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SpeakersKeynote SpeakersPROFESSOR OKWUI ENWEZOR Okwui Enwezor was Artistic Director of 7th Gwangju Biennale (2008), Documenta 11, Kassel, Germany (1998-2002) and the 2nd Johannesburg Biennale (1996-1998). He also served as the Artistic Director of 2nd International Biennial of Contemporary Art, Seville, Spain (2005-2007). Enwezor is founder and editor of the critical art journal Nka: Journal of Contemporary African Art published by the Africana Study Center, Cornell University; and has held academic appointments as Visiting Professor in Art History at University of Pittsburgh, Columbia University, New York, University of Illinois, Urbana-Champaign, and University of Umea, Sweden; and was previously Adjunct Curator of Contemporary Art, at the Art Institute of Chicago. His numerous publications include Archive Fever: Uses of the Document in Contemporary Art (2007). DR CHARLES MEREWETHER Dr Charles Merewether is an art historian, writer and curator who has worked in Australia, Europe and the Americas. He was Collections Curator at the Getty Center in Los Angeles (1994-2004), and Senior Research Fellow at the Centre for Cross Cultural Research, Australian National University (2004-2006). Artistic Director & Curator of the 2006 Biennale of Sydney, he was also appointed Deputy Director, Cultural District for the Tourist Development and Investment Company, Abu Dhabi in 2007. SpeakersAZRA AKSAMIJA Since 2004 Aksamija has been a Ph.D. candidate in the Department of Architecture (History Theory and Criticism Section / Aga Khan Program for Islamic Architecture) and a Graduate Affiliate at the Center for Advanced Visual Studies at Massachusetts Institute of Technology. Born in Sarajevo, Bosnia and Herzegovina, she graduated from the Faculty of Architecture at the Technical University Graz, Austria in 2001, and was awarded a M.Arch from Princeton University, USA in 2004. Her interdisciplinary work has been widely published and exhibited in venues such as the Generali Foundation Vienna (2002), Biennial de Valencia (2003), Gallery for Contemporary Art Leipzig (2003), Liverpool Biennial (2004), Witte de With Rotterdam (2005), Sculpture Center New York City (2006), Secession Vienna (2007), and Manifesta 7 (2008). She is currently researching her dissertation on contemporary mosque architecture in post-socialist Bosnia and Herzegovina. GERALDINE BARLOW Geraldine Barlow (Irish, English and Ngapuhi iwi) is currently working towards the exhibitions: Too Much of Me: 7 Paths through the Absurd, (with Detour) and Gabriella and Silvana Mangano. Her recent projects include: The Ecologies Project, co-curated with Dr Kyla McFarlane, featuring 40 contemporary artists from Australia and New Zealand; Brook Andrew: Eye to eye, touring with Asialink; Before the body – matter, works in the Monash University Collection exploring the substance and perception of the body and Ghosts of self and state, perspectives on our constructions of self and state, the citizen and the body politic. Previous roles were with the Australian Centre for Contemporary Art, the Melbourne International Festival of the Arts, the Melbourne International Biennial and Heide Museum of Modern Art. Barlow has published in journals, exhibition catalogues and artists’ monographs and is a member of the Contemporary Art and the Archive Research Group (CARGO).
PROFESSOR ANDREW BENJAMIN Archiving the Digital. My interest concerns the relationship that digital production, especially in the realm of architecture, though for the arts in general, has on the question of what is archived. The archive, as traditionally understood, has in built assumptions concerning sequence, the relative importance of stages within the sequence and finally the archived object. Many of these assumptions are called into question by digital production. The aim of the paper will be to look at the some of the consequences of this questioning.
