The Wapping Project Commissions enables artists to produce new works with unrestrained ambition. We launched in 2016 with aim to provide artists with funding and support to make new artworks. The Wapping Project is about freedom to create with as few constraints as possible.

Our writing commissions are funded through the generosity of The Wapping Project’s members.

A series of new commissions

Image Credit: © Thomas Zanon-Larcher, Oman. October 2019
Image Credit: © Thomas Zanon-Larcher, Oman. October 2019

We are delighted to announce a series of new commissions and an exhibition by four early career artists from Oman – Rawan AlMahrouqi, Safa Baluchi, Ruqaiya Mazar, Riham Noor Al Zadjali – and the established Finnish artist Elina Brotherus responding to the theme of resonance.

This project developed in partnership with Stal Gallery, Muscat, Oman, and supported by the British Council through the UK-Gulf exhibition programme, includes an eight-month programme of production, mentoring and exchange culminating in a two-week artist residency in Oman, an exhibition of the new works at Stal Gallery in March 2020 and a public programme.

For the past five months, the four commissioned artists  have been developing ideas for their new works through a series of scores. Each month, they received from Elina Brotherus a very short instruction based on Fluxus event scores and other written instructions for performance-oriented art from the 1950s-70s to respond to. The  scores included works by VALIE EXPORT, Henning Christiansen, Rémy Zaugg and Yoko Ono.

This period of experimentation and exploration is culminating in an artist residency in Oman from 1 to 14 December 2019. The artists will spend two weeks together working on their projects and sharing ideas in the rural landscapes of central and coastal Oman. On 14 December, during a public talk at Stal Gallery, the artists will share their  share some work-in-progress and discuss the process of working together over the past few months.

The exhibition of the newly commissioned work will open on the 4 March 2020 at Stal Gallery, Muscat, and continue until 2 April 2020.

Resonance is a series of new works commissioned by The Wapping Project, London. The project is a collaboration with Stal Gallery, Muscat and is generously supported by the British CouncilDCMS and GREAT through the UK-Gulf exhibition programme.

Rawan AlMahrouqi graduated from Sultan Qaboos University Muscat. Rawan multidisciplinary practice focuses on the female experience in the Arabian Gulf, the double standards, the thin line between tradition and religion. She draws most of her inspiration from her Khaleeji (Arabian Gulf) culture and the experiences she has had growing up and living in the region. She won the Young Emerging Artist Prize (YEAP) run by Stal Gallery, Muscat, Oman, in 2015. Her work was featured in the Arte documentary Women in Islam. In 2018, Rawan, together with her sisters, founded Makan Studios art school, the first of its kind, offering arts classes to adults and children in Muscat.

Safa Baluchi graduated with a bachelor’s degree in Spatial Design from the University of Nizwa. She works across performance, video, photography and installation. Her work, which draws on her personal experience, explores questions around the relationship between the individual and the society. Depression, entrapment and erosion are recurring themes in her work. She won the Young Emerging Artist Prize (YEAP) run by Stal Gallery, Muscat, Oman, in 2015 and participated in a number of exhibitions at the gallery. In 2018, she curated Disfiguration exhibition at Stal Gallery.

Ruqaiya Mazar graduated from the University of Nizwa in central Oman. Ruqaiya works across drawing, photography, video and digital arts. In her practice, she draws on her experience as an artist living and working within the Arab culture. He works ask questions about search for balance in human existence, struggle between light and darkness, shadows lurking in the depths of oneself, dreams and failure. Her work was shown in Oman and Saudi Arabia. She was shortlisted for the Young Emerging Artist Prize (YEAP) run by Stal Gallery, Muscat, Oman, in 2015 and participated in a number of exhibitions at the gallery.

