Department of Art
1 Earley Gate Whiteknights Road, PO Box 236 Reading RG6 6AT
phone +44 (0)118 378 8050/1 fax +44 (0)118 926 2667 email [email protected] Combined Research Outputs 2008 - 2014
Exhibitions (solo)
Chaimowicz, Marc Camille, Jean Genet… The Courtesy of Objects, Act 1, Act 2 & Act 3 Norwich Gallery, Norwich, May 2011; Nottingham Contemporary 16 July and 2nd October 2011; and Focal Point Gallery, Southend, 13 Feb to 24 March 2012 - Chaimowicz, Marc Camille, Marc Camille Chaimowicz (solo) Inverleith House, Edinburgh, 2010.
Chaimowicz, Marc Camille - Marc Camille Chaimowicz (solo) Wiener Secession, Vienna, 2009.
Chaimowicz, Marc Camille - Enough Tiranny Recallled, 1972-2009 - Artists Space, New York City, NY, 2009.
Chaimowicz, Marc Camille - COMMA10 - Bloomberg Space, London, 2009.
Chaimowicz, Marc Camille - We Chose Our Words With Care, That Neon- Moonlit Evening; It Was As If We Were, Party To A Wonderful Alchemy - Overduin and Kite, Los Angeles, CA, 2009.
Chaimowicz, Marc Camille - Some Ways by which to Live - FRAC - Collection Aquitaine, Bordeaux, 2008
Clausen, Susanne, Ballet- Granite, Art Kyiv Contemporary, The 7th Contemporary Art Fair, Kiev 1.-8.11.2012 Clausen, Susanne, Étant Ballet – The Cave, MacKenzie Art Gallery, Regina, Canada (solo exhibition) 30.4.-28.8.2011,
Clausen, Susanne, Ballet, Museum of English Rural Life, Reading, UK 18.12.2009-15.1.2010
Garfield, Rachel, The Struggle Beaconsfield, solo exhibition and residency, 19th April-3rd June, 2012
Garfield, Rachel, For Some Time Now, Oranim University Gallery - Solo exhibition Haifa Israel, May 24th- June 26th 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Suck the Living Labour, Ort Gallery, Birmingham, 2013
www.reading.ac.uk Page 2 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Terminal Equilibrium, Trade Gallery, Nottingham, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Videos of Pil and Galia Kollectiv, Ishmael Bernal Gallery, Manila. 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Pil and Galia Kollectiv, Te Tuhi Centre for the Arts, Manukau City, New Zealand, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Svetlana, S1 Artspace, Sheffield, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future So Far, Grey Area, Brighton, 2008
Russell, John. Then suddenly like all at once, The Black Mariah, Triskel Arts Centre, Cork, May 11 – June 29, 2013.
Russell, John. JEXUS, MOT International, Brussels, 18 May to 23 June, 2012
Russell, John. Angel of History. I can see for miles.. Focal Point Gallery, Southend, November, 2011
Russell, John. Praying Mantiss. Solo show. The Grey Area. Brighton, June – July, 2011
Russell, John. Public Sculpture. Frieze Sculpture Park commission, Regents park, London, 14–17 October, 2010
Russell, John. Explain Death to Very Young Children. O U T P O S T Gallery, Norwich, 2010
Russell, John. Artist of the Month Club: February. Commissioned print. Invisible Exports Gallery, New York, 2010
Russell, John. The Paint. MOT International, London, 2008
Russell, John [BANK] The Banquette Years, Elaine MGK, Basel , June 10-14, 2013
Russell, John [BANK] The Banquette Years, MOTInternational, London, Jan – Feb, 2013
Exhibitions (Group)
Allen, Kate Unearthed, Exhibition curated by Neville Gaby, Warton House, 150 Stratford High Street, E15 London (Group Exhibition) 2012
Allen, Kate Images from Second Life, exhibited as part of “The First Architecture Page 3 and Design Competition in Second Life” presented in the Insiders Exhibition as part of the Urban Arts Biennale, Bordeaux, France 2010
Chaimowicz, Marc Camille - The Cat Show - White Columns, New York City, NY, 2013
Chaimowicz, Marc Camille - Living with more art. - Galerie Reinhard Hauff, Stuttgart, 2013
Chaimowicz, Marc Camille - En suspension - FRAC - Pays de la Loire, Carquefou, 2013
Chaimowicz, Marc Camille - A Bigger Splash: Painting after Performance - Tate Modern, London, 2012
Chaimowicz, Marc Camille - Transmitter/Receiver: The Persistence of Collage - Usher Gallery, Lincoln, Lincolnshire, 2012
Chaimowicz, Marc Camille - Glaze - Galerie Chez Valentin, Paris, 2012
Chaimowicz, Marc Camille - Transmitter/Receiver: The Persistence of Collage - The New Art Gallery Walsall, Walsall, West Midlands, 2012
Chaimowicz, Marc Camille - Parts & Labour (3 Hours Minimum Wage) - Camberwell Space, London, 2012
Chaimowicz, Marc Camille - Le Monde Comme Volonte Et Comme Papier Peint - Le Consortium, Dijon, 2012
Chaimowicz, Marc Camille - 30 Künstler/30 Räume - Kunsthalle Nürnberg, Nuremberg, 2012
Chaimowicz, Marc Camille - Les Biches - CLEARING - New York, New York City, NY, 2012
Chaimowicz, Marc Camille - Objekt Atlas – Feldforschung Im Museum - Weltkulturen Museum, Frankfurt/Main, 2012
Chaimowicz, Marc Camille - Interiors - Andrew Kreps Gallery, New York City, NY, 2012
Chaimowicz, Marc Camille - Au loin, une île ! - Fondation d´entreprise Ricard, Paris, 2012
Chaimowicz, Marc Camille - Zeit zu handeln! - Kunsthalle Krems, Krems, 2011
Chaimowicz, Marc Camille - Au Loin, Une Île ! - FRAC Aquitaine, Bordeaux, 2011
Chaimowicz, Marc Camille - The Self-portrait, the House and the Seasons - Page 4 Mu.ZEE, Oostende, 2011
Chaimowicz, Marc Camille - Dystopia - CAPC - Musée d'art contemporain, Bordeaux, 2011
Chaimowicz, Marc Camille - Time Again - SculptureCenter, New York City, NY, 2011
Chaimowicz, Marc Camille - The Rose-Colored Room - Overduin and Kite, Los Angeles, CA, 2011
Chaimowicz, Marc Camille - The New Decor - Garage Center for Contemporary Culture - GCCC, Moscow, 2010
Chaimowicz, Marc Camille - Anni ‘70 - Studio d'Arte Cannaviello, Milan, 2010
Chaimowicz, Marc Camille - Polytechnic - Raven Row, London, 2010
Chaimowicz, Marc Camille - Things evoke feelings - Centre for Contemporary Art Ujazdowski Castle, Warsaw, 2010
Chaimowicz, Marc Camille - The New Décor - Hayward Gallery, London, 2010
Chaimowicz, Marc Camille - Amor Parvi oder Die Liebe zum Kleinen - Kunstverein Langenhagen, Langenhagen, 2010
Chaimowicz, Marc Camille - Paying a Visit to Mary - The Aldrich Contemporary Art Museum, Ridgefield, CT, 2010
Chaimowicz, Marc Camille - Entre Seux Actes Loge de Comedienne - Staatliche Kunsthalle Baden-Baden, Baden-Baden, 2009
Chaimowicz, Marc Camille - Sphinxx - Stuart Shave / Modern Art, London, 2008
Chaimowicz, Marc Camille - GSK Contemporary - Event Horizon - Royal Academy of Arts, London, 2008
Chaimowicz, Marc Camille ...In The Cherished Company of Others... - de Appel Boys' School, Amsterdam, 2008
Chaimowicz, Marc Camille - Sammlung / Collection - Migros Museum für Gegenwartskunst, Zurich, 2008
Chaimowicz, Marc Camille - Berlin Biennale für Zeitgenössische Kunst - berlin biennale für zeitgenössische kunst, Berlin, 2008
Clausen, Susanne, Rehearsing Szuper Gallery, Orientation, National Art Museum of Ukraine , NAMU, Kiev 15.5. – 29.9.2013 Page 5
Clausen, Susanne, Ballet- Granite, PERMM, Museum of Contemporary Art, 4.9.- 15.10.2012
Clausen, Susanne, Interact 1/Szuper Gallery, New Social Scultptures, Kunstmuseum Thun, CH, 1.4.- 24. 6 2012
Clausen, Susanne, the Strength of the System and my experiences of it, was that in fact, oddly enoughtm it was actually a very collaborative enterprise already, Schools of Art - the Educational Turn, Academy of Fine Art Gallery, Leipzig, Germany, 17.12.-13.2.2011
Clausen, Susanne, The Artists Studio, (with Shezad Dawood) Sainsbury Centre for Visual Arts, Norwich, 29.9.-23.10. 2009
Clausen, Susanne, Translations, Paradoxes and Misunderstandings - Part 3, Shedhalle Zurich, CH, videoinstallation 4.10.-21.12.2009
Clausen, Susanne, Transfer Zone 4, Temporary Communities, White Space / Office for Curating, 11.12.2009-5.1.2010
Clausen, Susanne, I will Survive, ArtCevia, Arcevia, Italy, 10.8.- 21.9.2009
Clausen, Susanne, The Artist’s Studio, (with Shezad Dawood) Compton Verney, 12.9.-13.12. 2009
Clausen, Susanne, Self Acquisition, Zeh Gallery, Kiev, Ukraine, 8.9.- 10.9.2008
Clausen, Susanne, (with Long. Timothy), Ballet - from the Archives, MacKenzie Art Gallery, Regina, Canada, 30.4.-28.8.2011
Clausen, Susanne, (with Tervaniemi, Sari) Loving Revolution: KIASMA, Museum of Contemporary Art, Helsinki, 18.4.2008 Dronsfield, Jonathan. Where Narrative Stops, Wilkinson Gallery, London, curated with Amanda Wilkinson, 11.07.13 – 11.08 13. Dronsfield, Jonathan. art:gwanju:12, with Kim Kim Gallery, Seoul, Korea, 5.09.12 – 9.09.12. Dronsfield, Jonathan. Thames Delta, Focal Point Gallery, Southend, curated by David Elvin, Barry Sinclair and Andrew Hunt, 16.04.12 – 30.06.12.
Dronsfield, Jonathan. Platons Mirror (Mischa Kuball), Lethaby Gallery, St Martin’s School of Art, London, curated by Duncan White, 3.05.12 - 26.05.12.
Dronsfield, Jonathan. Until it Stops Resembling Itself, Stroom Den Haag, Netherlands, curated by Mihnea Mircan, 24.11.11 - 11.12.11.
