Sie sind auf Seite 1von 54


Shuffle Festival opened the gates of St Clements Hospital to the public for the first time since 1849, when the institution was built as a workhouse, later to become a psychiatric hospital until 2007. Shuffle was a month long exploration of the wealth of artistic talent in the area, curated by Danny Boyle and presented by the East London Community Land Trust (ELCLT). Shuffle is first and foremost a Community Arts Festival that aims to raise the profile and viability of establishing a permanent cultural hub on the site to complement the housing development. The housing development is a ground breaking project as it will be the first ever Urban Community Land Trust in the UK. When built, it will comprise of 23 of the 275 houses and be held in trust. The ELCLT along with the thousands in attendance at Shuffle believe that the CLT will provide more in the way of local enterprise, training, education and community cohesion. This will be possible through the use of the John Denham building (which dominates the street frontage of the site) as a permanent cultural centre. This will incorporate a wide range of facilities that support local people through careful programming, and selection of tenants by the Community Foundation. The running of this building would build on the popular activities over the summer, which are also currently lacking in the area. These include: film, poetry, theatre, alternative mental health practices & guidance, artist studios, woodwork, seasonal gardening and food growing, market stalls, small business, a community cafe, music recitals and gallery space. We propose that the building is run and maintained by a group comprising the Community Foundation, along with a professional space management company of their selection. We believe this will deliver a high quality space with a lively and truly representative face for this exciting development.

1 / The Team + Collaborators 2 / The Programme a) Art camp b) Outsider poetry c) Cockney Heritage Festival d)Theatre e) Film Festival f) Day Of The Mind g) Compulsion 3 / Conclusion + Manifesto 4 / Reinvestment Strategy 5/ The Future of Culture & Community at St Clements

Shuffle was run by a team of 100 Volunteers and 4 members of staff. As observed by Danny Boyle, Shuffles huge success was fuelled by the same spirit of the previous summers Olympic games one of volunteering, optimism, and participation in the public realm. It was conceived of and executed within three short months as a response to the forthcoming development and the local communitys desire to inhabit the space prior to development as a way of seeding the space with a community heart and presence, to form the future of the site. The festival set out to explore and honour the history of the site. St Clements has a chequered history and is of great significance to many peoples lives in the area. Our team consists of people from all walks of life but we are especially proud of our engagement with St Clements ex-patients and nurses, our friends at Friends Of East End Loonies (F.E.E.L.), The Hearing Voices Network and artists like Bobby Baker who bring to the forefront issues and taboos that still exist around people suffering from mental disorders.


East London Furniture make furniture from 100% recycled materials, salvaged from waste meaning that most materials used in their products have been diverted from landfill. They are supported by Crisis, and work together with them to run training workshops that teach woodworking skills to Crisis members. ELF partnered with the Shuffle team to build a caf on site, which they ran in the lead up and for the duration of the festival. Crisis members built the furniture that was used in the caf during one of these workshops. They also built planter boxes in which to grow flowers and vegetables on site, which were ready in time for the festival and served in the caf.


A huge part of the preparation for Shuffle involved working with St Clements Neighbours - Friends of Tower Hamlets Cemetery Park and ethno-botanist Claudio Bincoletto, to transform the gardens and landscape of the site. We were also very lucky to have volunteer groups from Barclays, Morgan Stanley and Ecotherapy helping in this process. Old hospital trolleys that previously littered the site were wrapped in plastic and converted into mini greenhouses, allowing tomatoes and courgettes to flourish in the summer sun. Planter boxes built by East London Furniture were filled with salad leaves, radishes, herbs, and edible flowers. The once overgrown garden beds were restored and filled with wildflowers, and the patch of grass surrounding the entrance to the cinema was transformed into a beautiful bed of sweet peas and sunflowers. All cuttings from the overgrowth were chipped and reused as a flooring for the outdoor cinema. The garden worked to make the site infinitely more welcoming and was left behind as a legacy of Shuffle.


We believe that it is of utmost importance that the biodiversity and opportunity for community involvement is continued in the long term plans to redevelop St Clements. We envision a variety of plant species, opportunities for food growing and flowers that bees can use. St Clemments woud benefit from attractive gardens that enhances the built environment - not a sterile scheme with grass and coarse box hedges, resembling a golf course rather than a place to live. It is our hope that the good folks from Tower Hamlets Cemetery Park will be able to take on the contract for the management of the public squares and gardens at St Clements, creating the type of place that everyone in the local area loves - just like they have already done at the Cemetery Park! Mile End is lucky to have such talented and committed people and we would love to see their involvement in the development of St Clements actively continued.

Tower Hamlets Cycling Club ran a bike workshop on site for the duration of the festival. They are a local cycling campaign group who operate to encourage more people to cycle, and educate people in safe cycling. They were on site every day and ran the workshop out of a shipping container, selling and fixing bikes. People were encouraged to bring their bikes to St Clements for advice and new parts.


Our security team ran a training academy during Shuffle festival. Sponsored by Poplar Harca, young local trainees were brought in to observe operations and learn about the job.

ART CAMP 21st July - 13th August

Shuffle was more than just the festival; the site was active with numerous events during our busy build period. This included playing host to Art Camp 2013 an exploration of the hospital grounds for children from the surrounding estates and autistic students from the Phoenix School in Mile End. They let their creative sides free, playing, acting and making artwork with the help of local professional artists. Lunch was provided for the children at Shuffles caf, made from vegetables grown on site.

This interaction with local children continued on site with a history project hosted by East Side Community Heritage. The connection established by these children with the hospital site will be an invaluable part of their experience of their local area. So rare it is in London to be given the chance to explore a space so full of mystery and claim it as your own. Play and discovery are such an important part of childhood and we were delighted to provide this experience. The project, run by Muf Architects was dictated by the children in response to their desires rather than imposing ideas upon them.

