f i n e ARTS 2011-2012
THE BRITISH SCHOOL AT ROME
f i n e ARTS 2011-2012
Rashid Ali
Angela Catlin
Charles Cooper
Colin Darke
Domenico de Clario
Kimathi Donkor
George Egerton-Warburton
Nicholas Hatfull
Jessica Kirkpatrick
David Lock
Fiona MacDonald
Duarte Natário dos Santos
Laure Prouvost
Luke Roberts
Felix Schwimmer
Heather B. Swann
Covadonga Valdés
THE BRITISH SCHOOL AT ROME
1 The projects realised by DOMENICO DE CLARIO, GEORGE EGERTON-WARBURTON, LUKE ROBERTS, HEATHER B. SWANN have been assisted by the Commonwealth Government through the Australia Council, its Arts funding and advisory body.
The Derek Hill Foundation
Giles Worsley Fund IFLA The Incorporated Edwin Austin INTERNATIONAL FEDERATION Abbey Memorial Scholarships OF LANDSCAPE ARCHITECTS
Acknowledgements All works © the artists and architects
Prof. Mihai Barbulescu, Eleonora Farina, The Romanian Academy, Edited by Jacopo Benci Rome Roberto Casiraghi, Ginevra Pucci, Roma Contemporary Graphic design Silvia Stucky Claudia Conforti, Giuseppe Bonaccorso, Tor Vergata University, Rome Photography courtesy of the artists and architects, except Inge Lyse Hansen, Antonella Salvatore, John Cabot University, Claudio Abate (pp. 6-7, 8-9, 10, 16-17, 18, 20, 27, 32-33, 43, 44- Rome 45, 46); Celia Yang (pp. 8, 9) Daniela Bigi, Roberto Lambarelli, Arte e Critica / Arte e Roma via Stucky (p. 32); Mary Wilsey, Wanted in Rome Translations Jacopo Benci
Celia Yang, Anna Prosvetova, Giorgia Tamburi, Clara Giannini Published by THE BRITISH SCHOOL AT ROME at The British Academy, 10 Carlton House Terrace, London SW1Y 5AH Donatella Astolfi, Fulvio Astolfi, Alice Bygraves, Alba Coratti, Marina Engel, Lara Johnson-Wheeler, Joanna Kostylo, The British School at Rome Maria Pia Malvezzi, Eleanor Murkett, Antonio Palmieri, Via Gramsci, 61 00197 Roma Renato Parente, Giuseppe Pellegrino, Marisa Scarsella, Registered Charity No. 314176 Valerie Scott, Magdalena Sygidus ISSN 1475-8733 ISBN 978-0-904152-64-7
2 Fine Arts 2011-2012 C ONTENTS
04 Preface Christopher Smith 06 Introduction Jacopo Benci
12 Rashid Ali 14 Angela Catlin 16 Charles Cooper 18 Colin Darke 20 Domenico de Clario 22 Kimathi Donkor 24 George Egerton-Warburton 26 Nicholas Hatfull 28 Jessica Kirkpatrick 30 David Lock 32 Fiona MacDonald 34 Duarte Natário dos Santos 36 Laure Prouvost 38 Luke Roberts 40 Felix Schwimmer 42 Heather B. Swann 44 Covadonga Valdés
47 Biographies
3 P REFACE
The 2011-12 Fine Arts programme has been another success, a combination of startlingly original work and huge diversity. After the great uncertainties of recent years, my colleagues in the Faculty of the Fine Arts have worked tirelessly to create new funding opportunities and new awards, and I am as grateful to them as I am delighted to see new artists coming to the BSR. As we rebuild, slowly, from the past, we also have the opportunity to bring new ideas and new projects to Rome. I am particularly pleased that from this year, for the first time, all members of the BSR will receive the Fine Arts catalogue. One of our ambitions was to re-establish links with the whole BSR community, and by so doing, to encourage old friends to reconnect with us, and recent award-holders to sustain their connection. We hope all of those who are reading this review will be inspired to come back to the BSR, and it is tremendous that this summer, in July, August and September, all our studios will be occupied by former or current award-holders. For many of our supporters, this has been a difficult period too, and to them, both long-standing friends and new sponsors, we are truly grateful. This year, we have received support from the Arts Council of Northern Ireland; the Australia Council for the Arts; the Conseil des Arts et des Lettres, Québec; Creative Scotland; the Derek Hill Foundation; the Giles Worsley Fund (in collaboration with the RIBA); the Incorporated Edwin Austin Abbey Memorial Scholarships; the International Federation of Landscape Architects; the Linbury Trust; the Max Mara Art Prize for Women (in collaboration with Whitechapel Gallery), and the National Art School, Sydney. Beyond doubt the most significant achievement was the contribution by a group of former award-holders to revive the Rome Prize in Architecture for 2012-13. We are also beginning to broaden the number and nature of arts related events at the BSR; we began the year with a lecture by the Otolith Group, who were showing at the MAXXI. It is our determination to continue to work on this area of our activity and to provide a stronger programme to support arts and architecture. We see no distinction between the intellectual value and challenge of the various areas of the BSR’s activity. What makes the BSR so unusual as a British research institute is the range and quality of activity; the very best artists from across the Commonwealth and the very best scholars live and work together, and their interactions illuminate our shared experience. We are always open to new ideas and new projects. The fascinating overlaps between the work of portraitist Kimathi Donkor, architect Rashid Ali, and our two BSR / Society for Libyan Studies fellows Mattia Toaldo and Barbara Spadaro in exploring the relationships between northern Africa and Italy from the later 19th century to the contemporary period is simply one example of the uniquely international and interdisciplinary nature of BSR work. I hope you will enjoy this review, and I hope you will encourage others to become part of this unique and wonderful institution. With your support, we will continue to stand for the lasting value of creativity and the arts.
Professor Christopher Smith Director
4 Fine Arts 2011-2012 P REFAZIONE
Il programma Fine Arts nel 2011-12 è stato nuovamente un successo, una combinazione di opere sorprendentemente originali e grande diversità. Dopo le forti incertezze degli ultimi anni, i miei colleghi della Faculty of the Fine Arts hanno lavorato instancabilmente per procurare nuovi finanziamenti e nuove borse residenziali, e sono riconoscente a loro quanto sono felice di vedere nuovi artisti giungere all’Accademia Britannica. Mentre lentamente recuperiamo rispetto al passato, abbiamo anche l’opportunità di portare a Roma nuove idee e nuovi progetti. Sono particolarmente lieto del fatto che da quest’anno, per la prima volta, tutti i sottoscrittori della BSR riceveranno il catalogo Fine Arts. Una delle nostre ambizioni era di ristabilire i legami con l’intera comunità BSR, incoraggiando in questo modo i vecchi amici a riconnettersi con noi, e i borsisti recenti a mantenere il contatto. Ci auguriamo che tutti coloro che leggono questa pubblicazione ne traggano desiderio di tornare alla BSR, ed è eccellente che quest’estate, in luglio, agosto e settembre, tutti i nostri studi saranno occupati da borsisti passati o attuali. Anche per molti dei nostri sostenitori questo è stato un periodo difficile, e siamo veramente grati sia agli amici di lunga data che ai nuovi sponsor. Quest’anno abbiamo ricevuto il sostegno di Arts Council of Northern Ireland, Australia Council for the Arts, Conseil des Arts et des Lettres del Québec, Creative Scotland, Derek Hill Foundation, Giles Worsley Fund (in collaborazione con il RIBA), Incorporated Edwin Austin Abbey Memorial Scholarships, International Federation of Landscape Architects, Linbury Trust, Max Mara Art Prize for Women (in collaborazione con la Whitechapel Gallery), e National Art School, Sydney. Senza dubbio il risultato più significativo è stato il contributo di un gruppo di ex borsisti, che consentirà di far rivivere il Rome Prize in Architecture nel 2012-13. Stiamo anche ampliando il numero e la natura degli eventi artistici alla BSR, e abbiamo iniziato l’anno con una conferenza di The Otolith Group in occasione della loro mostra al MAXXI. È nostra ferma intenzione continuare a lavorare in questo settore della nostra attività e offrire un più forte programma a sostegno delle arti e l’architettura. Riteniamo non ci siano differenze di valore e impegno intellettuale tra le varie aree di attività della BSR. Ciò che rende l’Accademia unica fra gli istituti di ricerca britannici è la gamma e la qualità delle sue attività; i migliori artisti e i migliori studiosi provenienti da tutto il Commonwealth vivono e lavorano insieme, e le loro interazioni illuminano la nostra esperienza condivisa. Siamo sempre aperti a nuove idee e nuovi progetti. Le affascinanti tangenze tra i lavori del pittore ritrattista Kimathi Donkor, dell’architetto Ali Rashid, e dei nostri due borsisti BSR / Society for Libyan Studies, Mattia Toaldo e Barbara Spadaro nell’esplorare le relazioni tra Nord Africa e Italia dalla seconda metà del XIX secolo a oggi, sono solo un esempio dell’unicità del carattere internazionale e interdisciplinare del lavoro dell’Accademia Britannica. Spero che apprezzerete questa pubblicazione, e suggerirete ad altre persone di diventar parte di questa istituzione unica e meravigliosa. Con il vostro aiuto, continueremo a sostenere il duraturo valore della creatività e delle arti.
