Christie’s Education Lecture | Cutting Edge Contemporary Art
In person and streamed online via Zoom
Artists Soa J. Hwang, Charlie Russell, Virginie Tan and Maayan Sophia Weisstub — all featured in the Un/Sense exhibition — will be discussing their creative processes, delving into the unique mediums they explore in their work. Find out more about their methodologies, and how their artistic practices go beyond the conventional.
In person and streamed online via Zoom
Artists Soa J. Hwang, Charlie Russell, Virginie Tan and Maayan Sophia Weisstub — all featured in the Un/Sense exhibition — will be discussing their creative processes, delving into the unique mediums they explore in their work. Find out more about their methodologies, and how their artistic practices go beyond the conventional.
27 July 2022
Christie’s, London
Christie’s, London
Mnēmē (2021) by Maayan Sophia Weisstub. Kinetic sculpture, silicone, wood and metal. Courtesy of the artist.Christie’s Education Lecture | From Art School to Art World
In person and streamed online via Zoom
A lecture by Alessio Antoniolli, Director of Art Institution Gasworks who discussed the key elements to progressing in an artistic career after graduating art school. The discussion will included tips on how to market oneself in the art world, compete residency applications, and build relationships with galleries and representatives.
In person and streamed online via Zoom
A lecture by Alessio Antoniolli, Director of Art Institution Gasworks who discussed the key elements to progressing in an artistic career after graduating art school. The discussion will included tips on how to market oneself in the art world, compete residency applications, and build relationships with galleries and representatives.
26 July 2022
Christie’s, London
Christie’s, London
Cursor (2021) by Kate Burling. oil on canvas, 146 x 114 cm. Courtesy of the artist. Diamonds and Rust | Performance by Freya Dooley
A performance by Freya Dooley was commissioned to respond to Virginia Overton’s exhibition, Animal Magnetism (7 May–31 July 2022) at Goldsmiths CCA. In the sprawling sound-based performance, Dooley worked with and against Overton’s architectural and sculptural works in the basement of the CCA building.
Dooley’s layered practice incorporates writing, sound, performance and moving image to explore forms of synchronisation and discord between voices, structures and bodies. The wider themes in her work relate to precarious states, social connection, and tensions between personal and collective experiences. Often rooted in close-range observations and intimate environments, her layered soundtracks and meandering fictional narratives expand outwards in scale, navigating their way through divergent subjects.
This live performance commission at CCA encompassed spoken text and musical composition. Dooley worked with manipulations of live and recorded voice, field recordings and fragmented samples to respond to the surfaces, substances and textures of the exhibition, elaborating on broader themes of visibility, use, time and effort. Drawing parallels in her own process with Overton’s implementation of raw, reused and reimagined materials within institutional contexts, Dooley used interpretations and anecdotes gathered from some of Overton’s pieces as catalysts, ventriloquising invisible characters indicated or imagined in the works.
Listen to the except of the audio piece and transcription here. Co-curated with Christy O’Beirne.
A performance by Freya Dooley was commissioned to respond to Virginia Overton’s exhibition, Animal Magnetism (7 May–31 July 2022) at Goldsmiths CCA. In the sprawling sound-based performance, Dooley worked with and against Overton’s architectural and sculptural works in the basement of the CCA building.
Dooley’s layered practice incorporates writing, sound, performance and moving image to explore forms of synchronisation and discord between voices, structures and bodies. The wider themes in her work relate to precarious states, social connection, and tensions between personal and collective experiences. Often rooted in close-range observations and intimate environments, her layered soundtracks and meandering fictional narratives expand outwards in scale, navigating their way through divergent subjects.
This live performance commission at CCA encompassed spoken text and musical composition. Dooley worked with manipulations of live and recorded voice, field recordings and fragmented samples to respond to the surfaces, substances and textures of the exhibition, elaborating on broader themes of visibility, use, time and effort. Drawing parallels in her own process with Overton’s implementation of raw, reused and reimagined materials within institutional contexts, Dooley used interpretations and anecdotes gathered from some of Overton’s pieces as catalysts, ventriloquising invisible characters indicated or imagined in the works.
Listen to the except of the audio piece and transcription here. Co-curated with Christy O’Beirne.
24 July 2022
Goldsmiths Centre for Contemporary Art, London
Goldsmiths Centre for Contemporary Art, London
Diamonds and Rust (2022) performance by Freya Dooley at Goldsmiths Centre for Contemporary Art. Courtesy of the artist. Photography by CCA team.Christie’s Education Lecture | The Art of Curating
In person and streamed online via Zoom
Curator and writer Fatoş Üstek discussed the creative and theoretical implications of exhibition making and the professional path of freelance curating in conversation with NEXT at Christie’s curators Sasha Shevchenko and Pia Zeitzen [Kollektiv Collective].
In person and streamed online via Zoom
Curator and writer Fatoş Üstek discussed the creative and theoretical implications of exhibition making and the professional path of freelance curating in conversation with NEXT at Christie’s curators Sasha Shevchenko and Pia Zeitzen [Kollektiv Collective].
21 July 2022
Christie’s, London
Christie’s, London
Used pinhole camera (2020) by Katrina Stamatopoulos. Ritx box, black paint, gaffa tape and aluminium. Courtesy of the artist. We are the Body | Performance by Rosie Broadhead, Kaivalya Brewerton & Chibuzor Adiele
Where does nature start and end in our body? Humans and their creations are considered somehow separate from other aspects of earthly existence. In ‘Are We the Body’, a polyphonic lecture emphasises the value of balance between our bodies within different environments. These are the environments we live in, who and what we surround ourselves with and who is living on us. Balance of our psychological, physical and environmental ecologies, microbial balance on our bodies and the balance of these human and nonhuman ‘inter and intra actions’. We are transcending this idea that we can revert back to mother nature. ‘Extended Synthesis’ is a tool to understand the body and its orientation and the way we think about physiological individuality.
Where does nature start and end in our body? Humans and their creations are considered somehow separate from other aspects of earthly existence. In ‘Are We the Body’, a polyphonic lecture emphasises the value of balance between our bodies within different environments. These are the environments we live in, who and what we surround ourselves with and who is living on us. Balance of our psychological, physical and environmental ecologies, microbial balance on our bodies and the balance of these human and nonhuman ‘inter and intra actions’. We are transcending this idea that we can revert back to mother nature. ‘Extended Synthesis’ is a tool to understand the body and its orientation and the way we think about physiological individuality.
26 March 2022
SET Woolwich, London
SET Woolwich, London
Installation View: I knock on your skin (24 March – 14 April 2022) at SET Woolwich, London. Courtesy of the curators and artists. Photography by Dominique Croshaw.