Gay Pride, Nottingham 2026

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Ukraine Gallery

https://tinyurl.com/24nuwl9s

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Ukraine Rally, Nadia Whittome MP sends support

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Ukraine National Anthem, Sung at Rally, Nottingham

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Ukraine Rally from Speakers Corner to Robin Hood Statue, Nottingham on Saturday Afternoon

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What’s Up – DJ.Ilham

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Thought to share my new ringtone. What’s Up

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Police Surveillance Exhibition, Hotel Normandy, Paris

Tom from NTU reminded me of an exhibition we produced at Hotel Normandy, Paris, France.

https://www.tgal.co/alan-lodge-salon-de-normandy

Alan Lodge, Black & White Surveillance
Salon de Normandy by The Community
Room 412, Normandy Hôtel, 7 Rue de l’Échelle, 75001 Paris, France
October 22nd – 25th, 2020.

Black & White Surveillance is a presentation of photography and archive materials surveying Alan Lodge’s extensive counter-documentation of police surveillance and his past involvement in legislative action and activism.

Alan ‘Tash’ Lodge (born 1953 in Luton, Bedfordshire) is a photographer based in Nottingham who has focused on alternative movements since the mid 1970s. After a short career as an emergency paramedic in the London Ambulance Service, Lodge took up photography and documented the early ‘free festivals’ in 1978. In 1985 Lodge joined the Peace Convoy on its way to Stonehenge where a festival was planned to take place and he photographed The Battle of the Beanfield. In 1987 Lodge published the booklet Stonehenge: Solstice Ritual, a photographic account of the rituals taking place at Stonehenge. Since the events at Stonehenge, Lodge has covered a range of issues including the Travellers movement, Reclaim the Streets, the road protests in the mid 1990s and the campaign against the Criminal Justice and Public Order Act 1994. Lodge is also well known for his documentation of police surveillance, in which he received a ‘Winston Award’ for in 1998. Since the late 1990s Lodge has been a major contributor to the media network Indymedia.

In recent years Lodge has continued to extensively document his involvement and attendance of public demonstrations and festivals, and has actively involved himself in various welfare and advice agencies. He has worked as a field worker for the Release organisation and has sat on the management committees of several charities, including Festival Welfare Services, the Travellers Aid Trust and the Standing Conference on Drug Abuse (Scoda)
Lodge’s website One Eye on the Road operates as an extensive archive of his prolific photographic career, as well as an essential resource providing legal information and advice. Lodge has successfully taken the police to court and won damages for false claims made against him. He has also pursued a number of complaints against the police.

Lodge’s work has appeared in publications & journals including Guardian, Independent, i-D, Select, Sounds, DJ, Radio Times, New Statesmen & Society and Squall. His photographs have also been used in TV documentaries across the BBC and Channel 4, including most recently for Jeremy Deller’s BBC documentary piece Everybody in the Place: an Incomplete History of Britain 1984-1992.

Photographs by Aurélien Mole.

Press:
i-D (interview)
Huck Magazine
Flash Art
i-D France (overview)
Purple
Artsy
LesInRocks

Some of the Operation Nomad stuff with obviously appear in the NTU Bonington Gallery Exhibition that I’m currently working with.

https://boningtongallery.co.uk/event/alan-lodge-common-grounds-counterculture-confrontation-since-1976

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Sky News : “Better than living in a cardboard box”: Van dwellers evicted, now what?

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Summer Outfit Selfie xx

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Dan Opening Speeches at Sequence Photo, Nottingham

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Backlit Opening Speeches at Sequence Photo, Nottingham

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Panoramas : Sequence Photo event opening at Backlit Gallery

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Sequence Photo event opening at Backlit Gallery

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Meet the people living the van life in Cornwall : Channel4 News

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Common Grounds: Counterculture & Confrontation since 1976 : Press Release

Press Release: 7 July 2026

Alan Lodge : Common Grounds: Counterculture & Confrontation since 1976

Open: 25 September – 12 December 2026
Launch: Thursday 24 September, 6-8pm
Bonington Gallery, Nottingham Trent University
www.boningtongallery.co.uk

Free entry

Alan Lodge: June 1985, Battle of the Beanfield, Wiltshire. © Alan Lodge

This autumn, Bonington Gallery will present the first major survey of photographer Alan Lodge, one of the UK’s most important chroniclers of alternative culture, protest movements, and grassroots activism. 