Professor Christopher Smith Direttore
5 I NTRODUCTION
The academic year 2011-12 brought two new Fine Arts residential awards, the Creative Scotland Document Fellowship, whose first recipient was Scottish photojournalist Angela Catlin, and the Max Mara Art Prize for Women, awarded to French artist Laure Prouvost; and the resumption of the Rome Scholarship in Landscape Architecture, awarded to the Portuguese architect Duarte Natário dos Santos and supported by the International Federation of Landscape Architects. We are grateful to our sponsors for the welcome addition of these scholarships. Their recipients demonstrate once again that the British School is increasingly multinational as well as multidisciplinary. This year we had the pleasure to have as our residents – in addition to six artists from England, Scotland, Northern Ireland – five artists from Australia; three from France, Spain, the United States; and three architects from Somalia, Québec, and Portugal. On 22 September 2011, Domenico De Clario, Australia Council Resident over the summer months, staged a one-night public performance/installation entitled Forestories, in collaboration with fellow Australian performance artist Sam Burke. Simultaneously Richard Gasper (Sainsbury Scholar in Painting and Sculpture 2010-11) presented works he had made in Rome during the last part of his twelve-month residency. The first Fine Arts group exhibition of 2011-12, Seven Things To Do In An Emergency, held between 12 and 21 December, featured new works by artists Richard Gasper, Nicholas Hatfull (Sainsbury Scholar in Painting and Sculpture), Kimathi Donkor (Derek Hill Foundation Scholar), David Lock (Abbey Scholar in Painting), Fiona Macdonald (Abbey Fellow in Painting), Heather B. Swann (Australia Council Resident), and architect Rashid Ali (Giles Worsley Travel Fellow). Kimathi Donkor and Rashid Ali both contributed to the development of a cross- disciplinary research theme on relations between Italy and North Africa. In December, the magazine Arte e Roma published a brief interview with Jacopo Benci where he illustrated the Fine Arts programme, including the forthcoming Creative Scotland Document Fellowship and Max Mara Art Prize for Women residency. The second Fine Arts group exhibition, I don’t know how a rock feels, held between 16 and 24 March, included works by artists Nicholas Hatfull, David Lock, Angela Catlin, Charles Cooper (National Art School Sydney Resident in Drawing), Colin Darke (Arts Council of Northern Ireland Fellow), George Egerton-
1-2. Domenico De Clario and Sam Burke, Forestories, 22 September 2011
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6 Fine Arts 2011-2012 I NTRODUZIONE
L'anno accademico 2011-12 ha portato al programma Fine Arts due nuove residenze, la Creative Scotland Document Fellowship, la cui prima premiata è stata la fotogiornalista scozzese Angela Catlin, e il Max Mara Art Prize for Women, assegnato all’artista francese Laure Prouvost; e la ripresa della Rome Scholarship in Landscape Architecture, assegnata all’architetto portoghese Duarte Natário dos Santos e sostenuta dalla Federazione Internazionale degli Architetti di Paesaggio (IFLA). Siamo grati ai nostri sponsor per aver posto in essere queste borse. Gli artisti cui sono state assegnate mostrano ancora una volta che l’Accademia Britannica è sempre più multinazionale oltre che multidisciplinare. Quest’anno abbiamo avuto il piacere di avere fra i nostri residenti – oltre a sei artisti provenienti da Inghilterra, Scozia, Irlanda del Nord – cinque artisti provenienti dall’Australia, tre da Francia, Spagna, Stati Uniti, e tre architetti dalla Somalia, Québec, e Portogallo. Il 22 settembre 2011, Domenico De Clario, Australia Council Resident durante i mesi estivi, ha presentato per una sola sera la performance/installazione Forestories, in collaborazione con la performer australiana Sam Burke. Allo stesso tempo Richard Gasper (Sainsbury Scholar in Painting and Sculpture 2010-11) ha presentato le opere da lui realizzate a Roma durante l’ultima parte della sua residenza annuale. La prima mostra collettiva Fine Arts del 2011-12, Seven Things To Do In An Emergency, si è tenuta dal 12 al 21 dicembre e ha presentato nuove opere degli artisti Richard Gasper, Nicholas Hatfull (Sainsbury Scholar in Painting and Sculpture), Kimathi Donkor (Derek Hill Foundation Scholar), David Lock (Abbey Scholar in Painting), Fiona Macdonald (Abbey Fellow in Painting), Heather B. Swann (Australia Council Resident), e l’architetto Rashid Ali (Giles Worsley Travel Fellow). Kimathi Donkor e Rashid Ali hanno inoltre contribuito a sviluppare un programma di ricerca trans-disciplinare sulle relazioni tra Italia e Nord Africa. Nel mese di dicembre, la rivista Arte e Roma ha pubblicato una breve intervista con Jacopo Benci che ha illustrato il programma Fine Arts, tra cui le novità della Creative Scotland Document Fellowship e del Max Mara Art Prize for Women. La seconda collettiva dell’anno, I don’t know how a rock feels, si è tenuta dal 16 al 24 marzo ed ha incluso opere degli artisti Nicholas Hatfull, David Lock, Angela Catlin, Charles Cooper (National Art School Sydney Resident in Drawing), Colin Darke (Arts Council of Northern Ireland Fellow), George Egerton-Warburton (Australia Council
3-4. Seven Things To Do In An Emergency, 12-21 December 2011: works by Heather B. Swann, Kimathi Donkor, Nicholas Hatfull; David Lock, Richard Gasper, Fiona MacDonald
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7 Warburton (Australia Council Resident), Covadonga Valdés (Abbey Fellow in Painting), and architects Duarte Natário dos Santos, and Felix Schwimmer (Québec Architecture Resident). On 20 April Duarte Natário dos Santos and Felix Schwimmer presented illustrated papers on their Rome projects at the annual international conference Grand Tour del Terzo Millennio held at the Tor Vergata University of Rome. Colin Darke, Nicholas Hatfull, and Laure Prouvost took part in the tenth edition of the Spazi Aperti exhibition, curated by critic Eleonora Farina at the Romanian Academy, which opened on 23 May and finished on 15 June in coincidence with the opening of the Fine Arts exhibition at the School. On 25 May, following a pattern inaugurated last year, the 2012 edition of the Roma Contemporary art fair brought collectors and gallery-goers to visit to the artists’ studios. On 15 June the final group exhibition of the academic year, entitled wher you live now, featured works by Colin Darke, Nicholas Hatfull, Jessica Kirkpatrick (Abbey Fellow in Painting), David Lock, Laure Prouvost, and Luke Roberts (Australia Council Resident). Through these activities, and thanks to the high standard and variety of the creative work of our award holders, the Fine Arts programme contributes substantially to the life and profile of the School, while at the same time it is recognized and praised by the Roman public for its quality and interest. Over the last year, several of our artists have been featured on the front cover of the capital’s leading English language magazine, Wanted in Rome. The Fine Arts programme could not provide a thorough service without the precious help of voluntary assistants. This year’s Fine Arts interns came from Rome based John Cabot University, consolidating a collaboration between the two institutions that proved to be of mutual satisfaction. Celia Yang worked from October 2011 to March 2012; Anna Prosvetova, from January to early May; Giorgia Tamburi, later joined by Clara Giannini, took over when Anna left. They all ably and reliably helped sourcing materials and suppliers for the residents’ works, and assisted with the preparation, communication, and invigilation of exhibitions, while working on the inventory of hundreds of scholars’ files in the Fine Arts archive, spanning over two decades.
Jacopo Benci Assistant Director Fine Arts
5 5-6. Seven Things To Do In An Emergency, exhibition opening, 12 December 2011: works by Fiona MacDonald, David Lock
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8 Fine Arts 2011-2012 Resident), Covadonga Valdés (Abbey Fellow in Painting), e degli architetti Duarte Natário dos Santos, e Felix Schwimmer (Québec Architecture Resident). Il 20 aprile Duarte Natário dos Santos e Felix Schwimmer hanno presentato relazioni sui loro progetti romani al convegno annuale internazionale Grand Tour del Terzo Millennio presso l’Università Tor Vergata di Roma. Colin Darke, Nicholas Hatfull e Laure Prouvost hanno partecipato alla decima edizione della mostra Spazi Aperti, curata dal critico Eleonora Farina presso l’Accademia di Romania, che ha aperto il 23 maggio e si è conclusa il 15 giugno in coincidenza con l’inaugurazione della mostra Fine Arts all’Accademia Britannica. Il 25 maggio, seguendo un modello inaugurato lo scorso anno, l’edizione 2012 della fiera Roma Contemporary ha portato collezionisti e pubblico dell’arte alla BSR per visitare gli studi degli artisti. Il 15 giugno la collettiva finale dell’anno, dal titolo wher you live now, ha presentato opere di Colin Darke, Nicholas Hatfull, Jessica Kirkpatrick (Abbey Fellow in Painting), David Lock, Laure Prouvost, e Luke Roberts (Australia Council Resident). Attraverso queste attività, e grazie all’alto standard e alla varietà del lavoro creativo dei nostri residenti, il programma Fine Arts dà un contributo essenziale alla vita e al profilo dell’Accademia Britannica, ed è riconosciuto e apprezzato per qualità e interesse dal pubblico romano. Nell’ultimo anno, opere di diversi nostri artisti sono state scelte come copertine della principale rivista in lingua inglese della capitale, Wanted in Rome. Il programma Fine Arts non potrebbe fornire un servizio adeguato senza il prezioso contributo di assistenti volontari. Le Fine Arts Interns quest’anno sono state studentesse della John Cabot University di Roma, consolidando tra le due istituzioni una collaborazione dimostratasi di mutua soddisfazione. Celia Yang ha lavorato alla BSR da ottobre 2011 a marzo 2012; Anna Prosvetova, da gennaio a inizio maggio; Giorgia Tamburi ha iniziato quando Anna è partita, venendo poi affiancata da Clara Giannini. Tutte hanno contribuito efficacemente alla ricerca di materiali per le opere dei residenti, e alla preparazione, comunicazione, guardiania delle mostre, lavorando inoltre all'inventario di centinaia di cartelle individuali di borsisti dell’archivio Fine Arts, che copre oltre due decenni.
Jacopo Benci Assistant Director Fine Arts
7. I Don’t Know How A Rock Feels, 16-24 March 2012: L-R, works by Nicholas Hatfull, Charles Cooper, Covadonga Valdés
8-9. I Don’t Know How A Rock Feels, exhibition opening, 16 March 2012: L-R, works by Felix Schwimmer, David Lock, Charles Cooper, Angela Catlin; Duarte Natário dos Santos
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E XHIBITIONS
F ORESTORIES 22 September 2011 Domenico de Clario with Sam Burke
S EVEN T HINGS T O D OINANE MERGENCY 12-21 December 2011 Rashid Ali, Kimathi Donkor, Richard Gasper, Nicholas Hatfull, David Lock, Fiona MacDonald, Heather B. Swann
I DON’ T K NOW H OW A ROCK F EELS 16-24 March 2012 Angela Catlin, Charles Cooper, Colin Darke, George Egerton-Warburton, Nicholas Hatfull, David Lock, Duarte Natário dos Santos, Felix Schwimmer, Covadonga Valdés
WHER YOU LIVE NOW 15-23 June 2012 Colin Darke, Nicholas Hatfull, Jessica Kirkpatrick, David Lock, Laure Prouvost, Luke Roberts
11 Rashid Ali
Mogadishu, View towards the native quarter 1924 Società Geografica Italiana
Architecture and built form of Mogadishu, 1910-1936 Architettura e forma costruita di Mogadiscio, 1910-1936
To the popular imagination, the Somali capital Mogadishu Nell’immaginazione popolare, la capitale somala has in recent years come to be characterized by death, Mogadiscio è stata negli ultimi anni caratterizzata da destruction and displacement caused by infighting among morte, distruzione e sfollamento causati da lotte intestine the various groups of clans, militias, warlords, religious tra i vari gruppi di clan, milizie, signori della guerra, gruppi groups and its government, who all sought to subject their religiosi e il governo, che hanno tutti cercato di imporre il control over what remains of its population and built proprio controllo su ciò che resta della sua popolazione e environment. However, only two decades or so ago dell’ambiente urbano. Peraltro, solo due decenni fa circa Mogadishu was physically, politically, socially and Mogadiscio era fisicamente, politicamente, socialmente e culturally a very different place. culturalmente un luogo molto diverso. In the course of its history Mogadishu has been influenced Nel corso della sua storia Mogadiscio è stata influenzata by the various cultures of its diverse inhabitants, traders dalle varie culture dei suoi diversi abitanti, commercianti e and rulers, which came to strongly inform its pre civil war governanti, che giunsero a determinare le sue caratteristiche social, cultural and physical characteristics. sociali, culturali e fisiche prima della guerra civile. Most significantly it began as an important pre-colonial port Essenzialmente, Mogadiscio nacque come importante città city for trading of goods with Arabian Peninsula and the portuale precoloniale per il commercio con la penisola arabica spread of Islamic cultural influences along the East African e la diffusione di influenze culturali islamiche lungo la costa coast. However, the city’s pre civil war architecture and orientale africana. Peraltro, l’architettura e l’ambiente urbano urban environment owes its morphology and characteristics della città prima della guerra civile debbono morfologia e to its former colonial power, Italy, the last of the European caratteristiche alla potenza coloniale che l’aveva dominata, powers to join the ‘scramble for Africa’. The city began to l’Italia, ultima potenza europea a partecipare alla ‘corsa expand after Rome took over direct administration of the all’Africa’. Mogadiscio iniziò ad espandersi dopo che Roma country from Italian trading companies. A small group of rilevò la gestione del paese da imprese commerciali italiane. military and civil officials were entrusted with the task of A partire dal 1910 circa, il compito di fornire alla città providing the city with administrative organisation and the un’organizzazione amministrativa e di costruire construction of infrastructure and public buildings began infrastrutture e edifici pubblici venne affidato a un piccolo to be implemented from around 1910. gruppo di funzionari militari e civili. Many of the buildings that defined the city’s appearance Molti degli edifici che definirono l’aspetto della città datano dated from 1920 onwards and tended to be of a mixture of dal 1920 in poi, e tendono a essere una miscela di estetica colonial, Arabic and Modernist aesthetic, which continued coloniale, araba e modernista che continuò a influenzare to influence the subsequent built form until the 1980’s, l’edilizia successiva fino agli anni Ottanta, prima di essere before much of it was destroyed during the civil conflict in gran parte distrutti durante la guerra civile dai primi from the early 1990’s onwards. Modernism, which anni Novanta in poi. Il modernismo, che continuò ad continued to influence the architecture and built form influenzare l’architettura e l’urbanistica dopo after independence, was largely seen as a manifestation, l’indipendenza, era per lo più visto come una with which the country could assert its new identity manifestazione tramite cui il paese poteva affermare la sua through new architectural forms. nuova identità attraverso nuove forme architettoniche.