Riham Noor Al Zadjali graduated with BA in Fine Arts from Paris American Academy. In her work, Riham poses question about the most current global events including conflicts, military interventions, displacement and migration. Her work has been shown widely in Oman. She was shortlisted for the Young Emerging Artist Prize (YEAP) run by Stal Gallery, Muscat, Oman, in 2015. She cofounded the initiative Art with Refugee, a traveling exhibition of artworks by refugees and artists from around the world in support of better living conditions for refugees mostly in Greece. The exhibition was shown in Piraeus, Greece, Children’s Museum of Wilmington, North Carolina, USA, the Human (Art)istic Festival in Brussels, Belgium, as well as in Spain and Oman.

Elina Brotherus works in photography and moving image. Her work has been alternating between autobiographical and art-historical approaches. Photographs dealing with the human figure and the landscape, the relation of the artist and the model, gave way to images on subjective experiences in her recent bodies of work Annonciation and Carpe Fucking Diem. In her current work she is revisiting Fluxus event scores and other written instructions for performance-oriented art of the 1950s-70s. Another ongoing interest is photographing in iconic houses by architects like Alvar Aalto, Hundertwasser and Michel Polak. Brotherus takes roles of various imagined characters, thus bringing a tranquil human presence to the spaces. Elina has been exhibiting widely since 1997 and her work is represented in major public collections including the Centre Pompidou, Paris, Moderna Museet, Stockholm, MAXXI, Rome, Fondacion ARCO, Madrid, Hasselblad Center, Gothenburg, Kiasma Museum of Contemporary Art, Helsinki, Musée de l’Elysée, Lausanne, and Museum Folkwang, Essen, to name a few.

Resonance 1

Resonance 1. Design: Atelier Dyakova
Resonance 1. Design: Atelier Dyakova

Resonance 1 is the first part of a double publication looking at ideas around resonance – a theme we are working with throughout 2019/20.

In his essay Stations: A Brief Diary of a Long Concern Gareth Evans writes from a body of work by Berlin-based photographer Karen Stuke commissioned by The Wapping Project in 2013 for one of the final exhibitions within the Boiler House and the Coal Store at the Wapping Hydraulic Power Station. In the heat of the hottest day recorded to date in the UK, Gareth creates a text in fragments, weaving lines found online searching for ‘Sebald Austerlitz resonance’ with overheard voices and reflections on language, place, extinction and the state of the world. Every image is a ghost, he writes in the opening.

His essay is interspersed with Karen’s ghostly, large format pinhole images that follow the journey of W.G. Sebald’s Jacques Austerlitz uncovering his forgotten past of a Jewish child brought to the UK on a Kindertransport from Prague. This publication coincides with the opening of Wandelhalle exhibition restaging the 2013 commission at the Kommunale Galerie, Berlin, on the 1 September 2019 – eighty years since the last Kindertransport left Germany on the day when Germany invaded Poland.

La Última Palabra (The Last Word), a short story by Chilean writer Alia Trabucco Zerán, published in the original in Spanish alongside the English translation by Sophie Hughes, looks at the childhood game of resonances and echoes called The Telephone in Chile, The Broken Telephone in Argentina, and Chinese Whisperers in the UK. The story came about from an obsessive image that formed in Alia’s mind – an image of blushing – as a result of thinking about the resounding of words. What is blushing? How come words can cause something as visual as blushing? Is blushing the echo of words in our bodies? Is blushing the result of a word that, all of a sudden, wants to have a physical presence?

The final piece in this volume is Conversing with Resonance by composer, violinist and double recorders player Laura Cannell reflecting on her recent commission – a music album recorded in the Wapping Hydraulic Power Station earlier this year. She conversed with the long reverb, the damp air, the chill and the stories contained within the building.

If I do this, will you fight back?
will you agree?
will you laugh at me?
will you change my pitch?

Laura Cannell is a composer and performer who draws on the emotional influences of landscape both rural and urban, real and imagined. Laura has released five critically acclaimed albums since 2014 and is regularly broadcast throughout the world including BBC Radio 3, 4, 6Music, The World Service, Polish National Radio and NPR.