OUTSIDER POETRY 25th July + 18th August F.E.E.L Campaign

F.E.E.L (Friends of East End Loonies) are an independent group that aim to empower people to find the best-suited solution to manage their mental health issues and promote awareness about antipsychotic drugs. The Group is run by retired physician and poet David Kessel and Myra Garrett, a local health, housing and anti-nuclear weapon campaigner active in the community since 1976. F.E.E.L hosted two open-mic nights, one before the official opening of Shuffle, and one during Day of the Mind. Both succeeded in bringing together ex-patients, nurses and members of F.E.E.L. and opening a dialogue about mental health in the setting of the former hospital

COCKNEY HERITAGE FESTIVAL 19th July + 26th July Film screening + free community entertainment

As part of the concurrent Cockney Heritage Festival, we joined forces and held two film screenings in the lead up to shuffle. Somewhere Decent to Live was screened during the soft opening of our site on July 19th. The documentary follows Londons housing problem, the work of the GLC since 1965 in slum clearance and building and its plans up to 1971, and includes a survey of tenants rehoused on GLC estates on their opinions on their new houses and surroundings. On the 26th July we again partnered up and screened the hilarious 1949 classic film Passport to Pimlico, in which the residents of Pimlico declare independence, creating the need for a passport to Pimlico.

The HM Case
St Clements Hospital
2a Bow Road, Mile End E3 4LL 14th, 15th + 17th August @ 5pm Tickets: 3 Play only - special rate (available at St Clements Cafe From 25th July) 10-15 includes film and live music Please buy online

Students from the Central Foundation Girls School, situated just down the road from St Clements, produced two performances of The H.M. Case, directed by Christopher Catherine. Presented in conjunction with Theatre Company Complicite and The Barbican Box Project, the play tells the story of Emily, who travels to Quebec to work in a mental institute. There she encounters Henry, who due to an operation gone wrong is unable to form new memories. The play is a wonderful study of memory, based on Henry Molaison an American memory disorder patient.

Amina Jama Chloe Venn Faye Guy Gurnam Kaur Kate Winter Marwa Rahman Rosie Elliott-Parsons
A play about mental health, created by GCSE students at Central Foundation Girls School for Barbican Box 2013, with the Barbican, Complicite and Christopher Catherine (Head of Performing Arts)

St. Clements Social Club - Mile End Rd - Bow

The Eyestrings Theatre group performed See What I See a piece based on the relationship between Shakespeare and mental illness, and specially adapted to be performed in the theatre - which was the social club of St Clements. The play, directed by Owen Horsley, examined the notion that Shakespeare had an exclusive grasp on the dynamic of the human mind and found a way to articulate the dysfunctions of the human psyche. The performance explored text from different Shakespeare pieces, placing them in the charged atmosphere of St Clements social club. It followed the journey of a young doctor on his rounds. During his watch, he witnesses three of Shakespeares female characters as they relive their stories of pain, despair and delusions. His exposure to their tragedy evoked questions about empathy, identification and care.

Thursday 8th August OPENING NIGHT 16:00 Compulsion Exhibition Opening 18:00/20:30 Shallow Grave / dir. Danny Boyle / 1994 + short film presented by London Short Film Festival: The Ellington Kid / dir. Dan Sully (indoor & TimeOut outdoor film screens) + Danny Boyle Q+A (indoor screen only) 21:00 The Very Best Soundsystem (live band) + bars, caf, food stalls, DJs, and free outdoor BFI Gothic Season shorts screenings until midnight Friday 9th August 19:00/20:30 The Long Good Friday / dir. John Mackenzie / 1980 + short film: Noe Kuremoto: Muay Thai Kickboxer / dir. Tubby Brother (indoor & TimeOut outdoor film screens) 21.30 Fat White Family (live band) + Idle Fret DJs + bars, caf, food stalls, DJs until midnight Saturday 10th August 19:00/20.30 Withnail & I / dir. Bruce Robinson / 1987 + short film presented by London Short Film Festival: Hoodie Monologue / dir. David Hewitt (indoor & TimeOut outdoor film screens) 21.30 Europes #1 Jimi Hendrix Tribute Band Are You Experienced (live band) + LSFF DJs + bars, caf, food stalls, DJs until midnight

Sunday 11th August DAY OF THE MIND 19:00 All Divided Selves / dir. Luke Fowler / 2011 (Shuffle indoor screen) + short film: We Danced In Narrow Spaces / dir. Asheq Akhtar + Q+A with Dr Daniel Glaser & Dr Victoria Childs (indoor screen) 20:30 One Flew Over The Cuckoos Nest / dir. Milos Forman / 1975 + short film: White Other / dir. Dan Hartley (TimeOut outdoor screen) + bars, caf, food stalls, DJs until 11pm Monday 12th August BOLLYWOOD DAY (alcohol free) 17:00 Bollywood Dance Workshop with Sita Thomas free entry 19:00 Taare Zameen Par / dir. Aamir Khan / 2007 (Hindi, Engl subtitles) + short film: Jimmy Will Play / dir. Mawaan Riswan + Danny Boyle & A.R. Rahman Q+A (indoor screen) 20:00 Danny Boyle & A.R. Rahman Q+A + Slumdog Millionaire / dir. Danny Boyle, Loveleen Tandan / 2008 + short film: The Fiancee / dir. Tiberio Santomarco ( TimeOut outdoor screen) + caf and food stalls serving non-alcoholic drinks, curries, wraps and hala snacks, DJs until 11pm.

