The Transmission lecture series takes as its theme for 2017 to 2018 the idea of the mutable artist. By this we intend a number of meanings or interpretations, including changeability, volatility, inconstancy, resilience, versatility, and mobility. We ask what characteristics determine artistic production, or even\u2013\u2013following last year\u2019s question of \u2018who is an artist\u2019 \u2013\u2013determine the production of an artist as subject or agent. Deriving from the Latin mutabilis,from mutare\u2013\u2013to change, mutability suggests the capacity to move, to adapt to new conditions, to possess a value that is changeable. There is sense of uncertainty, as opposing forces of change may meet, matching or negating each other, offering twists and turns. Identity may be unstable, forming in relation to other identities, unfixed or invented. There may be monstrous forms and images (mutations), or heroic ones, through and beyond the self. Mutability allows the imagination and its constructs to roam and reassemble. The artists invited this year work in multiple capacities.<\/p>\n\n\n\n
DOWNLOAD the programme for 2017 here<\/a>.<\/p>\n\n\n\n<\/div>\n\n\n\n <\/p>\n\n\n\n The Transmission lecture series for 2106 to 2017 asks who is an artist. This is not a faint echo of Joseph\u2019s Beuys\u2019s famous statement, reiterated endlessly, that everyone is an artist (by which in any case, Beuys intended to suggest that everyone could apply a bit of creative thinking in whatever field they work, rather than that sort of thinking belonging solely to those who call themselves artists). We ask if it is an act of self-identification to name oneself an artist, or if it is exteriorised, that one is named as such by others. We ask if one learns to call oneself an artist, or if the title precedes the act, even produces it, as though an autopoesis, in response to or as part of an environment or system (or what might occur or be invested beyond this). We ask if to be an artist is more than a business term, one produced by and subject to market forces; if it is more than a job or less than a job or something unlike a job. We ask if it demands a measure of skill, of technical competence, and to what extent this is contingent on cultural determination (and likewise, we suppose, for terms such as beauty). We ask what lies in a name and in a title.<\/p>\n\n\n\n DOWNLOAD the programme for 2016 here<\/a>. For 2017 here<\/a>. <\/div>\n\n\n\n <\/p>\n\n\n\n This year\u2019s transmission lecture series takes up the places of art, its various locations and possibilities for location, which may be more than the linear trajectory of studio, gallery, collection. Perhaps art happens anywhere, everywhere, in the many interstices and detours between site of production and valorisation by institution. Place, the place of art, may be as unpredictable as its form or content. Art may happen in language or in silence, in gardens or bedrooms, in public exchange and political engagement; we may be obliged to look for it, even finding it where it is not. <\/p>\n\n\n\n At the end of Gustave Flaubert\u2019s great novel about love and history, A Sentimental Education, from which we shamelessly steal part of our title, the protagonist Fr\u00e9d\u00e9ric Moreau and his oldest school friend Deslauriers reminisce about their adolescence. They remember going to a brothel together, the anticipation and excitement. Once there, thinking that the laughing prostitutes were making fun of him,Fr\u00e9d\u00e9ric bolted from the place. But in the unconsummated experience, there lies the possibility of fantasy and happiness:<\/p>\n\n\n\n \u2018That was the best we ever got!\u2019 saidFr\u00e9d\u00e9ric. Could this be the model for learning how one becomes an artist: A lack of satisfaction that provides a drive? An expectation of knowledge that is never fully imparted? The imaginative reconstruction of the past? DOWNLOAD the full programme and biographies for 2014 here<\/a> and 2015 here<\/a>.<\/div>\n\n\n\n <\/p>\n\n\n\n From October 2012 to March 2013 Sheffield Hallam’s Fine Art Transmission Lecture Series was a platform to address the theme of AGENCY (Labour, Work, Action), developed in collaboration with Art Sheffield 2013.<\/p>\n\n\n\n The economic value of work, labour and art have been much discussed throughout the last three centuries and have been critical drivers in the thinking around Art Sheffield festivals over the last decade. The last four years have accelerated new interests in these discussions as a restructuring of international financial interests intersects with communities lived experience across the globe. Sheffield is not unique, nor is it the same as anywhere else. People, place, and history in relation to shifting economic values remains a central interest for the curatorial team developing Art Sheffield and the collaboration with the Transmission Lecture Series is a marrying of concerns and conversations in our developing understanding of work and labour.<\/p>\n\n\n\n Each session was hosted by an artist currently teaching in Fine Art, Sheffield Hallam University, or a member of the Art Sheffield consortium.<\/p>\n\n\n\n AGENCY (Labour, Work, and Action) Arendt proposes three important human activities: labour, work, and political action. She is as materialist as Karl Marx: labour is a biological activity, a vital necessity operating under constraint. The goal of production is to produce, and there is a constant exchange of objects. It is never-ending, consumed quickly, making a slave of the labourer. Work may be thought of differently, most usefully with the term \u2018\u0153uvre\u2019: as what lasts or remains, as \u2018technique\u2019 and poiesis, as what is not spent or wasted and is transmitted; a \u2018common world\u2019 where life unfolds and objects endure beyond the act of their making. Transmission, in Arendt\u2019s sense, is a struggle against death, and thus already a form of liberty. It is, one might say, the distinction between what is kept and what is thrown away. Yet this freedom is only partial, for work is still instrumental, determined by causes and ends. While Arendt has been criticised for overly restricted characterisations, her distinction between praxis and poiesis (between action and making) may help to lead us to new formulations of identity and meaning. To work and labour, then, like Arendt, we will add an essential action, when \u2018something new is started which cannot be expected from whatever happened before\u2019, and frame these by AGENCY, asking what role might be played by the artist or work of art.<\/p>\n\n\n\n Spring 2013 29\/03\/ 2013: Guest: Susan Collis, Host: Julie Westerman<\/p>\n\n\n\n 05\/02\/2013: Guest: Margarita Gluzberg, Host: Lesley Sanderson<\/p>\n\n\n\n 12\/02\/2013: Guest: Ella Gibbs, Host: TC McCormack<\/p>\n\n\n\n 19\/02\/2013 Guest: John Smith, Host: Rose Butler<\/p>\n\n\n\n 26\/02\/2013 Guest: Lucy Reynolds, Host: Michelle Atherton<\/p>\n\n\n\n 05\/03\/2013 Guest: Patricia Lyons, Host: tbc<\/p>\n\n\n\n PLEASE NOTE THAT THE ABOVE IS A PROGRAMME CHANGE<\/p>\n\n\n\n Patricia Lyons works with live and recorded sound, music and performance. She is the founder and director of the art and music label LoveHowlMuse. She writes and lectures on art, performance, punk and digital activism. In 2010 Lyons choreographed May 28 at Marka Studios in Florence, Italy. She has written and performed soundtracks, scores and voice-overs for films, including a series of science films for the Wellcome Trust on genetic research (2009); a music portrait of Rainer Werner Fassbinder for Camden Arts Centre and the Arnolfini (2006\u20137); and in Look What They Done to My Song Matt’s Gallery (2008) and Love in a Cold Climate (2005), both by Michael Curran. She is currently working on an album entitled Refugees of the Opium Wars for release in 2012.<\/p>\n\n\n\n 12\/03\/2013 Guest: Chris Kraus, Host: Jaspar Joseph-Lester, with Alison J. Carr and Dale Holmes 16\/10\/ 2012: An introduction to Transmission, Art Sheffield, Site Gallery, and Fine Art staff<\/p>\n\n\n\n 23\/10\/ 2012: Guest: Megan Cotts.Host: Alison J. Carr<\/p>\n\n\n\n 30\/10\/ 2012: Guest: Francesco Finizio. Host: Sharon Kivland<\/p>\n\n\n\n 13\/11\/2012: Guest: Arnaud Desjardin. Host: Chlo\u00eb Brown<\/p>\n\n\n\n 20\/11\/ 2012: Guest: Armin Chodinski. Host: Jaspar Joseph-Lester<\/p>\n\n\n\n 27\/11\/2012: Guest: Pavel B\u00fcchler. Host: Hester Reeve<\/p>\n\n\n\n 4\/12\/2012: Guest: Mikhail Karikis. Host: Laura Sillars<\/p>\n\n\n\n<\/div>\n\n\n\n <\/p>\n\n\n\n <\/p>\n\n\n\n 2011-12 Transmission: CATASTROPHE<\/strong> We may wish to write it differently, but \u2018time is too short. And I have run out of paper.