Gareth Evans is a London-based writer, editor, film and event producer and Whitechapel Gallery’s Adjunct Moving Image Curator. He is also co-curator of Porto’s Forum of the Future, Flipside and First Light, Swedenborg Film Festival and Estuary 2020. He commissioned and co-produced the essay film Patience (After Sebald), directed by Grant Gee.

Sophie Hughes is a literary translator from Spanish to English. She is known for her translations of contemporary writers such as Laia Jufresa, Rodrigo Hasbún, José Revueltas and Enrique Vila-Matas. Her translation of Alia Trabucco Zerán’s The Remainder was shortlisted for the 2019 Man Booker International Prize.

Karen Stuke is a Berlin-based artist working with photography. Since the 1990s, she has been working with pinhole cameras as instruments for poetic exploration of time — its elusiveness, passage and traces. Karen’s notable projects include collaborations with some of the most prestigious theatres including Gottfried Pilz at the Vienna State Opera, Deutsche Oper Berlin, Opéra Comique, Paris, the Los Angeles Opera. In 2008, she founded the project space Kronenboden in Berlin.

Alia Trabucco Zerán (Santiago, 1983) is a Chilean writer. Her debut novel, The Remainder, translated into English by Sophie Hughes, was shortlisted for the Man Booker International Prize and won the Best Novel Award of the Chilean Council for the Arts. Her new book, Las Homicidas (2019), is a non-fiction account of how society portrays violent women. She lives between Santiago and London and is currently working on a new novel.

New Album by Laura Cannell

Image Credit: Laura Cannell at Wapping Hydraulic Power Station, March 2019. © Thomas Zanon-Larcher
Image Credit: Laura Cannell at Wapping Hydraulic Power Station, March 2019. © Thomas Zanon-Larcher

Composer and performer Laura Cannell is currently working on a new music album within our former home, the Wapping Hydraulic Power Station. This is our final project in response to the iconic building that defined our commissioning for over twenty years. We are saying farewell and taking its unique resonance with us in Laura’s music and our hearts.


Beneath London flight paths and alongside the Thames, with freezing breath in a vast space below water level I improvise inside the Power Station. Exploring the Boiler House, Coal Store and Filter House and standing in the centre of the glazed and raw brick walls.

Standing on thresholds in the archways between spaces and under the suspended stairs with low notes and high notes flying. Playing in the moment, bringing myself and no pre-conception, no judgement, allowing the sound to branch off like ancient waterways. Self-sustaining, free flowing and changeable.

Staring through clear glass panes which reflect and return my offerings of string and air uttered from fingers and lungs. Double Recorders, Voice, Violin and the drone of overbow violin fill the space of the cathedral like brick shell. No matter the distance the sound is captured, amplified, resonant and alive, sculpted in the moment.

Surging tonnes of water once powering through London because of the industry inside this space, it is never silent, the sound of a living city occasionally and dramatically entering through porous brick, steel and glass. A proud structure, and an honour to hear it’s responses to my questions.

Laura Cannell, March 2019

Laura Cannell is a composer and performer who draws on the emotional influences of the landscape both rural and urban, real and imagined. With deconstructed violin bow and double recorders, she performs semi-composed, semi-improvised pieces which explore the spaces between ancient and experimental.

Laura has released five critically acclaimed albums since 2014, and is regularly broadcast throughout the world including: BBC Radio 3, 4, 6Music, The World Service, Polish National Radio and NPR. Her albums have featured in many end of year lists including: The Guardian, MOJO, BBC Radio 3’s Late Junction, The Wire and The Quietus.

Recent projects include creating music for film, broadcast work for BBC Radio 3, “Reckonings” (2018) a collaborative album with Andre Bosman, tours with the cellist Lori Goldston (Earth, Nirvana) & collaborations with This Heat drummer Charles Hayward & Mira Calix, as well as commissions for Hampton Court Palace, The Immix Ensemble, Huddersfield Contemporary Music Festival, the BBC Philharmonic Orchestra & The Zuckerman Museum of Contemporary Art (US).