Tuesday 13th August 16:00 London Olympic Opening Ceremony / dir. Danny Boyle / 2012 + short film: All Eyes On Us / dir. Eelyn Lee + short film Walk Tall / dir. Kate Sullivan (indoor screen) 20:00 Frankenstein National Theatre / dir. Danny Boyle / 2011 + Q+A with Danny Boyle & very special guests hosted by Kim Newman (indoor screen) 20:30 Frankenstein National Theatre / dir. Danny Boyle / 2011 + short film: Darklight / dir. Richard Turley + introduction by Danny Boyle (TimeOut outdoor screen) + bars, caf, DJs until 11pm

Wednesday 14th August 19:00 Attack The Block / dir. Joe Cornish / 2011 + short film: Wager Street / dir. Hoodforts + short film The Ting / dir. Jeremy Cole) + introduction by Joe Cornish (indoor screen) 20:30 Attack The Block / dir. Joe Cornish / 2011 + short film: Life Sentence / dir. Ray Panthaki + introduction by Joe Cornish (TimeOut outdoor screen) + bars, caf, DJs until 11pm Thursday 15th August 19:00 Rosemarys Baby / dir. Roman Polanski / 1968 + short film: I Spy / dir. Luke Rodgers (indoor screen) 20:30 Trance / dir. Danny Boyle / 2013 + short film: Nocturnal Silence / dir. Mototake Makishima (TimeOut outdoor screen) + bars, caf, DJs until 11pm Friday 16th August 19:00 Trainspotting / dir. Danny Boyle / 1996 + Secret Danny Boyle Film + short film Cool Unicorn Bruv / dir. Ninian Doff + Danny Boyle Q+A hosted by Dave Calhoun (indoor screen) 20:30 Trainspotting / dir. Danny Boyle / 1996 + short film The Lights & Then the Noise / dir. Fran Broadhurst, Mathy Tremewan + introduction by Danny Boyle (TimeOut outdoor screen) 22:00 Richard Fearless (Death in Vegas) DJ set + bars, caf, DJs and free outdoor East End Film Festival short screenings until midnight

Saturday 17th August 19:00 London: The Modern Babylon / dir. Julien Temple / 2012 + short film: Jela / dir. Will Robson-Scott + Julien Temple Q+A hosted by James Mulligan (indoor screen) 20:30 London: The Modern Babylon / dir. Julien Temple / 2012 + short film presented by London Short Film Festival: Good Night / dir. Muriel DAnsembourg + introduction by Julien Temple (TimeOut outdoor screen) 22:00 Julien Temple DJ set + Outsider Music by Igor Toronyi Lalic (live music) + bars, caf, DJs until midnight Sunday 18th August 12:30 21:00 All Day Movie Marathon: Great Expectations/ dir. Davis Lean / 1946 + A Prophet / dir. Jacques Audiard / 2009 + Eternal Sunshine of a Spotless Mind / dir. Michel Gondry / 2004 + short films: Rite / dir. Michael Pearce + Unveiling Maeva / dir. Olan Collardy, Ola Masha + The Busker & The Coin / dir. Doraly Rosa (indoor cinema) 20:30 Elephant Man / dir. David Lynch / 1980 presented by BFI Gothic Season + introduction by Dexter Fletcher (TimeOut outdoor screen) 21:00 Gorgeous George (live band) + Shuffle DJs + bars, caf, DJs, live bands & free outdoor short screenings until 11pm


The Day of the Mind was and all-day free family event held on Sunday August 11th. Sixteen exciting activities based around the theme of The Mind were installed for the event. More than 1500 people visited the site on this day. The Roxy + Rudi Roadshow Artist Bobby Baker and her team launched a new project at Day of the Mind, as part of their on-going Daily Life Project. This is a three-year exploration of the East End, meeting individuals with an experience of mental health issues. The Local Wellbeing Field Research trial team occupied the ornate former St Clements Board of Guardians Room. Visitors were invited to assess themselves as either a cat or dog person, paint a watercolour of their chosen animal, then asked a series of questions by team members clad in lab coats and fluorescent yellow hats. After marking their residential location on a map of East London, they were given a decorated biscuit of their chosen animal. The Roadshow aimed to discover and promote peoples unacknowledged expertise for developing creative strategies for daily living. It ran from 11am 6pm and was supported by the Wellcome Trust. Guerilla Sciences Memory Clinic A replica of a previous Memory Clinic installed in the Barbican Centre as part of the Wellcome Trusts Wonder Season was commissioned for Day of the Mind. The 5m x 8m maze was constructed by Guerilla Science and Shuffle volunteers in the days leading up to Day of the Mind, and remained in position for the remainder of the festival. The maze structure comprised of shelves of hanging test tubes into which visitors were invited to leave written memories. These were based on five prompt questions designed to trigger different memories stored in particular parts of the brain. They were also invited to read the anonymous memories of previous visitors. Volunteer staff spoke of the different parts of the brain, such as the amygdala, hippocampus and neocortex, and the roles they play in memory. It ran from 11am 7pm, then daily from 6pm 9pm from the 12th 18th August and was supported by the Wellcome Trust.

Build-a-Brain with Dr Lizzie Burns Scientist-turned-artist Dr Lizzie Burns and her group of ten volunteer neuroscientists, psychologists and artists ran a colourful workshop on the structure of the brain. Over two large tables in the former St Clements Social Club, participants in conversation with the volunteers were encouraged to experiment with modelling clay to build their own brain. The workshop was based on the evolution of the brain from reptilian to human, and stories about what happens when different parts are damaged. Build-a-brain ran from 11am 3.30pm and was supported by the Wellcome Trust. 3-2-1-Ignition* by Ignite! 3-2-1-Ignition* is a portable project from Ignite! - a not-for-profit company that promotes creativity in learning by engaging participants in art and science. The team at Day of the Mind consisted of two members of the Ignite! Staff team, an artist and two volunteers - graduates in cosmology and music. The workshop set out its portable display of boxes, jars and vials ondisused hospital trolleys from the site. Participants could choose from five activities: 1. Science busking simple experiments designed to provoke surprise and curiosity about what else the workshop had to offer. 2. Curiosity jars shelves of scientific and technological curiosities, designed to educate the visitor about lesser-known facts. 3. Vials of smells designed to evoke memory, compounding the experience of the Memory Clinic. 4. Horror and science fiction movies in a box dioramas inside boxes with spy holes designed to surprise and provoke laughter. 5. Taste characteristics activity an opportunity to experience tastes (foods) and explore how we assign emotions and words to flavours, from one sense to another. 3-2-1-Ignition* ran from 11am 6pm and was supported by the Wellcome Trust.

