Space In Between Gallery, Homerton, London, UK 26/01/2017 – 25/02/2017


Commissioned by Hannah Hooks and Laura Macfarlane for Space Inbetween Gallery and made possible with a grant from Arts Council England.


! Blessed Be :)) Merry Part :(( But Again ! explores - through installation, sculpture and sound - correspondences between Alchemy and Contemporary Art; the ritual arrangement of objects and symbols in the physical, visible world to create a narrative dialogue that affects and changes the invisible, conceptual and emotional world within us. The exhibition is, in part, a response to the archaic revival; the reinvigoration of ancient knowledge and practice that has been censored, subsumed and manipulated by dogmatic ideological hegemonies for the last few centuries.


For ! Blessed Be :)) Merry Part :(( But Again ! Jeans Houghton presents an installation as an immersive self-reflexive-portrait. At once childhood bedroom, museum, studio and ceremonial space, a dreamlike environment sets the stage for the unfolding of an improvised idiosyncratic ‘learning curve’. The exhibition centres around a sculptural Birth Chart: an astrological diagram that depicts the planetary map on the date and time of the artist's birth, each planet represented in the sign and house it resided in at the moment he was born.

! Blessed Be :)) Merry Part :(( But Again ! reveals personal ritual technologies, inspired by a non denominational investigation into, and development of, magical tools; including objects to map intention, aid reflection and punctuate an open narrative of symbolic improvised self exploration. The exhibition draws much inspiration from The Quickening; a weekly 12-month programme of events hosted by the artist, spanning 318 hours of open improvisation at The Newbridge Project, Newcastle with members of the city’s vibrant art, music, noise, poetry and dance scene.

Matt Breen for Time Out Magazine

One of the four weekly must see shows

4 out of 5 stars


Ben Jeans Houghton’s first solo UK show is a bit like a weird collector’s den and a bit like a mad scientist’s lab: wild, cluttered, but ordered with care. He’s filled the gallery space with more trinkets, statues, objets d’art and New Age-looking gubbins than you can shake a shaman’s stick at. Along one wall is a series of shrine-like assemblages arranged in a chromatic spectrum. In one corner is the artist’s childhood bed, complete with a few creepy-looking crayoned doodles on the wall. There’s even a tiny replica of a Stonehenge-like monument sitting on a drum. Yep, just like the one in ‘Spinal Tap’. It all reflects Jeans Houghton’s interest in arcane practises like alchemy and magick. (Note the ‘k’. This means it’s the serious, old-school type, not that Harry Potter shite.)


The centrepiece of the show is a floor-based interactive ‘birth chart’. What you do is this: on a laptop, you access an astrology website (that looks like it was built circa 1998) and enter your date and location of birth. The site produces a code, which guides you in moving the chart’s lightbulbs to the right zodiac sign running around the circumference. Then, as you mark your initials with some numerals on the chart, the site delivers a report on you and your particular alignment. Sadly, no matter the descriptions of ‘nobility’ and ‘creative vitality’, this humble Leo wasn’t entirely convinced. But that’s beside the point. Jeans Houghton isn’t just poking fun: that would be too one-note. What he’s really doing in this exhibition is showing us that art is basically just another one of those weird, esoteric activities, grounded in its own rituals and superstitions. And in this way, art can be magical. If, sometimes, very daft at the same time.


Nisha Desai for Culturised


The rather lengthy and somewhat obscure title of Ben Jeans Houghton’s first solo UK exhibition, ! Blessed Be :)) Merry Part :(( But Again ! left me unsure what to expect when I went to see it. The exhibition, showing at Space In Between until the 25th of February, functions as an investigation of the occult: exploring correspondences between Alchemy, Magick and Contemporary Art. The word occult, from the Latin occultus, literally translates to “hidden” or “secret”, and in common English usage it denotes something that is not usually seen as part of “normal” or expected human practice; given this definition, it would seem that the occult and Houghton’s exhibition have shared characteristics.


Stepping from a bleak Hommerton backstreet into Space In Between, a curatorial collective and platform for emerging artists, the visitor is confronted with a colour coordinated den of shrine-like assemblages centring around a “birth chart” that covers the floor. Topics of mysticism and astrology seem to be becoming increasingly relevant today, almost as if, since 2017 began by hurling the world into political turmoil, an ever-growing number of people appear to be turning to the spiritual realm for reassurance. This increased fascination with mysticism has been demonstrated in number of recent exhibitions, including Richard Healy’s Lubricants & Literature at Tenderpixel in October 2016 for which he presented a video piece narrating the journey of a queer shaman, and What Does Our Future Hold?  co-curated by Polyester Zine, The Coven, and Isabella Podpadec, which saw over 50 artists reimagine the traditional tarot deck. Houghton sees links between contemporary art and divination: for him both are activity grounded in rituals, adopting a visual arrangement of objects and symbols to provoke changes in the invisible worlds of concepts and emotions, and this comes through strongly in ! Blessed Be :)) Merry Part :(( But Again !.


Houghton reinvigorates ancient and esoteric practices through his immersive installation. On the far side of the gallery sits the artist’s childhood bed covered in a rainbow emblazoned duvet. Placed beside the bed is a stack of Aquarian Arrow magazines: a journal at the core part of the British magical community during the seventies and eighties. During these decades an archaic revival lead various Pagan orders to develop in England, a few of which are still practicing Pagan witchcraft Wicca to this day (there are several Witches in London ‘meetup’ groups if you’d like to join in). Witchcraft permeated popular culture in an occult explosion; the teachings of famed occultist Aleister Crowley were rampant and witchcraft found its way into mainstream cinema with numerous satanic plots taking to the screen, such as now famed titles The Exorcist, Rosemary’s Baby and The Wicker Man. The choice of the occult as a theme for ! Blessed Be :)) Merry Part :(( But Again ! therefore reflects themes present in Houghton’s childhood, making the exhibition’s collection of installations a self-portrait of sorts.


At the heart of the exhibition the circular birth chart displays the twelve symbols of the zodiac around its circumference, each one assigned its own unique hue. This centrepiece invites visitors to calculate their own planetary alignment – by use of an astrology website – and add their initials to the diagram, writing on the artwork itself. The work thus develops over time through recording and incorporating the gallery’s visitors within it and allowing them to take part in the rituals presented by Houghton’s art. On the facing wall are a series of shelves displaying collections of objects in corresponding colours to those of the chart; these objects are an eclectic mix, ranging from a mint green deity of the Virgin Mary to a brilliant blue butt plug. Houghton manages to tie together the diverse range of artefacts presented in his exhibition beautifully, and it is well worth a visit if you fancy seeing something a little more out of the box than Rauschenberg at the Tate.