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Oh No! Another Hero!

“It is a waste of time hating a mirror
or its reflection
instead of stopping the hand
that makes glass with distortions
slight enough to pass
unnoticed
until one day you peer
into your face
under a merciless white light
and the fault in a mirror slaps back
becoming
what you think
is the shape of your error…”

Exhibition: A Study of Imaginary Chasms

I am delighted to have curated this group exhibition which I developed in collaboration with Gosforth Civic Theatre. “A Study of Imaginary Chasms” brings together the work of three women artists; Ella Ray Barnes, Fang Qi, and Jill Tate, all of who are connected to the North East through unique pathways. The exhibition thematically responds to “The Class Project”, a one-woman play written and performed by Rebecca Atkinson-Lord.

Exhibition: Something or Nothing

I am showing some of my cuneiform clay tablets in a group exhibition at Abington Studios in Blackpool. Something or Nothing is curated by Joseph Doubtfire and Garth Gratrix. Something or Nothing brings together small, bitesized, miniature works–things which may simply be small, parts of larger constructions, or speculative utterances of things to come.

Performance: The Tale of Sitare

Video documentation of a story telling performance I developed in collaboration with poet and philologist Mete Ozel. Performed during the preview of my solo show Anthropological Conjectures: The Tale of Sitare.

Lungs Issue Two Launch

I have spoken to the culture editor of Chronicle, David Whetstone about my curatorial collective/project Lungs and our group exhibition “Dialogus” held at Vane in Newcastle. Here, I’m holding up our new issue in front of works by Liam McCabe (left), Mark Chapman (middle) and Lauren Drummond (right).

Exhibition: Dialogus

The second issue of our publication launched with a group exhibition at Vane Gallery in Newcastle. Our exhibition, “Dialogus” explores how we create meaning through dialogue.

Curator As A Collaborator: A Marxist Inspired Reading of Contemporary Curation

This article is primarily concerned with the production of knowledge in curatorial projects and creating a definition of the curator as a collaborator, filtered through the notion of alienation in Marxist philosophy. In his famous “Manuscripts of 1844”, German philosopher Karl Marx theorises the concept of alienation as the separation of labour from the worker, and also as the separation of the products of labour from the worker (Marx and Engels, 1964). In this article, we will aim to present a critical perspective on curatorial ethics, and define curating as a form of collaborating and engaging the artists with the audience to create a mutually beneficial experience.

Exhibition Review: Doris Salcedo Retrospective

Museum of Contemporary Art Chicago has several exciting exhibitions on display this spring, one of which is the Colombian sculptor Doris Salcedo’s first-ever retrospective show. The exhibition takes place at the top floor of the building and is superbly laid out across eleven rooms following a rough timeline in the artist’s career. A Salcedo fan can find everything here, from her first untitled works to some of her most recent works such as ‘Dismembered’ and ‘A Flor de Piel’. ‘Plegaria Muda’, also, makes its first appearance in the US at the MCA.

Notes on “Reveries”

In ‘Paragraphs on Conceptual Art’, Sol LeWitt writes; “It doesn’t really matter if the viewer understands the concepts of the artist by seeing the art. Once it’s out of his hands, the artist has no control over the way a viewer will perceive the work. Different people will understand the same thing in a different way.”

The above quote by LeWitt discussing the meaning of a work, at the same time, corresponds to Roland Barthes’ proposal of a change from the traditional concept of artwork into a new concept: art as “Text”.