Double Shadow, 2013–18 is a special edition generously made by artist John Stezaker to mark and celebrate twenty years of Peer’s previous Director Ingrid Swenson’s MBE Award for Services to the Arts in East London. Swenson was Peer’s Director from 1999 to 2021.

Digital pigment print on Somerset Photo Satin paper 300gsm
50 × 40 cm
Edition of 50 + 5 APs
Signed and numbered

Published on the occasion of Vlatka Horvat’s exhibition, By Hand, on Foot, at Peer, 4 February – 2 April 2022.

Essay by Lauren Elkin
Published by Peer and Unstable Object
Designed by David Caines

Paperback
24 × 17 × 3.2 cm, 376 pages

Tania Kovats in conversation with Gary Lock.

2007
Paperback
21 × 14.6 cm, 16 pages
7 colour, 11 b&w illustrations

Hardback poetry book launched to support the Swirl of Words / Swirl of Worlds project at Peer and Shoreditch Library.

This book contains 116 poems in 94 languages that were gathered together by poet, translator and language activist Stephen Watts as a way to celebrate and reflect the cultural and linguistic diversity of the borough. It is part of Peer in the Library – a wider programme of exhibition, events and workshops that took place in partnership with Shoreditch Library from 2019–2021.

Hardback
226 × 146 mm, 256 pages

“Hung as in a basket from a single dull
star, is it a question of passion?
How do you cry about a crime, not yet
touched by the mild boredom of order?” — Lubaina Himid

“YES TO ALL” — Sylvie Fleury

“Against a background of uncertainty or anxiety when many of us have been preoccupied with the restrictions and limitations placed on our lives, Crocodile Cradle has emerged as a polyphonic, big-hearted multi platform project, wonderfully shape-shifting around the more conventional notion of an exhibition.” Past director of Peer, Ingrid Swenson.

‍Crocodile Cradle was an exhibition by Simon Moretti developed on three platforms: a filmed performance online; a text collage on the glass facade of Peer; and a publication. For this collaborative project, artist Simon Moretti invited fifty-one artists to supply a text that they had written or found, to be considered as part of a collaborative artwork to represent their thoughts in the current charged moment in history.

The book, co-published with Mousse, features an afterword by Ingrid Swenson and has been designed by A Practice For Everyday Life. Edited by Simon Moretti.

Texts by Nicholas Alvis Vega, John Armleder, David Austen, Erica Baum, Andrea Bowers, Stefan Brüggemann, Pavel Büchler, Helen Cammock, Alejandro Cesarco, Daniel Gustav Cramer, Tacita Dean, Jason Dodge, Jimmie Durham, Simon English, Cerith Wyn Evans, Sylvie Fleury, Liam Gillick, Paul Heber-Percy, Lubaina Himid, Karl Holmqvist, David Horvitz, Joan Jonas, Sophie Jung, Jirí Kovanda, Marysia Lewandowska, Linder, Peter Liversidge, Goshka Macuga, Christian Marclay, Jonathan Monk, Liliana Moro, Koushna Navabi, Dan Perjovschi, Mai-Thu Perret, Cesare Pietroiusti, Matilde Cerruti Quara, Annie Ratti, Jimmy Robert, Ugo Rondinone, Giorgio Sadotti, John Smith, Nedko Solakov, Cally Spooner, Sue Tompkins, Amikam Toren, Marcel van Eeden, Fiona Banner a.k.a. The Vanity Press, Vedovamazzei, Ian Whittlesea, Ruth Wolf-Rehfeldt, and Carey Young.

2021
Paperback
English
16 × 20.6 cm, 72 pages

This publication is an introduction into some of the ideas and concerns that fuel Savinder Bual’s practice.

Bual presented her exhibition Ananas and the Flatfish at Peer, November 2020 – February 2021.

Essays by Alex Hetherington
Designed by Elena Blanco Alba
Images by Savinder Bual and Stephen White & Co
Printed at The Folio Club, Barcelona, 2022

Paperback
A5, 72 pages

Kindly supported by Arts Council England and Peer, London.

Ridinghouse in association with Peer are delighted to announce the publication of Olga Jevrić.

With contributions from: Phyllida Barlow, Richard Deacon, Ješa Denegri, Joan Key, Fedja Klikovac & Ingrid Swenson

This publication is the first monograph in English on the acclaimed Serbian sculptor Olga Jevrić (1922–2014). It marks two acclaimed exhibitions presented at Peer and Handel Street Projects, London 2019, and the acquisition of nine of her remarkable sculptures for Tate’s collection.

