In summer 2022 ‘And Others’ will begin a series of focused conversations with international participants who have been or are working collectively, or those who have a special interest in collective practice. Five groups of invited writers, scholars, artists, cultural workers and activists will collaboratively respond to a central theme over the course of the summer and early autumn, before regrouping in November for a series of public events. Through both stages of conversation we will reflect on our research and experiences of collective practice, whether through working in formally declared collectives or groups, or collaborating in spontaneous ways.

These early group conversations—shaped by many different voices and forms of response, whether as fuller writing or as notes in development, critical or poetic—will be shared between participants online between August and October this year. These private exercises in collaborative writing and thinking will form the groundwork for five public panel events to be hosted online in November, in which participants will regroup to expand their conversations in a public forum, before opening to questions from the audience.

Participants include:

Felicity Allen 

Felicity Allen is a British artist living in South East England. Working mostly in painting, writing and film, she sometimes curates exhibitions and projects with others. Currently she is developing her concept of the Disoeuvre  in dialogue with others, (challenging conventional art hierarchies, see through films, exhibitions, discussions and texts made with artists and art historians.

Her sixth series of Dialogic Portraits, made as artist in residence with the research project People Like You: Contemporary Figures of Personalisation,is the basis for her 2021 film Figure to Ground – a Site Losing its System

She has exhibited, lectured and made art with others on different continents, and has contributed to international anthologies across different disciplines. Education has played a significant role in her work, as a fine art lecturer, in informal education, in museums and galleries, and through her edited volume, Education (Documents of Contemporary Art), MIT/Whitechapel, 2011.

See also

Chris McCormack 

Chris McCormackis a writer and associate editor of Art Monthly. He has programmed numerous talks and events, including ‘The Producers’, in collaboration Newcastle University and ‘Art Criticism and the Pandemic’ for the Paul Mellon Centre, London. He is the editor of Charlotte Prodger’s monograph (Koenig), commissioning editor of ON&BY Andy Warhol (MIT/Whitechapel) and has contributed numerous essays and texts for catalogues, including James Richards’s Requests and Antisongs  Queer Spaces (RIBA), Creating Dangerously (Sharjah Art Foundation) and The Heart of Another Country (Deichtorhallen Hamburg). He has collaborated with numerous artists including Hilary Lloyd, Oreet Ashery and Ursula Mayer, while his research into vocal development was published as part of Richards’s Welsh Pavilion in Venice, Voce di testa, he also curated the exhibition and edited the book Anarchic sexual desires of plain unmarried schoolteachers.

Carla Cruz 

Carla Cruz is an artist, researcher, and visual arts Lecturer at EAAD-UMinho, Portugal. Carla has a practice-based Ph.D. from the Goldsmiths University of London. Since 2011, Carla develops the project Finding Money with Antonio Contador, and since 2007, mobilizes the “Associação de Amigos da Praça do Anjo” with Ângelo Ferreira de Sousa. Carla co-founded the feminist artistic intervention collective ZOiNA (1999-2004), and the artist-run space Caldeira 213 (1999-2002); between 2005 and 2013 Carla coordinated the feminist exhibition project All My Independent Wo / men; since 2019, Carla leads the study group Feminist Readings (i2ADS); and integrates the State’s Commission for the Acquisition of Contemporary Art. Currently, Carla is developing a speculative artistic project on human and non-human terranean temporalities with Claudia Lopes, with three public iterations.

Fabiola Fiocco

Fabiola Fiocco is a researcher, curator, and organiser. Currently, she is a Marie Skłodowska-Curie PhD fellow at the University of Edinburgh, with a research project on gender and labour in the curating and production of socially engaged art and independent instituting. She holds an MA in Museology from the Reinwardt Academie in Amsterdam and an MA in Art History from Roma Tre University in Rome. She previously obtained a BA in Arts Management from Ca’ Foscari University of Venice. As part of her academic and curatorial practice, she has focused on art and activism, feminism and biopolitics, and on the sociopolitical agency of the contemporary art museum. She has worked in independent art spaces, museums, and foundations – both in Italy and abroad – and collaborated with various online magazines. She is a founding member of [AWI] – Art Workers Italia. 

