Güler Ates’ photography looks at London and its context through an altogether wider lens. Themes of gender, faith, and identity coalesce in explorations of cultural displacement: setting a recurring, veiled female figure within various lush or historic European interiors, Ates questions the relationship between veil and visible; object, and subject. Each architectural site holds links to colonialism, post-colonialism, and notions of the ‘East’, generating questions from their intersections and framing London as both a world city and an historical site of colonial power.
Cornelia Parker shows two pieces in ‘Suffragette City’ – Black Tulip, produced with Bridgeman Editions, and STOP, made with Plinth. STOPis based, in the artist’s words, “on a photograph I took of a battered parking notice on a 60’s council estate in N1. The signs are ubiquitous in London, displayed on all the estates of the period.” Out of context, though, Parker’s missive can be applied to anything and everything – “Stop eating, Stop drinking, Stop smoking, Stop thinking”, provocatively mimicking the chorus of chastising voices to which we’re all – women in particular – subject daily.