\u2019 (Peter Weiss, The Aesthetics of Resistance)<\/p>\n\n\n\n 19\/10\/2011: Introduction to Transmission: Jaspar Joseph-Lester and Sharon Kivland 23\/11\/2011: Guest: Federica Bueti. Host: Jaspar Joseph-Lester Catastrophe Biographies Screening: Renzo Martens, Episode 3: Enjoy Poverty (2008).<\/p>\n\n\n\n Renzo Martens is a Dutch artist based in Brussels. His first feature Episode 3: Enjoy Poverty (2008) opened the International Documentary Film Festival Amsterdam and is now circulating in both the film festival and gallery circuits. Martens travelled around the Congo for two years filming the Western \u2018poverty industry\u2019. In the film he launches an emancipation programme in which he makes the Congolese aware of the economic value of their most lucrative export product: filmed poverty.<\/p>\n\n\n\n Sharon Kivland has described her practice as one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action and private subjectivity. She paid her son an enormous amount of money to fill old school exercises books with the indexical references to mother\/son relations in Freud’s works, a work exhibited at the Freud Museum, London, this summer. At the moment, she is completing a set of appendices to Freud\u2019s holidays, on his weather, dining, hotels, and shopping. She is also working her way through the twenty novels of Zola\u2019s Rougon-Macquart cycle. Kivland is represented by DomoBaal, London, and Galerie Bugdahn und Kaimer, D\u00fcsseldorf, and will have solo exhibitions at the latter and at Galerie des Petits Carreaux, Paris, next year.<\/p>\n\n\n\n Wednesday 26 October 2011 Jaspar Joseph-Lester’s work explores the role that images play in determining urban planning, social space, and everyday praxis. Recent work has focused on the conflicting ideological frameworks embodied in urban regeneration projects. He has exhibited widely in the UK and abroad with solo exhibitions at Asprey Jacques Gallery and The British School at Rome. His video work was nominated for \u2018Pilot: 1\u2019 in 2004 and selected for \u2018All for Show: an international retrospective of UK Video\u2019, 2005-6. He is currently developing a new photo essay titled \u2018Some Berlin Casinos\u2019 for the next issue of Collapse. He is author of Revisiting the Bonaventure Hotel (Copy Press, 2009), co-editor of Episode: Pleasure and Persuasion in Lens-based Media (Artwords, 2008), a director of the Curating Video research group, and Reader in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n Wednesday 9 November 2011 Hester Reeve navigates her complex relationship as an artist with the world through her conceptual persona HRH.the. Her practice encompasses drawing, live art, philosophy and sculpture. Public showings of her work include former Randolph Street Gallery, Chicago, LIVE Biennale, Vancouver,The Art Center of Chulalongkorn University, Bangkok and most recently the Women’s Library Gallery, London. She has co-authored three publications, most notablyLibkovice: Zda? B?h(DIVUS 97), a three-year dialogic expos\u00e9 of post-revolutionary Czechoslovakia. Reeve also collaborates with Olivia Plender under the auspices of the Emily Davison Lodge and is Senior Lecturer in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n Wednesday 16 November 2011 Laura Sillars is Director at Site Gallery and Honorary Senior Research Fellow (CAVA) at University of Liverpool<\/a>. Before taking on her role at Site last March, she was Senior Curator for the Collaboration Programme at FACT<\/a>, Lecturer at The Open University and curator for Public Programmes at Tate<\/a> Liverpool.<\/p>\n\n\n\n Wednesday 23 November 2011 Wednesday 30 November 2011 Guest: Mark Fisher Host: Jaspar Joseph-Lester Guest: Eva Weinmayr Host: Nick Thurston Guest: Terry Atkinson Host: Hester Reeve Guest: Emma Stibbon Host: Julie Westerman Guest: Kerstin Honeit Host: Alison J. Carr Guests: Harrison & Wood Host: Chlo\u00eb Brown Guest: Giorgio Sadotti Host: Sharon Kivland Guest: Diann Bauer Host: Gary Simmonds <\/p>\n\n\n\n <\/p>\n\n\n\n Following each lecture (with one exception, when the interview took place at a later date) guest and host were interviewed by Keith Barley, then an MART student in his final year, who has been working on the archive and dialogue. An edited version of each interview may be downloaded from here and printed to fold into an attractive double-sided pamphlet. The pamphlets are designed by Jamie Crewe.<\/p>\n\n\n\n 06\/10\/2010: Guests: Juneau Projects. Host: Alison J. Carr Provocation Biographies 2010 <\/p>\n\n\n\n 6 Oct Juneau Projects Alison J Carr 26 Jan Craig Fisher Gary Simmonds Wednesday 6th October 2010<\/p>\n\n\n\n Guests: Juneau Projects Host: Alison J. Carr back<\/a><\/p>\n\n\n\n Wednesday 13th October 2010 Host: Jaspar Joseph-Lester back<\/a><\/p>\n\n\n\n Wednesday 20th October 2010<\/p>\n\n\n\n Guest: Tony White Host: Penny McCarthy back<\/a><\/p>\n\n\n\n Wednesday 27th October 2010<\/p>\n\n\n\n Guest: Mark McGowan Host: Becky Shaw back<\/a><\/p>\n\n\n\n Wednesday 10th November 2010<\/p>\n\n\n\n Guest: Thomas Thwaites Host: Jerome Harrington back<\/a><\/p>\n\n\n\n Wednesday 17th November 2010<\/p>\n\n\n\n Screening: A Rolling Stone: The Dynamics of Clich\u00e9 a film by Sally O\u2019Reilly Host: Michelle Atherton back<\/a><\/p>\n\n\n\n Wednesday 24th November<\/p>\n\n\n\n Guest: Craig Richardson Host: Andrew Sneddon back<\/a><\/p>\n\n\n\n Wednesday 1st December 2010<\/p>\n\n\n\n Guest: Phil Collins Host: Yuen Fong Ling back<\/a><\/p>\n\n\n\n Wednesday 8th December 2010<\/p>\n\n\n\n Guest: Marcia Farquhar Host: Hester Reeve back<\/a><\/p>\n\n\n\n Wednesday 26th January 2011 Host: Gary Simmonds back<\/a><\/p>\n\n\n\n Wednesday 2 February 2011 Host: Sharon Kivland back<\/a><\/p>\n\n\n\n Wednesday 9th February 2011 Host: Julie Westerman back<\/a><\/p>\n\n\n\n Wednesday 16th February 2011 Host: TC McCormack back<\/a><\/p>\n\n\n\n Wednesday 23rd February 2011 Host: Chlo\u00eb Brown back<\/a><\/p>\n\n\n\n Wednesday 9 March 2011 Host: David Cotterrell back<\/a><\/p>\n\n\n\n Wednesday 16th March 2011 Host: Lesley Sanderson
DOWNLOAD the programmes for 2015 here<\/a> and 2016 here<\/a>. <\/div>\n\n\n\n
\u2018Yes, perhaps so, indeed! It was the best time we ever had,\u2019 said Deslauriers.<\/p>\n\n\n\n
We asked how artists become and why, how this is learnt (and unlearnt), how it is imagined and exemplified. In an era where the \u2018artist as personality\u2019 may no longer be thought to be of interest or instruction to understanding art, we look at the external forces and inner structures that produce artist-figures and artistic capacity. What type of fantasy is at work here and how much does the decision to become an artist count in becoming one? Though our students may grumble now at certain of the things we expect them to do, they will soon go on to say (joining every other former art school graduate): \u2018Oh, how I miss art school, how I miss the crits \u2013 it was truly the best time of my life!\u2019<\/p>\n\n\n\n
The political theorist Hannah Arendt refused to be called a philosopher, for philosophy, she said, deals with the singular, while she addressed the plural, that humans not man inhabit the world. She proposes that freedom is constructed in community, in common space, and it is associative, performative, and public (which we saw in the events of Tahrir Square in Egypt, for example, and we may also look to models such as the Paris Commune of 1871). In her book The Human Condition (1958), she develops her theory of political action, drawing out the distinctions between what is social and what is political, and that which lies at the heart of our lecture series: what is labour, what is work, what is action (and thus, how is agency achieved, the capacity to act, to make choices, undetermined by supposedly natural forces).<\/p>\n\n\n\n![\"\"](\"https:\/\/transmission.shu.ac.uk\/wp-content\/uploads\/2021\/02\/image-6.png\")
<\/figure>\n\n\n\n
DOWNLOAD the full Spring 2013 programme and biographies HERE<\/a><\/p>\n\n\n\n
Autumn 2012
DOWNLOAD the full Autumn 2012 programme and biographies HERE<\/a><\/p>\n\n\n\n
We will consider the grand narratives of history and angels, death and destruction, brutal acts and events, memory, magic, and cruelty, ruins, resistance, and remorse. We will ask in what times we live and how works of art may address our present belonging; what are contemporary tendencies in art production and how may artistic invention disrupt and reframe our present \u2013 or its dominant descriptions; and in what some call the end times (ecological crisis, social ruptures, economic inequality), how can artists \u2013 or works of art \u2013 confront the future, \u2018to begin from the beginning, over and over again\u2019.<\/p>\n\n\n\n![\"\"](\"https:\/\/transmission.shu.ac.uk\/wp-content\/uploads\/2021\/02\/image-7.png\")
<\/figure>\n\n\n\n
Screening: Renzo Martens, Episode 3: Enjoy Poverty (2008).
