literal meaning of “Hex” – “curse” – and elements of the geometry used in the construction of these sculptures (individually titled “Cat’s Cradle”, “Honey Trap”, “Cryptogenesis” and “Ultraform”). “Architecture”, as Friedrich von Schelling stated, “in general is frozen music”.

DISINFORMATION (performance)

For the Liminality 2 live series, Disinformation performs the sound works “Doppelgänger”, “Kwaidan” and “National Grid”. “Doppelgänger” is loosely based on the piece of the same name – D957 #13 in the Concordance of works by composer Franz Schubert. “Kwaidan” is archaic Japanese, referring to [Kwai] “strange, mysterious, rare or bewitching apparition” and [Dan] “recited narrative”, literally “ghost stories” – a title taken from the book by the Victorian folklorist Lafcadio Hearn. “National Grid” applies musical transformations and accompaniments to amplified outputs from a high-voltage mains transformer.



Sculpture / Installation

Bjørn Hatleskog is a London-based artist. His practice is located somewhere between electro-acoustic music and sound sculptural bricolage. It explores the nature of feedback loops, noise and interference and their application via mechanical automation. These ideas are investigated through the construction of modular robotic devices which are combined to form generative sound installations. Which are in turn used as the basis for musical compositions. He also works under the moniker Romvelope, and since 2002 has been managing a small record label called Adaadat.


Perpetual Jellyfish

Material : Metal Chimes, AC Motors, PAR Lighting Controllers, Steel Conduit Fixtures, Eyelets & Chain, Electrical Cables, Dyneema Braid, PIR Sensors & LED Light..  2018


Romvelope aka Bjorn Hatleskog is an experimental musician and creator of semi-autonomous musical instrument cum sound installations



Sculpture / Installation

Phill Wilson-Perkin lives and works in London. He has been a member of Five Years since early 2017. recent exhibitions include, Come Here, Go there, that he co-curated with Jamie Dyson and We Labour, We Labour, We Labour, both including members of Five Years. Perfomances done with Samanther Taylor include Penny Lectures at IKLECTIC and the International Sound Art Festival [2017], A Finger Pointing the Way to The Moon, as part of Enter The Dragon at the ICA [2015], Black Moon Larking in G39, Cardiff [2015], Call and Response at the Supernormal Arts and Music Festival [2014].


We Labour, We Labour , We Labour [To Protect Ourselves From The Horrible Sounds of Our Horrible Culture, We Should Return These Stones To The Earth]

Phill Wilson-Perkin with Audio from John Hughes, Adam Laschinger, The London Sound Survey, Anne Robinson and Samantha Taylor.

Concrete, headphones, audio cables, iPhone, animation, foam and amplifier

Each concrete form sits on a metal plate on top of a wooden plinth lagged with foam The concrete forms are linked together by pairs of headphones. All are joined to the same amplifier by garishly coloured cables. The headphones having been set into the wet cement, have become inseparable from the forms. They play a soundtrack to an animation; a version of Joseph Gandys watercolour of a ruinous Bank of England. The audio is a collection of field recordings, ranging from seismic rumbling to domestic and industrial machinery. The headphones channel the sounds, excluding all others and sending waves into the concrete forms. Microscopicaly reshaping them, recording the sound anew. Solidifying the noise. Permanently archiving the intonations of a culture that headphones would normally work to exclude [blocking the din of contemporary life, an audial opiate for the masses]. Would burying these concrete forms below ground preserve their records?



Untitled film installation

Stanley Schtinter is a liberated filmmaker and chief curator at the Museo de la Bomba, producing cassettes, condoms and pirate DVDs as ‘Purge’.



Sculpture / Installation / Performance

Pól McLernon is a London-based Co. Antrim born artist and musician. Key areas of interest include the politics of frequencies and form through wind, time and sound. His work is most often focused on particular physical sites, or around particular social and psychotechnical issues. A strong participatory and theatrical aspect to his work exists as an important counterpoint to his practice.

Pól has exhibited and collaborated with other artists and choreographers, designed sets for theatre, produced a variety of sound installations and performances.

