Previously at the ICA - Events

No Screening


13 May 2016

East Anglia Records and Sounds Like come together in response to Martine Syms: Fact & Trouble to explore the artist’s interest in physical gestures used within American media as expressions of identity.  NO SCREENING gives a curated selection of artists the opportunity to create sonic works that are performed and heard in darkness.

Questioning the primacy of the s(cr)een and giving up the necessity of viewing, this event is an opportunity to explore the resonances of sonic experience and storytelling. 

Artist performances by Cassandre Greenberg, Harry Bix, Ulijona Odišarija, Shenece Liburd, Christopher Kirubi, Ana Maria Soubhia & Rhoda Boateng, Sarah Boulton and Mary Vettise

Live event curated by ICA Student Forum member Cristine Brache.

Cassandre Greenberg is based in London and makes video, text and sound. She is the establisher of SOUNDS LIKE and curated the first NO SCREENING series at IMT Gallery in 2015. Currently, she is participating in the White Building’s residency programme This Time With FEELing (2016) in collaboration with Christopher Kirubi on a project titled Special Tears. Recent events include: D.I.M. VACATION (2016), SLADE? WOTEVER! ¯\_(ツ)_/¯ At Royal Vauxhall Tavern (2016), Sounds Like: NO SCREENING at IMT Gallery (2015), GET WET at DIG (2015), Athens Dry Deal at Cantina Social (2015), Give me ur attention ii at Audio Foundation (2015).  

Harry Bix is the founder and self appointed A&R of East Anglia Records. He can both sing and dance.     

Ulijona Odišarija is a an artist and dilettante composer based in London. She also DJs and performs under her musical alter ego Sweatlana. Her work has been presented at Import Projects in Berlin (2016), UNNAWAY in Huddersfield (2016), PAKT in Amsterdam (2015), Transmediale | Vorspiel in Panke, Berlin (2015), Big Screen in Latitude festival in Suffolk (2015), NEWMAN Music and Art Festival in Druskininkai, Lithuania (2015), Showroom in New York (2014) and was published in a book on young Lithuanian photography, Like there’s no tomorrow (2013).   

Shenece Oretha is a London based multidisciplinary artist and DJ under the alias ORETHA. She collaborates and participates in multiple sound focused pursuits such as SOUNDS LIKE and SOUNDCLUB. Recent and current  exhibitions and events include Against the Theatre of Distance... for the Out of real or fictive archives series in Zurich (2016), Hair Today, Here Tomorrow at D.I.Y Space for London (2016), Chariza lectures with the 12ø Collective’s NAWKI art fair at the Royal Standard in Liverpool (2016),  SLADE? WOTEVER! ¯\_(ツ)_/¯ at Royal Vauxhall Tavern (2016), Sounds Like: NO SCREENING at IMT Gallery (2015), GET WET at DIG (2015).   

Christopher Kirubi (b. 1991) works across image, object and text-based practices and writes songs as shyheart/tiredchild. They are currently participating in the White Building’s residency programme This Time With FEELing (2016) in collaboration with Cassandre Greenberg on a project titled Special Tears. Recent events include there is a party (2016) and D.I.M. VACATION (2016) as well as curating SLADE? WOTEVER! ¯\_(ツ)_/¯ (2016) in conjunction with the Royal Vauxhall Tavern’s queer cabaret night Bar Wotever!  

Ana Maria Soubhia (aka Namácaca) & Rhoda Boateng  were born nine days apart (1993) and have been best friends ever since. Their individual practices include writing, sculpture, drawing and music making. Recent collaborations include GET WET at DIG (2015), and The Revolution Smells Like (ongoing). They are committed to eroticism (Lorde) in making and in life.    

Sarah Boulton (b.1989) is based in London and has presented work with SALT. Magazine (2016), Cell Project Space, London (2016), Tender Journal (2015), Best British Poetry Anthology (2015), Unna Way, Huddersfield (2015), Artarea, Tbilisi (2015) and OPEN YOUR KIMONO, London/online (2014). She graduated with an MFA at the Slade School of Art in 2015, writes for money and has a studio in Croydon.  

Mary Vettise is an artist living in London. She has recently contributed to Pale journal and to Paradox Fine Art European Forum.

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