Participants /

How can a ‘Fishmongers Shop’, ‘Gibraltar’, and ‘A Procession Passing Through The Cenotaph’ answer questions of how to prepare for a residency in cooking and feminist practices? How can ‘Game Keepers’, ‘System D’ and ‘The Bees’ allow us to offer up methods of altering the way that we work, in order to build sustainable practices in which not-knowing, intuition and failure allow for real experimentation? Equipped with a small box of over a hundred hand More...

In our second year of the studio programme we have begun to invite curators and programmers as well as artists, with Louise O’Kelly marking one of the first of these. Louise is the founder and director of Block Universe, an annual performance art festival based in London which is coming up to its fifth year. The conversation began with an introduction from each studio associate on their practice, which Louise expanded on by querying our intentions within our respective work. This was used to open up discussions to the whole group, covering the ethics of participation in creative practices, and the politics More...

Simeon Barclay came down from Leeds for an evening to discuss both his own practice, and talk through our current lines of inquiry in the studio. Simeon started the evening by describing his beginnings and the roots of his career. As the son of a tailor who had an early education working in metalworking and manufacturing, we talked through the importance of materiality, how the relationship between the two labour roles, of ‘worker’ and ‘artist’, is often seen as a rigid dichotomy and how this influenced his concerns as an artist. The More...

Nigel Dunkley, who with Grace Schofield, is co-director of the east London gallery, Union Pacific, made a studio visit in September. This was the last studio visit for our group of Associates and was one of the most interesting and exciting. Neil was very generous and from the start engaged with the work presented with real enthusiasm. The discussion generated as he explored our practices, and our artworks, through his questions and observations was lively, critical and stimulating. More...

Duncan Campbell visited the studio at the Highline building in June 2018. We began our conversation about Duncan’s current practice through his interest in flip-dot displays, first made prevalent through their use in the Montreal Stock Exchange as a visual representation of the rising and falling of stock values. Duncan was interested in the format of the mechanism as both a visualisation of information which is received and then outputted by the machine, as well as his time spent with a piece of equipment with a complicated yet largely More...

Alicia Reyes McNamara visited the studio to meet the Associates in May 2018. As the group for this visit was quite small, the discussion was intense, inquisitive and attentive. It was structured first around the artist’s different practices, then by an artist talk. In all the visit lasting over 3 hours, and included a discussion of the Associates work. This began with the Tokyo based Youkobo exchange artist Yuuki Horiuchi, followed by Riah Charles, Jess Heritage and Joshua Waterson, each showing something of their practices. The discussion ranged from topics such as the play between humour and the seriousness of the dialogue More...

For our fourth artist visit at the Highline Building studio, we welcomed Shezad Dawood. Our discussion began with the logistics of maintaining our practice, and the significance of the mutual support the shared studio setting offers. A focal point was the necessity for mistakes to materialise in order for progress to be made within our practices. We then discussed Shezad’s monumental ‘Leviathan’ project, comprised of ten episodes to be released over an extended period. He spoke of the relationship between the volatile undercurrents of the More...

As part of our Associate Studio Programme, we were excited to have Rehana Zaman visit us for an extended conversation in April 2018. Given Rehana’s practice, and some of the conversations that were being had in the studio, we decided to step away from the normal ‘crit’ structure that had occurred in visits before Rehana, and instead have an open conversation without too much presentation of individual works. This lead to a lengthy, (3 hour) informal conversation in which Rehana More...

Borbála’s visit started off with presenting to the group her chosen object that would be left with the studio. The object[s] were a collection of petri dishes containing slime mould – each being at a different stage of development, some were ‘fed’ before their journey to the studio, some left empty for the associates to feed and one that was fed at the beginning of the talk and left in-situ. Whilst discussing the properties of slime mould, ideas emerged around ecological systems in relation to global structures and the wider omnipresent More...

Ewa Axelrad visited the Stockwell studios in January. Ewa introduced us to her work by explaining her background where she began by studying photography at the Uniwersytet Artystyczny w Poznaniu in Poznan, Poland. This was followed by a MA at The Royal College of Art, where she displayed a hidden work ‘Solution’ at the degree show. Ewa explained how the work was an ironic success and that forced the viewer to not only find its whereabouts but seek the graphic historical meaning, and the relation to the Second World War in Poland. More...

