The workshop was led by the distinguished American artist Mark Dion, with the Canada-born, Chicago-based art critic Lori Waxman. Teresa Gleadowe initiated the workshop and was the convenor in partnership with Martin Clark, Artistic Director of Tate St Ives. Sally Tallant joined the workshop on Wednesday 19 and Thursday 20 October.
Martin Clark has been Artistic Director at Tate St Ives since 2007, leading on the development and delivery of the exhibitions and displays programme, as well as the wider public programme including Interpretation and Learning. Previously he was Curator of Exhibitions at Arnolfini, Bristol (2005-7), and Curator and Exhibitions Tutor at Kent Institute of Art and Design (now University College of the Creative Arts) (2002-5).
Clark graduated with a BA (Hons) in Fine Art from Sheffield Hallam University, before going on to complete the MA Curating Contemporary Art at the Royal College of Art, London. Over the past 10 years he has curated and organised over 40 exhibitions and projects, including solo shows by Simon Starling, Dexter Dalwood, Lily van der Stokker, Albert Oehlen, Carol Bove, Heimo Zobernig, Hans-Peter Feldmann, Adam Chodzko, Deimantas Narkevicius and Lucy McKenzie, as well as a number of group exhibitions, including Candyland Zoo, The Hollows of Glamour, This storm is what we call progress, Pale Carnage and, most recently The Dark Monarch: Magic and Modernity in British Art.
He has taught at institutions including Goldsmiths College, London, The London College of Fashion, Nottingham Trent University, University of the West of England, Kent Institute of Art and Design, and University of East London. He was a Mentor on the ETA Artists Professional Development Scheme, Brighton. He has also contributed to many public seminars, lectures and talks on contemporary art at institutions including Tate Modern, The Serpentine Gallery, The Whitechapel Gallery, Arnolfini and The Moscow Biennale. He has edited numerous publications and catalogues and written widely on contemporary art and artists. He is a member of the Advisory Board for Contemporary Art for the National Trust.
Mark Dion was born in New Bedford, Massachusetts in 1961. He received a BFA (1986) and an honorary Doctorate (2001) from the University of Hartford School of Art, Connecticut, and studied at the School of Visual Arts, New York from 1982 to 1984 and on the Whitney Independent Study Program, New York from 1984 to 1985. Dion’s work examines the ways in which dominant ideologies and public institutions shape our understanding of history, knowledge and the natural world. The job of the artist, he says, is to go against the grain of dominant culture, to challenge perception and convention. Mark Dion’s work incorporates aspects of archaeology, ecology and detection. He is fascinated by the principles of taxonomy, the systems of classification by which people have sought to bring order to the world. The artist’s spectacular and often fantastical curiosity cabinets, modeled onWunderkammeren of the 16th Century, exalt atypical orderings of objects and specimens.
Dion has had major exhibitions at the Miami Art Museum (2006); Museum of Modern Art, New York (2004); Aldrich Museum of Contemporary Art, Ridgefield, Connecticut (2003); and Tate Gallery, London (1999). Neukom Vivarium (2006), a permanent outdoor installation and learning lab for the Olympic Sculpture Park, was commissioned by the Seattle Art Museum. Travels of William Bartram Reconsidered was installed at Bartram’s Garden in Philadelphia in 2010 and Dion has recently completed a major commission, Souvenirs of Mysterious Seas for the Oceanographic Museum in Monaco. He is represented by Tanya Bonakdar Gallery in New York and In SITU Gallery in Paris, Christian Nagel in Berlin and Galerie Georg Kargl in Vienna.
Mark Dion is also the co-director (with J. Morgan Puett) of an artists’ residence programme and think tank project in rural Pennsylvania, entitled Mildred’s Lane. With its emphasis on collaboration and interdisciplinarity, Mildred’s Lane has hosted ‘many experiments, artists, events, projects and other wondrous forms of conviviality’.
