fine arts 2008-2009
SARA BARKER JOSEPH BEDFORD GABRIELLA BISETTO PENELOPE CAIN
DRAGICA JANKETIC CARLIN LUKE CAULFIELD KATIE CUDDON
GRAHAM DURWARD PIERRE GENDRON CELIA HEMPTON CATH KEAY
REBECCA MADGIN AMANDA MARBURG RUTH MURRAY EDDIE PEAKE
LIZ RIDEAL JAMES ROBERTSON DAVID SPERO AMIKAM TOREN fine arts 2008-2009
Sara Barker
Joseph Bedford
Gabriella Bisetto
Penelope Cain
Dragica Janketic Carlin
Luke Caulfield
Katie Cuddon
Graham Durward
Pierre Gendron
Celia Hempton
Cath Keay
Rebecca Madgin
Amanda Marburg
Ruth Murray
Eddie Peake
Liz Rideal
James Robertson
David Spero
Amikam Toren
THE BRITISH SCHOOL AT ROME
1 The projects realised by GABRIELLA BISETTO, PENELOPE CAIN, AMANDA MARBURG have been assisted by the Commonwealth Government through the Australia Council, its Arts funding and advisory body.
The Arts Council England Helen Chadwick Fellowship is organised and administered by The Ruskin School of Drawing and Fine Art, University of Oxford and The British School at Rome with the support of Arts Council England and St Peter’s College, Oxford.
Acknowledgements Edited by Jacopo Benci
David Chandler, Photoworks, London Graphic design Silvia Stucky Prof. Mihai Barbulescu, Romanian Academy, Rome Photography courtesy of the artists and architects, except Martin Brody, American Academy in Rome Claudio Abate (pp. 16-17, 47), Serafino Amato (pp. 30-31), Joachim Blüher, Pia Gottschaller, German Academy Villa Luke Caulfield (pp. 13, 46), Fernando Maquieira (pp. 24-25), Massimo, Rome Jacopo Benci (cover image; pp. 6-11, 51, 64) Marianna Di Giansante, Francesca Monari, Timothy Mitchell, Translations Jacopo Benci Æmilia Hotel, Bologna Gianmatteo Nunziante, Nunziante Magrone Studio Legale Associato, Rome Published by THE BRITISH SCHOOL AT ROME Casa dell’Architettura, Ordine degli Architetti P.P.C. di Roma e at The British Academy, 10 Carlton House Terrace, London SW1Y 5AH Provincia, Rome Marco Dalla Vedova, Dalla Vedova Studio Legale, Rome The British School at Rome Assessorato alle Politiche Culturali, Comune di Roma Via Gramsci, 61 00197 Roma Veronica Della Scala, RialtoSantambrogio, Rome Registered Charity No. 314176 Daniela Voso, ESC Atelier Occupato, Rome Benedetta Cestelli Guidi, s.t. fotolibreriagalleria, Rome ISSN 1475-8733 ISBN 978-0-904152-55-5 Daniele Bianca, Fabio Campagna, Giulia Cantisani, Marco Delogu, Patrizia Mania, Mirela Pribac, Luigi Prisco, Monica Scanu, Shara Wasserman
Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Lucy Davis, Marina Engel, David Forgacs, Alessandra Giacinti, Maria Pia Malvezzi, Eleanor Murkett, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino, Cristiana Perrella, Susan Russell, Marisa Scarsella, Valerie Scott, Chris Siwicki, Geraldine Wellington
DALLA VEDOVA STUDIO LEGALE
2 Fine Arts 2008-2009 C ONTENTS
04 Preface Andrew Wallace-Hadrill 06 Introduction Jacopo Benci
12 Sara Barker 14 Joseph Bedford 16 Gabriella Bisetto 18 Penelope Cain 20 Dragica Janketic Carlin 22 Luke Caulfield 24 Katie Cuddon 26 Graham Durward 28 Pierre Gendron 30 Celia Hempton 32 Cath Keay 34 Rebecca Madgin 36 Amanda Marburg 38 Ruth Murray 40 Eddie Peake 42 Liz Rideal 44 James Robertson 46 David Spero 48 Amikam Toren
51 Biographies
3 P REFACE
This is the fourteenth time I have written a preface to the annual BSR Fine Arts catalogue, and it cannot be without a certain regret that it is the last. Among the many factors which make the experience of living and working in the British School at Rome so extraordinary and rewarding, an outstanding one is the presence of artists and architects in the residential community. Diverse, imaginative and energetic, they constantly invite us to look at the experience of Rome and Italy with fresh eyes, and to find surprise and excitement in what might seem to have been reduced to the banal by centuries of over-exposure. This year, I have been taught to look at the run-down post-industrial suburbs of the Ostiense area in a new light by Rebecca Madgin, inaugural holder of the new Giles Worsley Travel Fellowship in Architecture, studying transformations of industrial space, and by Celia Hempton, Sainsbury Scholar in Painting, whose murals and canvases capture the same wastelands in the bright, hazy colours of Rome’s light. Liz Rideal, the last in a fine line of Wingate Rome Scholars in the Fine Arts, and Penelope Cain, one of a distinguished tradition of resident artists from Australia, have shown me Herculaneum, the site at which I myself work, in a new light by their projections: the washing, fluttering on the lines of the modern town’s most crowded and poverty-stricken quarter, gave the city of the dead a ghostly new life. These are only examples of the constant interaction between disciplines and re-imagining of the physical environment which seems to me a key contribution of the institution. For this we have to thank, as ever, the many Arts Councils, foundations and bodies which support these precious scholarships. It is always a pleasure to welcome new initiatives: in addition to the travel scholarship set up in memory of Giles Worsley by his wife Joanna Pitman, open alike to architects and architectural historians, we welcome the fellowship in photography funded by Photoworks, with its inaugural fellow David Spero, and the first Québec Architecture Resident, Pierre Gendron, supported by the Conseil des arts et des lettres du Québec. We also express thanks to the Harold Hyam Wingate Foundation for supporting over the years a series of excellent artists. And as each year, we express warm appreciation to the bodies that continue to support awards, to the Linbury Trust in the persons of Lord and Lady Sainsbury of Preston Candover for their enthusiastic support of two scholarships and the efforts they make to ensure the attractiveness of these awards to outstanding candidates, to the Edwin Austin Abbey Council, the longest and most loyal of supporters of the Fine Arts at BSR; to the Australia Council for its ongoing support of four three-month residencies; to the collaborative efforts, led by Richard Wentworth and Paul Bonaventura of the Ruskin School of Drawing & Fine Art, supported by the Arts Council England and St Peter’s College, Oxford, to sustain the Helen Chadwick Fellowship in both Rome and Oxford; and to Jo Batterham and the Trustees of the Derek Hill Foundation for the support of a scholarship in painting, this year in portraiture. Finally, I would like to thank the many individuals to whose efforts both in Rome and in London the success of the programme owes so much: to the Faculty of the Fine Arts, and especially its outgoing and incoming Chairs, Jenni Lomax and John Gill; to Gill Clark who as Registrar handles the complex procedures of selection; to Silvia Stucky, to whose design this catalogue owes an elegance out of proportion to its modest budget; and finally to Jacopo Benci, who as Assistant Director for the Fine Arts adds so much to the richness of the experience of the resident artists and architects.
Professor Andrew Wallace-Hadrill Director
4 Fine Arts 2008-2009 P REFAZIONE
Questa è la quattordicesima volta che scrivo una prefazione per l’annuale catalogo Fine Arts dell’Accademia Britannica, e non senza un certo rammarico noto che è l’ultima. Fra i molti fattori che rendono tanto straordinaria e gratificante l’esperienza di vivere e lavorare all’Accademia, uno dei più notevoli è la presenza di artisti e architetti nella comunità dei residenti. Diversi, immaginosi ed energici, ci invitano costantemente a guardare all’esperienza di Roma e dell’Italia con occhi nuovi, e a trovare sorpresa e emozione in ciò che potrebbe sembrare esser stato reso banale da secoli di sovraesposizione. Quest’anno, ho imparato a guardare sotto una nuova luce alla fatiscente periferia post-industriale dell’area Ostiense da Rebecca Madgin, prima titolare della nuova Giles Worsley Travel Fellowship in Architecture, che studia le trasformazioni dello spazio industriale, e da Celia Hempton, Sainsbury Scholar in Painting, i cui dipinti murali e su tela colgono quelle stesse aree abbandonate nei colori vivaci e velati della luce romana. Liz Rideal, l’ultima di una serie di eccellenti Wingate Rome Scholars in the Fine Arts, e Penelope Cain, appartenente a una illustre tradizione di artisti residenti australiani, mi hanno mostrato Ercolano, il sito su cui mi trovo a lavorare, in una nuova luce con le loro proiezioni: le lenzuola svolazzanti dai balconi del quartiere più affollato e povero del borgo moderno hanno dato alla città dei morti una spettrale nuova vita. Questi sono solo alcuni esempi della costante interazione fra discipline e del ripensare l’ambiente fisico che mi paiono un contributo essenziale dell’istituzione. Per tutto ciò dobbiamo ringraziare, come sempre, i molti Arts Councils, fondazioni ed enti che sostengono queste preziose borse di ricerca. È sempre un piacere accogliere nuove iniziative: in aggiunta alla ‘travel scholarship’ creata in memoria di Giles Worsley da sua moglie Joanna Pitman, aperta ad architetti e storici dell’architettura, diamo il benvenuto a David Spero, titolare della prima ‘fellowship’ in fotografia finanziata da Photoworks, e al primo Québec Architecture Resident, Pierre Gendron, sostenuto dal Conseil des arts et des lettres du Québec. Esprimiamo inoltre il nostro ringraziamento alla Harold Hyam Wingate Foundation per aver sostenuto negli anni una serie di eccellenti artisti. E come ogni anno, esprimiamo il nostro caloroso apprezzamento agli enti che continuano a finanziare delle residenze: al Linbury Trust nelle persone di Lord e Lady Sainsbury of Preston Candover per il loro appassionato sostegno di due ‘scholarships’ e per l’impegno che pongono per far sì che questi premi continuino ad attirare candidati di vaglia; all’Edwin Austin Abbey Council, il più antico e più fedele sostenitore delle Belle Arti all’Accademia; all’Australia Council per il suo costante sostegno a quattro residenze trimestrali; all’azione congiunta di Richard Wentworth e Paul Bonaventura della Ruskin School of Drawing & Fine Art, sostenuta dall’Arts Council England e dal St Peter’s College di Oxford, per mantenere la Helen Chadwick Fellowship a Roma e Oxford; e a Jo Batterham e ai Trustees della Derek Hill Foundation per il loro sostegno a una ‘scholarship’ in pittura, quest’anno dedicata al ritratto. In conclusione, vorrei ringraziare tutti coloro, a Roma e a Londra, al cui lavoro così tanto deve il successo del programma: alla Faculty of the Fine Arts, e specialmente ai suoi Direttori uscente e entrante, Jenni Lomax e John Gill; a Gill Clark che come Registrar si prende cura delle complesse procedure di selezione; a Silvia Stucky, al cui lavoro grafico questo catalogo deve un’eleganza non commisurata al suo modesto budget; e infine a Jacopo Benci, che come Assistant Director for the Fine Arts tanto contribuisce alla ricchezza dell’esperienza degli artisti e architetti residenti.
