LONDON — Prem Sahib’s artwork is understood for its minimalism and formal restraint. It consists of rigorously choreographed installations and pared-back sculptural items that interrogate the structure and buildings shaping communal identities and queer experiences. However Sahib can be within the extra chaotic aesthetics of fetish bars and nightclubs, darkish areas through which unruly our bodies and sophisticated social codes coalesce to type distinctive environments.
Positioned in a small, darkened room of Studio Voltaire, Paperwork of a Latest Previous is a slideshow of images by Sahib and photographer Mark Blowe depicting the inside of The Backstreet, London’s oldest homosexual leather-based and fetish bar, which closed in 2022. Sahib’s personal austere model stands in stark distinction to this messy, maximalist area; the images expose the membership’s scuffed paintwork, peeling posters, and dusty cobwebs clinging to leather-based boots, masks, and chains. But a way of tenderness permeates these rigorously captured particulars, which maybe went unobserved by lots of the patrons within the membership’s heyday, obscured by a haze of intoxication, sexual pleasure, and cigarette smoke.
Set up view of Paperwork of a Latest Previous at Studio Voltaire, London (picture courtesy the artist and Studio Voltaire, picture by Sarah Rainer)
On the similar time, the images reveal the artist’s wry consciousness of the banality of lust. The audiovisual work-in-progress “Footnotes for Heros” (2025), proven on a wall-mounted display reverse the images, gives textual footnotes to an audio recording made throughout a 2015 membership night time at The Backstreet. Alongside the sounds of pumping music, inaudible chatter, and a operating faucet, Sahib muses on how many individuals have washed their genitals within the membership’s sinks and whether or not they used the hand drier or paper towels to awkwardly dry themselves off afterwards.
The exhibition’s guests can sit on silver-framed stools topped with black leather-based as they watch the pictures unfold. These got here from the membership itself, and Sahib recollects in one of many footnotes: “Sometimes, they were sticky from lube and the sugar drinks that had been spilled onto their surface. When I got them home, I laid tarpaulin on the floor of the dining room and began cleaning. They produced Tupperware boxes full of brown water.” The assertion means that intercourse acts and artwork observe are inextricably tied to the identical quotidian sensible processes and considerations round facilitation, consolation, and cleanliness.
All through this compact exhibition, Sahib alludes to our bodies via their absence. The pictures of The Backstreet are replete with unoccupied chairs and empty boots and masks, poetically evoking the our bodies that after crammed them. All through the set up’s audio and visible parts traces of contact are an elegy to a misplaced assembly place.
Set up view of Prem Sahib, “Footnotes for Heros” (2025) in Paperwork of a Latest Previous at Studio Voltaire, London (picture courtesy the artist and Studio Voltaire, picture by Sarah Rainer)
Set up view of slideshow in Paperwork of a Latest Previous at Studio Voltaire, London (picture courtesy the artist and Studio Voltaire, picture by Sarah Rainer)
Shut-up of slideshow in Paperwork of a Latest Previous at Studio Voltaire, London (picture Anna Souter/Hyperallergic)
Set up view of Paperwork of a Latest Previous at Studio Voltaire, London (picture Anna Souter/Hyperallergic)
Prem Sahib: Paperwork of a Latest Previous continues at Studio Voltaire (1A Nelsons Row, London, England) via March 23. The exhibition was organized by Studio Voltaire.
