Unit 2 Project Space

Come draw by candlelight at our still life drawing night @unit2projectspace !<} Free event all we ask is that you bring yourself <3 We have Gaza and Palestine Cola to sell all funds will go to Gaza! Gaza donations welcome! Msg me for deets Unit 2 Omega Works 167 Hermitage RD N4 1LZ Pls share x

Thank you to everyone who came to the opening of STRATEGIC DISSOCIATION last night ✨ It was a wonderful evening, punctuated by a touching and intimate performance by @pille.xx2 The exhibition is open today and tomorrow, 1-6PM. Come through for a chat and a hot or cold drink! Photos: @ednofedery

OPENING 8TH AUGUST Join us this Friday for the opening of STRATEGIC DISSOCIATION, a solo show by Ari Pilhofer, curated by Romane Courdacher. Ari Pilhofer will present a series of new works as well as a performance on the opening night 🍷 Private view Friday 8 August 6 to 9 PM Open 9 & 10 August 1 to 6 PM 📍Unit 2 Omega Works 167 Hermitage Rd N4 1LZ Poster by @ednofedery @pille.xx2 @queenneoprene

Thrilled to announce that our next show is opening in 2 weeks! We invited @pille.xx2 to take over Unit 2 Project Space for a solo presentation from Friday 8th to Sunday 10th August. They will present a series of paintings and sculptures, as well as a new performance. Pilhofer (b. 1993, Amberg, Bavaria) is a London-based interdisciplinary artist working across painting, sculpture, performance, sound, ceramics, digital modelling and text. They are currently completing an MA in Painting at the Slade School of Fine Art, supported by a DAAD scholarship from 2024 to 2026. Their practice expands painting into a porous system that seeps into sculptures, gestures, installations, sound, and performance. Pilhofer’s work explores how social and class-based structures shape identity and aesthetic judgment. Drawing from queer theory, Bavarian folklore, German subcultures and personal mythology, they create fragmentary forms that reject resolution. A recurring figure called the Spider-Knight functions as a gender-resisting archetype, appearing in performance, sculpture, and image as a shifting vessel of protection and refusal. In recent years, Pilhofer’s practice has been presented at Galvani Galerie(Nuremberg), Kurt-Kurt (Berlin), Bayerisches Staatsministerium (Munich), Warehouse X1 (Boston, Massachusetts), and in collaborative performances with artist Simone Körner in Nuremberg and Chicago, Illinois. They have also taught workshops at the International Summer Academy in Salzburg and HFBK Hamburg, collaborating with artist Andrea Huyoff. ***** 1-3. J.E. - read it in my angry palms, 2025. Acrylic on linen, eyelets 4,5. Footnote Judgement, 2025. Screen print and acrylics on canvas 6. Photograph from Ari’s latest performance shown as part of the group show I am the Beast I Worship at @the.bath.house.hw , 2025 7. AKNF: Neoliberal Stone-Era - Phallic Flieder, 2025  Watercolour on paper, butcher hooks, tension straps, glazed ceramic piece Wasp-Nest 1-2, 2025 3D printed ceramics 8. Wasp-Nest 1-2, 2025 3D printed ceramics 9. Spider-Knight, 2024 Oil and acrylics on canvas, tension strap, wooden stick, glazed ceramic 10,11. VOYEUR 2.3, 2024 Eyelets and acrylic on canvas

When doing their residency at Unit 2 Project Space, Clara aka Noumi worked closely with co-curator of the space Romane Courdacher. Their relationship, first as friends and then as artist and curator, allowed for the project to evolve in very raw and vulnerable ways. The conversations Romane had with Noumi led to the writing of a poetic text that accompanied the exhibition. “My burning body must protect itself from the monster devouring it”, they say as they gently peel scales of dried skin off their arm. They’ve grown thick skin, yet they get deeply affected by people and spaces and tensions around them, their thick carapace erupting in dozens of scabs and sore points, soft spots where their armour isn’t tough enough to resist invasion. Despite all those layers of skin accumulated over the years, their shell, unlike most crustaceans’ and reptiles’, never seems to harden enough, leaving it sensitive and porous to the outside. It stays in an in-between state, cicatrising halfway, the exposed wounds turning into inflamed scar tissue bordered by sharp edges. The limit between them and the world, between them and others, brittle, as thin as insect skin, a translucent membrane, hypersensitive, threatens to tear open at every potential aggression. They have come to hate slowly their skin of transparent metal.* * “she has come to hate slowly her skin of transparent metal” Quote from ‘Death Dance for A Poet’, Audre Lorde in The Black Unicorn. ***** 1,3-6. Flayed, 2024. Suspended stainless steel plates, blister packs, metal rings, chains, carabiners, knotted plastic coated metal wire, wires, found objects, repurposed 3D print. 2. (ex)tension, 2024. Phone tripod stand, stainless steel plate, ink, red LED light. 7. œ, 2024. Speaker stand, metal lid, PVC tube, steel grid, corrugated fluted Polypropylene sheet, stainless steel plates, engraved pottery debris, Vaseline, plastic shovel. 8-10.Bitter Sun in Taurus, 2024. Gym ball, stainless steel stand, shower hose, stainless steel plate, thin chain, magnet, bike handlebars, needle, Dremel bit.