Dronsfield, Jonathan. Where Language Stops, Wilkinson Gallery, London, curated with Amanda Wilkinson, 15.07.11 – 14.08.11. Page 6
Dronsfield, Jonathan. Padiglione Italia, Esposizione Internazionale d’Arte, la Biennale di Venezia 54, Italy, curated by Vittorio Sgarbi, 4.06.11 – 27.11.11.
Dronsfield, Jonathan. Museum of Speech, Extra City Kunsthal Antwerpen, Belgium, curated by Mihnea Mircan, 25.03.11 – 1.05.11.
Dronsfield, Jonathan. “Ah, sorry… My leg… Wait… Ooh, that’s better. Where was I.” curated by Gregory Maass and Nayoungim, Bureau d’Art et de Recherche, Roubaix, France, 23.05.09 – 12.07.09.
Ellison, Christine. The Ghost of a Movement, Embassy Gallery, Edinburgh, UK. 2013
Ellison, Christine. File Transfer Protocol, Museum of Art, Haifa, Israel. 2012
Ellison, Christine. Error Benders; Audio/Video Object Exhibition and Performance Series, Saskatoon/Regina, Canada. 2011
Ellison, Christine. Ultra High Temperatures, Eastside Projects, Birmingham, UK. 2010
Ellison, Christine. Conceptual Telegraphy and the Song of the Wind Through Its Wires, Workspace Gallery, Los Angeles, USA. 2009
Ellison, Christine. Relay: a dialogue between sound artists, Model Arts and Niland Gallery, Sligo, Ireland.2009
Ellison, Christine. Kaunas Art Biennial: Textile 07, Kaunas, Lithuania. 2007-08
Garfield Rachel, Reading As Art. Turning The Pages Of Victorian Psychology, Senate House, London 15 October 2013,
Garfield Rachel, Fraternise Salon Beaconsfield, London, 1st April – 29th May, 2011
Garfield Rachel, I’m Keeping An Eye On You, Arizona State University Museum Sept 19 – Dec 16 2009; Centre for Contemporary Art, Santa Fe, Dec 16th 2009- January 31, 2010; Aqua art fair, Miami, Florida, December 2-7 2008
Garfield Rachel, Just World Order, ArtSway, Hampshire, 12th July – 7 Sept 2008
Garfield Rachel, Viva, Viva! P3 University of Westminster Gallery, London, 8-14th December 2008,
Garfield Rachel, Book, University of Hertfordshire Galleries, group exhibition of artists’ books, October 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Giving Form to the Impatience of Liberty, Württembergischer Kunstverein, Stuttgart, 2013 Page 7 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, (Im)Material Labour, Art Exchange, Colchester, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, A3 Works, A3 Project Space, Birmingham, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Strange Loop, Golden Thread Gallery, Belfast, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Verging on the Absurd, Contemporary Art Society, London, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Urbicide, Workshop, Venice, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Poster Production, Portman Gallery, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Red, White And Blue: Pop/Punk/Politics/Place, Chelsea Space, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, AFTER/HOURS/DROP/BOX, Andor Gallery, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Colloquial, Schau Fenster, Berlin., 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Gradient Change, MoCA, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, There Was A Country Where They Were All Thieves, Jeanine Hofland Contemporary Art, Amsterdam, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Out of Sth, Awangarda Gallery, Wroclaw, 2012.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Glamourie, Project Space Leeds, Leeds, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, All I Can See is the Management, Gasworks, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Cross Counter, XYZ Collective and Capsule, Tokyo, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Long Avant Garde, Cartel, London,2011
Page 8 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Utopia Limited., Wexford Arts Centre, Wexford 2011; Highlanes Municipal Art Gallery, Drogheda, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Dry Grass and Shadows, Golden Thread Gallery, Belfast, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Hierarchies of Alliegiance, The Royal Standard, Liverpool, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Kirkcarrion, The Market Gallery, London, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Bureaucracy Now!, Parlour, San Francisco, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Happy End, Basement Projects at Yinka Shonibare's Space, London, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Apocatopia, Castlefield Gallery, Manchester, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Stonehenge Riverside: The Ventral Surface, The Oliver Holt Gallery, Sherborne, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Star Maker, E:vent Gallery, London, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Roll It to Me, Collective Gallery, Edinburgh, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Ventriloquist, Timothy Taylor, London, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Art and the New Town, Harlow Temple of Utopias, Harlow, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Futureblueperfect, Cafe Gallery, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Economic Thought Projects, Ard Bia, Berlin, 2008
O’Connell, T. White, N The Speedie Telstar, Tulca 2013, Fair Green Space, Galway, Ireland, 8th November to 24th of November.
O’Connell, T. White, N 1x1 Project, Transformer Gallery, Washington U.S.A, March 23rd to April 5th 2012.
Page 9 O’Connell, T. Multiple Market, Handel Street Projects, London, 29th of November 2012 to 20th of December 2012.
O’Connell, T. Personal Taste, Limerick Art Gallery, limerick, Ireland, 16th of January to the 4th of March 2012.
O’Connell, T. Werk 2010, Bildhaursymposion Heidenheim, Germany,16th July to the 8th of September 2010.
O’Connell, T. Super Farmers Market, Handel Street Projects, London, June 18th to July 17th 2010.
O’Connell, T. Curators Choice, Cubitt Gallery, London, 4th of November 2010, on- going.
O’Connell, T. The Wager, Office of Experiments. John Latham House, London, 11th of July to the 12 of August 2009.
Rowlands, A., ‘From script to reading to exhibition to performance to print’, Rowing, London , 5 September – 6 October 2013
Rowlands, A., & Williams, M., ‘Millennium Magazines’, curated by David Senior and Rachel Morrison, Museum of Modern Art (MoMA), New York 20 February – 14 May 2012
Rowlands, A., & Williams, M., ‘Outrageous Fortune’ curated by Andrew Hunt, Arts Council England Hayward Touring: Focal Point Gallery, Southend-on-Sea (4 July to 27 August 2011); Queens Hall Arts Centre, Hexham (10 September to 9 October 2011); Jersey Arts Centre, St Helier (24 October to 12 November 2011)
Rowlands, A., & Williams, M., ‘Kiosk: Modes of Multiplication’, curated Christoph Keller, Mudam Luxembourg March 15 2009 - September 13 2009
Rowlands, A., ‘Nought to Sixty’, Institute of Contemporary Art, London. October 2008; Nought to Sixty publication no.6, October 2008, ICA London, p. 13-14
Rowlands, A., ‘Shadow Cabinet (Three Rendezvous)’, curated by Vincent Meesen, Extra City, Antwerp, 15 April – 25 May 2008
Russell, John, The Hecklers, The New Art Gallery Walsall Curated by Cedar Lewisohn, 19 Jul - 22 Sept, 2013
Russell, John, She – A Factory'. Romanian Cult Inst., Stockholm,13 June. Curated by Benjamin Fallon, 2013
Russell, John, O Chair O Flesh, Treignac Projet, Treignac, France. May 25 - September 29, 2013.
Page 10 Russell, John, The Universal Addressability of Dumb Things, Curated by Mark Leckey, Nottingham Contemporary. 27 April – 30 June, 2013
Russell, John, I Killed My Father, I Ate Human Flesh, I Quiver With Joy: An Obsession With Pier Paolo Pasolini. Allegra la Viola Gallery, New York Curated by INVISIBLE-EXPORTS February 22 - March 23, 2013
Russell, John, THR S NT & NVR HS BN NYTHNG T NDRSTND, ASC Gallery, London, August, 2012.
Russell, John, Les Fleurs du Mal - New Art from London, BWA Wroclaw Galleries of Contemporary Art Poland, Warsaw, April 30 to June 17. Curated by Cedar Lewisohn, 2012
Russell, John, File Transfer Protocol Haifa Museum of Art, April- May Curated by Pil and Galia Kollectiv, 2012.
Russell, John, Painting Show, Eastside Projects, Birmingham, November 2011 – Feb 2012. Curated by Sophie von Hellermann & Gavin Wade.
Russell, John, Ugly clean up, Embassy Gallery, Edinburgh, Oct, 2011
Russell, John, After Shelley Duvall 67, in collaborarion with Fabienne Audeoud. Curated by Bjarne Melgaard, Maccarone, New York. September, 2011
Russell, John, I am not a good enough feminist. Concrete Utopia, New York. May, 2011 Russell, John, Songs of the Swamp. Kunsthalle Exnergasse, WUK, Vienna. January – March, 2011.
Russell, John, A Unicorn Basking in the Light of Three Glowing Suns, The Devos Art Museum, School of Art & Design at Northern Michigan University. Oct – Nov. Cur. Anthony Elms and Philip von Zweck, 2010. Russell, John, The Dark Monarch. Tate St. Ives, Oct 2009 - Jan 2010.
Russell, John, East International 09. Norwich Gallery, Norwich, 2009
Russell, John, Talk Show/True Mirror Microfiche. ICA, London, Saturday 30 May 2009. Performance/reading of ‘Return 0f the living dead III…’. Cur. Dexter Sinister,
Russell, John, Sudden White/GSK Contemporary. Royal Academy, London Cur. M. Beasley, 2009
Russell, John, Loving Revolution. Kiasma Museum of Contemporary Art, Helsinki In collab with F. Audeoud. Cur. Susanne Clausen, 2009
Russell, John, Ne pas jouer avec des choses mortes. Villa Arson, Nice. In collaboration with Fabienne Audeoud. 2008.
