Arts Programme

Following the closure of Londonewcastles original project space in Shoreditch, after a successful eight years, the new and more intimate Gallery 46 has opened in Summer 2016.


We started our Arts Programme because we’re passionate about more than just property. Our aim: to bring London’s creative community and its vacant spaces together, giving new artists a place to showcase their work. If you are interested in exhibiting, please contact: - Follow the Arts Programme by liking our Facebook page.

BEATRICE BROWN at Gallery 46

Produced on her kitchen table while her children slept, Beatrice Brown’s drawings are a...
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Gallery 46 – Whitechapel

46 Ashfield Street, London, E1 2AJ

Gallery 46 in Whitechapel is our new sister gallery to be used as Londonewcastle Project Space. The new space, established through the partnership of Martin J Tickner and Sean McLusky and Fruitmachine founders, Martin Bell & Wai Hung Young breaks fresh ground for the open-source, non-conformist curatorial approach Tickner and McLusky employed at their (rightly) notorious MEN Gallery, in Shoreditch.Housed in a pair of newly renovated Georgian houses in the grounds of Whitechapel Hospital, GALLERY 46 is set over 3 floors and 8 rooms and is a kaleidoscopic addition to Whitechapel’s burgeoning gallery scene and close by its artistic...

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Street Art Programme

Shoreditch, London

Our Street Art Programme is about turning over large canvases on buildings under our control – during planning and development – to artists, from the internationally renowned to the completely unknown. If you’d like Londonewcastle to showcase your work, contact us...

Ape Forgets Medication

APE FORGETS  MEDICATION: An exhibition of Treyfs & Artknacks

Jonathan Meades is the author and performer of many television films. He has written journalism,fiction, essays, squibs and diatribes.

Ape Forgets Medication is his first exhibition. The work  it comprised is, like his prose, generally maximalist. It is also, no doubt, quite meaningless. He has a horror of explanation and an evengreater one of manifestos, the artless moron’s medium of choice. Still, any plausible explanation of what it’s ‘about’ will be grudgingly rewarded.


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Self tportrait, 1.5 x 1 metres

“Jonathan Meades is the Jonathan Meades of our generation.”
A A Gill, Sunday Times



Treyf means that which is not kosher. Figuratively it signifies impurity – and Meades’s work in every medium is deliberately impure. The title of his box of postcards Pidgin Snaps was explicit. So too that of his record Pedigree Mongrel. He combines
contradictory elements, he fuses opposing idioms, he conjures a rapprochement between apparently antagonistic precursors.

“Does he want to be Geoffrey Hill or Benny Hill?” “He wants to be their gruesome lovechild.”

There is no point in imitating, say, Raymond Chandler. But imitate Chandler and Housman together and you might be on to something. Throw in a soupçon of Derek and Clive whilst humming Beethoven’sop 130…. now you’re cooking with gas.

Artknack evidently suggests: art; nicknack – a probably worthless trinket, stolen; knack – atricksy, meretricious facility; arnaque – French for a scam.

Meades’s methods are several and rigorously inauthentic. Painting with numerous tools – glib fists, mops, squeegees, sponges, even brushes; he employs froissage (a technique nicked from Ladislas Kijno), hyper-realist photography, digital manipulation, collage and, above all, chance. When a work is begun there is seldom any conception of where it will lead.

The aleatory is all: thus he burns and dowses paintings, shoots from the driver’s seat inside car washes, snaps coloured oils and coloured waters of differing viscosities in plastic bags of differing opacities, swings the camera through the air, clicks without looking, does close- ups of lichen and flint, fashions gehries from aluminium foil, smears squid ink on marble…. Everything goes so long as it is random and might lead anywhere. It is the very opposite of how he writes –fretfully, costively, and with a willingness to starve to death of syphilis in a garret for the sake of an adverb.

The works range from the stubbornly monochrome to the tartily gaudy, from myth to abstraction, from the gutter to the dodgily numinous, from domestic proportions to XXXXXL.

They have all been made in conjunction with Andrew Curtis, Edd Pearman and Greg Day of Coriander/Curwen Studios and International Lawns’s Pantheist Hit Squad.



APE FORGETS MEDICATION: An exhibition of Treyfs and Artknacks
12.00 – 7.00 including Sundays. April 8th-23rd 2016
Londonewcastle Project, 28 Redchurch Street, London, E2 7DP
All enquiries: Emily Bryce-Perkins | or