More images from STINGERS, a solo show by Clara Alba aka Noumi presented at Unit 2 Project Space last summer. “Clara Alba’s STINGERS is a point of entry, a breach, both physical and emotional, into their skin, that splits open, heals and reopens. Stingers, warriors. Our skin is supposed to shield our insides against external threats, but when it cannot do it properly, then a weapon - a sting - seems needed for self-defence. Inspired by scorpions, their resilience, their ability to shed skin but also their hypnotic combat dances and mating rituals, Clara Alba weaves links between chronic illness, hypersensitivity and eroticism. Through this new body of work, they explore the importance of queer loves and friendships as well as the power of movement and dancing as a liberation, necessary to trauma healing processes.” ***** 1-3. desire for endless frustration, 2024. Mild steel, stainless steel plate, metal rings, knotted plastic coated metal wire, faux leather, beaded chain. 4-6. fenêtre sur rue, 2024. Raisins & Vaseline on window, gingko leaf, zinc pill. 7-8. scrub, 2024. Rusted display stand, oyster, latex, raisins, salt, turmeric pill. 9-10. prescription loop, 2024. Speaker stand, corrugated PVC, stainless steel plate, ophthalmic ointment, prescription carbon copy.

we’re excited to finally share more pictures of STINGERS, Clara Alba’s debut solo show in the UK🦂 Clara aka Noumi spent a month at unit 2 project space doing an artist residency last August. For their end of residency show, they unveiled 11 new works in a brilliantly produced and articulated site specific installation that explored vulnerability, chronic illness, healing processes and queerness. We will be posting more install shots in the next week, stay posted ❣️ @claradelalba #sculpture #residency #artist #art #installation #unit2projectspace #u2ps

Thanks to everyone who came to the opening of STINGERS on Thursday, you really made the evening special 🫶🏻 The show is still open today and tomorrow until 6pm. Come through for a tea and chat Love, u2ps team & @claradelalba x Photos: @ednofedery @queenneoprene #opening #art #contemporaryart #projectspace #artistcollective #sculpture #installation #community #unit2projectspace #u2ps

“STINGERS” IS OPENING THIS THURSDAY, 6PM Unit 2 Project Space, artist-run initiative co-curated by @rcasculpture alumni Romane Courdacher is excited to present Clara Alba’s first solo show “STINGERS”. Clara Alba’s practice is a sensitive and committed exploration of the body in Hyper-vigilance and their understanding of its defence and adaptative mechanisms. At the same time, Clara draws strength from queer, decolonial feminist and anti-capitalist friendships and struggles. Through sculpture, performance, video, sound and above all installation, they evoke the body’s envelope and nervous flux. Their creative process can be likened to the stages of the digestive system: mastication, mixing, transit(ion), absorption, evacuation. It is also inspired by the cyclical stages of inflammation and healing in the skin. Then, by developing a gestural language inspired by complementary alternative therapeutic techniques such as acupuncture and ASMR, the recovered/collected objects are transformed and used to compose assemblages that can be modulated on alert. These ambiguous assemblages interact with the space, confronting unstable equilibriums in an atmosphere that is both welcoming and disturbingly strange. Their work aims to address intimate and political systemic violence, as potential links that bring us together to counter it, inviting us to reflect on our identities, our lifestyles and our resistance.  How can we regain our power through embodied, hijacked gestures and postures? The PV is from 6 to 9PM on Thursday 29, August and the show will be open every afternoon until Sunday 1, September at Unit 2 Omega Works 167 Hermitage Road N41LZ. @claradelalba @queenneoprene #stingers #projectspace #artistrunspace #community #artcollective #sculpture

OPENING AUGUST 29TH As Clara Alba’s residency at Unit 2 Project Space is coming to an end, we are happy to present their debut solo exhibition “STINGERS”, curated by Romane Courdacher. Join us for the opening next Thursday, 6-9pm! The show will be open every afternoon from Friday 30 August to Sunday 1 September, don’t miss it! ⚔️ Poster by Edward Sogunro @claradelalba @unit2projectspace @queenneoprene @ednofedery #contemporaryart #soloshow #artistresidency #claraalba #stingers #projectspace #artistrunspace #community #artcollective #sculpture

@claradelalba ‘s research process implies a lot of journaling and drawing. Their experimentations with objects and materials naturally tie in with that more personal and introspective practice. It is also fuelled by a lot of reading. We thought it’d be interesting to share some of these journaling pages as well as references that have been inspiring Clara during the early stage of their residency. 1. engraving of a drawing on stainless steel by Clara 2. excerpt from “Confession of a mask”, Yukio Mishima, 1949. 3. & 5. pages from Clara’s notebook 4. excerpt from “Tabor”, Phoebe Hadjimarkos Clarke, 2021. 6. & 7. ‘Death Dance for a Poet’, ‘Fog Report’ & ‘Pathways: From Mother to Mother’, published in the poem collection “The Black Unicorn”, Audrey Lorde, 1978. 8. Covers of the “The Collected Poems of Audrey Lorde”, 2000 and “Letter to My Little Queer Self (LTMLQS)”, 2021. 9. & 10. ‘12th February 2019’ and ‘We will collide’, letters by H Howitt in “Letter to My Little Queer Self (LTMLQS)”.

It’s already been one week since @claradelalba started their residency at Unit 2 Project Space and we thought we’d share some of their experimentations and progress so far ⛓️🗜️🗡️🩹🦂 we are so excited to see how these early experiments will evolve and cannot wait for the show to open in 2 weeks ⚔️ #art #projectspace #contemporaryart #sculpture #community #artcollective #unit2projectspace