12 Fine Arts 2011-2012 Fiat garage 1934 Laboratorio di Ricerca Documentazione Storica Iconografica, Roma Tre University
Radio Mogadishu building 1936 Laboratorio di Ricerca Documentazione Storica Iconografica, Roma Tre University
13 Angela Catlin
Urban Landscapes, 1. Corviale 2012 inkjet print on paper, dimensions variable, height 60 cm
14 Fine Arts 2011-2012 City Portrait 5 2012 inkjet print on paper, dimensions variable, height 40 cm
15 Charles Cooper
Excavation 2012 basalt, clay, acrylic paint on paper-covered timber base, 15 x 120 x 143 cm
16 Fine Arts 2011-2012 Oculus 2012 glass mirrors, clay, acrylic paint, acetate, paper, linen on timber base, 38 x 38 x 38 cm
17 Colin Darke
For Courbet 2012 apples and stone, dimensions variable
18 Fine Arts 2011-2012 Sealed Lips 2012 correction fluid on ivy plant dimensions variable
19 Domenico de Clario
Sam Burke and Domenico de Clario presented a site- Sam Burke e Domenico de Clario hanno presentato una specific performance in the BSR Gallery in late September performance site-specific nella Galleria della BSR a fine 2011. It was titled forestories and the following is an settembre 2011. Si intitolava forestories e la seguente è una abridged version of the collaborative text/map they versione ridotta del testo/mappa collaborativo che hanno performed inside four installations made specifically for the eseguito all’interno di quattro installazioni realizzate BSR Gallery space: appositamente per lo spazio della Galleria BSR:
1. home (his story) 1. home (la storia di lui) last night like most nights she fell asleep as he was reading ieri sera come quasi tutte le sere lei si addormentò mentre to her he reads to her every night the odyssey the poems lui leggeva a lei lui legge a lei ogni sera l’odissea le poesie of kabir sufi essays accounts of the strange lives of zen di kabir saggi sufi racconti delle strane vite dei monaci monks he watched her breathing become more zen lui guardava il respiro di lei diventare più regolare regular as it aligned itself to the rhythm of his reading mentre si adeguava al ritmo della sua lettura quando when they became as one he asked are you asleep? essi divennero una cosa sola lui chiese dormi?
20 Fine Arts 2011-2012 2. aspettaci (their story) 2. aspettaci (la loro storia) i sat down on one of the kitchen chairs on the footpath mi sedetti su una delle sedie da cucina sul vialetto outside her house and she came to sit next to me davanti a casa di lei e lei venne a sedersi accanto a me what i remember is her hands they reminded me of quello che io ricordo sono le sue mani che mi ricordavano plants of the stalks of a long-gone species of flowers delle piante degli steli di una specie di fiori estinta da tempo that had once resembled human hands looking up che un tempo avevano assomigliato a mani umane at the grand eucalypt with its furtherest away leaves guardando in alto al grande eucalipto con le sue foglie più blinking in the morning sun i said to him ‘i don’t distanti tremolanti nel sole del mattino gli dissi ‘non voglio want to live in italy i want to live here this is vivere in Italia voglio vivere qui qui è dove vivo il mio where i live this is where my heart is this is my cuore è qui questa è casa mia’ la perla celata nella home’ the pearl hidden inside the shell is built from conchiglia è formata da sostanze irritanti provenienti da irritants from what isn’t wanted into the perfection of ciò che non si vuole nella perfezione dell’imperfezione imperfection ‘aspettaci!’ she cried out from the ‘aspettaci!’ ella gridò dalla banchina mentre io platform as i negotiated my suitcase down the train armeggiavo con la mia valigia lungo il corridoio del aisle it rang in my ears and made my heart beat treno risuonava nelle mie orecchie e mi faceva battere loudly and the train oblivious pulled slowly out il cuore forte e il treno ignaro partiva lentamente
3. love (everyone’s story) 3. love (la storia di tutti) love is not eternity / nor is it the time of calendars and l’amore non è l’eternità / non è nemmeno il tempo di watches successive time / it is the perception of all calendari e orologi il tempo successivo / è la times of all lives in a single instant / it does not free percezione di tutti i tempi di tutte le vite in un solo us from death but makes us see it face to face / what istante / non ci libera dalla morte ma ce la fa vedere does the couple see in the space of an instant? the faccia a faccia / cosa vede la coppia nello spazio di un equation of appearance and disappearance the truth istante? l’equazione di apparizione e scomparsa la of the body and the non-body… octavio paz verità del corpo e del non-corpo... octavio paz
4. only a weathercast warning (her story) 4. only a weathercast warning (la storia di lei) on a street in the town of palermo su una strada nella città di palermo an old man went about on his way un vecchio andava per la sua strada when he stopped by a jewellery shop window quando si fermò vicino alla vetrina di una gioielleria for something took his breath away perché qualcosa gli tolse il respiro on a shelf in between the gold watches su un ripiano tra gli orologi d’oro a silver ring with a pearl un anello d’argento con una perla its beauty was that of no other la sua bellezza era senza eguali it was meant for only one girl era stata concepita per una sola ragazza in his pocket it sat for the train ride restò nella sua tasca durante il viaggio in treno to the fisherman’s town cefalù fino al paese di pescatori cefalù when that night in the dark of their bedroom quando quella notte nel buio della loro camera da letto by the light of a sicilian moon alla luce di una luna siciliana she cried at its beauty ella gridò per la sua bellezza they wept in each others’ arms piansero tra le braccia l’uno dell’altra fear is the anchor of duty la paura è l’ancora del dovere love is a bird of winged charm l’amore è un uccello dal fascino alato it was only a weathercast warning era solo un avvertimento meteorologico but she took to the sea anyway ma lei prese il mare in ogni caso did not hear artemis calling non sentì artemide chiamare til she took the pearl ring away fino a che lei portò via l’anello con la perla
21 Kimathi Donkor
St Matthew beset by six Rome skylines 2012 c-type print, 20 x 30 cm
22 Fine Arts 2011-2012 St Iphigenia (Laura, Mohamed, Njambi) 2011 oil on canvas, 120 x 150 cm
23 George Egerton-Warburton
Why are you wearing athletic gear if you’re not playing Perché indossi abiti sportivi se oggi non hai intenzione di any sport today? is an auto-reflexive film documenting the praticare dello sport? è un film autoriflessivo che theft of a camera. documenta il furto di una macchina fotografica.
In a single take, the footage escorts us past landmarks of In un’unica ripresa, il filmato attraversa gli antichi Imperial Rome and sites rendered notorious in Italian monumenti della Roma imperiale e i luoghi resi celebri dal cinema. cinema italiano.
It conjures questions of an artist’s physical and fiscal Il film evoca riflessioni sulla resistenza fisica e fiscale di un endurance, and strips the film back to the acquisition of artista e lo riporta al punto dell’acquisizione della the camera used to shoot it. Perhaps it does little more macchina usata per fare la ripresa. Forse fa qualcosa in più than associate the production of experimental film with che associare la produzione di un film sperimentale being an idiot. It provides a perambulating tour of Rome. all’essere un idiota. Di certo offre un giro a piedi per Roma.
