A Carpet For Your Somersaults: A practice-based investigation into the boundaries of domestic space, creative production, and gender.
This project explores how a consideration of contemporary women artists' practices, in particular their embodied experiences of creative production and physical space, might shed new light on Virginia Woolf's A Room of One's Own (1929). The PhD maps artists' work and methodologies onto specific domestic spaces as a means of locating research within the home; it also uses different feminist strategies to straddle and unpick dominant cultural expectations and norms of gender roles, particularly with regards to work, labour, and domestic spaces.
I thought how unpleasant it is to be locked out; and I thought how it is worse perhaps to be locked in.
Virginia Woolf, (Woolf, 2016:23)
Virginia Woolf wrote her extended essay after she’d been researching a lecture series she was to give at Newnham and Girton College, the women’s colleges at Cambridge University in 1928. The essay is both an account of Woolf’s research into the history of women’s creativity, as well as of her own experience as a woman writer. The title of the series was Women and Fiction; she then turned the notes from the lectures into the fictional narrative that became A Room of One’s Own. As her title suggests, Woolf developed the theme of the ‘room’ as both metaphor and reality: it is this ambiguity of a ‘room’ that provides the context for my exploration of artists and the relation to feminist methodologies of art production. I am also questioning whether ‘a room of one’s own’ is still a prerequisite for creative production, and how the emphasis on this need might produce negative associations; as Woolf hints in the above quotation, this space could also restrict and isolate an artist.
School of Arts & Humanities
Arts & Humanities Research, 2017–
- MA, Fine Art, Byam Shaw School of Art/Central St. Martins, 2007; BA Fine Art, Byam Shaw School of Art, 2004
- Visiting Lecturer UDK Berlin - invited by Heike-Karin Föll, May 2017; Visiting Lecturer, Graduate Seminar Lecture Series, ArtCenter, Los Angeles - invited by Jack Bankowsky, February 2017; Visiting Lecturer University Mozarteum Salzburg - invited by Gregor Neuerer, April 2016; Visiting Lecturer Kunstakademie Düsseldorf - invited by Elodie Evers, November 2015; Visiting Lecturer UDK Berlin - invited by Jimmy Robert, December 2015; Part-Time Lecturer Fine Art - Sculpture , Weissensee Kunsthochschule Berlin, October 2012 - July 2013; Director , i-cabin project space London, October 2004 - July 2007 www.i-cabin.co.uk; Visiting Lecturer, Graduate Seminar, Universität für angewandte Kunst Wien - invited by Henning Bohl, December 2016
- Femme Maison, FELIX GAUDLITZ, Vienna, 2019; This One's For You, Maureen Paley, London hosting FELIX GAUDLITZ, Vienna; RELATIONS, O-Town House, LA, 2018; Oh that I had a thousand tongues, curated by Nikola Dietrich, Cultural Foundation of Tinos, Tinos 2018; Juliette Blightman/Ellie Epp, going to go out now, Western Front, Vancouver, 2018; Nightshift, Fine Arts Sydney, 2017/18; Made In Germany Drei, Kestner Gesellschaft, Hannover, 2017; Loved an Image, Fons Welters Gallery, Amsterdam, 2017; Year of the Monkey, Galerie Emanuel Layr, Rome, 2017; Love Amongst the Artists, Kunstmuseum Luzern, 2016; Portraits and Repetition, South London Gallery, 2016; Extimacy, Kunsthalle Bern, 2016; The Tale that all but Shapes Itself, curated by Scott C Weaver, Greene Naftali, New York, 2016; Pierre Guyotat, Galerie Azzedine Alaïa, Paris, 2016; Juliette Blightman/Josef Kramhöller, JAZZ BAR, Munich, 