Dion lives in New York City and Beach Lake Pennsylvania, and works world-wide.
Born in Montreal, Canada, Lori Waxman is a Chicago-based critic and art historian. Her column ‘Art at Large’ appears bi-weekly in the Chicago Tribune, and her reviews and articles have been published in Artforum, Artforum.com, Modern Painters, Gastronomica, Parkett and Tema Celeste, as well as the now defunct Parachute, New Art Examiner and FGA. She is the co-editor and co-author of the book Girls! Girls! Girls! in contemporary art (2011, Intellect Press, UK) and one of three contributors to Talking with Your Mouth Full: New Language for Socially Engaged Art (2008, The Green Lantern Press).
She has written catalogue essays for small and large art spaces, including: Spertus Museum, Chicago; threewalls, Chicago; SPACES Gallery, Cleveland; Institute of Visual Art, University of Wisconsin, Milwaukee; Turpentine Gallery, Reykjavik; and Dieu Donné Papermill, New York. She has published essays on Arturo Herrera, Jenny Holzer, William Cordova, Eugenia Alter Propp, Raissa Venables, Gordon Matta-Clark, Joel Sternfeld, Emily Jacir, Taryn Simon, Ranbir Kaleka and Christa Donner. Waxman teaches art history at the School of the Art Institute of Chicago and has a PhD from the Institute of Fine Arts, New York University, where her doctoral research considered urban walking as a revolutionary aesthetic practice of the 20th century.
She received a Creative Capital/Warhol Foundation Arts Writers Grant (2008) for her project 60 wrd/min art critic, which is traveling to venues around the United States through 2012.
Teresa Gleadowe is a curator, writer and editor with extensive experience in the contemporary visual arts in the UK and internationally. She worked as an Exhibition Officer and then as Assistant Director of the Visual Arts Department of the British Council from 1977 to 1989 before being appointed Head of Information at the Tate Gallery in 1989. In 1992 she joined the academic staff of the Royal College of Art to develop the first UK-based MA in curating, jointly initiated by the Royal College of Art and the Arts Council. She directed this two-year, full-time programme, Curating Contemporary Art, for fourteen years until the summer of 2006, when she left the college to work freelance.
Since 2006 she has been Research Consultant and Series Editor for the Exhibition Histories book series published by Afterall. She has also taught on curatorial programmes at California College of the Arts, San Francisco; de Appel, Amsterdam; the London Consortium MA Film Curating; the MA Curating at Chelsea College of Art and Design; and on the Curatorial Intensive run by Independent Curators International in New York in July 2011. She has advised on the development of curating programmes at the Courtauld Institute, University of East London and Norwich University College of the Arts. She is Research Fellow for the Visual Arts Department at the Banff Centre for the Arts in Canada and has advised on two conferences for the Banff International Curatorial Institute.
Teresa Gleadowe is a Trustee of Nottingham Contemporary, a member of the Advisory Board of Peer, a Trustee of Paris Calling and a member of the ICA’s Artists Advisory Committee. She has undertaken consultancies for the Whitechapel Art Gallery, Ikon Gallery, Arts Council South West, Arts Council London and The British Council. She is a specialist adviser to The John Lyon’s Charity and a member of AICA and ICOM.
Teresa Gleadowe initiated, developed and convened The Falmouth Convention held at University College Falmouth in May 2010 and is the initiator and convenor of The Cornwall Workshop at Kestle Barton.
Sally Tallant is the Head of Programmes at the Serpentine Gallery, London where she is responsible for the delivery of an integrated programme of Exhibitions, Architecture, Education and Public Programmes. Since 2001 she has been developing an ambitious programme of artist’s projects and commissions, conferences, talks and events.
