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@cue_collective_

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AFTER THE HAUNTING brought together artists Melanie Cove @snow_blindness, Tara Dowling @_tara_dowling_, Korissa Frooman @korissafrooman, Simone Marconi @simone.marconi_, Laolu Numa @iphri.studio and Aidan Robertson @aidan_robertson_ to commune at Broncko Bianchi, to parlay with ghosts.

🪑

[1] Derrida, Jacques. 1994. Specters of Marx: The State of the Debt, the Work of Mourning and the New International. (Routledge)

[2] Fisher, Mark. 2014. Ghosts of My Life: Writings on Depression, Hauntology and Lost Futures. (Zer0 Books)

[3] Gordon, Avery, Hite, Katherine, Jara, Daniela. 2020. Haunting and thinking from the Utopian margins: Conversation with Avery Gordon. Memory Studies. 13. 337-346.
Abudu, KJ. Introduction. In Living with Ghosts: A Reader. 2022. Ed. KJ Abudu. (Pace Publishing)

[4] Lund, Jacob. Untimeliness in Contemporary Times. In Futures of the Contemporary. Ed. Paulo de Assis, Michael Schwab. 2025. (Leuven University Press)

[5] Fisher, Mark. 2026. The Weird and the Eerie. (Repeater Books)

🪑 Thanks to @louisbaczkiewiczross @anubhav.deka

Curated by @cue_collective_
@kro_ni_ki
@hannahhornbyart
@ylime.kd by @cue_collective_

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a month ago

Screening of ‘Self Portrait talking to the Artist Ben Cove; The Revenant’ was an intimate contemplation, held in discussion with artist Melanie Cove afterwards.

Simone Marconi’s film flew us in to Venice on a micro scale, seeing industry and cyclical life from a plant POV. ‘Docile Sodom (Where-Does-It-End?)’ began the show before it opened.

What a joy to participate in the attentive discussion that followed. Thank you to Simone and Melanie for your mooring and to those that attended.

🪑 @simone.marconi_
🪑 @snow_blindness

Curated by @cue_collective_
@kro_ni_ki
@hannahhornbyart
@ylime.kd by @cue_collective_

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2 months ago

After comes now. Thank you to everyone for visiting After The Haunting.

Artists
@snow_blindness
@_tara_dowling_
@simone.marconi_
@aidan_robertson_
@korissafrooman
@iphri.studio

🪑

Curated by @cue_collective_
@ylime.kd
@kro_ni_ki
@hannahhornbyart

Photos @anubhav.deka by @cue_collective_

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2 months ago

CUE welcomes Aidan Robertson to AFTER THE HAUNTING.

Aidan Robertson was born, (2001), into the rising internet age. Growing up in the countryside, he sees humanity, nature and technology as one interconnected system. The artist explores the tensions around the emotive and natural we experience in digitised, city-based lives.
Robertson’s current practice expresses the precious nature of memories in our digitally merged lives; the digital ‘soul’ which could be exploited by technology such as AI.

He uses symbolism of speculative devices, modernist structures, signals, and desert-like landscapes to talk of this precious but uncertain aspect of humanity. Expressed through a form of digital “hauntology“, work hints at a timeless human spirit, pulled between the organic and digital tensions of possible futures.

Works are supported by extensive world-building - sketches that map a future where biology and technology are inextricably linked.
He seamlessly combines ancient practices with modern; rounded woodwork merged with steel network structures, copper etchings amongst electronics, and game-like renders of primitive urns.

🪑

Screening and Discussion with Melanie Cove
27 August 4:30 - 5:30

Simone Marconi, ‘Docile Sodom (Where Does it End)’
Melanie Cove, ‘The Revenant’

PV 27/08 6-9PM // Opening daily 28 & 29, 12-5PM @bronckobianchi 485 Hackney Rd, E2 9EG

🪑@aidan_robertson_ by @cue_collective_

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2 months ago

Korissa Frooman joins us in AFTER THE HAUNTING.

Korissa Frooman is an artist working across sculpture, sound, photography, and performance. Her practice treats the body as instrument and residue, using fluids, impressions, and recordings to produce unstable archives. Frooman constructs systems where presence is registered through leaks, stains, and echoes.

She has exhibited across London, Europe, and New York, and is the recipient of the Meyer Family Award for Contemporary Art. Currently based in London, she holds an MA in Sculpture from the Royal College of Art and is pursuing an MRes in Arts & Humanities at the RCA.

🪑

Screening and Discussion with Melanie Cove
27 August 4:30 - 5:30

Simone Marconi, 'Docile Sodom (Where Does it End)'
Melanie Cove, 'The Revenant'

PV 27/08 6-9PM // Opening daily 28 & 29, 12-5PM @bronckobianchi 485 Hackney Rd, E2 9EG by @cue_collective_

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2 months ago

Laolu Numa joins us in AFTER THE HAUNTING.

Laolu Numa (b. 1994, Lagos, Nigeria; based in London) is a transdisciplinary artist who uses metalsmithing to interrogate dominant ideas of what it means to be human. Originally trained as a software engineer, they began their artistic practice in 2023 as a response to the rigid structures of Western technological and humanist thought. Their latest collection, BLACK RUPTURES—awarded the prize for Best Expanded Practice in Jewellery at the Royal College of Art in London—serves as a speculative intervention into the Western mode of being human by problematising the phantasy of the self-contained individual, proposing a pluriversal future through jewellery that alters the wearer’s sense perception and relationship to the world.

