Part of our series of courses, thinking about art: Philosophical approaches to art history.

In this final session, alongside Vid Simoniti, we will trace the philosophical question of art’s political content. We take in Plato's banishment of the artist from his ideal state, to the place of art in political modernity, with the work of philosophers such as Theodor Adorno, Walter Benjamin, and W.E.B. Du Bois. 

You will be invited to draw connections between historical works and selected examples from the 21st century, while reflecting on ideas such as artistic objectivity, activism, and the place of art in a democratic society. This will equip you with a new critical lens through which to study the Gallery’s collection, and connect art of the past to art of the present day.  

Part of our series of courses, thinking about art: Philosophical approaches to art history.

This fifth session, with Panos Paris, will explore prominent philosophical ideas about beauty in search of an answer to the question: what is beauty? To this end, we will broach more specific questions, notably: is beauty objective or in the eye of the beholder? Is it linked to moral values and the inner qualities of objects, or is it merely skin-deep? In exploring the nature of beauty, we will look at a number of works from the Gallery’s collection for guidance and to elucidate different theories. 

Click here to learn more and book tickets.

Part of our series of courses, thinking about art: Philosophical approaches to art history.

Although we now think of empathy as something we feel towards other people, it was originally thought of as the explanation of our high regard for works of art. 

In this week's session with Derek Matravers, we will look at the ‘empathy theory of beauty’; at the role of empathy in engaging with figurative art; and what role empathising with the artist plays in our appreciation of art. We will test these various claims on pictures from the Gallery's collection. 

Click here to learn more and book tickets.

Part of our series of courses, thinking about art: Philosophical approaches to art history.

In this session with Lucy McDonald, we will investigate the nature of intimacy, focusing in particular on love. What does it mean to love somebody? Some conceive of love as a kind of union between two people. Others argue that to love someone is to be selflessly concerned about their wellbeing, or to see them as especially valuable. 

We will look at several works from the Gallery's collection which support these different ideas. We will also reflect on the different forms love can take – from friendships to romantic partnerships – and on its potential dark side. 

Click here to learn more and book tickets.

Part of our series of courses, thinking about art: Philosophical approaches to art history.

In this second session, with Vanessa Brassey, we will start by examining the seemingly straightforward assumption that artworks can embody emotions such as sadness, happiness, or melancholy. How is it possible for a picture to be sad (or happy) when having or expressing emotions presupposes the existence of a mind? 

In addition to exploring various historical theories and recent neuroscience findings, by using the philosopher's toolkit, we will form our own opinions on how certain cherished works from the Gallery's collection appear to encapsulate and evoke a spectrum of emotions. 

Click here to learn more and book tickets.

Part of our series of courses, thinking about art: Philosophical approaches to art history.

The sublime, a mingled experience of awe and terror, is one of the central modes through which Western art has sought to capture the natural and supernatural worlds – from shipwrecks to volcanoes, to the Last Judgement itself. It is also one of the most important concepts for modern philosophy of art, mined for insight into everything from morality to ecology. 

In this introductory session with Sacha Golob, we begin with classic presentations of the concept from the Gallery’s collection, including paintings by Turner and Claude-Joseph Vernet. 

We will then explore how the idea has developed in modern paintings and photography as artists turned to industrial and urban or sublimes.

Click here to learn more and book tickets.

Embark on a six-week course, in partnership with Kings College London’s Centre for Philosophy and Art, to explore the National Gallery’s collection anew by discovering connections to timeless philosophical puzzles. Each week, we will introduce and unravel a question about a different philosophical theme in dialogue with a painting in the National Gallery Collection. 

Over the six weeks we will cover the sublime, emotions, love and intimacy, empathy, beauty, and politics. You'll learn to recognise, articulate, and respond to the philosophical quandaries the pictures present, finding solutions by navigating between traditionally focused on art historical works and contemporary visual art.

This course offers a blend of art appreciation and philosophical inquiry and is designed for curious-minded people who have not studied philosophy formally before.

Click here to learn more and book tickets.

The Richard Wollheim centenary anounces an upcoming workshop, Richard Wollheim’s Philosophy and the Arts, to be held at St John’s College, Oxford on Saturday 20 January 2024.

The workshop will be in two parts. The morning session (10am-1:30pm) will feature 30-minute presentations, detailed below, which engage with the theme of the workshop. The afternoon session (2:30pm-5pm) will be given over to a discussion of future directions for research on this theme.

See here for more information, including registration instructions.