To Step Across the Line

To Step Across the Line. Design: Atelier Dyakova.
To Step Across the Line. Design: Atelier Dyakova.

In our third publication, we are presenting three new pieces of writing on borders, lines, frames and edges that constrict, demarcate, define, enclose, separate, limit and open possibilities.

To Step Across the Line by Kapka Kassabova takes the childhood game of hopscotch with lines drawn on a tarmac creating “a microcosm of meaningful boundaries” as a starting point to think about borders and look at the human trauma and ultra-porousness of the real lines in the landscapes separating Bulgaria and Turkey, Turkey and Greece, Thailand and Cambodia.

Tara Bergin crosses the lines through her re-interpretation of fragments of Leonardo da Vinci’s Miscellaneous Notebooks in Where is Valentino?. She considers translation as a form of crossing that sometimes results in crossed lines — misinterpretation — and works with the possibilities it unlocks for poetry.

Edges, Frames and Edits by Lea Anderson explores the openings for imagination in dull films and TV. Lea developed a method for translating feature films into dance performances through discarding the narrative and focusing on the frame of the cinematic image and the characters’ movement in and out of shot — the space created by edits.

The publication concludes with a text and images by Mairéad McClean announcing her visual arts commission Making Her Mark, whose first iteration will be exhibited at Taigh Chearsabhagh Museum and Arts Centre on the island of North Uist in the Outer Hebrides this summer.

Marta Michalowska and Thomas Zanon-Larcher
Directors of The Wapping Project
May 2018

Kapka Kassabova is the author of Border: a Journey to the Edge of Europe (Granta, 2017), Twelve Minutes of Love — a tango story (2011), and Street Without a Name (2008). Her poetry collections are All Roads Lead to the Sea (1997), Reconnaissance (1999), Someone else’s life (2003) and Geography for the Lost (2007). Her essays and articles have appeared in The Guardian, The Times Literary Supplement, Vogue, The Sunday Times, The Scottish Review of Books, and on BBC Radio 3 and 4. Raised in Sofia, Bulgaria, she was educated in New Zealand and now lives in the Scottish Highlands.

Tara Bergin was born and grew up in Dublin. In 2016 she received an Arts Council Ireland Literature Bursary to write her second collection, The Tragic Death of Eleanor Marx (Carcanet), which was shortlisted for the T.S. Eliot and the Forward Prizes. It was selected as a Poetry Book Society Recommendation, and a Best Poetry Book of 2017 by the Times and the Irish Times. Tara now lives in the North of England and lectures part-time at Newcastle University.

Lea Anderson is a director and choreographer born and based in London who has been making movement-based work since 1984. Lea trained at Central St Martin’s and Trinity Laban and received an honorary doctorate from Darting College of Arts in 2006. Lea is the founder and artistic director of The Cholmondeleys & The Featherstonehaughs dance companies, based in Bristol. Lea was awarded an MBE for services to dance in 2002. Lea was Regents Professor at UCLA in 2014, and is currently artist in residence at the Southbank Centre, London. Lea’s recent work includes Step by Step (2017), a commission by the British Council to create a large-scale, site-specific work on a pre-Incan burial site in Lima, Hand In Glove (2016) — a performed exhibition, at The V&A museum London and touring theatre production Ladies & Gentlemen (2017).

Mairéad McClean was born and grew up in Beragh, Co Tyrone, Northern Ireland, and has lived and worked for the past 25 years in London. She completed a Post Graduate in Fine Art at the Slade School of Art. She is an award-winning filmmaker who has produced work around the themes of memory, identity and migration. Her recent piece No More, won the inaugural MAC International Art Prize in 2014 and was acquired for the National Collection at The Irish Museum of Modern Art, Dublin, through the Hennessy Art Fund in 2017.

