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For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

For our second monthly post introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic & writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:
1-4 Gabriel Coxhead in the Archive, May ‘26
5 invite card and ‘Actualities’ whitebook
6-7 development of invite card for ‘Bluff and Double Bluff’, 1981
8-9 ‘Actualities’ whitebook
10 Coxhead, aged 2, at the opening of Hiller’s Work in Progress 1980, by Robin Klassnik
11-12 Actualities installation views by Steve Percival
13 installation view by Klassnik

#DavidCoxhead
#AmikamToren
#SusanHiller
@susanhiller_estate

Matt’s Gallery is looking for a Gallery Manager

Part time, 4 days per week
£28,000 p/a (pro rata to £35,000)

Deadline for applications: Sunday 21 June 2026, 11:59pm

Matt’s Gallery is looking for a Gallery Manager to join our team and support our programme of exhibitions and events, and our work with artists.

Reporting to the Director and Deputy Director, working within a small team, the Gallery Manager provides efficient and effective support to the gallery and its artists across administration, communications and operations.

The successful candidate will have at least two years’ experience of working with exhibition production, artists and galleries. They will be pro-active with excellent organisational skills, strong knowledge of contemporary visual art and a demonstrable interest in the programme and ethos of Matt’s Gallery.

Link in bio for full details

Image: Work in progress: Joe Moss using the gallery as his studio in 2025 to make ‘Automated Fantasy Procedure’, before it returned to a gallery.

Coming soon: Anna Barham ZYX
PV: Sunday 31 May, 2– 5pm
Continues: 3 – 28 June 2026

Join us on Sunday 31st May for the preview of ZYX, a new audio installation by Anna Barham, her second exhibition at Matt’s Gallery.

Barham works with sound and installation, treating mishearing as a way of thinking that produces meaning as language moves between bodies, technologies and material forms. ZYX centres around a voice recounting a psychedelic experience accompanied by a spatial soundscape of incidental, bodily, and environmental sounds. The listener’s body becomes part of the acoustic field, while lighting and material staging contribute to a heightened sense of perceptual instability, echoing the hallucinatory atmosphere of the narrative itself.

A woman’s voice moves between clarity and fractured, associative phrasing, which she does not register as error. At times, language tumbles into rhythmic fragments suggesting thought unfolding through sound as much as sense. A small misunderstanding leads to an intense psychedelic experience; time loosens and events become difficult to order.

The work brings human and machine perception into dialogue by thinking through hallucination, contrasting hallucinatory states associated with grief or psychedelics with speech-to-text misrecognitions and fabrications of language. Barham created an audio filter to force such machine “hallucinations” by emphasising paralinguistic features of speech (hesitations, repetitions, breath, accent, and vocal strain) shifting attention from semantic meaning to the material qualities of voice. Algorithmic mishearings generated through this process became source material for the script, blending machine error with embodied recollection.

For Barham, it is precisely these textures and mishearings which hold the relational potential of the voice. What initially seems like a misheard text becomes in reality a new way of thinking and writing—in radical opposition to automatisation, standardisation and authority.

@banana_harm

ZYX is supported by The Elephant Trust, and Ruskin School of Art.

Annie Whiles sculpture will meet you atthe door 🌵r🌵k🌵

Annie Whiles sculpture will meet you atthe door 🌵r🌵k🌵

Anna Barham exhibition ZYX open 12-6 pm today Saturday I will be there for London Gallery LongWeekend not to be missed 🌵r🌵k🌵

Anna Barham exhibition ZYX open 12-6 pm today Saturday I will be there for London Gallery LongWeekend not to be missed 🌵r🌵k🌵

Anna Barham exhibition ZYX open 12-6 pm today Saturday I will be there for London Gallery LongWeekend not to be missed 🌵r🌵k🌵

Anna Barham exhibition ZYX open 12-6 pm today Saturday I will be there for London Gallery LongWeekend not to be missed 🌵r🌵k🌵

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

@m.williams.gamaker Strange Evidence opening tonight @offline_glasgow as part of @gifestival

Opening today: Graham Fagen’s solo exhibition ‘Graham Fagen: The Kilmarnock Edition’ opens at the Dick Institute, Kilmarnock, Scotland, marking the 240th anniversary of ‘Poems, Chiefly in the Scottish Dialect’.