The Mind in the Cave by Guerilla Archaeology A dynamic, hands-on (but eyes-off) activity designed by artist Paul Evans. Mind in the Cave explored the role of phosphenes the experience of seeing light without light actually entering the eye - in art. It looked at the origin phosphenes may have had in universal abstract art forms, and the similarities between the brains of ancient artists and the present-day participant sitting blindfolded at a table in St Clements. Participants were asked to put on a blindfold, relax, and draw exactly what they saw. Most required gentle stimulation of the eyeballs (rubbing/gentle pressure) to stimulate phosphenes or entoptic phenomena - lights seen in darkness. The resulting patterns were compared to form constants or similar patterns in evidence across time in the art of various cultures. An explanation was given of the role such patterns may have played in the origin of art. The activity, performed in conjunction with the archaeology department of the University of Cardiff, included a performance element - making it fun, helped remove skill barriers that might have prevented participation in drawing, and helped facilitate relaxed conversation. The Mind in the Cave ran from 11am 6pm and was supported by the Wellcome Trust. Lionel, the Spaceship of Our Imagination Lionel is a camper van on the outside but a two-person private cinema on the inside. Visitors were welcomed by Lionels pilot, Andrew Glester, and invited to watch one of nine short films on neuroscience from the Wellcome Trusts archive and Steve Coogans Production company - Baby Cow. The films were viewed alone in the privacy of the campervan, its windows darkened to create a cosy and immersive space. Andrew was available outside for longer conversations with visitors about the subject of the films and many other things. Lionel invited visitors between 11am and 6pm, and was supported by the Wellcome Trust. Guerilla Sciences Sonic Tour of the Brain This consisted of a twenty-minute audio tour exploring what the brain sounds like. A giant model of a brain, bursting with cogs and flowers, drew visitors over to the far corner of the St Clements theatre. Visitors were invited by volunteers in lab coats to sit in a beanbag with a Bluetooth headset and listen to a looping track of sounds of: surgical saw, wobbling jelly, an epileptic seizure, an auditory nerve, a cochlear implant, mosquito frequency, a neverending scale, a Shepard-Risset Glissando, a binaural illusion, phantom words, reconstructed speech, and music of the hemispheres. As a Shuffle special, visitors were also given a brain-shaped dessert to enjoy. The Sonic Tour ran from 11am 3.30pm and was supported by the Wellcome Trust.

Lightbox Cinema A stop-motion animation workshop for children, resulting in a film about the story of St Clements. Artist Laura Kloss and volunteers invited kids to cut out, tear and stick images onto big sheets of paper to create an animation telling the story of St Clements as a workhouse, psychiatric hospital and ultimately as housing. Images were sourced online, from magazines, and from Lauras own photos of the Shuffle opening night. The activity ran from 11am 2.50pm, at which point the footage was edited into a short stop-motion animation, and screened in the theatre at 5pm. The final film can be seen at Home Live Art Home Live Art set up an alternative village fte in the circular garden at St Clements. This involved six artists, who developed installations in tents as part of the fte. It ran from 11am 6pm and were supported by Arts Council England. These included: Happy Brains: Artist Eleanor Shipman invited visitors to delve into happy memories, their favourite fantastical places or simply share what makes them feel good by creating, drawing and labelling their own happy brain scan. Madame Exs Paint and Taint session: Madame Ex sat with visitors and painted the portrait of their ex. With a spin of the wheel, the fate of the portrait was decided will it be hung up to dry or will the visitor knock its block off? This farewell to the past ritual was broken up with a group sing-along. Total Eclipse of the Head An interactive performance for one. Artists Ella Good and Nicki Kent invited visitors into their mini caravan to their fantasy hairdo, inspired by different soundtrack. These mainly involved crimping, teasing and loads of glitter hairspray! Total Eclipse of the Head was responsible for a number of the vertical hairstyles seen around site on Day of the Mind. Car Boot Disco Bingo: A glitzy, 80s disco game run from the boot of a car. Participants played bingo on giant cards, interspersed with group dance sessions to music blaring through the car loudspeakers. Animated Living Room: A cosy outdoor living room was set up in the site gardens in which visitors were encouraged to express their minds by taking part in a collaborative animated film using craft materials. Woolly thoughts, in particular, were expressed with knitted puppets and giant knitting needles. The Machine of Visual Delights: A live illustration machine by Pentapaper. Visitors were asked to think what advice theyd give their seven-year-old self, and in return received a unique, bespoke piece of art based on them and their lifes journey. Mindfulness When St Clements was a working hospital, Hycinth Taylor was employed to run the newly-founded St Clements Social Club. The only non-medical professional working with patients on site at the time, Hycinths job was to organise activities to engage patients. These included art classes, social events, picnic trips, and other things to allow inpatients to feel normal. She now works as a meditation counsellor and returned to St Clements to run a Mindfulness session for Day of the Mind visitors. This session ran from 4-5pm in the theatre, the site in which the Social Club was based. It was provided pro-bono by Hycinth with the help of her daughter and son-in-law.