Making Her Mark by Mairéad McClean

Making Her Mark uses the poetics of performance to explore the concept of borders from multiple view points: from actual borders crossed, to imagined borders being constructed, to borders torn down, to new ones being drawn. Who draws the border? What is considered when it is being drawn? How are physical borders experienced? Mairéad is creating a space for imagining; imagining what it feels like to close down or confine movement, to be small in a land of the giants, to be a giant in the land of the small: what it feels like to cross over, to go through, to change, to be cut off: what it feels like to witness something dissolve or disappear, to feel what it’s like to come under attack.

Mairéad McClean was born and grew up in Beragh, Co Tyrone, Northern Ireland and has lived and worked for the past 25 years in London. She completed a Post Graduate in Fine Art at the Slade School of Art. She is an award-winning filmmaker who has produced work around the themes of memory, identity and migration. Her recent piece No More, won the inaugural MAC International Art Prize in 2014 and was acquired for the National Collection at The Irish Museum of Modern Art, Dublin, through the Hennessy Art Fund. The work was exhibited at the Museum till November 2017.

Making Her Mark, a film and sound installation, is commissioned and produced by The Wapping Project with funding from Women’s Playhouse Trust. The production of the work is supported through a Major Individual Award from Arts Council Northern Ireland with additional support from Taigh Chearsabhagh Museum and Arts Centre, North Uist, Outer Hebrides.

Making Her Mark is exhibited at Taigh Chearsabhagh Museum and Arts Centre from 4 August 2018.


Passage. Design: Atelier Dyakova
Passage. Design: Atelier Dyakova

The Wapping Project has always been a rite of passage — from commissioned artists to chefs who worked at Wapping Food in the days at the Wapping Hydraulic Power Station. Nobody who has made the journey of working with us in any capacity could claim being unchanged by the experience.

The Wapping Project is never static; it avoided solidifying into something that can be easily defined.

/ Passage /

All these dynamic nouns define our state and ethos.

We are obsessed with journeys.

/ Passage /

We commissioned and produced many works over the years inspired by the dynamics of being, journeys and transformations including Passage, 2013, and Passages, 1996.

We are returning to these themes in this volume of new writing at the time of tectonic political shifts. In the aftermath of the European Union membership referendum last year, the whole of the UK, its residents and citizens, are in the state of passage. We are on a journey drifting away. The English Channel (or La Manche as the French call it) somehow managed to stretch and is continuing to expand. Will the Channel Tunnel — the narrow submarine passage providing the only physical link with the continent — keep up with the expansive motion of water and politics above?

We are bringing to you three pieces of poetry responding to the theme passage — Agnieszka Studzinska’s passageAlia Syed’s Eating Grass and Heather Phillipson’s everything SLAPPED and CANDIED and OPENING. We are also sharing with you our latest international event series — Kitchen Conversations — that take place from San Francisco through London to Berlin.

A text and image work by Shona IllingworthTopologies of Air — produced in collaboration with law professor and barrister specialising in international law and human rights Nick Grief and Andrew Hoskins, Interdisciplinary Research Professor in the College of Social Sciences at the University of Glasgow, completes the volume. This multilayered contribution is a prelude to Shona’s major new art commission she is embarking on with us.

Agnieszka Studzinska has an MA in Creative Writing from the UEA. Her debut collection, Snow Calling was shortlisted for the London New Poetry Award 2010. Her second collection What Things Are was published by Eyewear Publishing in 2014. She is currently working on her third collection — The Branches of a House, as well as a PhD at Royal Holloway. Her PhD explores the poet’s relationship to the image and notion of home in poetry. Studzinska is collaborating with poet George Szirtes on an anthology of contemporary poetry focusing on the ideas of home — The Poetics of Home.

Alia Syed is an artist filmmaker. Her recent works combine her interest in storytelling with a compelling presentation of history as visual narrative. Her unique approach sutures different subject positions in relation to culture, diaspora and location. She was shortlisted for the 2015 Jarman Award and her latest film On a wing and a prayer was shown at the 2016 London Film Festival. Syed’s films have been shown at numerous institutions around the world including Los Angeles County Museum of Art (2012-13); 5th Moscow Biennale (2013); Museum of Modern Art, New York (2010).

