ICVL / 2015
IC Visual Lab

A party-show with a series of visual interventions, texts, a display of publications and a multimedia screening.

In light of the parliamentary elections in 2015, and the opportunity to express our democratic freedoms, IC Visual Lab brings you a programme to cleanse your political demons and purify your soul.  Even if you are in a concrete constituency where your vote will have no impact, we are offering an opportunity to challenge political conventions and consider ways to progress.

A collective intervention by Lewis Bush, Daniel Mayrit & Riot Books, Colin Pantall, Amak Mahmoodian, Daniel Bosworth & Alejandro Acín

Metropole was once a term used to describe London in its relationship with the British Empire, a relationship hierarchical and unequal, with power radiating out from the metropolitan centre, and the resources of the dominions radiating back in return.
The decline of the national empires of the eighteenth and nineteenth century has given rise to a new global power, one which has centred itself on the site of old metropole. This is the power of global capital, a force which views everything it encounters in terms of a simple binary, of opportunity or obstacle.Metropole records the effect of this capital influx on London, the rapid transformation of swathes of the metropolis, and the sensation of feeling lost in a city one once regarded as home.


Months after the London Riots of 2011, the Metropolitan Police hand delivered leaflets to people’s letterboxes which depicted youngsters that presumably took part in the events. Images of very low quality, almost amateur, were embedded with unquestioned authority due both to the device used for taking the photographs and to the institution distributing those images. But in reality, looking back in time, what did we actually know about those people? We had no context or explanation of the facts, but we almost inadvertently assumed their guilt because they had been ‘caught on CCTV’. This book intends to appropriate the characteristics of surveillance technology in order to create a very different set of images. Its subject matter is not the usual target of surveillance cameras, but a list of the 100 most powerful people in the City of London (according to the annual report by Square Mile magazine in 2013). The people here featured represent a sector which is arguably regarded in the collective perception as highly responsible for the current economic situation, but  nevertheless  still live  in a comfortable anonymity, away from public scrutiny. Hence the questions raised would be of the same nature: in the same way that we could not possibly know if the youngsters portrayed by the police were actually criminals, we cannot assume either that the individuals here featured are all involved in the ongoing financial scandals…but aren’t they?



TV Personalities is my narrative of the millennium told through the medium through which I now experience the world; the medium of analogue television photographed on analogue film, the medium of the optimism of  the year 2000 exploding in the catastrophes of the Twin Towers and subsequent wars in Afghanistan, Iraq and who knows where next. Maybe it’s a narrative of disaster and deceit, from all corners, of people getting things hopelessly wrong again and again, and staking people’s lives on it. Maybe it’s part of the Age of Madness, of constant remembering and forgetting and reminding and distorting until what’s wrong is right and what’s right is wrong and it all seems to make perfect sense.


AMAK MAHMOODIAN –  “The function of Photography in Politics”

A series of writings, photos and videos questioning the function of photography and woman in politics.



The Corrupted Game is a participatory initiative coordinated by Alejandro Acin which aims to examine the weakness of the human condition when it is seduced or threatened by the powerful. This body of work shows Spanish politicians from various parties who have been caught in corruption cases where their public image is literally altered by adding phrases from their sentence into the image code.




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