Russell, John, A4 Editions, Five Years Gallery, London, 2008
Page 11 Russell, John, Whitney Biennial/Dexter Sinister. Text: ‘Return 0f the living dead III. Clement Greenberg is a conceptual artist: Flatness and Shapism’ (2007), circulated by Dexter Sinister. Incl. True Mirror Microfiche. at The kitchen, New York. Fax performance of ‘Return 0f the living dead III. Cur. Dexter Sinister, 2008
Russell, John [BANK] Self Portrait. BANK’s archives and Relics, 1991 – 2003, Oct – Nov, 2012
Russell, John [BANK] Rude Britannia: British Comic Art. London. Tate Britain. June –September, 2010
Russell, John [BANK] Grand National. Vestfossen Kunstlaboratorium, Norway May –Oct, 2010
Russell, John [BANK] So Be It: Interventions in Printed Matter. Roth, New York April – May, 2010
Screenings
Clausen, Susanne, I Will Survive, Kinoapparatom presents: Cinema oblique , Kunsthaus Bregenz, 5.8.2013
Clausen, Susanne, Ballet, Souvenirs from Earth, TV Broadcast, Cable TV, France, Germany, Broadcasting on CABLE TV in FRANCE on freebox 169, Orange 125, SFRneufbox 179 and in GERMANY on Unitymedia and Kabel BW.http://www.sfe.tv (Broadcast available on demand from August 2012 to August 2013) Clausen, Susanne, VideoDanzaBa, Microcine in Centro Cultural Recoleta, Buenos Aires, Argentina 4.-12.9.2010
Clausen, Susanne, Ballet, Club Attend, Tent, Rotterdam, 30.5.2010
Clausen, Susanne, Ballet, Moves 10: Framing Motion, The Bluecoat, Liverpool, 21.25.4.2009
Clausen, Susanne, Loving Revolution, KIASMA Museum, Helsinki, 18.4.2008
Clausen, Susanne, I will survive, Scold Head Screenings, Scold Head, London, 31.10.2008
Garfield, Rachel, Elegies for Ideologies, London Short Film Festival, screening with Phil Collins, Uriel Orlow, Larissa Sansour, Institute for Contemporary Art (ICA) London, 8 January (2013)
Garfield, Rachel, Samvaad video screenings 4: group screening, CeC 8, Feb, 22- 24 2013, Uttarakhand, India Page 12 Garfield, Rachel, Elegies for Ideologies, Open City Doc Festival, June 2012, with Phil Collins, Uriel Orlow, Larissa Sansour, curated by Treasa O’Brian, Director Open City Doc Festival, (REF output 1)
Garfield, Rachel, Tegel: flights of fancy, group screening The Babylon Cinema, Berlin, 2012
Garfield, Rachel, Samvaad group Video Screenings 3, Parallel Visions festival Espaciocentre, Tenerife Espacio De Les Artes, November 2012
Garfield, Rachel, Parallel Visions festival, Samvaad Video Screenigs 2:; Espaciocentre, Tenerife Espacio De Les Artes, November 2011
Garfield, Rachel, Samvaad Video Screenings 1: 1 Shanti Road Studio Gallery, angalore; Shrishti School of Art, Design & Technology, Bangalore; Fine art Department Jamia Millia Islamia University, New Delhi; Foundation of Indian Contemporary Art (FICA) Reading Room, New Delhi, February 2011
Garfield, Rachel, Recent Art from the UK, Wisconsin Jewish film festival 2008.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Another Proof of the Preceding Theory at Duckrabbit, CGP, London, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future is Now at Flatness: Cinema after the Internet, 60th International Short Film Festival, Oberhausen, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at Time Is Love, Kulter Gallery, Amsterdam, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at Time Is Love, Peanut Underground, New York, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at Time Is Love, Sazmanab, Tehran, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at Time Is Love, Mori + Stein Gallery, London, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, We Are Equilibrium, Open File: Hashfail, Grand Union, Birmingham, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, We Are Equilibrium, Hackney Wicked, Sugarhouse Studios, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Kustom Kar Inferno, Torque, Willow Art Gallery, Oswestry, 2012
Page 13 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at N/V Projects: Video Art Selected by Cedar Lewisohn, Peckham Artists Moving Image, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at New Tate Film commissions, Bold Tendencies, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE Will Follow Him at Benedictions, Limoncello, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Asparagus: A Horticultural Ballet at If Only..!, The Bluecoat, Liverpool, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future Trilogy at Signal & Noise Media Art Festival,Vivo, Vancouver, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Another Proof of the Preceding Theory at FILM/VIDEO/PERFORMANCE, Wimbledon space, London, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Another Proof of the Preceding Theory at Greetings comrades, the image has now changed its status*, THE MAB FILM EXERCISE, Arnolfini, Bristol, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future is Now at Performance Fictions, Electric Cinema, Birmingham, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Asparagus: A Horticultural Ballet at Gracelands, Mimetic House, Dromahair, Co.Leitrim, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future Trilogy at Make Shift, Fringe Fusina, Venice, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Another Proof of the Preceding Theory at Greetings comrades, the image has now changed its status*, Ocular Lab Inc., West Brunswick, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Wolf-Shaped at The Israeli Video Art and Experimental Cinema Competition, Jerusalem House of Quality, Jerusalem, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Kustom Kar Inferno, Vision/Division, Czarna Galleria, Warsaw, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Another Proof of the Preceding Theory at The Open Eye Club presents ‘The Human Arc’, Tramway, Glasgow, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Wolf-Shaped at Artists’ Film, Dance, Music & Theatricality, CCA, Glasgow, 2008 Page 14 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Kustom Kar Inferno at Zero de Conduite, Elevator Gallery, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Kustom Kar Inferno at Iceberg Enters Obelisk, Whitechapel Gallery, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Wolf-Shaped at A Staged Dissent, Life Is Interesting...When You're Furious, University of Loughborough, Loughborough, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future for Less at Damn! I wish I'd done that. Artists' works I wish I'd made..., 176 Project Space, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Future for Less at Damn! I wish I'd done that. Artists' works I wish I'd made..., Chapter, Cardiff, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Wolf-Shaped at The Sensible Stage, Whitechapel Gallery, London, 2008
Russell, John, Late at Tate, Tate Britain, London. [Screening of 'Vermillion Vortex,' 2010] Friday 2 September Curated by Paul Purgas. 2011
Performances
Allen, Kate 2011-12. Everything and Nothing, developed into Amelia and the Map Maker, Music/Mathematics theatre performance works, devised by Kate Allen and Dorothy Ker, advised by Marcus Du Sautoy. Performed by percussionist Chris Brannick, mezzo soprano Lucy Stevens and sound designer Kelcey Swain. Green Man Festival, Otley Science Festival, British Science Festival and The Bob Kayley Theatre UoR. Each performance is accompanied with a workshop led by Topologist Katie Steckles. Allen, Kate the19thstep, a dance performance dialogue between composer Dorothy Ker, mathematician Marcus du Sautoy, and choreographer Carol Brown and myself, which explored ideas of mathematics, infinity and the shape of the universe through the writing of Jorge Luis Borges. Venues: Michaelis Theatre, Roehampton University, London. Boundstone Community College Hall, Upper Boundstone Lane, Lancing, West Sussex. Studio Theatre, Laban, Creekside, London.
Clausen, Susanne, Ballet – Granite, Performance Commission with Curtain Razors, MacKenzie Art Gallery, 6.7.8. May 2011
Clausen, Susanne, Suck Swallow Breathe, Barefoot in the Head, Performa 09, New York, performance , 5.11.2009
Clausen, Susanne, The Extras Regina, Curtain Razors, Regina, Canada, 21.8.2008 Page 15 Dronsfield, Jonathan. “§5, The Swerve of Freedom After Spinoza”, Where Narrative Stops, Wilkinson Gallery, August 2013. Dronsfield, Jonathan. “§14, The Swerve of Freedom After Spinoza”, Jacques Monory & Jean-François Lyotard, L’institut francais, May 2013. Dronsfield, Jonathan. “Inspection Piece”, Inspection Piece, Samuel Beckett’s Waiting for Godot at 60, Central Gallery, University of Reading, April 2013. Dronsfield, Jonathan. “Philosophers enowning that there be no own (face)”, Aliens and Anorexia: A Chris Kraus Symposium, Royal College of Art, March 2013. Dronsfield, Jonathan. “§9, The Swerve of Freedom After Spinoza”, 3rd Symposium on Comfort Zones in Creative and Curatorial Practice, IKEA Ashton- under-Lyne, February 2013. Dronsfield, Jonathan. “The Goldmine Ten theses on Music (Rhythm)”, Thames Delta, Focal Point Gallery, Southend, June 2012. Dronsfield, Jonathan. “§14, The Swerve of Freedom After Spinoza”, Wilkinson Gallery, London, March 2012. Dronsfield, Jonathan. “§6, The Swerve of Freedom After Spinoza”, Until it Stops Resembling Itself, Stroom Den Haag, December 2011. Dronsfield, Jonathan. “A Picture of French Literature”, Where Language Stops, Wilkinson Gallery, London, July 2011. Dronsfield, Jonathan. “A Picture of French Literature”, Museum of Speech, Extra City Kunsthal Antwerpen, March 2011. Ellison, Christine/POLLYFIBRE. Slideshow, Ghost of a Movement, Embassy Gallery, Edinburgh, June 2013.
Ellison, Christine/POLLYFIBRE. Slideshow, Cult of the Amateur, Cell Project Space, London, May 2012.
Ellison, Christine/POLLYFIBRE. Slideshow, Tapotoal, London, March 2012.
Ellison, Christine/POLLYFIBRE. Slideshow, A Duck, A Rabit and A Rabbit and a Duck, pyramidd.biz, February 2012
Ellison, Christine. Prêt-à-Médiatiser, Absolut Fringe 2011, South Studios, Dublin, Ireland, September 2011.
Ellison, Christine. Prêt-à-Médiatiser,RAPID PULSE International Performance Festival, Defibrillator Gallery, Chicago, USA. June 2012.
Ellison, Christine. Live Score composed and performed for NIGHT SKY (film by Alison O Daniel), Whirled Cinema, London, UK. July 2012.
Ellison, Christine. ‘Speaker’ Performance at Noise Vs Culture, University of Kent, UK, June 2012.
Ellison, Christine. ‘Instructions for an Audio Performance’ Musical score for Page 16 Scissors’ Performed by Ayelet Lerman at The Museum of Haifa, Israel. March 2012.
Ellison, Christine/POLLYFIBRE. ‘Live Recording’, BREATHE, Hotel Elephant, London, UK. May 2012.
Ellison, Christine/POLLYFIBRE, Bibby, Rebecca. Ultra High Temperatures. Publication and Performance. Performed at Ultra High Temperatures, Eastside Projects, Birmingham, UK. October 2010.
Ellison, Christine/POLLYFIBRE. ‘iPollyTouch’, NOISE, AFFECT, POLITICS, University of Salford, UK. July 2010.
Ellison, Christine/POLLYFIBRE. ‘iPollyTouch’, Dublin Electronic Arts Festival, Dublin, Ireland. October 2009.
Ellison, Christine/POLLYFIBRE. ‘iPollyTouch’, New Spaces For Music, curated event for the performance of sound works in alternative spaces across Dublin City. October 2009.
Ellison, Christine/POLLYFIBRE. ‘iPollyTouch’, Developed during research residency at The Banff Centre, Canada in 2009.
Ellison, Christine/POLLYFIBRE. ‘iPollyShuffle’, Kaunas Art Biennial 07, Kaunas, Lithuania, November 2007.
Ellison, Christine/POLLYFIBRE. ‘iPollyShuffle’, Excursions Festival Limerick, Ireland. February 2008.
Ellison, Christine/POLLYFIBRE. ‘iPollyShuffle’, Area 10 Project Space, London., UK. September2008.