Lily Hall 

Lily Hall currently works as Curator at The Showroom, London, and combines this with an interdependent curatorial practice with a focus on collaborative, process-oriented modes of production. 

Selected recent international curatorial projects include Muros Blandos, ser entre bordes, [Soft Walls, Being Between Borders], co-curated with Daniela Berger and Mette Kjærgaard Præst at Museo de la Solidaridad Salvador Allende, Santiago, Chile, 2017-18; Jaroslav Kyša: Fifth Force at Zahorian & Van Espen, Prague, 2018; Surface Tensions, Pavla and Lucia Scerankova at Pump House Gallery, London in partnership with Czech Centre, London, 2017. Lily has worked in curatorial and editorial capacities with Calvert 22 Foundation (2012-15), Raven Row (2016) and Chisenhale Gallery (2017) amongst others; and on collaborative projects within and beyond these institutional frameworks, often exploring the spaces between publishing, experimental print-based platforms and exhibition making as a curator and writer. Between 2016-17 she was a member of the jury for the Oskár Čepan Award for contemporary art, Slovakia. Recent teaching and visiting lecturer roles have included contributions at the School of Fine Art (MPhil/PhD programmes) at the Royal College of Art, London, 2017; and Exhibition Studies (MRes programme), Central St Martins, London, 2019-22. She holds an MA in Curating Contemporary Art from the Royal College of Art, London, and BA in Art History and Literature from the University of East Anglia, UK.

Kirsten Lloyd

Kirsten Lloyd is a curator and Lecturer in the School of History of Art.  She Directs the MSc by Research in Collections and Curating Practices.

Her research focuses on late 20th and 21st art, including lens-based practice, participatory work, the art document and realism as well as the histories, theories and pragmatics of curating. She is an academic lead for the University’s new Contemporary Art Research Collection.

Kirsten is currently working on a single-authored book titled Social Documents, examining the ‘document trend’ in contemporary art since 1968 and linking it to the demand for the circulation of social knowledge and increasingly urgent questions around representation and realism in the 21st century.  She is also a Research Fellow with the ‘Social Reproduction: Looking for Jeanne’ (2019 – 2022) project, funded by the Swedish Research Council.

Recent publications include a co-edited special issue of Third Text (with Angela Dimitrakaki) on Social Reproduction and Art (2017). “If You Lived Here… : A Case Study on Social Reproduction in Feminist Art History,” in Feminism and Art History Now (I.B. Tauris, 2017); “Shaping Collections: Globalisation and Contemporary Art,” in Affiliate: Thinking Collections Yearbook (Affiliate, 2016); “Being with, across, over and through: Caring Subjects, Ethics Debates and the Encounter in Contemporary Art,” in her co-edited volume ECONOMY: Art Production & The Subject in the 21st Century (Liverpool University Press, 2015); “Endgame?  Reconfiguring the Artwork,” Third Text 26, no. 5 (2012).

Karolina Majewska Güde

Karolina Majewska-Güde, PhD, is a researcher, art historian, and curator.

She graduated in art history from Adam Mickiewicz University in Poznań and visual histories from Goldsmith College, London and received her doctorate from the Department of Art and Visual History at Humboldt University in Berlin.

Her research focuses on the East Central European neo-avant-gardes, feminist epistemologies, performance art, contemporary issues of circulation, translation and knowledges production through art-based research. She works closely with feminist artists of different generations, which is linked to her work on rethinking an artistic archive as a place of collaboration and maintenance where reproductive and creative work are intertwined.

Majewska-Güde is a founding member of the research collective pisze/mówi/robi, which combines performative and interpretative research and is dedicated to curating exhibitions and workshops focused on artistic research practices and artistic archives. She has co-curated several exhibitions and contributed to publications focused on art from post-socialist Europe such as ArtMargins, Post MoMA: Notes on Art in a Global Context. She currently teaches at the Institute for Art and Visual History at Humboldt University.

