Matt’s Gallery
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Your contribution helps us to: continue with our risk taking and groundbreaking exhibitions; work with and promote emerging and established artists; commission new work and produce high quality publications; work towards producing the Matt’s Gallery 30 year publication; develop our archive; enhance our role in education; provide bursaries for internships enabling us to actively nurture the next generation of cultural leaders |
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![]() Susan Hiller, An Entertainment, 1991 |
![]() Mike Nelson, The Coral Reef, 2000 (installation view) |
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“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
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| “Robin Klassnik, one of those rare figures in the art world who relishes risk andruns his gallery not for profit but for the benefit of his artists.” Richard Dorment, The Daily Telegraph, 27 June 2006
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“Tate Modern is a monumental version of Matt’s Gallery... ” Deyan Sudjic, The Observer Review, 14 May 2000
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![]() 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) |
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“As a pioneer for artist–run spaces, Matt’s Gallery, started in 1979, sets anoperational standard that others can’t match .” Mark Harris, On Your Bike!, Untitled, Spring 1997
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![]() Elisabeth Ballet, Bande à part, 2001 (installation view) |
![]() Richard Grayson, Messiah, 2004 (installation view) |
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“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
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| ![]() Jimmie Durham, Building a Nation, 2006 (installation view) |
![]() Brian Catling, Antix, 2005 (installation view - performance) |
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“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) |
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“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
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![]() 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) |
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“A truly spectacular East End space...” Time Out Student Guide, 1998 |
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![]() Kate Smith, Imagine there are no limits, 1997 (installation view) |
![]() Hayley Newman, The Daily Hayley, 2001 (performance) | ![]() Anne Bean, Radiant Fields, 2000 (installation view) |
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“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
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![]() Graham Fagen, Peek-a-Jobby,1996 (installation view) |
![]() David Osbaldeston, Your Answer is Mine, 2006 (detail) | ![]() Alison Turnbull, Hospital, 2003 (installation view) |
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“The best gallery for vision and ambition.” Time Out Guide London, 2002
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![]() Jaroslaw Kozlowski In Yellow, 1990 (installation view) |
![]() Amikam Toren, Untitled Clouds in Trousers, 2001-2005 (installation view) |
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“The best gallery for installation art.” Time Out Guide London, 2004 |
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