Professor Andrew Wallace-Hadrill Direttore
5 I NTRODUCTION
The year 2008-09 was marked by a large number of exhibitions and projects involving BSR artists and architects, who had frequent contacts with residents of the other foreign institutions, especially the American, German, Romanian, Spanish Academies and the Swiss Institute. These activities built upon contacts set in place during the previous years, and the interest of the new city government in developing relationships with the creative arts programmes of the foreign academies. At the beginning of October Umberto Croppi, the new ‘Assessore’ (Head) of the Department for Culture of the Comune di Roma, called for a meeting at Palazzo delle Esposizioni with representatives of the foreign academies and cultural institutes, in order to discuss how the Comune and the foreign institutions could collaborate on arts projects. At the end of September 2008, a brief exhibition entitled Tempo Reale presented works created at the School during September 2008 by Fine Arts scholars Cath Keay, Amanda Marburg, Liz Rideal, and by other artists then resident (Christopher Cook, and former Fine Arts scholars Richard Kirwan and Tony Lloyd). It was a spontaneous event that demonstrated the collaborative spirit often in evidence at the School, and which was greatly appreciated by September residents, as our formal events programme does not commence until October. The first of three BSR scholars’ introductory talks took place on 30 October. In the audience was Veronica Della Scala, arts officer of RialtoSantambrogio, an alternative venue with which the Fine Arts programme has collaborated on several projects. The following night, at RialtoSantambrogio, Fine Arts scholars met Fabio Campagna (curator of Aisling Hedgecock’s Hula-Gloop Experiment in April 2008), starting a collaboration that would bear fruit throughout the year. A late November visit to Herculaneum, organized by the Director, led to site-related video projections by Liz Rideal and Penelope Cain, and discussion of possible future arts events under the auspices of the Herculaneum Conservation Project. The exhibition Figure of 8 opened at the School on 12 December 2008, comprising works by Joseph Bedford, Penelope Cain, Dragica Carlin, Katie Cuddon, Ruth Murray, Eddie Peake, Liz Rideal, and a collaboration between Celia Hempton and Rebecca Madgin. The exhibition – supported by Dalla Vedova Legal Practice – had a good attendance, with many visitors from the other academies and the Rome art community. Thanks to a contact secured by the Director, on 18 December Penelope Cain, Katie Cuddon and Liz Rideal exhibited new works under the title Avvolgere Svolgere, at Nunziante Magrone legal practice’s Christmas cocktail party. On 23 December, Fabio Campagna organized Bites, an outdoor video projection of works by Penelope Cain and Liz Rideal at ESC Atelier Occupato, an alternative venue in San Lorenzo. Over a weekend in early January 2009, Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake and Liz Rideal visited the museums, churches and historical sites of Bologna, explored its streets and experienced its ambience as guests of Marianna Di Giansante at her Æmilia Hotel, with a view to the third consecutive exhibition of BSR Fine Arts scholars at Æmilia Hotel’s Spazio Cultura, which took place in May. On 30 January six Fine Arts scholars exhibited at RialtoSantambrogio in an event titled 123456 – Craack!, curated by Fabio Campagna. The event involved video projections by Liz Rideal, Penelope Cain, Joseph Bedford, Katie Cuddon, Eddie Peake, drawings by Celia Hempton, and a performance by Katie Cuddon, Celia Hempton and Eddie Peake, wearing costumes created by Eddie. At the invitation of Fabio Campagna and Daniele Bianca, Eddie, Katie and Celia reworked this performance as Tracce, walking from the Pantheon to a stage set in the Temple of Hadrian, on the final night of the yearly Alta Roma fashion show on 3 February. The performance was photographed and filmed and was covered by the media. The next scholars’ exhibition at the BSR, Our Lives Are Full of Remarkable Coincidences, opened on 13 March (until 21 March), presenting works by Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke Caulfield, Katie Cuddon, Celia Hempton,
6 Fine Arts 2008-2009 I NTRODUZIONE
L’annata 2008-09 è stata caratterizzata dalla partecipazione a un gran numero di mostre e progetti da parte degli artisti e architetti dell’Accademia Britannica, e dai loro frequenti contatti coi residenti delle altre istituzioni straniere, in particolare le Accademie di Germania, Romania, Spagna, Stati Uniti, e l’Istituto Svizzero. Queste attività hanno potuto svilupparsi grazie a contatti iniziati negli anni precedenti, e all’interesse della nuova amministrazione capitolina nello sviluppo delle relazioni con i programmi di arti creative delle accademie straniere. All’inizio di ottobre 2008 Umberto Croppi, il nuovo Assessore alla Cultura del Comune di Roma, ha voluto incontrare al Palazzo delle Esposizioni i rappresentanti delle istituzioni culturali straniere, per discutere come il Comune potesse collaborare con queste per progetti artistici. Alla fine di settembre 2008, una breve mostra intitolata Tempo Reale ha presentato opere create all’Accademia dai nuovi residenti Cath Keay, Amanda Marburg, Liz Rideal, e da altri artisti ospiti durante il mese (Christopher Cook, e gli ex borsisti Richard Kirwan e Tony Lloyd). La natura spontanea della mostra manifestava lo spirito di collaborazione che caratterizza spesso l’Accademia, e che è stato molto apprezzato dagli altri residenti, dato che il programma formale di eventi non sarebbe inziato che a ottobre. La prima di tre conferenze introduttive dei residenti dell’Accademia sul loro lavoro ha avuto luogo il 30 ottobre. Fra il pubblico vi era Veronica Della Scala, addetta per le arti del RialtoSantambrogio, spazio alternativo con cui il Programma Fine Arts ha collaborato per diversi progetti. La sera seguente, al RialtoSantambrogio, artisti e architetti incontravano Fabio Campagna (curatore ad aprile 2008 di Hula-Gloop Experiment di Aisling Hedgecock), mettendo le basi di una collaborazione che avrebbe dato frutti durante l’anno. Da una visita a Ercolano organizzata a fine novembre dal Direttore, sarebbero nate videoproiezioni di Liz Rideal e Penelope Cain legate al luogo, e discussioni su possibili progetti artistici futuri sotto gli auspici del Herculaneum Conservation Project. La mostra Figure of 8 si è inaugurata all’Accademia il 12 dicembre 2008, con opere di Joseph Bedford, Penelope Cain, Dragica Carlin, Katie Cuddon, Ruth Murray, Eddie Peake, Liz Rideal, e una collaborazione fra Celia Hempton e Rebecca Madgin. La mostra – con il sostegno dello Studio Legale Dalla Vedova – ha avuto una buona affluenza di pubblico, sia delle altre accademie che del mondo dell’arte romano. Grazie a un contatto creato dal Direttore, il 18 dicembre Penelope Cain, Katie Cuddon e Liz Rideal hanno esposto nuove opere, sotto il titolo Avvolgere Svolgere, in occasione del cocktail party natalizio dello studio legale Nunziante Magrone. Il 23 dicembre, Fabio Campagna ha organizzato Bites, videoproiezione in esterni di opere di Penelope Cain e Liz Rideal all’ESC Atelier Occupato, spazio alternativo a San Lorenzo. All’inizio di gennaio 2009, Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake e Liz Rideal si sono recati a Bologna, ospiti all’Æmilia Hotel di Marianna Di Giansante, per visitare musei, chiese e siti storici, esplorare il tessuto urbano e gustare l’ambiente della città, in vista della terza mostra di residenti della BSR nello Spazio Cultura dell’Æmilia Hotel, da realizzare in maggio. Il 30 gennaio l’evento 123456 – Craack!, a cura di Fabio Campagna, ha portato al RialtoSantambrogio video proiezioni di Penelope Cain, Joseph Bedford, Katie Cuddon, Eddie Peake, Liz Rideal, disegni di Celia Hempton, e una performance di Katie Cuddon, Celia Hempton e Eddie Peake, con costumi creati da Eddie. Su invito di Fabio Campagna e Daniele Bianca, poi, il 3 febbraio Eddie, Katie e Celia hanno rielaborato la performance camminando dal Pantheon fino a un palco allestito al Tempio di Adriano, per la serata finale dell’annuale evento Alta Roma. La performance, intitolata Tracce, è stata fotografata e filmata per riviste e siti web. La successiva mostra all’Accademia, Our Lives Are Full of Remarkable Coincidences, inauguratasi il 13 marzo (fino al 21
7 Cath Keay, Eddie Peake, and James Robertson. The exhibition was also the subject of an on-site lecture of the Contemporary European Art History course of the Università della Tuscia, taught by Patrizia Mania. Several projects and exhibitions took place during the spring, starting on 21 March with Celia Hempton’s performance of improvised music at an architecture & fashion soirée in San Lorenzo. Accademia delle Accademie, involving 28 artists from eight foreign academies, curated by Shara Wasserman, took place from 1 to 5 April at the Temple of Hadrian as part of The Road to Contemporary Art international art fair. The exhibition, under the patronage of the Department for Culture of the Comune di Roma, was very well attended. A new generation of British artists was brought to a wider public through the work of BSR participants Sara Barker, Katie Cuddon, Celia Hempton and Eddie Peake. Marco Delogu, director of the yearly FotoGrafia international festival, and Monica Scanu, liaison officer of the Department for Culture of the Comune di Roma, invited the foreign academies to participate in the 2009 edition of the festival with their photographers in residence. David Spero, the first Photoworks Fellow, represented the School. Photoworks generously supported the project by securing the shipment of David’s photographs to Rome. The exhibition, David Spero: Churches, opened at the BSR gallery on 15 May and ran until 6 June. On 29 May David gave a talk about his work at the Palazzo delle Esposizioni as part of the events programme of FotoGrafia 2009, and on 31 May he did a ‘book signing’ of his Churches monograph at s.t. fotolibreriagalleria. Concurrently, David was put in touch with arts liaisons officers at the American Academy, the German Academy and the Romanian Academy, in order for him to visit spaces suitable for his ongoing photo-sculptural project, Balls, Wood and Audiotape. Grand Tour Bologna – The British School at Rome II opened on 12 May at Æmilia Hotel in Bologna (until 15 June), presenting works by Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake and Liz Rideal. Joseph Bedford, Katie Cuddon, Celia Hempton and Eddie Peake participated in the seventh edition of Spazi Aperti at the Romanian Academy, opening on 27 May, curated by Mirela Pribac. The second edition of Academy Architects at the Acquario, curated by Shara Wasserman, opened on 3 June at the Casa dell’Architettura in Rome and included Joseph Bedford and Pierre Gendron, the first Québec Architecture Resident. Don’t Look Away, the final Fine Arts exhibition for 2008-09, opened on 12 June, involving new works by Joseph Bedford, Katie Cuddon, Graham Durward, Pierre Gendron, Celia Hempton, Eddie Peake, David Spero, and Amikam Toren. This long list of events and exhibitions does not fully represent the breadth of experiences that Fine Arts scholars enjoy during their residencies. It would take more than the available space to list the number of visits, in Rome and elsewhere, to sites dating from antiquity to the 21st century; the lectures, exhibitions, conferences and screenings that take place throughout the year at the School; the concerts, lectures, exhibitions, parties and informal social occasions at the other foreign academies; and the scholars’ individual and group explorations of Rome’s many different facets. One should not overlook the moments of leisure and relaxation (on the football pitch, tennis court, ping pong table; the running and cycling...) that necessarily complement commitment and labour. Our thanks go to all of the above-mentioned individuals and institutions for allowing and facilitating the realization of so many projects. We are grateful as always to all of the staff at the British School; particularly to Alessandra Giacinti, Fine Arts Research Assistant, for her reliability, commitment and enthusiasm; and to Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino and Marisa Scarsella, for their technical and practical support.