Heather Phillipson works across video, sculpture, music, drawing and poetry. Her forthcoming projects include the Fourth Plinth, Trafalgar Square, in 2020, a new online commission for Museum of Contemporary Art Chicago, a sculptural commission for Art on the Underground and a major solo show at BALTIC Centre for Contemporary Art, all in 2018. Phillipson is also an award-winning poet and has published three volumes of poetry. She was named a Next Generation Poet in 2014, received Poetry magazine’s Friends of Literature prize in 2016, and writes a regular column for ArtReview magazine. She received the Film London Jarman Award in 2016.

Shona Illingworth works across video, sound, photography and drawing. She is known for her immersive video and multi-channel sound installations, and evocative, research led practice in which she explores the dynamic processes of memory, cultural erasure and construction of histories in situations of social tension and trauma. Her work has been exhibited internationally, with shows at the Imperial War Museum, London, Museum of Modern Art, Bologna, FACT, Liverpool, UNSW Galleries, Sydney and the Wellcome Collection, London. Upcoming exhibitions include The Power Plant, Toronto, in 2020 and a book on her recent work will be published in 2019.

Nick Grief is a professor in Kent Law School and a barrister practising from Doughty Street Chambers. He specialises in international law and human rights. He graduated with a PhD on public international law in the airspace of the high seas from the University of Kent, where he currently teaches. He was a member of the legal team which recently represented the Marshall Islands in the International Court of Justice in cases against India, Pakistan and the UK concerning the obligation to negotiate in good faith towards nuclear disarmament. The team was nominated for the Nobel Peace Prize for its work in the ICJ.

Andrew Hoskins is Interdisciplinary Research Professor in the College of Social Sciences at the University of Glasgow. His research connects multiple aspects of emergent digital society: media, memory, conflict, risk, security, and privacy. His latest book (with John Tulloch) is: Risk and Hyperconnectivity: Media and Memories of Neoliberalism (2016). He is founding Editor-in-Chief of the Sage journal of Memory Studies. His AHRC Research Leadership Fellowship with the British Army’s Historical Branch in Whitehall and The National Archives exposed the impact of cultural, technological, economic, and policy change on organisations, archivists, and records, and on the history of warfare (

Topologies of Air by Shona Illingworth

Shona Illingworth, Topologies of Air, Blueprint series: 2 (detail),  2013. Supported by a SeaChange residency at Taigh Chearsbhagh Museum and Arts Centre in 2012.
Shona Illingworth, Topologies of Air, Blueprint series: 2 (detail), 2013. Supported by a SeaChange residency at Taigh Chearsbhagh Museum and Arts Centre in 2012.

Topologies of Air, a major new art commission by artist Shona Illingworth, will examine the impact of geopolitical, technological and climate change on airspace and will challenge the narrow terms by which it is currently represented and defined in law. Working with collaborator Professor Nick Grief (University of Kent) an expert in human rights, the legal status of nuclear weapons and air and space law, the project will explore the ecological, cultural, social, legal, military and historical perception and definition of airspace and propose the establishment of a new human right to protect the freedom to exist without physical or psychological threat from above.

Topologies of Air will bring into dialogue representations from wide and diverse areas of expertise such as international law, including air and space law; human rights; earth and life sciences; technology; neuropsychology; cognitive neuroscience; cultural studies; sociology; art; architecture; politics; theology; philosophy; environmental studies and economics, with lived experience and NGOs, in a unique integration between art practice and the legal preparation for the creation of a new human right. Within a rapidly changing world, this major new commission will present a dynamic and challenging series of artworks, alive to the complex and changing parameters and contexts involved in making the case for this new and vital human right.