Ellison, Christine/POLLYFIBRE. ‘iPollyShuffle’, Dublin Electronic Arts Festival, Dublin. Ireland October 2008.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Terminal: A Miracle Play with Popular Music from the End of the World at Experimentica 13, Chapter Gallery, Cardiff, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, A Guide to Office Clerical Time Standards, at Agora, the 4th Athens Biennial, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, A Guide to Office Clerical Time Standards, Le Meridien, London for Outset/Frieze , 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Terminal: A Miracle Play with Popular Music from the End of the World at Rio Cinema, London, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Terminal: A Miracle Play with Popular Music from the End of the World at HKD, part of From Below as a Neighbour, curated by Electra for Mine, Yours, Ours - Practical Utopias, Drugo More, Rijeka, Page 17 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE, part of On The Desperate And Long-Neglected Need for Small Events, Lanchester Gallery Projects, Coventry
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Epic Sea Battle at Night at Future Orientation part of Again, A Time Machine at The Showroom, London
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Epic Sea Battle at Night, at This is Not a Performance or a Lecture, RADAR Loughborough and, 2011.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE, ICA, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE, The Royal Standard, part of the Liverpool Biennale, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, WE, Kunsthall Oslo, Oslo, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Critical Mass, part of Theatre to Address, Arnolfini, Bristol, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Performative Construction of a Future monument for the Dialectic Negation of a Post-Catastrophic Society at The Herzliya Biennial, Herzliya, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Critical Mass, part of Late at Tate, Tate Britain, London, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Food: A Sci-Fi Banquet, part of Event Horizon at GSK Contemporary, Royal Academy of the Arts, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Quad-Shaped as part of Seven Times Two or Three, at Cubitt, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Better Future, Quad-Shaped as part of The Sensible Stage, Media Art Bath at Cube Microplex, Bristol, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, No Haus Like Bau at HAU 1, Mes Nuits, Berlin Biennale, Berlin, 2008
Russell, John. ‘Dear Living Person’, at A Dying Artist (convened: Ed Atkins and Siôn Parkinson) ICA, London 23 April., 2011
Curated Exhibitions
Dronsfield, Jonathan. (with Amanda Wilkinson) Where Narrative Stops, Wilkinson Gallery, London, 11.07.13 – 11.08 13. Page 18 Dronsfield, Jonathan. Inspection Piece, Samuel Beckett’s Waiting for Godot at 60, Central Gallery, University of Reading, 4.04.13 – 7.04.13. Dronsfield, Jonathan. (with Amanda Wilkinson) Where Language Stops, Wilkinson Gallery, London, 15.07.11 – 14.08.11.
Ellison, Christine/Agency of Noise. The Prophetic Sound, (Symposium and live performance event, with contributions from artists and curators from London, Brighton and Edinburgh alongside students from Reading, Goldsmiths College London, London College of Communications and de Montfort University, Leicester). The Cavendish Ballroom, London. 7 February 2013.
Ellison, Christine/Agency of Noise. Squirmish at the Oasis, Event of performances and talks, at Kinsgate Workshops Trust, London, in association with Camden Arts Centre, 27 September 2013.
Ellison, Christine. POLLYFIBRE: girlband from a post-digital dimension. The Dublin Fringe Festival, Ireland, and Dublin Electronic Arts Festival both of which are supported by the Arts Council of Ireland and Kaunas Art Biennial, Lithuania (with independent support from the Arts Council of Ireland). 2006-present.
Garfield, Rachel, “Landscape and Britishness: Anwar Shemza”, Green Cardamom, London, 10 September -30 October 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Radical Conservatism, Castlefield Gallery, Manchester, 2013
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, File Transfer Protocol, Haifa Museum of Art, Haifa, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Curatorial Program, xero, kline & coma, London, 2011 - ongoing
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, The Institute of Psychoplasmics, Pump House Gallery, London, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Curated 18 exhibitions at xero, kline and coma Gallery, London since 2008. http://www.xero-kline-coma.com/
Rowlands, A., Bracewell, M. & Clark, M., (curated) ‘The Dark Monarch: Magic and Modernity in British Art’, Tate St. Ives, 3 October – 10 January 2009; toured to Towner Gallery, Eastbourne 23 January – 15 March 2010
Rowlands, A., & Williams, M., (curated) ‘Novel at Sculpture Center’, invited contribution to ‘Time Again’, organised by Fionn Meade, Sculpture Center, New York, 9 May – 25 July 2011
Rowlands, A., & Williams, M., (curated) ‘Novel at dépendance’, Galerie dépendance Brussels, Belgium, 10 September – 16 October 2010
Page 19 Rowlands, A., & Williams, M., (curated) ‘Novel’, Anna-Catharina Gebbers Bibliothekswohnung Space for International Contemporary Art & Literature, Berlin, 16 October – 23 November 2008
Russell, John, Barefoot in the Head, Co-curated (with Alun Rowlands and Mark Beasley) poetry/performance event (including performance). Bruce High Quality University, New York, 12 November, 2009
Conferences organized
Davies, Paul. Organiser of 39th conference of the Association of Art Historians (with Dr Sue Malvern) University of Readin (450 delegates) 2013.
Malvern, Sue, co-convenor two conferences at Reading and Birkbeck, July/November 2008, The making and remaking of European memory after 1945. two papers given: The Counter-monument feminised; Remembering Protest, 2008 Malvern, Sue 2013 Co-Convened, Association of Art Historians 39th Annual Conference, 2013
Rowlands, Alun. Magic & Modernity in British Art (organised conference) A major exploration of the themes and debates presented in ‘The Dark Monarch’ exhibition. Contributors included Marina Warner, novelist, mythographer and cultural historian; Philip Hoare, author and winner of the 2009 Samuel Johnson prize; Martin Clark, Artistic Director, Tate St Ives; Michael Bracewell, writer and critic; Chris Stephens, Curator Modern British Art & Head of Displays, Tate Britain; and artists Jeremy Millar and Linder. Tate St Ives in association with the University of Reading and University College Falmouth
Symposia organised
Dronsfield, Jonathan. Art and the Limits of the Political, European Institute, London School of Economics, May-June 2010. Speakers: Alexander Garcia Düttmann, Herman Rapaport, Jonathan Dronsfield.
Dronsfield, Jonathan. The Idea of Europe, first satellite affiliated group session for Forum for European Philosophy, 48th annual conference of Society for Phenomenology and European Philosophy (SPEP), George Mason University, Washington DC, USA, October 2009. Speakers: Catherine Malabou, Martin McQuillan, Jonathan Dronsfield. Dronsfield, Jonathan. Materiality of Theory, one-day international symposium, Institute of Contemporary Art, London, May 2009. Speakers: John Mullarkey, Marcus Steinweg, Stephen Zepke. Dronsfield, Jonathan. Art Philosophy, one-day symposium, School of the Art Institute of Chicago, March 2009. Speakers: Gregg Bordowitz, Tina Chanter, James Elkins, Bruce Jenkins, Michael Naas, Michael Newman, Jonathan Dronsfield. Page 20 Davies, Paul. Organiser of RATS (Renaissance Architecture and Theory Scholars) symposium. University of Reading (20-25 participants) 2009.
Gruetzner Robins, Anna. Rubens in Reading, May 2013
Malvern, Sue Convened workshop. University of Reading, Terrorist Transgressions gave introductory paper, 2011
Malvern, Sue Convened workshop Terrorist Transgressions Sandhurst Royal Military Academy, 2011
Malvern, Sue Convened workshop: Terrorist Transgressions Birkbeck, 2011
Malvern, Sue Co-convenor, panel, Association of Art Historians Annual Conference, Warwick, Exhibition practices during war and conflict, 2011
Malvern, Sue Convened workshop. University of Reading, Terrorist Transgressions, 2012
Monographs
P. Davies & D. Hemsoll, The Paper Museum of Cassiano Dal Pozzo. A.X. Renaissance and later architecture and ornament, Royal Collection Trust and Harvey Miller, ISBN 978-1-905375-77-6 (2 vols; 275,000 words; 2013).
Robertson, Claire The Invention of Annibale Carracci (Studi della Bibliotheca Hertziana, 4) Silvana Editoriale, 2008.
Edited books
P. Davies, D. Howard and Wendy Pullan eds, Architecture and Pilgrimage1000- 1500: the Southern Mediterranean and Beyond, Aldershot 2013
Dronsfield, Jonathan. Materiality of Theory, Birmingham: Article Press, 2011. ISBN 978-1873352991
Malvern, Sue. edited book, co-edited with Gabriel Koureas Terrorist Trangressions: gendered representations of the terrorist in visual culture Introduction and essay: 'Femininity, feminism and the terrorist'. London, I B Tauris in press
Rowlands, A., Beasley, M., & Russell, J. eds. Barefoot in the Head: Futurological Poetry, Article Press, Birmingham, 2011 pp.82 ISBN 9781873352151
Page 21 Rowlands, A. & Williams. M., eds. Novel, Issue 3, Novel Publication, London- Brussels, 2010, pp. 80 ISBN 978-1-906424-10-7
Rowlands, A., Bracewell, M. & Clark, M. eds. The Dark Monarch: Magic & Modernity in British Art, Tate Publishing, 2009, 175 pp. ISBN 978-1-85437-874-3
Rowlands. A. & Williams. M. eds. Novel, Issue 2, Novel Publication, London- Birmingham, 2009 pp.48 ISBN 9781906424091
Rowlands, A. Communiqué § 4, published on the occasion of ‘Nought to Sixty’, Institute of Contemporary Art, London, 2008, 40 pp. ISBN 978-1-900300-59-8
Rowlands. A. & Williams. M. eds. Novel, Issue 1, Novel Publication, London- Berlin, 2008, pp.42 ISBN 978-1-906424-07-7
Russell, J., Beasley, M., & Rowlands, A. eds. Barefoot in the Head: Futurological Poetry, Article Press, Birmingham, 2011 pp.82 ISBN 9781873352151
Articles in peer-reviewed journals
Clausen, Susanne, Ballet-Performing Normality in the Face of Crisis, The International Journal of the Image, Volume 1, Issue 2, pp.157-17. 2011
Clausen, Susanne. Slapping Scenes (Say What You See), in The Happy Hypocrite, Hunting Gathering Issue 2, pp 4-5, 2009
Clausen, Susanne, Labour and Love, in Geist, Stockholm, no.11,12,14, Summer 2008, pp. 38-4, 2008
P. Davies, ‘Framing the Miraculous: the functions of perspective in Italian Renaissance tabernacle design’, Art History 2013 (in press November 2013) Dronsfield, Jonathan. “Deleuze and the image of thought”, Philosophy Today, 56 (4), November 2012, pp. 104-14. ISSN 0031-8256 Dronsfield, Jonathan. “Theory as art practice, parts 1&2: Notes for discipline, Outnotes for indiscipline” + coda (“Where Language Stops”), Journal of Art & Media Studies [AM], inaugural issue, 1 (1), Summer 2012, pp. 36-46. [in Serbian] ISSN 2217-9666 Dronsfield, Jonathan. “Pedagogy of the written image”, in: Journal of French and Francophone Philosophy / Revue de la philosophie française et de langue française, special issue on Jean-Luc Godard and Philosophy, XVIII (2), 2010, pp. 87-105. ISSN 1936-6280 Dronsfield, Jonathan. “Before the camera”, in: Parallax, special issue on Disturbing Spaces, Impossible Strategies, 15 (4), 2009, pp. 226-38. ISSN 1353- 4645 Page 22 Dronsfield, Jonathan. “Nowhere is aesthetics contra ethics: Rancière the other side of Lyotard”, in: Art & Research, 2 (1), Summer 2008. ISSN 1752-6388
Garfield, Rachel, “Parallel editing, multi-positionality and maximalism: cosmopolitan effects as explored in some art works by Melanie Jackson and Vivienne Dick”, Special inaugural issue of peer review Journal, Open Art Journal (OU pub), ed. Bertold Schoene & Eleanor Byrne (2013) http://openartsjournal.org/
Garfield, Rachel, Special insert in Postcolonial studies, co-editor with Bernadette Buckley (Goldsmiths) and John Reardon (Goldsmiths), vol 13 no 2, June 2010 (I provided three out of the four items of content).