Spanning five decades, the exhibition brings together work documenting travelling communities, free festivals, rave culture, environmental campaigns, and anti-war protests.   As a member of a travelling community for many years, Lodge offers a rare insider perspective into the people, places, and subcultures that emerged beyond mainstream society, exploring how they have shaped Britain’s social and cultural landscape over the last 50 years. 

Celebrating a life dedicated to activism, the exhibition traces Lodge’s journey from the free festival movement of the 1970s, to cultural celebrations and headline-making events, reflecting on the changing relationship between citizenship, protest, environmental concern, public space and state authority. 

After a brief career as an emergency paramedic in the London Ambulance Service, Alan “Tash” Lodge took up photography and documented the emerging free festival movement in the late 1970s.  In 1985, Lodge and his family joined the Peace Convoy on its annual journey to Stonehenge, where he was involved with, and photographed, the clashes between the police and travellers in what became known as the Battle of the Beanfield, resulting in one of the most violent mass arrests in British history.

In 1990, Lodge moved to Nottingham to study photography at Trent Polytechnic, where he became involved with the city’s influential music collective DiY Sound System, which held free parties across the UK. Among his most celebrated images are those capturing partygoers at Castlemorton Common in Wiltshire, widely regarded as the largest illegal rave in British history, which led to the introduction of the Criminal Justice Act in 1994.

Lodge’s work has appeared in publications and journals worldwide. His photographs have also been featured in documentaries and films, including Operation Solstice for Channel 4, Jeremy Deller’s BBC documentary Everybody in the Place: an Incomplete History of Britain 1984-1992 (2018)and most recently Aaron Trinder’s documentary ‘Free Party: A Folk History (2023). He was interviewed for Daniel Ward’s film, Lonesome Ghosts (2025), show at Peer, and spoke to Stewart Lee about the Battle of the Beanfield in the R4 podcast ‘What happened to Counter-Culture?

In recent years Lodge has continued to extensively document his involvement and attendance of public demonstrations and festivals, and is active in various welfare and advice agencies, including Festival Welfare.  Lodge is known for his documentation of police surveillance and was a regular contributor to Indymedia UK. His website offers guidance on the rights of photographers documenting public places and demonstrations.

Featuring around 80 photographs alongside 35mm slide projections, moving image, personal archives and previously unseen material, the exhibition traces Lodge’s extensive career. Also presented will be legal correspondence and documentation relating to his own encounters and legislative actions with the police and authorities, highlighting questions around civil liberties, surveillance and the rights of photographers in public spaces.

Tom Godfrey, Director, Bonington Gallery, said:

I am delighted to be exhibiting Alan’s work in Nottingham, a figure so connected to the city and region but whose impact goes well beyond. His photographs offer an important visual history of the people and communities that have shaped modern Britain, but who are often overlooked in mainstream historical narratives. Charting five decades of alternative culture, the exhibition highlights ongoing questions around protest, civil liberties, police surveillance and land access, which feels very pertinent to our current moment.”

Alan Lodge. June 1981 Confrontation, Summer Solstice, Stonehenge Free Festival. © Alan Lodge

Alan Lodge. May 1992, Castlemorton festival, Malvern, Worcestershire. © Alan Lodge

About Alan Lodge

Alan Lodge (b.1953 Luton, Bedfordshire) is one of the UK’s leading documentary photographers, capturing alternative movements, public protests and travelling communities.  He received a BAh (1993) and MA (2013) in photography from Nottingham Trent University.

His work has been shown in exhibitions across the UK including Radical Landscapes (2022) at Tate Liverpool.  International exhibitions include Black & White Surveillance,(2020) presented by TG at the Salon de Normandy, Paris. His work has also appeared in publications & journals including Guardian, Independent, i-D, Select, Café Royal Books, Sounds, Purple, Huck Magazine, Flash Art, DJ, Radio Times, New Statesmen & Society and Squall. His publications include Stonehenge: Solstice Ritual, a photographic account of the rituals taking place at Stonehenge.

alanlodge.co.uk

Exhibition details:

Alan Lodge

Common Grounds: Counterculture & Confrontation since 1976

25 September – 12 December 2026

Bonington Gallery, Nottingham Trent University, Bonington Building, Dryden Street, Nottingham, NG1 4GG

www.boningtongallery.co.uk

Free entry

Exhibition Launch: Thursday 24 September, 6-8pm


Press enquiries: Sarah Ragsdale sarah@sarahragsdalepr.co.uk 07817 194 750

Press images can be downloaded Alan Lodge press images


Notes to Editors:

About Bonington Gallery

Founded in 1969, Bonington Gallery has been at the forefront of Nottingham’s rich and vibrant visual arts community for over fifty years, offering an innovative and dynamic programme of local, national, and international significance. Situated at the heart of Nottingham Trent University’s School of Art & Design, our ‘art school’ context is reflected throughout our multi-disciplinary programme of exhibitions and events – presenting and exploring practices related to visual art, fashion, film, music and design. Beyond our building, our connections with colleagues in academic subject areas help ground our programme and thinking within past, present and future cultural and societal discourse.

Website: https://www.boningtongallery.co.uk/

Facebook: boningtongallery

Instagram: @boningtongallery

About Nottingham Trent University

Nottingham Trent University (NTU) has been named UK ‘University of the Year’ five times in six years, (Times Higher Education Awards 2017, The Guardian University Awards 2019, The Times and Sunday Times 2018 and 2023, Whatuni Student Choice Awards 2023) and is consistently one of the top performing modern universities in the UK.

Students have voted us the best university in the UK and 1st in the UK for student employability (Uni Compare 2025).

NTU is 4th in the UK for number of undergraduate students (HESA 2023-24) with over 36,000 students and more than 4,000 staff located across six campuses. It has an international student population of 6,000 and an NTU community representing over 160 countries.

NTU owns two Queen’s Anniversary Prizes for outstanding achievements in research (2015, 2021). The first recognises NTU’s research on the safety and security of global citizens. The second was awarded for research in science, engineering, arts and humanities to investigate and restore cultural objects, buildings and heritage. The Research Excellence Framework (2021) classed 83% of NTU’s research activity as either world-leading or internationally excellent.

NTU was awarded GOLD in the national 2023 Teaching Excellence Framework (TEF) assessment.

NTU is a top 10 for sport (British Universities and Colleges Sport league table 2025) and was named as Sports University of the Year (Daily Mail University Guide 2025). It has also been ranked as 25th in the UK by the Guardian University Guide 2026.

NTU is a holder of the University Mental Health Charter recognising the commitment an institution has shown towards continuous improvement in the area of mental health and wellbeing.


NTU is the most environmentally sustainable university in the UK and second in the world (UI Green Metric University World Rankings, 2024).


Bonington Gallery
Nottingham Trent University
Bonington Building
Dryden Street
Nottingham
NG1 4GG
boningtongallery@ntu.ac.uk
0115 848 8268
www.boningtongallery.co.uk  
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Altered State: The Story of Ecstasy Culture and Acid House : Left Lion, July 2026

In his book Altered State: The Story of Ecstasy Culture and Acid House, journalist Matthew Collin documents the cultural explosion sparked by the potent combination of house music and MDMA, which catalysed a remarkable upsurge of creative activity, from London to Glasgow, Manchester to Belfast – and Nottingham. Matthew tells us what made the city integral in this powerful cultural movement.