ROSSELLA BISCOTTI My work questions the idea of time (historical time, real time, fictional time) and it uses the cinema aesthetics to emphasize the connection between these different moments. I am particularly interested in the documentary form for it’s characteristic to inform viewers while showing a true story or reality to the public. In contrast to the documentary aesthetic, my videos show the impossibility of establishing a true line in the reconstruction of a tale. I work with real stories, real people, involving them in situations in which they face idealism (Italy is a Democratic Republic Founded on Labour) social issues (Muctar) confront their past (The Sun Shines in Kiev) or reinterpret history (Shooting on de Dam) - through a cinematographic experience. I’m interested in the traces, the leftovers of history, documents, films, and photographs, as they are offer another, subjective view of reality. Only when these images are interpreted, decoded and shared publicly with others do they develop into new meanings. (Congo Congo, Bruxelles Brussel; The Cinematography is the Strongest Weapon.) My work explores the gap between history and it’s interpretation, between the experience and it’s archiving. www.rossellabiscotti.com SONIA BOYCE A figure in the black British arts movement, Sonia Boyce is known for a cross media practice that speaks about racial identity and gender in Britain. Since the 1990s, Boyce has worked increasingly in ‘improvised collaborations’; artworks that integrate the audience to suggest how cultural differences might be articulated, mediated and enjoyed. Boyce has exhibited extensively in Europe and beyond. Recent exhibitions include: Sharjah International Bienal 7, Sharjah (2005); Devotional, National Portrait Gallery, London (2007); Crop Over, Harewood House, Leeds and Barbados National Museum (2007/2008), Menschen und Orte, Kunstverein, Konstanz (2008), Femmes ‘R’ Us, RadialSystem, Berlin (2008) and For you, only you, Magdalen Chapel, Oxford University and tour (2007/2008). Monographs have been published by Kala Press (1997), Iniva - the Institute of International Visual Arts (1998), Reed College (2001), the most recent being For you, only you (Paul Bonaventura, Ruskin School of Drawing & Fine Art, Oxford in collaboration with De La Warr Pavilion, Locus+, Milton Keynes Gallery, and Model Arts 2007).
LORENZO BRUNI Lorenzo Bruni curates programs of exhibitions and happenings involving international and national contemporary artists for the art space Vianuova Arte Contemporanea, a space he established in Florence in 2006. He recently curated the Varna Biennale, Bulgaria, and a project at HISK in Ghent, 2008. Since 2000 he has been a coordinating curator at BASE Contemporary Art Projects, Florence (www.baseitaly.org), and in 2005 Bruni and Gino Giannuzzi initiated the annual prize for young curators dedicated to Mauro Manara (who was the moving force of the Galleria Civica in Castel San Pietro Terme for twenty years), where Bruni also has worked. Bruni has been an active collaborator with the Lanfranco Baldi Foundation of Pelago in Florence since its establishment in 2001, and with Fabio Cavallucci on three editions of Tuscia Electa during 1996 to 2000. Bruni is a contributor to Arte e Critica and Flash Art, and writes on contemporary art, and young and established artists for numerous publications. He is currently writing about the relation between art and architecture from the 1970s until today for Silvana publishing.
PROFESSOR BRIAN CATLING Brian Catling is a poet, sculptor and performance artist, who is currently working in video. His video work moves between gallery installation and narrative films made in collaboration with Tony Grisoni; their most recent work The Cutting was released in 2008. Catling and Grisoni also produce the no holds barred Cabaret Melancolique. Catling’s solo installations and performances have been commissioned in Spain, Japan, Iceland, Israel, Holland, Norway, Germany, Greenland and Australia, and his most recent solo show was Antix at Matt’s Gallery, London. In 2004 Catling also founded the international performance group The Wolf In The Winter, whose most recent manifestation was at The South London Gallery. Catling’s permanent monument for the site of execution at the Tower of London was unveiled in 2007. Eight books of Catling’s poetry have been published and his work has been included in many anthologies. briancatling.com
PROFESSOR STEPHEN FARTHING In 1990 Stephen Farthing was elected Master of Ruskin school of Drawing at the University of Oxford and a Professorial Fellow at St.Edmund Hall, Oxford. He was elected a member of the Royal Academy of Arts London in 1988, and in 2000 was appointed executive director of the New York Academy of Art, Manhattan. His paintings are exhibited in galleries throughout the world, in particular the UK, Japan and South America.