Garfield, Rachel, “Rachel Garfield in conversation with Raimi Gbadamosi and Anca Pusca”, Postcolonial studies, vol 13 no 2, June 2010, pp. 133-145
Garfield, Rachel “Articulating a Position Through Research; The Practice Led PhD, A case Study” Journal of Media Practice, Autumn 2007, Vol 8.2, pp.221-234.
Gruetzner Robins, Anna. 2011 ‘Gwen John; Two Albums of Watercolours’, Princeton University Library Chronicle, LXX11 (3) pp. 645-654.
Gruetzner Robins, Anna. 2011’Toulouse-Lautrec in Catford: new information about 'La Chaine Simpson', The Burlington Magaziine , The Burlington Magazine, 153(1302). pp. 572-573.
Gruetzner Robins, Anna. 2010 ‘Manet and the Post-Impressionists:a checklist of exhibits’.The Burlington Magazine, 152 (1293). pp. 782-793.
Lee, Simon. A newly discovered portrait of Napoleon by Jacques-Louis David, Burlington Magazine, Vol. CLV, No. 1327, October 2013, pp.687-692.
Malvern, Sue, ‘Art History After 9/11 (Review Essay)’ Art History, 32.2, 387-99, 2009
Malvern, Sue and E Marchand: Guest-editor, Special double issue of Studies in the History of Gardens and Designed Landscapes, ‘Sculpture in Arcadia’, Vol 29, nos 1-2, 132pp. (journal general editor: John Dixon Hunt), 2009
Malvern, Sue Co-author 'Sculpture in Arcadia' pp. 1-13; 9 essays by scholars from Humboldt, Berlin; Friedrich-Schiller, Jena; Essex; Reading; Old Dominion, Virginia; Université Libre, Brussels; Nottingham and Slade, London; Chicago and from Leeds, 2009
Clare Robertson, “Federico Zuccaro’s Accademia del Disegno and the Carracci Accademia degli Incamminati: Drawing in Theory and Practice”, *Römisches Jahrbuch der Bibliotheca Hertziana, 39 (2009/2010) (published 2012), pp. 187-223.
Clare Robertson, “Late Annibale and Early Domenichino: Invention and Imitation”, *Mitteilungen des Kunsthistorisches Institutes in Florenz, 54.2 (2010-12), pp. 267-94. Page 23 Clare Robertson, “Annibale Carracci in Reggio nell’Emilia” in (eds.) Silvia Ginzburg and Sybille Ebert-Schifferer, *Nuova luce su Annibale Carracci, Rome, De Luca, 2011, pp. 40-53
Clare Robertson, “Patronage Rivalries: Cardinals Odoardo Farnese and Pietro Aldobrandini”, in eds. J. Burke and M. Bury, *Art and Identity in Early Modern Rome, Ashgate Press (2008), pp. 95-111 + 4 illustrations.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "RETRO/NECRO: From Beyond the Grave of the Politics of Re-Enactment", in: Memory [Ian Farr- ed.], Cambridge, MA: MIT Press, also published in: Art Papers, Atlanta, GA, 2007
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “The Divided Stage: Splitting the Dialectics of Performance”, in: The Sensible Stage: Staging and the Moving Image [Bridget Crone – ed.], Bristol: Picture This, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “The Work of Art in the Age of Mechanical Reproduction”, in: Fifty Key Texts, London: Routledge, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “In Place of the Smashed State Machine”, in: State of Emergence [Alexei Monroe - ed.], Ploettner Verlag anad Poison Cabinet Press, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "In Defence of the Image: Structuralist Film and Brice Dellsperger’s Cinema of Re-enchantment", Benedictions, Issue 1: 'Ciao Peter Gidal', London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "Seth Siegelaub: Exhibitions, 2069 - Collection of paintings from the Museum of American Art - Berlin", Out of a Stone, London, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “In the Intersection of the Angles of a Table, There is More Truth Than in All the Tangle of Muscles: Futurism as Anti- Humanist Critique”, History & Theory: The Protocols, 2011
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management”, Vertigo of the Modern, London, and Sacrifice Press, Portland, OR, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Object Orientations”, Art Papers, Atlanta: 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, Transmission: Host - Pil & Galia Kollectiv, Artwords Press, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “The Future is Here”, in: Utopias Noble, Richard [ed.], Cambridge, MA: MIT Press, 2009
Page 24 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "Real Enough for You?", in: Heidi Schaeffer: Old Wars New Wars, Leeds Met Gallery, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "Archiving the Future: Unpacking Benjamin's Collection", Coelacanth Journal, London: The Coelacanth Press, 2008
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, "The Life of Objects", Basement Newspaper: Out of Place Day to Day, Amsterdam: De Kunstvlaai A.P.I., 2008
Russell, J. ‘Abysmal Plan: Waiting Until We Die and Radically Accelerated Repetitionism’, e-flux journal, June 2013
Russell, J. ‘Dear Living Person II. Story of the Eyes,’ Reprinted in F.R.DAVID "…for single mothers." Edition 10, 2012. Edited by Will Holder.
Russell, J. ‘Dear Living Person II. Story of the Eyes,’ Metamute, 14 September, 2011.
Russell, J. ‘Dear Living Person,’ Mute Journal. Vol 3, No. 1, Summer 2011, pp. 112 -122.
Russell, J. ‘Dear Living Person,’ Metamute. February 11, 2011.
Russell, J. ‘Dear Living Person,’ in Gavagai!, (ed.) Mark Dennis, Chris Gomersall, 2011, pp. 6-10.
Russell, J. ‘Dear Living Person,’ in Tabloid, 2010, (ed.) Gean Moreno and Ernesto Oroza, 2010: pp.1-13.
Russell, J. ‘Dear Living Person II. Story of the Eyes,’ Metamute, 14 September, 2011.
Russell, J., 'Why are conceptual artists juicing again? Because they moisturise its a glistening sparkle.' Illustrated text, Frieze magazine, September, 2009: pp. 108- 111.
Chapters in books
Allen, Kate. ‘How Green is Your Space’ Chapter in the book Space Between People, ed. S. Doesinger, Prestel, 2008. ISBN 978-3-7913-3991-7
P. Davies & D. Hemsoll, ‘Interesse per i momumenti antichi nel Veneto tra 1450 e 1600’, in P. Basso and G. Cavalierei Manasse eds, Storia dell’architettura nel Veneto. Letà romana e tardoantica, Architettura Romana del Veneto, Venice 2013, pp. 226-233
P. Davies, ‘Imitation in Italian Pilgrimage architecture: the case of Impruneta’, in P. Siverfors, Urban Encounters. Experience and Representation in the Early Modern Page 25 City, Rome and Pisa 2013, pp. 241-282
P. Davies, ‘Sansovino’s projects for Piazza San Marco: a proposal’, in N. Avicoglu and E. Jones eds, Architecture, Art and Identity in Venice and its Territories, 1450- 1750, Aldershot 2013, pp. 51-69
P. Davies and D. Howard, ‘Introduction’ in P. Davies, D. Howard and Wendy Pullan eds, Architecture and Pilgrimage. Southern Europe and Beyond 1000- 1500, Aldershot 2013, pp. 1-18
P. Davies, ‘Likeness in Italian Renaissance Pilgrimage architecture’, in P. Davies, D. Howard and Wendy Pullan eds, Architecture and Pilgrimage. Southern Europe and Beyond 1000-1500, Aldershot 2013, pp. 187-211
P. Davies, ‘Architettura e culto nel Veneto 1475-90’ in A. Nante et. al. eds, Pietro Barozzi. Un Vescovo del Rinascimento, Padua 2012 pp. 193-203
P. Davies & D. Hemsoll, ‘Fourteen Sheets of Drawings by Sebastiano Serlio’, in M. Beltramini and C. Elam eds, Some degree of happiness. Studi di storia dell’architettura in onore di Howard Burns, Pisa 2010, pp. 273-296.
P. Davies & D. Hemsoll, ‘Sebastiano Serlio, Progetti per una villa fortificata/ Sebastiano Serlio, projects for a fortified villa, in A. Faliva ed. Ville del Rinascimento padano. I bastioni, il portico e la fattoria, Milan 2010, pp. 97-99.
P. Davies, ‘The Palace of Charles V in Granada and two drawings from the school of Raphael’, in R. Eriksen and M. Malmanger eds, Imitation Representation and Printing in the Italian Renaissance, Pisa and Rome 2009, pp. 157-190.
