Speaker Biographies

Edward Woodman: The Documentation of Contemporary British Art in Transition - 18 January 2019

Find out about our speakers below, click here to see our event agenda, or click here to find out more about our symposium.


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Jo Bushnell, Director, Aspex Gallery

Joanne Bushnell studied Fashion & Textiles, Art & Design History and Computing before setting up the Millais Gallery at Southampton Institute (now Solent Showcase) in 1996. She has been Director of Aspex since 1999, leading it through a number of major transitions, including a capital project which took it from a converted chapel in an isolated location to its current home at Gunwharf Quays on Portsmouth’s waterfront.

Her work at Aspex has enabled her to combine her two passions, working with emerging artists and revealing the creative process to audiences. The gallery provides a stunning base from which to operate and reach out to the local community, while enabling Jo to work closely with artists on the development and exhibition of new work in the gallery and offsite, in Portsmouth and for Boite-en-Valise in Venice and the USA.


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Hugo Glendinning, Photographer and Filmmaker

Hugo Glendinning has been working as a photographer and film maker for thirty years. His output stretches across the cultural industries from contemporary art collaborations in video and photography, through production and performance documentation to portrait work. He has worked with most leading British theatre and dance companies and is regularly commissioned by The RSC, National Theatre and Royal Opera House.

He has published and exhibited work internationally, notably his continuing project of documentation and the investigation of performance with Tim Etchells and Forced Entertainment Theatre Company.

His work with artists Paola Pivi, Martin Creed, Matthew Barney, Dan Colen, Yinka Shonibare MBE and Franko B recording both performances for camera and public performances or events are in private collections and museums around the world.

In the last decade his work with moving image has developed into an increasingly important part of his practice. The documentary Uncertain Fragments co-directed with Tim Etchells about the work of Forced Entertainment was first screened at the Martin E. Segal Theatre Center, New York in 2016. The collaboration with Professor Adrian Heathfield making performance lectures has developed into a range of other projects including a series of 5 films co-directed with Heathfield of conversations with leading philosophers and thinkers.

Heathfield and Glendinning’s first major experimental documentary Spirit Labour (2017) explores the nature of dance through the lives of three exceptional women artists, Anna Halprin, Janine Antoni and Helene Cixous. They are currently working on a feature length documentary about the work of performance artist Tehching Hsieh, recently dubbed ‘the Master’ by Marina Abramovic. A first cut of the film has recently been shown as part of the Taiwan pavilion at the 57th Venice Biennale 2017.

A regular visiting lecturer at Universities around the UK, Hugo was an AHRC fellow at Exeter University in the Department of Drama between 2008-2011.


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Samantha Ismail-Epps, Researcher, Norwich University of the Arts and Lecturer in Art History, University of Suffolk

Samantha Ismail-Epps completed her PhD, ‘Artists’ Pages: The Accessibility of Art through the Printed Page 1966 – 1973’ at Norwich University of the Arts in 2018. Her thesis investigates how first-generation conceptual artists used pages in group exhibition catalogues to support, extend, or replace exhibited objects, thus making artists’ works accessible beyond the physical and temporary parameters of the exhibition. Her research draws upon statements, essays and interviews published concurrently with the material she examines, supporting the view advocated by many artists, organisers and critics active in the late 1960s and early 1970s, that it is preferable for audiences to go directly to the work and to draw their own conclusions from it.

Previous projects include participation in ‘Print and Production’, a retreat hosted by Wysing Arts Centre, and a research Master Class at the Herbert Foundation in Ghent. Samantha has contributed texts to a special edition of Visual Resources: an international journal on images and their uses (2016) and to the catalogue that accompanied the exhibition Time Extended / 1964–1978: Works and Documents from the Herbert Foundation (2016). She received her BA (Hons) in Contemporary Textile Practice (2007) and MA in Textile Culture (2008) at Norwich University of the Arts. Samantha teaches Art History across a range of undergraduate programmes at University of Suffolk.


Image by Alex Eisenberg

Image by Alex Eisenberg

Lois Keidan, Director, Live Art Development Agency

Lois Keidan is the Co-Founder and Director of the Live Art Development Agency (LADA). LADA is a Centre for Live Art: a production centre for programmes and publications, a knowledge and research centre, and an online centre for digital experimentation and representation.

thisisLiveArt.co.uk


Photo by Nigel Green

Photo by Nigel Green

Woodrow Kernohan, Director, John Hansard Gallery

Woodrow Kernohan is director of John Hansard Gallery, one of the UK’s leading contemporary art galleries that is part of the University of Southampton. In May 2018, Woodrow oversaw the reimagining of the gallery as it relocated from its historic home on Highfield campus into Southampton’s city centre. Previously he was Director of EVA International, Ireland’s biennial of contemporary art from 2011–17, and was curator of the Irish Pavilion at the 56th Venice Biennale in 2015, presenting Sean Lynch’s ‘Adventure: Capital’ in the Arsenale.