24 Fine Arts 2011-2012 Why are you wearing athletic gear if you’re not playing any sport today? 2012 HD video and text, 26.06 minutes
25 Nicholas Hatfull
26 Fine Arts 2011-2012 Raggi solari 2012 acrylic on insulation panel with enamel and plastic sign, 120 x 248 cm and 12.5 x 18.5 cm
27 Jessica Kirkpatrick
The Crossing Jan 2012 oil on canvas, 122 x 183 cm
28 Fine Arts 2011-2012 Violet Crime December 2011 oil on card, 23 x 31 cm
29 David Lock
Interior (Carousel) 2012 oil on board, 70 x 100 cm
30 Fine Arts 2011-2012 Misfits (Dark Train) 2011 oil and acrylic on board, 70 x 100 cm
31 Fiona MacDonald
My research in Rome centred on how painting and La mia ricerca a Roma si è incentrata su come pittura e sculpture inform each other within my practice. Seeing scultura si informino reciprocamente nella mia pratica. Carracci’s Perseus and Andromeda (Palazzo Farnese), Vedendo Perseo e Andromeda di Carracci (Palazzo Farnese), something in the positioning of the dramatis personae held qualcosa nel posizionamento delle dramatis personae ha my attention. Andromeda, chained to a rock, dominates and attirato la mia attenzione. Andromeda, incatenata ad una divides the painting, her weeping parents to the right, and a roccia, domina e divide il dipinto, i suoi genitori piangenti a tiny Perseus slaying the sea-monster to her left. Tied down, destra, e un piccolo Perseo che uccide il mostro marino alla Andromeda is rendered on some level two dimensional. sua sinistra. Legata, Andromeda è resa in qualche modo Perseus rescues and marries her, thus bringing her to (3D) bidimensionale. Perseo la salva e la sposa, portandola così alla freedom and fulfilment. He uses Medusa’s head to turn the libertà e realizzazione (in 3D). Egli usa la testa di Medusa per sea monster to stone, whilst riding Pegasus, the steed that mutare il mostro marino in pietra, mentre cavalca Pegaso, il leapt from her severed neck. Petrification is an obvious cavallo che scaturì dal collo meduseo reciso. La pietrificazione metaphor for the sculptural, also death, but it is Andromeda’s è una ovvia metafora della scultura, e della morte, ma è la transformation into painting that is described as liberating by trasformazione di Andromeda in pittura che è descritta come Joanna Woodall’s illuminating essay on the subject liberatrice nel saggio illuminante di Joanna Woodall (‘Wtewael’s Perseus and Andromeda, looking for love in sull’argomento (‘Wtewael’s Perseus and Andromeda, looking for seventeenth century Dutch painting’, in Manifestations of love in seventeenth century Dutch painting’, in Manifestations Venus. Art and Sexuality, ed. Arscott & Scott 2010). In Ovid, of Venus. Art and Sexuality, a cura di Arscott & Scott 2010). when Perseus first glimpses Andromeda, he assumes she is a In Ovidio, quando Perseo vede per la prima volta Andromeda statue. In rescuing her, he restores her ‘to the full flesh and ritiene sia una statua. Nel salvarla, la restituisce alla ‘bellezza blood beauty which is painting’. In Carracci’s version, di carne e sangue che è la pittura’. Nella versione di Carracci, Perseus rescues the ‘feminine’ only via the ‘monstrous Perseo salva il ‘femminile’ solo attraverso il ‘femminile (Medusan) feminine’, which Woodall aligns (‘horrific, mostruoso (meduseo)’, che Woodall allinea (‘orribile, uncontained matter’) with ‘the messy material debris of the incontenibile materia’) con ‘i caotici detriti materiali dello painter’s studio’! That’s a state of matter I resonate with – full studio del pittore’! Questo è uno stato della materia con cui ho of uncertainty and superabundance. sintonia – pieno d’incertezza e sovrabbondanza.
32 Fine Arts 2011-2012 A liberation in three acts 2011 painting: oil and acrylic on linen, 120 x 85 cm wall mounted sculpture: wood, clay, pigmented silicone, brass, wire, 70 x 50 x 34 cm
33 Duarte Natário dos Santos
Parco Centocelle is an archaeological park in the southeast of Rome. My work consists of a proposal for the requalification of Parco Centocelle into an agricultural and urban park. Sustainable demands ask for new approaches in landscape architecture. Capitalizing on the idea of urban allotment and community gardens, the new park will serve the people of Centocelle and its surroundings. There are numerous benefits of urban farming practices, with emphasis on the role they could play in the household economy and the quality of nutrition as well as numerous social and environmental benefits. At a time when the UN considers the promotion of urban agriculture as the most important urban planning of the XXI century, Italy and Rome should be able to conciliate the urban socio-economic development with their agricultural potential. My research and project allowed me to develop on this subject. My proposal consists in a study of the evolution of the agricultural landscape in Italy, with a more detailed approach on the Roman Agricultural Landscape, and how Italy and Rome can rescue and develop this values, in the modern landscape design. As a case study I propose the theme of urban vegetable gardens. As a more specific example of this kind of approach in Rome, my proposal is to develop a project for a new urban park located in the area that is now the Parco Centocelle, on the southeast of the city, now abandoned, that was 95 hectares of Agro Romano. With the creation of sustainable urban gardens, contributing for food and income for the local people, and also promoting the development of different activities and events, selling local products, organic weekly market, food fairs and exhibitions.
34 Fine Arts 2011-2012 Il Parco Centocelle è un parco archeologico nel sud-est di Roma. Il mio lavoro consiste in una proposta per la riqualificazione del Parco Centocelle in parco agricolo e urbano. Le esigenze della sostenibilità richiedono nuovi approcci nell’architettura di paesaggio. Sfruttando l'idea di orti urbani in concessione e giardini comunitari, il nuovo parco servirà gli abitanti di Centocelle e dintorni. Ci sono numerosi vantaggi nelle pratiche agricole urbane, in particolare il ruolo che esse possono svolgere per l'economia familiare e la qualità della nutrizione, oltre a numerosi benefici sociali e ambientali. Nel momento in cui le Nazioni Unite ritengono che la promozione dell'agricoltura urbana sia la pianificazione urbanistica più importante del XXI secolo, l'Italia e Roma dovrebbero essere in grado di conciliare lo sviluppo urbano socio-economico con il proprio potenziale agricolo. La mia ricerca e il mio progetto mi hanno permesso di approfondire questo argomento. La mia proposta consiste in uno studio dell'evoluzione del paesaggio agrario in Italia, con un approccio più dettagliato sul paesaggio agricolo romano, e su come l'Italia e Roma possano salvare e sviluppare questi valori nella progettazione del paesaggio moderno. Come caso di studio propongo il tema degli orti urbani. Per un esempio più specifico di questo tipo di approccio a Roma, la mia proposta è quello di sviluppare un progetto per un nuovo parco urbano situato nella zona che ora è il Parco Centocelle, a sud-est della città, 95 ettari di Agro Romano attualmente abbandonato. La creazione di orti urbani sostenibili, che danno un apporto alimentare e di reddito alla popolazione locale, ma promuovono anche lo sviluppo di diverse attività ed eventi, la vendita di prodotti locali, un mercato biologico settimanale, fiere gastronomiche e mostre.
35 Laure Prouvost
Ideally here 2011 sign
before, before 2011 installation, mot international
it, heat, hit 2010 video, 6 minutes
Burrow me 2009 video, 13 minutes
36 Fine Arts 2011-2012 The artist 2010 installation
37 Luke Roberts
In Mob We Trust (Richard Bell) 2012 acrylic on canvas and wood, 120 x 120 cm courtesy Milani Gallery, Brisbane
Luke Roberts has developed an intricate personal Luke Roberts ha sviluppato una complessa mitologia mythology that interpolates local and cosmological, and personale che interpola locale e cosmologico, e passato e past and future to offer a unique view on themes of futuro, per offrire un punto di vista unico sui temi della religion, sexuality, and human history. religione, la sessualità, e la storia umana. In the 1970s, inspired in part by Chariots of the Gods and Negli anni Settanta, parzialmente ispirato da Gli Fellini’s Roma, he created the extraterrestrial alternative extraterrestri torneranno e da Roma di Fellini, ha creato il pontiff persona, Pope Alice, to contest the Catholicism pontefice alternativo extraterrestre, Papa Alice, per and Western paradigm in which he was raised. contestare il cattolicesimo e il paradigma occidentale in cui He creates works in many different media, especially egli si è formato. photography. His Wunderkammern installations are Roberts crea opere in diversi media, soprattutto fotografia. concerned with concealed human history and gullibility Le sue installazioni Wunderkammern trattano della storia and attempt a fuller understanding of our world and umana occulta e della credulità, e tentano di comprendere each other. più pienamente il nostro mondo e noi stessi.
38 Fine Arts 2011-2012 Pope Alice (Aton salute) 2009 photographic performance, Lake Galilee, Western Queensland, Australia, June 2009, camera: John Elliott courtesy Milani Gallery, Brisbane
39 Felix Schwimmer
Archaeology of the Future: Dystopian Tourism in Rome Archeologia del futuro: turismo distopico a Roma
A speculative project of architecture that presents a fictional Un progetto speculativo di architettura che presenta un racconto narrative based in Rome is devoted to the prescient subject of di finzione ambientato a Roma, dedicato al tema preveggente del ecological change and adaptations caused by artificial cambiamento ecologico e degli adattamenti causati da interventi interventions into existing ecosystems. artificiali negli ecosistemi esistenti. The plot is set in a future conditioned by recurring floods more La storia è ambientata in un futuro condizionato da ricorrenti devastating than historical ones, by a ‘technocratic world inondazioni più devastanti di quelle storiche, da un ‘governo government’ owning political power and where technologies tecnocratico mondiale’ che detiene il potere politico, e da tecnologie mutate as they are transferred from one field to another. che mutano quando vengono trasferite da un campo a un altro. Compelling underwater vedutas explore architecture through a Avvincenti vedute sottomarine esplorano l’architettura con occhio dystopian eye, where the focus of the project is less in the form of distopico, in cui il punto focale del progetto non è tanto un oggetto a final object than as a script that it inserts into the city. A series finito quanto il copione che inserisce nella città. Una serie di of inventions enables coexistence with the underwater city: firstly invenzioni consente la convivenza con la città sommersa: in primo a colossal inhabitable porous self-supporting structure floats luogo una colossale struttura abitabile porosa autoportante fluttua above the city; second a mechanical fish was designed to travel sopra la città, in secondo luogo un pesce meccanico è stato inside the marvelous ruins. progettato per viaggiare all’interno delle meravigliose rovine. Against this backdrop, one reflects upon the major contemporary Su questo sfondo, si riflette sui principali processi contemporanei processes that capture, power and govern the changes and che conquistano, alimentano e governano i cambiamenti e le sfide challenges we are facing today, questioning what architecture che ci troviamo ad affrontare oggi, mettendo in discussione ciò che could generate when faced with extreme scientific, cultural and l'architettura potrebbe generare di fronte a scenari scientifici, political scenarios. culturali e politici estremi. more information at: www.schwimmer.ca/bsr-blog Per ulteriori informazioni: www.schwimmer.ca/bsr-blog
Flooding in Portico di Ottavia 2012 digital composition printed on photographic paper, 42 x 59.4 cm Mapping tourism in Rome 2012 map printed on tracing paper framed on a light box, 59.4 x 42 cm
Detail of: Satellite Image capturing Rome in floods 2012 digital composition printed on photographic paper, 59.4 x 42 cm
Flooding in Piazza della Minerva 2012 digital composition printed on photographic paper, 29 x 42 cm
Detail of Hydrometric wall on Basilica di Santa Maria sopra Minerva 2012 digital composition printed on photographic paper, 34 x 22 cm Heather B. Swann
In Rome I was looking at animals in architecture. A Roma ho guardato gli animali nell’architettura.
I went to St Peter’s on the two-tone green number 19 tram, Sono andata a San Pietro sul tram verde bicolore 19, con i with its white laminex seats. It was sunny and warm and suoi sedili bianchi di laminex. Era soleggiato e caldo e golden. As I walked towards the church a small white dorato. Mentre camminavo verso la chiesa una piccola piuma feather fell from the sky into my hand. I tucked it under my bianca cadde dal cielo nella mia mano. L'ho nascosta sotto il wedding ring. In the basilica there are marble doves at the mio anello nuziale. Nella basilica ci sono colombe di marmo bases of the central columns. I thought that if they all stood alle basi delle colonne centrali. Ho pensato che se fossero together they would make a forest. As we were evicted the state tutte insieme avrebbero fatto una foresta. Quando siamo moon was rising over Rome, full and enormous. Everyone stati fatti uscire la luna stava sorgendo su Roma, piena ed caught their breath. On the tram home, the feather tickled enorme. Tutti hanno trattenuto il fiato. Sul tram del ritorno, my finger in the late summer breeze. la piuma solleticava il mio dito nella brezza di fine estate.
