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FRAUD ‘A Simultaneous Agreement’ 23 April - 18 July Come to the gallery to see ‘A Simultaneous Agreement’ by FRAUD (Audrey Samson & Francisco Gallardo), whose latest body of work centres on the circulation of nutrients and infrastructures permeating the current UK water crisis. Examining the intimacy between the fertiliser mine and the treatment plant, the project asks, when minerals move across the earth what do they bring with them? Shown here is the glass fountain – ‘Saharan Rock, on Panamanian Soil, in South African Waters’ – which from the 15 May filters local Hogsmill River water with activated charcoal. The sculpture charts the recirculation of phosphate rock via the path of the NM Cherry Blossom – a bulk-carrier ship carrying contested phosphate rock from the Sahara to East Asia. In doing so, it traces sediments which build (and unbuild) worlds as they move from the shallow bench of the mine to the port warehouse and from South African tribunals to industrial farmland. The exhibition will host a consultation and public campaign to make the nearby Hogsmill River swimmable, using bathing request legislation as a tool for considering the intimacy with nutrients as pollutants, from their extraction and production to their re-circulation in water bodies (both human and non-human). Archival material in the exhibition – ‘An Atlas of P’ – also examines colonial legacies of phosphate. Included are early prospecting efforts by Spain in occupied Sahara Occidental, which held the world’s most concentrated phosphate deposits. Since 2004, most of materials displayed have been successively classified. Here, the ownership of visuals resources mirrors their raw counterpart. Far from being neutral representations, these images foreground the colonial logic embedded in visual regimes and denounce the historiographical invisibility of extractive architectures in Western Sahara and their enduring impact on land, waters, bodies, and sovereignty. Images: FRAUD ‘A Simultaneous Agreement’ at Stanley Picker Gallery, Kingston University 2026. Photo: Reece Straw @reecestraw @la_fraud @kingston.school.of.art @kingstonuniversity @aceagrams @inkingstonuk @conseilartscan

Join us this Friday 15 May 6-8pm for a Stanley Picker Gallery Late ‘Open Waters’ as part of Kingston Artists Open Studios @kaoskingston Come and celebrate the watery influences on the work of local artists, students and fellows and spend time after hours with the work of artists participating in the exhibitions across the gallery. We are bringing together Kingston-based artists in celebration of our open call exhibition ‘Open Waters’, which was selected by @la_fraud and is currently on view in our Project Studio. The 15 May also marks the start of the bathing season and connects to the local efforts to designate part of the Hogsmill River safe for swimming. In honour of the start of the bathing season it will be the first time to witness addition of water from the Hogsmill River to the glass fountain ‘Saharan Rock, on Panamanian Soil, in South African Waters’ which is part of FRAUDs current exhibition A Simultaneous Agreement. Stanley Picker Fellows FRAUD @la_fraud will introduce their exhibition and their research into phosphate mining and its remediation through activated charcoal. This evolving work operates as a spatial and critical design process, connecting the gallery to local ecologies. Join us for an evening of free drinks, conversation and reflections on water. @kingston.school.of.art @kingstonuniversity @aceagrams #bathingseason #phosphates #kingstonartists #kaos whatsoninkingston

Very proud of my latest commission and collaboration: 'A New Alchemy' wearable sculpture made of Avtivated Charcoal Fabric, (285cm diameter), for Fraud's show 'A simultaneous Agreement'. Thanks to @la_fraud , loving this collaboration! Special thanks helping hands towards the end: Polly Simon @pollypresents and Rosalind Wilson @rosalindfreyaclaire Come along to see the show and to wittness the activation of the piece , performed by Juan Sanchez Plaza @juansanchezplaza and choreographed by Neus Gil Cortés @neus_gil_cortes_movement Be part of the performance on 12th of June: /programme/a-simultaneous-agreement/