26\/10\/2011: Guest: John Cussans. Host: Jaspar Joseph-Lester
09\/11\/2011: Guest: Terry Atkinson. Host: Hester Reeve
16\/11\/2011: Guest: Zo\u00eb Beloff. Host: Laura Sillars
We would like to acknowledge the support and collaboration of Site Gallery, Sheffield, for this lecture. Zoe Beloff’s new commission and exhibition,The Infernal Dream of Mutt and Jeff, will be premiered at Site Gallery, 18 November 2011 to 21 January 2012. Please go to www.sitegallery.org\/exhibitions-events<\/a> for more information, including opening times.<\/p>\n\n\n\n
30\/11\/2011: Guest: Giorgio Sadotti. Host: Sharon Kivland
07\/12\/2011: Guest: Ian Saville. Host: Sharon Kivland 25\/01\/2012: Guest: Mark Fisher<\/em>. Host: Jaspar Joseph-Lester
01\/02\/2012: Guest: Eva Weinmayr. Host: Nick Thurston 08\/02\/2012:Guest: Terry Atkinson<\/em>. Host: Hester Reeve
22\/02\/2012: Guest: Emma Stibbon. Host: Julie Westerman 29\/02\/2012: Guest: Kerstin Honeit<\/em>. Host: Alison J. Carr
07\/02\/2012: Guests: Harrison & Wood. Host: Chlo\u00eb Brown
14\/03\/2012: Guest: Giorgio Sadotti*. Host: Sharon Kivland
21\/03\/2012: Guest: Diann Bauer. Host: Gary Simmonds<\/p>\n\n\n\n
Wednesday 19th October 2011<\/p>\n\n\n\n
John Cussans has a multi-disciplinary arts practice which combines video and image making, critical and creative writing, and alternative arts pedagogy. He completed his doctoral thesis, Revolting Subjects and Epidemic Disorder: Georges Bataille, Heterology, and Broadcast Horror, at the Royal College of Art in 1995. In 2009 he participated in the first Ghetto Biennale in Haiti where he produced a video work entitled Invisible Mirrors, which documented how UN troops ritualistically bound an effigy of a boar in the downtown area of Port-au-Prince after the 2004 ousting of President Aristide. Following the massive earthquake that struck Haiti in January 2010 he sent a flip-cam and microphone to Ti Moun Rezistans (a collective of young artists from the Grand Rue area of Port-au-Prince), so that they could document their experiences of life after the quake and share them internationally via the Internet. In December 2011 he will be participating in the 2nd Ghetto Biennale working in collaboration with Ti Moun Rezistans.<\/p>\n\n\n\n
Terry Atkinson was a founding member of \u2018Art and Language\u2019 (1968), widely considered to be one of the first, most influential and controversial conceptual art groups (Joseph Kosuth was also a member and the group was nominated for the Turner Prize in 1986). Atkinson, whose solo works are shown internationally, including inthe Venice Biennale 1984, is generally regarded as a painter but his practice is first and foremost that of an artist critically engaged with the foundations of our cultural assumptions about what art is,creatively breathing oxygen into the much overlooked and contentious issue of the \u2018artist subject\u2019.<\/p>\n\n\n\n
Zo\u00eb Beloff works with a wide range of media including film, video, installation and drawing. Sheconsiders herself a medium, an interface between the living and the dead, the real and the imaginary.Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center. Her most recently completed work is the exhibition, The Infernal Dream of Mutt and Jeff, which will premiere at Site Gallery. This project continues her exploration of what might be called \u2018the dream life of technology\u2019.She teaches at Queens College in New York.<\/p>\n\n\n\n
Federica Bueti is a Berlin-based writer, curator, and researcherinterested in practices of resistance and improvisation that enable new forms of imaginative political representation. Bueti is founder and editor-in-chief of \u2026ment. journal for contemporary culture, art and politics (http:\/\/www.journalment.org<\/a>).Curated projects include: Wasteful Illuminations, a performance by Tris Vonna-Michell, Marino Marini Museum, Florence; Camere #10 VOCATION, RAM, Radio Arte Mobile, Rome in collaboration with CAC Br\u00e9tigny\/City Musem Lubjljana\/De Vleeshal Museum, Middelburg; The Jerusalem Syndrome, Al-Ma’mal, Foundation for Contemporary Art, Jerusalem, 2009, co-curated with Jack Persekian and Nina M\u00f6ntmann. Bueti has published extensively on contemporary art and related philosophical issues. Bueti is currently studying for a PhD in the Curatorial Knowledge Programme at Goldsmiths College.<\/p>\n\n\n\n
Giorgio Sadotti is a conceptual artist based in London. Sadotti\u2019s practice includes sculpture, sound, performance, collage, and photography. He seems to defy the conventions of art world, and in the past has opted to be anonymously referred to as \u2018The Artist\u2019. He has exhibited recently at Tate Britain London, Milton Keynes Gallery, and Amden Switzerland. His works range from compiled found audio samples, naked male and female performers, a horse trainer whip-cracker, a ten-metre-high bare Christmas tree, the partially carpeted floor of a gallery, pages from a book laid out on a gigantic light box, and a new design for a useable font. His work is held in the collection of the Tate<\/a> and the British Council<\/a> Art Collection. In 2003 he won a Paul Hamlyn Award<\/a> for visual arts. Sadotti says, \u2018I want things to be easy. Simple. By utilising the skills, techniques and abilities of others it allows me a sort of freedom; to do nothing.\u2019
Wednesday 7 December 2011
Ian Savilleis a \u2018socialist magician\u2019, among other things. He says of his act, \u2018whereasDavid Copperfieldis content with little tricks like making theStatue of Libertydisappear, I aim at the much more ambitious goal of making International Capitalism and exploitation disappear (though I haven’t quite succeeded yet)\u2019. He was born in London’s East End andbegan conjuring at the age of 11. He studied Drama at Exeter University and has worked in political, community, and forum theatre. He started developing \u2018socialist magic\u2019 in 1979. One of his shows features a ventriloquist\u2019s dummy of Bertolt Brecht. He has a PhD fromCity University, Londonfor his thesis on political theatre in Britain in the 1920s and 1930s, and teaches part-time on theatre courses atMiddlesex University.<\/p>\n\n\n\n
Mark Fisher writes regularly for Frieze, New Statesman, Sight & Sound, and The Wire, where he was acting deputy editor for a year. A founder member of the Cybernetic Culture Research Unit, he now teaches at Goldsmiths University and the City Literary Institute in London. Mark Fisher has been writing an acclaimed blog as k-punk<\/a>, focusing on culture, especially music and literature, and politics. He is author of Capitalist Realism: Is there no alternative? (Zero Books, 2009).<\/p>\n\n\n\n
Jaspar Joseph-Lester\u2019s work explores the role that images play in determining urban planning, social space, and everyday praxis. Recent work has focused on the conflicting ideological frameworks embodied in urban regeneration projects. He has exhibited widely in the UK and abroad with solo exhibitions at Asprey Jacques Gallery and The British School at Rome. His video work was nominated for \u2018Pilot: 1\u2019 in 2004 and selected for \u2018All for Show: an international retrospective of UK Video\u2019, 2005-6. He is currently developing a new photo essay titled \u2018Some Berlin Casinos\u2019 for the next issue of Collapse. He is author of Revisiting the Bonaventure Hotel (Copy Press, 2009), co-editor of Episode: Pleasure and Persuasion in Lens-based Media (Artwords, 2008), a director of the Curating Video research group, and Reader in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n