Jacopo Benci Assistant Director Fine Arts
8 Fine Arts 2008-2009 marzo), ha presentato nuove opere di Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke Caulfield, Katie Cuddon, Celia Hempton, Cath Keay, Eddie Peake, e James Robertson. La mostra è stata anche il soggetto di una lezione ‘in situ’ del corso di Storia dell’Arte dei Paesi Europei dell’Università della Tuscia, tenuto da Patrizia Mania. Diversi altri progetti e mostre hanno avuto luogo durante la primavera, a partire dalla performance di musica improvvisata tenuta da Celia Hempton durante una serata di moda e architettura a San Lorenzo, il 21 marzo. Accademia delle Accademie, a cura di Shara Wasserman, ha presentato dall’1 al 5 aprile al Tempio di Adriano opere di 28 artisti di otto accademie straniere, nell’ambito della fiera internazionale The Road to Contemporary Art. L’evento, patrocinato dall’Assessorato alla Cultura del Comune di Roma, ha avuto un ampio pubblico, che ha potuto scoprire una nuova generazione di artisti britannici rappresentata per la BSR da Sara Barker, Katie Cuddon, Celia Hempton e Eddie Peake. Marco Delogu, direttore del festival internazionale FotoGrafia, e Monica Scanu, incaricata dell’Assessorato alla Cultura del Comune di Roma, hanno invitato le accademie straniere a partecipare con i loro fotografi residenti all’edizione 2009. L’Accademia Britannica ha designato David Spero, primo Photoworks Fellow; e Photoworks ha generosamente sostenuto il progetto finanziando la spedizione delle fotografie di David a Roma. La mostra David Spero: Churches si è aperta nella Galleria della BSR il 15 maggio, fino al 6 giugno. Nell’ambito del programma di FotoGrafia 2009, il 29 maggio David ha tenuto una conferenza sul suo lavoro al Palazzo delle Esposizioni, e il 31 maggio un ‘book signing’ del suo libro Churches presso s.t. fotolibreriagalleria. Contemporaneamente, David è stato posto in contatto con i coordinatori per le arti visive delle Accademie Americana, Tedesca e di Romania, per consentirgli di visitare spazi utilizzabili per il suo progetto foto-scultoreo in corso, Balls, Wood and Audiotape. Grand Tour Bologna – The British School at Rome II si è inaugurata il 12 maggio all’Æmilia Hotel a Bologna (fino al 15 giugno), presentando opere di Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake e Liz Rideal. Joseph Bedford, Katie Cuddon, Celia Hempton e Eddie Peake hanno partecipato alla settima edizione di Spazi Aperti, a cura di Mirela Pribac, inauguratasi all’Accademia di Romania il 27 maggio. La seconda edizione di Academy Architects at the Acquario, a cura di Shara Wasserman, si è aperta il 3 giugno alla Casa dell’Architettura di Roma con la partecipazione per la BSR di Joseph Bedford e di Pierre Gendron, primo Québec Architecture Resident. A conclusione del programma Fine Arts 2008-09, si apre il 12 giugno la mostra Don’t Look Away, con nuove opere di Joseph Bedford, Katie Cuddon, Graham Durward, Pierre Gendron, Celia Hempton, Eddie Peake, David Spero e Amikam Toren. Questa lunga lista di eventi e mostre non rappresenta a pieno la gamma di esperienze offerte agli artisti e architetti durante le loro residenze. Ci vorrebbe ben più dello spazio qui disponibile per citare le visite a siti dall’antichità al XXI secolo, a Roma e altrove; le conferenze, mostre, convegni, proiezioni che hanno luogo durante l’anno all’Accademia; i concerti, conferenze, mostre, feste, occasioni informali di socializzazione delle altre accademie straniere; e le esplorazioni individuali e di gruppo dei molteplici volti di Roma. Né vanno trascurati i momenti di svago e relax (sul campo di calcio e da tennis, al tavolo da ping pong, correndo e andando in bicicletta...) che sono necessario complemento dell’impegno e del lavoro. Vogliamo ringraziare tutte le persone e istituzioni sopra citate per aver consentito e agevolato la realizzazione di tanti progetti. Siamo grati come sempre a tutto il personale dell’Accademia Britannica; in particolare ad Alessandra Giacinti, Fine Arts Research Assistant, per la sua affidabilità, impegno ed entusiasmo; e a Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino e Marisa Scarsella, per il loro sostegno tecnico e pratico.
Jacopo Benci Assistant Director Fine Arts
9 Figure of 8, 12-20 December 2008
Our Lives Are Full Of Remarkable Coincidences, 13-21 March 2009
10 Fine Arts 2008-2009 E XHIBITIONS
T EMPO R EALE 26-27 September 2008 Cath Keay, Amanda Marburg, Liz Rideal, Christopher Cook, Richard Kirwan, Tony Lloyd
F IGURE OF 8 12-20 December 2008 Joseph Bedford, Penelope Cain, Dragica Janketic Carlin, Katie Cuddon, Celia Hempton, Rebecca Madgin, Ruth Murray, Eddie Peake, Liz Rideal
O UR L IVES A RE F ULL O F R EMARKABLE C OINCIDENCES 13-21 March 2009 Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke Caulfield, Katie Cuddon, Celia Hempton, Cath Keay, Eddie Peake, James Robertson
D ON’ T L OOK AWAY 12-20 June 2009 Joseph Bedford, Katie Cuddon, Graham Durward, Pierre Gendron, Celia Hempton, Eddie Peake, David Spero, Amikam Toren
11 Sara Barker
Selecting a floor, the elevator regulates the movement of Selezionando un piano, l’ascensore regola il movimento adverbial, while they in turn trim the story lines short; avverbiale, mentre essi a loro volta accorciano gli intrecci; restricting time and place, they dwell on manner and pass limitando tempo e luogo, si soffermano sul comportamento over cause in silence. They reduce plot to a minimum. But e sorvolano la causa in silenzio. Riducono la trama al it is not they who are the essence of the invisible structure, minimo. Ma non sono loro l’essenza della struttura just as it is not the ropes strung over the abyss, nor the invisibile, così come non lo sono le corde tese sull’abisso, né ocean currents, nor the precipitous lines of the graphs of le correnti oceaniche, né le ripide linee dei diagrammi market reports in the Financial Times. Its core and dell’andamento dei mercati nel Financial Times. Il suo foundation may turn out to be the predicates of sentences, nucleo e fondamento potrebbero rivelarsi essere i predicati which as a rule are unfeeling and, like judicial sentences, delle frasi, che di norma sono insensibili e, come sentenze irreversible. No one knows where they come from; the giudiziarie, irreversibili. Nessuno sa da dove vengano; narrator does not know either. They become visible only nemmeno il narratore. Diventano visibili solo quando sono when they are firmly fixed in tenses; they take the space of fermamente fissate in tempi verbali; prendono in loro the sentences into their possession. And when they pass on, possesso lo spazio delle frasi. E quando procedono oltre, si a void is left behind. lasciano dietro un vuoto.