Recent projects include Edgware Road (a series of ten artists commissions), Skill Exchange (six artists and architects projects exploring housing and the politics of care) Serpentine Gallery Marathon series with Hans Ulrich Obrist; Disassembly with Runa Islam, Christian Boltanski, Yona Friedman and Faisal Abdu’Allah; Let’s Twitch Again, Maria Y’Barra Jnr.;Hearing Voices, Seeing Things: Art and Mental Health (seven artists’ residencies with North East London Mental Health Trust); Park Products by Kathrin Böhm and Andreas Lang and residencies with Tomoko Takahashi, Toby Paterson and A Constructed World.
She has curated and organised exhibitions in a wide range of contexts including the Hayward Gallery, Milch, Chelsea and Westminster Hospital; lectured on graduate and post-graduate courses; and is a regular contributor to conferences nationally and internationally. She is on the Board of Directors of the Exhibition Road Cultural Group, a Trustee of the Chisenhale Gallery and Raking Leaves, the External Examiner for MA Fine Art at Central St Martins College of Art and Design and on the Advisory Board of the Goldsmiths Media Research Programme Spaces, Connections, Control funded by the Leverhulme Trust.
Artists, curators and writers from the region were invited to contribute to evening events and to make presentations about projects in Cornwall and the South West of England. A number of special visitors were also invited to ‘drop in’ during the course of the workshop.
Ten participants were selected from the open submission: Laura Barlow, Paul Chaney, Hannah Jones, Kenna Hernly, Jonty Lees, Steven Paige, Abigail Reynolds, Phil Rushworth, Veronica Vickery, Bettina Wenzel.
A small number of international participants were invited to attend the workshop with the support of overseas cultural agencies: Natasha Ginwala, Birta Gudjonsdottir, Morten Kvamme, Daniel Muzyczuk.
Laura Barlow grew up in Cornwall and is currently based in New York, where she is Project Curator at e-flux. She holds an MA in Curating Contemporary Art from CCS, Bard College and a BA in History from Swansea University, Wales. Curatorial projects includeLiving Modern, CCS, Bard College, 2010; Leya Mira Brander Selected: Untitled 1997-2008, Bard College, 2009; and the film screenings, Before and Beyond the Motion Picture Archive, Goethe Institute, New York, 2009 and The Curve is Ruinous, Grazer Kunstverein, 2009. She has written for publications such as MAP, Paletten, and the Performa ’09 Anthology.
Paul is the lead artist/director of FIELDCLUB – a four-acre field where art is used as a catalyst and facilitator to investigate models of low-impact self-sufficiency and off-grid living. Over the last 12 years Paul has been involved in a number of artist-led projects and spaces in Cornwall. In 2009/10 he worked with Urbanomic – a small international arts organisation and publishing house – to deliver a program of art events and residencies in Falmouth and London.
Natasha Ginwala is an independent art critic and curator based in Amsterdam, where she participated in de Appel Curatorial Programme 2010/11. She completed her postgraduate studies at The School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi, and holds a diploma in Broadcast Journalism from the Asian College of Journalism, Chennai. Her research interests include histories of exhibition-making and artistic programming, cross-disciplinary engagement with colonial documents and the study of contemporary craft processes.
Birta Gudjonsdottir studied Fine Arts at the Icelandic Academy of the Arts and at Piet Zwart Institute in Rotterdam. From 2005-8 she was chief curator of SAFN, a private contemporary art collection in Reykjavik, and she has since worked as curator’s assistant at M HKA in Antwerp, as artistic director and chief curator of the exhibition space 101 Projects in Reykjavik, and as director of The Living Art Museum in Reykjavik. Birta has curated shows in Melbourne, New York, Copenhagen, St Petersburg and Reykjavik. She has produced her home-gallery Dwarf Gallery in Reykjavik since 2002 and is a founding board member of Sequences real time art festival.
