2022
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
Soa J. Hwang, Time + Machine, 2020. Photography by Dominique Croshaw.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
Alessio Antoniolli, portrait. 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
Fatoş Üstek, portrait.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.2020
New Light (2020) by Ellen Barratt
Performance
In Genesis, the first sign of life is Light. Last in order of dismantling the myth, Ellen Barratt’s New Light (2020) embodied an homage to light. The installation illuminated the curved, monumental wall behind the church’s altar, reacting to and with the space’s natural light balance. Barratt worked on the edge of materiality, using New Light to construct an immersive experience.
Performance
In Genesis, the first sign of life is Light. Last in order of dismantling the myth, Ellen Barratt’s New Light (2020) embodied an homage to light. The installation illuminated the curved, monumental wall behind the church’s altar, reacting to and with the space’s natural light balance. Barratt worked on the edge of materiality, using New Light to construct an immersive experience.
7 March 2020
Swiss Church, London
Swiss Church, London
New Light, 2020, by Ellen Barratt: In Nihilum (2 – 8 Marcb 2020) at Swiss Church, London. Courtesy of Kollektiv Collective and the artists. Photography by Ellen Barratt.O (2020) by Hannah Archambault
Performance
Symbolising the creation of Heaven and Atmosphere, Hannah Archambault’s sound installation O (2020) resonated with the spiritual identity of the Swiss Church. As atmospheric sound moved through the space from one area to another and back, O acted as a guide to explore the space and an invitation to engage not only with our bodies but also our listening.
Performance
Symbolising the creation of Heaven and Atmosphere, Hannah Archambault’s sound installation O (2020) resonated with the spiritual identity of the Swiss Church. As atmospheric sound moved through the space from one area to another and back, O acted as a guide to explore the space and an invitation to engage not only with our bodies but also our listening.
5 March 2020
Swiss Church, London
Swiss Church, London
Swiss Church, photography by Hannah Archambault.Jasper Humpert: The creation of nature and its cannibalistic hybrids
Performance lecture
This lecture performance investigated the relationship of the human self and the natural other in order to understand a rapidly changing nature and the questions this poses to the human position. From the conception of a remembering earth in the swamps of Rio de Janeiro, to aero-terrestrial traumas in Eastern Germany’s summer fire blaze struck forests and engineering miracles on Dutch coastlines, the course we take in order to unravel the understanding of what (divinely human, humanely divine) creation means in the light of ecological devastation will seek answers in the surprising cosmologies of a cannibalistic self-situated human domain in ever-changing hybrid-natures. The other as incorporated enemy, the dependency of the substances to the relationships to one another, emergence as socio-climatic default setting, an ever-changing outlook on the landscapes of climate collapse – the creation and deconstruction of natures has never been as close to the human self as in this very moment.
Performance lecture
This lecture performance investigated the relationship of the human self and the natural other in order to understand a rapidly changing nature and the questions this poses to the human position. From the conception of a remembering earth in the swamps of Rio de Janeiro, to aero-terrestrial traumas in Eastern Germany’s summer fire blaze struck forests and engineering miracles on Dutch coastlines, the course we take in order to unravel the understanding of what (divinely human, humanely divine) creation means in the light of ecological devastation will seek answers in the surprising cosmologies of a cannibalistic self-situated human domain in ever-changing hybrid-natures. The other as incorporated enemy, the dependency of the substances to the relationships to one another, emergence as socio-climatic default setting, an ever-changing outlook on the landscapes of climate collapse – the creation and deconstruction of natures has never been as close to the human self as in this very moment.
5 March 2020
Swiss Church, London
Swiss Church, London
Jasper Humpert, lecture as part of In Nihilum (2 – 8 March 2020) at Swiss Church, London. You’re continuously rearranging yourself (2020) by Eloise Lawson
Performance
In this performance piece Eloise Lawson used the sea as a starting point for her piece, for its status as the thing/place that connects us most powerfully to the behaviour and sensibility of the moon, but also for the appeal of its inherent volatility and unknowability.You’re continuously rearranging yourself (2020) considered how the inbuilt wavering or ambivalence of the sea might function as a metaphor for indecision or not-knowing more generally.
