I participated in Key Ideas one of a series of events organised by the Design Cluster at Camberwell College of Art Design. The series aims to examine issues and theories important to young designers.

Key Ideas: Object tackled the role of the object in contemporary society through multiple readings introduced by different experts via three themes:

Object as Sign

Object as Capital; the Value of Things

The Narrative of Objects

Guest speakers included: Grant Gibson, Neil Cummings, Stephen Hayward, Ralph Ball, Gareth Williams.


I spoke in relation to The Value of Things and tried to shift attention from objects to context; these are the notes for my presentation

Performa09 , the Vera List Center and Parsons present the American premiere of Museum Futures: Distributed at the New School auditorium, Sheila C. Johnson Design Center, 66 Fifth Avenue, NY, NY

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

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



Almost three years work as a trustee, part of a big team, and here it is

The inaugural welcome from Alex Farquharson, Director

A Joy ForeverAt the Wysing Arts Centre just outside Cambridge, I took part in an all-day workshop for artists and students from the Curatorial Course at the Royal College of Art.

It was organized by Kit Hammonds and included Sarah Thornton, and Francis Outred from Christies.

"The Economics of the Art System will take an in depth look at the art market, exploring the financial and cultural economies that drive the industry. From commercial galleries, collectors and art fairs, to the influence of auction houses this retreat will question the value of art as commodity and the commercial influences on artists' practices, as well as considering survival tactics for artists, curators and gallerists."

I will be participating in a Public Body Barcamp. 

On Saturday 17th October at 14:00 at the Nowy Wspanialy Świat, Ul. Nowy Świat 63, Warsaw, Poland.

Jointly facilitated by Critical Practice - a cluster of artists, researchers, academics and others hosted by Chelsea College of Art & Design, London - and Free/Slow University Warsaw -  a nomadic centre of interdisciplinary studies, critical reflection, and independent thinking about art and society - the Public Body Barcamp is an extension of Publicamp. The assembly will be concerned with notions of being-in-public, and aims to explore ideas about the public body.

The Public Body Barcamp aims to examine the relationships among singular and assembled bodies, what infrastructures are necessary to facilitate a public body, public knowledge, art, social practice and fields of action in public space.

These are short extracts of a larger text comissioned by Anna Colin at Gasworks to accompany an exhibition of Olivia Plender. The full text will be online shortly, the publication was launched by A Prior


In Bouvard and Pécuchet, Gustave Fluabert distills the curse of the middle class into a deadly poison. Comfortable after a financial windfall, the two leisured bureaucrats, Bouvard and Pécuchet retire to the countryside to indulge their pleasure in knowledge. They buy, devour and study books on every subject that drifts through their attention. They read on agriculture, landscape gardening and food preservation, whereupon every animal they buy dies, crops wither, rot or burn, fruits waste and preserves are not. They read chemistry, anatomy, medicine, biology and think themselves doctors, whereupon they fail to treat or cure any patients, make themselves ill and estrange the local doctor. They read Romances, have romantic interests and quickly contract venereal disease. They study gymnastics, occultism, theology, philosophy and religion; they adopt an orphan to ‘improve’ who runs-away, they fall-out with the parish priest, argue with everyone around them, and finally contemplate suicide.

Maria, Suset, MirenThe third of the Procesos de archivo /Archivalprocess expert working sessions took place at Intermediæ in Madrid. The working sessions are to enable the core curatorial team to gain knowledge and experience. The sessions are closed but resources will be on-line soon.

Curator, editor and librarian Miren Eraso, recent director of Arteleku lead the sessions. In the first, Miren made an interesting analogy between the problems for libraries in post-Franco Spain and contemporary archives, and in the second we refined the mapping of the knowledge ecology of intermediae.

I wrote into Miren’s presentation as she spoke, following are the tweaked notes....

I wrote a short text, commissioned by katya Sander for Circulation, a special issue of Printed Projects.

I assembled some of the research I did around art auctions........

Markets are a brilliant bundle of technologies, assembled to circulate things. All kinds of things. The most visible form of market, is the competitive market. A neo-classical economic model of a competitive market, pictures rational individuals pursuing their own self-interest - without regard for others - as the motive force for markets. The laws of supply and demand at play amongst these rational individuals, extrudes the values - often represented by a financial price – exchanged, in any transaction. These fundamental elements; rational agents, supply and demand and price mechanisms function in all markets everywhere; like natural laws.

Except of course competitive markets don’t actually work like this. Or at least, only in ideological models.


Cultures of Resilience IndustrialTownFuturism: The Return of Meshwork Markets

In 2006, as part of a group of artists, researchers and academics, I was invited to research and imagine the future centenary of two industrial towns. The project was curated by Jakub Szreder and Martin Kaltwaser.

Both towns evolved from the middle of the last century, and both were planned around the image and function of the factory. Since 1939 Wolfsburg has been the home and global headquarters of the Volkswagen Group, and since 1947 Nowa Huta developed around the formerly Lenin and now Sendzimira steelworks.

The Fordist-factory has dominated these towns.

This is a short text that accompanied an exhibition at Chelsea Space in London, January 24th - March 3rd 2007

The ice trade, that is the trade in huge cubes of ice hewn from the frozen lakes of North America or Scandinavia and shipped to warmer climes, exists somewhere between brute fact and fairytale.

The trade existed, flourished even, throughout the later part of the 19th century. Grainy photographs depicting sawn meter square cubes of ice, cut from the frozen crusts of freshwater lakes are waiting, stored as documents in relevant archives. You can visit luxury loft apartments inserted into the hollow remnants of bunker-like Ice houses – warehouses for frozen water - found in many former ports of Britain, especially in Bristol, Liverpool, and London. There is also compulsive testimony from the American author, naturalist and philosopher Henry David Thoreau writing one of the foundational texts of the environmental movement, Walden (published in 1854). Thoreau records the cold winter of 46/7 when from the window of his forest cabin he sees the frozen skin of Walden pond being stripped by a hundred Irish labourers, and carted away.

‘[….] in a good day they could get out a thousand tons, which was the yield of about one acre.’


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