From Moving Parts, Magdalena Tulli, a gift from my friend Harry. Da Moving Parts di Magdalena Tulli, un dono del mio amico Text translated from the Polish by Bill Johnston, Archipelago Harry. Testo tradotto dal polacco da Bill Johnston, Archipelago Books, 2005, p. 123 Books, 2005, p. 123
Inside a crypt at the non-catholic cemetery in Rome
12 Fine Arts 2008-2009 Unfolding arms behind my back, 2009 cement, clay, woodfiller, card, acrylic, plywood, mahogany, 118 x 79 x 220 cm Courtesy of Mary Mary, Glasgow
13 Joseph Bedford
THE WALLS OF ROME: TOWARDS A THEORY OF LE MURA DI ROMA: VERSO UNA TEORIA DELLA DETERMINATION DETERMINAZIONE
Architecture has always been an image of stability and L’architettura è sempre stata un’immagine di stabilità e presence; its memory has lent words their weight. But this presenza; la sua memoria ha dato alle parole il loro peso. stability also contains a forgotten violence: the violence of Ma questa stabilità contiene anche una violenza walls and locked doors, of towers and keeps, of bastions and dimenticata: la violenza di mura e porte chiuse, di torri e ramparts; of cloistered sanctuary, and walled courtyards; of mastii, di bastioni e baluardi; di rifugi appartati, e cortili veiling porticos and false windows. As walls structure our cinti da mura; di portici dissimulanti e false finestre. Così words and their memories form our dream worlds, the past come i muri strutturano le nostre parole e i loro ricordi becomes absorbed into a slipstream of spatial metaphors: formano i nostri mondi onirici, il passato viene assorbito in from firewalls, chat rooms and websites to windows, portals una scia di metafore spaziali: da ‘firewalls’, ‘chat rooms’ e and trap doors; a past architectural Real haunts a future siti web a finestre, portali e ‘trap doors’; un passato Reale virtual Imaginary. architettonico infesta un futuro Immaginario virtuale. The agonistic and antagonistic exclusions sedimented Le esclusioni agonistiche e antagonistiche sedimentate in the architectural unconscious of Rome reveal parallels nell’inconscio architettonico di Roma rivelano paralleli con in the latent exclusions of our technologically mediated le latenti esclusioni del nostro mondo tecnologicamente world: from the explicit Walls of Aurelian fortifications to mediato: dalle esplicite fortificazioni delle Mura Aureliane the many implicit walls of centuries of courtyards, palaces alle molte mura implicite di secoli di cortili, palazzi e ville – and villas – the myths of Rome provide a source for i miti di Roma offrono una fonte per comprendere i miti dei understanding the myths of our 21st century boundaries. nostri confini del XXI secolo. At the greatest scale Rome’s city walls are saturated by Su scala massima, le mura urbane di Roma sono saturate myth. Romulus left a violent mark upon invisible dal mito. Romolo impresse un segno violento su confini boundaries; their spatialized significance kept alive by invisibili; il loro significato spazializzato fu tenuto vivo da augurs and emperors. And Janus left a watchful presence auguri e imperatori. E Giano lasciò una vigile presenza sulle over the gates of the walls; looking behind and beyond, porte delle mura; guardando indietro e oltre, aprendo e opening and closing their doors, setting a compass for chiudendo le loro porte, stabilendo un ambito per l’impero e empire and an origin for retreat. At the smaller scale, these un’origine per la ritirata. Su scala minima, queste mura multiplied walls, once turned Rome’s inside into another moltiplicate, un tempo mutarono l’interno di Roma in un outside. Its papal, merchant and mendicant islands altro esterno. Le sue isole papali, mercantili e mendicanti became an archipelago of separations, which, today, are no divennero un arcipelago di separazioni che, oggi, non sono longer visible past tourist brochures and retail stores. più visibili al di là delle brochures turistiche e dei negozi. It is no longer obvious how freedom was once Non è più ovvio come la libertà fosse un tempo conditioned by masonry and, although the hardware of condizionata dalla muratura e, sebbene lo ‘hardware’ delle our cities is changing, the software of our cities remains nostre città stia cambiando, il loro ‘software’ rimane lo stesso. the same. The same separations and seductions still Le stesse separazioni e seduzioni persistono; solo che le loro persist; only their visibility and symbolisation is no longer visibilità e simbolizzazione non è più costitutiva del loro constitutive of their power. The surveillance networks, potere. Reti di sorveglianza, ‘pass-cards’, criptografie per pass-cards, wireless encryptions, security scans, tinted ‘wireless’, scansioni corporali di sicurezza, vetri oscurati, screens, biometric prints, one-way mirrors, anti-climb, impronte biometriche, specchi semitrasparenti, sistemi anti- anti-skate, anti-pigeon, automated, electronic and effrazione, anti-skate, anti-piccioni, porte automatiche, hydraulic doors recede behind images of connectivity and elettroniche e idrauliche recedono dietro immagini di intimacy. connettività e intimità. Something of the visual articulation that once Qualcosa dell’articolazione visiva che un tempo accompanied structural exclusion in the urban accompagnava l’esclusione strutturale nella topografia topography of Rome may offer a way to rethink the urbana di Roma può offrire un modo per ripensare il recuperation of the visibility of power that is needed today recupero della visibilità del potere che è oggi necessaria per il for the proper functioning of our political space. corretto funzionamento del nostro spazio politico.
14 Fine Arts 2008-2009 Nested Space
Separated Space
Reconnected Space
15 Gabriella Bisetto
me 2009 collagene casing
16 Fine Arts 2008-2009 you / god 2009 bread, hair
17 Penelope Cain
Pound 2009 video installation, The British School at Rome (video still)
The Voice: If you build it, he will come. La Voce: Se lo costruisci, egli verrà. Annie Kinsella: If you build what, who will come? Annie Kinsella: Se costruisci cosa, chi verrà? Ray Kinsella: He didn’t say. Ray Kinsella: Lui non l’ha detto.
Field of Dreams L’uomo dei sogni
18 Fine Arts 2008-2009 Pedestrians / Struscio 2009 digital print on transparent acetate and board, pins, detail of installation 8 m x 2 m, University of East London Gallery
19 Dragica Janketic Carlin
Gaze 2008
20 Fine Arts 2008-2009 Circles 2008 oil on canvas, 90 x 90 cm
21 Luke Caulfield
“Atti del Seminario Europeo ‘Falcon One’ sulla Criminalità Organizzata”, Roma, 26/27/28 aprile 1995
Strategia terroristico-mafiosa connessa con gli attentati del 1993 in Italia: una ricostruzione
1.1 Nel centro di Firenze, tra le ore 1.02 e le ore 1.04 del 27.5.1993, si verificava una violentissima esplosione... L’esplosione cagionava il crollo di un'ala della Torre del Pulci ove ha sede l'Accademia dei Georgofili, con la sovrastante abitazione del custode che decedeva con la moglie e due giovani figlie. Altre numerose persone (36) riportavano lesioni a seguito della deflagrazione e dei devastanti effetti prodotti dalla stessa. I vicini palazzi storici venivano sventrati e nell'incendio del palazzo ubicato in via Lambertesca n. 3..., decedeva uno studente che lì abitava. Gli effetti della deflagrazione, devastanti per l’elevato numero delle vittime, risultavano gravissimi anche per gli enormi danni materiali agli edifici monumentali, artistici e storici ed alle opere d’arte...... venivano gravemente danneggiate le seguenti opere: ...Van der Weyden - “Deposizione nel Sepolcro”; Sebastiano del Piombo - “Morte di Adone”... 1.3.3 Rispettivamente alle ore 23,58 del 27.7 ed alle ore 00,02 ca. del 28.7.1993, in Roma nella Piazza San Giovanni in Laterano ed ancora in Roma alla Chiesa di San Giorgio al Velabro, si verificavano due esplosioni determinate da due autobomba: la prima esplosione cagionava, tra l'altro, i seguenti eventi: gravi danni alle strutture murarie della Basilica di San Giovanni in Laterano e del Palazzo Lateranense; danni più o meno ingenti ai veicoli in sosta o in transito nelle vicinanze. La seconda esplosione cagionava, tra l'altro: danni alle strutture murarie della Chiesa di San Giorgio al Velabro ed agli edifici limitrofi...
Time Machine 2009 acrylic and ink on card, card, matches 30 x 42 cm; 28 x 40 cm; 5.1 x 5 x 6 cm (x 2) Courtesy of One in the Other, London
22 Fine Arts 2008-2009 “Papers of the European Meeting ‘Falcon One’ on organised crime”, Rome, April 26/27/28, 1995
Mafia Terrorist Strategy Related to the 1993 Bomb Attacks in Italy: a Reconstruction
1.1 Between 1.02 and 1.04 a.m. of 27.5.1993, a massive explosion occurred in the centre of Florence... The explosion caused the collapse of one wing of the Torre del Pulci, headquarters of the Georgofili Academy, and the home of the caretaker who died together with his wife and two young daughters. Many other people (36) were injured by the blast and its devastating effects. Historical buildings nearby were demolished and a student died in the fire that broke out in the building where he was living, located in Via Lambertesca, 3... The explosion effects were devastating causing a number of casualties and damage to monuments, artistic and historical buildings and works of art...... the following works of art were severely damaged: ...Van der Weyden - "Deposition in the sepulchre"; Sebastiano del Piombo - "Death of Adonis"... 1.3.3 Two explosions occurred in Rome, in Piazza San Giovanni in Laterano and in front of the Church of San Giorgio in Velabro, on 27.7.1993 at 11.58 p.m. and on 28.7.1993 at 0.02 a.m. respectively. Both explosions were produced by a car bomb. The first caused the following: severe damage to the walls of the Basilica di San Giovanni in Laterano and to the Palazzo Lateranense; damage to vehicles parked or in transit around the area. The second blast caused the following: damage to the walls of the Church of San Giorgio al Velabro and nearby buildings...