P. Davies, ‘Palladio, l’architettura e la peste’, in F. Barbieri et al eds, Palladio 1508-2008. Il simposio del cinquecentenario, Venice 2008, pp. 189-195
P. Davies, ‘Modello del Tempietto Barbaro’, in G. Beltramini and H. Burns eds, Palladio, Venice 2008, pp. 242-243
P. Davies, ‘A re-reading of Antonio Labacco’s drawing of S. Sebastiano in Mantua’, in J. Poeschke and C. Syndikus eds, Leon Battista Alberti: Humanist, Kunsttheoretiker, Architekt, Munster 2008, pp. 299-314 Dronsfield, Jonathan. “Democracy headless”, YEAR 2013, Brussels: Komplot, 2013. ISBN 9782960 120738 Dronsfield, Jonathan. “The seminars”, in: Elkins, J. (ed.), What Do Artists Know? University Park, PA: Penn State University Press, 2013, pp. 7-121. 978-0-271- 05424-7 Dronsfield, Jonathan. “The performativity of art”, in: Senatore, M. (ed.), Performatives After Deconstruction, London: Bloomsbury Academic Press, 2013, pp. 169-185. ISBN 9781441123466 Page 26 Dronsfield, Jonathan. “Finding space to record time”, in: The Nature Drawings of Peter Karklins, Chicago: DePaul University & DePaul Museum, 2012, pp. 26-7. ISBN 978-0-97829074-5-7 Dronsfield, Jonathan. “Why names name not”, in: Kai Althoff, There We Will Be Buried, London: Institute of Contemporary Art (ICA) & Southend: Focal Point Gallery, 2012, pp. 17-18. ISBN 978-1-907165-12-0 Dronsfield, Jonathan. “Exchange Encounter: On walking van Houwelingen’s statues”, in: Mircan, M. (ed.), Undone, Heijningen: Jap Sam Books 2011, pp. 91- 105. ISBN 978-94-90322-34-2 Dronsfield, Jonathan. “Art philosophy differend”, in: Dronsfield (ed.), Materiality of Theory, Birmingham: Article Press, 2011, pp. 43-71. ISBN 978-1873352991 Dronsfield, Jonathan. “A note on the materiality of theory”, in: Dronsfield (ed.), Materiality of Theory, Birmingham: Article Press, 2011, pp. 43-71. ISBN 978- 1873352991 Dronsfield, Jonathan. “A Picture of French Literature”, in: Dronsfield (ed.), Materiality of Theory, Birmingham: Article Press, 2011, pp. 73-95. ISBN 978- 1873352991 Dronsfield, Jonathan. “The face of an artist, if there is such a thing”, in: Andrea Stappert, Under the Radar: Photographs 1983-2011, Berlin: Kerber Verlag, 2011, pp. 180-81. ISBN 9783-86678-568-7 Dronsfield, Jonathan. (with Benoît Maire) “The aesthetics of differends: an introduction”, in: Benoît Maire, Ontology of the There Is, Paris: Rosascape, 2011, pp. 28-34. No ISBN Dronsfield, Jonathan. “..where the re-imagined is the repeated (video as indifference, movement, writing)”, in: Cities Re-imagined, Novi Sad: Muzej savremene umetnosti Vojvodine / Vojvodina Museum of Contemporary Art [MSUV], 2010, pp. 13-19. [in English and Serbo-Croat] ISBN 978-86-84773-68-7 Dronsfield, Jonathan. “Headless in Hirschhorn’s classroom”, in: Walwin, J. (ed.), Searching for Art’s New Publics, Bristol: Intellect Books, 2010, pp. 127-36. ISBN 978-1-84150-311-0 Dronsfield, Jonathan. “The work of art”, in: Davis, B. (ed.), Martin Heidegger: Key Concepts, Durham: Acumen Publishing Limited, 2010, pp. 128-39. ISBN 9781844651986 Dronsfield, Jonathan. “Philosophies of art”, in: Mullarkey, J. & Lord, B. (eds.), The Continuum Companion to Continental Philosophy, London: Continuum, 2009, pp. 219-37. ISBN 978-0-8264-9830-4 Dronsfield, Jonathan. “Continuum”, in: REWIND + PLAY. An Anthology of Early British Video Art, London: Lux, 2009, pp. 36-7. EAN 5-065000-981013 Dronsfield, Jonathan. “Between Heidegger and Deleuze there never is any difference”, in: Raffoul, F. & Pettigrew, D. (eds.), French Interpretations of Heidegger: An Exceptional Reception, Albany: SUNY Press, 2008, pp. 151-65. ISBN 13: 978-0-7914-7559-1 Page 27 Dronsfield, Jonathan. (with Jacques Rancière & Steven Wright) “An exchange”, in: Art & Research, 2 (1), Summer 2008. ISSN 1752-6388 Dronsfield, Jonathan. (with Gregory Maass & Nayoungim) “Funny Heterogeneous”, in: It’s Nice to be Nice, Try It, Korea: Caustic Window, 2008, pp. 122-26. ISBN 89-956464-2-7 Garfield, Rachel, “A Particular Incoherence: Some Works of Vivienne Dick”, Between Truth and Fiction, The Films of Vivienne Dick, Crawford Art Centre/Lux publication, pp 36-53, 2009,
Garfield, Rachel, Speaking with forked tongue: Keith Piper, commissioned by LUXonline, as part of the published series on contemporary art and film, 2008,
Garfield, Rachel, ”Questioning Perceptions of Jewish Identity in the work of Ary Stillman”, Ary Stillman: From Impressionism to Abstract Expressionism, (ed.) James Wechsler, Wechsler, James (ed), Merrell, NY, 2008, pp. 149 – 163,
Gruetzner Robins, Anna. 2013, ‘Whistler Paris Studio: Place and Meaning’ in Lee Glazer and Linda Merrill, eds. Palaces of Art; Whistler and the Art Worlds of Aestheticism, Washington, Smithsonian Institution Scholarly Press , pp.91-101.
Gruetzner Robins, Anna. 2011 ‘Marketing Post-Impressionism: Roger Fry’s commercial exhibitions’ in Pamela Fletcher and Anne Helmreich, eds. The rise of the modern art market in London , 1850-1939, Manchester: Manchester University Press, pp. 85-97.
Gruetzner Robins, Anna. 2011, ‘ “J’arrive de Londres”: Jane Avril and Britain in Nancy Ireson, ed. Toulouse Lautrec and Jane Avril Beyond the Moulin Rouge , London: The Courtauld Gallery in Association with Paul Holberton, 2011, pp. 27- 42.
Gruetzner Robins, Anna. 2010, ‘“Reforming with a Pickaxe”: The First Vorticist Exhibition at the Doré Galleries’, in Mark Antliff, ed. Vorticism, London: Tate Publishing
Gruetzner Robins, Anna. 2010, ‘Reflections in a Mirror: Bonnard’s Aphrodite’, in Amy C. Smith and Sadie Pickup, eds., Brill’s Companion to Aphrodite, Leiden: Brill, 2010,
Gruetzner Robins, Anna. 2009, ‘Walter Sickert and the Language of Arts’, in Grace Brockington, ed., Internationalism in the Arts in Britain and Europe at the ‘Fin de Siècle’, Oxford: Peter Lang Publishing, 2009, pp. 27-48.
Malvern, Sue, 'Inside 'Inside the Visible' in eds, L Parry and A Dimitrakaki, Politics in a glass case: exhibiting women's and feminist art. Liverpool University Press 2013
Malvern, Sue. “Femininity, feminism and the representation of torture.” In Liberal Democracies at War. Conflict and Representation, edited by Knapp, Andrew, and Page 28 Footitt, Hilary, 219-32. London, New York: Bloomsbury
Malvern, Sue “Zum schwierigen Verhältnis zwischen Feminismus und Terrorismus: Die Darstellung der Terroristen in der zeitgenössischen Kunst.” In Terrorismus und Geschlecht. Politische Gewalt in Europa seit dem 19. Jahrhundert, edited by Schraut, Sylvia, and Hikel, Christine, 303-22. Frankfurt: Campus Verlag, 2012
Malvern, Sue. “Outside/Inside. Public and Private in the work of Rachel Whiteread.” In ed. Parvu, Ileana. Objets en procès/ Objects in Progress. Apres la dématérialisation de l’art/After the Dematerialisation of Art, 85-102. Geneva: MetisPresses, 2012.
Malvern, Sue, ‘Outside in: The After-Life of the Plaster Cast in Contemporary Culture’, Eds. Rune Frederiksen, and Eckart Marchand, Plaster Casts. Making, Collecting and Displaying from Classical Antiquity to the Present, Verlag Walter de Gruyter, 351-58.
Malvern, Sue, “The Spaces of British Art: Patronage, Institutions, Audiences,” in The History of British Art 1870-Present, in ed. Chris Stephens. Yale Center for British Art and Tate Britain, 198-221.
Rowlands, A., ‘Symposium for a Community of Unlearning’, In: Judd, B. ed. Communion, Black Dog Publishing, London, 2014 ISBN 978-1908966339
Rowlands, A., ‘Letter from D.B 1967’, In: Beale, R. & Bachmann, N. eds. From Script to Reading to Exhibition to Performance to Print’, Performance as Publishing, London, 2013, pp.40
Rowlands, A., ‘For Writing Out Loud or A Potential Workshop on Fiction’ In: Beasley, M., Rowlands, A., & Russell, J. eds. Barefoot in the Head: Futurological Poetry, Article Press, Birmingham 2011
Rowlands, A. & Williams, M., eds. ‘Novel – SC issue’ In: Meade, F. ed. Time Again, Sculpture Center, New York, 2011, pp. 33 ISBN 0-9703955-6-6
Rowlands, A., ‘ABC: Browser for a Speculative Collection’ In: Nielson, E. & Mara De Wachter, E. eds. The Shape We’re In, Zabludowicz, London – New York, 2011 p. 122 -28 ISBN 978 1 907921 01 8
Rowlands, A., ‘We Exist Through Ctrl V’, In: Boni, V. What is an Apparatus?, Art Quarters Press, Royal College of Art 2011
Rowlands, A. & Williams, M., ‘Novel’ In: Keller, C. ed. Kiosk: Modes of Multiplication, JPR Ringier 2010 ISBN 978 3865604408
Rowlands, A., ‘The Numinous and the Luminous’ In: The Dark Monarch: Magic & Modernity in British Art Rowlands, A., Bracewell, B. & Clark, M. eds. Tate Page 29 Publishing, 2009, p. xxi – xxxiii. ISBN 978-1-85437-874-3
Rowlands, A., ‘When we build let us think that we build forever’, In: Noble, R. ed. Utopias: Documents of Contemporary Art, MIT Press, 2009 p.99 – 103 ISBN-13: 978-0-262-64069-5
Russell, J. ‘Dear Living Person,’ in ed. Erik Wysocan, Memorial Address: Marquise de Sade on the occasion of the Jean Paul Marat's and Le Pelletier's funeral, New York: Halmos, 2012.
Russell, J. ‘Autonomy is not worth the paper it is not written on: Writing. Written. Art-Writing. Art. Writing’, in (ed) Gavin Everall, Again, A Time Machine, London: Bookworks, 2012
Russell, J. ‘Dear Living Person,’ in Blast CounterBlast ed. Anthony elms and Steve Reinke, Toronto: Mercer Union/WhiteWalls Inc, 2011.