For our second studio visit at the Highline Building, in January 2018, we were glad to host Patrick Goddard. The visit began with Patrick addressing some themes from his work which he had asked to flag out in advance as being of particular interest to us. He began by showing us examples from his solo exhibition at Matt’s Gallery, ‘Revolver II Part 3′ from 2014 beginning with the video, ‘Free Radicals’. We discussed the way he had managed to transform the self-critical voice he encounters in his practice, to a positive and fruitful element More...

Celine Condorelli began her studio visit by introducing her practice as seeking to engage with the space of collaboration, working within the location of exchange between people. Celine spoke about ideas surrounding ‘support’ in relation to how this exchange may happen in physical space, though the development of spacial devices that relate to a history of furniture design. Through speaking about her previous studies in architecture and her interest in the way we interact with others More...

Having only just moved into the Highline Building at the end of September, the arrival of Ed Atkins in December 2017 marked the first artist’s visit for us, the ASP 4 group of Associates. To begin the evening, Ed provided a close reading of new works currently being exhibited as part of Old Food at Berlin’s Martin Gropius-Bau, a generous collection of looping videos and commissioned texts that drove a lively and extensive critical discussion. We spoke in particular about the nihilism that drives much of Ed’s work, which consequently brings More...

Rowena Harris’ visit was insightful – she began with showing a video work and reading an extract of performative writing that presented the concerns of her current practice. Through conversation this extended into outlining problems that are encountered within the studio that either positively or negatively affect ‘working’ and ‘the work’ more generally. We started to discuss what it means to be [and work] in the studio, the methodologies one might employ to navigate their practice, how the role of the studio can ultimately be understood, More...

John Seth began his visit to the Stockwell studios with a performance. This consisted of two sheets of found manuscript paper, which John had drawn music notes onto, a hammer and some nails. John used this gesture to introduce how he might understand the relationship between thinking and making work. This mode of reflection was to demonstrate how there are different ways to generate how we talk about artwork. The conversations triggered by our work in the More...

Jane Hayes-Greenwood visited the Associate Studio in Stockwell in July 2017. Jane is an artist and curator. She studied at City & Guilds of London Art School, where she met Xabier Basterra and co-founded the project space and studios Block 336 on Brixton Road. Block 336 continues to be run by Jane Hayes Greenwood, Alex Gough, Robert Bell and Thomas Groves who formed the original group when the project was initiated. Jane presented fascinating images of works that have been shown at Block 336 since they opened in 2012. More...

Rozsa Farkas, director of gallery Arcadia Missa, visited the Associates in the Stockwell studio in June. The visit concentrated on the work of the Associates with work-in-progress presented by Alice Jacobs, Andy Wyatt, Jordan Mouzouris, Isabel Cole and Fleur Dempsey. The discussion was wide ranging but included a close consideration of the means by which work is encountered in the gallery setting, the distinct transition it makes from studio to public space, and opportunities, demands, surprises and shifts in meaning that result. More...

In June 2017, Morgan visited the studios. Morgan’s visit was split into two halves, with one half specifically dedicated to concerns around his practice, whilst the second a discussion around the Associates work. We opened with Morgan with a talk about political issues in contemporary society (homelessness, housing, disability rights). Morgan spoke at length about the position of power, the privilege it was to ‘make’ and the influence this could have in creating a ‘voice’. The marrying of poetic and aesthetic became a key theme that then More...

Nicoletta Lambertucci visited in April. The discussion amongst the Associates and Nicoletta began with her curatorial work, the show Mundus Muliebris at BASEMENT ROMA and as curator at the David Roberts Art Foundation. Nicoletta spoke at length about the concerns in her practice as a curator, the consideration of audience in her work and themes that guide her practice. Nicoletta spoke about the usefulness of creating coherent press releases and catalogues as tool for framing discussions or ideas in a show. More...

