NICOLA GUNNARSSON, STUART MCKENZIE & MATTHEW PEERS — A Series of Two-Day Presentations, London, 2024–25

Single printed programme card, 15 × 11 cm; black typography on white stock. Issued for A Series of Two-Day Presentations, curated by Matthew Peers, 47 Bedford Street, WC2E 9HA, London, December 2024–February 2025. The card lists seven presentations: Nicola Gunnarsson & Stuart McKenzie, 13–14 December 2024; Kobby Adi & Nat Faulkner, 8–9 January 2025; Giorgio Sadotti, 17–18 January 2025; Oliver Tirré & Jason Evans, 24–25 January 2025; Matthew Peers, Luke Samuel & Didi Wambugu, 30–31 January 2025; Melanie Counsell, 7–8 February 2025; Anna Howard, 15–16 February 2025.

The card is almost nothing: names, dates, white space. But its first pairing — Nicola Gunnarsson & Stuart McKenzie, 13–14 December 2024 — sets the tone for the entire Bedford Street sequence. Gunnarsson came through Goldsmiths and the Royal Academy Schools, carrying abstraction into less obedient territory: denim, mesh, glitter, gemstones, aluminium studs. Painting remains, but its surfaces have absorbed fashion, synthetic materials and contemporary taste. McKenzie arrives from another direction entirely: Vivienne Westwood's studio in the early 1990s; fashion illustration; poetry; music with Wild Daughter; performance; drawings made with deodorant rollers; casts in soap; receipts and domestic materials. One destabilises the picture plane. The other destabilises the self.

Their meeting here is not accidental. Gunnarsson was already part of the loose Royal Academy network around Oliver Tirré, Matthew Peers, Kobby Adi and Luke Samuel. McKenzie, meanwhile, was entering a renewed period of visibility that would soon extend through Arcadia Missa / Galerina and onward to Liste Basel. The card catches both before those trajectories move outward again.

Then there is Matthew Peers. He appears only once, almost invisibly, in a line at the bottom: “a series of two-day presentations curated by Matthew Peers.” That restraint is the proposition. Peers's own practice moves through sculpture, casting, found structures and objects that hold temporary conditions in place. At Bedford Street, the exhibition itself becomes another temporary structure. A room. An artist. Forty-eight hours. Then another.

No grand curatorial title. No hierarchy. No image. Only occupation and duration. By the time the card is read now, every date on it has already passed. Its function has shifted without its form changing. Programme becomes record. Schedule becomes archive. Gunnarsson makes the surface unstable. McKenzie makes the self unstable. Peers makes the exhibition unstable. Two days. Then gone. The card is what stayed.

Condition: very good; light handling consistent with its original function as exhibition ephemera. Securely packed; tracked UK and international shipping available.