The dove with the olive branch is easily overlooked in its La colomba col ramoscello d’ulivo viene facilmente trascurata ubiquity, its message old and faded. per la sua ubiquità, il suo messaggio vecchio e sbiadito.
There are no real animals in Rome except domestic dogs Non ci sono veri animali a Roma ad eccezione di cani e and cats. Many pigeons. This is the story of cities. I sat in gatti domestici. Molti piccioni. Questa è la storia delle città. the Piazza Farnese and drew the pigeons. I went back to Mi sono seduta a Piazza Farnese e ho disegnato i piccioni. count the St Peter’s doves. There are 52 panels, with a Sono tornata a contare le colombe di San Pietro. Ci sono 52 dove at the bottom and top of each. I made 12 birds, to pannelli, ognuno ha una colomba alla base e una in cima. resonate with the calendar number of the basilica and of Ho fatto 12 uccelli, per echeggiare il numero calendariale the apostles; I am not religious but it is the stuff that one della basilica e degli apostoli; non sono religiosa, ma queste breathes in here. sono le cose che si respirano qui.
The doves were made in the unseasonal warmth of Roman Le colombe sono state fatte nel tepore fuori stagione October 2011. Sweet. White. Pure. Too much so – by this dell’ottobre 2011 a Roma. Dolci. Bianche. Pure. Troppo – a time I was stumbling over the sinister. Walking dirtier questo punto stavo inciampando in cose sinistre. streets. Seeing through stories. Working the underhand Camminavo per strade più sporche. Capivo meglio le storie. economy. Running up against power. The olive branches Lavoravo sottobanco. Mi scontravo con il potere. I rami di are mere bunches of sticks. ulivo non sono altro che fasci di bastoni.
The fasces is also everywhere and unnoticed. Since Anche il fascio è ovunque e passa inosservato. Fin dall’antica ancient Rome it has symbolised power and authority. Roma è simbolo di potere e autorità. Le verghe legate insieme The rods bound together represent strength in unity. rappresentano la forza nell’unione. Il fastello è legato con un The bundle is tied with a ribbon and includes an axe, nastro e contiene una scure, a significare l’autorità legale di signifying the legal authority to kill. I had made these uccidere. Avevo fatto questi bastoni, ho deciso di fare l’ascia. sticks; I decided to make the axe. As I made the handle it Mentre facevo il manico, questo si trasformò in una zampa di metamorphosed into a goat leg. The devil’s leg. capra. La gamba del diavolo.
Doves, olive branches, faggots, fasces, axe, devil’s leg, Colombe, rami di ulivo, fascine, fasci, ascia, gamba del hoary old goat. diavolo, canuto caprone.
Rome. Roma.
Too many meanings to make sense. Troppi significati per avere senso.
42 Fine Arts 2011-2012 Fasces 2011 mixed media, installation variable
43 Covadonga Valdés
Strada romana 2012 gouache on paper, 64 x 70 cm
44 Fine Arts 2011-2012 Piramide 2012 gouache and pastel on paper, 64 x 70 cm
45
B IOGRAPHIES
47 RASHID ALI 2006-10 University of Nottingham, Institute of Architecture, 2nd Giles Worsley Travel Fellow, October-December 2011 Year BA design studio tutor 2006-07 Manchester School of Architecture, Manchester, 2nd Lives and works in London Year Studio design tutor http://www.rashidali.eu PUBLICATIONS EDUCATION 2012 ‘Medellín – Social forms of Urbanism’, P.E.A.R. 2011-09 MSc City Design and Social Science, London School Magazine (June) of Economics and Political Science 2011 ‘Young Architect of the Year’, Building Design 2010 Advanced Diploma in Professional Practice, Royal (October) Institute of British Architects 2010 ‘Istanbul – Inside and Out’, P.E.A.R. Magazine (April) 2000-02 Post Graduate Diploma in Architecture, Bartlett ‘In the void and in emptiness’, Scarf magazine (June) School, University College London 2009 ‘Jouberton Nursery’, Blueprint Magazine (August) 1996-99 BA (Hons) Architecture, University of Greenwich ‘Jouberton Nursery’, Building Design (June) ‘Copy and Duplication’, P.E.A.R. Magazine (June) ONE PERSON EXHIBITIONS 2008 ‘Young Architect of the Year long list’, Building Design 2012 Mogadishu – Forgotten Pasts and Distant Futures, (October) London Festival of Architecture 2006 Vladislav and Liudmila Kirpichev, EDAS – Design Kommunalka. Non Functional Space, Vienna & New SELECTED GROUP EXHIBITIONS York: Springer Publishers 2011 Seven Things To Do In An Emergency, The British School at Rome Young Architect of the Year Shortlist, Architecture ANGELA CATLIN Foundation, London Creative Scotland Document Fellow, January-March 2012 ‘Sample and Synthesis’, P.E.A.R. Magazine issue 3, Architectural Association Lives and works in Glasgow, Scotland. 2009 ‘Copy and Duplication’, P.E.A.R. Magazine issue 1, Between 1990 and 2006 she was news photographer for The New London Architecture Centre Herald newspaper, Glasgow. During this time she won several 2008 Young Architect of the Year Longlist, New London Scottish and UK photojournalism awards, including Scottish Architecture Centre, London Photographer of the Year (twice) and Scottish/UK Feature Photo of the Year (four times). Since 2006 she has worked as a AWARDS AND COMPETITIONS free-lance photographer, specialising in the coverage of 2011 Young Architect of the Year award (finalist) humanitarian and social issues. International trouble spots that Giles Worsley Travel Fellowship, British School at she has covered include Syria, Lebanon, Israel, Gaza, Rwanda, Rome (awarded) Russia, Cambodia, Indonesia, Colombia, Guatemala, Haiti, 2010 Home at MUDE, Lisbon (shortlisted) Somalia and Burkina Faso. New UK_Portugal Architects (selected) www.angelacatlin.com 2008 Young Architect of the Year award (nominated) 2004 Arab Cultural Centre, Washington (commended) EXHIBITIONS AND BOOKS 2012 I Don’t Know How A Rock Feels, The British School at TEACHING Rome 2010-11 Oxford Brookes University School of Architecture, 2011 Victims of Torture, Platform Gallery, Glasgow 2nd/3rd Year studio leader 2010 Pictures from the Middle East, Edinburgh Film House, 2009-10 Bartlett School, University College London, Summer Edinburgh School design tutor and continuing guest critic of the 2009 The Peacemakers, The Scottish Parliament, Edinburgh, BSc in Architecture and Scotland tour 2008-09 Welsh University School of Architecture, Cardiff 2008 Life after Iraq, St. Mungo’s Museum and Galleries, University, 2nd Year design studio leader Glasgow, and UK tour
48 Fine Arts 2010-2011 1985 Natural Light, a book of portraits of Scottish authors; 2005 Out There, Ivan Dougherty Gallery, Sydney exhibition opened Edinburgh Book Festival, and Wet River Dry Lake, Canberra School of Art, Scotland tour Australian National University 2004 Works on Paper, Robert Steele Gallery, New York AWARDS Sulman Prize, Art Gallery NSW 2012 Creative Scotland Document Fellowship, The British 2003 Significant Tilt, Macquarie University Gallery, School at Rome Sydney 2011 Winner, Red Cross Scotland Award for Photography 2001 Geometry of the Earth, Orange Regional Gallery 2010 Winner, Oxfam Scotland Award for Photography Harmonic Visions, Tamworth City Gallery, NSW 2008 Shortlisted, Amnesty International Awards, London 2000 Works on Paper at the Armory, Adam Baumgold Fine Art, New York PUBLICATIONS Scotland on Sunday, Spectrum Magazine, Sunday Herald, Herald SELECTED AWARDS AND RESIDENCIES Magazine, Mail on Sunday ‘Live Magazine’, The Guardian, 2012 National Art School Studio Residency in Drawing, Sunday Times Scotland, The New York Times, New Zealand The British School at Rome Herald, The Age (Australia), Irish Examiner, Al Jazeera, BBC 2007 Residency, Penrith Regional Gallery, NSW 2006 National Art School Studio Residency, Cité Internationale des Arts, Paris CHARLES COOPER 2005 Residency, Canberra School of Art, Australian National Art School Sydney Resident in Drawing, National University January-March 2012 1998 Trustees’ Watercolour Prize, Art Gallery of New South Wales Lives and works in Sydney 1996 Australia Council CEAD Grant Represented by Annandale Galleries, Sydney COLLECTIONS EDUCATION Wollongong City Gallery, Albury Regional Art Centre, La Trobe 1988 MA (Visual Arts), City Art Institute, Sydney University, Orange Regional Gallery, Mildura Art Centre, Gippsland Arts Centre, Swan Hill Regional Gallery, Hamilton RECENT ONE PERSON EXHIBITIONS City Art Gallery, Warrnambool Art Gallery, Commonwealth 2010 Peak Oil Paintings, Annandale Galleries, Sydney Artbank, Australian Stock Exchange; private collections in Circling the Block, Slot, Sydney Australia, New Zealand, USA, Europe Rivers and Roads, Hawkesbury and Orange Regional Galleries, NSW 2006 Crossroads, Annandale Galleries, Sydney COLIN DARKE 2004 Approaching the Block, Tin Sheds, Sydney University Arts Council of Northern Ireland Fellow, January-June 2012 2003 Traffic, Annandale Galleries, Sydney Lives in Belfast SELECTED RECENT GROUP EXHIBITIONS 2012 I Don’t Know How A Rock Feels, The British School at EDUCATION Rome 2007-10 PhD, University of Ulster, Belfast 2011 William Dobell Prize for Drawing, Art Gallery of New 1977-80 BA (Hons) Fine Art, Goldsmiths’ College, University South Wales of London 2009 Group Show feat. Cooper, Dumbrell, Bartlett, Bass & Buzacott, Annandale Galleries, Sydney SELECTED ONE PERSON EXHIBITIONS 2008 Pairs, Opposites, Dualities, Mildura Arts Centre, 2010 Parodos GTG, Golden Thread Gallery, Belfast, Victoria Ireland 2006 Mungo Place Willandra Time (Canberra School of 2009 The Capital Paintings, Droichead Arts Centre, Art), Mildura Arts Centre, Victoria Drogheda, Ireland
