A short and partial CV - 2015
I was born in Wales and live in London. I'm a professor at Chelsea College of Arts, a member of Critical Practice; and on the editorial board of Documents of Contemporary Art
I have worked with museums, banks, galleries, archives, auction houses, enthusiasts, places of education and department stores in London, New York, Geneva, Cairo and Warsaw. I have explored the entanglements of art and capital in 19th century Manchester, documented lost property recovered by London Transport in a single day, constructed possible futures and impersonated a famous art dealer. These projects, although diverse, have consistently engaged with the cultural institutions that designate and exhibit art, and the increasingly devolved experience of art, to its publics.
In March 2016 The Enthusiasts: Outsider Cinema from the 1950–80s was a special screening from the Enthusiasts archive Museum of Modern Art, Warsaw. In April I participated in Making Use: Life in Postartistic Times, and Socialised Afffection was published in Specialism by Open Editions, and in July Museum Futures was screened at a workshop as part of Fieldworks at Hospitalfield in Arbroath.
In February 2015 I joined an insurgent research group developing The Anthropocene Atlas London. In March Open Cinema launched at Open School East and culminated eight eventful months later with a wonderful festival screening Home. In July #TransActing: A Market of Values exhibited two years research into evaluative communities and distributive markets. I co-designed some currencies, and coordinated the production of the market stalls. I also participated in Re-source at the Galleries Lafayette Foundation in Paris,Shock City, The Market at the ICA, London, and a text for Substrate.
In December 2014, as part of Critical Practice I co-organised Differently Screening 4: SUNLIGHT: energy labour value a film-screening powered by the Electric Pedals Cinema hosted by Open School East. I continued to develop floodplain, and in July Reading Things was reprinted in The Object published by the Whitechapel and MIT press. More things can happen than will, or have, in June, was my Platform Lecture, at Chelsea College of Arts. In April, a selection of films from the Enthusiast archive were screened as part of Artists, Amateurs, Alternative Spaces: Experimental Cinema in Eastern Europe, 1960–1990 at the National Gallery of Art, Washington, USA. I contributed Generosity to Truth is Concrete: A Handbook for Artistic Strategies in Real Politics, a publication from Sternberg Press, a re-worked version was included in Ends Meet, developed by Critical Writing students at the Royal College of Art, in June.
Also, as part of Critical Practice and a group of utopographers, we organise Evaluation, Consensus and Location at Chelsea College of Arts, in March, and I also contributed to the Kunsthal Aarhus programme of events The Perfect Institution: Culture 2017.
In 2013 Museum Futures was included in the Taipei Biennial, in April A Joy Forever was published and I also participated in One Person's Trash is Another Person's Treasure. In September, I presented the V&A Bicentenary at Utopography, and the text was published in Artists Work in Museums, #floodplain a collaboration with 51% studios was launched at the Royal Academy, and AATT as part of AGORA at the Athens Bienial.
In January 2012 I was nominated for the Samsung Art+Prize with @SP_Arnolfini, in May, a year-long research project into the practices of radical art education and exhibition as an educational technology culminated in Prospectus, and in October I presented the V&A Bicentenary at the V&A, London.
February 2011, a year-long research project and exhibition Self Portrait: Arnolfini was launched, culminating in a beautiful publication, Museum Futures was included in the Global Contemporary at ZKM, and the Enthusiasts Archive in Ostalgia at the New Museum. May 2010 a two year research project with Critical Practice into publicness, culminated with PARADE in London. In April the timeline, part of the on-going Relational Machine research with Intermediae was installed in Madrid.
May-June 2009 Lapdogs was screened as part of the Lapdogs of the Bourgeoisie exhibition at the Arnolfini in Bristol, and since February I worked on a research project entitled ArchivalProcess with Intermediae in Madrid.
November 2008,Lapdogs was screened at the Townhouse Gallery in Cairo, as part of Lapdogs of the Bourgeoisie.
From 1995 - 2008 I mostly collaborated with Marysia Lewandowska
July - November 2008 Post production was a special programme curated from the Enthusiasts: archive for Manifesta 7, installed in the ex-Alumix factory in Bolzano, Italy. A year-long collaboration with Sotheby's, was cancelled.
Museum Futures: live recorded distributed is a project launched on the 6 June 2008, commissioned by Moderna Museet, Stockholm Sweden as part of their Jubilee celebrations. The Distributed component is a machinima record of the 2058 centenary interview with the Museum's executive Ayan Lindquist.
August - October 2007 Parade commissioned for the Contour Film Biennial was exhibited in Mechelen Belgium, and ArtLfe a simultaneous project for Transit Gallery.