He has exhibited and performed nationally and internationally in Ireland and Germany. Commissions include Clandestine Airs with Resonance FM and VOID. Pól holds an MA in Research Architecture from Goldsmiths

‘A Grafted Tome on a Severed Head : Second Order’
Mixed Media Sculpture
Pól Mclernon 2018

Piano piece
Mixed Media, Found Object
Pól Mclernon 2018

Sheet Metal
Pól Mclernon 2018
Performance with Warren Conlon –
Ukiyo : Figure 9 – trichodes




Mary Yacoob appropriates symbolic visual languages from architecturalplans, geological maps, diagrams, and alphabets and musical notation. Thehand-made gesture, intricacy, repetition, rhythm, systems employing orderand chance, are all key aspects of her work.

Some of Mary Yacoob’s work involves documenting the minutia of daily life indiagrammatic form. In other work she creates systemic works concerningarchitectural spaces that reconsider representations of urban planning andpublic art through proposals for often unrealisable interventions. Her workencompasses pen and ink on paper, printmaking, wall drawings, and vinyl floorworks.

Mary Yacoob studied at Central Saint Martins College of Art and Design andCass School of Fine Art, London Metropolitan University. Solo exhibitionsinclude the Centre for Recent Drawing, the Anzac Centre, Seven SevenGallery and Westland Place Gallery. Group shows include PayneShurvell,Guest Projects, Galerie8 and OVADA. Residencies include the AA2Aresidency at the printmaking department of Camberwell College of Art.


‘Draft’ are a series of drawings inspired by diagrams found in sound technologytext books. Each drawing originates from sketches of one diagram and isconstructed from a particular kind of mark, for example a line of a particularwidth, a flick, a dot or shape. The rhythm, repetition and duration of mark-making refer back to the source imagery: the technology and equipment used to produce sound. Of interest to the artist is how enlarging a diagram and taking itout of context can create visual connections, transforming a functional aid intosomething mysterious, architectural, spatial or monumental.

‘Seraphim for Sanctus’ is a drawing inspired by a choral score of ‘Sanctus’whose lyrics are taken from the story of the prophet Isaiah’s heavenly visionof celebratory seraphim – six-winged angels. The nebulous figures in thedrawing are composed of symbols that are inspired by various kinds ofmusical notation found online. The symbols construct rhythms and patternsthat rotate in concentric circles, recalling record vinyl. The drawing exploresvisual languages, overlapping boundaries, the rhythm and movement of patterns and signs, repetition and play.



Installation / Performance

Teleplasmiste is the duo of Mark O Pilkington (Raagnagrok) and Michael J York (Coil, Cyclobe). The pair explore electricity and nature, through the use of synthesisers, and acoustic drone instrumentation, including bagpipes.

Previous performances have taken place in churches and crypts, and at Farnborough Wind Tunnel, as part of the Speed of Sound arts festival in July 2014, in which the resonant frequencies of the space were combined with frequencies believed to have certain physiological effects.

Their debut album, Frequency is The New Ecstasy, is available via House of Mythology.

“Operating at the highest possible level. Outer Space, in fact.”
– The Wire

“Comprehensively mind-bending.. envelope time and space through the essential purity of all-consuming sound.”
– The Quietus.

“Spacey, in all the good ways. Inner Spacey. And Psychedelick as the day is looooooooooooong. You can’t tell where it’s from, this lilting music, but it’s definitely not here…”




(a vessel to explore the parapsychology of sound) are specially assembled free improv group to who will perform in the main gallery at Gallery 46 –

MEDIUM-SHIP will play and be inspired by the drawings of Mary Yacoob who is exhibiting her work in the main gallery.

Taking inspiration from Mary’s drawings we will conjure a sound-image – like a projection of a 19th century seance spirit!! — we see in Mary’s drawings and mark making as an otherworldly ectoplasmic substance!

MEDIUM-SHIP will play lo-resonating sounds, uncanny whispers, demonic scratches….

KEVIN QUIGLEY (guitar, percussive sounds, space echo pedal, bells)
BJORN HATLESKOG (electronics, fan, cymbal, ukulele)
PÓL MCLERNON (field recording, music saw, low resonance sounds, contact mics)
COS CHAPHAM – (prepared guitar, found objects, electronic effects)



Installation / Performance

MYSTERIUM create ‘a musical evocation’ to paintings – a improvised musical collective of musicans that connect and unlock the essence of a chosen painting transposing the ideas of the painting into musical form.