In Our Shoes An oral history walk around the site of St Clements. Molly Carroll guided groups of visitors to atmospheric spots on site, at each of which a person was waiting. Each of these people had an experience concerning mental illness, which they were willing to share. Visitors listened to the stories, music, poetry and in doing so were able to explore different experiences of mental illness. The walk also intended to explore the relationship between the personal, the social and the political and demonstrate that distress doesnt exist in a bubble. The Tower Hamlets Assertive Outreach team asked staff and service users to contribute and participate as speakers. In Our Shoes was supported by Arts Council England.

Newham Books bookstall Independent bookshop Newham Books ran a stall for the duration of Day of the Mind, selling a selection of books on and around the subject of mental health. Ten per cent of the stalls takings were donated to the St Clements Social Club with the purpose of organising future community events at St Clements. Buskers Corner Buskers performed in the caf area and around site during the day.

Day of the Mind evening programme: Out of her Mind, by Ruby Wax Comedian, actress and converted neuroscientist Ruby Wax performed the acclaimed Out of her Mind, which with dark humour draws on her own experience of depression and mental illness. The talk took place in the theatre between 6 and 7pm, and was the first of the evenings ticketed events. The money raised from Rubys talk was directed to creating further community events on the subject of mental illness at St Clements. Rubys appearance was provided pro-bono, and its documentation supported by the Wellcome Trust. Discussion Dr Daniel Glaser and Dr Vaughn Bell chaired a dynamic discussion on the history of the closure of asylums such as St Clements around the country. The panel was opened up to the audience who examined - with input from the experts - what this change in care reflected in terms of attitudes and treatments of mental illness; both social and chemical. All Divided Selves Luke Fowlers film about revolutionary psychiatrist R. D. Laing, was screened in the indoor theatre after a panel discussion. As seating in the theatre was limited, the nominal price of 10 purchased a ticket to see the evenings indoor events: Out of her Mind by Ruby Wx, the panel discussion, and the screening of All Divided Selves. In total, the evenings indoor events ran from 6pm 10.30pm and were supported by the Wellcome Trust. One Flew Over the Cuckoos Nest A screening of the 1975 classic ran from 8pm on the Time Out-sponsored outdoor screen. The event was ticketed, and attendees watched the film sitting on deckchairs with Bluetooth headsets, allowing music and revelry to continue by fairy light at the caf/bar next door.

Local artists, inspired by the poignancy and beauty of a derelict psychiatric hospital and former workhouse, transformed St Clements Hospital, Bow soon to be the first urban community land trust in the UK - into a vibrant celebration of compulsive behaviour exploring childhood, mutability and societys perception of normality. The building resonates with its history. Eight artists were given access to this crumbling building prior to redevelopment in an exhibition, COMPULSION where they presented a series of site-specific installations which responded to the palpable tensions in the abandoned rooms. The transformation of this historic building was part of the summer 2013 Shuffle Festival, which included theatre, poetry readings, and films curated by director and local resident, Danny Boyle. The exhibition aimed to inspire the local community to take ownership of this amazing building and ensure its future use as both a world-class cultural centre and heart of Bow. This facility forms part of a community led transformation of housing where homes rather than commodities become the norm. - Miranda Housden, exhibition curator and board member of the ELCLT

The exhibition ran from 8-18 August throughout rooms in the John Denham building. The following pages are a catalogue of the exhibition.

Susan Aldworth
Susan Aldworth regularly exhibits nationally and internationally and her work is held in many collections including the Victoria and Albert Museum (V&A) and British Museum. Recent exhibitions include The Portrait Anatomised, the National Portrait Gallery, London (2013), Transience, GV Art gallery, London (2013), Brain: the mind as matter, the Wellcome Collection (2012) and Reassembling the Self at the Hatton Gallery and Vane Gallery in Newcastle (2012). Her work will be included in Nerves at the Science Museum from December 2013. Aldworth is a regular broadcaster on BBC radio including A Room for a View (2013) Start the Week (2013), The Print Master (2012) and The Portrait Anatomised (2011). Aldworth is represented by GV Art gallery, London.

Memoirs 2012 Animation, editing and music by Barney Quinton This short film is inspired by the book Memoirs of My Nervous Illness by Daniel Paul Schreber, published in 1903. Written before the term schizophrenia was first coined in 1911, Schrebers extraordinary account of his mental collapse has become a seminal text on the subject. The book reveals how he considered himself chosen to redeem the world, and to restore to it the lost state of Blessedness. This, however, he could only do by first being transformed from a man into a woman.... Aldworth collaborated with animator and musician Barney Quinton to re-create Schrebers extraordinary testament by collaging together archive film footage into a compelling but unsentimental narrative. Aldworth made this film during her residency at the Institute of Neuroscience at Newcastle University (who funded the film) where she researched some of the neuro-scientific and personal narratives of schizophrenia. Memoirs was first shown in the exhibition Reassembling the Self at Hatton Gallery in Newcastle in 2012. Going Native 2006 Animation by Michael Northeast Editing and music by Barney Quinton Going Native examines the fragility of self. The film considers some of the philosophical questions around human identity. Aldworth knits together brain scans, live footage, drawings and super-8 footage of her childhood as she explores the temporal nature of self what is the relationship of the small child in the archive footage to the artist making the film? How is consciousness conjured from the three pounds of jellied flesh of the brain? What turns matter into imagination? She marvels at the dependency of who we are on the physical brain what is a self? The film offers no answers... but thanks to Busby Berkeley for his inspiration. Going Native was first shown in the exhibition Matter into Imagination at the Menier Chocolate Factory in 2006 and was funded by Arts Council England. Reassembling the Self and Dreaming Voices 2012 Lithographs made at the Curwen Studio with Stanley Jones These suites of lithographs have been called anti-portraits. The prints were made at the Curwen Studio with Stanley Jones in 2012 during Aldworths residency at Newcastle University where she researched into some of scientific, clinical and personal narratives of schizophrenia. Not wanting to impose a personal definition of what the experience of the condition might be, Aldworth decided to make portraits of Schizophrenia itself using both individual testaments and reassembled body parts to suggest the uncompromising relationship of the mind to the body.

