Thursday 29 March 2012
University of Westminster, London

I contributed a presentation on Parade to Digital transformations, a research project that explores how cultural organisations contribute to new environments. Environments in which communities of participants interact to create, curate, organise and support their own cultural experiences.


Rene Gimpel
30 Davies Street

Tel: 020 7493 2488                                                                      28th January 2003


Dear Rene Gimpel,

Please find enclosed the text of a lecture which I think belongs to you, I found it on a lectern at Chelsea College of Art and Design; as you will see it has been annotated by me.

I should like to explain that I gave the lecture on your behalf, in fact as you, at the Royal College of Art on the 24th January 2003. I was invited to speak about my work as an artist, but during my preparation I read your lecture and began to think how appropriate it would be, not to talk about my practice but to perform it in some way. So, I announced just before the lecture, that Neil Cummings was unable to attend due to a personal crisis, and that I, Rene Gimpel had agreed to stand in at the last moment.

I then read your lecture verbatim, using a selection of my own slides as accompaniment.

The Stuff That Matters Textiles collected by Seth Siegelaub
1 March to 6 May 2012

ValueCampOn Saturday 3rd March I visited Raven Row to see the exhibition of historic textiles collected by Seth Siegelaub over the past thirty years, for the Center for Social Research on Old Textiles (CSROT).

It was a thrilling to see, and read about the history of woven, printed textiles and embroideries from fifth-century Coptic to Pre-Columbian Peruvian, late medieval Asian and Islamic textiles, and Renaissance to eighteenth-century European silks and velvets, even Barkcloth (tapa) from the Pacific region (image left: tapa from Papua New Guinea) and Africa.

Its thrilling because, many of the fabrics are not behind glass. You could, although discrete signage encourages you not too, reach-out and touch them. This proximity to stuff, and the trust implicit in its exhibition, is thrilling

The headdresses are amazing!


I participated in Critical Practice's intense and provocative #ValueCamp

We are machines of evaluation, constantly attributing relative significance to things.............Values and evaluations, how are they made, and how are they made present?





Below is an short extract from A Shadow of Marx a chapter I wrote in 2004 for  Companion to Contemporary Art Since 1945 edited by Prof. Amelia Jones. The publication has an innovative structure, it mixes thematic sections with historical overviews, and is intended as a student 'primer'. This text looks through particular artworks to illuminate legacies of Marxist theory..............

A Shadow of Marx


Ms ChanIts June 16th 2001, and I'm standing behind a rope barrier with a crowd of people in a sloping field, on the edge of a village in Orgreave, South Yorkshire, England. On the other side of the rope are hundreds of people practicing how to perform a running battle. They shout at each other; one side charges and the other retreats, and then vice versa. Some are dressed as police officers. I can see riot gear, shields, snarling dogs and even horses, the others, the civilians, are all men dressed in slightly out of date clothing, from around the 1980s. A voice comes over a loudspeaker system and a number of small two-person film crews with digital cameras mingle with the participants.

Ms ChanAs part of the Samsung Art+Prize there will be a rare London screening of Museum Futures: Distributed, 5pm, 20th January 2012 at the BFI, Project Space, South Bank, London.

There will be an "in conversation" immediately afterwards with curator Mark Waugh of SUUM projects.

Free but limited capacity, booking advised

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.

* see a sliver of the recorded document

The project was commissioned by Moderna Museet Stockholm, Sweden, on the occasion of its 50th anniversary in 2008.

Recalled from composite memory in 2061, Self Portrait: Arnolfini is a relational timeline of institutional self-consciousness. The complete timeline is being tweeted @SP_Arnolfini as part of the Samsung Art+Prize: 17th - 29th January 2012

Self Portrait: Arnolfini













address data spriteAs part of the Samsung Art+Prize, I  tweeted the whole of the data sprite timeline of Self Portrait: Arnolfini.  


Recalled from composite memory on the eve of our centenary in 2061, three relational threads are intertwined;

1. social and financial organisation

2. technological innovation

3. art and its institutions

The complete timeline of institutional self consciousness, 2061-1831; starts with riots.

You can read a data sprite snippet, or see the beautiful book designed by Stephen Coates, published by Arnolfini and available from Cornerhouse.



I contributed a presentation to the International Conference: Free/SlowUniversity of Warsaw in October 2011, and two month later a beautiful 430 page publication is out. Amazing! 

An English version of the written-up presentation, without footnotes, is here


Free/Slow University of Warsaw. Volume 4


venusBeautiful bakersRain, LondonLunch, HospitalfieldDocumentary Filmmaking Groupplaya de cueva