Artist Projects

Here are some examples of our recent collaborative work with artists, our number82 project provides a platform for this form of artist led work


At The End of The World

An installation by Markus Vater

"Markus Vater’s series of canvases, entitled ‘At The End of the World’, offer tragi-comic, stream-of-consciousness snapshots of what will happen when the apocalypse dawns. Vater possesses a protean appetite for committing the oldest sins in the newest kinds of ways, reinventing genres and painterly styles through a freewheeling imagination and unlikely comic inversions. Rather than adapting historical ways of picture-making however, Vater adapts the oldest, most ‘universal’ and ‘profound’ subject-matter to his own ends. Working across every conceivable medium, Vater’s multi-faceted oeuvre is, like Martin Kippenberger’s, united only by the artist’s quixotic take on the world."

Alistar Robinson, Northern Gallery of Contemporary Art

To Lily With Love..

Postcard exhibition by the Museum of Melancholy

To Lily With Love..was an exhibition of found and donated postcards, questioning the notion of status, profiles and location ‘check-ins’ as a solely 21st century phenomena.

The show looked at the role the postcard played as a channel of interaction with friends and family and presents the audience with an analogue take on a fundamental human need to connect.

What hidden meanings lie beneath these images? Who are these people and places? Why are they important? Why were they printed? More importantly, why to our knowing, modern eyes do they seem so very peculiar?


Video installation by Susanne Dietz

For the last decade Dietz has been primarily creating moving images within a live performance context. In this approach

she has questioned and investigated the relationship between video, sound, the performer and the space in which the

audience is, as an integral part of the live event. Since 1999 she has been an Associate Artist of Shunt, a London-based performance  collective, and has worked in an ongoing collaboration with them ever since. As well as creating moving images for all their shows she has set-up and maintain the Shunt Archive. She is currently working on the video design for their new production The Architects (

The video work of Susanne Dietz is event-based and the approach often collaborative. The language of her video is a medium for the communication of atmosphere, rather than following a clear story line. 

She incorporates the video camera, CCTV, the projector and predominantly the monitor in order to extend the visual density of the live event. Video technology complements the live event because of its association with liveness and immediacy. The emphasis lies on the primary experience and the directness of viewing.

The idea of the outmoded and the interest in something that is disappearing feature in her video installation Bandsalat; along goes the fascination with the aesthetics of the mechanics of the object and the out-of-date analogue technology. 

Bandsalat was originally shown as a video/sound/live performance installation which premiered at the Laban Centre as part of Digital Deptford in 2004

It was raw

Video installation by Susanne Dietz

‘It was so Raw' is part of Dietz’s recent experimental works and was shown at number82 following its premiere in as part of the ICA's live weekend programme.

The work features video 'portraits' of people filmed through a glass floor at the theatre set of Shunt's last production 'Money'.

The work was presented at number82 in Deptford with an original score by Neil Saffe.

More Info on Susanne Dietz:

Peasant Wedding Breakfast

number82 and Nicholas Lynch

Continuing with the number82 aims of supporting experimental work and the development of new ideas, we collaborated on an installation project with New York Artist / Curator Nick Lynch. Passers by got the chance to see the aftermath of a time based photographic project shot throughout the day of the Royal Wedding.

This piece was an unpicking of the role of the ‘Royal Event’ as a form of *bread and circus.  At key moments of civil unrest we are offered entertainment on a national scale in the form of a royal jubilee or royal wedding. During the student protests of 2011 at a point of civil unrest, we are asked to be active participants of a Royal Spectacle, the marriage of William and Kate, all media focus is transferred to this and attention and momentum is taken away from the student protests. This happened during the silver Jubilee in 1977 and the wedding of Charles and Diana in 1982.  During the final phase of the project passers by could observe the wreckage of the party, also projected onto the wall were official commemorative slides/images from the 1982 royal wedding and the 1977 silver jubilee.

The project spans a range of media including a limited edition digital print available after the project exclusively through number82.

*"Bread and Circuses" (or bread and games) (from Latin panem et circenses) is a metaphor for a superficial means of appeasement. It was the basic Roman formula for the well-being of the population, and hence a political strategy unto itself. In the case of politics, the phrase is used to describe the creation of public approval, not through exemplary or excellent public service or public policy but through diversion, distraction, and/or the mere satisfaction of the immediate, shallow requirements of a populace. The phrase also implies the erosion or ignorance of civic duty amongst the concerns of the common man.

In modern usage, the phrase has also become an adjective to describe a populace that no longer values civic virtues and the public life. To many across the political spectrum, left and right, it connotes a supposed triviality and frivolity that characterised the Roman Republic prior to its decline into the autocratic monarchy characteristic of the later Roman Empire’s transformation about 44 BC.

… Already long ago, from when we sold our vote to no man, the People have abdicated our duties; for the People who once upon a time handed out military command, high civil office, legions — everything, now restrains itself and anxiously hopes for just two things: bread and circuses

Proposed New Development

Museum Of Melancholy

The Museum of Melancholy presented the first of its architectural proposals for a new building. This was an opportunity for MOM to introduce the museum and it's objectives and showcase it's growing collection of objects and ephemera that focus on the social, cultural and mercantile history of the local area.

On display were models, animations and drawings of the proposed development, alongside the current collection of the museum. (discarded sporting trophies) The model was created from a dolls house purchased on Deptford market, with the addition of a roof structure and digital lab. Many people believed the project to be real and asked if we would demolish number82 and build the new museum. Inside the model there was no space for the collection of trophies, the building was filled with cafes, function rooms, bookshop etc..

For more information about the museum click a picture..

