In Search of Vulnerability: The Curatorial Body and the Body of a Public
My dissertation set out to consider participatory art practice as a model for conceiving a contemporary curatorial practice. It did so in the acknowledgement of curating as a mode of public making, and in the acknowledgement of participatory art practice as a mode of imagining and creating new possibilities and processes of being. It considered the functions that allow and inhibit participatory art practice in creating transformative experiences, and hoped to learn from these while taking into consideration the implications that the role of a curator as institutor can have. In doing so, it proposed a model for curating that can occupy and engage flexible and vulnerable subject positions: with the aim of allowing the public that is created to occupy the same such positions.
In the formation of this argument, this dissertation considered the functions that allow and inhibit participatory art practice via three case studies: an account of Rafał Zajko’s ‘Curator’s Performance’, at Adjacent Practice Colliding Daily: Acme Project Space (2013), including a personal recollection as curator and subject, and an interview with the artist; an account of ‘Museum Restaurant Dinner Series’ as part of Meshac Gaba’s Museum of Contemporary African Art: Tate Modern (2013); and an interview with Alistair Hudson, Deputy Director Grizedale Arts Centre.Through these case studies, my dissertation argued for a model for curating that takes into account the activation of the curator as a curatorial body both in its physical and ethical subjectivity, and proposed a model for an institution based on this physical subjectivity
School of Humanities
MA Curating Contemporary Art, 2014
As a curator and writer, my practice focuses particularly on the ways in which a physical and notional engagement with structures can affect the creation of audiences, artistic production and curatorial strategy. My MA dissertation In Search of Vulnerability: The Curatorial Body and The Body of a Public seeks to understand curators, publics and artists as mutually present bodies that construct each other within the process of exhibition making.
Recently published work includes 'spellcheck' for Oral Revolution of the Museum, MACBA (2013), 'Anachronistic Architecture and the Janus Face of Progress' Line Magazine (2013) and 'Peter Kennard Fine Art Lecture Series Review' RCA commission (2014).
For the CCA 2014 Graduate Show ... all silent but for the buzzing ... I produced an audio project, where art works and interpretations are activated by the body of an audience as they move through the exhibition. This focuses understanding on how the audience create an exhibition in their role as spectators. Curatorial collaborations while at the RCA also included Adjacent Practice Colliding Daily, Acme Project Space, London (2013).
Current projects include a radio show for the RCA SHOW 2014: conceiving of, and using, broadcast space as a physical space in which to exhibit; an audience-led event series based on the Myth of Sisyphus; and a relating text.
- BA English, University of Sussex, 2010; Foundation Diploma Art and Design, Camberwell College of Arts, 2007
- ... all silent but for the buzzing ... Royal College of Art, London, 2014; Adjacent Practice Colliding Daily, Acme Project Space, London, 2014
- 'Peter Kennard Fine Art Lecture Series Review,' Royal College of Art website, 2014; 'spellcheck', idletalk for Oral Museum of the Revolution, MACBA, 2013; 'Anachronistic Architecture and the Janus Face of Progress,' Line Magazine, 2013