49 2008 The Capital Paintings, Temple Bar Gallery, Dublin, 1998 MA (Performance Studies), Victoria University, Ireland Melbourne 2005 Capital, Context Gallery, Derry, Ireland 1976 Diploma of Art, PIT 1999 Labour In Irish History, Oakville Galleries, Oakville, Toronto, Canada SELECTED ONE PERSON EXHIBITIONS/PERFORMANCES SINCE 2010 1995 A Contribution to the Critique of Political Economy, 2012 duet for two voices (the listened world), Orchard Gallery, Derry performance/installation, Room No 7, Appin Motel, Appin, New South Wales SELECTED GROUP EXHIBITIONS duet for two voices (the listened world), drawing 2012 Interplanetary Revolution, Golden Thread Gallery, installation and four keyboard performances, John Belfast Buckley Gallery, Melbourne 2009 Commodity Form, The Bluecoat, Liverpool (two- 2011 Artisti Italiani nel Mondo, Italian Pavilion, 54th person show with David Mabb) Biennale di Venezia, Venice 2008 God and Goods, Villa Manin Centro d’Arte 2047 (the immortal), painting installation and Contemporanea, Passariano, Codroipo, Italy performance, John Buckley Gallery, Melbourne Drawing a Line – A Contemporary Survey of Art from conversazione con les estrellas, installation and Northern Ireland, Heilongjiang, China performance, Latrobe University Gallery, Bendigo, 2004 Art in the Age of Terrorism, Millais Gallery, Victoria Southampton, England 2010 cathedral, blindfold piano performance, Clemenger Busan Biennale, Busan Metropolitan Art Museum, Prize, National Gallery of Victoria (Ian Potter), South Korea Melbourne Clandestini, Forte Spagnolo, L’Aquila, Italy settevoltecieco, lithographs and monotypes, Art Vault 2003 Venice Biennale 50, Arsenale, Venice Gallery, Mildura 2002 Something Else, Turku/Helsinki, Finland lardethac (wendloeht = dloweneht), two-week 2000 Manifesta 3, Ljubljana, Slovenia installation/performance, 20 Westbury Street, Better Society, Golden Thread Gallery, Belfast Hackney, Adelaide (three-person show with Phil Collins and Daniel who says words with my mouth, all-night solstice Jewesbury) performance/installation, Heide Museum of Modern Ambiguous Authority, Beacon Street Galley, Chicago Art, Melbourne 1999 A Measured Quietude, Drawing Center, New York triestement (more-is-u-thrill-o), painting installation and 1998 Tracings, Ormeau Baths Gallery, Belfast (four-person performance, John Buckley Gallery, Melbourne show with Sol LeWitt, Simon Patterson, Leo de (machine-for-contacting-the –dead, installation and Goede) performance, Cottee’s Factory, Murray-Darling Palimpsest Festival, Mildura, Victoria SELECTED COLLECTIONS Arts Council of Northern Ireland; National Self-Portrait SELECTED GROUP EXHIBITIONS/PERFORMANCES SINCE 2010 Collection of Ireland; Oakville Galleries, Toronto; David Roberts 2012 Contemporary Australian Drawing 2, University of the Art Foundation, London Arts, London Small Room with Animals and Humans, Mars Gallery, Melbourne DOMENICO DE CLARIO In the Doghouse, performance/installation, MARS Australia Council Resident Artist, July-September 2011 Gallery, Melbourne, with Sam Burke, Lotte & Toots 2011 Forever Young: 30 Years of the Heide Collection, Heide Born 5 June 1947, lives in Melbourne. Museum of Modern Art, Melbourne ‘forestories’, Sight Lines, installation/performance, with EDUCATION Sam Burke, Langford@120 Gallery, Melbourne 2001 PhD (Performance Studies), Victoria University, samadifference; Generations, installation/performance, Melbourne with Sam Burke, Wollongong Art Gallery, Wollongong
50 Fine Arts 2010-2011 ‘forestories’, with Sam Burke, Melaka Arts Festival, KIMATHI DONKOR Kuala Lumpur, Malaysia Derek Hill Foundation Scholar, October-December 2011 from the opaque 3, installation/performance, Federation Square, Melbourne, for the Light in Born in Bournemouth, 1965. Lives and works in London Winter Festival www.kimathidonkor.net National Biennale, Artists’ Self Portrait Prize, University of Queensland Museum (by invitation) EDUCATION 2010 Freehand. Recent Australian Drawing, Heide Museum 2010 MA, Fine Art, Camberwell College of Arts, London of Modern Art, Melbourne 1992 Post-graduate Certificate in Education, Art & Design, Global Mind, sound performance, Federation Square, Goldsmiths’ College, London Melbourne (with Stelarc, Jill Orr and Karen Casey) 1987 BA Hons, Fine Art, Goldsmiths’ College, London Journey to the Surface of the Earth (collaborative sound performance with Stephen Whittington, Tony Yap and SELECTED ONE PERSON EXHIBITIONS Janette Hoe), Madley Studios, University of Adelaide 2008 Hawkins & Co, Market Theatre Gallery, Armagh, futbol, Bianca Hester Project, ACCA, Melbourne Northern Ireland 2005 Fall/Uprising, Bettie Morton Gallery, London AWARDS AND RESIDENCIES 2004-5 Caribbean Passion: Haiti 1804, Bettie Morton Gallery, 2011 University of Queensland Museum, National Artists’ London; Art Exchange Gallery, Nottingham Self-Portrait Award, Winner 2010 Visual Arts Board of the Australia Council for the Arts: SELECTED GROUP EXHIBITIONS Studio Residency, The British School at Rome 2012 Invisible Forces, Furtherfield, London 2009 Invited Finalist, Clemenger Art Prize, National 2011 Seven Things To Do In An Emergency, The British Gallery of Victoria School at Rome 1999 Axé Foundation, Salvador de Bahia, Brazil Precious little, St Martin-in-the-Fields, London 1998 ASIALINK Residency, Silpakorn University, Bangkok Multiple authors & previous owners, Chelsea Triangle Artist Residency, Govett-Brewster Gallery, New Space, London Plymouth, New Zealand 2010 Ha sempre um copo de mar para um homem navegar, 1997 Artist Residency, Penny McCall Foundation Grant 29th Bienal de São Paulo, Brazil (New York, USA) Askew in the Garden of Desire, The Castle, London 1996-98 Australia Council, Visual Arts/Crafts Board be careful what you wish for, Space Station Sixty Five, Fellowship London 1996 Artist Residency, Sabbathday Lake, Maine, USA; The 2009 Kréyol Day, Conway Hall, London Quiet In the Land: Everyday Life, Contemporary Art 2008 Hawkins & Co, Contemporary Urban Centre, and the Shakers Liverpool 1995 Artist Residency, Threadwaxing Space, New York 2007 Torture Care Auction, The Building Centre, London Hawkins & Co, Elspeth Kyle Gallery, London Since 2011 Domenico de Clario has been collaborating with 2006 Telltale, Elspeth Kyle Gallery, London Australian performer, musician and multidisciplinary artist Sam 2005 Orature, Stephen Lawrence Gallery, London Burke. After graduating from the University of Melbourne’s 2004 Historicism, 198 Gallery, London Music Conservatorium in 2000, majoring in voice, Burke went 2003 The Jamaican Influence, The Fridge Gallery, London on to further her training in Vienna. Since then she has 1987 Creation for Liberation, Brixton Library, London performed throughout Australia, New Zealand, USA and Europe 1986 Young Black & Here, People’s Gallery, London and in 2012 she released her second solo album Your Name is Monti Wa Marumo, Brixton Art Gallery, London Safe in My Mouth. Sam Burke is a dedicated yogini whose 1985 Creation for Liberation, Brixton Recreation Centre, discipline informs all aspects of her practice. London Black Artists for Azania, Upper Street Gallery, London Artists Against Apartheid, Royal Festival Hall, London
51 AWARDS AND RESIDENCIES Friends (curated by Charlie Sofo), TCB Melbourne 2011 Derek Hill Foundation Scholarship, The British RBS Art Award, Sydney (finalist) School at Rome Rounds, Perth Institute of Contemporary Arts Shortlisted for the Bar-Tur award, University of the Arts Chicken Stampede, public performance & exhibition, London Next Wave Festival, Melbourne (solo) 2010 Joya Residency, Cortijada Los Gázquez, Almeria, 2009 Yellow vest syndrome (curated by Jasmin Stephens), Spain Fremantle Arts Centre 2009-10 Arts and Humanies Research Council, professional Burnie Print Award, Tasmania masters scheme full award Hatched National Graduate Show, PICA PICA Studio Residency Fremantle Print Award, Fremantle Art Centre GEORGE EGERTON-WARBURTON Summer, Goddard De Fiddes gallery, Perth Australia Council Resident Artist, January-March 2012 2008 Public Improvisations, Fabbrica del Vapore/CareOf, Milan Born 1988, Kojonup, Western Australia Corso Aperto, San Francesco, Lake Como, Italy Represented by Goddard de Fiddes Gallery, Perth, Western Fremantle Print Award, Fremantle Arts Centre Australia Print Association of Western Australia Awards, Moores Building Frematle EDUCATION 2009 BA with Honours, Curtin University, Perth AWARDS, GRANTS AND RESIDENCIES 2008 Public Improvisations with Yona Friedman, Advanced 2012-14 Gertrude Contemporary Studio residency, Melbourne, Course in Visual Arts, Fondazione Ratti, Como, Italy Australia 2012 DCA Development grant SELECTED EXHIBITIONS Australia Council Rome Studio residency, The British 2012 Living with living, Sutton Gallery Project Space, Next School at Rome Wave Festival, Melbourne (solo) 2011 Artspace residency, Sydney, NSW Australia Techno Park, Melbourne (solo) 2010 Fremantle Art Centre residency, WA Australia I Don’t Know How A Rock Feels, The British School at 2009 DCA Development grant Rome Australia Council Development grant No reasonable offer refused (curated by Liang PICA studio residency Luscombe and Patrice Sharkey), Westspace, Kick Start Development program, Melbourne Melbourne 2008 Advanced course in the Visual Arts: Public 2011 The Stalactite love review, ‘Dialogues with landscape’, Improvisations with Yona Friedman, Fondazione Ratti, Perth International Arts Festival, University of Western Como, Italy Australia Country Grammar, TCB, Melbourne (solo) COLLECTIONS Post project (curated by Hannah Matthews and Artbank, John Curtin Gallery, Curtin University Library, private Caterina Riva as part of Power to the people), ACCA, collections Australia-wide Melbourne High and Lofty, the ecclesiastical banner project PUBLICATIONS (curated by David Capra), Parramatta Artist Studios, 2010 Chicken Stampede, self-directed Sydney Rounds, PICA publication PRE MIX (curated by Daniel Bourke and Clare 2009 Yellow Vest Syndrome (catalogue essay), Fremantle Arts Wohlnick), Galleria, Perth Centre Press, 2009 Life, Fraser Studios, Sydney Hatched, PICA publication Joondalup Art Award ‘Metamorphapportioning’ (essay), Runway magazine 2010 Goddard De Fiddes Gallery, Perth (solo) Joondalup Art Award (minor prize winner)