Return of the Living Dead 2009 acrylic on linen, card, matches 31 x 31 cm (x 2); 5.1 x 5 x 6 cm (x 2) Courtesy of One in the Other, London
23 Katie Cuddon
Untitled Hunting Apparatus 2008 plaster, log, steps
24 Fine Arts 2008-2009 May It Always Be 2009 plaster, wood, pen and pencil on paper
25 Graham Durward
Thurifer of light (2) 2009 oil on canvas, 167.6 x 142.2 cm
26 Fine Arts 2008-2009 When I was young I had no head my eye was single and my body filled with light 2009 oil on canvas, 121.9 x 101.6 cm
27 Pierre Gendron
My work functions as a device which offers a perceptual Il mio lavoro funziona come dispositivo che offre experience that momentarily splits us from reality and un’esperienza percettiva che ci separa momentaneamente moves us towards a fictional and ideal space. This dalla realtà e ci sposta verso uno spazio finzionale e ideale. experience is often achieved by a simultaneous perception Questa esperienza è spesso ottenuta per mezzo di una of real views, still images, transparencies, translucencies, percezione simultanea di vedute reali, immagini statiche, and reflections. Precise points of view, datums, and trasparenze, traslucenze, e riflessi. Precisi punti di vista, alignments organize and give specific shape to my work. dati, e allineamenti organizzano e danno specifica forma al The development of a project arises from a careful and mio lavoro. Lo sviluppo di un progetto nasce dall’attento e precise mapping of a site or situation. Images from this preciso rilevamento di un sito o di una situazione. documentation are then manipulated, multiplied, and Le immagini derivanti da questa documentazione sono poi decomposed to eventually become something other. As a manipolate, moltiplicate, e decomposte per divenire infine basis for the development of form, I am interested in using qualcosa d’altro. Quale base per lo sviluppo della forma, numerical structures, the notion of time, and perception as mi interessa usare strutture numeriche, la nozione di a conceptual framework. The layering of those elements tempo, e la percezione come telaio concettuale. La creates a perceptual complexity which conceals the logic stratificazione di questi elementi crea una complessità and process of the work. percettiva che dissimula la logica e il processo del lavoro.
one foot x one foot x one second 2007 birch plywood and laser-cut plexiglass, 30 x 30 x 30 cm
28 Fine Arts 2008-2009 60 seconds wall 2006 digital print on photographic paper, 100 x 100 cm
29 Celia Hempton
30 Fine Arts 2008-2009 Quay Cur 2008 acrylic on wall, 300 x 1040 cm
31 Cath Keay
‘ERA’
Childhood memories, fixed through play, amusement, or surprise, define the limits of lived reality. The 1930s are the decade furthest in the recall of most our oldest relatives and acquaintances, a moment of utopian thought that subsequently hardened into dogma. I researched Italian Colonie and Case del Balilla from this era as vivid architectural forms expressing the recollections of some generations ago. They show a playful innocence in the shadow of impending war and upheaval, mirroring the Futurists’ transformation of engineering feats into aesthetic ends in themselves. In Calambrone, the Colonia Principe di Piemonte takes the form of an aeroplane if viewed from above, an architectural embodiment of the contemporaneous Futurist aeropitture. In Cattolica, dormitories suggest streamlined trains welcoming expatriate children. These optimistic holiday buildings appear free from the dictates associated with the modernism of the later Fascist era, yet commands written on the walls belie an insipient credo of regimentation. I explored the continued significance of the colonie as Insabbiare 2009 formative childhood memories, mining the tension carved firelighters on the beach at Ostia Lido, 100 cm between spontaneous mass play and assumptions of mass compliance with visionary imperatives. The works regenerate living memories through the interpolation of A Calambrone, la Colonia Principe di Piemonte vista resonant images, recollections and associations. Wax avatars dall’alto ha la forma di un aeroplano, incarnazione of the buildings invite the overhaul of a swarm of bees, and architettonica delle contemporanee aeropitture futuriste. texts can dissipate as well as dictate. Such mutable and A Cattolica, i dormitori suggeriscono aerodinamici treni mercurial materials as colonies of ants or fire on a windy che accolgono bimbi espatriati. Questi ottimistici edifici beach exhort command and its inherent failure; uncertain per le vacanze sembrano immuni dai dettami associati al ideology that embraces the fragmentation of multiplicity. modernismo della tarda era fascista, eppure le parole d’ordine scritte sui muri nascondono un insipiente credo I ricordi d’infanzia, fissati attraverso il gioco, il di irreggimentazione. divertimento, o la sorpresa, definiscono i limiti della Ho esplorato il duraturo significato delle colonie in realtà vissuta. Gli anni Trenta sono il decennio più quanto formativi ricordi d’infanzia, indagando la tensione lontano nel ricordo di gran parte dei nostri più anziani fra gioco di massa spontaneo e supposta conformità di congiunti e conoscenti, un momento di pensiero utopico massa a imperativi visionari. Le opere rigenerano memorie che in seguito si sarebbe indurito in dogma. Ho compiuto viventi attraverso l’interpolazione di immagini, ricordi e ricerche sulle Colonie e Case del Balilla italiane di associazioni risonanti. Gli avatar di cera degli edifici quell’era, in quanto vivide forme architettoniche che invitano la ristrutturazione da parte di sciami d’api, e i esprimono i ricordi di alcune generazioni addietro. Esse testi si possono dissipare tanto quanto imporre. Materiali mostrano una giocosa innocenza su cui gettano ombra mutevoli e mercuriali quali colonie di formiche o il fuoco l’imminente guerra e sconvolgimento, rispecchiando la su una spiaggia ventosa ammoniscono il comando e il suo trasformazione futurista di imprese ingegneristiche in fini intrinseco fallimento; incerta ideologia che abbraccia la estetici in sé stessi. frammentazione della molteplicità.
32 Fine Arts 2008-2009 Principe di Piemonte 2009 beeswax, 70 x 50 x 15 cm
33 Rebecca Madgin
THE CONTEMPORARY VALUE OF INDUSTRIAL ARCHITECTURE meet the needs of contemporary Rome. The process of remaking places involves both the physical reconstruction To the eyes of the foreigner and the visitor, and mental representation of urban space. Intrinsic to this Rome is the city contained within the old regenerative process is the built legacy left from Rome’s Renaissance walls. The rest is a vague, industrial past, i.e. the gas towers, Mercati Generali, anonymous periphery, unworthy of Magazzini Generali and Mira Lanza. The re-use of the interest.1 Montemartini power plant into a museum and the ongoing plans for Mercati Generali to become a ‘City of Youth’ Contemporary regeneration schemes are forced to re- complete with leisure, retail and commercial facilities is evaluate the existing environment. In carrying out this re- part of a wider city-wide ideological transformation assessment of the built environment the values assigned to concerning the value of the historic environment. certain buildings, architectural styles, structures and cultural markers are altered. Values are not ‘inherent in any The twenty-first century Piano Regolatore shifted the focus cultural items or properties received from the past’, rather from the ‘historic centre’ of Rome to the ‘historic city’ value ‘depends on the particular cultural, intellectual, through an extension of the chronological boundaries of historical and psychological frames of reference held by the value to embrace the nineteenth and early twentieth-century particular individuals or groups involved’.2 These frames of architecture, primarily located on the outskirts of Rome. reference rest with the urban context, the remit of the As such industrial, hidden, redundant Ostiense, which had agencies involved and broader cultural trends. previously been ‘unworthy of interest’ and located on an ‘anonymous periphery’ was given a contemporary value that Ostiense, on the periphery of Rome, is one such example related to its capability to contribute to the planned of an area currently undergoing regeneration in order to polycentric growth of Rome during the twenty-first century.
1. Pier Paolo Pasolini, ‘Il fronte della città’, Vie Nuove, 24 May 1958; translated as ‘The city’s true face’, in P.P. Pasolini, Stories from the City of God: Sketches and Chronicles of Rome, 1950-1966, ed. by W. Siti, trans. by M. Harss (New York: Handsel Books, 2003), pp. 166-7. 2. W.D. Lipe, ‘Value and Meaning in Cultural Resources’, in H.F. Cleere (ed.), Approaches to the Archaeological Heritage (Cambridge: Cambridge University Press, 1984), p. 2.
34 Fine Arts 2008-2009 IL VALORE CONTEMPORANEO DELL’ARCHITETTURA INDUSTRIALE necessità della Roma contemporanea. Il processo di rifacimento dei luoghi comprende sia la ricostruzione fisica Per lo straniero e il visitatore Roma è la sia la rappresentazione mentale dello spazio urbano. città contenuta entro le vecchie mura Intrinseco a tale processo rigenerativo è il retaggio edificato rinascimentali: il resto è vaga e anonima del passato industriale di Roma, vale a dire il gazometro, i periferia, che non vale la pena di vedere.1 Mercati Generali, i Magazzini Generali e la Mira Lanza. Il riuso della Centrale Montemartini come museo e I progetti contemporanei di rigenerazione devono l’attuale progetto per fare dei Mercati Generali una ‘Città riconsiderare l’ambiente esistente. Nell’effettuare questa della Gioventù’ completa di strutture per il tempo libero e nuova valutazione dell’ambiente edificato, i valori attribuiti le attività commerciali sono parte di una più vasta a certi edifici, stili architettonici, strutture e marcatori trasformazione ideologica su scala cittadina, che concerne culturali vengono alterati. I valori non sono ‘inerenti a il valore dell’ambiente storico. qualsivoglia oggetti o proprietà culturali ricevuti dal passato’; il valore, piuttosto, ‘dipende dalle particolari Il Piano Regolatore del XXI secolo ha spostato l’attenzione strutture di riferimento culturali, intellettuali, storiche e dal ‘centro storico’ di Roma alla ‘città storica’ tramite psicologiche che caratterizzano gli specifici individui o un’estensione dei limiti cronologici di valore per includere gruppi implicati’.2 Queste strutture di riferimento l’architettura dei secoli XIX e XX, sita primariamente ai dipendono dal contesto urbano, dalle competenze degli margini di Roma. A Ostiense, area industriale, nascosta, organismi coinvolti e dalle più generali tendenze culturali. ridondante, che in passato ‘non valeva la pena di vedere’, posta in una ‘anonima periferia’, è stato conferito un valore Ostiense, alla periferia di Roma, è un esempio di area contemporaneo connesso alla sua capacità di contribuire alla attualmente in fase di rigenerazione per rispondere alle prevista crescita policentrica di Roma durante il XXI secolo.
