Matt's Gallery

31/05/2026

We are open with the second instalment of .whiles Doorway Guardians and Anna Barham’s ‘s ZYX.
Open today til 5 then 12-6, Weds-Fri until June 28

29/05/2026

Don’t forget - join us this Sunday from 2-5pm at Matt’s Gallery for Anna Barham’s exhibition ‘XYZ’ opening!

29/05/2026

Don’t forget - join us this Sunday from 2-5pm at Matt’s Gallery for Anna Barham’s exhibition ‘XYZ’ opening!

29/05/2026

For the second in a monthly series of posts introducing our trustees and asking them to delve into our archive, we meet Gabriel Coxhead:

Please introduce yourself, why are you a trustee at Matt’s?

I’m a critic and writer, and also the director of the artistic Estate of my late mother, Susan Hiller. I’ve been coming to Matt’s Gallery for literally as long as I can remember, and some of the most memorable and formative exhibitions of my life – Richard Wilson’s ‘20:50’, Rose Finn Kelcey’s ‘Bureau de Change’, Susan’s own ‘An Entertainment’– were ones I experienced at the original Martello Street space as a child. I became a trustee because I wanted to help maintain that legacy of ambitious exhibition-making for future generations.

What have you chosen from the archive and why?

I was tempted to revisit some early exhibitions Susan did at Matt’s; and I did come across some nice images of me, aged two, with my parents at the private view for ‘Work in Progress’ (1980). But actually it was my late father, David Coxhead’s, connection to Matt’s that became my starting point, via the essay he wrote for the publication accompanying Amikam Toren’s exhibition, ‘Actualities’, in 1984.

In a strange coincidence, one of the subjects mentioned in David’s essay happened to feature prominently in the news on the very day, some 40 years later, that I visited the archive, namely Israel’s participation in the Eurovision song contest. Also, looking over various layout drafts for the publication (from the era when typesetting was required), Robin Klassnik pointed out how David’s text had been conceived as a kind of acrostic, the initial letters of each paragraph together spelling out C-A-G-E.

From there I was led to a whole range of material…

Link in bio to the full piece.

Images:

1-4 Gabriel Coxhead in the Archive, May ‘26

5 invite card and ‘Actualities’ whitebook

6-7 development of invite card for ‘Bluff and Double Bluff’, 1981

8-9 ‘Actualities’ whitebook

10 Coxhead, aged 2, at the opening of Hiller’s ‘Work in Progress’ 1980, by Robin Klassnik

11-12 ‘Actualities’ installation views by Steve Percival

13 installation view by Klassnik

28/05/2026

24/05/2026

Winners & Champions 🌵r🌵k🌵

17/05/2026

Yesterday at Corpus Gallery Cambridge’s the opening of a mixed exhibtion including the great Brian Catling we were showing his paintings for the first time it was a weird feeling and Jack was present go and take a look ( 🌵r🌵k🌵)

17/05/2026

Save the date for this [rk]

15/05/2026

Coming soon: Anna Barham ZYX
PV: Sunday 31 May, 2– 5pm
Continues: 3 – 28 June 2026

Join us on Sunday 31st May for the preview of ZYX, a new audio installation by Anna Barham, her second exhibition at Matt’s Gallery.

Barham works with sound and installation, treating mishearing as a way of thinking that produces meaning as language moves between bodies, technologies and material forms. ZYX centres around a voice recounting a psychedelic experience accompanied by a spatial soundscape of incidental, bodily, and environmental sounds. The listener’s body becomes part of the acoustic field, while lighting and material staging contribute to a heightened sense of perceptual instability, echoing the hallucinatory atmosphere of the narrative itself.

A woman’s voice moves between clarity and fractured, associative phrasing, which she does not register as error. At times, language tumbles into rhythmic fragments suggesting thought unfolding through sound as much as sense. A small misunderstanding leads to an intense psychedelic experience; time loosens and events become difficult to order.

The work brings human and machine perception into dialogue by thinking through hallucination, contrasting hallucinatory states associated with grief or psychedelics with speech-to-text misrecognitions and fabrications of language. Barham created an audio filter to force such machine “hallucinations” by emphasising paralinguistic features of speech (hesitations, repetitions, breath, accent, and vocal strain) shifting attention from semantic meaning to the material qualities of voice. Algorithmic mishearings generated through this process became source material for the script, blending machine error with embodied recollection.

For Barham, it is precisely these textures and mishearings which hold the relational potential of the voice. What initially seems like a misheard text becomes in reality a new way of thinking and writing—in radical opposition to automatisation, standardisation and authority.



ZYX is supported by The Elephant Trust, and Ruskin School of Art.

14/05/2026

Matt’s Gallery is delighted to announce the representation of Joe Moss.

“Joe Moss is a highly intelligent artist working with material and ideas that I’m not entirely familiar with. He was spotted by our Deputy Director Tim Dixon at his graduation show at the Slade in 2024. He very recently had his first show with us - it was a compelling use of film, suspense and space. The mosquito-like sound of the choreographed drones created an eerie poetry. It knocked my socks off and I am very excited that the gallery is now representing him.”
Robin Klassnik, Director, Matt’s Gallery

Using techniques of assemblage, Joe Moss creates sculpture, video and events where competing fictions collapse into one another. Informed by networked culture, Moss’ work situates the viewer within thin fictional structures to be recognised and read as material. By skirting and exposing the edges, Moss reveals structures of artifice through moments of contrast or revelation. Moss’ work considers the increasing pace, overlap and repetition in our everyday encounters with fiction.

Joe Moss had his first institutional show Automated Fantasy Procedure at Matt’s Gallery in January 2026. Continuing a legacy of site-specific production central to Matt’s Gallery’s programme since the 1980s, Moss took up residence at the gallery from November 2025, developing the work in the space where he worked with synchronised palm-sized research drones, looping videos, aluminium section, obsolete 3D printers, salvaged electronics, miniaturised sets and green-screen filmmaking techniques blending the virtual and physical spaces of the work. The exhibition continued and expanded on his engagement with what theorists Leila A. Villaverde and Roymieco A. Carter describe as ‘the proleptic’: a collapse of past, present and future in which fiction, reality and ideas of progress fold into one another.

Images: Joe Moss, ‘Automated Fantasy Procedure’, 2026, installation view. Photos by Jonathan Bassett. Courtesy of the artist and Matt’s Gallery, London.



Read more via the link in our bio