Please join us for our next Hogsmill River Community Gathering on Tuesday 28 April from 5pm-7pm at the Stanley Picker Gallery, connected to our current exhibition ‘A Simultaneous Agreement’ by FRAUD @la_fraud Date: Tuesday 28 April Times: 5pm-7pm (arrival from 4.30pm) Venue: Stanley Picker Gallery All Welcome / Tea & Cake provided For this gathering we will be joined by professional choreographer and movement director Neus Gil Cortés @neus_gil_cortes_movement who will introduce the performance strand of the project - ‘Standing for the River’. There will be opportunities to learn more about the performance and about how you can get directly involved. If you haven’t attended one of these gatherings in the past there will be a chance to learn about the wider project and FRAUD’s plans to submit a bathing request to the Environment Agency to designate part of the river safe for swimming. In this session we will talk through any ideas you may have that could form part of the bathing request public consultation period, which takes place here from 16-20 June. We are hoping to host anything from river monitoring sessions to poetry workshops, we welcome each and every idea. Whilst this is the final community gathering facilitated by FRAUD themselves as part of their current Stanley Picker Fellowship, the Gallery’s programme of public events will continue to evolve. If anyone in your network would like to attend this or future events, please forward them this invitation, and ask them to get in touch with Madeleine Collie [email protected] We hope to see you here at the Gallery soon! @kingstonuniversity @kingston.school.of.art @aceagrams @biodiversityku @kingstonstudents @kingstonhive #swimmablerivers #kingston #community #chalkstreams #waterhealth

Join us for the opening of A Simultaneous Agreement, the latest body of work by Stanley Picker Fellows FRAUD (Audrey Samson & Francisco Gallardo). Launch Event Wed 22 April 2026 6-8pm / Free Drinks / All Welcome! The exhibition explores the hidden flows shaping the UK’s water crisis. Tracing the intimate link between the fertiliser mine and the treatment plant, the project asks: when minerals move across the earth, what do they bring with them? There are 4,929 bodies of water in England - all of which have been deemed unfit for both human and more-than-human life. Rivers like the Hogsmill, which flows alongside the Stanley Picker Gallery, are saturated with chemicals from agricultural run-off and sewage overflow. Water - the stuff of life - has become a carrier of unevenly distributed violence. Alongside a glass fountain that cleans Hogsmill River water with activated charcoal, archival material from the Bou Craa Mine in Western Sahara and wearable sculptures the exhibition hosts a consultation and public campaign to make the nearby Hogsmill River swimmable. The artists are using bathing request legislation as a tool for considering the intimacy with nutrients as pollutants, from their extraction and production to their re-circulation in water bodies (both human and more-than-human). FRAUD @la_fraud (Audrey Samson & Francisco Gallardo) is a duo which develop modes of art-led enquiry that examine the extractive gaze of the management of raw materials. Through their practice, FRAUD cultivate critical spatial literacy and cosmology building. Image: Frondicula fosfatica. As attested by the glassy exoskeletons of microfossils such as Frondicularia fosfatica, the northwest part of the African continent, which holds the majority of the world’s phosphate reserves, was originally part of the Atlantic seabed. Permission to display and reproduce the image was granted by Professor Pablo Rabasco (University of Cordoba); repositories of the research group GAMUC and the University of Seville, Spain. @kingston.school.of.art @kingstonuniversity @biodiversityku @aceagrams @kingstonhive #WaterCrisis #EnvironmentalArt #swimablerivers #UKRivers #EarthDay

Book lauch "EURO—VISION: Undergrounding the Critical Mineral” by FRAUD (K. Verlag, 2025). Lithium, copper, uranium, child labour, and the seabed—resource extraction is one of the most contested and problematic arenas of consumer complicity today. “EURO—VISION: Undergrounding the Critical Mineral” asks not just where or what is being mined, but: What counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, this richly layered volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them. FRAUD (Audrey Samson, Françîcco Gayardo, Gris Perla Amor, and Jefa Papi Chulo) is an undisciplinary pack whose practice interrogates UK and European legal systems that perpetuate resource- and commodity-oriented relations. Over the past several years, as part of their ongoing project EURO—VISION, FRAUD has critically examined the UK’s Critical Minerals Strategy and the EU’s Critical Raw Materials Act to inspire alternative cultural practices, political imaginations, and networks of mutuality and worldmaking. /