Dr. Jo Melvin, Director of the Estate of Barry Flanagan, and Reader in Fine Art & Archives, Chelsea College of Art, University of the Arts London

Jo Melvin is a curator and writer, Reader in Fine Art, Chelsea College of Arts, UAL, London and director of the Barry Flanagan Estate. Recent exhibitions include ‘The Hare as Metaphor: Barry Flanagan’ Paul Kasmin Gallery, New York 2018, ‘Sculptureless Sculpture’ and ‘Archaeology of the mind; the metadata of Villa Lontana’ Rome, 2018 with Vittoria Bonifati. Guest critic with The Booklyn Rail, New York, ‘Fifteen people present their favourite book’ and ‘Forgotten Moments; Future Exhibitions’. Guest curator with the Mahler & LeWitt Studios, Spoleto, Italy, where she devised a residency, symposium and publication-as-exhibition project in collaboration with Viaindustriae, Folignio, Radio Arte Mobile, Rome.


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Guy Moreton, Artist and Associate Professor, School of Art, Design and Fashion, Solent University, Southampton

Guy Moreton’s (b.1971) work has been published, presented and exhibited widely in the UK and internationally, notably in the Fondazione Prada, Venice Biennale 2018; EAST International Norwich; Kettle’s Yard Cambridge; the John Hansard Gallery Southampton; the Sainsbury Centre for Visual Arts and Norwich Castle Museum and Art Gallery; the National Art Pavilion Zagreb Croatia; the Hatton Gallery Newcastle, and Humber Street Gallery, Hull City of Culture.

His current research explores the complex relationship between landscape and thought, particularly through the writing of Jacquetta Hawkes, Nan Shepherd, W.G Sebald, and in the topography and character of Ludwig Wittgenstein's philosophical thinking during his self-imposed retreat to the remote west coast of Norway. Moreton’s photographic work about exile, wilderness and trauma in the landscape of Kurt Schwitters’ Merz constructions in England and Norway was recently acquired by the Contemporary Art Society for the collection of Tullie House Museum and Art Gallery, and his work is also in the collections of the University of Southampton, Southampton City Art Gallery, and the Fondazione Prada Milan.

guymoreton.org


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Keith Piper, Artist

Keith Piper is a British artist and academic. In addition to his work as a visual artist, he has worked as a curator, writer and researcher.

His creative practice responds to specific social and political issues, historical relationships and geographical sites. Adopting a research ­driven approach, and using a variety of media, his work over the past 30 years has ranged from painting, through photography and installation to a use of digital media, video and computer based interactivity. His work oozes Piper’s political concerns and his practice links to his involvement with the Blk Art Group: a collective of art students encouraging an interest in art by black artists in Britain.

Keith Piper has exhibited internationally but has had many solo shows in London especially. He has had his work shown in group shows at various institutions including Tate Britain and at the Turner Contemporary.

keithpiper.info


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Imogen Stidworthy, Artist

With her films and installations, Imogen Stidworthy asks how social relationship takes shape when words fail, are unstable, or absent. What other forms of meaning and communication emerge in the shadow of language? Her work grapples with the impossibility of glimpsing language from the outside. It develops through dialogues with people whose relationship with language is affected, for example, by training or staging the voice, or by conditions such as aphasia or autism. How do different forms of language open out to forms of thought, and modes of being? Stidworthy's art works developed through individual encounters speak to ideas and experiences of difference on the wider, societal scale.

Solo exhibitions include Würtemburgischer Kunstverein, Stuttgart (DE), 2018; Imperial War Museum, London (UK), 2015; AKINCI, Amsterdam (NL), 2013, 2009, 2005; Matt’s Gallery, London, 2011, 2003; The Arnolfini, Bristoland Kunstpavillon, Innsbruck (AT),  2010‐11. Major group exhibitions include MAAS Museum, Sydney (AU) 2017-18; Suzhou Documents (Suzhou Art Museum CN) 2016; States of Mind, 2015 and This is a Voice, 2016 at Wellcome Trust, London; Kiev Biennale (UA) 2015; Sao Paulo Bienal (BR) 2014; Museum Leeuwarden (NL) 2014; Bergen Assembly (NO) 2013; Total Museum of Cont. Art, Seoul (KR) 2013; Busan Biennial (KR) 2012; 52nd October Salon, Belgrade (RS) 2011; Documenta 12, Kassel (DE) 2007. Curated exhibitions include BLACKOUT!, ERC (Exhibition research Centre), Liverpool, 2013; In the First Circle(a collaboration with Paul Domela) at Fundació Antoni Tapiès,Barcelona (ES) 2011‐12, and Die Lucky Bush at MuKHA, Antwerp (BE) 2008. Works in collections including Centre Georges Pompidou, Paris; Dommering Collection, Amsterdam; FRAC Bourgogne, Dijon; MuKHA, Antwerp and Fries Museum, Leeuwarden. Awards include winner of the David and Annely Juda Award 2018 (special prize), Liverpool Art Prize 2008 and the Dutch Prix de Rome for Film and Video 1996; shortlisted for the Jarman Award 2011, The Northern Art Prize 2008 and Becks Futures 2004. Represented by Matt’s Gallery London and AKINCI Amsterdam.