Eloise Hawser visited the Stockwell Glassyard studios in April. Eloise introduced us to her practice with fascinating and detailed reports about her research into the unknown realms of London’s infrastructure. Starting off with her investigation of recycling banks, she explained her curiosity for overlooked and redundant sites. Eloise is currently a resident artist at Somerset House and invited us to participate in her upcoming educational programme called Anabasis to Dora, a trail around London looking at functionless architectonic features. More...

In February artist Mary Hurrell visited the studio. With a significant overlap in her sculptural, performance based practice and the related interests of a number of the Associates it was an opportunity to explore similarities and differences in approach. The relationship between the ‘event’ and the ‘exhibition’ and the practical issues raised by the need to document the work without compromising the importance of the physical encounter or translating the work into a photographic practice, were also discussed. These broader themes were then focussed into a discussion of a number of works by the Associates, including; Joe Moss, Anna Pickles-Harvey and Charles Verni.

In February 2017 artist Hannah Lees was invited to visit the Highline Studios. Hannah showed us her work using her website, starting in reverse chronological order, giving brief, sometimes playful but informed explanations about her works. Notable was her use of organic matter such as natural dyes on fabric, collected materials from beach combing set into plaster tablets, saved olive stones cast into gold and painted murals on gallery walls in discarded wine “lees”. Her works appearing primitive, metaphorical and poetic, we discussed the use in titling and how that can open up a work by presenting multiple meanings for the viewer. After Hannah’s lively presentation and subsequent discussion, we moved on to view work in progress from three of the Associate artists: Daniel Kan, Helena De Pulford and Abbi Jones. Abbi Jones

Hannah Perry visited the Highline studios in December. Hannah started the visit by showing work from two recent shows, including her latest film and a performance, exhibited in Berlin. Hannah’s presentation illuminated the material processes and ideas behind her work. She discussed how her screen prints develop from her films; the transition between analogue and digital film editing, as well as practical considerations when planning work for larger shows. The discussion then developed around themes in Hannah’s work that resonated with the groups own practices and research. The conversation covered a range of topics, including the use of mirroring, hypnosis, and sound in Hannah’s work; psychological states and hysteria; diaristic forms; intimacy, solidarity, and friendship. Helena de Pulford

Carolina Ongaro, curator and co-founder of Jupiter Woods, visited the Stockwell studio associates to discuss the ethics of behaviour and code of conduct in the young art world. She began her visit by asking what it means to be taking risks with how you work – as a curator, institution, gallery or project space. What if the opening of an exhibition marked the beginning of an idea and not its end? In her work with Jupiter Woods she spoke about how she strives to build a sustainable, caring and autonomous space for research and experimentation. More...

Joseph Constable, previously Programme Curator at l’étrangère Gallery, London and Projects Assistant to producer and curator Jacqui Davies, recently took the post of Assistant Curator at the Serpentine Galleries. Joseph visited the Associate Studio in September and began by reading an extract from Chris Kraus’s ‘I Love Dick’. From this prompt the discussion was wide ranging and moved through presentations of work from each of the Associates.

In July Katrina Palmer visited the Highline Studio. Her show at Void in Derry had just opened and she talked about the process by which that work had been developed. In particular ‘Now Landscape’ a new work produced specifically for Void. Inspired by Ash, the gravedigger character from her 2015 Artangel commission ‘End Matter’ it considers, through the thoughts of the gravedigger, the present day as the stone of the future and as a material full of artificial and highly processed substances. More...

In May Anna Barham visited the Highline studios. Anna began by showing a number of works each involved in the complications, vagaries and slippages of language manifest through the technologies of speech recognition – the translation of spoken words into text. Taking the form of video works and live readings/performances the processing and re-processing of one ‘medium’ to another creates elaborate mergings of units of sound and language – “insight is quick” / “inside the squid”. The use of text as a subject, form and media led into the discussion of the work of Associates, in particular Anna Pickles Harvey and Abbi Jones.

In April Eddie Peake made a studio visit to the Highline Building studios. He began the evening by explaining that he didn’t want the session to replicate a typical art school crit. and instead to approach it as something more open, as a conversation rather than a review. He showed videos and images from very early work when he graduated himself, along with images of his White Cube show, the Barbican show and his most recent performance at East Side Projects in Birmingham. More...