Jevrić’s work was celebrated by her European and American contemporaries; she travelled and exhibited extensively during the 1950s and 60s, and in 1958 she represented Yugoslavia at the Venice Biennale. Yet, although Jevrić continued working until the 2000s, the economic, socio- and geo-political upheavals of the last four decades provided scant opportunities for her work to be seen outside of the former Yugoslavia.

Phyllida Barlow and Richard Deacon generously produced artworks to support the production of Olga Jevrić's hardback special edition. These copies have now sold out.

2019
Paperback
22 × 24 cm, 80 pages

A conversation with artist Milly Thompson.

Paperback
210 × 146 mm, 20 pages

Text by Sally O’Reilly

Paperback
210 × 169 mm, 12 pages
6 colour illustrations

Paperback
210 × 169 mm, 16 pages
b&w illustrations

Paperback
241 × 203.5 mm, 52 pages
25 b&w & 7 colour illustrations

Texts by Sally O’Reilly, Jennet Thomas, and John Smith.

Paperback
210 × 146 mm, 16 pages

Text by Richard Noble and Jeff McMillan in conversation with Darian Leader.

Paperback
210 × 146 mm, 16 pages
9 colour illustrations

Emotionarama presents a range of artists’ ideas that are described in an overtly emotional or demonstrative manner through short pieces of creative writing.

Participants were invited to produce a text that defined their imaginative and mental processes whilst creating an artwork. For example, some have chosen to record a method of thinking behind the production of an existing piece, while others discuss a concept for an unmade artwork in a reflective manner, and/or its materiality, texture, colour, shape, size, and content.

The book includes contributions by Polly Apfelbaum, Abel Auer, Fiona Banner aka The Vanity Press, Kerstin Brätsch, Matt Copson, Liu Ding, Gerasimos Floratos, Andy Holden, Alexander James Pollard, Anna K.E., Ghislaine Leung, Jesper List Thomsen, Florian Meisenberg, Mike Nelson, Alicia Paz, David Raymond Conroy, Lindsay Seers, Andro Semeiko, Yuko Shiraishi, Amy Sillman, Cally Spooner, TheConfraternity of Neoflagellants (Norman James Hogg and Neil Mulholland), Mark Titchner, Tris Vonna-Michell, Yu-Chen Wang, and Vicky Wright.

Between 21–28 August 2021 Peer presented an installation and listening room developed by Andro Semeiko in collaboration with actors Siân Phillips and Bill Bingham, author Zinovy Zinik and musician Capitol K. Visitors were able to listen to pre-recorded readings of the book throughout the day whilst inhabiting an installation conducive to evoking emotions.

Signed copies

Paperback
272 × 188 mm, 16 pages
7 b&w illustrations

Peer has produced Sound & Music, a DVD to accompany Kelly’s exhibition. It also marked their exhibition of two new works at Fordham Gallery, London, shown during July and August 2004.

It contains the single screen work Sound & Music and texts by Eoghan Nolan and Ingrid Swenson.

Contributors: Dom Rotheroe, Chris Marker, Catherine Brighton, Ingrid Swenson, Craigie Horsfield, Beaconsfield (London), Andrew Brighton, Pier Trust (London).

Publisher Beaconsfield, 1999
Paperback
16 pages

Text by Richard Grayson.

Paperback
210 × 146 mm, 16 pages
Colour illustrations

Texts by Simon Cutts and Yves Abrioux.

Paperback
210 × 146 mm, 16 pages
8 b&w illustrations

Bridget Smith exhibited at Peer in 2010, and generously made this image of the Community Hall in 2014 as part of her ongoing series Society, Recording Clubs and Associations in London.

‍Arden Estate Community Hall, Hoxton (2014), 2018
Inkjet print on 300gsm Somerset paper
Edition of 25

To raise funds for Peer’s programme, Bob & Roberta Smith generously produced Art Works For The People, 2017.

Acrylic on paper
Signed and numbered
Edition of 15, unframed

A paper theatre set drawing from original 1800s designs by Pollock, Skelt, Parks, Webb, Green, and Redington.

Colour risograph prints on paper
12 × A4 prints per pack

A special limited edition print by London Fieldworks created for Peer’s 2016 reopening. The print accompanies Spontaneous City: Hoxton, a sculptural work that takes the form of 212 bespoke bird boxes of varying sizes mounted onto the fencing in the newly erected green public space on Hoxton Street.