52 Fine Arts 2010-2011 NICHOLAS HATFULL AWARDS AND RESIDENCIES Sainsbury Scholar in Painting and Sculpture, 2011-12 Sainsbury Scholarship in Painting and Sculpture, The October 2011-September 2012 British School at Rome 2011 Dover Arts Club Prize for Printmaking Born 1984, Tokyo www.nicholashatfull.com COLLECTIONS Saatchi Gallery, Franks-Suss Collection, 1:1 Projects Archive EDUCATION 2008-11 Postgraduate Diploma, Royal Academy Schools, London JESSICA KIRKPATRICK 2003-06 Ruskin School of Drawing and Fine Art, Oxford Abbey Fellow in Painting, April-June 2012
SOLO EXHIBITIONS Born 1980. Lives and works in Edinburgh, Scotland 2011 Il Bagno, Peles Empire, London www.jessicakirkpatrick.com 2009 Ignorant with the Suncream (Seafroot Delivery), Karsten Schubert, London EDUCATION 2010 MFA, Painting and Drawing, Edinburgh College of PERFORMANCES Art 2011 Hallo Bagno Hallo Sommelier, Royal Academy 2004 BFA, University of Colorado at Boulder, USA Schools exhibition, London 2010 Fusilli Jerry takes a Mysterious Bath, Fold Gallery, SELECTED EXHIBITIONS London 2012 Lynn Painter Stainer Prize, Mall Galleries, London Visual Arts Scotland Annual, Royal Scottish Academy, SELECTED GROUP EXHIBITIONS Edinburgh 2012 The world is bound in secret knots (curated by Jennifer Recent Work, The Parlour, Edinburgh, UK (solo) Teets), various locations 2011 Studio 5.18, Art’s Complex, Edinburgh D’après Giorgio (curated by Luca lo Pinto), Recrea(c)tion, Art’s Complex, Edinburgh Fondazione Giorgio e Isa de Chirico, Rome 2010 Return to Source, Art’s Complex, Edinburgh (three I Don’t Know How A Rock Feels, The British School at person show) Rome The Inexorable, MFA Degree Show, Edinburgh 2011 Seven Things To Do In An Emergency, The British College of Art School at Rome Post-Graduate Show, Atkinson Gallery, Somerset, The Call, Peles Empire, Cluj, Romania England Egocentric Space Lines (curated by Shama Khanna), Inexorable I, Total Kunst Gallery, Edinburgh (solo) Brief Habits Programme, Event Gallery, London 2009 Open Studios, Takt Kunstprojektraum, Berlin Royal Academy Schools Show, London Third Wheel, Embassy Gallery, Edinburgh Drawing 2011, The Drawing Room, London Maquette, Big Red Door, Edinburgh Ready Meal, The Sunday Painter, London 2008 3032 Miles, John David Mooney Foundation, Chicago 2010 Newspeak – British Art Now, Saatchi Gallery, London A Shoulder Bears Its Edge, Pirate Gallery, Denver (solo) Premiums, Sackler Galleries, Royal Academy, London AWARDS AND RESIDENCIES 2006 The Heat is Rising, Modern Art Oxford 2012 Leith School of Art Prize, Visual Arts Scotland Annual 2005 Montana Butch, Great Eastern Hotel, London Show 2004 Atomic Art Bomb, Modern Art Oxford Open Eye Gallery Prize, Visual Arts Scotland Annual Show PUBLICATIONS Abbey Fellowship in Painting, The British School at Briefly Noted (serviette-ish evil eye), available at www.xym.no Rome 2011 Cove Park Centre, Scotland
53 2010 John David Moonie Foundation, Chicago TemporaryContemporary Gallery, London 2009 Takt Kunstprojektraum, Berlin 2002 Us and Them, The Great Eastern Hotel, London The Most Dangerous Game, Rhodes and Mann PRIVATE COLLECTIONS Gallery, London Susie Leiper, Edinburgh; Jane and Ian Murray, Edinburgh; 2001 High Kickin’ – High Falutin’, VTO Gallery, London Douglas May, Edinburgh; Antje and Bernd Gürner, Berlin; Tim Glamourhammer (curated by David Lock), Thomas À Woods, Superior, CO; Hank Ridless, Boulder, CO; Robert Becket Boxing Gym, London Preston, Boulder; Kimberly Dellaca-Badgett, Boulder; Keith 2000 Assembly, Stepney City, London Treyball, New York NY; Bridget Sivanich, Dallas TX Juicy (curated by Michael Stubbs), Goldsmiths, London
DAVID LOCK AWARDS AND RESIDENCIES Abbey Scholar in Painting, October 2011-June 2012 2011-12 Abbey Scholarship in Painting, The British School at Rome Born 1970, lives and works in London 2006 John Jones Work on Paper Prize, Zoo Art Fair, London 2000 Arts and Humanities Research Board Award EDUCATION 2000-01 MA Fine Art, Goldsmiths, University of London 1999-00 PG (Dip) Fine Art, Goldsmiths, University of London FIONA MACDONALD 1995-99 BA (Hons) Fine Art, University of Reading Abbey Fellow in Painting, October-December 2011 1994-95 Art Foundation, De Montfort University, Leicester Lives and works in London ONE PERSON EXHIBITIONS http://www.fionamacdonald.co.uk 2007 John Jones Work on Paper Prize, Zoo Art Fair, London Misfits & Maladies, Fred, London/Leipzig EDUCATION 1995-97 MA History and Theory of Modern Art, Chelsea SELECTED GROUP EXHIBITIONS College of Art, London 2012 I Don’t Know How A Rock Feels, The British School at 1989-92 BA Hons Fine Art, Leeds Metropolitan University Rome 2011 Seven Things To Do In An Emergency, The British ONE PERSON EXHIBITIONS School at Rome 2011 Works from the mirrored series, 10 Gresham Street, 2010 Misfits, DS Contemporary, Belgium London Au-delà de l’horizon, TemporaryContemporary @ 2009 Morphology, Maddox Arts, London Trajector Art Fair, Belgium 2007 Anthropoflora, Long and Ryle, London 2008 Import/Export, Fred, Leipzig 2006 Habitat, Phoenix Gallery, Brighton 2007 Kate Davis, Mark Fairnington, David Lock & Matthew 2004 On the Verge, Vertigo, London Usmar Lauder, Binz & Cramer Gallery, Cologne The Juddykes (curated by Ben Judd and Howard Dyke), TWO PERSON EXHIBITIONS John Jones Project space, London 2010 Phyllida Barlow and Fiona MacDonald, Coexist, 2006 Metropolis Rise: New Art from London (curated by Southend Anthony Gross and Jen Wu), Dashanzi 798 Art A Point in the Field, with Anne Gathmann, Exeter District, Beijing and travelling to CDQ Design Phoenix, Exeter Centre, Shanghai, China 2007 Dirty Nature, with John Holland, Standpoint Gallery, 2005 The Drawing show (curated by Denise Kum), Shangri- London la Tattoo, London Uneven Surfaces: Painting Now, SELECTED GROUP EXHIBITIONS TemporaryContemporary, London 2011 Seven Things To Do In An Emergency, The British Mesmer: Scrutiny, Seduction and slight of hand, School at Rome
54 Fine Arts 2010-2011 Salonaise, Centrifugal Projects at Trajector Art Fair, 2010 Trainee in the company LAND srl, Milan, Italy Brussels 2008-09 Frequency in the Erasmus mobility program in the 5th How the Light Gets In, with Mermaid & Monster, Hay year of Architettura del Paesaggio, Facoltà Ludovico on Wye Quaroni, Sapienza University, Rome Lights Are On But Nobody’s Home, Standpoint Gallery, London PROJECTS AND ACCOMPLISHMENTS AS AUTHOR 2010 Doris, Stedefreund, Berlin AND CO-AUTHOR Manchester Contemporary, with Mermaid and Monster 2011 Garden for Family House Antonio Lobo, Maia, Summer Exhibition, Royal Academy, London Portugal 2009 3rd Water Tower Artfest, Sofia, Bulgaria Landscaping for the square in front of the City’s Who is Telling the Story?, curated by Basement Art Casino, for the Office of Public Constructions of the Projects, Galata Perform and the Ist International City of Póvoa de Varzim, Portugal Artists Initiative, Istanbul Participation as Project Coordinator in the contest Salon 09, Matt Roberts Arts, London (selected by Ceri ‘Development Project for Rehabilitation and Hand) Improvement of Pateira de Fermentelos’, under the 2008 The Damned and the Saved, Studio 1.1, London intervention of Polis (3rd place) 00 Nature, Contemporary Art Projects, London Article ‘Sustainable Urban Planning and Urban Hairport (performance), Late at Tate, Tate Britain Environment’, published in the Journal of Amarante, Beauty (performance) Beaconsfield Gallery Portugal, 25 July 2011 2007 Irrational Exuberance, Maddox Arts, London Participation as Project Coordinator in the contest Celeste Art Prize, Truman Brewery, London and Competition for the City Alcobaça Green Park, held Edinburgh with landscape architects Isabel Castro Freitas and Intervention, Fieldgate Gallery, London Marilia Conceição Creekside Open 2, APT, London 2010-11 Collaboration in the Design Competition for the Project of the Urban Park of the Palace of Giela - AWARDS AND RESIDENCIES Arcos de Valdevez, in the company X-scapes, Porto 2011 Abbey Fellowship in Painting, The British School at 2010 Collaboration and co-author on the project ‘Programs / Rome Plans for the Recovery of Abandoned Quarries / 2010 EKWC Inactive in the North’, inserted in the Action Plan for 2007 Braziers International Artists Workshop Qualification of the Environment in Northern 2006 Arts Council England, Grants for the Arts Portugal, held with the landscape architect Sara Ratola
DUARTE NATÁRIO DOS SANTOS LAURE PROUVOST IFLA Rome Scholar in Landscape Architecture, Winner, Max Mara Art Prize for Women 2011, April-June 2012 January-March 2012 Born 1978 Lille, France. Lives and works in London. Born 3 June 1987, Porto, Portugal http://laureprouvost.com/
EDUCATION EDUCATION 2010 Master in Landscape Architecture, Faculty of Science, 2007-10 Goldsmiths’ College, University of London University of Porto 1999-02 Central St Martins, London 2007-08 Degree in Landscape Architecture, Faculty of Science, University of Porto SELECTED ONE PERSON EXHIBITIONS 2012 MOTinternational, London and Bruxelles (October) GENERAL TRAINING Laure Prouvost at Treasurer’s House, York, residency in 2011 Frequency in the course of Environmental Educator partnership with The Barbara Hepworth Wakefield Training, Porto (July)