Eva Weinmayr’s practice as artist, lecturer and co-director of AND publishing takes many forms, from sculpture and installation to writing, film, and editing and publishing conceptually driven artists\u2019 books. She is interested in systems of direct communication and in the way that re-contextualisations of appropriated materials can have a subversive effect. Currently she is collaborating with artist Andrea Francke on The Piracy Project, an international exhibition and publishing project exploring acts of cultural piracy and creative modes of reproduction. Recent projects include The Piracy Project, Miss Read, KW Institute for Contemporary Art, Berlin, New York Art Book Fair, MoMA PS1, The Institute of Mental Health Is Burning, Newport Museum, all in 2011.<\/p>\n\n\n\n
Nick Thurston is the author of Reading the Remove of Literature (2006), Historia Abscondita (An Index of Joy), and co-author of a third (pocket)book, THE DIE IS CAST (2009), plus numerous journal articles and artists\u2019 pages. He has exhibited and performed internationally, and his editions and art works are owned by public and private collections around the world, including Tate, London, the Van Abbemuseum, Eindhoven, and the Biblioth\u00e8que Nationale (Paris). Since 2006 he has been editor of the independent artists\u2019 book publishing imprint information as material, with whom he is currently Writer in Residence at the Whitechapel Gallery, London.<\/p>\n\n\n\n
Terry Atkinson was a founding member of \u2018Art and Language\u2019 (1968) widely considered to be one of the first, most influential and controversial conceptual art groups (Joseph Kosuth was also a member and they were nominated for the Turner Prize in 1986). Atkinson, whose solo works are shown internationally, including the Venice Biennale 1984, is generally regarded as a painter but his practice is first and foremost that of an artist critically engaged with the foundations of our cultural assumptions around what art is, and creatively breathing oxygen into the much overlooked and contentious issue of the \u2018artist subject.\u2019<\/p>\n\n\n\n
Hester Reevenavigates her complex relationship as an artist with the world through her conceptual persona HRH.the. Her practice encompasses drawing, live art, philosophy, and sculpture. Public showings of her work include former Randolph Street Gallery, Chicago, LIVE Biennale, Vancouver,The Art Center of Chulalongkorn University, Bangkok and most recently the Women’s Library Gallery, London. She has co-authored three publications, most notablyLibkovice: Zdar Bu?h(DIVUS 97), a three-year dialogic expos\u00e9 of post-revolutionary Czechoslovakia. Reeve also collaborates with Olivia Plender under the auspices of the Emily Davison Lodge and is Senior Lecturer in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n
Emma Stibbon\u2019s most recent work concerns the dialogue between two periods; that of Ancient Rome and Mussolini\u2019s Fascist plans for the city. She addresses how architecture is appropriated to lend credibility to new regimes. Recent solo exhibitions include: the Stadtmuseum, Berlin; upstairs berlin; R O O M, London; and the Scott Polar Research Institute, Cambridge. Other projects include the Stiftung Federkiel residency at the Spinnerei, Leipzig, the 4th International Gyumri Biennale, Armenia. Emma Stibbon was Derek Hill scholar at the British School at Rome in 2010. She is Senior Lecturer Fine Art Printmaking at the University of Brighton.<\/p>\n\n\n\n
Julie Westerman\u2019s current research uses technologies and software more commonly associated with design and animation to make physical sculptural works. Moving between the digital and the material, the final forms combine the intangible, the transitory or the ephemeral with the monumental and the sculptural. The enquiry lends a cool detachment to the approaching apocalyptical events. Recent projects include working with Stephen H\u00fcsch for LoBe Berlin, developing work in the gallery for Drawing Space 2010. Commissions include: Thinly veiled, Grand Opera House, Belfast; Illuminated Carpet, \u2018Enlightenment\u2019, Durham. Exhibitions include: \u2018Inter\u2026\u2019, Harris Museum and Art Gallery, 2004; and \u2018Afterwards\u2019, Mead Gallery, Warwick Arts Centre, 2009.<\/p>\n\n\n\n
Kerstin Honeit lives and works in Berlin. She has shown her video and installation work internationally since 2006. In 2010 she received the Master-Student title (Meistersch\u00fclerin) from the Wei\u00dfensee international solo exhibition Ambiguity is my Weapon at Gallery 400, Chicago. She is this year\u2019s scholarship holder of the Berlin artist postgraduate programme: Goldrausch K\u00fcnstlerinnenprogramm.<\/p>\n\n\n\n
Alison J. Carr is an artist, PhD student, and lecturer at Sheffield Hallam University. She completed her MFA at the California Institute University in 2001. She works in photography, video, performance, and writing. Her research, How do I look?, is lead by her showgirl desire.<\/p>\n\n\n\n
John Wood and Paul Harrison have been working collaboratively since 1993, producing single screen and installation-based video works. Their work investigates the relation between the human figure and architecture, developed through short form video (20 seconds \u2013 3 minutes) with particular emphasis on actions formulated and resolved within a given duration. Each work holds to an internal \u2018logic\u2019, action related to duration. In this \u2018logical world\u2019 (architectural space, the gallery space, the business office, the laboratory), action is allowed to happen for no logical reason. A tension exists between the environment and its inhabitant, play is encouraged and influences are intentionally mixed \u2013 art history, slapstick, Open University instruction, drawing, science. Recent solo exhibitions have been held at the Contemporary Arts Museum,Houston, Gallery Martine Aboucaya, Paris, and Von Bartha, Chesa, Switzerland, in 2011.<\/p>\n\n\n\n
Chlo\u00eb Brown uses film, found objects, sculptural objects, and taxidermy to make work that is a precarious balance between threat and vulnerability. Recent exhibitions include: The Hum, LoBe Gallery, Berlin, and Sheffield Institute of Arts Gallery, Sheffield (2010\u201311), films and sound pieces made collaboratively with Ines Lechleitner during their residency at the Tiergarten Berlin; The International Seminar on Art and Nature, Goethe Institute, Sao Paulo, Brazil, (2011); The Animal Gaze, Unit 2 Gallery, London, The Roland Levinsky Gallery, Plymouth and Sheffield Institute of Arts Gallery, Sheffield (2009\u201311); AbbaraCadabra at the Mardin Biennial, Turkey (2010); Tier-Perspektiven at Georg-Kolbe-Museum, Berlin (2009;) and Tier-Werden at NGBK, Berlin (2009). She was commissioned to make a film, The Hyperborean, for the Sheffield Pavilion at the Istanbul Biennial (2009). She is Course Leader of Fine Art at Sheffield Hallam University and a member of The Research Group for Artists Publications.<\/p>\n\n\n\n
Giorgio Sadotti is a conceptual artist based in London. Sadotti\u2019s practice includes sculpture, sound, performance, collage, and photography. He seems to defy the conventions of art world, and in the past has opted to be anonymously referred to as \u2018The Artist\u2019. He has exhibited recently at Tate Britain London, Milton Keynes Gallery, and Amden Switzerland. His works range from compiled found audio samples, naked male and female performers, a horse trainer whip-cracker, a ten-metre-high bare Christmas tree, the partially carpeted floor of a gallery, pages from a book laid out on a gigantic light box, and a new design for a useable font. His work is held in the collection of the Tate and the British Council Art Collection. In 2003 he won a Paul Hamlyn Award for visual arts. Sadotti says: \u2018I want things to be easy. Simple. By utilising the skills, techniques and abilities of others it allows me a sort of freedom; to do nothing.\u2019<\/p>\n\n\n\n