Across history, humans have sought to convey the ineffable, imprinting canvases with colours and strokes sourced from Earth's core. Yet, how do these strokes and hues mesmerize, conjuring emotions from joy to sorrow, nostalgia to yearning? Join the creators of this series of short films, originally made for the National Gallery, in which philosophers and artists address these questions, such as "is love moral?" through cinematic explorations of regret, the sublime, euphoria, and time's role in still imagery.

Schedule

18:45 - 19:15 - Welcome drink

19:15 - 20:45 -Screening

20:45 - Q & A with the makers

Book tickets here!

The Centre for Philosophy of Art in collaboration with the Institute of Psychoanalysis welcome you to our upcoming event: On Hope. This is the next event from the 'Questioning the obvious' series for the general public.

Dostoevsky was emphatic about hope: “To live without hope is to cease to live. Hell is hopelessness.” In our world today, hope does intuitively feel like a vital necessity. But: what is hope? Is it the same as optimism? As faith? Or desire? Was Dostoevsky right about it being essential for life? Or is it an unhelpful denial of our difficulties, a destructive fob?  What might art, theory and clinical practice tell us about this elusive thing called hope? Join philosophers, analysts and artists to debate these questions.

Event Fee(s):

• Standard £25.00

• Concession £15.00

Register here

Speakers

Nishan Kazazian is an American Artist, licensed Architect and Educator. Born and raised in Beirut to an Armenian family, Nishan lives and works in New York City and East Hampton, NY. His art resonates with aspects of his childhood, personal and family history - anchored in the present and looking to an imaginative future. This is a narrative of being dispersed and then gathered together, of resilience and adaptation, expressed through the synergy of various artistic media.

Colette Olive is a PhD candidate at King’s College London, where she is also Administrator of the Centre for Philosophy & Arts. Her research centres on a variety of topics in the philosophy of art including whether we can learn from art and whether art improves us morally.

William Badenhorst is a psychoanalyst with the British Psychoanalytical Society and a psychiatrist in private practice.

Chair: Alla Rubitel is a psychoanalyst with the British Psychoanalytical Society and a consultant psychiatrist at the Tavistock and Portman NHS Foundation Trust.

Tickets here

Film short preview below

Art and Emotions

Organised in partnership with The Centre for Philosophy and Art, King’s College London this series explores different emotions in the light of the National Gallery collection. Each film is broadcast at the National Gallery as part of a interactive speaker and panel event.

A panel organised in partnership with The Centre for Philosophy and Art, King’s College London, this panel discussion is the third in a series exploring the relationship between the National Gallery Collection, as well as art more widely, and our emotions.

 What is ‘euphoria’ and, perhaps more intriguingly, what is it for? On one account it is a sense of perfect harmony, individuality, and purity, accompanied by a feeling of extreme wellbeing that connects us to the heavenly realm. On another, it’s an exquisite dissimulation of the self.

Book your free ticket here

Art and Emotions

Organised in partnership with The Centre for Philosophy and Art, King’s College London this series explores different emotions in the light of the National Gallery collection. Each film is broadcast at the National Gallery as part of a interactive speaker and panel event.

Nature is powerful. We play at escaping to it, long to return to it, wish to conquer it, say we will protect it, risk destroying it. But what is it? How do we engage with our natural environment? What is natural vs unnatural? What might art, theory and clinical practice tell us about our relationship with the natural world that we are an intrinsic part of? 

Join philosophers, analysts and artists to debate these questions.

Click here to register.

Attendees can tune in live, or access a recording over the following 48 hours, enabling viewing at their own convenience. (After this time, the recording will no longer be available)

Feifei Zhou is a Chinese-born artist and architect. She holds an MA in architecture from the Royal College of Art in London and was a guest researcher at Aarhus University Research on the Anthropocene (AURA). Her work explores spatial, cultural, and ecological impacts of the industrialized built environment. She co-edited the digital publication Feral Atlas: The More-than-Human Anthropocene with Anna Tsing, Jennifer Deger and Alder Keleman Saxena, published in October 2020.

Vanessa Brassey is a philosopher, artist, and visiting research fellow at King’s College London, where she is also Director of the Centre for Philosophy & Arts. She publishes in academic journals, magazines and makes short-form documentaries. During the lockdown she returned to landscape painting, documenting her daily dog walks on Hampstead Heath (a tonic to break up the zoom lecturing and teaching).