Majewska-Güde recently published “Ewa Partum’s Artistic Practice. An Atlas of Continuity in Different Locations” (Transcript, 2021). Her current research includes projects Liquid Connection: Re-thinking Hydro-socialist and Land Art Practices located at the intersection of transnational art history of former socialist Europe and feminist new materialisms and several artistic research collaborations focused on rethinking regional cultural history from a gendered perspective.

Majewska-Güde is a member of AICA. She lives and works in Berlin.

Katja Praznik

Katja Praznik is associate professor at the University at Buffalo’s Arts Management Program/Department of Media Study. She is the author of Art Work: Invisible Labor and the Legacy of Yugoslav Socialism (Toronto: University of Toronto Press, 2021), and The Paradox of Unpaid Artistic Labor (Ljubljana: Sophia, 2016). Her research focuses on labour issues in the arts during the demise of the welfare-state regimes, and has been published in various academic journals, such as Social TextHistorical Materialism, and KPY Cultural Policy Yearbook, and in edited volumes. Before moving to the United States, she worked as a freelance cultural worker in the Slovenian independent art scene. She was the editor-in-chief of the journal Maska and was engaged in the struggles for improving working conditions of art workers at Društvo Asociacija.

Helena Reckitt

Helena Reckitt is Reader in Curating in the Art Department at Goldsmiths, University of London. She has held curatorial and programming posts at The Power Plant, Toronto, the Atlanta Contemporary Art Center, Georgia, and the ICA, London, and was a commissioning editor in film and performance studies at Routledge, London. Editor of Art and Feminism (Phaidon, 2001), Acting on AIDS (Serpent’s Tail, 1997, with Joshua Oppenheimer), and Sanja Iveković: Unknown Heroine (Calvert 22, 2013), she was Consultant Editor for the Tate/Chronicle Books survey The Art of Feminism: The Images that Shaped the Fight for Equality (2018, French edition 2019; revised edition 2022). With Jennifer Fisher she co-edited issues of the Journal of Curatorial Studies on ‘Curating and Affect’ and ‘Museums and Affect,’ 2016, and, with Dorothee Richter, an issue of OnCurating on ‘Instituting Feminism,’ 2021. Since 2015 she has coordinated the Feminist Duration Reading Group, a monthly gathering dedicated to under-represented feminisms. She is exploring approaches from life writing in her critical and curatorial texts, having received an MA in Creative and Life Writing from Goldsmiths in 2021.

Irene Revell 

Irene Revell is a curator and writer who works with artists across sound, text, performance and moving image. Much of her work since 2004 has been with the London-based curatorial agency Electra, and she has been closely involved with collections including Electra’s Her Noise Archive and Cinenova: feminist film and video, as a trustee and founder-member of the Cinenova Working Group.

Recent projects include They are all of them themselves and they repeat it and I hear it, a year-long reading of Gertrude Stein’s The Making of Americans in 2020, co-organised with Anna Barham; workshop series These Are Scores (Camden Arts Centre, 2019; Sounding Bodies, Danish Royal Academy of Fine Art, Copenhagen, 2018; CNEAI, Paris, 2017, amongst others); exhibition project ORGASMIC STREAMING ORGANIC GARDENING ELECTROCULTURE with Karen Di Franco (Chelsea Space, London, 2018). 

Recent writing includes essays in Performing Indeterminacy (Contemporary Music Review Special Issue, 2022 forthcoming), The Body in Sound, Music and Performance (Routledge, 2022); catalogue texts for Charlotte Prodger (Koenig, 2022), Pauline Boudry/Renate Lorenz (Spector Books, 2022), Beatrice Gibson: Deux Sœurs (Sternberg Press, 2020); and with Lina Džuverović, Parse Journal special issue on Art & Work (2020) and OnCurating special issue Curating In Feminist Thought (2018). In 2019 she collaborated with Primary Information on the publication of a new facsimile edition of Womens Work (co-edited by Alison Knowles & Annea Lockwood, 1975-8). 