Risograph print in Flat Gold on Munken Pure paper 240gsm
29.7 × 42 cm
Signed, blind embossed and numbered on the front
Edition of 212

This inhabitable sculptural multiple, in an edition of 25, was made for Peer’s 2016 reopening and accompanies Spontaneous City: Hoxton, a sculptural work that takes the form of 212 bespoke bird and bug boxes of varying sizes mounted onto the fencing in the newly erected green public space on Hoxton Street. The design reflects the compact post-war social housing of the local area.

Edition of 25
15 × 15 × 10 cm each
Stamped and numbered

Specially for their project, Bob and Roberta Smith produced a Shop Local shopping bag in a signed limited edition.

Edition of 250
Manufactured by Eco Bags using 100% recycled cotton for fair wage and fair labour

One of two limited editions produced by Mike Nelson, depicting The Deliverance and The Patience, an installation commissioned by Peer and installed in a large disused brewery building on Giudecca in Venice as part of the 2001 Biennale. This black and white image is a behind-the-scenes shot of the installation. The items on the shelves are laid out, ready to be selected and incorporated into the narrative of the work.

Screenprint on Campaign MG poster paper 115gsm
70 × 100 cm
Signed and numbered
Edition 250 + 20 APs

Following on from his two-person exhibition with Jeremy Moon at Peer in 2016, Neil Clements produced a print that features remade versions of every painting Moon produced during 1967.

Clements’ practice investigates ideas around authorship, while frequently making direct reference to abstract artworks produced during the 1960s and 70s.

Part homage, part formal dissection, Clements’ source for this exercise in reverse engineering was the hand-drawn and meticulously annotated records of the shaped canvases Moon maintained at that time.

Digital print on White Gold uncoated paper 180gsm, unframed
59.4 × 42 cm (A2)
Signed and numbered
Edition of 100

Sam Porritt’s 2010 Peer exhibition, Heads and Face, explored the human head, physiognomy and the anthropomorphic potential of abstract form. To raise funds for Peer, Sam generously produced this edition, Act Natural.

Pigment ink on paper
42 × 29.5 cm
Signed and numbered
Edition of 40 unique drawings, unframed

To raise funds for Peer’s programme, Joy Gerrard has generously produced Protest Crowd (test 1), 2015.

Series of 10 unique paintings based on elements from her large canvases in Protest Crowd.

Japanese ink on linen
20.5 × 30 cm
Signed and dated on reverse

To raise funds for Peer’s programme, Joy Gerrard has generously produced Protest Crowd (test 2), 2015.

Series of 10 unique paintings based on elements from her large canvases in Protest Crowd.

Japanese ink on linen
20.5 × 30 cm
Signed and dated on reverse

To raise funds for Peer's programme, Andrew Lanyon has generously produced The Striped Dress, a contemporary reprint of a photograph taken by the artist in the 1960s.

Stochastic pigment print on Da Vinci Fibre Gloss paper 300gsm
17 × 25.5 cm
Signed and numbered
Edition of 10, unframed

To raise funds for Peer's programme, Andrew Lanyon generously produced Alacrity Shipwreck, Cornwall; a contemporary reprint of a photograph taken by the artist in the 1960s.

Stochastic pigment print on Da Vinci Fibre Gloss paper 300gsm
17 × 25.5 cm
Signed and numbered
Edition of 10, unframed

To raise funds for Peer's programme, Andrew Lanyon generously produced Boy Jumping, a contemporary reprint of a photograph taken by the artist in the 1960s.

Stochastic pigment print on Da Vinci Fibre Gloss paper 300gsm
17 × 25.5 cm
Signed and numbered
Edition of 10, unframed

To raise funds for Peer's programme, Andrew Lanyon generously produced House of Cards, a contemporary reprint of a photograph taken by the artist in the 1960s.

Stochastic pigment print on Da Vinci Fibre Gloss paper 300gsm
17 × 25.5 cm
Signed and numbered
Edition of 10, unframed

As part of artist Ergin Çavusoglu’s 2010 solo exhibition, Crystal & Flame, the artist produced a limited edition print, Diamond Heart. The edition, a close up study of a gem, references Çavusoglu’s three-screen video installation that includes images of a jewel-cutting workshop. A symbol of the ineffable and the eternal, and an index of worldly wealth, the gem is also a reminder of the former diamond trade of the old East End.