Performance
In this performance piece Eloise Lawson used the sea as a starting point for her piece, for its status as the thing/place that connects us most powerfully to the behaviour and sensibility of the moon, but also for the appeal of its inherent volatility and unknowability.You’re continuously rearranging yourself (2020) considered how the inbuilt wavering or ambivalence of the sea might function as a metaphor for indecision or not-knowing more generally.
4 March 2020
Swiss Church, London
Swiss Church, London
You’re continuously rearranging yourself (2020) by Eloise Lawson: In Nihilum (2 – 8 March 2020) at Swiss Church, London. Courtesy of the artist.Laura Moffatt, Roisin O’Sullican and Clara Maurer
In Conversation
This lecture evening was dedicated to the intersection of religion and art. Laura Moffatt presented her Art in Churches projects that focus on forming partnerships to deliver contemporary art exhibitions in places of worship. Roisin O’Sullican talked about her research on the idea of creation and the role of feminism with a special emphasis on the female figure in myth. As vicar of the Swiss Church, Carla Maurer reflected on the 10 years of collaboration between the Church and Goldsmiths University.
In Conversation
This lecture evening was dedicated to the intersection of religion and art. Laura Moffatt presented her Art in Churches projects that focus on forming partnerships to deliver contemporary art exhibitions in places of worship. Roisin O’Sullican talked about her research on the idea of creation and the role of feminism with a special emphasis on the female figure in myth. As vicar of the Swiss Church, Carla Maurer reflected on the 10 years of collaboration between the Church and Goldsmiths University.
3 March 2020
Swiss Church, London
Swiss Church, London
Laura Moffatt, Roisin O’Sullican and Clara Maurer in conversation as part of In Nihilum (2 – 8 March 2020) at Swiss Church, London. Courtesy of Kollektiv Collective and the artists.Unformed (2020) by Luke Jordan
Performance
Luke Jordan’s practice speculates upon the ontological relationship between the human and non-human, materialist and non-materialist metaphysics and beyond, through the psycho-physical process of creation, immersion, and fatal meetings between objects / entities, approaching ontological destabilisation and disintegration. He conducts direct experiments, merging art forms within sites of performance and installation, which are conceived as laboratories, testing grounds for the poetic inter-relationship of entities, and their spectres; be they, a human, dirt, words, a mattress, a sculpture, a room, a sound etc.
As God created men last, In Nihilum featured Luke Jordan’s performance Unformed (200) to initiate the process of deconstruction. By creating ambiguous formations of sculpture, installation and sound, Jordan’s performance created a multi-layered speculative world, commenting on the creation of humankind and our material world.
Performance
Luke Jordan’s practice speculates upon the ontological relationship between the human and non-human, materialist and non-materialist metaphysics and beyond, through the psycho-physical process of creation, immersion, and fatal meetings between objects / entities, approaching ontological destabilisation and disintegration. He conducts direct experiments, merging art forms within sites of performance and installation, which are conceived as laboratories, testing grounds for the poetic inter-relationship of entities, and their spectres; be they, a human, dirt, words, a mattress, a sculpture, a room, a sound etc.
As God created men last, In Nihilum featured Luke Jordan’s performance Unformed (200) to initiate the process of deconstruction. By creating ambiguous formations of sculpture, installation and sound, Jordan’s performance created a multi-layered speculative world, commenting on the creation of humankind and our material world.
2 March 2020
Swiss Church, London
Swiss Church, London
Unformed, 2020, performance by Luke Jordan: In Nihilum (2 – 8 March 2020) at Swiss Church, London. Courtesy of Kollektiv Collective and the artists.