William Badenhorst is a psychoanalysis with the British Psychoanalytical Society, a psychiatrist, in private practice and Honorary Clinical Senior Lecturer at Imperial College London.

Chaired by Alla Rubitel, a psychoanalyst with the British Psychoanalytical Society, a consultant psychiatrist at the Tavistock and Portman NHS Foundation Trust, and an Honorary Clinical Senior Lecturer at Imperial College London.

Sound Pictures Conference, generously sponsored by a British Society of Aesthetics small grant award 2021 

This ‘live’ zoom conference is now closed.

The Theme

Imagine a sculpture made to be heard, or a picture that can be played on a banjo. Although many artworks are multi-sensory in the sense that they invite appreciation by sight, sound, movement and even touch (e.g film and immersive theatre) it might seem odd to say a simple drawing is genuinely multisensory. We don’t expect a drawing to look like the taste of strawberries, just as we don’t expect warm vanilla to taste like triangles.   

This expectation carries over to appreciation. It is natural to think that when your friend remarks on a painting  they will say something about how it looks, rather than how it sounds. But, given that multi-sensory appreciation is held to be ‘the rule and not the exception in perception’ (Shimojo and Shams, 2001) do we ever appreciate a work with a single sensory mode? Does adequate appreciation of (apparently) single sensory artworks (for example, a painting) require input from the other senses? 

Confirmed Speakers

• Mitchell Green (UCONN)

• Derek Matravers (OU)

• Jenny Judge (NYU)

• Natalie Bowling (Goldsmiths)

• Jason Leddington (Bucknell)

• Colette Olive (KCL)

About cross-sensory artforms and graphic notations

Several art-forms speak to the question of multisensory confusion, integration and enhancement. For instance, the concept of music is fundamental to Kandinsky's work. He believed one should ‘see’ his paintings aurally. Likewise, Goethe declared that architecture was “frozen music”. An example pertinent to philosophical reflection is that of graphic notation, where a piece of music is ‘directly depicted’ rather than written down in conventional musical notation. Visual works of art to be appreciated musically were brought to public attention by Earle Brown and John Cage. The experimental movement reached a peak with Cornelius Cardew’s Treatise (1963-1967).

Organising Committee

Vanessa Brassey, Jørgen Dyrstad, Giulia Corti

Reviews

Review of Jenny Judge's presentation "Visual Music" by Eva Lin Vilhjalmsdottir, King's College London:

In her thought-provoking paper, Jenny Judge illustrates a new mode of thinking about music. Instead of thinking of music as merely sonic, she suggests thinking about music as representational; music becomes a way of showing the listener how emotions feel. Her way of thinking about music has a compelling double effect. On the one hand, music’s representational character makes perfect intuitive sense for avid music listeners. We are sometimes moved by music, feeling the emotions. However, often the case is that we sense the emotion while not feeling the emotion itself. Thus, music can communicate. On the other, the capacity of music to show how emotions feel can also help us appreciate the musical character of pictorial art that has the same unmediated character as music. Without intermediary content, specific visual art can show how emotions feel. By presenting the paper’s claim at the outset, Judge proceeds to walk the reader through each part of her thesis, making the paper’s argument convincing and forceful. Thereby encouraging the reader to reconsider the sharp boundaries usually put between music and other art forms—helping the reader appreciate the musical character within the visual and beyond.

A question would like to put to Judge can be put as follow - would you say that M-representations could also come in the form of touch, smell or taste?

Review of Natalie Bowling "Perception of Self and Other in Mirror-Sensory Synaesthesia" by Clare Conroy, University of Oxford

Natalie Bowling neatly presents an overview of the phenomenon of ‘mirror-sensory synaesthesia’ in this concise video lecture. Mirror-sensory synaesthesia, Bowling explains, is one step on from ‘mirror neurons’, those neurons that are unconsciously activated when we observe someone doing an action, producing a pattern of brain activity as though it were us doing the action. Mirror neuron activation is unconscious, whereas people who experience mirror-sensory synaesthesia are conscious of the way that their body mimics the sensation that they perceive. Bowling illustrates the phenomenon with intriguing quotes from the people who experience this kind of synaesthesia.

Using two qualitative studies to investigate the relationship between experiencing mirror-sensory synaesthesia and unusual self-perception, Bowling is able to begin to explore the implications of mirror-sensory synaesthesia in terms of how representations of ‘self’ and ‘other’ physical and emotional phenomenology can be related. In the context of the Sound Pictures conference, it is fascinating to consider how the psychological findings would be linked to a view like Derek Matravers’ arousal theory, to name just one candidate. At the conference itself, we look forward to hearing about the directions in which Bowling hopes to take her findings and further research.