35 Amanda Marburg
V 2009 oil on linen, 106 x 76 cm
36 Fine Arts 2008-2009 VIII 2009 oil on linen, 106 x 76 cm
37 Ruth Murray
Pars Fortuna 2008 oil on canvas, 80 cm diameter
38 Fine Arts 2008-2009 Child of the Great Transformers 2008 oil on canvas, 120 x 100 cm
39 Eddie Peake
40 Fine Arts 2008-2009 41 Liz Rideal
FROM THE BOOTH TO BORROMINI, VIA NAPOLI DALLA CABINA FOTOGRAFICA A BORROMINI, VIA NAPOLI
It was with the intention of studying Bernini and his Ero giunta a Roma con l’intento di studiare Bernini e i suoi drapery that I came to Rome. But on a visit to the Palazzo panneggi. Ma durante una visita a Palazzo Barberini sostai Barberini I stood inside his square staircase and then did entro il suo scalone a pianta quadrata e poi feci lo stesso con the same with Borromini’s elegant twisting helicoidal l’elegante scala elicoidale serpeggiante di Borromini al lato staircase opposite, and immediately sensed the excitement opposto, e immediatamente percepii l’emozione dello spazio; of the space; the swirling oval gradation embodying a la vorticosa gradazione ovale incarnava un sentimento di feeling of utter balance and exquisite form. assoluto equilibrio e squisita forma. So began a quest, to experience the spaces of Borromini in Così ho iniziato una ricerca, per esperire gli spazi di the city, and to animate them with my drapery, using it to Borromini nella città, e animarli con i miei panneggi, highlight the spatial ambiguities of his architecture, to usandoli per sottolineare le ambiguità spaziali della sua complete the circle, to stand at the point where the architettura, per completare il cerchio, per stare nel punto spectator is implied, even invited by him. Borromini’s dove lo spettatore è implicato, perfino invitato dall’architetto. restrained decoration, unique interpretation of architectural La sobria decorazione di Borromini, la sua interpretazione language, and his mathematic logic become the perfect foil unica del linguaggio architettonico, e la sua logica for the subtleties of the ephemeral, richly coloured matematica danno perfetto rilievo alle sottigliezze delle transparent silks, that billow and twist with sublimated effimere, trasparenti sete dai ricchi colori, che si gonfiano e si sexual energy. The gauze veils and reveals details of his avvolgono con sublimata energia sessuale. La mussola vela e buildings, and tantalisingly implies the human presence, rivela dettagli dei suoi edifici, e implica, provocante, la evoking fleeting figures and a variety of emotional states. presenza umana, evocando fuggevoli figure e una varietà di The chaotic movement of the drapery contrasts with the stati emozionali. Il caotico movimento del panneggio deliberate grace of Borromini’s details, while the colour contrasta con la deliberata grazia dei dettagli borrominiani, complements his monochrome spaces. mentre il colore fa da complemento ai suoi spazi monocromi.
Drappeggio in Ercolano was projected outdoors in a variety Drappeggio in Ercolano è stato proiettato in esterni in of venues, making much of layering and spatial diversi luoghi, valorizzando le stratificazioni e ambiguità ambiguities. The open air of Neapolitan washing led to the spaziali. Il ‘plein air’ dei panni stesi napoletani ha condotto contained spiritual space, and I photographed a uno spazio spirituale contenuto, e ho fotografato dei confessionals; suggesting an analogy with my earlier confessionali, suggerendo un’analogia con i miei precedenti photobooth collages. I was intrigued by the physical collage di foto automatiche. Ero affascinata dalla similarity of the confessional and photobooth, both private somiglianza fisica fra confessionale e cabina per foto and yet a conduit for content, one side for performers, the automatiche, ambedue luoghi privati eppure condotto per il other for audience, one for religion, the other secular. contenuto, un lato per i performer, l’altro per il pubblico, uno religioso, l’altro secolare.
Drappeggio in Ercolano 2008 projected onto the Aurelian Wall at Via D. Fontana, 21.12.08 7.5 minutes, HDV
42 Fine Arts 2008-2009 Dancing with Borromini: Palazzo Spada 2008 digital inkjet print on Hahnemühle paper, edition 1-3, 100 x 120 cm
Liz Rideal would like to thank Lisa Beaven, Fabio Campagna and Cristiana Perrella.
43 James Robertson
The display demonstrates work in progress for the Questa presentazione illustra il lavoro in corso per methodological element of my doctoral research, Faith & l’elemento metodologico della mia ricerca di dottorato, Rationality: Jack Coia and the Impact of Modern Faith & Rationality: Jack Coia and the Impact of Ecclesiastical Architecture in Scotland and Europe. It is a Modern Ecclesiastical Architecture in Scotland and snapshot of a continuing exercise, and will form part of a Europe. È l’istantanea di un’indagine in atto, e farà parte larger analytical study. di un più ampio studio analitico.
Based on the concept of a taxonomy of churches, the work Basato sul concetto di una tassonomia di chiese, il lavoro aims to contextualise the ecclesiastical oeuvre of Jack Coia, mira a contestualizzare l’opera in campo ecclesiastico di of the architectural firm of Gillespie, Kidd & Coia, within Jack Coia, dello studio di architetti Gillespie, Kidd & Coia, the Roman setting with which it is contemporary, and in rapporto all’ambito romano ad essa contemporaneo, within which it becomes possible to draw parallels and entro cui è possibile tracciare paralleli e contrasti fra Coia, contrasts between Coia, the Scottish-Italian architect, and architetto scozzese-italiano, e i suoi contemporanei italiani. his Italian contemporaries. This work marks a shift in Questo lavoro, in quanto svolto a Roma, segna uno focus, since studying in Rome, from a Europe-wide study to spostamento di centro focale da uno studio su scala an analysis of predominantly Italian church design of the europea a un’analisi su base prevalentemente italiana della first half of the twentieth century, and of the associated progettazione di chiese nella prima metà del ventesimo architectural themes and characteristics. secolo, e dei connessi temi e caratteri architettonici.
Faith & Rationality – Church Taxonomy Map 2009 print, ink, and coloured pencil on paper, each image 15 x 15 cm
44 Fine Arts 2008-2009 Faith & Rationality – Church Taxonomy Map 2009 print, ink, and coloured pencil on paper, each image 15 x 15 cm
45 David Spero
Studio 3, Hallituskatu 7, Oulu 2007 C-type photographic print, dimensions variable, 2007
These photographs are from an ongoing series Balls, Wood and Tape which explores building minimal forms and structures within existing spaces. The spaces in which the images have been made are mostly uninhabited. They provide an almost neutral environment in which arrangements of balls, wood, tape and present objects are used to construct delicately balanced temporary structures, to be viewed from the camera position from which they are finally photographed. They are then dismantled. The results are delicate lines and nodal points marking out three dimensional forms in space, created by a process that sits somewhere between sculpture and drawing. The structures, which we only see reduced to a two dimensional photograph, appear to fluctuate between different planes within the image as our sense of perspective shifts back and forth between different points of reference. These delicate forms subtly respond to the spaces in which they have been constructed, creating gentle choreographies between structure, light and space.
46 Fine Arts 2008-2009 Pikisaarentie 10 A, Oulu 2007 (I) C-type photographic print, dimensions variable, 2007
Queste fotografie appartengono alla serie in corso Balls, Wood and Tape che esplora la costruzione di forme e strutture minimali entro spazi esistenti. Gli spazi in cui sono state realizzate le immagini sono per lo più disabitati. Essi offrono un ambiente quasi neutrale in cui le disposizioni di sfere, legno, nastro e oggetti presenti vengono usate per costruire strutture temporanee dal delicato equilibrio, che vanno viste dall’angolazione da cui vengono infine fotografate. Vengono quindi smantellate. Ciò che ne risulta sono delicate linee e punti nodali che delineano forme tridimensionali nello spazio, create con un procedimento che si pone in un qualche punto fra scultura e disegno. Le strutture, che vediamo solo ridotte a fotografia bidimensionale, sembrano fluttuare fra piani diversi entro l’immagine, con lo slittare avanti e indietro del nostro senso prospettico fra diversi punti di riferimento. Queste delicate forme rispondono sottilmente agli spazi in cui sono state costruite, creando lievi coreografie fra struttura, luce e spazio.
