As part of Estuary at the Museum of Docklands, London I will lead a cycling tour

Thames duskSat 8 Jun 2013, 2pm-6pm
Leaving from, and returning to the Museum of London Docklands


We will explore East London and see how tides of former industry, contemporary art and finance flow together in the economy of the Thames and its tributaries.

We'll meander through the Limehouse basin, follow the Limehouse Cut pasy former industrial sites, to the river Lea, up to Three Mills, then north past the Olympic site, through the Hackney Wick of artists studios, start-ups, social enterprises and trendy micro-breweries, down the Bow Cut to Chisenhale and back to the museum via Matt's Gallery on the Regents Canal.

I'm part of a campaign for an Art Auction Transaction Tax (AATT).  It's inspired by the Art Workers Coalition (AWC) Liberate TateOccupy economics and Stephen Wright's ideas of user-ship

We aim to micro-tax the auction convened secondary market for contemporary art, and use the revenues raised to support the primary sites of art, art education and not-for-profit organisations that nurture emerging art practices.

AATT Campaign Identity

I've been visiting the Shabako Stone, at the British Museum, for as long as I have been living in London, its a source of wonder.

In the twenty-fifth Dynasty, sometime around c700 BC, an Egyptian mythological text was incised for eternity in a basalt stela.  The text contains an account of the creation of the world by Ptah, God of Memphis and patron deity of craftsmen.....

.....For the very great one is Ptah, who gave [life] to all the gods and their kas through this heart and through this tongue, in which Horus had taken shape as Ptah, in which Thoth had taken shape as Ptah. Thus heart and tongue rule over all the limbs in accordance with the teaching that Ptah is in every body and every mouth of all gods, all men, all cattle, all creeping things, whatever lives,.....


Lost and centuries later refoud, the stela was repurposed as the base of a mill. A square hole was cut, the 'eye', to locate the mill shaft, and shallow radiating furrows to produce the flour from the milled grain as the top stone turned. Decades of grinding grain slowly obliterated most of the text.


I participated in a one-day conference For the love of it which explored some of the assumptions, expectations and myths about working as an artist today.

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Date: Wednesday 15 May 2013
Location: Cecil Sharp House,
Booking: Tickets on sale now at £40 includes lunch and refreshments.

With contributions from Professor Lynda Morris, Sonia Boyce, Tom Freshwater, Rona Lee , Doug Fishbone, David Blandy, Edwina Fitzpatrick, The Institute for the Art and Practice of Dissent at Home and Ellie Harrison

In 2011, asked to provide a Top Ten list of references that every art undergraduate should know, I offered these (not in order of preference):

01. Flash, Grandmaster - Adventures of Grandmaster Flash on the Wheels of Steel


03. Hans Ulrich Obrist

As part of Critical Practice I'll be participating in.........

WasteWhen:10am Monday, 15th - 5pm Tuesday 16th April
Where: Chelsea College of Art and Design

Folke Köbberling, working with Martin Kaltwasser has been exploring alternatives to consumerist ideology since 1998, through structural interventions, artistic projects, and actions. The artists typically occupy public spaces with structures built from materials liberated from waste streams, or existing “urban resources”. Thrown-away, dumped, abandoned or even rubbish materials are turned into beautiful structures; bridges, pavilions, roofs and even theatres.

In this two-day masterclass led by Folke with Critical Practice, Chelsea College of Art and Design will become both the resource and the site for the collaboratively developed intervention.

There are seminar chairs, abandoned in rooms and offices all over Chelsea College of Art and Design, they have a bug. When stacked, the sharp bottom edge of the front top-rail eventually cuts through the seat webbing, the seats sag, they became uncomfortable, unsafe, and eventually unused.

We decided to fix the bug. A flash mob convened, and we hacked the chairs with upcycled materials.

Bamboo frame


I've been cycling since I can remember, and assembled and maintained bikes most of my adult life. I have never made a bicycle from scratch though.........

I was researching, and read about the Bamboo Bicycle Club. They offer workshops to provide the knowledge and tools for people to make their own bamboo bike frame, with custon geometry. You sign-up, pay, decide what kind of frame you'd like to make, send measurements, and then in two intense days of a weekend workshop self assemble a bespoke frame...... I wanted to make a slightly compressed road bike.

And I made this; ready-made metal bottom bracket, seat insert and head-tube, custom stainless drop-outs (thanks James), Moso bamboo, joints wrapped with woven hemp and two-part epoxy. Flintstonesque.

Bamboo frame


Art Futures

One day, some of the futures we currently imagine won’t be present. How can we encourage those we want and discourage those we don’t?

20th - 21st March 2013, a two day workshop for the Roaming Academy at the Dutch Art Institute (DAI), Arnhem, the Netherlands



Global Contemporary

Museum Futures: Distributed was exhibited at ZKM in Karlsruhe as part of The Global Contemporary. Art Worlds After 1989

A year later a magnificent catalogue is published. The Global Contemporary. Art Worlds After 1989 examines the way in which globalization, both with its pervasive mechanisms of the market and its utopias of networking and generosity, impacts upon the various spheres of artistic production and reception. The project, which consisted of research, exhibition and publication attempts a critical analysis of the key institutions of the art. And to illustrate the manner in which globalization has both shaped and itself become a theme in artistic production that intentionally reflects upon its own conditions of possibility. With The Global Contemporary. Art Worlds After 1989,  ZKM | Karlsruhe reimagines itself as a utopian factory, a place in which local experiences of time subvert the unity of the new universal time.

Museum Futures: Distributed - is a machinima record of the centenary interview with Moderna Museet’s executive Ayan Lindquist in June 2058. It explores a genealogy for contemporary art practice and its institutions, by re-imagining the role of artists, museums, galleries, markets, manufactories and academies.


Little Green StreetMetha#TransActing stall constructionLetitiaBurgos cathedral (model)C16th Document folders