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Marvin Gaye Chetwynd: Hermitos Children 2
Anne Collier: Women with Cameras

Preview: Saturday 11 October 2014
12 October – 14 December 2014
Opening hours: Wednesday – Sunday, 12 – 6pm
Frieze opening hours: 13 – 19 October, 10 – 6pm or by appointment


Taking place during our special twentieth anniversary year, Studio Voltaire presents concurrent exhibitions by Marvin Gaye Chetwynd and Anne Collier. Both exhibitions will be the artists' first solo presentations to take place in a public gallery in London.

Marvin Gaye Chetwynd’s new film Hermitos Children 2 is the artist’s largest commission to date. Chetwynd has become well known for her carnivalesque live performances, which feature homemade costumes and a varying ensemble of friends and family. These performances share elements of the bawdy anarchy of sixteenth-century wandering troupes, foregrounding key moments from art history and cultural production. The film will be presented in the gallery within a large-scale installation incorporating a number of props and interiors.

Hermitos Children 2 follows a long-standing collaborative relationship between Studio Voltaire and Chetwynd, having worked together on multiple projects since 2005. This film is a sequel to Hermitos Children, the pilot episode (2008), which was first presented at Altermodern, the fourth Tate Triennial (2009) and subsequently acquired by The Tate Collection.

Supported by Australian Council for the Arts and Arts Council England and the Marvin Gaye Chetwynd Supporters Circle.




Studio Voltaire has commissioned New York-based artist Anne Collier in a two-part project Women with Cameras, a slide projection piece of a selection of source material from her ongoing Woman with a Camera series and an associated artist’s book detailing this extensive amassed material.

Combining still-life photography with techniques of appropriation, Collier creates meticulously arranged compositions of found objects and pop culture paraphernalia. These items including magazines, postcards, posters and record covers, are photographed against the stark surfaces of the artist’s studio in an exact and formal manner. Under these conditions, the objects come under close scrutiny, revealing a set of formal and psychological associations that frame recurrent tensions around power and gender. Collier revisits the subject of the objectified female in many of her works, often appropriating European photography magazines from the 1970s and 80s, which frequently sexually objectified their female subjects. Collier’s works highlight the materiality of photographic reproduction and the deployment of images within print culture, opening up a fertile dialogue between personal experience and our contact with culture, cliché and stereotype

.Supported by the Anne Collier Supporters Circle.