47 Amikam Toren
Black Hole 1997-2006 orange peel, plastic bag, 70 x 60 x 60 cm
48 Fine Arts 2008-2009 Plan B 2003 mixed media, 152 x 100 x 70 cm
49
B IOGRAPHIES
51 SARA BARKER JOSEPH BEDFORD Rome Scholar in the Fine Arts, February-April 2009 Rome Scholar in Landscape Architecture, October 2008-June 2009 Born in Manchester, England, 1980. Lives & works in Glasgow Born Huddersfield, October 7th, 1981 EDUCATION 1999-03 BA (Hons) Fine Art, Painting, Glasgow School of Art EDUCATION 1998-99 History of Art, University of Glasgow 2005-07 5yr Professional B.Arch, The Cooper Union for the Advancement of Science and Art, New York SELECTED ONE PERSON EXHIBITIONS 2000-03 BA, MA First Class Honours, Cambridge University 2009 Four Gallery, Dublin 2008 All these are for my personal use, Present Futures, ARCHITECTURE Artissima, Turin 2008 Atopia, New York hanging a way of dressing, Glasgow Project Rooms, 2007-08 Architecture Research Office, New York Glasgow 2005 Meadowcroft Griffin Architects, London 2007 Mary Mary, Glasgow 2004 Edward Cullinan Architects, London 2006 New Work Scotland, Collective Gallery, Edinburgh 2003 Michael Hopkins and Partners, London
SELECTED GROUP EXHIBITIONS FILM-MAKING 2009 Ville du Parc Centre d’Art Contemporain, Geneva 2008-09 Towards DeTermination The Actuality of the Idea, Stuart Shave/Modern Art, 2008-10 Form without Polemic: Stirling & Gowan’s Leicester London Engineering Building, with Jessica Reynolds Accademia delle Accademie, Temple of Hadrian, Rome 2006-07 Molach: The New York City Blackout of 1977 Our Lives Are Full of Remarkable Coincidences, The British School at Rome CURATING Solid Objects, Bettina Buck invites Sara Barker, Merko 2008 Unpacking My Library, Municipal Art Society, New Mayer, Cologne York (Curator) 2008 Base: Object (Sara Barker, Patrick Hill, Matthew Monahan, William J. O’Brien, Sterling Ruby), Andrea TEACHING Rosen Gallery, New York 2006-07 Pratt Institute, Brooklyn, New York (Thesis Supervisor) Open Eye Club, Tramway, Glasgow Flatworks, exhibition as a publication PUBLISHING Esse Quam Videri (Laura Aldridge, Sara Barker, Tim 2006 Log 8, New York (Copy-editor) Facey, Lynn Hynd, Conal McStravick), Fabio Tiboni 2004 Scroope, Cambridge Architecture Journal, London Gallery, Bologna (Editor) Claire Barclay, Sara Barker, Neil Clements, Sally Osborn, Jonathan Owen, Albrecht Schafer, AWARDS Doggerfisher, Edinburgh 2008-09 Rome Scholarship in Landscape Architecture, The 2007 Studio Voltaire, London British School at Rome 2006 Peaton House, Cove Park, Argyll & Bute 2007 Azham Kahn Award for Urban Design, The Cooper 2005 Re-Escape, Hamburg, Germany Union Sara Barker, Neil Bickerton, Gregor Johnson, Transmission, Glasgow
AWARDS & RESIDENCIES 2009 Rome Scholarship in the Fine Arts, The British School at Rome 2005 Cove Park, Argyll and Bute
52 Fine Arts 2008-2009 GABRIELLA BISETTO 2006 Leadership Grant, Arts SA Australia Council Resident Artist, January-March 2009 Professional Experience Program (PEP) July 2006-Jan 2007 Adelaide, Australia COLLECTIONS PROFESSIONAL Queensland Art Gallery, Australia 2002-08 Studio Head, Ceramics and Glass University of South South Australian Art Gallery, Australia Australia Parliament House, Canberra ACT 2008 Invited Speaker, Ausglass conference, Canberra Canberra Institute of Art Demonstration with Janet Lawrence, Ausglass conference, Canberra Instructor, Pilchuck Glass School, Seattle, USA Advisory Board member, AsiaLink Committee PENELOPE CAIN 2007 Invited Speaker, Take a Deep Breath conference, Tate Australia Council Resident Artist, October-December 2008 Modern, London 2006 Artist in Residence – Glass workshop, Alberta College Lives and works in Sydney of Art and Design, Calgary, Canada Visiting Artist, Glass workshop, Alfred University, New York EDUCATION 2004 Instructor, Canberra School of Art Summer School, BA Visual Arts (Hons), Australian National University Canberra Bachelor of Veterinary Science (Hons), University of Sydney 1996-99 Production Manager, Glass Department, JamFactory Craft and Design Centre, Adelaide SELECTED ONE PERSON EXHIBITIONS 1997- Founding member, blue pony studio, Adelaide 2009 Infestation, Australian Centre for Photography, Sydney, 1993-96 Self-employed glassblower Australia (forthcoming) 1990-92 Resident Designer and Glassblower, JamFactory Craft Drum Beat, MOP Gallery, Sydney (forthcoming) and Design Centre, Adelaide Sink or Swim, Billboard at QUT Kelvin Grove, 1986-90 Bachelor of Visual Art – Glass, Institute of the Arts, Brisbane ANU, ACT Antiparallelogram, University of East London Gallery, London SELECTED EXHIBITIONS 2008 Out of Office Message, Australian Commerce Offices, 2009 Our Lives Are Full of Remarkable Coincidences, The Taipei, Taiwan British School at Rome 2007 Bull Market, Ground Floor Gallery, Sydney 2008 Trades, Jam Factory Craft and Design, Adelaide 2005 Beam (video projections), assorted venues, Canberra 2007 Limited Lines, Canberra Glassworks, Canberra CBD New Work (solo), BMG Gallery, Adelaide 2004 Domestic Interiors, First Draft Gallery, Sydney Little Breaths (solo), Masterworks Gallery, Auckland, 2001 Naturalistic (installation), IGA Supermarket, Canberra New Zealand 2006 Australia – Art and About, Gaffer Glass Gallery, Hong SELECTED GROUP EXHIBITIONS Kong 2009 Contemporary Flânerie: Reconfiguring Cities, Oakland 2005 Sculptural Objects, Functional Art (SOFA), Chicago University Art Gallery, USA (curator Vagner M. SIX, BMG Art, Adelaide Whitehead) 2004 Permutations, Foster White Gallery, Seattle 2008 Avvolgere/Svolgere, Nunziante Magrone, Rome Distend (solo), Masterworks Gallery, Auckland, New Figure of 8, The British School at Rome Zealand Intrude: Shanghai, Shanghai, China Shadow Boxing, MOP Gallery, Sydney (curator Holly AWARDS, RESIDENCIES, GRANTS Williams) 2009 Australia Council for the Arts Residency, The British 2007 Citylogue, Barry Gallery, TAV, Taipei, Taiwan School at Rome Concrete Cannot Stop Them, The Big Screen,
53 Liverpool (curator Bren O’Callaghan) 1998 MA on A4, The Pump House Gallery, London Figuratively Speaking: the Figure in Contemporary 1995 Mayday Mayday, 148 Charing Cross Road, London Video Art, QUT Art Museum, Brisbane (curator Simone Jones) AWARDS AND SPONSORSHIPS 2006 safARI, MOP Gallery, Sydney (curators Lisa Corsi and 2008 Abbey Fellowship in Painting, The British School at Margaret Farmer) Rome 2005 Experimenta Vanishing Point, Melbourne (curator Liz 2007 Bunch Design Sponsorship Hughes) 1994 Laura Ashley Sponsorship Mira Como Se Mueven (See How They Move), Salas de Exposiciones de Fundación Telefonica, Madrid (curator Martì Peran) 2001 Welcome to the Hotel California, Canberra LUKE CAULFIELD Contemporary Art Space, Canberra Abbey Fellow in Painting, January-March 2009
AWARDS AND RESIDENCIES Born 1969, London 2008 Australia Council for the Arts Residency, The British School at Rome EDUCATION 2007 Asialink fellowship and residency at Taipei Artists 1996-2000 Fine Art, Slade School of Fine Art, University of Village, Taiwan London (UCL) Churchie Emerging Arts Prize: Overall winner, 1995-96 Fine Art, Kensington & Chelsea College, London Brisbane, Australia 1988-91 Drama/Classics, University of London (QMW) 2003 Artist Residency at Megalo Print Studios, Canberra, Australia SELECTED ONE PERSON EXHIBITIONS 2001 CCAS Emerging arts prize, Canberra, Australia 2008 One in the Other, London 2006 One in the Other, London 2004 Stasjon K, Sandnes Kunstforening, Stavanger, Norway Hordaland Kunstsenter, Bergen, Norway (British DRAGICA JANKETIC CARLIN Council) (cat.) Abbey Fellow in Painting, October-December 2008 Rogaland Kunstsenter, Stavanger, Norway (British Council) (cat.) Lives and works in London 2001 Dazed and Confused Gallery, London www.dragicacarlin.com SELECTED GROUP EXHIBITIONS EDUCATION 2010 Neuchâtel Centre d’Art, Switzerland (cat.) 1998 MA Fine Art, Chelsea College of Art, London 2009 Laing Art Gallery, Newcastle (cat.) 1994-97 BA Fine Art, Chelsea College of Art, London 2008 Phillips de Pury, London (British Friends Art Museums of Israel) (cat.) SELECTED ONE PERSON EXHIBITIONS 2007 Fieldgate Gallery, London E2 2007 Pleasance Theatre, North Road, London 2006 Pallant House Gallery, Chichester (cat.) 2006 Harefield Heart Hospital, Middlesex Schauspielhaus, Zurich 1998 Gallery Differentiate, Shad Thames, London 2005 Le Musée de Marrakech, Morocco (cat.) 2004 Northern Gallery for Contemporary Art, Sunderland SELECTED GROUP EXHIBITIONS (cat.) 2008 Figure of 8, The British School at Rome Empire, London (cat.) Centrefold art project, Zoo Art Fair, London 2003 Tullie House Museum, Carlisle (cat.) 2007 Art Works, Newcastle upon Tyne Angel Row Gallery, Nottingham (cat.) 2004 Independent Space, Commercial Street, London 2002 Laurent Delaye Gallery, London 2000 Blink, Princelet Street, London Cornerhouse Gallery, Manchester (cat.)