Memoirs 2012 / Animation, editing and music by Barney Quinton

Going Native 2006 / Animation by Michael Northeast / Editing and music by Barney Quinton

Silke Dettmers
Born in Germany, Silke Dettmers has lived in the UK since 1981. She trained at St Martins School of Art and the Royal College of Art, London. Her artistic practice comprises sculptures, sometimes with the inclusion of sound, drawing and photography. She exhibits regularly. In 2012 her work was included in the group exhibition Territories, Windkracht 13 Gallery, Den Helder, The Netherlands. In 2009 she exhibited in Workshop of Hereafter, Blyth Gallery, London, and Faultline, The Nunnery, London. In 2008 her work was selected for Art Projects at the London Art Fair and exhibited as part of Concrete Dreams, APT Gallery, London. Dettmers lectures at a number of British arts universities, and has recently taught in Poland and Colombia. She also curates exhibitions and writes on arts related subjects.

Fail-Safe 2003 Reclaimed wood, model figures The secure home has become a hazard, and its uncertain future depends on our collective faith for support. Raft 2003 Reclaimed wood, model figure, toy caravan Raft is part of the series Grey Light which consists of nine miniature mise en scenes, each of which recreates an everyday existential drama / human dilemma.
In Case of Emergency 1994 Wood, glass, turkey egg The perplexing interdependence of opposites - a comment on the seductive lure of the impossible. The perplexing interdependence of opposites

Home 1995/ 2013 Bird cage, photograph, wire, egg Silkes practice often involves the use of manufactured objects or their re-making in a foreign material or scale. It is the mutability of objects that interests her and the creation of paradoxes and disruption of known meanings. Engel (Angel) 1996/2013 Latex balloon, coat hanger, feathers, wooden cradle The sculptor Louise Bourgeois once said: My childhood has never lost its magic, it has never lost its mystery, and it has never lost its drama.

Home 1995/ 2013

In Case of Emergency 1994

Raft 2003

Fail Safe 2003

Raft 2003

Engel (Angel) 1996/2013

Engel (Angel) 1996/2013

Engel (Angel) 1996/2013

Tessa Garland
Tessa Garland lives and works in London. She studied fine art at Northumbria University Newcastle specialising in sculpture but for the past ten years has focused her practice mainly on the moving image. She has shown her work both nationally and internationally since the mid-1990s including the Institute of Contemporary Arts (ICA) the Whitechapel Art Gallery, Queens Museum of Art, New York, MACVAL Contemporary Art Museum, Paris and shortly will be showing at the Australian Museum for the Moving Image, Melbourne as part of the International Biennale of Video Art. For many years Garland curated the international moving image exhibition, Visions in the Nunnery, the Nunnery Gallery, London. She is also a freelance arts educator and has worked for the British Museum, Tate, the Wellcome Trust, BBC and Bow Arts Trust.

Above the Skyline 2011 Above the Skyline is a video work made around an elaborate miniature construction, an outcrop or deserted set, strewn with detritus. The obsessively collected and subsequently discarded objects form the narrative that the camera explores. The slow pan embraces the chaotic hoarding which heightens the paranoia and sense of isolation. With its use of scale and filmic devices Above the Skyline plays with illusion and explores the tension between theatricality and reality.

Above the Skyline 2011

Above the Skyline 2011

Above the Skyline 2011

Miranda Housden
Miranda Housden studied as a sculptor at Falmouth University then Chelsea College of Art and Design before becoming a Rome Scholar in Sculpture at the British School at Rome. She has had a number of exhibitions both in the UK and internationally and is based at Chisenhale Arts Place, Bow. She has lived near to St Clements Hospital for 14 years, is a parent and foundation governor at Central Foundation Girls School, Bow and is on the Board of Trustees for the East London Community Land Trust. Housden is the London Director at the Institution of Civil Engineers responsible for promoting civil engineering across the capital. Previously she worked at the Royal Institute of British Architects as their London Director responsible for running the RIBA Awards, architecture festivals and exhibitions.

Smartipants 2011 Steel, childrens pants, speaker wire, sawdust Its a huge shopping bag. Larger than life, it bears down over the viewer. The dynamic outline suggests it is bulging with treats, suggesting plenty and pleasure. At first glance its empty but look close up and you discover the bag is made of cute childrens pants, small and fragile. These are the items of clothing, worn close the skin and not seen. They carry pictures of fairies, cartoon characters, superheroes and princesses. They announce Puppy Love, Cutest Kitten Around, Football Chick and Shop Till You Drop. It turns out that the bag is a holdall of childrens fantasies and societys pressures and restrictions. Angel Trumpet: Devil Trumpet 2012 Steel, Barbie underwear, foam, unicorn, berries, doughnuts, cakes, sweets, fruit Datura Metel is locally referred to as an angels trumpet and by others, a devils trumpet. It looks like an elaborate cornucopia/horn of plenty. The plant belongs to the witches weeds along with deadly nightshade. It was also used to make poisonous arrowheads, in divination ceremonies and women used to rub the juice into their eyes to enlarge their pupils to enhance their beauty. The horn of plenty, a symbol of fertility, prosperity and abundance, is a precursor to the unicorn and the Holy Grail. The horn has supernatural powers, which gives whoever possesses it whatever they want. This sculpture contrasts the nurturing safe and fragile world of early childhood with the enticing, tempting fantasy of growing up and its more sober reality. Deadly Sins: acedia, superbia and avaritia 2013 Steel, ribbon, washing nets, feathers, grapes, birds, butterflies These magical wands, inspired by poisonous plants, reflect societys censorship of giving in to sins such as pride, sloth and greed whilst immersing everyone from childhood with a constant barrage of temptation. Priceless 2012 Paper and graphite pencil Each drawing depicts a precious object belonging to someone who inspires her. The contrasting surfaces of the object and the intense graphite background hint at a vibrant glimmer of hope emerging from an isolated abandoned space. Swing 2013 Plastic sweets, polystyrene, ribbon An inedible childhood fantasy just out of reach.

