The exhibition 'Hope to Nope' presents political graphic iconography from the past decade, created in the wakes of events such as the Charlie Hebdo attacks, Brexit, and Donald Trump's presidency. It is designed to subvert the space of the gallery and takes it’s cue from the ‘organised chaos’ that characterises the urban spaces in which most of the action on show takes place, luring the viewer away from the museum context into a more dynamic, familiar yet unpredictable environment.
A rigorous ‘economy of means’ drives the design of the exhibition, more akin to the language of activism - nimble and direct - rather than to the more formal language of display more often found in galleries and museums.
Eight ‘fake columns’ replicate the existing pair of columns in the space and a large ‘hoarding wall’ awkwardly divides the gallery in two across a diagonal axis. A new order takes hold and contradicts itself at the same time, defining the various sections in an inconspicuous way. Viewers are guided from one section to the next in a free flowing manner, slowly revealing the distinct character of the three thematic sections.
Another wall cuts through the space diagonally, generating a triangular plan with a large rectangular concrete pillar at the centre. The resulting sharp angled corners and narrow walkways in the reconfigured room are exploited to bring visitors uncomfortably close to the subject on show, such as the floor to ceiling display of magazine covers featuring Trump.