Russell, J. ‘A largely intolerable combination of two mainly unconnected texts: 1. Description of the Barefoot in the Head event, at BHQU, NY, 12/11/09; 2. Fictioning and the End.’ in Beasley, M, Rowlands, A and Russell, J (ed.s) Barefoot in the Head, Birmingham: Article Press, 2011, pp. 68-85.
Russell, J. 'The Return of the Living Dead III. Clement Greenberg is a conceptual artist. Flatness and Shapeism,' in (eds) Garnett, R. and Hunt, A., Gest / Laboratory of Synthesis. London: Bookworks, 2008: pp. 81-99.
Russell, J., 'The Return of the Living Dead III. Clement Greenberg is a conceptual artist. Flatness and Shapeism,'
Research Papers
Allen, Kate. Hollinworth, N. Hwang, F. Minnion, A. Kwiatkowska, G. Lowe, T. Weldin, N. ‘Interactive sensory objects by and for people with learning disabilities’, Exhibition and Demo ACM SIGCHI Conference on human-computer interaction. Paris 27th April -2rd May
Allen, Kate, N. Hwang, F. Minnion, A. Kwiatkowska, G. Lowe, T. Weldin, N. ‘Interactive sensory objects by and for people with learning disabilities’ Demo, HCI Conference 2012 - People and Computers XXVI 12th-14th September 2012
Allen, Kate, Hollinworth, N. Hwang, F. Minnion, A. Kwiatkowska, G. Lowe, T. Weldin, N. ‘Interactive sensory objects by and for people with learning disabilities’ Workshop, Physicality, 4th International Workshop on Physicality co-located with British HCI 2012 conference 11 September 2012, University of Birmingham Allen, Kate, Hollinworth, N. ‘Interactive sensory objects by and for people with learning disabilities’ Workshop, Digital Interpretations, School of Computer Science, University of Birmingham 11 May 2012
Page 30 Davies, Paul, Symposium: Italian Renaissance architectural drawings after the antique, Humboldt Universität, Berlin, Nov, 2013. Paper: The hidden signature: scale key analysis in 16c Italian architectural drawings
Davies, Paul, Symposium: Shakespeare and the visual arts, Centro Internazionale di Studi dell Architettura, Vicenza/ Norwegian Research Group, Itlay, Oct, 2012. Paper: Palladio’s Teatro Olimpico. Reconstructing an all’antica theatre
Davies, Paul, Conference: Giuliano da Sangallo, Centro Internazionale di Studi dell Architettura, Vicenza, June 2012. Paper: Giuliano da Sangallo e la chiesa a pianta centrale: vari aspetti
Davies, Paul, Camden Arts Festival. Association of Art Historians Symposium, May 2012. Paper: Building with bones: a seventeenth-century Capuchin art form
Davies, Paul, Symposium: Beauty and Morality in the Italian Renaissance. Oxford University, Department of Italian Studies, Oct 2011. Paper: Beauty and Decorum at SS. Annunziata in Florence
Davies, Paul, Research paper Kunsthistorisches Institut Florenz, September 2011. Paper: Giuliano da Sangallo e la chiesa di S. Maria delle Carceri in Prato
Davies, Paul, Oxford University: Architectural History Research Group. The redevelopment of the east end in fifteenth-century Italian ecclesiastical architecture, 2011
Davies, Paul, York University. Paper: The uses of perspective in framing the miraculous: the case of Bramante’s S. Maria presso S. Satiro in Milan 2010 May
Davies, Paul, Research paper, Museo del Castelvecchio, Verona, Apr 2010. Paper: Michele Sanmichele tra pace e Guerra
Davies, Paul Conference: Giulio Romano, Teatro Bibbiena and Museo del Palazzo Te. 2009 May. Paper: Due progetti giulieschi per un grande palazzo reale (with D. Hemsoll)
Davies, Paul Conference: Giulio Romano. Teatro Bibiena and Museo del Palazzo Te, May 2009. Paper: Disegni dalla cerchia di Giulio Romano per progetti mantovani (with D. Hemsoll)
Davies, Paul Research Paper Birmingham University, jan 2009. Paper: Bramante’s S. Maria presso S. Satiro in Milan and the uses of perspective in framing the miraculous:
Davies, Paul Research Paper. Bristol University, April 2009. Paper: Bramante’s S. Maria presso S. Satiro in Milan and the uses of perspective in framing the miraculous
Davies, Paul Conference: The theatre in the Renaissance, Oct 2008. Centro Studi Leon Battista Alberti, Mantua & Agder University, Kristiansand. Paper: Vincenzo Page 31 Scamozzi’s theatre in Sabbioneta and the origins of the Renaissance theatre as building type
Davies, Paul Symposium: Pilgrimage: topography and recollection. University of Kristiansand. Paper: Imagining heaven: Italian Renaissance pilgrimage architecture, May 2008
Davies, Paul 2008 May Conference: Palladio 1508-2008 Centro Internazionale di Studi dell Architettura, Vicenza. Paper: Palladio, architettura e la peste
Davies, Paul 2008 AprilSymposium: Renaissance Architecture and Theory Scholars. Oxford Brookes University. Paper: Reading Italian Gothic Architecture Participant in round table discussion
Dronsfield, Jonathan. “Wandering the archives of wandering”, Re-routing Performance, International Federation for Theatre Research, Barcelona, July 2013.
Dronsfield, Jonathan. “Notes on seeing ‘A Picture of French Literature’ as Philosophy”, 3rd Annual Derrida Today conference, University of California at Irvine, July 2012.
Dronsfield, Jonathan. “The true city, §14, The Swerve of Freedom After Spinoza”, Nature and the City, International Association of Aesthetics, Bologna, June 2012.
Dronsfield, Jonathan. “Lesson of light”, Lighting the Cave, Central St Martin's School of Art, London, May 2012.
Dronsfield, Jonathan. “§13, The Swerve of Freedom After Spinoza”, We are the time weekly lecture series, Gerrit Rietveld Academie, Amsterdam, February 2012.
Dronsfield, Jonathan. “Deleuze and the image of thought”, 4th International Deleuze Studies Conference, Copenhagen Business School, Denmark, June 2011.
Dronsfield, Jonathan. “The performative space of philosophy”, Space Matters, Tate Modern, June 2011.
Dronsfield, Jonathan. “On becoming contemporaries of Pessoa”, Europe of Nations, Myths of Origin, Universidade de Aveiro, Portugal, May 2011.
Dronsfield, Jonathan. “The performativity of art”, Reading Derrida 2010 (Given Time), Università degli Studi di Salerno, Italy, November 2010.
Dronsfield, Jonathan. “The close-up in philosophy and cinema”, Freud After Derrida, University of Manitoba, Canada, October 2010.
Dronsfield, Jonathan. “Philosophers enowning that there be no own”, Gagarin: The Artists in their Own Words, Stedelijk Museum voor Actuele Kunst (SMAK), Gent, Belgium, March 2010.
Page 32 Dronsfield, Jonathan. “Art philosophy differend”, Central St Martin’s, University of the Arts, London, November 2009.
Dronsfield, Jonathan. “Derrida and the visual”, Phenomenology, Literature, Art, Perugia, Italy, July 2009.
Dronsfield, Jonathan. “Not representation, justice”, Knowing Not to Know, Project Arts Centre, Dublin, April 2009.
Dronsfield, Jonathan. “The resistance of art to Derrida’s ‘university to come’”, Derrida Today, Sydney, Australia, July 2008.
Dronsfield, Jonathan. “Art and politics at the foundation of foundation”, Evicting the Ghost, London Festival of Architecture 2008, Romanian Cultural Institute, London, July 2008.
Dronsfield, Jonathan. “Theory and philosophy as art practice”, State of Play, Project Arts Centre, Dublin, May 2008.
Dronsfield, Jonathan. “Rancière and the event of art”, Graduate School of Creative Arts and Media, Dublin, March 2008
Ellison, Christine. ‘The Agency of Noise: Adventures in non-cochlear sound’ (paper) presented at the Noises of Art Conference, Aberystwyth University and The Courtauld Institute. September 2013.
Ellison, Christine. ‘Can Noise be Performed? an inquiry into the problems with noise as genre’, (paper) at Noise v Culture, symposium at the University of Kent, UK. June 2012.
Ellison, Christine. Invited to participate in Liveness, performance network event at the University of Bournemouth, UK. April 2012.
Ellison, Christine. Prêt-à-Médiatiser and Multi-Disciplinary Practice. (paper) at Coleg Sir Gar / University of Wales, UK. February 2012.
Ellison, Christine. Artist Talk (Invited talk), Visiting artist lecture programme, University of Kent, UK. March 2011
Ellison, Christine. ‘Live Sound and the question of Authenticity’ (paper) at The Architectural Association School of Architecture, London, UK. November 2010.
Ellison, Christine. iPollytouch’, (performance), NOISE, AFFECT POLITICS, conference hosted by the Music Department , University of Salford, UK. July 2010.
Garfield, Rachel “Jews in British Film and TV Network Group”, Winchester University, 3 September, 2013
Garfield, Rachel Cosmopolitan Network Group: Manchester Metropolitan University, 10th 11th May 2011
Page 33 Garfield, Rachel Jews in British Film and TV Network Group, Bangor University 2011
Garfield, Rachel “The Politics of Visibility”, Parasol Unit, 4 Nov 2011
Garfield, Rachel “Picturing People of the Book’, University of Texas at Austin one day symposium (February 26th 2011
Garfield, Rachel “Video, Landscape and Subjectivity”, Association of Jewish Studies invited panellist, Washington DC (Dec 2011)
Garfield, Rachel “When the Sixties Didn’t Swing” The Whitechapel Art Gallery invited panel member (with Niru Ratnam and Amna Malik), 30 September 2010
Garfield, Rachel “The Complete Roberta” invited keynote speaker to the event about artist Lynn Hershman Leeson (with Lynn Hershman Leeson and Jackie Stacey, University of Manchester), The Whitworth Art Gallery: 15th May 2010
Garfield, Rachel “Culture and Location: Fantasies of Belonging in Contemporary Art”, Invited speaker to the symposium, Austrian Cultural Forum: March 17th 2010
Garfield, Rachel “Transmission Annual”, conference and launch, 1-3 July 2010 Sheffield Hallam University
Garfield, Rachel “The Afterlives of Postcolonialism” at Goldsmiths. I co-organised (50:50) two panels on Art and Politics with Dr Buckley from the Politics Dept. 25- 26 October 2008, Goldsmiths, London
Garfield, Rachel “Documentary Now!” Invited to organise panel also delivered paper, Birkbeck College, 20th June 2008
Garfield, Rachel “Imagined Futures of Artists Film and Video” at Camden Art Centre, 10th February 2008
Gruetzner Robins, Anna. 2013 ‘Doubling Desire: Michael Field and Rossetti in the 1890s, Pre-Raphaelitism Past, Present and Future, Ashmolean Museum and St John’s College, Oxford.