Hannah is one half of the performance company LOW PROFILE, working collaboratively with Rachel Dobbs since 2003 to make live art and performances. They are based in Plymouth and are Arnolfini Associate Artists. Hannah is committed to artist-led activity and is actively involved in instigating, co-producing, programming and project managing projects such as PL:ay festival (2007), DXDX studio group (2010) and Come to Ours (Sept-Dec 2011). She is also the Exhibitions and Events Officer at Plymouth College of Art, where she curates and manages the gallery programme, produces publications, organises and manages seminars, workshops and the visiting artist lecture programme.
Since completing her MA in Contemporary Visual Art in 2007, Kenna has developed a research-based curatorial practice focused on the relationship between art and the real. She co-founded FIELDCLUB, an artist-led interdisciplinary project that explores the paradigm of life as art through a rigorous physical and philosophical interrogation of zero-carbon homesteading, and has also been involved in organising art events with Urbanomic. She is an Assistant Curator at Tate St Ives and works in the library at University College Falmouth.
Jonty Lees lives in Cornwall. His work is currently on display in Outrageous Fortune: Artists Remake the Tarot, a Hayward Touring / Focal Point Gallery group exhibition at various locations across the UK.
Morten Kvamme has a Masters in Fine Art from the Academy of Fine Art in Bergen. He worked as a curator and producer at Bergen Kunsthall from 2000-2010, developing the space Landmark into one of Norway’s most active platforms for interdisciplinary art. He is currently teaching in a 50% position at the Academy of Fine Art in Bergen. In 2010 he initiated TagTeam Studio, an artist-run gallery and production space in Bergen, in which he works both as a curator and as an artist.
Daniel Muzyczuk has been Curator of the Centre of Contemporary Art in Torun, Poland, since 2008. He was co-founder of the anti-censorship initiative Indeks73 and has curated, amongst others, the following exhibitions: Long Gone Susan Philipsz (2009), Fabryka Mariusz Waras and Krzysztof Topolski (2010), MORE IS MORE (2010) and Melancholy of Resistance, Works from the M HKA Collection (2010). He teaches at the Academy of Fine Art in Gdańsk and is a member of AICA.
Steven Paige makes art through activities that explore social mores. Recent projects relate to hobbies and self-help manuals, as well as mimicking instructional modes by presenting assembled libraries and archives as art.
A keen advocate of artists dialogue and activity, Steven is involved in creating and presenting platforms for national and international exhibitions and projects. These have included development of The Western Alliance research and exchange project and the co-curated exhibition Control Point: A Temporary Facility at Plymouth Arts Centre in 2010, and Trade Routes in 2011-12.
Abigail Reynolds lives and works in St Just, Cornwall. She studied English Literature at Oxford University, followed by an MA in Fine Art at Goldsmiths University, London. She is represented by Seventeen Gallery in London and by Ambach and Rice in Los Angeles. Her work is in numerous collections including the Government Art Collection.
Phil Rushworth is an independent curator based in Falmouth, Cornwall. Her practice explores accessibility. Projects often feature interaction, popular culture, nostalgia and a sense of humour.
Phil recently co-directed 24hr Comic Etc. with Tom Sharpe, a project funded primarily by Arts Council England and FEAST. The series of three 24-hour events across the county challenged a selection of artists, writers and performers to produce a body of new work in town halls and public spaces.
Veronica Vickery moved to West Cornwall ten years ago and has developed an artistic practice immersed in place, questioning received and often static narratives associated with heritage and tourism, involved with the invisible, the marginal and the overlooked. She graduated from University College Falmouth in 2010 with an MA Fine Art: Contemporary Practice and was a recipient of the Sandra Blow Prize. She is a member of the LAND2 research network, a director of BOSarts and a lecturer at University College Falmouth.
After completing her MA in Cultural Studies, Bettina Wenzel moved from Berlin to Cornwall in 2009. She has worked as an independent curator since 2010, when she initiated |Narratives|, an exhibition project investigating concepts and notions of narrative in contemporary art. She writes for the art space enblanco in Berlin and has a strong interest in site-specific projects.