Sharon Kivland has described her practice as one of stupid refinement, trapped in archives, libraries, the arcades, and the intersection of public political action and private subjectivity. She paid her son an enormous amount of money to fill old school exercises books with the indexical references to mother\/son relations in Freud’s works, a work exhibited at the Freud Museum, London, in 2011. At the moment, she is completing a set of appendices to Freud\u2019s holidays, on his w in 2011. eather, dining, hotels, and shopping. She is also working her way through the twenty novels of Zola\u2019s Rougon-Macquart cycle. Kivland is represented by DomoBaal, London, and Galerie Bugdahn und Kaimer, D\u00fcsseldorf, and will have solo exhibitions there, and at Galerie des Petits Carreaux, Paris, in 2011.<\/p>\n\n\n\n
Diann Bauer lives and works in London and Berlin. Solo exhibitions include Necrotroph-Optopolis, Paradise Row, London, 2007 and Bludgeonerator, The Showroom, London, 2006. Commissions include Sabine Descent, a site-specific wall drawing commissioned through the Contemporary Art Society Consultancy for Pictet Collection, London, 2009, and Harlow Temple of Utopias, in collaboration with Roman Vasseur, sited in Harlow, Essex, 2008.<\/p>\n\n\n\n
Gary Simmonds is an artist based in London. His practice is concerned with abstract painting\u2019s relation to domestic ornamentation and decoration. He makes paintings that flirt with: formal abstraction, beauty, decoration, and disorder. He has exhibited work both nationally and internationally, including solo shows at Laure Genillard, London, De March and Solbiati, Milan, One in the Other, and Primo Alonso, London. Group shows include \u2018 Fabric \u2019, Abbot Hall, and his work was selected to be part of \u2018unpicked and dismantled\u2019, an exhibition representing the UK in the Textile \u201907 Lithuania. <\/div>\n\n\n\n
13\/10\/2010: Guest: Maxa Zoller. Host: Jaspar Joseph-Lester
20\/10\/2011: Guest: Tony White. Host: Penny McCarthy
27\/10\/2010: Guest: Mark McGowan \/ Host: Becky Shaw
10\/11\/2010: Guest: Thomas Thwaites. Host: Jerome Harrington
24\/11\/2010: Guest: Craig Richardson. Host: Andrew Sneddon
08\/12\/2010: Guest: Marcia Farquhar. Host: Hester Reeve
13\/12\/2010: Guest: Sally O\u2019Reilly. Host: Michelle Athert Sally O\u2019Reilly\u2019s film A Rolling Stone: The Dynamics of Clich\u00e9,
introduced by Michelle Atherton, was screened at Sheffield Hallam University on 17\/11\/2010.
02\/02\/2011: Guest: Laurent Tixador. Host: Sharon Kivland
09\/02\/2011: Guest: Ian Rawlinson. Host: Julie Westerman
16\/02\/2011: Guest: Oliver Zwink. Host: T C McCormack
23\/02\/2011: Guest: Oriana Fox. Host: Chlo\u00eb Brown
09\/03\/2011: Guests: Cornford & Cross. Host: David Cotterrell
16\/03\/2011: Guest: WITH\u2122. Interviewer: Keith Barley
23\/03\/2011: Guest: John Jordan. Host: Rose Butler<\/p>\n\n\n\n
Click on a date to view author biographies.<\/p>\n\n\n\n Guest Host <\/code><\/pre>\n\n\n\n
13 Oct Maxa Zoller Jaspar Joseph-Lester
20 Oct Tony White Penny McCarthy
27 Oct Mark McGowan Becky Shaw
10 Nov Thomas Thwaites Jerome Harrington
17 Nov Sally O’Reilly Michelle Atherton
24 Nov Craig Richardson Andrew Sneddon
1 Dec Phil Collins Yuen Fong Ling
8 Dec Marcia Farquhar Hester Reeve<\/p>\n\n\n\n
2011 <\/p>\n\n\n\n
2 Feb Laurent Tixador Sharon Kivland
9 Feb Ian Rawlinson Julie Westerman
16 Feb Oliver Zwink TC McCormack
23 Feb Oriana Fox Chlo\u00eb Brown
9 Mar Cornford & Cross David Cotterrell
16 Mar WITH Lesley Sanderson
23 Mar John Jordan Rose Butler<\/p>\n\n\n\n
Juneau Projects was formed in 2001 by Philip Duckworth and Ben Sadler. Most of their work has participatory elements and involves projection, sound, music, animation, and installation. They are particularly interested in the rapidly increasing speed of technological development, its associated obsolescence, and how this sits with notions of handmade objects and artefacts. The proliferation of social networking websites has become important in their research, offering increased possibilities for the promotion and production of collaborative live works and performances. Juneau Projects had their first solo show in 2004 at The Showroom, London. In 2005 their work was selected for \u2018British Art Show 6\u2019 and they have subsequently exhibited at venues including: Tate Britain, London; Ikon Gallery, Birmingham; J. Paul Getty Museum, Los Angeles; and Frankfurter Kunstverein. Juneau Projects were Stanley Picker Fine Art Fellows at Kingston University in 2007\/8 and Wheatley Fellows at Birmingham City University in 2008\/9.<\/p>\n\n\n\n
Alison J Carr is a Fine Art PhD researcher at Sheffield Hallam University. She completed her MFA at the California Institute of the Arts in May 2009 and BA (Hons) Fine Art at Sheffield Hallam University in 2001. She works in photography, video, performance and writing. Her research, How do I look?, aims to weave a narrative between feminism and femininity, new viewing strategies, the voice of the viewed, the relevancy of glamour, while trying to reconcile her personal desires to be a \u2018showgirl\u2019 and a \u2018theorist\u2019.<\/p>\n\n\n\n
Guest: Maxa Zoller
Maxa Zoller is a lecturer in moving image art at Goldsmiths College, Sotheby\u2019s Institute of Art and Kingston University. Maxa has a keen interest in marginal and interdisciplinary film practices, which focus around issues of the body, expanded cinema, the practice of female filmmakers, and experimental film from former Socialist countries. Since completing her Ph.D. on European experimental film in 2007 she has been organising workshops on moving image art at no.w.here, FACT, and Oslo Academy of Art. In her capacity as a film curator Maxa Zoller has presented experimental film screenings at Tate Modern, Tramway Glasgow, Berlin Kunstverein, Rekord Gallery in Oslo, and an exhibition of Chris Welsby\u2019s work at Central St Martin\u2019s. She is a regular contributor to Art Monthly. Her research is published in a number of academic journals and books, including the exhibition catalogue X-Screen: Film Installations and Actions in the 1960s and 1970s (MuMoK Vienna 2003). She has recently curated her first object-based exhibition All that Remains\u2026 The Teenagers of Socialism at Waterside Project Space in East London.<\/p>\n\n\n\n
Jaspar Joseph-Lester’s work explores the role that images play in determining urban planning, social space, and everyday praxis. Recent work has focused on the conflicting ideological frameworks embodied in urban regeneration projects. He has exhibited widely in the UK and abroad with solo exhibitions at Asprey Jacques Gallery and The British School at Rome. His video work was nominated for \u2018Pilot: 1\u2019 in 2004 and selected for \u2018All for Show: an international retrospective of UK Video\u2019, 2005-6. Recent exhibitions include \u2018Afterwards\u2019 at the Mead Gallery, Warwick Arts Centre, and \u2018The Mortar of Distribution\u2019, LoBe, Berlin. He is author of Revisiting the Bonaventure Hotel (Copy Press, 2009), co-editor of Episode: Pleasure and Persuasion in Lens-based Media (Artwords, 2008), and a director of the Curating Video research group. www.jasparjosephlester.com<\/a><\/p>\n\n\n\n