Gruetzner Robins, Anna. 2013 ‘It’s later than you think: Richard Hamilton and Duchamp : a collaboration, Victor Pasmore and Richard Hamilton, University of Newcastle.
Gruetzner Robins, Anna. 2011 ‘Whistler’s Paris Studio’, Palaces of Art, Freer Gallery of Art, Washington.
Gruetzner Robins, Anna. 2011, ‘Cross-Postings: Weber and Coburn , new York and London’, Repositioning Vorticism, Tate Britain. Page 34 Gruetzner Robins, Anna. 2010,’Un souvenir de Monet: quelques impressionists britanniques dans le sud de l’Angleterre,L’Impressionnisme: du plein air au territoire, Rouen, Musée des Beaux Arts and Le Havre, Musée André Malraux, Conference organised by the Université de Rouen in connection with the above museums.
Gruetzner Robins, Anna. 2010, ‘Roger Fry and Cézanne’, Russia and the Global Effect, 1900-1950 , St Petersburg , Russia.
Gruetzner Robins, Anna. 2008, ‘James Wilson Morrice - Nomad and Exile’, Expatriate Modernists, Annual Conference of the Universities Art Association of Canada, University of Toronto.
Gruetzner Robins, Anna. 2008, ‘Whistler’s British Followers: painting in the Industrial Age’, Like Breath on Glass, Public Symposium, The Sterling and Francine Clark Institute, Williamstown Massachusetts, 18,19 October.
Gruetzner Robins, Anna. 2008, ‘Degas’s L’Absinthe’, Impressionism in Scotland., National Gallery of Scotland.
Gruetzner Robins, Anna. 2008, ‘Impressionism and Confessions of a Young Man, George Moore and his contemporaries, University of Hull.
Gruetzner Robins, Anna. 2008, ‘Looking in the Mirror: Bonnard’s Aphrodite’, Aphrodite Revealed , University of Reading.
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “The Divided Stage:Splitting the Dialectics of Performance”, Theatricality and Staging, ICA, London, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Irony and Overidentification”, The Art and Politics of Irony, conference at Université de Montréal, Montreal, 2012
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Object Oriented Ontology and Art Practice”, The New Vitality: Art in Human-Nonhuman Ecologies / Human-Nonhuman Ecologies in Art, Spike Island, Bristol, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Towards an Anti-Humanist Critique of Immaterial Labour, or How to Negotiate with Vampires”, Audiovisual Posthumanism: Aesthetics, Cultural Theory and the Arts International Conference at The University Of The Aegean, Lesvos, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Can Objects Perform?: Agency and Thingliness in Contemporary Sculpture and Installation”, Sculpture and Performance, Henry Moore Institute, Leeds and Tate Liverpool, 2010
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Performativity and Immaterial Labour”, Art and Postfordism, ICA, London, 2009
Page 35 Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Archiving the Future: Unpacking Benjamin’s Collection” The Eagle Document: The New Collection of Enumerated Things, Stephen Lawrence Gallery, London, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “Untimely Meditations on Overidentification”, Performance Fictions, Electric Cinema, Birmingham, 2009
Kollectiv, Dr. Pil and Kollectiv, Dr. Galia, “The Political Currency of Irony”, Transmission, The Showroom Cinema, Sheffield, 2008
Lee, Simon. Eugène Delacroix La Liberté Guidant le peuple – un chef-d’oeuvre mal connu (in French), Association Culturelle des Arts en Dordogne, Salle de la Rode, Domme, Dordogne. August 2010
Lee, Simon. Promenades in Enlightenment Madrid - The Tapestry Cartoon and new social spaces, The Flâneur Abroad, University of Nottingham, July 2012
Lee, Simon. King Ferdinand’s Veto: Goya’s 2nd and 3rd May 1808 as Patriotic Failures in Contested Views: Visual Culture and the Revolutionary and Napoleonic Wars, Tate Britain, London. July 2012
Lee, Simon. Deranged and virtuous widowhood - Horace Vernet’s Woman driven insane by love and Edith recovering Harold’s body after the battle of Hastings, 39th Annual Conference of the Association of Art Historians, University of Reading, panel on Horace Vernet (1789-1863) and the Thresholds of Nineteenth-Century Visual Culture April 2013
Lee, Simon. Learning from ‘Homer’- Delacroix’s studies after Rubens- paper to the Rubens’ Study Day, University of Reading. May 2013
Malvern, Sue Paper to AAH conference April, Tate Britain, On Monuments and feminism. Paper University of Birmingham, Art after dictatorships, 2009
Malvern, Sue Research paper, University of Geneva, Switzerland, Rachel Whiteread Paper, workshop at Burghclere, National Trust 2010
Malvern, Sue Workshop: Munich University of the Bundeswehr: On the troublesome relationship of feminism and terrorism: representing the female terrorist in contemporary art
Malvern, Sue Lecture/Seminar, 2010, International Postgraduate Summer School, Universidade do Minho, Braga, Comparative Literature/Postcolonial/ Gender/Translation/ Interarts Studies
Malvern, Sue Lecture: workshop University of Oldenburg, Germany Remembering war protest: gender and agency in re-staging anti-war activism, 2011
Malvern, Sue Research paper, Edinburgh, On feminism and curatorship 'Curating Women's time' Page 36 Malvern, Sue Research paper, Femininity, feminism and the terrorist University of Birmingham, 2012
Malvern, Sue Research paper University of Reading, at Insurgency conference
Malvern, Sue Research paper, Henry Moore Institute, Sarah Lucas
Malvern, Sue Research paper, IWM, London, The reception of official war art after 1918
Malvern, Sue Research paper University of Reading, Invisible Violences On Torture
Malvern, Sue Workshop, Munich, paper on Terrorist Transgressions
Malvern, Sue Paper to workshop, October Gallery, London on representations of women terrorists, 2013
Malvern, Sue Research paper, Tate Britain Witnessing and remembrance in art of the First World War,
O’Connell, T. From Process to Practice, Irish Museum of Modern Art , Dublin Ireland 21st January 2010.
O’Connell, T. The notion of permanence in sculpture, Dulwich Picture Gallery, 28th February 2008.
Clare Robertson, June 2013, Chair, Italian Academies Workshop, University of Reading, sponsored by AHRC, British Library, Royal Holloway College and University of Reading
Clare Robertson, June 2013 “Caravaggio: rejection and censorship in context”, Rome Lecture, UCL and Birkbeck, Birkbeck, London
Clare Robertson, May 2013, “Federico Zuccaro and Life Drawing in the Accademia di San Luca”, Rubens in Reading Conference, University of Reading
Clare Robertson, January 2013, “Raphael into the Baroque: Drawing in the Carracci Workshop”, Städel Museum, Frankfurt, Raphael Drawings Conference
Clare Robertson, September 2012, Chair, “The Academies in Rome”, Italian Academies International Conference, British Library, London (sponsored by AHRC, British Library, Royal Holloway College and University of Reading)
Clare Robertson, March 2011, Chair, “The Counter-Reformation in Bologna”, Renaissance Society of America, Annual Conference, Montreal, sponsored by Villa I Tatti Page 37 Clare Robertson, July 2010, “Cardinals Alessandro and Odoardo Farnese and their non-titular Churches”, University of York, Society for Renaissance Studies Biennial Conference
Clare Robertson, April 2008, “Late Annibale and early Domenichino: Invention and Imitation”, Chicago, Renaissance Society of America Annual Conference
Clare Robertson, March 2008, “Annibale Carracci and his late Roman Patrons”, Kunsthistorisches Institut, Florence, Guest Lecture
Clare Robertson, February 2008, “Annibale Carracci and his late Roman Patrons”, Institute of Historical Research, London, Renaissance Seminar
Rowlands, Alun. ‘Third, fourth, and fifth spaces: Curatorial Practices in New Public and Social (digital) Spaces’, Migros Museum fur Gegenwartskunst, Zurich, Switzerland, 8-9 November 2013
Rowlands, Alun. ‘Question the Wall Itself’, (invited paper) with Kerstin Bratsch and Liam Gillick, Sculpture Center, New York, , 18 May, 2011
Rowlands, Alun. ‘For Writing Out Loud or A Potential Workshop on Fiction’ (invited paper), Postgraduate Programme in Curating, Zurich University for the Arts, Zurich 15 April 2011
Rowlands, Alun. ‘We exist because of Ctrl V’, at Never Odd Nor Even, with Mariana Castillo Deball and Tim Etchells, as part of ‘Shadowboxing’, Curating Contemporary Art, Royal College of Art, London March 31
Rowlands, Alun. ‘A Speculative Workshop for an Immanent Practice’, at Bloomberg New Contemporaries, Institute of Contemporary Art, London 15 January 2011
Rowlands, Alun. ‘My name is Ulises. What’s yours?’, at Gossip, Scandal and Good Manners with Martha Hellion, Martha Hawley and Clive Phillpot, Showroom, London 12 June 2010
Rowlands, Alun. ‘Novel’, (invited paper) Piet Zwart Institute for postgraduate studies and research, Rotterdam 10 April 2010
Rowlands, Alun. Magic & Modernity in British Art (organised conference) A major exploration of the themes and debates presented in ‘The Dark Monarch’ exhibition. Contributors included Marina Warner, novelist, mythographer and cultural historian; Philip Hoare, author and winner of the 2009 Samuel Johnson prize; Martin Clark, Artistic Director, Tate St Ives; Michael Bracewell, writer and critic; Chris Stephens, Curator Modern British Art & Head of Displays, Tate Britain; and artists Jeremy Millar and Linder. Tate St Ives in association with the University of Reading and University College Falmouth. 20 – 21 November 2009 Page 38 Rowlands, Alun. ‘Notes on writing, potential & art’, at Paradox, Accademia di Belle Arti, Palermo, 21-22 September 2009
Russell, John. Abysmmal Plan: accelerationism.Visualising political philosophy through animation and film. Film-Philosophy Conference 2013, ASCA (Amsterdam) and EYE Film Instit. NL July 10 – July 12, 2013
Russell, John. ‘Writing/Gallows/Research’, ICA London (organised by Publish and Be Damned), 2 March, 2013
Russell, John. ‘The End’ at Existential Territories Symp., (convened Bookworks), at Form Content, London, 17 July, 2010
Russell, John. ‘The persistence of Objects.’ At Radical Aesthetics-Radical Art Symposium, Loughbrugh Univ School of Art and Design 17th February, 2010
Russell, John. ‘Visualising Ideas’ at ISEA, University of Ulster, Belfast, August, 2010
Russell, John. ‘Visualising Ideas,' at What ... Theory? PhD symposium at Goldsmiths, London, 27 October, 2009