FRAUD: EURO—VISION: Undergrounding the Critical Mineral — Processing Process. Edited by Francisco Gallardo & Audrey Samson (FRAUD) in collaboration with Michaela Büsse. Lithium, copper, uranium, child labor, and the bed of the deep sea—the mining sector is one of the most contested and problematic arenas of consumer complicity today. EURO—VISION: Undergrounding the Critical Mineral begins not with a location or a specific resource, but with a fundamental question: what counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, this richly layered volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them. Developed by the artist duo FRAUD (Francisco Gallardo & Audrey Samson) in close collaboration with environmental humanities scholar Michaela Büsse, the book gathers a wide range of voices—artists, scholars, economists, activists, lawyers, and journalists—to reflect on the long genealogies of resource extraction, the valuation paradigms that uphold them, and the terminologies that give them legitimacy. But the story doesn’t stop there. In the context of EURO–VISION, “undergrounding” becomes a tactic: a means of unsettling the structural violence concealed behind seemingly neutral data, and of turning toward the mineral itself—its material presence, its histories, its speculative potential. Published in K. Verlag’s Processing Process series, EURO—VISION draws on FRAUD’s ongoing, research-led inquiry into critical mineral governance. Combining interviews, visual essays, and commissioned texts, it opens new pathways for thinking about the entanglements between geology, economy, and power. At once analytical and imaginative, the book invites us to see the subterranean anew—not simply as a resource, but as a site of resistance, relation, and possible futures. ▶▶▶▶ kverlag.com/collections/all/products

Imágenes del  II seminario «Artes y literaturas en culturas extractivistas» que tuvo lugar el 13.02.2026 en el Seminario del Departamento de Historia del Arte, Universitat de Barcelona. Muchas gracias a las ponentes y a las asistentes! Próxima parada: París! ❤️

Lithium, copper, uranium, child labour, and the seabed—resource extraction is one of the most contested and problematic arenas of consumer complicity today. “EURO—VISION: Undergrounding the Critical Mineral” asks not just where or what is being mined, but: What counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, this richly layered volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them. FRAUD (Audrey Samson, Françîcco Gayardo, Gris Perla Amor, and Jefa Papi Chulo) is an undisciplinary pack whose practice interrogates UK and European legal systems that perpetuate resource- and commodity-oriented relations. Over the past several years, as part of their ongoing project EURO—VISION, FRAUD has critically examined the UK’s Critical Minerals Strategy and the EU’s Critical Raw Materials Act to inspire alternative cultural practices, political imaginations, and networks of mutuality and worldmaking. /

The seminar proposes a space for meeting and exchange among researchers working in art history, curating, literature, and economics, with the aim of critically analyzing the relationships between cultural production and extractive dynamics. Through an interdisciplinary dialogue, the seminar seeks to rethink the ways in which artistic and literary practices address contemporary forms of extraction—of natural resources, territories, knowledge, data, and more—and how these practices can contribute to the construction of critical epistemologies in the face of the expansion of global capitalism. Here, the concept of extractivism is understood beyond its economic dimension, as a cultural and political regime that organizes relationships between human beings, territories, and forms of life. From this perspective, the seminar invites reflection on the persistence of colonial logics in processes of material and symbolic appropriation, as well as on the forms of resistance, knowledge, and affect that emerge in territories marked by ecological and social devastation. Through the presentation of research projects and case studies, the seminar will bring together theoretical and methodological frameworks that allow the arts and literatures to be approached from the perspectives of political ecology, decolonial studies, and the environmental humanities. Free event, open to the general public. Slide to see the catalan and spanish version of the programme.

