Ximena Alarcón-Díaz, Felicity Allen, Carla Cruz, Fabiola Fiocco, Karolina Majewska Guede, Lily Hall, Manual Labours, Kuda.org/Zoran Pantelić, Kirsten Lloyd, Chris McCormack, Gerrie van Noord, Helena Reckitt, Irene Revell, Marina Rosenfeld, Katja Praznik, Abhijan Toto, Jelena Vesić
Project lead and moderator: Lina Dzuverović
Ximena Alarcón is a sound artist-researcher interested in listening to our sonic migrations: in-between sonic spaces manifested in dreams, underground public transport and cultural and technological mediations in the migratory context. She is a Deep Listening® tutor, with a PhD in Music Technology and Innovation. Throughout her career, she has created telematic sonic improvisations and interfaces for relational listening, to understand sensorially her and others’ migratory experience, as if in search of a collective interface that holds such sonic in-betweeness. Her most recognized works are the interactive sound space Sounding Underground (IOCT-DMU, The Leverhulme Trust Fellowship 2007-2009), the series of telematic sound performances Networked Migrations (CRiSAP – UAL, 2011-2017), and INTIMAL: an embodied physical-virtual system for relational listening to improvise telematically in the context of human migration (RITMO – University of Oslo, 2017-2019, Marie Skłodowska Curie Individual Fellowship). Emerging from her INTIMAL project, Ximena leads the online-based INTIMAL co-creation collective of Latin American migrant women in Europe listening to our migrations, through dreams and migratory journeys, expanding notions of femininity, territory and care.
As a resident at The Studio, she was awarded the 2021 Studio Recovery Fund to develop independently the INTIMAL App©, a mobile platform that invites people to listen to their “migratory journeys”. Publications derived from her research include a book chapter “Breathing (as Listening): An Emotional Bridge for Telepresence“ in The Body in Sound, Music and Performance (2022) Ed by Linda O’Keefe and Isabel Nogueira. Also, she has published articles such as ”Sonic Proximities: Locating Oneself and the Others Within a “Migratory Journey” ” (2022), and “Sensing Place and Presence in an INTIMAL Long-Distance Improvisation” (2019), in the Journal of Network Music and Arts; “Conceptual design for INTIMAL: a physical/virtual embodied system for Relational Listening” (2019), in the Journal of Somaesthetics; “Networked Migrations: listening to and performing the in-between space”, (2014) in Liminalities: A Journal of Performance Studies; and “Embodied Sonic Memories of Commuting Underground,” (2017) published in 2020 at IA: The Journal of the Society for Industrial Archeology.
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 https://felicityallen.co.uk/the-disoeuvre/) 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 https://peoplelikeyou.ac.uk/portrait/. 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 www.felicityallen.co.uk
Chris McCormack is 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 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.
Lina Džuverović is a cultural worker based in London. She founded Electra, a contemporary arts agency, in 2003 and is a Lecturer in Arts Policy and Management at the Film, Media and Cultural Studies Department, Birkbeck College, University of London. Her research focuses on explorations of collectivity, gendered labour and contemporary art as a sphere of solidarity and community-building. She founded Birkbeck’s Decolonial Feminist Forum in 2019 and co-directs BIRMAC-Centre for Interdisciplinary Research in Media and Culture with Rebekah Cupitt. Previously Lina held artistic director and curatorial roles at Calvert 22 Foundation, Institute of Contemporary Art, London, Momentum Biennial, Lux Centre and has taught at University of Reading and Institute for Contemporary Art, TU Graz, Austria. She obtained her PhD at the Royal College of Art in association with Tate, on an AHRC Collaborative Doctoral Award. Selected exhibitions include ‘Monuments Should Not Be Trusted’ (Nottingham Contemporary, 2016), Sanja Iveković – ‘Unknown Heroine’ (South London Gallery/Calvert 22, 2012), 5th Nordic Contemporary Art Biennial, Norway,2009), ‘Her Noise’ (South London Gallery/Tate, 2005).
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 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 is a Senior Lecturer in Curatorial Theory and Practice at The University of Edinburgh. Her research focuses on late 20th and 21st art and mediation, including lens-based practice, participatory work and realism. She is a Research Fellow with the ‘Feminism, Art, Maintenance’ (2019 – 2022) project, funded by the Swedish Research Council, and the Academic Lead for the University’s Contemporary Art Research Collection. Recent publications include ‘Art, Life and Capitalist Social Reproduction: Curating Social Practice’ in the Journal of Curatorial Studies (2021). Kirsten is currently working on the collaborative exhibition and research project Life Support: Forms of Care in Art and Activism with Glasgow Women’s Library and a book called Contemporary Art and Capitalist Life.
