Margarita Gluzberg: Implicate Factory Outlet
Forthcoming exhibition
Overview
Margarita Gluzberg, Sacco And Vanzetti Factory Remnant Mix 1, 2025. One set of colour pencils used in its entirety on paper. 112 x 77 cm. 44 x 30 1/2 in
For its second participation in the London Gallery Weekend, Alma Pearl is pleased to present Implicate Factory Outlet, Margarita Gluzberg’s second solo exhibition with the gallery. The show will feature new works on paper and a sound installation from the ongoing birdsong recording series, the first of which took place at the MAC/VAL Museum, Paris, 2009. Together, these works expand on the artist’s investigation around consumerism, nostalgia, beauty and desire.
The new drawings, created with Soviet-era pencils from defunct factories, feature abstract dynamic forms that evoke a sense of archival drive through tangible remnants that connect to a deeper sphere of thought, history and time. Meanwhile, the sound installation is built around Gluzberg’s collection of original 78 rpm shellac/gramophone records of birdsong, the earliest of which dates back to 1910 and features the song of nightingales from Carl Reich’s aviary. The captive nightingales were originally recorded for commercial distribution with their nostalgic, ethereal and romantic nature turned into something to be consumed.
The exhibition’s title takes inspiration from the physicist David Bohm’s metaphysical notion of the ‘implicate order’, a deeper and more fundamental system of reality. Along these lines and functioning as physical manifestations of a hidden or past reality, the nightingales’ resurrected song evokes a past ever so slightly erased in each playing. Likewise, the collected pencils are both equally manifest and consumed in a circular process of production and destruction that arrives at a work and structures a practice.
On Sunday June 8th, Gluzberg's sound work 'Song of A Captive Nightingale' will be played through a set of handmade speakers which themselves are autonomous works by artist Oliver Tirré – the two artists' combined sound technologies blasting birdsong onto the adjacent Regent’s Canal.
A publication containing a conversation between Margarita Gluzberg and artist Sean Steadman will accompany the exhibition.
Born in Moscow in 1968, Gluzberg has lived in London since 1979. She studied at the Ruskin School of Art, University of Oxford, and the Royal College of Art in London. Solo exhibitions include Otherwhere, Alma Pearl, London (2023); Proper Time, Karsten Schubert, London (2022); In Paradise, Pushkin House, London (2019); For Children Not For Children, Filet Space, London (2018); Avenue des Gobelins, Paradise Row, London (2012). Her work was presented at major contemporary art spaces including Towner Eastburne (2025); Drawing Room, London (2024); Site Gallery, Sheffield (2019); the Musée d’Art Contemporain du Val-de-Marne, Paris (2010); Contemporary Art Centre, Vilnius (2001); Rooseum Center for Contemporary Art, Malmö (2001); Kunsthal KAdE, Amersfoort; Lunds Konsthall, Lund; and The British School at Rome (where she was a Wingate Scholar). In 2016, her Wellcome Trust project ‘Rock on Bones’, a series of multimedia performance lectures, was staged at the De La Warr Pavilion, Bexhill; the London Performance Studios; and the Royal College of Art. Her work was featured in Artforum, Art Review, The Guardian and Frieze Magazine, amongst others.