⤧ 𝔽ℝ𝕆𝕄 𝕄𝕀ℕ𝔼𝕊 𝕋𝕆 𝕄𝔸ℝ𝕂𝔼𝕋𝕊 $ This episode explores how the 𝖊𝖈𝖔𝖓𝖔𝖒𝖎𝖈 𝖎𝖒𝖕𝖔𝖗𝖙𝖆𝖓𝖈𝖊 part of the criticality equation operates as a continuum between markets and minerals. In discussion with Aleksandra Wojewska @lolkaknits we probe some of the actors involved in 𝗽𝗿𝗶𝗰𝗲-𝘀𝗲𝘁𝘁𝗶𝗻𝗴 within the commodity markets to reveal the modes in which CRITICALITY enables speculation and thus extraction. Then we move into the current infrastructures of commodity trading that shape the material conditions of trade, labour, and environmental extraction. Here 𝗽𝗿𝗶𝗰𝗲-𝘀𝗲𝘁𝘁𝗶𝗻𝗴 renders visible - and open to critique - the entangled relationships between finance and resource management. 𝓛𝓲𝓼𝓽𝓮𝓷 + 𝓻𝓮𝓪𝓭 → link in bio (audio + transcript) Check out Aleksandra Wojewska’s chapter in 𝙀𝙐𝙍𝙊—𝙑𝙄𝙎𝙄𝙊𝙉: 𝙐𝙣𝙙𝙚𝙧𝙜𝙧𝙤𝙪𝙣𝙙𝙞𝙣𝙜 𝙩𝙝𝙚 𝘾𝙧𝙞𝙩𝙞𝙘𝙖𝙡 𝙈𝙞𝙣𝙚𝙧𝙖𝙡 – now available to order (link in bio). Edited with @mchliaea published by @k_verlag The EURO—VISION public programme is supported through the @stanleypicker Art and Design Fellowship, @kunstenpunt @canada.council @thebritishacademy - previously also by @artangel_ldn ‘Making Time’, @artscatalyst & @radarlboro Original music by @pfreud Design: @francisca.roseiro Sound editing by @kitechy

𝐄𝐔𝐑𝐎—𝐕𝐈𝐒𝐈𝐎𝐍: 𝐔𝐧𝐝𝐞𝐫𝐠𝐫𝐨𝐮𝐧𝐝𝐢𝐧𝐠 𝐭𝐡𝐞 𝐂𝐫𝐢𝐭𝐢𝐜𝐚𝐥 𝐌𝐢𝐧𝐞𝐫𝐚𝐥 𝐛𝐲 𝐅𝐑𝐀𝐔𝐃 13th December 2025 Book release /// 4.30-7pm, talk 5pm Lithium, copper, uranium, child labor, and the bed of the deep sea—the mining sector is one of the most contested and problematic arenas of consumer complicity today.  EURO—VISION: Undergrounding the Critical Mineral begins not with a location or a specific resource, but with a fundamental question: what counts as extraction today? While we might picture drills and quarries, the deeper story unfolds across financial markets, trade policies, legal frameworks, and the metrics used to define what is “critical” in the first place. Taking the EU’s Critical Raw Materials Act as a point of departure, the volume traces the hidden infrastructures and governing logics that shape how the mining industry moves substances from and across the Earth—and what these minerals, in turn, move with them. Developed by the artist duo FRAUD (Francisco Gallardo & Audrey Samson) in close collaboration with environmental humanities scholar Michaela Büsse, the book gathers a wide range of voices—artists, scholars, economists, activists, lawyers, and journalists—to reflect on the long genealogies of resource extraction, the valuation paradigms that uphold them, and the terminologies that give them legitimacy. Please join us for an afternoon book presentation, some copies will be available on site.   au JUS invited FRAUD for their early-on research back in July 2023 so we are very happy to host them again.  Publisher link to the book  /collections/all/products/euro-vision