Dates and Times
Sat 23 Jan at 5.30pm (1hr workshop plus procession)
Part of Whose London Is It Anyway?, a festival of theatre, performance and discussion exploring the changing face of our capital city.
Please note, this is a free event – no booking is required. Just come along and join in the workshop!
Presented by Richard DeDomenici
The accelerating construction boom in London is causing housing chaos for the capital’s working majority, more and more of whom are leaving the city due to steep rent-rises and lack of truly affordable homes. Richard DeDomenici will be leading a non-partisan, silent funeral cortege as an occasion to reflect and mourn together on these major changes East London is undergoing.
Join Richard for a making-workshop from 5.30pm at CPT, followed by a walk and ceremonial burning at a local body of water. Wear black!
“My artist studio of eight years is located in Aldgate East – south of trendy Shoreditch and east of the City, and as such undergoing gentrification from two simultaneous fronts. I’ve watched as the large block of social housing opposite has been emptied of its residents and converted into luxury apartments, many of which will be sold to overseas investors and remain empty. As an artist I am both culpable – artists moving into run-down spaces are often a predicator to gentrification – and vulnerable – in the next few weeks I will need to move out of my studio as the building owners have sold to developers. This is a story that is repeated across London, and one I propose to explore in this project.”
About the artist
Richard DeDomenici makes work that’s social, playful, political and critical – although rarely simultaneously. He has been shortlisted for the Arts Foundation Fellowship, nominated for the Jerwood Trust Moving Image Prize, and was a finalist in the Oxford Samuel Beckett Theatre Trust Award, although embarrassingly he lost all three. His Redux Project recently featured in BBC4’s acclaimed Live from Television Centre, and was called “enjoyably mad… lively and penetrating” in The Guardian.