Digital Giclée print on Somerset Velvet Enhanced paper 330gsm
Screenprint with black and silver glitter
45 × 29 cm
Signed and numbered
Edition of 30 + 5 APs, unframed

Produced in association with artist Stuart Brisley’s 2010 solo exhibition and durational performance, Next Door (the missing subject), Brisley’s Peer edition documents his time as a temporary resident amongst the trash and pandemonium of the former shop next door to Peer.

This project marked the acquisition of the lease on 97 Hoxton Street, which enabled the organisation to expand into next door. Adopting the persona of RY Sirb, Brisley’s Curator of the Museum of Ordure, he will investigate and interrogate this transitional space before its transformation as a place of social order and cultural endeavour.

Digital photographic print on Da Vinci archival paper 315gsm
42 × 59.4 cm (image size 33.9 × 50.8 cm)
Edition of 25 + 3 APs, unframed

In association with artist and filmmaker, John Smith’s 2011 Peer exhibition, unusual Red cardigan, the artist produced a limited edition, eBay Gum (2011).

Digital pigment print on Somerset Enhanced paper 330gsm with a one colour silkscreen gloss overprint
36.5 × 29.7 cm
Signed and numbered
Edition of 50, unframed

In 2006, as part of Peer’s programme, artist Anthony McCall exhibited Between You and I at the Round Chapel. To raise funds for Peer’s programme, Anthony produced Coupling, a documentation of the project and a sketch of the projected light.

Somerset Photo Rag 300gsm
51.4 × 34.4 cm
Signed and numbered
Edition of 75, unframed

Kathy Prendergast’s series of exquisite postcard-sized watercolour drawings are a continuation of her longstanding investigation into maps and mapping. Prendergast has turned her gaze away from the earth’s cartography, often with a focus on notions of settlement, migration and displacement, and has looked to the un-colonised heavens and the cosmic abyss. These unique works were produced during a short residency at Peer while the capital improvement works were being carried out in 2015.

Series of 20 unique drawings

Watercolour and pencil on UPM fine uncoated paper 350gsm between 3 mm perspex sheets
10.5 × 14.8 cm (A6)
Signed and numbered on back

As part of artist Bridget Smith 2010 solo exhibition, Nobody Else Even Knows at Peer, she produced Vintage Car Club, Whangarei, (2006) (2010) a new limited edition print for Peer Editions.

Inkjet print on 300gsm Somerset paper
Edition of 20 (+ 3APs)

On the occasion of her exhibition, Shadow, Catherine Story produced Camera (2018), a limited edition sculpture to help raise funds for Peer.

Cast bonding plaster
21 × 15 × 8 cm (including plinth)
Signed and numbered

On the occasion of their 2018 Peer exhibition, Breadrock, artist collective Fourthland (Isik Sayarer and Eva Knutsdotter) and artist and filmmaker Rosalind Fowler have generously produced a limited edition, umbilical. The edition comprises 16mm film scans embedded in handmade block frames.

Fourthland and Rosalind Fowler, umbilical (2018)
16 mm Film Scan on cotton rag paper 300gsm
17 × 22 × 5 cm
Framed

On the occasion of their 2018 Peer exhibition, Breadrock, artist collective Fourthland (Isik Sayarer and Eva Knutsdotter) and artist and filmmaker Rosalind Fowler have generously produced a limited edition, bearer of breadrock. The edition comprises 16mm film scans embedded in handmade block frames.

Fourthland and Rosalind Fowler, bearer of breadrock (2018)
16mm film scan on cotton rag paper 300gsm
17 × 22 × 5 cm
Framed

To mark her exhibition The Universal Now and further episodes at Peer, Abigail Reynolds generously produced two artworks in limited editions of five each to raise money for Peer’s programme. Both images have been taken from The Face of England, a 1952 publication, which the artist has chosen for the quality of colour achieved by this early printing technology. Price includes framing with UV museum glass.

‍Sightlines, Devil's Dyke and Sightlines, Rydal Water, 2018
Individually over-printed book pages from The Face of England, 1952
18.5 × 24.5 cm

£1,000 for a set of two

In this edition, Abigail Reynolds has taken pages from British writer, H.E. Bates’ The Face of England, 1952. Chosen for the quality of colour achieved by this early printing technology, these unique pieces build on Reynolds’ works interest in books as material, and the narratives and histories they build, interweaving and erasing to form new layers of meaning over time.

‍Sightlines: Rydal Water, 2018
18.5 × 24.5 cm
Each unique
Framed

£600 or £1000 for a set of two (framed)

In this edition, Abigail Reynolds has taken pages from British writer, H.E. Bates’ The Face of England, 1952. Chosen for the quality of colour achieved by this early printing technology, these unique works build on Reynolds’ works interest in books as material, and the narratives and histories they build, interweaving and erasing to form new layers of meaning over time.