“Nottingham in the nineties was the place that bridged the north-south divide. It was the crossroads where people came together.”
Veteran nightlife impresario James Baillie is talking about Venus, one of several fabled clubs he ran in Nottingham over three decades. Venus was known for its exhilarating music and sheer hedonistic abandon, enticing Britain’s nocturnal tribes to travel across country each weekend to this ecstatically-charged sweatbox in the heart of the Midlands, making the city a cultural beacon as the rave era peaked in the nineties.
Nottingham-based rave collectives like DiY, DJs like Graeme Park and club promoters like James Baillie played key roles in the transformation of the UK’s nightlife culture. Park, a gifted mixer, was one of house music’s prime instigators in the UK with his zeitgeist-defining sets at The Garage (later renamed The Kool Kat). He founded one of the first UK house record labels, Submission, and became an inspirational figure for a golden generation of Nottingham DJs, including his Kool Kat successor Allister Whitehead.
Venus was a central node in what became known as the ‘Balearic Network’ of clubs and DJs around the UK in the early nineties. Helmed by the ever-innovative Baillie, a fashion-conscious ex-miner who previously ran the Barracuda and Eden, its innovation was to host guest one-nighters from stellar clubland crews from other cities: Most Excellent, Flying, Love Ranch, Kinky Disco, Boy’s Own, Better Days and many more.
“It had an extraordinary energy. Perhaps the coolest spot I’d been to, but really unhinged too,” Most Excellent’s Justin Robertson has recalled. “Musically it had some of the best [resident] DJs – Timm [Sure] and Laurie [Carter], Paul Wain, Christian Woodyatt – all at the top of their game and fearless in their selection.” After Venus, Baillie would continue to expand the city’s musical horizons at The Bomb.
Simultaneously, DiY Sound System were at the centre of the emerging free party scene, nurturing a “convergence of the urban club scene with the travelling festival movement,” as Harry Harrison recalls in his fascinating rave-era memoir Dreaming in Yellow. DiY also helped to infuse Midlands dance culture with the idealistic spirit and anarchistic zeal for action, whether or not it was illegal.
Sporadic outlaw warehouse parties staged by promoters like Baillie, DiY and The Duck Call fanzine crew provided the scene with illicit thrills, while eclectically-minded events at venues like the Marcus Garvey Centre brought influences from reggae, punk and hippie space-rock. Justin Turford of Nottingham-based DJ duo Truth and Lies recalls early nineties events where “On-U Sound bands like Revolutionary Dub Warriors and Tackhead, anarcho-hippie outfits like Back to the Planet and underground crusty psychedelic bands would play on the same bill as DiY DJs.”
How did Nottingham become such a nexus of creativity? Apart from the efforts of its nightlife innovators, both location and history played significant roles. Nottingham is on the cusp of north and south, and local cultural instigators have long been happy to travel around and pick up useful influences from creative centres like London, Manchester and Sheffield. It’s ethnically diverse; a relatively large city but small enough for people to connect and collaborate easily, and it has two universities bringing in fresh blood each year.
Nottingham also has “a history rich in non-conformism,” Harry Harrison says. The city’s traditions of grassroots radicalism date back centuries, from the Luddite rebels, the Chartist movement and voters’ rights rioters who torched the Castle in 1831 to the anarcho-punk squatters, anti-fascist campaigners and anti-nuclear marchers of the eighties. This background certainly shaped DiY: in Dreaming in Yellow, Harrison explains how the crew coalesced out of amorphous groups of “punks, squatters, students and ex-students, anarchists, vegans and other non-conformists”.
Nottingham also has a diverse clubbing history, which established a solid basis for the nineties scene. Before The Garage opened in 1983, its Lace Market venue had been the Ad Lib club, which hosted reggae, funk and post-punk industrial nights. For a long time, The Garage itself had an indie room as well as a hip US import-led dance-music floor, allowing subcultural styles to intermingle and cross-pollinate. The venue that later housed Venus was once The Asylum, Nottingham’s postpunk alternative zone, where mind-expanding bands like Clock DVA and Tuxedomoon played.
Over at Rock City in the eighties, DJ Jonathan Woodliffe was championing upfront Black American dance music. Woodliffe oversaw soul nights and jazz-funk all-dayers that attracted electro-funk and hip-hop crews from all over the Midlands and beyond, as well as Futurist nights showcasing synth-poppers and punk-funkers like Nottingham’s own Medium Medium.
Woodliffe, who went on to help nurture the audience for early house in Nottingham, has argued that the city was way ahead of London in embracing the Chicago sound: “We were the ones that grabbed it and went for it.” After Rock City hosted the 1987 Chicago house tour with Marshall Jefferson and Fingers Inc, Jefferson said the crowd had the most fanatical energy of anywhere they played. “They were losing their heads out there,” he marvelled.
Another underground dance scene was also flourishing in the eighties, little documented but highly influential on several key pioneers in the early days of acid house: Hi-NRG. At Nottingham’s premier gay club, Part Two, DJs were beat-mixing uptempo electronic dance music before house even came to Britain.
All of these influences came together in the nineties, when Nottingham was the place where all roads met. Graeme Park sums it up perfectly when he describes the “raw energy and innocence” coursing through the city’s dance scene at the time. Fired up by electronic rhythms and glowing with the wonder of new discovery, it felt like anything might be possible.

Matthew Collin

Piccys : Alan ‘Tash’ Lodge

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Nottingham College Sustainable Futures Photography show at the Surface Gallery

Here are a few YouTube ‘shorts’ of the Nottingham College Sustainable Futures Photography show at the Surface Gallery

The video panning about is a little tricky on crutches, it so turn out xxx

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Dublin Gallery

https://adobe.ly/40BLKTm

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Slow Mo Fountain, 12mins of relaxing

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