2016; When do you come, Esterhazygasse 29/2/26, Vienna, 2015); Juliette Blightman/Ellie Epp, ‘holding one’s own in an unfinished system’, Badischer Kunstverein, Karlsruhe, 2015; Transparenzen, Kunstverein Nürnberg, Nürnberg, 2015; Transparenzen, Bielefelder Kunstverein, Bielefeld, 2015; Come Inside, Bitte, Isabella Bortolozzi Galerie, Berlin, 2015; The Cipher and the Frame, Cubitt, London, 2015; Gerry Bibby/Juliette Blightman, Kunsthaus Bregenz, 2014; Europe, Europe, Astrup Fearnley Museet, Oslo, 2014; The Library Vaccine, Artists Space, New York, 2014; The Registry of Promise, Centre Parc Saint Léger, Pougues-Les-Eaux, 2014; Revelry, curated by Tenzing Barshee, Kunsthalle Bern, 2014; Girls Can Tell, GAK Bremen (2013); Orpheus Twice, David Roberts Foundation, London, 2013; Orpheus Twice, David Roberts Foundation, London, 2013; The New Public, Museum of Modern and Contemporary Art, Bolzano, 2012; A Year With No Head, International Project Space, Birmingham, 2011; Death Dies, Tramway, Glasgow, 2011; 'How To Work (more for) less', Kunsthalle Basel, 2011; British Art Show 7, Various venues in the UK, 2010/11; Based in Berlin, Hamburger Bahnhof, Berlin, 2011; Paradise Lost, Kunstverein Arnsberg, 2010; The Day Grew Dark, Künstlerhaus, Stuttgart, 2010; The Day Grew Darker Still, Irish Museum of Modern Art, Dublin, 2010; Silberkuppe, Staatliche Kunsthalle, Baden Baden, 2009; Nought to Sixty, ICA, London, 2008; The Chips Are Down, Whitechapel Project Space, London, 2007
- Junger Ankauf, Museum Ludwig, 2016; Prix K-way Per4m, Artissima ArtFair, Torino 2016; Kunstzeitraum, Pinakothek der Moderne, Munich 2011
- Year of the Cock, UDK Berlin, 2017; Year of the Monkey, Graduate Seminar Lecture Series, ArtCenter, Los Angeles, 2017; Come inside, bitte, Graduate Seminar, Universität für angewandte Kunst Wien, 2016; Portraits and Repetition, Graduate Seminar, University Mozarteum Salzburg, 2016; Portraits and Repetition, Graduate Seminar, UDK Berlin, 2015; Portraits and Repetition, Graduate Seminar, Kunstakademie Düsseldorf, 2015; Jealousy, Camberwell College of Art, London, 2013; Valentine's Day, Autobiography Seminar, NYU Berlin, 2013; Broken English, No Re-admittance Series, Weissensee Kunsthochschule Berlin, 2009; Inside and outside cannot simply be separated (The Kreutzer Sonata), No Re-admittance Series, Weissensee Kunsthochschule Berlin, 2012; These Days, Autobiography Seminar, NYU Berlin, 2011; songs without word, No Re-admittance Series, Royal College of Art, London, 2009
- Scripts and Descriptions 2011 - 2016, Koenig Books, 2018; Loved an Image , saxpublishers, 2017; Javier Hontoria, ArtForum Critics’ Picks, November 2016, Juliette Blightman, Kunsthalle Bern,; Andrew Berardini, ArtForum International Vol. 55, September 2016, Fall Preview, Juliette Blightman, Kunsthalle Bern,; Avigail Moss, Sidelong Gestures, Texte Zur Kunst, Issue No. 98 / June 2015 “Media”, Karma International, Los Angeles; Pablo Larios, Network Fatigue, Frieze d/e Issue 16 September - November 2014; Kirsty Bell, Gerry Bibby/Juliette Blightman, Frieze Issue 164, June-August 2014, Kunsthaus Bregenz; John Beeson, Podium, Spike No.32 Summer 2012; Scripts and Descriptions 2005 - 2010, Koenig Books, 2011; all those, too, who are sustained by the alternative hopes, International Project Space, Bournville, Arts Council England/Birmingham City University/The Elephant Trust, 2011; Gregorio Magnani, Being Hidden, Seeing Life Mousse Magazine No.22 February 2010; Jennifer Higgie, Focus, Juliette Blightman, Frieze Issue 126 October 2009; Melissa Gronlund, Filming Time, UNTITLED 44 Winter 2008