Cool Sex (sexe cool): A practice-based investigation of autobiography and technology, through a century of feminist literature.
The aim of my artistic research is to identify how technology has changed feminism in the last one hundred years, particularly through the impact it has on women’s relationships to one another and how knowledge is shared.
first iPhone was made just over ten years ago the impact of this device and its
implications for future generations are unknown. My research will explore how
we pass on stories from generation to generation as well as the affect such
devices have on our memory and social relationships, as we bring up our
children in front of flat-screens and with tablets on their lap, making the
playground and the outdoors appear the safer environment than safeguarding them
online. Does Woolf’s account of being a woman in the 1920's, and that of other
female artists work in the last one hundred years prove still useful to women’s
articulation of their experience of the present, in an age when the President
of America tweets reactions to news in real-time on twitter?
project proposes that by reflecting this lineage of feminist thought in a
contemporary art practice that explores women’s lives embedded in the immediacy
technology has enabled us and liberated us from ‘a room of our own’, we can
forge new ways of operating.
My methods draw
strongly on my experience as an artist and emerge as a response to the lived
experience at the interface between motherhood, technology and creative
The artworks emerging from this research aim to manifest in the temporal, creating works from everyday occurrences through an ongoing investigation between life and art. They are articulated across different media – photography, painting, drawing, film, text and performance and draw on the relationship between sound, still and moving images. Paintings and drawings come and go as I perform lectures of these works, in the research process images from social media sites become paintings, drawings or montages of film and photograph – sometimes seeking permission to use others image’s but also exploring the idea of authorship, appropriation and fiction. I am interested in what belongs to who, through the displacement of our lives online and through the re-staging of someone else’s image I am painting and drawing – who owns it then?
My thesis aims to cohere as an autobiographical account of my experience, read in parts during my performative lectures – which include images from my everyday. I will also apply this method with the written thesis, including chapters from Woolf’s ‘A Room of One’s Own’ rewritten word for word but situated in my own experience nearly one hundred years later. I am interested in this blurring of the fictional and the factual narratives, including the idea of autobiography as a fiction, as a method to explore the intersection of women’s voice with contemporary modes of broadcast and dissemination.
School of Arts & Humanities
Arts & Humanities Research, 2017–2021
The practice of everyday life, a life examined, radical subjectivity, the personal made public: Moved by any and all of these, Juliette Blightman photographs, paints, films, writes, and performs the slow drawl of the quotidian with all its dance parties and traipsing children, houseplants and living rooms, naked bodies and jokey games, encountered artworks and occasional orgies. Hardly an autonomous author but a member of a community, alongside those of “friends, family, and heroes.” The compulsive self-documentation comes to mind, as does the exhibitionism courted by Instagram, but such comparisons reduce Blightman’s work to its methods without sussing her peculiar voice—a little licentious, sometimes shy, but invariably open.
- 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
- 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; Extimacy, Kunsthalle Bern, 2016; Portraits and Repetition, South London Gallery, 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