Tony White’s publications include the novels Foxy-T (Faber and Faber, 2003), and Charlieunclenorfolktango (Codex, 1999), two novellas and the travelogue Another Fool in the Balkans (Cadogan, 2006). He has undertaken writing residencies at the Science Museum, London (2008), and the UCL School of Slavonic and East European Studies (2009). He founded artists\u2019 book imprint Piece of Paper Press in 1994 and worked for Arts Council England from 1999 to 2007, producing the Pioneers in Art and Science DVD series (with Ken McMullen, Gustav Metzger, and John Berger), and managing the Arts Council\/AHRC Arts and Science Research Fellowships. Tony White is currently collaborating with Blast Theory on an interactive SMS drama for Channel 4. He is acting chair of the board of directors of London’s art radio station Resonance 104.4fm.
Tony White’s blog http:\/\/pieceofpaperpress.wordpress.com<\/p>\n\n\n\n
Penny McCarthyworks with drawing and text. Recent works have appropriated texts that describe scientific discovery, historic travels, and the fictions of Borges. For the past few years her work has explored the imaginative space of the book in a series of pencil-drawn copies of texts. Her work has been exhibited extensively in Britain and abroad and supported by the Wellcome Trust, Arts Council England and the AHRC. Most recently she has exhibited work at the South London Gallery in the exhibition \u2018Nothing is Forever\u2019. She is Course Leader for the MA and M.Art in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n
According to JJ Charlesworth, Mark McGowan\u2019s work ‘takes the ghost of performance art and uses it to haunt the mass media, and the art world, with their own bad faith. Thumbing his nose at those artists who affect an interest in social issues, without stepping too far out of their comfortable enclave, McGowan intentionally grabs at whatever constitutes public discussion at any given time, forcing us to reconsider the hypocrisy and self-flattery that underpins contemporary art\u2019s indulgence of both the media and the ordinary public’. Live actions include leaving the tap running for a year at House, Camberwell, the ‘re-enactment’ of the London tube bombing, and eating a corgi.<\/p>\n\n\n\n
Becky Shaw\u2019s work explores the relation between objects and people, and ideas of objectivity and subjectivity. Recent works include Getting Warm, a collection of drawings for the Korean International Art Fair 2010, and A: The Christmas Party, a durational radio work made with readers from Roehampton University, commissioned by Sheffield Contemporary Art Forum. An ongoing work, Aggregate, explores the materials to be used in the new Firstsite building, Colchester. New works stubbornly refuse to respond to place or external requirements, and involve myopic study of single objects including an extraordinary inlaid marble table and a secondhand vintage classics t-shirt.<\/p>\n\n\n\n
Thomas Thwaites is a designer whose work examines how technology, science, and economics interact with trends, fictions, and beliefs, to shape our present society, and possible futures. As an undergraduate he studied economics and biology at University College London, and this training informs his design work. He completed his Masters in Design Interactions at the Royal College of Art in 2009, and his work has since received several awards and is exhibited internationally. His first book, The Toaster Project, is to be published by Princeton Architectural Press in 2011. Based in London, he is currently working on a commission from the Wellcome Trust.
www.thomasthwaites.com\/<\/p>\n\n\n\n
Jerome Harrington is an artist based at S1 Artspace in Sheffield. His practice is interdisciplinary in nature and draws from his background in glass making. This is manifest in a wide range of outputs including the production of new objects, critical writing and projects that involve collaborative dialogues and curatorial roles. He is currently undertaking a practice based PhD at Sheffield Hallam University, which explores our relation to objects and to the making process that produces objects. It focuses specifically on how we encounter the making process through film, photograph, and image. He studied at Edinburgh College of Art (1998) and the Gerrit Rietveld Academie in Amsterdam (2004). Recent exhibitions include: \u2018A Conference for The Glass Archive\u2019, Site Gallery, Sheffield; \u2018Making fact Making fiction\u2019, National Glass Centre, Sunderland; and \u2018What Happens If\u2026?\u2019, Storey Gallery, Lancaster.
www.jeromeharrington.net<\/a><\/p>\n\n\n\n
A documentary that posits the generative uses of clich\u00e9, as well as its negative associations and operations, drawing on examples from visual art, theatre television and cinema. Includes clips from Samuel Beckett, Martin Creed, General Hospital, David Lynch, The Two Ronnies and Gary Stevens.
Sally O’Reilly is a writer, contributing regularly to many art and culture publications, including Art Monthly, Cabinet, Frieze, Art Review, and Time Out, and has written many essays for international museums and galleries. Her book The Body in Contemporary Art was published by Thames & Hudson in 2009, and she was co-editor of the thematic, interdisciplinary broadsheet Implicasphere (2003-8). She has also curated and produced numerous performative events and is co-curator of the Hayward Touring Exhibition \u2018Magic Show\u2019. She is currently writer in residence at the Whitechapel Art Gallery.<\/p>\n\n\n\n
Michelle Atherton\u2019s work explores the way we move and are moved in our everyday life. Her recent work, Dreams of Flying, was exhibited at RAF Museum Cosford, 2009 and will be at Zepplein Museum, Germany 2011. This video installation, supported by the AHRC, explores what is considered, or at least marketed as, one of the ultimate flying experiences of the twenty-first century, taking a ride in a fourth generation military jet fighter. Other recent exhibitions include Cancelled: One in a series, Whitstable Biennale Satellite Programme, 2008; Missed the Boat II, Dagmar de Pooter Gallery, Antwerp, and Linnagalleri, Tallinn Estonia 2006\u20137. She is currently researching the role of humour in contemporary art practice.<\/p>\n\n\n\n
Craig Richardson is an artist, writer, and curator. He has recently published in Visual Culture in Britain, Map magazine, and The Journal of Visual Culture. Recent catalogue essays include texts on the artists Tracey MacKenna, Wong Hoy Cheong, and Christine Borland. His recent curated exhibition Ross Sinclair versus Sir Edwin Landseer was at Aberdeen Art Gallery and Museum in 2007. Notable publications include Face On: Photography as Social Exchange (with Mark Durden) and a forthcoming monograph Scottish Art Since 1960 (Ashgate, January 2011). He is currently Director of Postgraduate Taught Programmes in the School of Arts and Humanities, Oxford Brookes University.<\/p>\n\n\n\n
Andrew Sneddon is a Scottish artist now living and working in Sheffield. He studied at the British School in Rome and holds an MA in Fine Art from Glasgow School of Art. He has exhibited nationally and internationally and is currently engaged in a practice-led PhD at Edinburgh College of Art. His practice is concerned with exploring our complex relations with space and place, in particular how place influences the decision-making process of the artist. He has recently completed a residency at Yorkshire Sculpture Park and co-authored The slender margin between the real and the unreal, with Gavin Morrison and Kiyoshi Okutsu, (Artwords Press, 2007).
