Jennet Thomas All Suffering SOON TO END!,
2010 (installation view)
TAPS: Improvisations with Paul Burwell at Dilston Grove, London, 2010
Alison Turnbull Observatory, 2010 (installation view)
“The best gallery for installation art.”
Time Out Guide London, 2004
Paul Carter Hotel,
2009 (installation view)
Jordan Baseman Blue Movie, 2009 (installation view)
Richard Grayson The Golden Space City of God, 2009 (installation view)
“This Mile End warehouse has been producing
significant installation art for over 30 years—
somehow attracting big names despite its
minuscule budgets.”
Ossian Ward, Art Editor, TimeOut The Best of London, 24–30 September 2009
Lindsay Seers It has to be this way,
2009 (installation view)
Roy Voss Pine, 2008 (installation view)
Susan Hiller The Last Silent Movie, 2007 (video
still)
“Matt’s is perhaps the most heroic art space in
London.”
Waldemar Januszczak, Sunday Times Culture Magazine, 17 May 2009
Michael Curran, Look What They Done to My Song, 2007
(production still)
Willie Doherty, Ghost Story, 2007
(video still)
Paul Rooney, La Décision Doypack, 2008
(video still)
“Matt’s is unique - there is nothing more necessary.”
Ryan Gander, Art World, June/July 2008
Juan Cruz, Sancti Petri, 1998 (installation
view)
Susan Hiller, An Entertainment, 1991
Mike Nelson, The Coral Reef, 2000 (installation view)
“Matt’s and the Artists the gallery has nurtured over
the years, is, after all, one of the reasons why
London is the centre of the art world. Help.”
Richard Dorment, The Daily Telegraph, 27 June 2006
Mike Nelson, The Coral Reef, 2000 (detail)
Imogen Stidworthy, The Whisper Heard, 2003
(installation view)
Richard Wilson, 20:50, 1987 (insallation
view)
“Robin Klassnik, one of those rare figures in the art
world who relishes risk and runs his gallery not for
profit but for the benefit of his artists.”
Richard Dorment, The Daily Telegraph, 27 June 2006
Melanie Counsell, Matt's Gallery, London,
1998
John Frankland, what you looking at?, 1996
(installation view)
Nathaniel Mellors, Profondo Viola, 2004
(installation view)
“Tate Modern is a monumental version of Matt’s
Gallery... ”
Deyan Sudjic, The Observer Review, 14 May 2000
Willie Doherty, The Only Good One is a Dead One, 1993 (installation view)
Willie Doherty, The Only Good One is a Dead One, 1993 (installation view)
Matthew Tickle, Scrutiny, 1995 (installation view)
“As a pioneer for artist–run spaces, Matt’s Gallery,
started in 1979, sets an operational standard that
others can’t match .”
Mark Harris, On Your Bike!, Untitled, Spring 1997
Elisabeth Ballet, Bande à part, 2001 (installation view)
Richard Grayson, Messiah, 2004 (installation view)
Willie Doherty, same old story, 1997 (installation
view - cibachrome photos)
“Matt’s is a ‘must’on any tour of East End galleries.
Robin Klassnik, its founder, is both admirably
generous and international in his approach.”
The Sunday Telegraph, May 23 1999
Jordan Baseman, July Twelfth 1984, 2004
(installation view)
Jimmie Durham, Building a Nation, 2006 (installation view)
Brian Catling, Antix, 2005 (installation view - performance)
“The influence of Matt’s on the development of
installation art is imponderable.”
Tony Godfrey, Untitled, Summer 1999
Lucy Gunning, Esc, 2004 (installation view)
Melanie Jackson, Made in China, 2005 (installation view)
Gail Pickering, PRADAL, 2004 (installation view)
“Director Robin Klassnik actively offers artists the
“space and time to develop new ideas and ways of
working”. This has resulted in some magnificent
shows...”
www.artrumour.com/Galleries/matts.htm, 28 November 2005
Jo Bruton, Walk slowly towards the light, 2002 (installation view)
Tony Bevan, The Prophet, 1982 (charcoal and acrylic on canvas)
Fiona Crisp, Hyper Passive-Norwegian Series No.1, 1999/2000 (photograph)
“A truly spectacular East End space...”
Time Out Student Guide, 1998
Kate Smith, Imagine there are no limits, 1997 (installation view)
Hayley Newman, The Daily Hayley, 2001 (performance)
Anne Bean, Radiant Fields, 2000 (installation view)
“The phenomenon of galleries in downmarket areas
is far from new, but these spaces are of relatively
recent vintage. The granddaddy of them all is
Matt’s.”
Morgan Falconer, The Times, 19 February 2005
Graham Fagen, Peek-a-Jobby,1996 (installation view)
David Osbaldeston, Your Answer is Mine, 2006 (detail)
Alison Turnbull, Hospital, 2003 (installation view)
“The best gallery for vision and ambition.”
Time Out Guide London, 2002
Jaroslaw Kozlowski In Yellow, 1990 (installation view)
Amikam Toren, Untitled Clouds in Trousers, 2001-2005 (installation view)
Phillip Warnell, Shock, 2003/05 (installation
view)