On 21 September 2018, the inaugural hearings of the Airspace Tribunal contributing key research and discussion towards Topologies Of Air will take place at Doughty Street Chambers. More about the Airspace Tribunal

Shona Illingworth is a Danish Scottish artist who works across a range of media including video, sound, photography and drawing. She is known for her immersive video and multi-channel sound installations, and evocative, research-led practice in which she explores the dynamic processes of memory, cultural erasure and construction of histories in situations of social tension and trauma. Her work has been exhibited internationally, with shows at the Imperial War Museum, London, Museum of Modern Art, Bologna, FACT, Liverpool, UNSW Galleries, Sydney and the Wellcome Collection, London. She has received high profile commissions from Film and Video Umbrella, the Hayward Gallery, London, and Channel 4 Television. Upcoming exhibitions include The Power Plant, Toronto, in 2020 and a book on her recent work will be published in 2019.

Nick Grief is a professor in Kent Law School and a barrister practising from Doughty Street Chambers. He specialises in international law and human rights. A Kent graduate with a PhD on public international law in the airspace of the high seas, he taught at the University of Exeter and Bournemouth University before returning to the University of Kent in 2010. He was a member of the legal team which recently represented the Marshall Islands in the International Court of Justice in cases against India, Pakistan and the UK concerning the obligation to negotiate in good faith towards nuclear disarmament. The team was nominated for the Nobel Peace Prize for its work in the ICJ.

Early research for Topologies of Air was undertaken by Illingworth on a SeaChange residency at Taigh Chearsabhagh Museum and Arts Centre, Outer Hebrides, Scotland, in 2012.

Erase & Forget by Andrea Luka Zimmerman

ERASE AND FORGET – A Feature Documentary

The Wapping Project is supporting Andrea Luka Zimmerman’s latest feature length documentary film – an intimate portrait and expansive exploration of human conscience, war and the limits of deniability. The film will premiere at Berlinale in February 2017 – more in our news section.

The majority of lives are lived in history. There are, however, a few lives that make history. If that history is dark, occupying the shadowlands and margins of what is known or acceptable, then the price of that making can be high, very high indeed…

Lt. Col. James Gordon ‘Bo’ Gritz – “the American Soldier” for the Commander-in-Chief of the Vietnam War – is one of the most decorated combatants in US history. The inspiration for Rambo, the A-Team’s Colonel John ‘Hannibal’ Smith and Brando’s Colonel Kurtz in Apocalypse Now, Gritz was at the heart of the American military and foreign policy – both overt and covert – from the Bay of Pigs to Afghanistan.

Andrea Luka Zimmerman is an artist and filmmaker based in London. Zimmerman grew up on a large council estate and left school at 16. After coming to London in 1991, she attended Central St. Martins. She made two feature length documentaries Estate, a Reverie (2015), and Taskafa, Stories of the Street (2013). Zimmerman won the Artangel Open Award for her collaborative feature drama Cycle (2017) with Adrian Jackson (Cardboard Citizens).

Transition, Transformation and Transience

For the launch of The Wapping Project Commissions, we present three new works by Sophie Mayer, Alice Butler and Lavinia Greenlaw as part of a publication Transition, Transformation and Transience.

Sophie Mayer
Line of Visible Light

Alice Butler
The Peach Slip

Lavinia Greenlaw
A poet’s difficulty with words

Sophie Mayer is the author of several poetry collections, most recently, (O) (Arc, 2015) and kaolin (Lark Books, 2015), and of Political Animals: The New Feminist Cinema (IB Tauris, 2015). Her current project is Disturbing Words.

Alice Butler is a writer based in London and a PhD student in Art History & Visual Studies at the University of Manchester. She is working on women’s experimental writing and feminist performance, and her work has been published in frieze, Cabinet and Art Monthly.

Lavinia Greenlaw has published five collections of poetry, most recently A Double Sorrow: Troilus and Criseyde. Her other works include The Importance of Music to Girls and Questions of Travel: William Morris in Iceland. Audio Obscura, her immersive soundwork for Artangel won the 2011 Ted Hughes Award. Her first short film, The Sea is an Edge and an Ending, is released this autumn.