Since 2014 she has been Curator/Lecturer on the MA Sound Arts, London College of College of Communication where she will shortly submit the AHRC-funded practice-based doctoral thesis Live Materials: Womens Work, Pauline Oliveros & the ‘feminist performance score’ at CRiSAP.

Marina Rosenfeld

Marina Rosenfeld is a composer and artist based in Brooklyn, New York . Working across the disciplinary boundaries of music and visual art, she has created a significant body of work integrating sound, music and performance with social and sculptural interventions. She has created works for the Museum of Modern Art, the Park Avenue Armory, the Whitney, Guggenheim, Serralves and Stedelijk museums, South London Gallery, and festivals including Borealis, Donaueschinger Musiktage, Musica Strasbourg, Borderlines, Ultima, Wien Modern, Tectonics and the Holland festival, among many others.

Rosenfeld’s work has been featured in solo exhibitions by institutions including Portikus Kunsthall (Frankfurt), Kunsthaus Baselland (Basel), The Artist’s Institute (NY), the Center for Curatorial Studies at Bard College (NY), and in surveys including the Whitney Biennial (2002 and 2008), the Aurora Biennial (2020), the Montréal Biennial (2016), the Liverpool Biennial (2011), the PERFORMA Biennial (2009 and 2011), and ‘Every Time A Ear di Soun,’ the radio program of documenta 14 (2017).

Rosenfeld was a faculty member of Bard College’s MFA program (The Milton Avery School of the Arts) from 2003-2021, and co-chair of its program in Music/Sound from 2012-2021. She will return to the program as its invited Visiting Artist in 2022, and continues to teach composition within Brooklyn College’s Conservatory of Music. She has also taught as a visiting faculty member at Yale University, Harvard University, and Dartmouth College, among others. She is a frequent lecturer on experimental music, sound art and contemporary interdisciplinary praxis, with recent lectures at Berlin’s Haus Der Kulturen Der Welt (Life Forms, 2019, and Der Ohrenmensch, 2018), Cornell University (After Experimental Music, 2018), the Goethe Institute Chicago (Sexxxing Sound, 2017) and many others. Her recordings are on Room40, Shelter Press, 901Editions and forthcoming on INFO Unltd. 

Jelena Vesić

Jelena Vesić is an independent curator, writer, and lecturer – based in Belgrade and working internationally.

She holds MA in Art History, Faculty of philosophy – Belgrade; attended Curatorial Training program De Appel – Amsterdam; PhD in Theory of Arts and media, University of Arts – Belgrade exploring the technologies of curatorial knowledge production.

Active in the field of publishing, research, and an exhibition practice that intertwines political theory and contemporary art, Jelena Vesic was co-editor of Prelom: Journal of Images and Politics (2001–2010, Belgrade). She is co-editor of Red Thread journal (Istanbul) and a member of the editorial board of ARTMargins (MIT Press).

She has published numerous essays on curatorial practice, art historical methodology, exhibition history, and the politics of display. Her recent book On Neutrality (in collaboration with Vladimir Jerić Vlidi and Rachel O’Reilly) is part of the edition Non-Aligned Modernity, dedicated to exploring different cases of the culture and politics of the Non-Aligned Movement as the most significant decolonization movement of the twentieth century.

Vesic also curated many exhibitions, often experimenting with frameworks, methodologies, contextual and collaborative aspects of curatorial practice. Her recent exhibitions are Story on Copy (Akademie Schloss Solitude, Stuttgart) and We are Family (with Nataša Ilić) presented in Pawilion, Poznan, part of

Vesić also curated Lecture Performance (MoCA, Belgrade and the Kölnischer Kunstverein, with Anja Dorn and Kathrin Jentjens) as well as the collective exhibition project Political Practices of (Post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia. (2020)