www.andrewsneddon.com<\/p>\n\n\n\n
Phil Collins lives and works in Berlin. Recent solo exhibitions include: Tramway, Glasgow (2009); Aspen Art Museum, Colorado (2008); Dallas Museum of Art, Texas (2007); Carnegie Museum of Art, Pittsburgh (2007); San Francisco Museum of Modern Art, CA (2006); Tate Britain, London (2006\u20137); San Francisco Museum of Modern Art (2006). Recent group exhibitions include: \u2018The Making of Art\u2019, Schirn Kunsthalle, Frankfurt (2009); \u2018Acting Out: Social Experiments in Video\u2019, Institute of Contemporary Art, Boston(2009), \u2018Cinema Effect: Illusion, Reality and the Moving Image. Part II: Realisms\u2019, Hirshhorn Museum and Sculpture Garden, Washington (2008); \u2018Life On Mars\u2019, 55th Carnegie International, Carnegie Museum of Art, Pittsburgh(2008);\u2018Double Agent\u2019, Institute of Contemporary Arts, London (2008). Collins was nominated for the 2006 Turner Prize.<\/p>\n\n\n\n
Yuen Fong Ling is an artist based in Manchester. He is currently completing his PhD by Practice at the University of Lincoln (2007\u2013ongoing) and previously studied on the MFA programme at Glasgow School of Art (2005\u201307). Recent works were presented as part of the \u2018Art School: Inventions, Invectives and Radical Possibilities\u2019 conference, University College of London (June 2010); and \u2018China: Birth and Belonging\u2019 conference, Wellcome Collection, London (February 2010). Recent group exhibitions include: \u2018Triple Base\u2019, San Francisco (2009); Transmission Gallery, Glasgow (2009); Gasworks, London (2007); Tramway, Glasgow (2007), Artnews Projects, Berlin (2007), The Central Academy of Fine Art Beijing touring throughout China, Denmark, Australia , and UK (2007\u20138); and Urbis, Manchester (2007).<\/p>\n\n\n\n
Marcia Farquhar is an artist working in performance, photography, video, and object-making. Her practice revolves around the stories and interactions of everyday life, particularly in relation to the meaning and histories of objects. Engineering unexpected social interactions in which the distance between audience and performer is frequently breached, Farquhar probes the nature of biographical and autobiographical storytelling as a strategy that is forever renegotiating its relationship with truth. Her site-specific events have been staged and exhibited internationally in museums and galleries, as well as in lecture theatres, kitchen showrooms, pubs, parks and leisure centres. Among her recent works are The Horse is a Noble Animal at the Tatton Park Biennial (2010), the 30-hour live-in performance The Omnibus at the National Review of Live Art, Glasgow (2010), and the 12 Shooters project (2007), for which she revisited a number of live works from her past in a series of short-film collaborations with thirteen different artist-filmmakers. Her website is www.marciafarquhar.com.<\/p>\n\n\n\n
Hester Reeve navigates her complex relationship as an artist with the world through her conceptual persona HRH.the. Her practice encompasses drawing, live art, philosophy, sculpture, and works for camera. Public showings of her work include former Randolph Street Gallery, Chicago, LIVE Biennale, Vancouver, Site Gallery, Sheffield and most recently The Art Center of Chulalongkorn University, Bangkok. She has co-authored three publications, most notably Libkovice: Zda\u0159 B\u016fh (DIVUS 97), a three-year dialogic expos\u00e9 of post-revolutionary Czechoslovakia. Reeve is Senior Lecturer in Fine Art at Sheffield Hallam University.<\/p>\n\n\n\n
Guest: Craig Fisher
Craig Fisher makes large-scale sculptural installations using fabrics, questioning representations of violence and disaster. He is particularly interested in playing with boundaries, mixing techniques of art and craft, referring to both \u2018high\u2019 and \u2018low\u2019 culture, and juxtaposing the pictorial with the sculptural as potential spaces of slippage, which allow for discoveries beyond confined fields of art production. Fisher has exhibited his work nationally and internationally including recent solo exhibitions Foolish Act, Viewpoint Gallery, Plymouth College of Art (2009) and Hazardous Materials, Millais Gallery, Southampton Solent University, Southampton (2008). Group exhibitions include \u2018Nothing is Forever\u2019, South London Gallery, London (2010), \u2018Threadbare\u2019, Rochester Art Gallery, Rochester (2010), \u2018A Comedy of Errors\u2019, Artspace, Sydney (2007) and \u2018Ultrasonic International 1\u2019, Mark Moore Gallery, Los Angeles (2006). Craig Fisher is a senior lecturer in Fine Art at Nottingham Trent University.
www.craig-fisher.com<\/p>\n\n\n\n
Gary Simmonds is an artist based in London. His practice is concerned with abstract painting\u2019s relation to domestic ornamentation and decoration. He makes paintings that flirt with formal abstraction, beauty, decoration and disorder. He has exhibited work both nationally and internationally, including solo shows at Laure Genillard, London, De March and Solbiati, Milan, and One in the Other, London. Group shows include: \u2018Nothing is Forever\u2019, South London Gallery, \u2018Die Panke\u2019 LoBe projects Berlin, \u2018Fabric\u2019, Abbot Hall, and his work was selected to be part of \u2018unpicked and dismantled\u2019 an exhibition representing the UK in the Textile \u201907 Lithuania.<\/p>\n\n\n\n
Guest: Laurent Tixador
Tixador\u2019s projects have a utopian proposition and are often extreme. In 2005 he undertook several expeditions to Greenland, becoming the first artist to reach the North Pole. In 2009, in Total symbiose 4: 1 he immersed himself in a world at once ordinary and mysterious, that of the business enterprises in the heart of La D\u00e9fense in Paris. In the same year for FIAC, Paris, Tixador presented Jumping Beans, a suspended wooden structure built by the Chapuisat brothers, in which Tixador was to be enclosed during the exhibition. The slightest movement caused the structure to move, like the Mexican beans of the work\u2019s title. In his last docu-fiction film Au bout de 8 jours, filmed in an abandoned army barracks, three squatters play at soldiers with old military equipment, buildingdefensive structures, and are joined by a film crew, which adopts their paranoid utopia. At Galerie du Dourven in 2010 he constructed an immense concrete bunker, on which the gallery appeared to have been built. Tixador lives and works in Nantes.
www.laurenttixador.com<\/p>\n\n\n\n
Kivland\u2019s work is at the intersection of public political action and private subjectivity. Recent works for exhibition include amateur watercolours, copied from memory from postcards; photographs of the smoke of steam trains, the limpid waters of mountain lakes, and the snow on Alpine peaks; and painstaking sketches of women modelling lingerie. Recently she has paid her son an enormous amount of money to fill old school exercises books with lines, as though it were a punishment. The lines are the indexical references to mother\/son relations in Freud’s works. Kivland is represented by domoBaal, London, and Galerie Bugdahn & Kaimer, D\u00fcsseldorf.