Smartipants 2011

Angel Trumpet: Devil Trumpet 2012

Swing 2013

Deadly Sins: acedia, superbia and avaritia 2013

Kerry Lawrence
Kerry Lawrence was born in 1964 in the East End of London and lives and works in Italy and Cornwall. Lawrence is a visual artist who studied at Camberwell College of Arts and Falmouth University. She works with a broad range of mediums and has performed and participated in numerous site specific events in Italy, India and the UK. Lawrence has an avid interest in physical theatre and dance. She has collaborated with Shallal Dance Company and Kneehigh Theatre Company and has created sculptures and installations for Wild Walks. Lawrence has worked as a specialist art educator for Newlyn Art Gallery, Cornwall, Artshare, Action for Development and Disability, REACH Kolkata, Lilluah Home for Women Kolkata, Shiva Youth Theatre, Shallal Dance Company and Kneehigh Theatre.

Take me Home 2013 Windowlene Lawrence transforms the cell-like turret of Saint Clements into a crystalline lace haven made from Windowlene. The toxic, pink liquid is re-worked into threads of lace. As the lace is laboriously executed, there is always the danger of it disappearing under hand. The world outside is blocked out by the industrial substance which is often used as a screen on the windows of closed down premises to stop people looking in. Here Lawrence reverses the use, creating an almost suffocating lacey trap, a suburban metaphor echoing Gilmans The Yellow Wallpaper and yet at the same time paying homage to the painstaking craft that women and children were engaged induring their time in the Victorian workhouses. The images are taken from a mixture of family heirlooms and cheap netting, the contrast between the permanence of the antique lace and the transience of Windowlene lace is stark. Take me Home, refers to a longing to return, words taken from Lawrences relative who was once a patient at St Clements, it expresses the desire for healing and coming home.

Take me Home / Windowlene 2013

Susie MacMurray
Susie MacMurray, a former professional classical musician, retrained as an artist, graduating with an MA in Fine Art in 2001. She now has an international profile and shows regularly in the USA and Europe as well as across the UK.

Two Hairnets no 5 2011 Pen on paper Two Stretched Hairnets 2011 Pen on paper An engagement with materials is central to MacMurrays practice. Her role is one of alchemist: combining material, form and context in deceptively simple ways to stimulate associations within the viewers minds and to elicit nuanced meanings. MacMurray uses the process of drawing to develop a more intimate, often obsessive relationship with her physical materials. In addition to her large-scale pen & ink work she extends the possibilities of making drawings using unconventional materials such as hair, wax, rubber tubing and corrugated water hose. This process hovers across boundaries and can result in either drawing or sculpture. In contrast to her site specific interventions this work is a more formal exploration of the sculptural possibilities of working with mark-making and line, in materials that maintain their own physical references.

Jo Stockham
Jo Stockham studied at the University of Hertfordshire College of Art & Design, Falmouth University, (BA Fine Art)
and Chelsea School of Art and Design (MA Fine Art). On leaving college she worked at Chisenhale Studios, helping to found the studios, gallery and education programme. In 1989 she was the Kettles Yard/Henry Moore Fellow at Corpus Christi College, Cambridge which led to solo shows at Kettles Yard and Camden Arts Centre. Other residencies included The Mead Gallery, University of Warwick (solo show and catalogue Scape), the Kunstbrucke residency in Berlin and a Yaddo Fellowship (New York 2001). A residency at the Centre for Drawing at Wimbledon School of Art 2007 produced the publication Jo Stockham; Notes. Stockhams practice is installation-based, often dealing with the histories of a site or found image, using print, sculpture, sound, projection and archive sources. Commissions include If Not Now, When? for Caf Gallery Projects, London and work for Triplicate shown at Tate St Ives Southampton and Eastbourne City Galleries. Stockham is Professor of Printmaking at the Royal College of Art and is involved in research around the material image. The relationship between the computer and digital processing and wider social histories of the images we make and consume is of particular interest.

Signs of life 2013 (opposite) Motors, pin-boards, digital prints, tape, screenprints
This woman will have ECT in approximately 60 years into the future of the photographed image. She was born in Lyme Regis and learnt to speak French from the Belgian refugees she encountered in Devon who had fled mainland Europe in 1914. During the Second World War she worked in Fleet Street in London where this photograph must have been taken, She must have recently returned from the small Caribbean island of St. Vincent (since she is wearing a wedding ring) leaving her husband and young daughter behind. Intending to join her they were prevented by outbreak of war in 1939. In this photograph is she trying to present a composed and beautiful self to her husband who is miles away with her young daughter? She is working as the editor of a romance magazine while her own romance is shattered she will not see her daughter for ten years and her beloved husband will re-marry in that time. She was given Electro Convulsive Therapy at the age of 88 but not hospitalized and continued to live until the age of 99 and a half when she died shortly after falling down the stairs in her own home. According to statistical evidence one in four people visiting this exhibition will experience some kind of mental illness in the next year. Will it be through predisposition, through biology through a bad encounter with the world, through tragedy, through overwork, through alcohol or drugs? We are all at some point patients, in need of care, as the sign in this room said when I began; Please See.