Karolina Majewska Güde
Karolina Majewska-Güde, PhD, is a researcher, art historian, and curator. 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. https://karolinamajewska.wordpress.com/
Gerrie van Noord
Gerrie van Noord is a freelance editor and educator. Following a variety of roles at the Rijksakademie van beeldende kunsten (1988-1992) and de Appel Foundation (1992-1996) in Amsterdam, she was Head of Publishing at London-based commissioning organisation Artangel (1997-2002), project manager for the first official independent Scottish presence at the Venice Biennale (2003), and commissioning editor of a series titled Fabrications published by Book Works (2006-2009). Although now mainly engaging with one-off projects, she has longer term collaborations with several artists, arts organisations and education institutions, including PARSE Journal, for which she has been a copy-editor and proofer since issue #3. Recently she was the managing editor of a series of anthologies edited by Paul O’Neill, Lucy Steeds, Mick Wilson and Simon Sheikh – The Curatorial Conundrum (2016), How Institutions Think (2017) and Curating after the Global (2019) – published by The MIT Press. Gerrie has contributed as a Visiting Lecturer to the MFA at the Glasgow School of Art (2003-2015) and was an Associate Lecturer at the MA Arts Policy & Management at Birkbeck, University of London (2006-2019). Currently she is a Visiting Lecturer on the MA Curating Contemporary Art at the Royal College of Art, London. She recently completed a practice-led PhD (Birkbeck, 2022), which focused on publications and their role in and contribution to curatorial practice and discourse. For information on current and past projects, see her website.
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 Text, Historical 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 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 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 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 (PhD) is an independent curator, writer, and lecturer, based in Belgrade and working internationally. She holds MA in Art History, Faculty of Philosophy – Belgrade; she attendeed Curatorial Training program, De Appel – Amsterdam; holds PhD in Theory of Arts and Media, University of Arts – Belgrade; conducted Post-PhD research – Postcolonial Constellations (initiated by Okwui Enwezor), Haus der Kunst, Munich and Sharjah Art Foundation. She is engaged in the field of publishing, research, and an exhibition practice that intertwines political theory and contemporary art. She was co-editor of Prelom: Journal of Images and Politics (2001–2010, Belgrade) and currently is a co-editor of Red Thread Journal (Istanbul), a member of the editorial board of ARTMargins (MIT Press) and a member of advisory board of Mezosfera (Budapest). Jelena Vesic curated many exhibitions, in which she often experimented with frameworks, methodologies, contextual and collaborative aspects of curatorial practice. Her recent curatorial projects include Story on Copy (Akademie Schloss Solitude, Stuttgart) and We are Family (w. Nataša Ilić, Pawilion, Poznan). Her coming exhibition In Collectivising, Five Stories (Moderna Galerija, Ljubljana, September 2022) deals with the feminist interventions into the art historical narration on avant-garde art collectives of the XX century. Vesic curated large exhibition projects such as Lecture Performance (w. Anja Nathan-Dorn and Kathrin Jentjens, produced by Kölnischer Kunstverein and Museum of Contemporary Art, Belgrade) as well as the collective researchproject Political Practices of (Post-) Yugoslav Art, which critically examined art historical concepts and narratives on Yugoslav art after the dissolution of Yugoslavia. Jelena Vesic has published a number of essays and studies on curatorial practice, art historical methodology, exhibition history, and the politics of display. Her book On Neutrality (w. Vladimir Jerić Vlidi and Rachel O’Reilly) is part of the edition of Non-Aligned Modernity. Vesić’s recent editorial and writing projects include the Red Thread #5: Alt-Truths and Insta-Realities: The Psychopolitics of Contemporary Right (w. Vladimir Jerić Vlidi), Feminist Takes: Early Works by Želimir Žilnik (w. Antonia Majaca – the initiator of the project, and Rachel O’Reilly, Sternberg Press, 2021) and the book Yugoslav Art Space Inside and Beyond: Ješa Denegri in First Person (w. Branislav Dimitrijevic, JRP, tbp, Autumn 2022).