www.sharonkivland.com<\/p>\n\n\n\n
Guest: Ian Rawlinson
The work of Nick Crowe and Ian Rawlinson is a poetic exploration of cultural values. Their work addresses questions around faith, politics, national identity, and the environment. Works like The Fireworks, The Carrier\u2019s Prayer or The Four Horsemen operate though an unravelling of the social and ideological consequences of an action in regard to its apparent spectacle. This interest in consequence is reflected in the aesthetics of spectacle and excess that lie at the heart of their practice. They have exhibited throughout the UK and internationally; their most recent solo show was at Ceri Hand Gallery, Liverpool and they have forthcoming group exhibitions with the British Council in India and at the Herzilya Museum in Israel.<\/p>\n\n\n\n
Julie Westerman\u2019s current research uses technologies and software more commonly associated with design and animation to make physical sculptural works. Moving between the digital and the material, the final forms combine the intangible, the transitory or the ephemeral with the monumental and the sculptural. The enquiry lends a cool detachment to the approaching apocalyptical events. Recent projects include working with Stephen H\u00fcsch for LoBe Berlin, developing work in the gallery for Drawing Space 2010. Commissions; Thinly veiled, Grand Opera House, Belfast; Illuminated Carpet, \u2018Enlightenment\u2019, Durham and exhibitions; \u2018Inter\u2026\u2019, Harris Museum and Art Gallery, 2004; and \u2018Afterwards\u2019, Mead Gallery, Warwick Arts Centre, 2009.<\/p>\n\n\n\n
Guest: Oliver Zwink
Oliver Zwink\u2019s drawings, collages, films, photographs, and installations approach the urban terrain by re-creating and simulating a work-process, in which randomness and planning, construction, and destruction generate complex imagery and fragile physical shapes. Influenced by Post Marxist\/Situationist thinking, his work crosses between anti-utopian and poetic transformation; highlighting the interdependence of mental and architectural space. Since completing his MA at Goldsmiths College in 1998, Zwink has been based in Berlin. He has exhibited his work nationally and internationally, including a solo exhibition at The Showroom, London (2000). Recent exhibitions include \u2018City is forever, not me\u2019, Stephen Lawrence Gallery, London (2010), \u2018Splendid View\u2019, Universal Cube, Leipzig (2010) and Final disasters and beautiful forest landscapes, Galerie Meinblau, Berlin (2009). In addition, his work was presented in \u2018Drawing On Space\u2019, inThe Project, Dublin (2002), \u2018Animated Drawing\u2019, Middlesbrough Institute of Modern Art (2005), and \u2018Archipeinture\u2019, Le Plateau, Paris (2006). Zwink is a Visiting Professor for Drawing at the Department of Applied Arts of the University of Applied Sciences, in Mainz, Germany.<\/p>\n\n\n\n
TC McCormack works both collaboratively and individually. His practice exhibits social, political, and behavioural attributes of place, referring to design to consider the architectonics of community. He is currently researching the phenomenon of resistance space and the possibility of language to delineate the relational affinities of forms, while acknowledging the shifting nature of subjectivity. Two current works, Beyond these things and Dumb Fixity are examples of a desire to measure abstract phenomena and the malleability of resistance space. His book Dumb Fixity, co-authored with Martin Ghent and Esther Leslie, was published by Artwords Press in 2010. He is currently pursuing the premise that things can speak, and is listening to what they [things] are trying to say.<\/p>\n\n\n\n
Guest: Oriana Fox
Oriana Fox is an artist who uses performance, sculpture, painting, and video to make reference to and critique the representation of women in contemporary media and the iconic feminist artists of the 1970s. She does this with a knowing sense of humour, the portrayal of women in popular culture and feminist art both attracting and repelling her simultneously. She graduated from Washington University in 2000 and Goldsmiths College in 2003. Recent exhibitions include: \u2018Happiness Happenings\u2019 with the Hayward Huddle, Royal Festival Hall, London; \u2018Performance Matters: Performing Idea Forum\u2019, Whitechapel Gallery, London; \u2018Let\u2019sPaintTV\u2019, Los Angeles; \u2018Going Public\u2019, Tate Britain, London; and \u2018Art in the Archive: Living with Make\u2019, Tate Modern, London, in 2009.<\/p>\n\n\n\n
Using film, found objects, sculptural objects, and taxidermy Chlo\u00eb Brown makes work that has strong links with current debates in the field of Animal\/Human Studies. Recently she made a series of works during a residency at the Zoologische Garten Berlin with the artist Ines Lechleitner. Recent exhibitions include: The Hum, LoBe, Berlin, (2010); \u2018AbbaraCadabra\u2019 at the Mardin Biennial, Turkey (2010); \u2018The Animal Gaze\u2019, Unit 2 Gallery, London and The Roland Levinsky Gallery, Plymouth; \u2018Tier-Perspektiven\u2019 at Georg-Kolbe-Museum, Berlin; \u2018Tier-Werden\u2019 at NGBK, Berlin; and \u2018The Sheffield Pavilion\u2019 at the Istanbul Biennial (all 2009). She is Course Leader of Fine Art at Sheffield Hallam University and is also a member of the Research Group for Artists Publications.<\/p>\n\n\n\n
Guest: Cornford & Cross
Matthew Cornford and David Cross began collaborating while studying at Saint Martin’s School of Art in 1987, and graduated from the Royal College of Art in 1991. They maintain that a key function of contemporary art is to test concepts, assumptions, and boundaries. Each work makes a critical engagement with a particular context, which includes the site, the social situation and the historical moment. As their interventions are often disruptive to the flow of everyday life, realising them demands intensive interaction with the organisations and people who occupy places and influence events. They held an Arts Council residency at the London School of Economics and a British Council residency at Vitamin Creative Space in Guangzhou, China. They have exhibited internationally and nationally. In addition to many site-specific projects in England, since 2006 they have held solo exhibitions at Aspex Gallery, the Northern Gallery for Contemporary Art, Exchange Gallery, Pump House Gallery, and Wolverhampton Art Gallery. In 2009 Black Dog published a 192-page book on their work, which includes artists\u2019 texts, photographs, and critical essays by John Roberts and Rachel Withers.
www.cornfordandcross.com<\/p>\n\n\n\n
David Cotterrell works with video, audio, interactive media, artificial intelligence, device control, and hybrid technology to produce work that exhibits political, social, and behavioural analyses of environments and contexts. Recent exhibitions include: \u2018Reversed Images\u2019 at Museum of Contemporary Photography, Chicago; \u2018Eastern Standard\u2019 at MASS MoCA, Massachusetts; \u2018War and Medicine\u2019 at the Wellcome Collection, London; and \u2018Map Games\u2019 at the Today Museum of Modern Art, Beijing and Birmingham City Art Gallery. Cotterrell is Professor of Fine Art at Sheffield Hallam University and is represented by Danielle Arnaud contemporary art, London. www.cotterrell.com<\/p>\n\n\n\n
Guest: WITH
WITH is an art collective which has created a number of Solutions at the website www.withyou.co.uk. On commissioning a Solution, clients have a life experience either invented or lived on their behalf by a member of the collective. WITH have exhibited internationally including projects at the ICA, Tate Britain, Hayward Gallery, the V&A, and the British Council, New Delhi. WITH was created by artist Alasdair Hopwood in 2002 and is represented by Rokeby, London.<\/p>\n\n\n\n
Lesley Sanderson has worked in collaboration with Neil Conroy as Conroy\/Sanderson since 1998. Their drawings, photographs, and videos explore culture and place to reflect on a shifting globalised world, where subjectivities are contingent, the body is vulnerable, and visibility is called into question. Recent group exhibitions include \u2018Negotiable Values\u2019, Manchester and Chongqing, China (2010) and \u2018East-South: Out of Sight\u2019, Guangzhou Triennial, China (2008). Solo exhibitions include Out of nowhere, Chinese Arts Centre, Manchester (2006) and Here we are, PM Gallery, London (2005). Sanderson is a director of Sheffield Contemporary Art Forum.<\/p>\n\n\n\n