Signs of life 2013

Glass half full 2013 Laundry trolley, Aluminium foil, lamp

When asked to be in a show at St Clements I hesitate; the site is overwhelming as a physical edifice and as a history. I spend two days just photographing, mainly the signs and the boarded up windows. The eyes of the wooden shuttering have grown into faces and the activity of seeing into things, reading into shapes, so much a part of a certain kind of art, seems to be mockingly present in the photographs. I find an object, which looks like art since I cannot name its function but it has an aesthetic appeal, like a bottle rack. There is Babel of signs. The building was once a place where people felt cared for and is itself now un-cared for. The sense of dereliction seems like a comment of the absence of care when in fact the care has moved up the road. In an empty site I look for signs of people, people with names rather than the generic signs on the toilet doors. I find two appointment cards with the names of local people from the 1970s and destroy them, I feel that to keep or use them would be to invade their privacy somehow. The language of the hospital signs is a restrained and polite authority, now accompanied by the language of warning KEEP OUT. Care has become hazard. Anti-Climb Paint, Asbestos, Trip Hazard, Risk. Amidst this are new signs of the social, a bar, a re-animated theatre, a generous gatekeeper and a garden, communities spring into being.

Glass half full 2013

Amikam Toren
Amikam Toren was born in Israel in 1945. He lives in London and has a studio at Chisenhale Studios, Bow. His work is shown internationally and is represented by Anthony Reynolds Gallery. Amikam taught at Reading University and was founding co-editor of Wallpaper.

Stacks 2002 Cardboard box, reclaimed wood, umbrella, glass These objects /sculptures are derived from a variety of images printed on cardboard boxes as warning signs and or instructions to the handler. It is a primitive and effective international language, translated into objects / sculpture magnifying its meaning.

Stacks 2002

Stacks 2002

A casual visitor to St Clements between the 8th and 18th of August 2013 might have thought that the purpose of the events there was simply pleasure, a local version of the festivals that scatter England every summer. But Shuffle festival was a strategic and important part of a long-running campaign to educate, inform and engage the local community, and secure long-term affordable housing in the heart of the east end of London. St. Clements is a former psychiatric facility in Mile End, E3. Founded in 1849 as a workhouse, the site has a long and fascinating history. Adjustments to the 4.63 acre site over the years reflect societys changing attitudes to mental health and its treatment; for example the construction of an on-site theatre as the home of the St Clements Social Club in the 1950s a place for service users to socialise and express themselves artistically, through poetry, painting or theatre. St Clements closed completely in 2005, and sites ornate, listed Victorian buildings have been disused since. In 2014, the GLA, in partnership with Linden Homes, Peabody and the ELCLT, will begin the redevelopment of St Clements as housing. As seen in many areas of the city, these new flats will be beyond the financial reach of the majority of the families currently living in the area, a problem compounded by Tower Hamlets dubious honour of being one of the poorest (and most densely populated) boroughs in London. To address this, the East London Community Land Trust (ELCLT) has run an eight-year campaign to deliver permanently affordable housing, using a model born of the Civil Rights Movement in the USA whereby housing remains in trust and is priced in relation to local wages, not market forces. By building a base membership of 1000, and working alongside local residents and Mayor of London Boris Johnson, a portion of the housing in St Clements will now become the site of the UKs first urban Community Land Trust. Inherent within the objectives of the ELCLT is engaging the local community in the space to be kept in trust, and so in 2012 the Meanwhile and Mixed Uses committee of the ELCLT revived the St Clements Social Club that had once provided alternative forms of therapy for inpatients. However, instead of functioning as it had historically - within an inward-facing site that had often been characterised by isolation and observation the Social Club would now lead the rejuvenation of the site as an outward-facing place that embraced and was embraced by its surrounding community. It would show the variety and viability of community use in St Clements: a place where people could hang out with friends, put on plays, start a business, eat good food, learn something new, and join activities which strengthened the community as well as enhanced health and well being. And so Shuffle festival was born. Shuffle was the St Clements Social Clubs main event of the summer, an 11-day festival of activities and cinema running from 8th- 18th August. Films were curated by Danny Boyle, director of the Olympic Opening Ceremony and a local resident, and support provided from more than 20 local organisations including the Friends of St Clements Hospital, the Cockney Heritage Festival, Central Foundation Girls School, the East London Furniture Company, Friends of Tower Hamlets Cemetery Park, Mile End Films, Mile End Residents Association, the New Testament Church of God and Stepney City Farm.1 The aim of the festival was to establish a permanent community and cultural heart for Mile End on this historic and iconic street frontage.

The aim of Shuffle was to establish a community and cultural centre in the heart of Mile End. We are pleased to announce that the funds we raised from tickets sales for completely sold out events, are to be re-invested into more projects. The aim of these projects is to bring the community together and provide a creative outlet and opportunity for as many people as possible.

Ideal Plan for John Denham Building.


Mile End needs a heart. Through years of community consultation, local research, conversations and cups of tea, we have found a unanimous desire for St Clements to be that cultural heart of the community. St Clements is a place of local significance - built to serve the public as a workhouse and later a psychiatric hospital - it is now home to Londons first Community Land Trust. When development is complete, the freehold of the land will be owned by a Community Foundation who will redistribute ground rents to the surrounding community. St Clements should be a development with lasting cultural legacy - shaped by and for its community. Shuffle festival showcased the type of groups, arts, activities and commercial ventures that could have a permanent home in the John Denham building. 10,000 people visited Shuffle over the course of the month, and together we formed a rough plan of how the space could work in the future. We are now in the process of applying for a Heritage Lottery grant to buy and restore the building as well as setting up the Community Foundation (with local residents and stakeholders as the majority membership) who will establish a management strategy. Our aim is to ensure the building does not include residential units, an outcome that could limit the ability to deliver exciting and creative uses and be a possible detriment to its economic sustainability.