Review of Colette Olive's "Seeing Sense: On Aesthetic Experience as Genuinely Multi-Modal" by Elsa Brisinger, King's College London.

Multi-modal aesthetic experiences are, according to Olive's concise and philosophically sharp analysis, all around us. The characteristic features of a multi-modal aesthetic experience include but are not limited to the inspirational cross-over between various sensory modes. For instance, the way in which one experiences a musical piece may be affected by what visual stimulation is simultaneously consumed. Or one's interpretation of a painting by physically grounded associations. Complex sensory exchange of this kind distinctly impacts our aesthetic experiences, and Olive superbly brings forth its philosophically interesting aspects. 

Presenting her paper in audio-form adds a fitting twist to the topic, insofar as the listener is offered — whether intentionally or not — a chance to personally experience the phenomenon it discusses. The multi-modality of one's listening experience is cleverly underscored by whatever other sensory input one is surrounded by. Was my experience different to yours? Most likely. 

It would be interesting and relevant to hear a bit more about whether Olive (or some other philosopher, for that matter) thinks there are species of aesthetic multi-modality that stick out? That is, whether there are combinations of senses that yield particularly potent aesthetic experiences? 

Review of Jason Leddington 'Moving Audio Visual Pictures' by Quince Pan, King's College London

JD-Moving-Audiovisual-Pictures | Download

In “Moving Audiovisual Pictures”, Jason P. Leddington argues that film is an essentially audiovisual art using a Heidegger-inspired Event-Property View (EPV) of diegetic (“in-scene”) sound in film. He rebuts yet develops the rival predominant Berkeleyan view of sound to show that it is a troubled albeit plausible alternative foundation of the same thesis. Marshalling the voices of other philosophers, psychologists, film theorists and editors, Leddington levels criticism against the visuocentric paradigm in analytic aesthetics, which insists that film is essentially visual and nothing more. Indeed, the inclusion of voices outside philosophy makes this piece engaging beyond the academy. Leddington’s parallel treatment of both Berkeleyan and Heideggerian positions also makes this piece appealing to people from both camps. However, I felt that his discussions of the bearing the nature of film has on film’s legitimacy as an art form were distractions from his main philosophical exposition. More clarity regarding the relationship between “pictorial”/”imagistic” and “visual” could be added in the introduction to highlight the gist of his thesis. If silent and sound film are essentially different artistic media, one wonders about the extent to which they should be critiqued differently, and if film theory as it stands can meet this challenge.

Review of Jason Leddington 'Moving Audio Visual Pictures' by Dr Jørgen Dyrstad.

In philosophy, films have often been regarded as essentially visual and essentially pictorial: as moving visual pictures. Such views not only play up the visual aspects of films but also play down their auditory aspects: sound is regarded as a non-pictorial and non-essential ‘addition’ to the visual ‘core’ that makes a film film. Leddington’s excitingly ambitious paper challenges this view. According to Leddington, most films are essentially moving audiovisual pictures: visual and auditory aspects combine to depict the action, and hence are equally pictorial and equally essential.

Leddington takes off from a traditional source of resistance to this idea: unlike visual recordings, auditory recordings present us with the sound itself rather than a depiction of it; since film is essentially pictorial, hence does not include anything non-pictorial in its essence, sounds cannot be part of film’s essence. Leddington rejects this line of thought at its roots: according to him, sounds too can depict.

His argument depends on a rich metaphysics of sound and hearing. Objects of hearing include not just sounds but also other things, notably ordinary events: yes, we hear sounds, say the sound of a door slamming, but we thereby also hear the door slam. The question is how we think of this relation between (hearing) sounds and (hearing) their sources. Rejecting another traditional view, which sees sounds as ‘intermediaries’ between us and ‘indirectly’ heard events, Leddington argues that events are ‘direct’ objects of hearing. Sounds are audible characteristics of such events, but not intermediaries. Rather, we hear events ‘in’ or ‘by’ hearing their sounds much like we see objects ‘in’ or ‘by’ seeing their visible properties such as colour. This analogy also shows us how sounds can be pictures. Just as we depict objects by reproducing their visual characteristics in photographs, we can depict events by reproducing their audible characteristics in sound recordings. The sound in the theatre depicts the events in the plot just as do the pictures on the wall.

