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 andruns 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 anoperational 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)
“The best gallery for installation art.”
Time Out Guide London, 2004