Opening: Thursday 4 June, 5-7pm
Exhibition continues: 5 June - 6 September 2026

Commonly known as the ‘Kilmarnock Edition’, the first ever published edition of poetry by Robert Burns was printed and issued in July 1786 by John Wilson in Kilmarnock.Its unexpected success resulted in Burns altering his plans to emigrate to Jamaica to work as a bookkeeper on a sugar plantation.

Growing up in Irvine, Ayrshire, Fagen was taught that Robert Burns was a champion of political, social and personal freedoms, a voice for the marginalised and the oppressed. This position was challenged, however, upon learning this.

How could Burns, a voice of liberty and equality, have come so close to an active and direct involvement in the exploitation, trade and enslavement of his fellow man?

The exhibition brings together a selection of works from throughout Fagen’s career exploring personal and shared experience and identity, with reference to links between Scotland and Jamaica now and at the time of the poet Robert Burns, a theme recurrent in Fagen’s practise.

Thanks to Glasgow Print Studio, Hospitalfield, Arbroath and the National Galleries of Scotland.

@graham_fagen

Dick Institute
Elmbank Avenue
Kilmarnock
KA1 3BU

Opening hours:
Tue: 10am-6pm
Wed: 10am-6pm
Thu: 1pm-8pm
Fri: 10am-4pm
Sat: 10am-4pm

Text by the Dick Institute

Artist news: Following its London premiere at Matt’s Gallery in March and a subsequent tour to the MAC Belfast, we are delighted to announce that Michelle Williams Gamaker’s Strange Evidence will have its Scottish premiere at Offline as part of the Glasgow International Festival of Contemporary Art, 5 - 21 June 2026.

Opening event: Friday 5 June, 6-8 pm

Strange Evidence is a genre bending Body Horror/Film Noir, focusing on 1930s British/Hollywood screen star Merle Oberon, who kept her mixed Sri Lankan, Indian and British heritage secret to protect her industry status. As a contracted star for Alexander Korda’s London Films, Merle was the so-called resident “exotic” playing stereotypical roles. To transition to leading roles, Merle falsified her past claiming that she was born in Tasmania to white parents. Behind the scenes, Merle maintained strict control of her image; relying on make-up, lighting, dermabrasion and skin-bleaching procedures.

Strange Evidence was commissioned and produced by Matt’s Gallery, London and Offline, Glasgow.

Supported by Cockayne Grants for the Arts, a Donor Advised Fund, held at The Prism Charitable Trust; the Bukhman Foundation; the National Lottery through Creative Scotland; and Arts Council England. Additional support from The British Academy; Kingston University; Goldsmiths, University of London; The Bryan Robertson Trust; Consulting Producer Priya Palak and Associate Producers John Cavanagh, Samm Haillay and Michelle Williams Gamaker.

Offline
138 Niddrie Road
Glasgow
G41 2AB

Opening hours: 11am – 6pm

@offline_glasgow
@m.williams.gamaker

We are open with the second instalment of @annie.whiles Doorway Guardians and Anna Barham’s @banana_harm ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

We are open with the second instalment of @annie.whiles Doorway Guardians and Anna Barham’s @banana_harm ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

We are open with the second instalment of @annie.whiles Doorway Guardians and Anna Barham’s @banana_harm ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

We are open with the second instalment of @annie.whiles Doorway Guardians and Anna Barham’s @banana_harm ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

We are open with the second instalment of @annie.whiles Doorway Guardians and Anna Barham’s @banana_harm ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

Anna Barham
ZYX
Opening today 2-5pm @mattsgallerylondon
until 28 June

Matt’s Gallery is pleased to present ZYX, a new audio installation by Anna Barham, her second exhibition at the gallery.
Barham works with sound and installation, treating mishearing as a way of thinking that produces meaning as language moves between bodies, technologies and material forms. ZYX centres around a voice recounting a psychedelic experience accompanied by a spatial soundscape of incidental, bodily, and environmental sounds. The listener’s body becomes part of the acoustic field, while lighting and material staging contribute to a heightened sense of perceptual instability, echoing the hallucinatory atmosphere of the narrative itself.

@banana_harm

Don’t forget - join us this Sunday from 2-5pm at Matt’s Gallery for Anna Barham’s exhibition ‘ZYX’ opening!

@banana_harm