In 2006-7 Stidworthy worked closely with Edward Woodman and speech therapist Judith Langley, recording and filming over several months with a special focus on their speech therapy sessions, to develop the installation I hate Documenta 12 (2007). One element of the installation is a large collection of his panoramic photographs of the redevelopment around Kings Cross for the Eurostar terminal, taken between 2000 and 2007. When the catalogue and guide were being prepared for Documenta, Edward was invited to document the installation - to take a position inside and outside the work, and to be one of twelve artist/photographers who were invited to document the entire exhibition for the 'Bilderbuch' (picture book).


Erika Tan, Lecturer, Fine Art, Central Saint Martins and Founding Member of the Asia-Art-Activism Research Network

Erika Tan’s practice (artist and curator) is primarily research-led and manifests in multiple formats (moving image, publications, curatorial and participatory projects). Recent research has focused on the postcolonial and transnational, working with archival artefacts, exhibition histories, received narratives, contested heritage, subjugated voices and the transnational movement of ideas, people and objects. Future projects point towards the digitization of collective cultural memory and cloud architecture through the prism of ruins, hauntings, and mnemonic collapse. She is currently the Stanley Picker Fellow in Fine Art, and is a Visiting Artist at the Warburg Institute, London. Her work has been exhibited, collected and commissioned internationally including: The Diaspora Pavilion, (Venice Biennale 2017); Artist and Empire (Tate Touring, National Gallery Singapore 2016/7); Come Cannibalise Us, Why Don’t You (NUS Museum, Singapore 2014); There Is No Road (LABoral, Spain 2010); Thermocline of Art (ZKM, Germany 2007); Around The World in Eighty Days (South London Gallery / ICA 2007); The Singapore Biennale (2006); Cities on the Move (Hayward Gallery, London).

Recent curatorial projects: Sonic Soundings/Venice Trajectories http://www.sonicsoundings.com and an instigator of FLOW, 3 days of events at Asia-Art-Activism, Raven Row.

Erika is a lecturer in Fine Art at Central Saint Martins College of Art (London) and a founding member of Asia-Art-Activism Research Network and The Stanley Picker Fine Art Fellow 2018-2020.


Image by Brian Benson, 2018:  bbphoto.me . Image courtesy DACS.

Image by Brian Benson, 2018: bbphoto.me. Image courtesy DACS.

Gilane Tawadros, Chief Executive, DACS

Gilane Tawadros is the Chief Executive of DACS, a not-for-profit visual artists’ rights management organisation. Previously, she was the founding Director of the Institute of International Visual Arts (INIVA) in London which was chaired by Professor Stuart Hall and which, over a decade, achieved an international reputation as a ground-breaking cultural agency at the leading edge of artistic and cultural debates nationally and internationally.

She has worked as a consultant to the Tate and other major organisations, curated numerous exhibitions and written extensively about the visual arts. In 2012, she was the first art historian to be appointed to the prestigious Blanche, Edith and Irving Laurie Chair in Women’s Studies, Rutgers, the State University of New Jersey. She is a Trustee of the Board of Stuart Croft Foundation and sits on the Editorial Board of Whitechapel Art Gallery. She is a Trustee and Vice Chair of the Stuart Hall Foundation.

dacs.org.uk


David Ward in 2017 photographing a framed work by Barry Flanagan:  Black Ad  197 0

David Ward in 2017 photographing a framed work by Barry Flanagan: Black Ad 1970

David Ward, Artist

David Ward works in a range of media that includes painting, photography, performance and sound. He has exhibited widely and he is also known for his collaborations with choreographers, artists and composers. He has made numerous permanent and temporary works in the public realm. His work is held in public collections in the UK and abroad and he has been awarded artists’ residencies at King’s College Cambridge and Harvard University. In 1995 he was a Research Fellow at the Henry Moore Institute, Leeds. He has taught extensively, including at Goldsmith’s College (1987 – 2004) and the Architectural Association, London (1997 – 2006) and continues to be involved in art education, writing and curating.

davidward-artist.co.uk


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Mark Waugh, Art360 Foundation

Mark Waugh is the Business Development Director at DACS, which he joined in 2014. Previously, he worked extensively in Korea and South East Asia as Commissioner for emerging artfairs; Art Gwangju and G-Seoul 13 and as Associate Director of SUUM; Commissioning a number of projects in collaboration with Samsung Electronics including the media art focused award, The Samsung Art+ Prize and IOC commissions.

He is Chair of the International Curators Forum and previously Director of the iconic A Foundation in London and Liverpool, and Head of Visual Arts, South East, Arts Council England.

He has curated numerous group and solo exhibitions and contributed to publications, catalogues and magazines including most recently a chapter in the acclaimed 2017 book; Artists: Rethinking the Blockchain. He is also author of the novels, Bubble Entendre and Come.

art360foundation.org.uk