Central Saint Martins
University of the Arts, London
Tutor: Art History, Criticism and Communication
2019: As part of the Summer Study Abroad programme at CSM I taught this course alongside fellow curator Sol Polo. The course engaged international students with contemporary visual practice, art theory, and cultural institutions.
As a tutor, I contextualised art history through an array of critical lenses, from modernist art history to contemporary cultural theory and conceptual practice. Throughout the course, I organised and led lectures on artistic and curatorial practices. Topics included research, production and curatorial methodologies. As a culmination, I guided the students in collectively creating an exhibition and publication in response to Lee Krasner: Living Colour at the Barbican.
Essay: Radical Companions
2019: I was commissioned to write a critical text for the official catalogue of the Rewire Festival in Den Haag (NL).
I wrote a speculative essay—responding to the theme of “Instrumental Shifts”—which explores the concept of decentralisation in creative sound production. I investigate the collaborative relationships between humans, collective bodies and machines as manifested in forms of collectivism, cooperative creation, joint networks, communities and ensembles.
Open Source Self
2019: Open Source Self is an ongoing project that explores contemporary questions of identity and subjectivity in a world of digital hyper-connectivity and virtual realities. Through a series of research labs, events and exhibitions, this project seeks to investigate the uncertain boundaries of human conditions when faced with advancing technologies.
2018: The Web3 Summit was organised around a single rallying call: to facilitate a fully functional and user-friendly decentralised web. For the event, I curated an exhibition of art works which creatively approach concepts of collectivity, distributed networks, blockchains and community-led creation.
2018: WUNDER is creating the first ever blockchain-based, distributed museum focused on the dissemination and sustainability of digital art.
WUNDER strives to make digital art globally accessible using an art-as-a-service and art-as-an-asset infrastructure. The project manifests at the intersection of new-media art, technology and patronage.
Rachel Cheung: Liminal States
Chisenhale Studios, London
2017: Liminal States was a one-night event with an immersive installation and performance by Rachel Cheung which physically and conceptually negotiated the uncertain agency of human forms when approaching technological transcendence.
Transforming the Chisenhale Studios space with an ephemeral display of sculpture, video, sound and movement, Cheung created an immersive installation which was activated by a two-part dance performance by Cheung along with Paola Napolitano and Piedad Albarracin Seiquer.
Cold Wires / Warm Heart
Enclave Lab, London
2017: Cold Wires / Warm Heart was an experimental evening of performances, video works and active installations that negotiates the complex bond between humans and technology.
Whether driven by emotion, romance, dependency or delusion, our generation has a layered connection to machine devices. The works presented in this event sought to unpack and playfully interrogate these relationships through a mix of artistic techniques.
Transmediale Festival 'Vorspiel', Berlin
2017: Partnering with Rockelmann& Gallery, Semi-Self Reflections was a one-night screening event of video works by six international artists, united in their search for identity in a precarious world. In an epoch where capitalist culture is defined by blurred lines of human agency and technological automation, the videos presented critically explored the post-digital condition through a mix of new media technology and experimental sounds. Viewers were treated with a mélange of cyborgs, narcissism, touch screens and avatars in a visual manifestation of virtual uncertainties.
Robert Whitman Performance
Part of 9 Evenings Revisited
Central Saint Martins, London
2016: Part of 9 Evenings Revisited: Exactly fifty years after the legendary 9 Evenings: Theatre and Engineering, Arts Catalyst revisited this hugely influential art event with a new performance commission by Robert Whitman, co-founder of Experiments in Art and Technology (E.A.T).
Zabludowicz Collection, London
2016: Use/User/Used/ was an exhibition that explores the effects of 24/7 working culture and questions societal pressures to continuously perform. The show presents works from the Zabludowicz Collection alongside new live performance and dance commissions.
Auto Italia in Conversation
Arts Catalyst Centre for Art + Tech, London
2016: Organized as part of the ‘Exhibition Studies Working Group’ at Arts Catalyst, this panel discussion was aimed to introduce the voice of a younger generation of artists who are critically engaging in the social and political implications of technology.
2016: Futures Afloat was an exhibition proposal which used new media to present a playful critique on contemporary gentrification as manifested through the current cruise ship crisis in Venice's canals.
(Image credit: Ivan Argote, 2016)
Now You Can Go
The Showroom, ICA, Space Studios, Raven Row
2015: Now You Can Go was a programme of events considering feminist thinking, art and activism. It took place across multiple leading art venues in London. Juxtaposing historical with contemporary positions, the series explored feminist concepts of generation and genealogy.
ICA Curator's Tour
Bloomberg New Contemporaries, London
2015: New Contemporaries is the leading UK organisation supporting emergent art practice from British art schools. Since 1949 New Contemporaries has consistently provided a critical platform for final year undergraduates, postgraduates and artists one year out of postgraduate study.
Symphony of Hunger
AplusA Gallery, Venice
2015: Born from a collaboration with the Bonotto Foundation, this exhibition seeks to stimulate new connections and new relations through a series of works by established and emerging artists.
The themes presented include desire, taste, digestion and waste, orchestrated through a model, in which an experimental exploration of organic bodily hunger evolves into a socio-political and aesthetic investigation.
Graham Dunning: Mechanical Techno
2015: Dunning works with sound, processes and found objects. Visually his work draws on dirt, dust and decay, evoking notions of memory, collecting and archiving. In terms of the sonic, Dunning’s work remixes cultural off-cuts, often utilising the unwarranted noise inherent in vinyl and cassette playback.