Prior to Sylwia Serafinowicz’s visit in March 2016, Sylwia wrote to the Associates asking them to prepare a small presentation of one recent artwork. She asked them to introduce their field and to say what value they added to this field. The challenge was to support this by explaining the idea behind the piece, the technique used and the components of the work. Sylwia set this task, saying it is a challenge all art professionals face when communicating their practices to other More...

Yuri Pattison made the first studio visit to the new studio at the Highline Building in Elephant and Castle. Yuri began by showing images of some recent works and discussing their evolution. The notion of an on-going and contingent, rather than final, finished and definitive material outcome was explored in some detail. Digital technologies offer considerable scoop for revision, re-editing and re-purposing; what might be thought of a process of continuous deferral (of the “final version v09″ file name type) More...

Hannah Rickards visited the Associate Studio in July, in the midst of her Leverhulme Award for Visual and Performing Arts and work on a new piece at the Experimental Media and Performing Arts Center (EMPAC) in Troy, New York. The studio discussion centred around the work that many of the Associates were involved in using printed matter, either as its source or final form. Work discussed included Piotr Krzymowski’s photo-montage work unsing Polish film magazines More...

In October Morgan Quaintance visited the Associate Studio Program. Morgan gave an in depth introduction to his practice as both a writer, broadcaster, musician and curator and an insight into the thought process behind his upcoming exhibition at Cubitt Gallery, ‘Smile Orange’. The discussion began with a focus on some practical considerations of working as an artist, and how to develop and curate projects collectively. The associates had prepared a staged presentation of works as a context to further the conversation. More...

Artist Philip Lai’s visit occurred during the Associates preparations for their group show ‘Juice’ at the Acme Project Space. The Associates’ ideas for the format of the show became of focus of the discussion. Of interest was the evolving works and their arrangement in the space during the course of the show, and the inversion of the opening hours half way through the show, from daytime to night time, and the differing kinds of spectatorship that that might prompt. Philip discussed his own practice, one based very much on spending time More...

Paris based artist Neil Beloufa focussed entirely on the work of the Associates but drew in themes of narrative in common with his own practice – both the narrative capacity within the work and the narrative of the work, or the stories that the work tells and the stories that the artist tells. In particular; the delicate balance between what is true and what is false More...

Lindsay Seers’s visit to the studio was characterised by the presence of one of her ventriloquist’s dummies; Billy. As well as joining the Associates for a series of staged portraits (which then became Lindsay’s gift to the studio) Billy exercised an influence over the discussion; ranging as it did from the sometimes vague boundaries between fact and fiction, synaesthesia and neuroscience. Billy’s role; as a conduit through which to speak, More...

Sculptor Laura White’s studio visit began with her reading a short text describing her ongoing project which involves her undertaking short training courses in a range of specialist manual skills, not necessarily those associated with the skills of an artist, sculptor or maker. These included butchery, fish knife skills, brick laying and sushi making. This emphasis on the material qualities of things, stuff, tools and processes formed the basis of the discussions with each of the Associates offering some response to Laura’s prompt. More...

In June artist Redmond Entwistle visited the Associate Studio Programme. He began by showing his film ‘Monuments’ prompting a discussion of both the ideas of the three artists; Smithson, Graham and Matta-Clark, and the film’s interweaving of fact and fiction through their relocation to the contemporary outskirts of New Jersey, where their works had first been made. In particular the stylistic combination of artists’ film, documentary, genre (zombie) movie and dead-pan comedy, provoked the discussion. More...

In March artist Adam Chodzko visited the Associate Studio Programme. Adam’s visit coincided with his show at Marlborough Contemporary ‘Room for Laarni’. Adam offered his thoughts on the studio and the processes that occur there, “what aspects of making are necessarily done in isolation – in private, even from ourselves! – and which develop from an interior dialogue; an immediate anticipation of them being shared with another”. More...

