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Margarita Gluzberg
IMPLICATE FACTORY OUTLET

30 May – 5 July 2026
Alma Pearl, Unit T, Reliance Wharf, London



Press
The Art Newspaper, “London Gallery Weekend 2025: Our critics pick their top shows“, Text by Ben Luke and Louisa Buck
The Elephant Magazine, “A Canal Odyssey: Charting London Gallery Weekend by Boat“, Article by Annabel Downes

Publication

Alma Pearl Editions 2
Publisher: Alma Pearl, London, 2025
Featuring a conversation between Margarita Gluzberg & Sean Steadman
21 x 15 cm, 10 pages, softcover
Printed in an edition of 250 copies
 
Events

On 8 June, in a one-off collaboration, Gluzberg’s Song of A Captive Nightingale will be played through Oliver Tirré’s sculptural handmade speakers, which are also an artwork in their own right. 

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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.  

Learn about the Artist



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 [download the full text here].