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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Broken Britain AI Animation

This is the most consequential piece of art/ critique of the far-right positions that I’ve ever seen.

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More High Contrast Portraits

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90s House track he says

@elsheriffxoxo

ID Archive | 18 Track ID in the comments:) On SoundCloud, there are many remixes out there! #trackid #90housemusic #clubweapon #dubtechno

♬ Originalton – me
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David Hockney: The Art of Seeing – A Culture Show Special (BBC)

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High Contrast Portraits

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Los Viejos y Olvidados (The Old and Forgotten), an exhibition by Juan Aguirre

Went to the Artist Talk & Walkthrough. Saturday 13th June, 12pm

Juan Aguirre will speak about the ideas behind Los Viejos y Olvidados, from its roots in Mexican history to the personal experiences that shape the work. The session will be informal and open, with time for questions and discussion.

Los Viejos y Olvidados (The Old and Forgotten), an exhibition by Juan Aguirre

Surface presents Los Viejos y Olvidados (The Old and Forgotten), a solo exhibition by Juan Aguirre. ‘Each person represented in Los Viejos y Olvidados has a certain value to offer, a piece of history and a moment of the past.’ Through black and white paintings portraying ordinary people, historical figures, and cultural moments with striking contrast and sensitivity, the artist invites audiences to reflect on the stories and histories that shape cultural identity. Focusing on those remembered and forgotten, the works evoke a world that once existed.

Originally from Guadalajara and now based in Nottingham, Juan is a multidisciplinary artist working with acrylic, ink, sculpture, and mixed media. He has previously exhibited in his country of birth, Mexico, and more recently participated in a group exhibition at the Mall Galleries, London.

Los Viejos y Olvidados explores themes of memory, nostalgia, and identity, bringing attention to lives often overlooked, while offering a perspective on Mexican history that resists dominant, US-centric narratives. His work reinterprets early 20th century Mexico through a monochromatic visual language. To realise this exhibition, he undertook a process of archival research, discovering the work of artists such as Lola Álvarez Bravo and Víctor Casasola. These influences highlight the nuances of a culture striving to be reborn during the 1910 Revolution and its aftermath.

Juan Aguirre
https://www.instagram.com/juan0malley_art

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At Speakers Corner this afternoon in Nottingham, I met some Hong Kong pro-democracy protesters

At Speakers Corner this afternoon in Nottingham, I met some Hong Kong pro-democracy protesters, keeping the issues alive.

On June 12, 2019, a major confrontation took place in Hong Kong during the early phase of the 2019-2020 pro-democracy protests. The immediate trigger was a controversial extradition bill proposed by the HK government that would have allowed suspects to be sent to mainland China for trial. Many residents feared it would undermine HK’s judicial independence and civil liberties.

That day, tens of thousands of protesters surrounded the Legislative Council Complex in the Admiralty district to stop the bill’s second reading. Demonstrators blocked roads and government buildings, leading lawmakers to postpone the debate.

The situation escalated into violent clashes between protesters and police. Riot police used tear gas, rubber bullets, bean bag rounds, pepper spray, and batons to disperse crowds. Protesters used umbrellas, barricades, and improvised defenses. Dozens of people were injured, including protesters and police officers.

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Belfast City

…. and more from the Belfast City generally :
https://adobe.ly/44ChEkY

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Belfast – Shankill & Falls Road

https://adobe.ly/4lSFyyh

I visited Belfast about a year ago (and I am glad I did so then rather than now). Following my visits to the Shankill and Falls Roads, I compiled these photo galleries. The street art from both the Unionist and Nationalist communities demonstrates not only their immediate local concerns, but also their broader global perspectives.

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Signal Statement : Surveillance Is Not Safety: A statement on the UK’s latest threat to privacy

Surveillance Is Not Safety: A statement on the UK’s latest threat to privacy

June 8, 2026

Children deserve to be safe, protected, and nurtured. They do not deserve surveillance, funding cuts, and cover-ups. Children also deserve their human right to privacy, as does everyone. The UK government’s demand that all content on all devices sold or used in the
UK be scanned on the presumption of nudity, using a dystopian combination of age verification and content scanning, will not safeguard children. It endangers us all, whilst strengthening Apple, Google, and Microsoft’s market dominance and their control over our
most personal information.

Forcing all UK residents to prove their age and/or have all their content scanned, simply to exercise their fundamental right to communicate, is a perilous proposition. We know that mass surveillance and censorship capabilities, however sincere-sounding the promises of those who initiate them are, never remain narrowly scoped. Once created, they will be expanded, forming a dangerous tool that will be wielded both in the UK and abroad to censor and surveil whatever they might consider “threats” or “harmful content.” Promises that this system will only run on-device are cold comfort. Wherever it runs, including the “camera” itself once it is in place on UK devices – its scope will be defined by the whims and proscriptions of the government to detect nudity today and political speech tomorrow. We know from history that once in place, there will be an inevitable authoritarian expansion of the kind of content and people these technologies will be expected to surveil. We also know such tools will be leveraged to automatically report people to government authorities. We have already seen law enforcement agencies ask for similar widely-scoped powers which are ripe for exploitation in an increasingly tenuous political landscape. This proposal will not keep children safe. Child safety looks like well-funded education, robust social services, and meaningful guardrails on the very AI technologies and platforms the current government is eagerly courting. What the UK government wants instead is invisible surveillance infrastructure, switched on by default and potentially rushed into law under cynical pretexts. All of this with scant care for the actual needs of the children they claim to be protecting or the horrifying and far-ranging consequences that will ensue in practice.

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Context clues not included : Shorts

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Beanfield Gallery

https://adobe.ly/439fOGv

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Tug-O-Truck, Aktivator ’88

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Around Nottingham : #Shorts

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