Commissioned in collaboration with Blip Creative artist Graham Gussin created ‘Film film’ for screening in the Window of the Charing Cross Road site of Central Saint Martins. “The work ‘Film Poster’ first existed as a poster for an exhibition in Portugal. It consists of 380 lines which were written over the course of a week. I wanted to make a work which existed as a kind of More...

Gail Pickering; the seventh in a series of studio based seminars with invited artists. The specific emphasis of these sessions is the methods of investigation and processes of production in and beyond the studio, taking in issues of collaboration, negotiation, dialogue, economic conditions and context. As previously, the cycle is structured through three separate sessions. An introduction by Graham Ellard to Gail Pickering’s work through documentation. From this, submissions, in the form of questions, are More...

Ruth Ewan; the sixth in a series of studio based seminars with invited artists. The specific emphasis of these sessions is the methods of investigation and processes of production in and beyond the studio, taking in issues of collaboration, negotiation, dialogue, economic conditions and context. Each “The Way Things Work” cycle is structured through three separate sessions. The first acts as an introduction, in this case by Anne Tallentire, to the artist’s work through documentation. More...

Uriel Orlow; the fifth in a series of studio based seminars with invited artists, exploring methods of investigation and processes of production in and beyond the studio, addressing issues of collaboration, negotiation, dialogue, economic conditions and contexts. The cycle is structured through three separate sessions. An introduction by Anne Tallentire to Uriel Orlow’s work at his solo exhibition at Laure Genillard, London. Out of this, submissions, in the form of questions, are invited from Fine More...

A lecture by artist Benoît Maire and Jonathan Lahey Dronsfield Presented in collaboration with Hollybush Gardens. ‘Differend’ commonly refers to a debate between two or more people about (among other things) matters of opinion and interests on which they disagree. One can say for example: “They have a differend on this or that topic.” The word has been used since the Middle Ages, though it originally had the more precise meaning of the difference between More...

Graham Gussin; the forth in a series of studio based seminars with invited artists, exploring methods of investigation and processes of production in and beyond the studio, addressing issues of collaboration, negotiation, dialogue, economic conditions and contexts. The cycle is structured through three separate sessions. An introduction by Graham Ellard to a series of Gussin’s works. Out of this submissions, in the form of questions, are invited from Fine Art undergraduate, post-graduate and research students More...

Adam Chodzko; the third in a series of studio based seminars with invited artists, as in previous sesssions as part of this programme – exploring methods of investigation and processes of production in and beyond the studio, addressing issues of collaboration, negotiation, dialogue, economic conditions and contexts. More...

An afternoon symposium, in collaboration with Camden Arts Centre, examining the historical context and artistic legacy of the emergent art scene on the west coast of America in the 1950s to contemporary practice today. Sophie Dannenmuller, Academic and writer, discussed the work of Wallace Berman. John Slyce; writer and critic, looked at the work of Allen Ruppersberg in relation to experimental film. Thomas Evans; discussed the historical context of the art scene in LA in the 1950s. Thomas Evans is an editor and artist living in New York. Between 2002 and 2006 he edited the monthly mail-out magazine Tolling Elves, publishing among others Wallace Berman, Jess, Jay DeFeo and Bruce Conner. The symposium was chaired by Jenni Lomax, Director, Camden Arts Centre. Links: Camden Arts Centre Tolling Elves

Jaki Irvine and Will Holder; the second in a series of studio-based seminars with invited speakers exploring methods of investigation and processes of production in and beyond the studio, addressing issues of collaboration, negotiation, dialogue, economic conditions and contexts. More...

Emily Wardill; the first in a series of studio-based seminars with invited speakers exploring methods of investigation and processes of production in and beyond the studio, addressing issues of collaboration, negotiation, dialogue, economic conditions and contexts. More...

Johanna Billing, round table ‘in conversation’ with undergraduate students, BA Fine Art, to coincide with the inclusion of Johanna’s video work ‘Project for a revolution’ (2000) and ‘Missing Out’ (2001) in ‘Here We Dance’ at Tate Modern, London. More...

Jaki Irvine and Michael Newman ‘in conversation’. A joint venture with Chisenhale Gallery on the occasion of Jaki Irvine’s solo exhibition ‘In a World Like This’. More...