‍Sightlines: Devil’s Dyke, 2018
18.5 × 24.5 cm
Each unique
Edition of 10, framed

£600 or £1000 for a set of two (framed)

This is one of two limited editions produced by Mike Nelson, depicting The Deliverance and The Patience, an installation commissioned by Peer and installed in a large disused brewery building on Giudecca in Venice, as part of the 2001 Biennale. This limited edition comprises two images of the installation itself, offering contrasting views of the uneasy and intense spaces experienced within the work.

Inkjet print from two 35mm transparencies on Somerset Smooth paper 300gsm
35 × 60 cm
Signed and numbered
Edition of 50 + 10 APs, unframed

This artwork was generously produced by London-based artist, Kathy MacCarthy to support Peer’s programme. Made in a series of 25, each individual work has been hand-printed on paper by the artist.

Relief print in acrylic on watercolour paper 300gsm
30 × 30 cm
Series of 25 unique works

David Murphy’s Peer edition, Ribbon, is a series of fifteen exquisite drawings, produced as part of his 2014 Peer exhibition, Certain Impacts.

Hand-drawn Casein on paper
14 × 19 cm
Edition of 15 unique works, unframed

David Murphy’s Peer edition, Blanket, is a series of fifteen exquisite drawings, produced as part of his 2014 Peer exhibition, Certain Impacts.

Blanket (2020)
Hand-drawn Casein on paper
14 × 19 cm
Edition of 26 unique works, unframed

As part of Tanoa Sasraku’s first solo exhibition in a London public gallery in 2023, Peer produced a new limited edition by the artist titled Scholar’s Rock (2022). Sasraku’s Peer edition is a scanned detail from the Terratype series onto Awagami Kozo paper.

Focusing on a unique image of newsprint marked by Sasraku’s needle, tearing and embossing work, this edition is the only work in the artists series that was soaked in the bogs of Dartmoor, near to where she grew up, and the site of many formative experiences. Within the edition, blades of grass can be seen knotted into the weave of the fringed newsprint, showing evidence of its grounding within the landscape.

Inkjet print on Awagami Kozo Thin Natural Paper
110 × 46 cm
Edition of 50 + 4 APs
Signed and numbered

1–20: £225 (unframed) *limited availability
21–40: £250 (unframed)
41–50: £275 (unframed)

This striking artwork has been created by Abigail Reynolds to support Peer’s programme. It is one in a series of 26 unique works made on paper hand-marbled by the artist and overprinted with a photograph by Theo Berntröm.

Oil on Book White Heritage paper 315gsm overprinted in black
17.3 × 23.8 cm
Series of 26 Unique Works

Produced in association with London-based, Croatian artist, Vlatka Horvat. In Horvat's 2022 Peer exhibition, By Hand on Foot, they produced a series of twelve unique works on paper for Peer’s Edition programme.

Emerging from the artist’s daily practice, over the duration of a year, of walking-related image making, this edition depicts a series of images taken on a single day, during an hour-long walk in Horvat’s North London neighbourhood.

Each photograph has been torn by the artist’s hand, acting as a continuation of lines and shapes found in each unique photograph. Via the tear, the trace of action and the materiality of paper become part of the image.

Inkjet photo collage
Unframed dimensions: 29.7 × 21 cm
Edition of 12 unique works [one edition remaining, pictured]
Signed and numbered, unframed*

*Price includes a limited edition hand-made artist book documenting the entire series, To See Stars over Mountains, 2022 (Peer and Unstable Object)

London-based artist Marcus Cope’s Peer editions are based on original oil paintings on paper. Printed on Hanhemühle Photo Rag and mounted on Aluminium, the editions do notrequire framing. Marcus Cope had his first solo show in a public institution at Peer, Silver Linings, in 2022.

The editions comprise a combination of overlayed images depicting memories and places such as: two sides of a wall in Cyprus (re-discovered by the artist after two decades); a photo on a restaurant wall in Wiltshire; an unaccepted invitation; some just vandalism of a second-hand car dealership; a feeling of freedom; another of anger; a conversation with a dying family member; memories of childhood holidays; an attempt at empathy. And at the heart of the works, a relationship between two people.

Giclée print on Hanhemühle Photo Rag mounted to aluminium
25 × 25 cm
Signed and numbered
Edition of 12 + 2 APs £400 each or £750 for a pair