🪑

Screening and Discussion with Melanie Cove
27 August 16:30 - 17:30
Simone Marconi's ‘Docile Sodom (Where Does it End)’
Melanie Cove's ‘The Revenant’

PV 27/08 6-9PM // Opening Daily 28 & 29, 12-5PM
@bronckobianchi 485 Hackney Rd, E2 9EG

🪑 @iphri.studio by @cue_collective_

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2 months ago

Tara Dowling’s text joins us in AFTER THE HAUNTING.

Tara is an Irish artist and writer based in London. Her autotheroretical writing practice is informed by an interest in hauntology, archival practice, memory, fiction, mythos, lines of flight between language and landscape, and how the personal can be extrapolated into larger circuits of historical trauma. Her experimental writing tests the potentialities of voice, form, and critical analysis, towards a rhizomatic writing practice.

Tara is currently completing an MA in Contemporary Art Theory at Goldsmiths, University of London.

🪑

Screening and Discussion with Melanie Cove
27 August 16:30 - 17:30
Simone Marconi, ‘Docile Sodom (Where Does it End)’
Melanie Cove, ‘The Revenant’

PV 27/08 6-9PM // Opening Daily 28 & 29, 12-5PM
@bronckobianchi 485 Hackney Rd, E2 9EG

🪑@_tara_dowling_ by @cue_collective_

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2 months ago

Melanie Cove and Simone Marconi open AFTER THE HAUNTING.

A screening of their two films, ‘The Revenant’ and ‘Docile Sodom (Where-Does-It-End)’ respectively, handle grief and life, non-living living spaces with deft dignity and speculation.

Let us host you for an intimate discussion with Melanie Cove, at 16:30, prior to the PV on the 27th of August.

Screening + Discussion with Melanie Cove
27 Aug 16:30 - 17:30
Simone Marconi, ‘Docile Sodom (Where-Does-It-End)’
Melanie Cove, ‘The Revenant’

Private View
27 Aug 18:00-21:00

Open Daily
28 + 29 Aug 12:00-17:00

Location
@bronckobianchi
485 Hackney Rd, London E29 EG

🪑@snow_blindness
🪑@simone.marconi_
Curated by @cue_collective_
@kro_ni_ki
@ylime.kd
@hannahhornbyart by @cue_collective_

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2 months ago

What comes after the haunting? CUE is pleased to host you at our upcoming exhibition 27/08-29/08, including a PV with screening and artist discussion.

Screening + Discussion with Melanie Cove
27 Aug 4:30 - 5:30pm
Simone Marconi, Docile Sodom (Where-Does-it-End?)
Melanie Cove, The Revenant

Private View
27 Aug 6 - 9pm

Open Daily
28 + 29 Aug 12 - 5pm

Artists
@snow_blindness
@_tara_dowling_
@korissafrooman
@simone.marconi_
@digital.maroon
@aidan_robertson_

Location
@bronckobianchi
458 Hackney Rd, London E29 EG

Curated by @cue_collective_
@kro_ni_ki
@ylime.kd
@hannahhornbyart

Image and work - Korissa Frooman
Poster - Hannah Hornby by @cue_collective_

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2 months ago

An inverse open call, studio visits, shared food, and future relations…

On the 11th of May CUE hosted a potluck dinner to build long-term relationships within the Royal College of Arts. Duration was the catalyst, whereby conversation streamed through futuristic relics, systems of governance and process as ritual.

Thank you to The Bridge Space for hosting us 🪑

And to
@anubhav.deka
@aidan_robertson_
@christabelpng
@abijoysamuelart
@wenjiefeng_
@aimafan_
@korissafrooman
@majofernandezplenge
Thank you for inviting us! by @cue_collective_

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4 months ago

Sharing some references ahead of our Potluck!

🥪 Food!
Food was a space where artists could help their friends find jobs and was a place for people to eat.

Artists Tina Girouard, Carol Goodden and Gordon Matta-Clark founded Food in 1971 Manhattan. Artists were guest chefs and served at the restaurant, and diners could only eat what was offered, no ordering.

Image 1: Exterior view of Food after the renovations, 1971–2. Cosmos Andrew Sarchiapone papers, circa 1860–2011, bulk 1940–2011, Archives of American Art, Smithsonian Institution, Washington, D.C.
Image 2: Still from Gordon Matta-Clark’s film ‘Food’, 1972, YouTube.
Image 3: Tina Girouard, Carol Goodden and Gordon Matta-Clark in front of the closed-down bodega that would become their restaurant Food, New York, 1971
Photograph by Richard Landry with alteration by Gordon Matta-Clark
©️ Estate of Gordon Matta-Clark/DACS 2017 by @cue_collective_

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5 months ago

Sharing table references ahead of our potluck! 🥚

The dinner party as monument!

🥚 Judy Chicago's The Dinner Party is a ceremonial banquet, with a total of thirty-nine place settings, each commemorating a woman.

Each setting – consisting of embroidered runners, gold chalices, and china-painted porcelain plates – is individually lit, making the massive triangular table look as though it is composed of thirty-nine altars. Perceiving the Western art scene as lacking a context specific to female-centred art, Chicago employs installation to build an environment and curatorial setting.

Amongst her guests are Ishtar, Hatshepsut, Judith, Hildegarde of Bingen, Sojourner Truth, Margaret Sanger, Virginia Woolf, and Georgia O'Keeffe.

The Dinner Party was produced over a five-year period with more than four hundred volunteers.

Image 3: The Dinner Party Research Team, Santa Monica, California.

Photo credits: @judy.chicago
Judy Chicago, The Dinner Party, 1974-1979. Installation, mixed media, 36’ x 48’. Elizabeth A. Sackler Centre for Feminist Art, Brooklyn Museum, New York City. by @cue_collective_

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5 months ago