• Ai Weiwei, Anish Kapoor and Marina Abramović lead major new exhibition Everything At Once at The Store X

    By | September 8, 2017

    The Vinyl Factory and Lisson Gallery present the ambitious group show featuring 45 multi-sensory works.

    Visitor Information

    5th Oct – 10th Dec 2017

    Tuesday – Saturday: 12pm-7pm
    Sunday: 12pm – 6pm


    The Store X
    180 The Strand,
    London, WC2R 1EA


    This October, The Store X will host Everything At Once, an extensive off-site exhibition featuring 24 artists currently shown at Lisson Gallery in celebration of its 50th anniversary.

    The stellar line-up will present work by a range of international artists like Ai Weiwei, Anish Kapoor, Marina Abramović, Cory Arcangel, Julian Opie, Richard Long, Lawrence Weiner and more, as well as featuring previous VF collaborators Haroon Mirza, Rodney Graham, Nathalie Djurberg and Hans Berg.

    Haroon Mirza, ‘A Chamber for Horwitz; Sonakinatography Transcriptions in Surround Sound’ (2015)

    Housed in the striking brutalist environment at The Store X – home to last year’s show-stopping music and film exhibition The Infinite Mix – Everything At Once probes the multi-sensory simultaneity of contemporary life, first articulated by John Cage in 1966, a year before Lisson Gallery opened its doors.

    Neither chronological nor encyclopedic, the show will instead feature 45 interconnected works that exploit the full potential of the space, whether through installation, painting, sculpture, performance or sound.

    Dan Graham, ‘Showing Off the Body’ (2016)

    It will feature Dan Graham’s largest-ever pavilion, Showing off the Body (2016), Ai Weiwei’s 50-metre long wallpaper installation, Odyssey (2016), Anish Kapoor’s vast, suspended sculpture At the Edge of the World II (1998) and Richard Deacon’s Möbius-like plywood form, Turning a Blind Eye (1984).

    As well as Rodney Graham’s breakthrough video Vexations (1997), a trio of Marina Abramović films, Tony Cragg’s hand-made collection of oversized stone Tools (1986) and Julian Opie’s early concrete racetrack Imagine you are driving (Sculpture 4), the show will also feature a selection of forward-thinking artists who have joined Lisson in the last ten years.

    Susan Hiller, ‘Channels’ (2013)

    Here Ryan Gander, Wael Shawky, Haroon Mirza, Nathalie Djurberg & Hans Berg, Laure Prouvost and Cory Arcangel will join the line-up, alongside a new commission from Richard Long, who has built a 60-metre long mud work, using his hands dipped in slip from the river Avon.

    Alongside Everything At Once, The Store X The Vinyl Factory will also present three site-specific commissions, including a new a/v artwork by Ryoji Ikeda, Arthur Jafa’s Kanye West-soundtracked video work Love is the Message, the Message is Death and Jeremy Shaw’s sci-fi pseudo-documentary Liminals.

    Everything At Once opens on 5th October and runs until 10th December at The Store X, 180 The Strand, London WC2R 1EA.

    Opening Times:

    Tuesday to Saturday, 12pm – 7pm
    Sunday 12pm – 6pm

    Free entry

    See the full list of contributing artists below:


  • Lisson Gallery and The Vinyl Factory announce major multi-disciplinary art show at The Store Studios

    By | June 12, 2017

    Everything At Once features a range of large scale commissions.

    Visitor Information

    5th Oct – 10th Dec 2017

    Tuesday – Saturday: 12pm-7pm
    Sunday: 12pm – 6pm


    Store Studios,
    180 The Strand,
    London, WC2R 1EA


    Lisson Gallery is partnering with The Vinyl Factory for a major off-site show at The Store Studios, 180 The Strand – the site of last year’s blockbuster music and video exhibition The Infinite Mix.

    Featuring historical, recent and ambitious new commissions fit for the expansive and unique space at The Store Studios, Everything At Once will showcase work from the likes of Nathalie Djurberg and Hans Berg, Ryan Gander, Rodney Graham, Susan Hiller, Shirazeh Houshiary, Richard Long and Stanley Whitney (with others yet to be announced).

    Loosely connected by John Cage’s 1966 quote that “Nowadays everything happens at once and our souls are conveniently electronic (omniattentive),” the show will open during Freize Week in October and run until December 2017.

    It marks 50 years of Lisson Gallery, which opened on Bell Street in London in 1967 (and now also has a space in NYC’s Chelsea neighbourhood), and has staged over 500 exhibitions from over 150 international artists in that time.

    Click here to find out more about the exhibition and follow The Vinyl Factory for more in the run up to the exhibition.

    Lisson Gallery x The Vinyl Factory’s Everything At Once will run from October to December 2017 at The Store Studios, 180 The Strand, London WC2R 1EA.

  • Nathalie Djurberg and Hans Berg on crafting soundtracks to irreverent animations

    By | March 29, 2017

    Who am I to Judge, or, It Must be Something Delicious opens at Lisson Gallery this week.

