WasteAs part of Critical Practice I’ve been working on a series of events/walking tours/discussions. Over the next two years, we will work with a wide range of international partners to explore value from various and perhaps even contradictory perspectives. 

One strand of this research The Brokers: People, Spaces and Values will be a series of guided tours lead by a specific Broker, they will explore how different social practices of evaluation, are situated, localized and embedded in particular places, buildings, public spaces and institutions. 

The Brokers: People, Spaces and Values. Waste

Who: The Brokers are environmental lawyer and Dotmaker guide Rosie Oliver, and economic geographer Angus Cameron 

When: 10.00 for a 10.15am (sharp) start - Saturday 16th February (we leave at 10.15 sharp as Thames tides wait for no person!) 

Where: We will perambulate the Isle of Dogs, Greenwich and Blackheath, unpicking notions of waste, the unwanted and the marginal. The walking-tour format aims to investigate the specific situation of waste... Each activity will last an hour and a half, and comprise a combination of prepared tour, and animated discussion. 

Education: Not Knowing

2–6pm Tuesday 13 November 2012

Raven Row
56 Artillery Lane
London E1 7LS

This public discussion based on Artist Placement Group’s discursive format The Sculpture explores Education: Not Knowing. Inspired by APG’s working practices, I co-organised a Think Tank, we met several times at Chelsea College of Art and Design and decided to convene a Sculpture. Given the drive to instrumentalise all aspects of creative education, the possibility of ‘not knowing’ - inherent in APG’s formulation of the Open Brief- seems increasingly radical, subversive and productive. Education: Not Knowing was a vibrant afternoon of discussion and exchange unfolding through five key APG themes: Placement, Education, Not Knowing, The Contract and The Gallery.

Our intention, was not to dwell on the history of APG, but to reinstall its mutating DNA into the present.

In 2010 I collaborated with 51% studios on an entry into a com­pe­ti­tion, A Room for London. The brief was to design a tem­po­rary 'hotel' room on the roof of the Queen Eliz­a­beth Hall at the South Bank. Although our entry was rejected, I enjoyed the process and especially their blackboard traces. See more of the drawings.

InsatiableChelsea College of Art & Design, London Friday 19 October 2012

As part of Critical Practice I helped facilitate Insatiable a symposium to critically examine the conflicted idea of sustainable growth and to envision alternatives.

Insatiable is an exchange between Art, Economics and Ecology. Each of the fields is contested and constantly changing, and the relationships between them are ambiguous and paradoxical. While the symposium offers a critical focus on ‘sustainable growth’, we aim to move beyond critique towards guidelines for creative action.

As a global centre for contemporary art and finance, London is a unique context in which to consider the conflicted idea of ‘sustainable growth’. Decades of constant economic expansion have overwritten considerations of ecological sustainability, even human survival.

V&A BicentenaryI made a presentation as part of: Artists Work in Museums: Histories, Interventions and Subjectivities

Friday 12th and Saturday 13th October 2012
at the V&A Museum, London

This two-day conference brings together artists, curators, historians and museum professionals to explore the history and impact of artists working in/with or against museums. The conference will explore the diverse, often hidden ways museums function as environments of cultural and identity production.

Ms Chan

Museum Futures is exhibited as part of Modern Monsters / Death and Life of Fiction

Taipei Biennial 29th September 2012 –  13th February 2013

Curated by Anselm Franke

The Taipei Biennial 2012 takes as its point of departure the ancient Chinese monster known as Taowu, whose evolution has been traced by the literary historian David Der-Wei Wang in his book The Monster That is History. Wang shows that somewhere in the course of Chinese history, writers and historians began to identify the vicious monster Taowu with history itself, since it could foresee and thwart human intentions. Wang suggests that it is modern Chinese history in particular that lends itself to a reading through the Taowu, against the backdrop of a twentieth century characterized by utopian aspirations notoriously overshadowed by systemic violence.


As part of Critical Practice....

Truth Truth is Concrete


Longest Day


Twenty two years ago I made a recycled cardboard version of Picasso's Still Life of 1914.


As part of Critical Practice.......

God, Law & Property


Where: London, EC2

Why: This event initiates a series of walking tours and events that constitute Critical Practice's ongoing Research on Value 


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