55 2011 Frieze Projects, Frieze Art Fair, London 2009 EAST award, East International, Norwich Laure Prouvost, IPS, Birmingham AAP, artist placement associate LUX, London Time Machine, Bookworks, Spike Island, Bristol 2008 Lighthouse, new commission, Brighton before, before. before it was, the title sequence, spinning before next, a squid, MOTinternational, London 2010 All These Things Think Link, Flat Time House, LUKE ROBERTS London Australia Council Resident Artist, April-June 2012 Art Now Lightbox, Tate Britain, London Frieze Frame, Frieze Art Fair, London Luke is a director of the Pope Alice Xorporation managing the Present Future, Artissima Art Fair, Turin earthly affairs of Her Divine Holiness Pope Alice. 2009 Storeybored, After the Butcher, Berlin www.popealice.com
SELECTED GROUP EXHIBITIONS EDUCATION 2012 Be With Me, Peter Bergman, Stockholm 2001 MFA, Queensland University of Technology Reflexion und Einfühlung, KAI 10 Arthena 1972-74 Queensland College of Art Foundation, Düsseldorf The Starry Rubric Set, Wysing Arts Centre, Wysing SELECTED ONE PERSON EXHIBITIONS 2011 Painting Show, Eastside Projects, Birmingham, UK 2011, ‘10 AlphaStation/Alphaville, Australian Centre for Fracas, Portikus, Frankfurt, Germany Photography, Sydney and Institute of Modern Art, Subjective Projections, Bielefelder Kunstverein, Brisbane Bielefeld, Germany 2006 You Are Not Alone, Institute of Modern Art, Brisbane Time Again, Sculpture Center, New York 2000 Ecce Homo, Artspace, Sydney Department Of Wrong Answers, Wysing Arts Centre, 1996 Clutch, Institute of Modern Art, Brisbane Cambridge 1994-95 Wunderkammer/Kunstkamera, Queensland Art Gallery, Bedtime Stories, Supportico Lopez, Berlin Brisbane Avec Excoffon, IFF, Marseille, France Museum of Speech, Extra City-Kunsthal Antwerpen, SELECTED GROUP EXHIBITIONS Belgium 2011-12 Sourris Collection, Gallery of Modern Art, Brisbane 2010 More Pricks Than Kicks, David Roberts Art 2002 Australian Representative at Museum of Foundation, London Contemporary Art, 13th Biennale of Sydney Kryptonim Matrioszka, Bunkier Sztuki, Krakow, 1997 PS1 Studio Artists, the Clocktower, New York Poland 1996 2nd Asia-Pacific Triennial, Queensland Art Gallery, Brisbane AWARDS AND RESIDENCIES 1995, ‘91 Australian Perspecta, Art Gallery of New South Wales, 2012 Winner, Max Mara Art Prize for Women 2011 Sydney 2011-12 Treasurer’s House, York, residency in partnership with The National Media Museum, Bradford (September- AWARDS AND RESIDENCIES January) 2012 Australia Council Rome Studio residency, The British 2011 Artist in residence, Inheritance Projects, UK School at Rome 57th Oberhausen Short Film Festival, Principal Prize 2010- Artist-in-residence, Central Queensland University, winner Rockhampton Winner of Film London Artist’s Moving Image 1997 Sala Diaz, San Antonio, Texas Network Grant, 2011 1996-97 Fellowship, PS1 Studio, ICA, New York Wysing Arts Center, The Department of Wrong Answers Residency, Cambridge PUBLIC ART COMMISSIONS CCA Residency, Glasgow 2003 UFO, Fiveways, West End, Brisbane 2010 56th Oberhausen Short Film Festival, Principal Prize 2000 SPQR, Roma Street Parklands, Brisbane winner for Monologue
56 Fine Arts 2010-2011 GRANTS SELECTED RECENT GROUP EXHIBITIONS 2008 Professional Development, Arts Queensland 2012 I Don’t Know How A Rock Feels, The British School at 1998 Professional Development, Arts Queensland Rome 1996 Fellowship, PS1 New York, Australia Council Migrating Landscapes, Parisian Laundry, Montréal, Canada PUBLICATIONS 2010 Bartlett Master Show, Wates Building, London 2012 AlphaStation/Alphaville (monograph), Institute of 2001 Biennale de St-Etienne, Beaux-Arts de Saint-Etienne, Modern Art, with text by Daniel Mudie Cunningham France 2011 Video document, interviewed by Doug Hall for the Sourris Collection, State Library of Queensland SELECTED AWARDS AND RESIDENCIES Archive 2012 Shortlisted for Migrating Landscapes Organisation, 1999 Vanitas (monograph), Institute of Modern Art, Brisbane Venice Architecture Biennale 2012 1996 Luke Roberts: A Black Swan of Trespass, Institute of Winner of Rome Architecture Residency, Conseil des Modern Art, Brisbane Arts et des Lettres du Québec, The British School at Rome COLLECTIONS 2010 Scholarship, Ministère de l’Éducation, du Loisir et du National Gallery of Australia, Canberra; Art Gallery of New Sport, Québec South Wales, Sydney; Museo Centro de Arte Reina Sofia, 2008 Finalist for Lorenz, 75 ore: watch design competition, Madrid Italy 2006 Winner of Invitation competition for Shanghai Media Group office interior design, China FELIX SCHWIMMER 2003 Study Abroad Scholarship, Ministère de l’Éducation, Québec Architecture Resident, January-March 2012 du Loisir et du Sport, Québec
Born 1977. Lives and works in L’Aquila, Italy and Montréal, PUBLIC TALKS Canada 2011 Transgression as a creative tactic, invited group Guest critic in several schools of design and architecture. Co- conference, The Bartlett, University College founder of E.A.T. collective: www.eat-collective.com London 2010 E.A.T. an international research group, invited group EDUCATION conference, Digital Studio Architecture, Greenwich 2010 M.Arch. Architectural Design, The Bartlett, University University College London 2008 Pecha Kucha Night, conference paper on ‘Projects in 2003 Bachelor of Interior Design, Université de Montréal, China’, Udine, Italy Canada
SELECTED PROFESSIONAL PROJECTS HEATHER B. SWANN 2011 Sassa 137, new housing complex, eight villas with Australia Council Resident Artist, October-December 2011 communal park, Officina ScH Architettura, L’Aquila Camarda 3in1, new residence for three family, Born 10 December 1961. Lives and works in Melbourne, Officina ScH architettura, L’Aquila Australia 2007-08 Shenzhen Stock Exchange interiors, new headquarters for the Shenzhen Stock Exchange, Office for EDUCATION Metropolitan Architecture, Shenzhen, China 2003 MFA, University of Tasmania 2006 Shanghai Television, television editing office floor, 1993 BFA with Honours, University of Tasmania SMG, Shanghai, China 2004-06 Il Ponticello, refurbishment, tourist and recreational RECENT ONE PERSON EXHIBITIONS multi-use complex, Construction Boca inc, Old Port of 2011 Bone, Karen Woodbury Gallery, Melbourne Montréal, Canada 2009 Troublemaker, Kristian Pithie Gallery, Melbourne
57 2008 Sweet, Helen Maxwell Gallery, Canberra Invited artist, Summer Exhibition, Royal Academy of 2005 Dog Eat Dog, Helen Maxwell Gallery, Canberra Arts, London 2004 Animal Behaviour, Bett Gallery Hobart 2011 Torrance Art Museum, California 2003 Night Creatures, Plimsoll Gallery, Hobart Contemporary Art Fair, Oviedo, Spain Charlie Smith Gallery, London SELECTED GROUP EXHIBITIONS Garboushian Gallery, Los Angeles 2012 Queer Urban Tales, The Substation, Melbourne Disputatio, Gooden Gallery, London 2011 Seven Things To Do In An Emergency, The British The Collection and Usher Gallery, Lincoln, UK School at Rome 2010 Galeria Mada Primavesi, Madrid Text (as) Image, Level 17 Artspace, Melbourne Carter Presents, London 2007 A Room Inside, Ian Potter Museum of Art, University KIAF 2010 International Art Fair, Seoul, Korea of Melbourne 2009 Turps Banana Show, Galleria Marabini, Bologna Waterhouse & Dodd Gallery, London SELECTED AWARDS AND COMMISSIONS 2008 Scope Art Fair, London 2011 Australia Council Studio, The British School at Rome The Wharf Road Project, V22 Collection, London 2010 Fender Katsalidis Architects, NewActon, Canberra 2006 BP Portrait Award, National Portrait Gallery, London 2007 Laneways Commissions, City of Melbourne John Moores 24, Liverpool Museums, Liverpool 2005 Goddard Sapin-Jaloustre Scholarship, France 2005 The Hunting Art Prize, Royal College of Art, London 1998 Rosamund McCulloch Scholarship, University of 2004 John Moores 23, Liverpool Museums, Liverpool Tasmania, Cité Internationale des Arts, Paris SELECTED AWARDS AND RESIDENCIES 2011 Abbey Fellowship in Painting, The British School at COVADONGA VALDÉS Rome Abbey Fellow in Painting, January-March 2012 2009 Ricklungarden Museum Residency, Sweden 2007 Art Grant, Spanish Embassy, London Lives and works in London 1999 Florence Trust Residency, London http://www.covadongavaldes.com 1985 First Drawing Award, Principado de Asturias, Spain Residency, University of Cabuenes, Spain EDUCATION 1992-94 MA Fine Art, Slade School of Fine Art, University College, London 1988-92 BA (Hons) Fine Art, Chelsea College of Art, London
ONE PERSON EXHIBITIONS 2012 Angulo Gallery, Asturias, Spain 2007 Hideaway, Contemporary Art Projects, London Touring Exhibition, Cajastur, Spain 2000 Gallery Trazos Tres, Santander, Spain 1999 Pump House Gallery, London 1998 Council of Cangas de Onis, Asturias, Spain 1997 Gallery Trazos Tres, Santander, Spain 1996 Council of Oviedo, Spain 1995 City Art Gallery, London 1994 The Slade, University College, London
SELECTED GROUP EXHIBITIONS 2012 I Don’t Know How A Rock Feels, The British School at Rome
58 Fine Arts 2010-2011 T HE BRITISH SCHOOL AT ROME
Director Christopher Smith Assistant Director Joanna Kostylo Research Professor in Archaeology Simon Keay Cary Fellow Robert Coates-Stephens Rome Fellow in Architecture Marina Engel Assistant Director (Fine Arts) Jacopo Benci Librarian Valerie Scott Deputy Librarian Beatrice Gelosia Library Assistants Francesca De Riso, Francesca Deli Archivist Alessandra Giovenco Registrar & Publications Manager (London Office) Gill Clark Development Officer Mary Ellen Mathewson Director’s Assistant Eleanor Murkett Administrative Assistant Alice Bygraves Systems Consultant Susan Rothwell Smith School Secretary Maria Pia Malvezzi Receptionist Magdalena Sygidus Bursar Alvise Di Giulio Accounts Clerk Isabella Gelosia Domestic Bursar Renato Parente Maintenance Fulvio Astolfi Technical Assistant & Waiter Giuseppe Pellegrino
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May 2012
Published by THE BRITISH SCHOOL AT ROME London ISSN 1475-8733 ISBN 978-0-904152-64-7