In the past MYSTERIUM have ‘played’ the paintings of Samuel palmer’s famous spirit provoking ‘Self Portrait’, Bruegel the elder’s ‘The triumph of death’ and Stanley Spencer’s ‘The Scarecrow’ a landscape painting that brings together the idea of Christ on a cross via an English landscape – paganism meets Christianity.

For LIMINALITY [THE UNKNOWN] – MYSTERIUM will be ‘playing’ Kazmir Malevich’s BLACK SQUARE 1913 – a very apt painting to conjure up a range of ideas about the unknown.

The players for this set will be Kevin Quigley – Improv Guitar / Electronic effects / Percussion / Vocals and marvellous the Sound healer / Shaman – Lani Rocillo.



Film, installation, performance.

‘Functioning Living Room’

Tom Wildblood is a young London artist working across multiple mediums, painting, sculpture, photography, video, sound art. Creating immersive and impactful installation and performance work, exploring the mundane and the metaphysical, questions inside inquiry’s disguised as queries folded into veiled investigations of examinations of catechizations, and by getting further from the truth in a mire of minutiae he paints a jarring abstraction that is revealing yet impregnable.



Film installation

‘Tamesa’ 2014 – 11
16mm film
Sound and compositions by Clay Gold

Rosalind Fowler is an artist and filmmaker with a background in visual art and anthropology. Her work explores the politics and poetics of place and belonging in the contemporary English landscape through the prisms of folk culture alternative communities science fiction myth and the language of dreams.

Recent solo shows include:
PEER with Fourthland 2017
William Morris Gallery 2016
Barbican foyer commission 2016
Artist-in-residence William Morris gallery 2015-16

In 2017 she collaborated with artist collective Fourthland to create Permissible Notations of with 50 residents of the Wenlock Barn Estate Hackney, including new 16mm film ‘I feel like doing this’ 2017, supported by ACE. Final work will show at PEER 21st February – 14th April 2018.



Installaton / performance

Since its inception English Heretic has operated as the dalliance between a literary and musical and multimedia concern. The premise of the project at its outset was to use landscape and biographical projections to fecundate the imagination. Over a decade into the project, the initial phase of fecundation has reached a psychic hinterland somewhere between the reels of a Horror film and a lost episode of World In Action.


English Heretic will be presenting their first Nightmare laboratory as part of an eponymous research project. Subverting the concept of Max Richter’s recent Sleep project, can we go a step further and can music be used to induce sleep paralysis. Whereas Richter used Sleep as a curative agent against his own insomnia, Nightmare aims to readdress an ontological imbalance, the demonising of our innate ability to conjure cosmic horror. Following a century of the self, the bloated ego doesn’t need any more help, its needs a few nocturnal shocks.

In tandem with its philosophical motive the project acts as a compositional exercise exploring two general approaches:

1] Anti-lullabies: Can music be created to lull ourselves into physiological states conducive to facilitating night terrors?

2] The Nightmare Machine: audio and visual structures that mimic the automatic journey from regular dream imagery to the self electrocuting delirium of night terrors.



Spawn Oh Flange Spawn

Installation / Performance

Descend to become Spawn of the Flange Zoo, or they will be coming up for you, be cocooned in the cosmic light, the unseen forces of these multi-dimensional creatures down below.

Flange Zoo is a collective of mythical musical animals who have plundered the multi-sphere since 2012. They project warnings for human-kind using multi-effects, Stylophone, Theremin, hand designed ‘Tube-Fox’ Didgeridoo and more. Their earthly forms are monk-sprite Tiger Gnome, 3 billion year old dragon Lotan the Destroyer and ancient fox-witch Kitsune Tsukai. Their human emissaries are Calum F Kerr, Phillip Raymond Goodman, Miyuki Kasahara. Performances are often accompanied by animations from the Notorious PRG. In 2017 Flange Zoo appeared at The Harp Restrung in Folkestone, and convened gatherings at Vinyl Deptford and The Beehive in London. Previously performing at Ura Matsuri, Café Oto Project Space; Dronica #4 Old Church Stoke Newington; Lab 451 London; MKII;  New River Studios; Rio Cinema; Thee Sunday Sonics, St Leonards/Hastings and Voodoo Hopscotch, Folkestone. They have also released many recordings through:



Alice Colley is a Berlin-based interdisciplinary performance maker from London. Drawing upon her background in classical music and devised theatre, Alice creates site-specific ritual performances. Her work negotiates the space where music and performance art meet, and blurs the boundaries between performer and participant. Alice studied at Goldsmiths graduating with an MA in Performance Making and a BA in Drama and Theatre Arts.

Will James, French writer and artist based in Berlin, studied fine art at Chelsea College of Arts specialising in sound and installation art. His work explores the transgressive and subversive currents of the human conscience within contemporary culture. An approach to psychological phenomena that indulges an introspective view of life as experienced through the mind of the subjugated individual. He is the author of Indignant, a short play of indignation.

‘Sener and the Oracle’
Installation performance



There is no reason for me to play live any more unless I am stepping out into the unknown. When I play live I am mainly interested in losing myself. For my solo sets I deliberately choose instruments that produce unpredictable results. I view the music produced under such circumstances as collaborations between myself and the unknown. In many ways this collaboration is pugilistic, but ultimately it is utopian.

It’s a dirty job, but somebody has to do it. (Neil Campbell, January 2018)

Astral Social Club is the multiversal pop music project of Neil Campbell, whose long discography stretches right back to the early 1980s. Neil is also a member of Vibracathedral Orchestra and involved in many ad hoc sonic combinations – in recent years has collaborated with the likes of Richard Youngs, Stuart Chalmers, High Wolf and Grumbling Fur.



MELTAOT are a black ambience/ noise duo made up of artist/musician/broadcaster Sharon Gal and artist/writer/musician Edwin Pouncey aka SavX. They met through Resonance 104.4FM and presented the weekly live show Diggers from 2002 until 2010.

As MELTAOT they have released a cassette, titled First and Second Rites, for the Tapeworm label and the split LP, Souls On Board, together with Bruce Gilbert. This was recorded live at Café OTO and released on the Ash International label. and-second-rites

SavX is an underground cartoonist, illustrator and artist whose work has appeared in a variety of music press publications, book covers and album sleeves. Together with fellow artist Chris Long, he is half of the abstract painting group Battle Of The Eyes.

Sharon Gal is an interdisciplinary artist, performer, experimental vocalist and composer, with particular experience of free improvisation and collaborative group compositions. Her work relates to sound, architecture, live performance and participatory art, exploring the psychology of sound and its relationship with space.

She performs solo and on-going collaborations with David Toop, Steve Beresford, Alex Ward, Yoni Silver, Lina Lapelyte, Anat Ben-David and Andie Brown.

Sharon also directs a series of participatory compositions/performances, examining the inter-relations between people and place. These pieces are site specific; evolving collaboratively and inviting participation from the public. L’esprit d’escalier – for voices in a staircase, Toy Orchestra – for children and adults, Room to Breathe – with balloons & music, Long Drone – for a large ensemble of various instruments, Gals with Guitars – for female guitar players, and Sound Out – for a large group of voices in a public space.

Sharon is a co-founder of Resonance 104.4 FM arts radio.

Her music was released by various labels; The Tapeworm, American Tapes, Ash International, A Silent Place Records, Chocolate Monk, Emanem Records, Ecstatic Yod , Paradigm Records , My Dance the Skull and Wild Silence, with a new solo release, Delicious Fish by Fractal Meat Cuts label.

She performed in the UK  and internationally including; The V&A, Science Museum, ICA, The Whitechapel Gallery, Arnolfini Gallery, Tate Modern & Tate Britain, MACBA and Colour Out of Space, Borealis and Supernormal festivals.


Exhibition: 1 – 15 February  2018
Opening hours: 12 noon – 7pm Monday – Saturday or by appointment

Three event evenings with full programmes of performance:

Opening event: Thursday 1 Feb

2nd event: Saturday 10 Feb

Closing event: Thursday 15 Feb



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