    Self-taught stop-motion animator Nathalie Djurberg works with her partner, Swedish techno producer Hans Berg, to create provocative, often darkly funny and disturbing animations. And Who am I to Judge, or, It Must be Something Delicious is no different. Here, a trilogy of short films explore the nature of desire, her claymation vignettes take the form of fag-smoking tree stumps grappling with cartoon animals, goggle-eyed turds and a My Little Pony in a mind-bending, sordidly erotic tableau that pushes the limits of civilised morality.

    As with Djurberg’s other installations and animations, Berg is tasked with creating sonic environments for the works, crafting organic ambient soundscapes that drift effortlessly between rainforest psychedelia and shimmering neo-noir tapestries. For this exhibition, Berg’s soundtracks demand interaction, as the audience can alter the mood of the piece itself by picking tracks from three records, spinning on three turntables.

    In this short film, Djurberg and Berg reveal the process behind their creative collaboration, emphasising the role of the soundtrack in creating an almost tangible experience for the viewer who is otherwise physically removed from the work.

    You can read an extended transcript from Anoushka Seigler’s interview with Nathalie and Hans below.

    Who am I to Judge, or, It Must be Something Delicious runs from 30th March to 6th May at Lisson Gallery, 27 Bell Street, NW1 5BY, London. Click here for more information on how to visit.

    Stop motion is quite a different and time-consuming way to create video. What do you enjoy about it?

    Nathalie: Yeah, I mean I’ve been making stop motion since I was 19. The real problem was that I just hadn’t found the right medium to work with, so I started teaching myself stop motion and I’ve been working with that ever since. I really like the process because it is so slow that you can follow the story in slow motion and I really enjoy that. I really enjoy the process of making it and that, for me, is really where the art is.

    Do you think about the audio when your creating the visuals?

    Nathalie: Before we started working together I really just stole pieces of music, but now I think about it a lot and we discuss it a lot too. For me it feels like when Hans makes the music he can show something that I want to say, but that I’m not able to show.

    Hans: They do carry each other really well I think. We don’t talk about the actual instruments or melody or the actual content of the film, we just talk vaguely around these ideas and then I start collecting the sounds I want to have and then when she’s finished with the animation, I compose directly to it. One project we did the music came before the animation. You were struggling a bit with the animation and we played the music in your studio..

    Nathalie: Non stop!

    Hans: So then you were inspired by the music instead and the music sort of got the animation back on track. So it’s looping back and forth a bit.

    There’s a humour to the static sculptures. How do they come about?

    Nathalie: I don’t remember how it came about, I don’t really remember how anything comes about! I think there’s a humour to all our work. I had an idea that was hard to resist and the idea of something really static even though there actually so much going on. The music comes off and on and you can change it depending on which track you are playing.

    It’s a really nice marriage because sculpture is essentially static but there is always so much movement in the way that sculpture is created. And vinyl could be seen as a sculptural representation of sound. Is it important that your music to be played on vinyl?

    Hans: In this case I had an animation to compose music for so we had a similar kind of discussion, not exactly what it’s about but themes around the whole thing. I wanted to create different atmospheres and moods that would either highlight the sculptures or go a bit against the sculptures. We have 3 record players and 2 sides on each record so it’s 6 tracks that are around 12-13 minutes each. It’s over an hour of music and so when you combine the three record players, the mood gets very different. It can get a bit happier, it can get a bit more dark and scary depending on what you choose. It’s also interesting that the audience can change the records. It’s a bit more interactive in that way.

    Nathalie: And I really like it also because in my work I can’t help but it becomes humorous, I mean it always does. Hans can make monumental music and he usually has to hold back on that because it would be too far away from what I’m doing otherwise. Even though this piece is humorous, it is dark too but the music can really make it so much darker depending on which records you play.

    What is really nice, is music is more physical than art because you’re almost never allowed to touch anything. But with music you feel it inside. There’s no difference from hearing it outside of yourself and inside.

  • Swedish producer Hans Berg readies ambient soundscapes Dream Maker for vinyl release

    By | March 15, 2017

    Berg soundtracks the sculptural installations of partner Nathalie Djurberg.

    While Hans Berg might be more used to being behind the controls at a Berlin warehouse party, the Swedish techno producer and sound artist is just as comfortable in a gallery setting.

    Working with his partner and artist Nathalie Djurberg for over ten years, Berg has soundtracked a range of public sculptures and immersive installations, four of which are collected on vinyl here for the first time.

    Released to coincide with the duo’s new show at London’s Lisson Gallery, Dream Maker brings together soundtracks from the last five years, opening with last year’s outdoor work In Dreams – a verdant, shimmering 17-minute electro-organic soundscape that you can stream in full below:

    Drawn from 2015 work The Secret Garden, the second track is a similarly mind-bending tapestry of frog-licking folklorica, channeling a breed of Balearic rainforest shamanism that wouldn’t sound out of place on labels like International Feel or Emotional Response.