VICTORIA LYNN The author of three books and over 70 articles and catalogues, Victoria Lynn is the Visual Arts Curator for the Adelaide Festival, Australia in 2010. She is also the curator of Double Take, the Anne Landa Award for Video and New Media, 2009, and was the curator of turbulence, 3rd Auckland Triennial; Julie Rrap: Body Double and Regarding Fear and Hope, both 2007. She previously held the post of Director, Creative Development at the Australian Centre for the Moving Image. Prior to that, Lynn was Curator of Contemporary Art at the Art Gallery of New South Wales. Victoria was also Chair, Visual Arts/Craft Board of the Australia Council from 2001-2004 and the Commissioner of the Australian Pavilion at the Venice Biennale in 2003. Her current research looks at the relationships between archives, montage and networks in contemporary art. AVIS NEWMAN Avis Newman is a London-based artist whose work has featured in numerous national and international solo exhibitions in Europe, America and Australia. Her canvas works, objects and works on paper show a longstanding preoccupation with notions of origin, memory and representation as embodied in the initial moment of tracing and with considerations of the genesis of the mark. Newman selected the exhibition from the Tate Gallery Collection, The Stage of Drawing: Gesture and Act, shown at The Drawing Center, New York; Tate Liverpool; The Museum of Contemporary Art, Sydney and Tate Britain (2003–4). She also organised the Symposium on Drawing Theory and Practise ‘With a Single Mark…’ held at Tate Britain. Newman is a co-editor of the journal Documents published by RvBK, and editor of Notes, a document of artists’ residencies in The Centre for Drawing Project Space.
TOM NICHOLSON Tom Nicholson has held solo exhibitions in Australia and internationally, most recently in Melbourne, Berlin and Auckland. Nicholson’s work was included in the 2006 Biennale of Sydney, as well as international group shows such as Since we last spoke about monuments, at Stroom Den Haag in 2008; System Error at Palazzo delle Papesse in Siena in 2007; Regarding Fear and Hope, at Monash University Museum of Art, in Melbourne; Transversa at Galeria Metropolitana in Santiago, Chile. He is a member of Ocular Lab and is represented by Anne Schwartz Gallery. He is also a member of the Contemporary Art and the Archive Research Group (CARGO). www.tomn.net
ZARA STANHOPE Zara Stanhope works across institutional programming and independent associations focused fostering contemporary art practice and writing. Her current research is in the area of cross-cultural collaborations, and she is a doctoral candidate at the Australian National University. Previous roles have included Deputy Director and Senior Curator at Heide Museum of Modern Art, Melbourne (2002−2008), inaugural Director of the Adam Art Gallery, Victoria University of Wellington, New Zealand (1999-2002) and Assistant Director, Monash University Gallery (1993-1999). Zara regularly contributes to exhibition catalogues and art journals and recent books include the monograph The art of existence, Les Kossatz (2008). Stanhope is Chair of UN projects (2005-) and Platform Artists Inc. (2008-), a member of the Contemporary Art and the Archive Research Group (CARGO).
PROFESSOR ANITA TAYLOR Anita Taylor (b1961) studied at Mid-Cheshire College of Art (1980-81), Gloucestershire College of Art (1981-84) and the Royal College of Art (1985-87). She is Professor of Fine Art, Dean of Wimbledon College of Art, and Director of The Centre for Drawing at the University of the Arts London. She was Artist-in-Residence at Durham Cathedral (1987-88); Fellow in Painting at Gloucestershire College of Art (1988-89) and Artist-in-Residence in Drawing at the National Art School Sydney, Australia (2004). Taylor is Professor of Fine Art and Director of The Centre for Drawing, a University wide Research Centre of the University of the Arts London. She is the founding Director of the Jerwood Drawing Prize, the annual exhibition for drawing in the UK, established in 1994. In April 2009, she will become the Director of the National Art School in Sydney, Australia. KIT WISE After graduating from Oxford University and the Royal College of Art, Kit Wise received the Wingate Rome Scholarship in Fine Art in 1999 to study at the British School at Rome. In 2001 he undertook a Boise Travel Scholarship, administered by the Slade School of Fine Art, for further research in New York & Australia. He moved to Australia in 2002 and has subsequently received three Australia Council grants. Wise is an artist and art writer and has has exhibited in France, Italy, the Netherlands, Australia and the UK, including Urban Screens ’08, Melbourne, and the International Film Festival, Rotterdam in 2009. He has published over 40 articles, reviews conference papers and catalogue essays and is a regular contributor to /Frieze/. He is a member of the Contemporary Art and the Archive Research Group (CARGO). www.kitwise.com Sponsors:
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