Leddington’s rich and very interesting discussion of perception, representation, and art will inevitably raise questions. Undoubtedly, some philosophers will question his account of sound and hearing or his assimilation of sound recordings and visual pictures. I want to air a different concern – one perhaps more clarificatory than critical. According to Leddington, diegetic sound changes the pictorial nature of films: silent films are moving visual pictures, non-silent films moving audiovisual pictures. But what makes them both films? And what makes moving auditory pictures, like radio dramas, not films? Perhaps Leddington will say that films are essentially partly visual moving pictures. In any case, we are still left with intriguing questions about the more inclusive category of moving pictures – for instance, whether such pictures can be made of further materials than the visual and the auditory.

The National Gallery in collaboration with The Centre for Philosophy and Visual Arts at King’s College London, discuss whether we can still love the work of celebrated artists despite their immoral behaviour.

About

Gauguin’s legacy as a painter is undeniable, but his lifestyle presents a challenge to our appreciation of his greatness. To some, he was a bohemian renegade, who broke free from Europe’s bourgeois shackles in his quest for creative liberation in the South Seas. To others, he abused the myth of the noble savage, abandoning his family to satisfy his exotic fantasies, while boosting the market for his art back home.

In the wake of recent scandals, and movements such as #MeToo and #StayWoke gaining significant attention, once-admired artists, writers, actors and filmmakers have been disgraced. Can we still love the work of artists whose behaviour we loathe? Is it ever really possible for objects of beauty not to be spoiled by the dirty hands that made them? Or could Gauguin’s artistic achievements even justify what he did?

This discussion poses questions about how we can (and if we should) make such moral judgements, inviting us to reflect on our relationship to art and consider what we take to be its purpose or responsibilities. 

Speakers include Shahidha Bari, Daniel Callcut, Sacha Golob and Janet Marstine.Image: Detail from Paul Gauguin, 'Self-Portrait', 1885 © Kimbell Art Museum, Fort Worth, Texas (AP 1997.03)

Book tickets here

Shahidha Bari

Shahidha Bari is a writer, academic and broadcaster. She is a Fellow of the Forum for Philosophy at the London School of Economics. Bari appears regularly on BBC Radio 3's Arts and Ideas programme, 'Free Thinking', and is an occasional presenter of BBC Radio 4's 'Front Row'. Bari is currently Professor of Fashion Cultures and Histories at the London College of Fashion and is the author of 'Dressed: The Secret Life of Clothes'.

Daniel Callcut

Daniel Callcut is a freelance writer and philosopher with a wide interest in the arts. He writes for 'Prospect' magazine, 'Aeon', and 'Arts Professional'. Cambridge University Press and Routledge have published Callcut’s academic work and he is the editor of 'Reading Bernard Williams', an extensive collection of essays on one of the great philosophers of his generation.

Sacha Golob

Sacha Golob is a Senior Lecturer in Philosophy at King’s College London. He is the Director of the Centre for Philosophy and Visual Arts and the Associate Editor of the British Journal for the History of Philosophy. Golob has published extensively on French and German Philosophy and the Philosophy of Art. His current research looks at contemporary conceptions of degeneration, transformation and virtue.

Janet Marstine

Janet Marstine is Honorary (Retired) Associate Professor, School of Museum Studies, University of Leicester. She writes on diverse aspects of museum ethics from codes of practice to diversity initiatives and artists’ interventions as drivers for ethical change. She is author of 'Critical Practice: Artists, museums, ethics' (Routledge 2017), among other titles, and co-editor, with Svetlana Mintcheva, of the forthcoming volume 'Curating Under Pressure: International perspectives on negotiating conflict and upholding integrity'.

Join our panel for a debate about the ethics of exhibiting

What ethical dilemmas do curators face when arranging an exhibition?In particular, which considerations arise when displaying earlyanthropological photography today? Are there images that should not beshown? With reflection on TPG’s The Impossible Science of Being: Dialogues Between Anthropology and Photography (1995), we will examine the ethics of contemporary exhibition practices.

Speakers include: playwright and researcher Raminder Kaur (University of Sussex); anthropologist and art historian Christopher Pinney (University College London); curator and cultural historian Mark Sealy (Autograph ABP); and chaired by Sarah Fine, Centre for Philosophy and the Visual Arts, King’s College London.