    On the second disc, Berg releases the soundtrack to as yet unrealised installation Neon, which drifts from a somnambulant ambience to synth-driven soundtrack territory with deft ease across another epic 17-minute composition.

    The same could be said of the record’s final track – taken from 2012’s Gas, Solid, Liquid and the earliest on the record – which was originally released on limited CD, before morphing into the soundtrack for a hypnotic piece in which a phalanx of waist-high ceramic pots looped through the cycles of life, death, growth and putrefaction.

    Released on double vinyl, you can pre-order Hans Berg’s Dream Maker now.

    Featuring three darkly humorous stop-motion animations that explore human nature’s capricious and erotic inclinations to push the limits of civilised morality, Berg & Djurberg’s new show at Lisson Gallery Who am I to Judge, or, It Must be Something Delicious runs from 30th March to 6th May. Click here for more information on how to visit.

  • From Kraftwerk to Derrick May: Haroon Mirza and Dave “Jellyman” Maclean discuss the relationship between art and electronic music

    By | May 28, 2013

    Sound artist Haroon Mirza discusses the relationship between fine art and electronic music with Dave Maclean, the drummer and producer for indie band Django Django who has remixed Mirza’s sound works under the moniker of Jellyman to create a dancefloor track that has been released by The Vinyl Factory.

    Alongside Factory Floor who have also reworked Mirza’s experiments for release by The Vinyl Factory, Jellyman’s remix explores the liminal space between art and music, which both Maclean and Mirza believe is more a matter of context than classification.

    Riffing on similar themes during this revealing conversation, Dave and Haroon discuss the role of the musician in gallery spaces, the aesthetics of Kraftwerk and Detroit techno and the ways in which Haroon’s turntable experiments reflect a broader trend in DIY DJ culture to doctor and modify records to create live loops and samples.

    To read more about the remix collaborations and hear both tracks, click here.

    To order a copy of Jellyman’s remix which plays at the start of the film, visit our shop.

    Haroon Mirza’s show /o/o/o/o/ is currently on display at Lisson Gallery, and will run until 29th June. Click here for more info.

  • Sound artist Haroon Mirza to launch /o/o/o/o/ exhibition at The Lisson Gallery

    By | May 7, 2013

    Sound artist Haroon Mirza returns to the Lisson Gallery for his second exhibition to showcase a series of light and sound-based installations that will be accompanied by an exclusive remix series set for release by The Vinyl Factory.

    Recipient of the Silver Lion Award at the 54th Venice Biennale and the 2012 Daiwa Foundation Art Prize, the London-based artist continues his exploration of light and sound in the service of a singular aesthetic form with a show at the Lisson Gallery in London entitled /o/o/o/o/ that will launch on the 16th May and is due to run until June 29th 2013.

    Shared on Mirza’s o-o-o-o.co.uk website, sound samples from the show have been made available as the building blocks of remixes by established musicians, with Django Django drummer and producer Dave Maclean, Factory Floor and James Lavelle of Mo’ Wax and UNKLE fame contributing tracks that are being released alongside the exhibition by The Vinyl Factory and are available to buy here.

    The four pieces on show at the Lisson Gallery will include a reverberation chamber for which Haroon Mirza has collaborated with his brother, the architect Omar Mirza to build a room in the gallery which maximises echoes, creating a disorientating and immersive space. The new piece serves as a kind of antithesis to previous projects like the National Apavilion of then and Now at the 54th Venice Biennale and New Musuem, in which he used sound-baffling foam to deaden rather than amplify sound.

    Further installations include a collection of turntables playing modified records that are fixed at different rhythms the sounds of which interact at different intervals to play a precisely composed piece; a series of noiseless LED works that create rectangles of light and play off the history of formal minimalism; and an LED surround sound sequencer in which eight closely knit cables will hold speakers that fan out from the ceiling around a small flashing bicycle light, transmitting signals to the speakers to create an intense and varying wall of sound.

    For more info on the Lisson Gallery, click here, and for more info on The Vinyl Factory release, click here.

  • Stream Factory Floor and Jellyman (Django Django) remixes of sound artist Haroon Mirza

    By | May 2, 2013

    Experimental sound artist Haroon Mirza’s latest audio collages and sample cut-ups have been remixed by Factory Floor and Django Django drummer/producer Dave Maclean.

    The two remixes have been released in conjunction with Mirza’s forthcoming exhibition /o/o/o/o/ at London’s Lisson Gallery, extending the artist’s long-standing interest in vinyl records and turntables.

    Jellyman has taken the original material, which was cut straight to lacquer disc, and crafted a drum heavy, percussive techno burner that bounces along with rapier-like syncopation. Flipping the emphasis, Factory Floor’s rework deconstructs the whole lot into a raw and abrasive piece of experimental electronica that ticks over like a crocked life-support machine, laden with interference and post-industrial sleaze.

    Dabbling in the liminal space between noise, sound and music, Mirza’s sound responds well to interpretation, and a more extensive remix project is already in the pipeline.

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