Factory for Currency Failure

John Hartley

One-evening workshop performance at number82 by John Hartley demonstrating and progressing The Goldcrest Standard, a new, ecological reserve currency.
Since the abandonment of the Gold Standard in 1931, which linked the value of stirling to a fixed resource - the global supply of gold, the exchange value of currency has been unrelated to any physical resource. Determining its value is now an act of speculation subject to widely different interpretations, exposing the economy to dangerous fluctuation and misattribution of value (for instance to exotic investments rather than any resource base and considering environmental degradation as either irrelevant or positive). The Goldcrest Standard proposes 're-pegging' currency, with its value determined by natural resources: the adult body mass of totemic native wildlife species.Pegging the value of stirling to ecological resources could offer a more stable economic system. It would also move environmental expenses such as pollution from being what economists term 'externalities', that is having no impact upon the price of exchange goods, to being a true determinant of exchange value.
The goldcrest (Regulus Regulus) is Europe's smallest bird, weighing the same as a two pence coin. The goldcrest is proposed as the common reserve for the Goldcrest Standard.

The project plans how to over-stamp existing two pence pieces with an image of a goldcrest using small scale manufacture procedures and accounting for the waste and cost of the over-stamping process along the way. This workshop performance marks the halfway point of the project; neither die casting, nor over-stamping will happen yet.


Deptford X Main programme

number82 / Anja Lubach / Shunt Associate Artists

This specially commissioned performance took place during Deptford X. Anja Lubach exhibited a range of new experimental ceramics at the number82 Gallery and Project Space in Deptford.

The Audience arrived, looked at the new works and attended a normal PV; they had no idea as to what was going to happen next. Number82 had commissioned a micro performance by Shunt Associate Artists that had been previously performed at the ICA (mad dog why are you following me? ) The performance comprised of a drunk man, wearing an intricately modelled dogs head, staggering into the private view, sitting on plinths of ceramics and breaking the art works. A secondary audience had also arrived outside the shop and looked in at what was occurring inside, making the people inside part of the performance by default.

A police man/dog arrives and proceeds to arrest the drunken dog.  This piece was an unpicking of contemporary gallery practice and the way we have laid inherent values on art objects.

We also crowd sourced the footage for a film of the event which is now on youtube.

The Shard, Deptford


Herbert and Simpson will created a new Plaza publication based on their vision for an unprecedented architectural feat transforming Deptford market into a fantastical, crystalline pinnacle.
The publication accompanied an installation at number82 and Deptford Market.

number82 was transformed into a corporate launch space full of branded gifts, a guided tour took place at the proposed site of the development on Douglas Square in Deptford, the tour group returned to number82 for fine wines and corporate delight.


Brigitte Parusel

Brigitte Parusels practice has recently expanded from the construction of geometric large-scale installations, primarily constructed in metal, to working within the discipline of New Media Art. She now experiments with the writing of computer code to construct and animate spatial structures. 
The installation at number82 experimented with the idea of bridging virtual and physical space. A drawing from Joseph Albers had been translated into a three-dimensional moving construction. The programme for the projection was written in the programming language of Processing.


number82 and Anja Lubach

The dogs are back.

The ceramics that survived Infractus where fired with the photographic archive of the event on their surfaces and re exhibited again at number82.

A range of new works have been created by Anja Lubach as a result of this intervention, one of the primary aims of this collaborative performance was to develop and explore new methods of archive, this was the first time a contemporary live art performance has been archived onto a ceramic vessel. We also wanted to reference the origins of Greek Attica ware, the original story pots, in the black and white stylised imagery adopted on the archive ceramics.

These ceramic vessels are now on display at Contemporary Ceramics, London

The Takeaway Shop

Amy Lord

A 'make and take-away' craft and local history project in South East London by artist Amy Lord.
What do you know about where you're living, where you wake up every morning?
Archives are often unruly, dusty masses of paperwork and words locked away to keep them safe. What if you could filter through everything and learn about the most interesting bits straight away? And more importantly, be able to TAKE them AWAY with you?

People could come to n umber82 to learn simple book, paper and collage making skills and to learn about how the area   has changed.
During the Last Friday evening we shared what artist Amy Lord had been doing during her stay at number82.

Knight Cycle

Amanda Francis

In the beginning was ‘Maurice’ an entity housed in a concrete structure, given metaphysical properties, a projection, an idea, which gave it life. It had a strong connection with its intended place of residence, if only for a month. The ‘thing’ was conflicted, not knowing what to offer to those encountered. It began to disintegrate under too much scrutiny.

Back at the site of it’s making, ‘it’ becomes ordinary - a thing of labour, something man made waiting to regain its valour. Thrust upon a spike the object makes further sacrifice, a new ideal emerges, more rigid, practical and perhaps more attainable…

Amanda Francis’ is preoccupied with identity - specifically, how attempts to ‘define’ can be influenced by context - the when and where of encounter. Francis’ is particularly interested in ‘Black’ as a cultural construct, the evolution of a political and social identity within the occident. She employs sculpture, drawing and animation to realise her ideas. Beginning at the enlightenment, she speculates about a drop of dark matter forming and gathering mass in clinical conditions. But even beginnings are contentious - spiritual and empirical impressions vie for ascendancy demanding scrutiny and dissection.

At the heart of this show is the passage of an object, inspired by a saint with an identity crisis. The story goes that Maurice a leader of a Theban legion, refused to take arms against his fellow Christians as ordered by Rome - he and all his men were executed for their disobedience. Maurice (venerated widely across Europe and North Africa) embodies the consequences of being held between two poles, but he also points to the transformative potential of such circumstances.