Biographies

Raminder Kaur is professor of Anthropology andCultural Studies in the School of Global Studies at the University ofSussex. Her research has foregrounded visual cultures from a variety ofperspectives. Publications include Atomic Mumbai: Living with the Radiance of a Thousand Suns (2013) Kundankulam: A Story of an Indo-Russian Nuclear Power Plant (2020), and Performative Politics and the Cultures of Hinduism (2003/5). Aside from her academic writing, she writes scripts for theatre. www.sohayavisions.com

Mark Sealy is Director of Autograph ABP, anindependent photography organisation which champions work investigatingissues around cultural identity, race, representation and human rights.He completed a PhD at Durham University, where his research focused onphotography and cultural violence. He has curated several majorexhibitions, and his publications include Different (Phaidon 2001) with Professor Stuart Hall and most recently Decolonising the Camera: Photography in Racial Times (Lawrence & Wishart 2019).

In the lead up to TPG's 50th anniversary in 2021, The Ethics ofPhotography is a series of events bringing together practitioners,curators, academics, and other stakeholders, to discuss the enduringethical issues at the heart of photography. Looking back through aselection of pathbreaking exhibitions from the Gallery’s archive, weexplore in depth the moral issues connected with the images at hand.

A collaboration between The Photographers’ Gallery and the Centre for Philosophy and Art at King’s College London.

£8/£5 members & concessions.

By booking for this event you agree to our Terms & Conditions

It seemed that we had all got used to the idea that rather than a single definitive truth there are a multiplicity of competing and alternative perspectives. Now with the rise of 'fake news' and publicising of blatant lies, we want to reassert the importance of accuracy and truth. Can we call out lies and deception while still allowing for radically different ways of seeing? Is there a difference between truth within a perspective and truth that extends to all perspectives? Or should we simply conclude that postmodernism and relativism were a dangerous mistake?

Author of Post Truth Steve Fuller, theoretical philosopher Åsa Wikforss, continental philosopher Sacha Golob and former Moscow journalist and author of This is Not Propaganda Peter Pomerantsev ask whether anybody has a monopoly on truth.

A Collaboration between The Photographers’ Gallery and the Centre for Philosophy and the Visual Arts at King’s College London.

Photography plays a powerful and pervasive role in contemporary society, and raises a series of complex ethical questions for photographers, their subjects, curators, and audiences. For example, who or what should be captured, and by whom? When, if ever, should we refuse to photograph or be photographed? Which images should be circulated? When should we look, or look away?In the lead up to TPG's 50th anniversary in 2021, The Ethics of Photography is a series of events bringing together practitioners, curators, academics, and other stakeholders, to discuss the enduring ethical issues at the heart of photography. Looking back through a selection of pathbreaking exhibitions from the Gallery’s archive, we explore in depth the moral issues connected with the images at hand.This first event unpicks The Ethics of… Capturing, with reflection on TPG’s opening exhibition The Concerned Photographer. Questions addressed, both relevant to then and now, include: Does a photographer have a distinct set of artistic, ethical, and professional obligations, different from those of (other) visual artists? Or are there people/objects/scenes that should not be captured or circulated?

Speakers include, Paul Lowe, photographer and Course Leader for MA Photojournalism and Documentary Photography at London College of Communication; Laura Pannack, British social documentary and portrait photographer, Dawn M Wilson, Lecturer in Philosophy at the University of Hull; and chaired by Sarah Fine, Centre for Philosophy and the Visual Arts, King’s College London. Book Tickets here £8/£5 members & concessions.

Immerse yourself in a playful and joyful dance experience as Tick Tock Bridget take you on a journey in and out of reality, swapping between the factual and the fictitious. Travel with them in their pursuit of ‘Rejoining Jane’ and share in the delight that this brings – all within the beautiful Bush House Arcade, transformed for the evening into a cosy cafe!. Register for your free ticket here.

About Tick Tock Bridget

Tick Tock Bridget are a group of Brighton based dance artists who came together in 2015 to create live performances that celebrate the everyday stories we share. Using a joyful jigsaw of dance, music and theatre they intend to entertain and inspire their diverse audience.They are: Rosa Firbank, Harriet Morris and Jessica Miller. This performance is presented as part of Art & Philosophy: Migration, Meaning, Time, an exhibition from the Centre for Philosophy and The Visual Arts, hosted in the Bush House Arcade 26 February - 22 March 2019Art | Philosophy is a collaboration between King’s College London’s Department of Philosophy and Kunsthuis SYB. It is supported by the university’s Culture team and the Arts and Humanities Research Institute.#ArtandPhilosophy#KingsCulturalCommunity

Cover image used pending permission from Tick Tock Bridget.