Category Archives: information

IN CON with(14)…TING FOR DOT Neil Ferguson & Calum Storrie


IN CON with(14)…Neil Ferguson & Calum Storrie, TING FOR DOT, June 7 & 8, 2019 Redacting texts,…applying thinglyness to “things”. Ferguson and Storrie have redacted a variety of publications from Beckett plays and short stories to free gallery handout sheets, cookbooks and detective novels. …TING FOR DOT is an interactive event where the audience will be asked to apply their own redacting systems to TING FOR DOT texts. Tools and text to redact will be supplied. …organizing meaninglessness in “things”?





IN CON with(12 & 13) Neil Ferguson & Karen Turner

INCON 12&13

INCON with(13)… at CAVESPACE,
“THE Same but different “…,
81 Tachbrook Street, Pimlico, SW1V 2QP,
25 – 28th October 2018


INCON with(12)… at IN Conversation with…
“THE Same but different “…,
Saturday 13th October 2018, 5.00pm to 9.00pm
Sunday 14th 2.30pm – 5.00pm.


Raw Rewards

IN Conversation with(9)“Raw Rewards” …Neil Ferguson & Gareth Jones

“Raw Rewards”

 Raw INCIDENTS: decisions in an inhospitable environment.

3rd & 4th March 2018

Short Film: “Raw Rewards”

Main Wall Pan E

IN CON 9 Table 3

GJ & NF 2 (2)


In Conversation with…(5)


In Conversation with…(5)

Neil Ferguson, Maciej Blazejewski & Fred Vernon.


Saturday October 1,2016. 3.00-8.00pm

Sunday October 2, 2016   2.30 – 5.30pm, Discussion, 2.30-3.30.

“Episto-graphing” encourages the need for drawings to be compiled and collected from a population of logically illogical thinking that may be too complex to be accurately classified, or too easily dismissed as nonsense?

THERE WILL BE a £5 charge for an Episto-graphing booklet.




Neil Ferguson In Conversation with (1)…Fred Vernon Open Discussion

Neil Ferguson In Conversation with (1)…Fred Vernon

Sunday 18th October, 2.30 to 3.30.

Open Discussion.

Working collaboratively on the production of an artwork arguably requires specific rules  to be laid down and roles adopted to allow decisions about the work to be  made.

These rules initially form a working understanding, perhaps a place to go back to? But what compromises are made and why?

Teamwork and collaborative working is regularly the norm in the wider fields of the arts and so the discussions will focus on the work  produced for the event to consider the implications of collaborative thinking and selection.

The discussion further aims to consider where compromise and restriction takes place through censorship and self-censorship in it’s production.

What rules of censorship are applied to images and style?

What is the form of their construction?

How does style censor?

Do images offend?

What images are allowable and what are not?

Is censorship inevitable?

Are forms of self-censorship inevitable?

What approaches to art language become important in dealing with perceptions of censorship and self-censorship without becoming self-censoring obstacles themselves?