School of Arts & Humanities
Senior Tutor, Research
Reader in Contemporary Visual Production
Margarita Gluzberg is a Senior Research Tutor and Reader in Contemporary Visual Production in the School of Arts & Humanities at the Royal College of Art. Born in Moscow, Gluzberg is an artist who has lived and worked in London since 1979. Her work spans drawing, performance, sound installation, photography and moving image.
Margarita Gluzberg studied at New College Oxford and the Royal College of Art. Her work has been exhibited and performed at major contemporary art spaces such as the MAC/VAL, Paris; CAC, Vilnius; Rooseum, Malmo; KAde Kunsthal, The Netherlands; Lunds Konsthall, Lund; British School, Rome (where she was a Wingate Scholar), and the De La Warr Pavilion, Bexhill.Show more
She is currently working with scientists at King’s College, London on a project supported by the Wellcome Trust, Rock On Bones.
Margarita Gluzberg has been working with scientists at the Nikon Imaging Centre, King's College London.
Publications, exhibitions and other outcomes
Rock on Bones: major research project, funded by the Wellcome Trust, 2015 – ongoingShow more
Related outcomes include: Rock on Bones, performance-installation, De La Warr Pavillion, Bexhill, 2014; Sochurek's X-ray Eyes performance, The Performance Studio, London, 2016
The Consumystic series – ongoing
First exhibited as Avenue des Gobelins, Paradise Row, London, 2011
Related outcomes include: New installation, Girl 2016, for Double Take with Dove Allouche, Josh Brand, Tacita Dean, Matt Saunders and Thomas Zummer, a two-venue exhibition exploring the relationship between drawing and photography, taking place at Drawing Room and The Photographer’s Gallery, London, 2016 (included artist’s talk and catalogue); Solo exhibition: Black Friday, 4COSE, London, in collaboration with Cullinan and Richards, 2015; New print and projection work for 3 person exhibition: House For Hanging with Katrin Koskaru and Sanja Todorovic, Westminster Waste, London , 2015; ‘The Consumystic’ (Lecture), hosted by The Speaker Society, 2011; an exhibition catalogue with an essay by curator David Thorp; a new moving image work The Consumystic (Transmission), Babylon Cinema Mitte, Berlin, 2012; a solo project at the UNSEEN Photo Fair, Amsterdam, 2012; Jerwood Drawing Prize Exhibition, 2012; artist’s talks including Goldsmiths College, 2012, Sheffield Hallam University and UCL, 2013.
National and international press includes an essay by Trish Lyons and a special commission photograph in Art.Zip magazine, China, 2012; an interview with Tom McCarthy, Bomb Magazine, 2012; other reviews include November, 2011: Blend Magazine; Dazed Digital; AD Italia; I-D Magazine; January 2012: Art Review; Margarita Gluzberg: Artist of the Week, The Guardian. The series has been nominated for the Pictet Photography Prize.
Captive Bird Society: performance and installation, 2008 – ongoing
Related outcomes include the exhibition ‘Captive Bird Society’, MAC/VAL Museum, Paris, 2009; Captive Bird Society, Nuit Blanche contemporary art commissions with the Didier Ludot Haute Couture Collection, École Normale Supérieurer, Paris, 2009; the group exhibition Distance and Sensibility, Calvert 22, London, 2010. The project has also been incorporated into solo exhibitions Captive Bird Society: Dublin Edition, Kevin Kavanagh, Dublin, 2009; Phonographicon, Zonca&Zonca, Milan, 2010, and Captive Bird Society, Wysing Arts Centre, 2013.
The project is one of the subjects of an interview with author, Tom McCarthy, Bomb Magazine, New York, 2012. Other press includes: ‘Distance and Sensibility’, The Guardian, 2010.
The Money Plot: solo exhibition, Paradise Row, London, 2 May – 8 June 2008
Related outcomes include the group shows: Natural Wonders, New Art From London, Baibakov Art Projects, Moscow (2009) and Il Faut Être Absolument Moderne, Paradise Row, Istanbul, 2009–10.
‘The Money Plot’ has been extensively covered in the international art press, including: ‘Margarita Gluzberg’, (The Money Plot, Paradise Row), Critic’s Picks, by Laura K Jones, May 2008, Artforum.com; ‘The Money Plot’, by Charles Darwent, Art Review, June 2008; ‘Manifesting Commerce’, interview with Eva Pelczer, New York Arts Magazine, September 2008; ‘The Plot Unfolds’, interview by Peter Carty, October 2010, Mute Magazine; ‘Margarita Gluzberg’, feature, Citizen K Magazine Jan/Feb, 2009; ‘The Colour of Money’, by Lee Johnson, Art India, September 2008; The Fashion for Modesty, interview with Clare Carolin, Block Magazine, 2010.
Awards and Grants
2015 Wellcome Trust Small Arts Award (Public Engagement)
As Reader in Contemporary Visual Production, Gluzberg’s research addresses how we receive, process and generate visual material. Embracing the expanded field of contemporary art practice, she is engaged in creating autonomous works that function as manifestations of detailed investigations.
A central question within her research focuses on the notion of translation. How do we move between multiple languages and registers? How does a fiction manifest itself as object, and how does that object then function within the order of things in the world? This is located in the context of cultural production and material desire, and is developed by working with archival material and historical narratives.
Current and recent research
Rock On Bones, 2015 – ongoing
'Rock on Bones' was the name of a clandestine method of producing Western jazz and rock and roll records whose distribution had been banned in the Soviet Union. Primarily produced in the 1950s and early 1960s, records were cut on home made equipment using discarded medical x-ray transparencies in place of vinyl. Through a collaboration with Dr Stephen Terry and Dr Oscar Lancaster of the Eggert Research Group, and Dr John Harris at the Nikon Imaging Centre, Kings College London, Gluzberg will create a series of video, slide projections, drawings and a sound score that re-interpret the 'Rock on Bones' phenomenon using cutting-edge microscopy imaging technology. Read more about Rock On Bones
The Consumystic series – ongoing
(First exhibited as Avenue des Gobelins, 2011, Paradise Row, London.) In setting a research context, the title was borrowed from one of Eugène Atget's iconic 19th-century photographs of Parisian shop fronts, taken at the dawn of commodity displays. This series explores material desire and the ritualistic nature of consumption. Read more about The Consumystic series
Captive Bird Society, 2008 – ongoing
Captive Bird Society is a contemporary art project, which locates itself in the expanded fields of installation and sound art, theory and fashion. Using old analogue technology, the project deals with the wider notions of capture and fashion through the construction of a sonic landscape in the form of installations. Read more about Captive Bird Society