54 Fine Arts 2008-2009 Bloomberg Space, London (cat.) Overshoot and Collapse, Globe Gallery, Newcastle Air Guitar, Milton Keynes Gallery, Milton Keynes upon Tyne (solo) (cat.) Salon, Whitecross Gallery, London Club, Le Confort Moderne, Poitiers, France Supermarket, Independent Art Fair, Stockholm, in Oriel Mostyn Gallery, Llandudno association with Alma Enterprises Gallery Kelvingrove Museum, Glasgow (cat.) The Painting Room, Transition Gallery, London 2001 Beaconsfield, London 2007 Estate Covers, live-art commission for the Coastal Sotheby’s, Bond St, London Currents Festival 2007, Hastings Stick, Stamp, Fly, with a performance presentation of SELECTED AWARDS, RESIDENCIES, COMPETITIONS Common Fish at the exhibition closing event, It’s 2009 Abbey Fellowship in Painting, The British School at Going To Be A Long Night, Gasworks, London Rome Alma Auction, Alma Enterprises Gallery, Vyner Street, 2006 Arts Foundation Fellowship (short-listed) London 2004 AIR Residency, Norway Target Text, Turf Gallery, London 2003 Cochemé Fellowship, Central St Martin’s (Byam Comfort Zones, national touring exhibition with Oriel Shaw) Davies Gallery, Newtown, Powys 2002 Mostyn Open 12 Drawing Breath, international touring exhibition 2000 ACAVA First Base Studio Award with the Jerwood Foundation and Wimbledon 1999 John Moores 21 (Liverpool Biennial) College of Art 1998 Natwest Art Prize (Runners-up Prize) 2006 Tekenlust, Kunsthalle Lophem – Centre for Contemporary Art, Loppem-Zedelgem, Belgium SELECTED COLLECTIONS Jerwood Drawing Prize, national touring exhibition Vanessa Branson with the Jerwood Foundation and Wimbledon College Paul Smith of Art The Wonderful Fund Nelson Woo SELECTED AWARDS AND RESIDENCIES Anita Zabluduwicz (own collection and works to be donated to 2008-09 Sainsbury Scholar in Painting and Sculpture, The Tate Gallery) British School at Rome 2007-08 Research Fellow in Sculpture, Newcastle University 2004 Winston Churchill Travel Fellowship 2005 Jerwood Drawing Prize, Second prize KATIE CUDDON 2002 RIAS Millennium Award Sainsbury Scholar in Painting and Sculpture, October 2008- Deutsche Bank Pyramid Award September 2009 PUBLICATIONS EDUCATION 2008 Katie Cuddon (essays by Sally O’Reilly, Katharine 2004-06 MA, Royal College of Art, London Stout and Paul Usherwood), Art Editions North 2002-03 MPhil, Glasgow School of Art 2007 Target Text (essay by Sue Haddon), Turf Gallery, 1999-2002 BA (Hons), Glasgow School of Art London
SELECTED EXHIBITIONS 2009 Accademia delle Accademie, Temple of Hadrian, Rome Our Lives Are Full of Remarkable Coincidences, The British School at Rome 2008 Avvolgere/Svolgere, Nunziante Magrone, Rome Figure of 8, The British School at Rome Present Volume, The Space, Deutsche Bank, London
55 GRAHAM DURWARD AWARDS Abbey Fellow in Painting, April-June 2009 2009 Abbey Fellowship in Painting, The British School at Rome Born Aberdeen, UK, currently lives and works in New York 2007 Reema Hort Mann Foundation Award
EDUCATION 1986 Whitney Museum Independent Study Program 1978 Postgraduate, Edinburgh College of Art PIERRE GENDRON 1977 Edinburgh College of Art Québec Architecture Resident, April-June 2009
ONE PERSON EXHIBITIONS www.pierregendron.com 2009 Maureen Paley, London 2007 White Room, White Columns, New York EDUCATION 2001 AC Projects, New York 2002-03 Master of Architecture, McGill University, Montréal, 1997 Marianne Boesky Gallery, New York Canada 1994 Patrick Callery, New York 1996 Summer studio, École d’architecture Paris-Villemin, 1993 Shedhalle, Zurich Paris, France 1993-97 Bachelor of Architecture, Université de Montréal, GROUP EXHIBITIONS Montréal 2008 The Hidden, Maureen Paley, London 2006 Looking Back, White Columns, New York PROFESSIONAL MEMBERSHIPS 2003 20th Anniversary Show, Gavin Brown’s Enterprise, Ordre des Architectes du Québec (OAQ), Canada New York 2001 A painting, Trans Hudson Gallery, New York ACADEMIC EXPERIENCE 2000 Under Pressure, Swiss Institute, New York 2005-08 Adjunct professor, Université de Montréal School of New Videos, Ad Hoc, New York Architecture, Montréal 1998 I Love NY, video show curated by Graham Durward 2003 Teaching assistant, McGill University School of for The Edinburgh International Festival Architecture, Montréal 1996 Boesky Callery, New York 2001 Visiting critic, Southern California Institute of John Michael Kohler Art Center, Sheboygan, Wisconsin Architecture, Los Angeles Gender Affects, Kinsey Institute, Indiana University 2000 Visiting critic, Iowa State University School of 1995 The Masculine Masquerade (curated by Andrew Architecture, Ames, USA Perchuk and Helaine Posner), MIT List Visual Arts Visiting professor, Rensselaer Polytechnic Institute Center, Cambridge, MA School of Architecture, Troy, USA 1994 The Use of Pleasure (curated by Robert Nickas), Terrain, San Francisco, CA PROFESSIONAL EXPERIENCE 1993 Dance ‘93 (curated by Noemi Smolik), Munich 2008- Pierre Gendron architecte, Montréal 1992 Mr B’s Curiosity Shop (curated by Saul Ostrow), 2007-09 Provencher + Roy et associés architectes, Montréal Threadwaxing Space, New York 2001-02 George Yu Architects, Los Angeles 1998-2006 Atelier Big City, Cormier Cohen Davies architectes, PERFORMANCES AND FILMS Montréal 1994 Blackwatch, Patrick Callery, New York. 1997-98 Brisbin Brook Beynon Architects, Ottawa 1984 Edinburgh Fruit Market Gallery Festival, Scottish Art Now SELECTED GROUP EXHIBITIONS Poor B.B. (performance), 369 Gallery, Edinburgh 2007 70 Architects On Ethics and Poetics, Centre de Design Poor B.B., The Traverse Theatre, Edinburgh de l’UQAM, Montréal J.A.W. Taped (film), London Filmmakers’ Co-operative 1996 RECIPROCITY Patkau +16, Canadian Pavilion, 1983 J.A.W. Taped, Dublin Film Festival Architecture Biennale, Venice
56 Fine Arts 2008-2009 AWARDS 2007 My Penguin, 39 Gallery, London 2009 Québec Architecture Residency, The British School at Royal Academy Summer Show, Royal Academy of Arts, Rome London 2007 Finalist, Jardins éphèmères Espace 400e Competition, S.A.W. Show, Sawmill, Glasgow Québec Material Intelligence, Keith Talent Gallery at Trinity 2006 First Prize (ex aequo), Architecture-Québec magazine Buoy Wharf, London Ideas Competition Hot for Teacher, Nog Gallery, London 2005 First Prize (ex aequo), Signature extérieure de la 2006 St Mungo and Me, Lightbox Gallery, Los Angeles Banque Laurentienne Ideas Competition 2005 Circus Circus, Park Circus Gallery, Glasgow 1998 Third Prize (ex aequo), Plans d’avenir pour un 2004 Discerning Eye Exhibition, Mall Galleries, London nouveau confort Ideas Competition Panorama, The Jail, Glasgow New Scottish Contemporaries, Leith Gallery, Edinburgh SELECTED MEDIA 2007 Exhibition catalogue, 70 Architects On Ethics and SELECTED AWARDS Poetics, Centre de Design de l’UQAM 2008-10 Sainsbury Scholarship in Painting and Sculpture, The 2007 Architecture-Québec magazine, Villabyrinthe ARQ British School at Rome No. 140, Jeunes Pratiques, August 2007 2008 Shortlisted for Sovereign European Art Prize, Chelsea 1998 Competition catalogue, Plans d’avenir pour un Space, London nouveau confort, Hydro-Québec 2007 Neville Burston Memorial Award, Royal College of 1996 Venice Biennale of Architecture, Canadian Pavilion Art, London exhibition catalogue: RECIPROCITY Patkau +16 2003 Carnegie Travel Award, Royal Scottish Academy, Edinburgh COLLECTIONS Landscape Drawing Prize, Glasgow School of Art TRACK 1, Project for the 1996 Venice Biennale of Architecture, Canadian Centre for Architecture, Montréal, Canada CATH KEAY Arts Council England Helen Chadwick Fellow, September 2008-March 2009 CELIA HEMPTON Sainsbury Scholar in Painting and Sculpture, October 2008- EDUCATION June 2010 2005- PhD Sculpture, Newcastle University, Newcastle upon Tyne Born 1981, Stroud 2000-02 MFA (Sculpture), Edinburgh College of Art, Edinburgh EDUCATION 1987-92 BA (Hons) Fine Art, Glasgow School of Art, Glasgow 2005-07 MA Painting, Royal College of Art, London 2000-03 BA (Hons) Fine Art, Painting, Glasgow School of Art ONE PERSON EXHIBITIONS 2006 A New Destiny is Prepared, An Tobar, Tobermory SELECTED RECENT EXHIBITIONS 2005 Only the Facts are Clear, Atelier am Eck, Düsseldorf 2009 Atlas: Separated by Intervals, The Crypt Gallery at Laing Solo: Cath Keay, Laing Art Gallery, Newcastle Saint Pancras Church, London upon Tyne Accademia delle Accademie, Temple of Hadrian, Rome 2004 Improve the Shining Hour, Market Gallery, Glasgow Our Lives Are Full of Remarkable Coincidences, The British School at Rome GROUP EXHIBITIONS 2008 Figure of 8, The British School at Rome 2009 Award Winners, JD Fergusson Gallery, Perth Celia Hempton, Contemporary Art Projects, London Our Lives Are Full of Remarkable Coincidences, The 00 Nature, Contemporary Art Projects, London British School at Rome
57 2008 Tempo Reale, The British School at Rome EXHIBITIONS Inspire: Mortal and Visible, Wallspace Gallery, 2008 Figure of 8, The British School at Rome London 2006 Scottish Collective, Royal Scottish Academy, FELLOWSHIPS AND AWARDS Edinburgh 2008 Giles Worsley Travel Fellowship, The British School at 2005 Roaring Out Confidences, An Tobar, Tobermory Rome See Scotland, Dick Institute, Kilmarnock 2007 European Fellowship for Training in Urban Studies – 2004 What in the World Could Be More Beautiful?, FUTURE Crawford Arts Centre, St. Andrews 2003-07 Economic and Social Research Council, 1+3 Full Presence, St Mary’s Cathedral, Glasgow Studentship 2000 Von Hier bis Dahin, Akademie Gallery, Munich SELECTED PUBLICATIONS AWARDS 2009 ‘Using Culture to turn De-industrial Space into Post- 2008-09 Arts Council England Helen Chadwick Fellowship, industrial Place: a British-French Comparison’, in The British School at Rome and The Ruskin School Eckardt, F. and Nystrom, L. (eds), Culture and City, of Drawing and Fine Art, Oxford Berlin: Berliner Wissenschaftsverlag (forthcoming) 2004 Norma Lipman Scholarship for PhD study at ‘Contesting Liberty: The Place of Industrial Heritage Newcastle University in Leicester’s Urban Regeneration’, in Rodger, R. (ed), 2004 Scottish Arts Council, Professional Development Leicester: A Modern History, Lancaster: Carnegie Press Grant (forthcoming) 2003 Royal Incorporation of Architects in Scotland – 2008 ‘Making the Most of our Existing Urban Assets? New Millennium Award Labour’s Focus on the Historic Urban Environment’, 2003 Laing Open – Solo show at Laing Art Gallery, in Nail, S. and Fee, D. (eds), Vers une Renaissance Newcastle (2005) Anglaise, Paris: Presse de la Sorbonne Nouvelle. 2002 John Kinross Travel Scholarship to Florence. Royal Scottish Academy 1998 J.D. Fergusson Travel Scholarship to Japan AMANDA MARBURG Australia Council Resident Artist, July-September 2008
REBECCA MADGIN Born 1976, Melbourne Giles Worsley Travel Fellow, October-December 2008 EDUCATION EDUCATION 1999 BFA (Painting), Victorian College of the Arts 2004-08 Doctor of Philosophy, Centre for Urban History, 1996 Associate Diploma of Visual Art (Painting), Western University of Leicester (no amendments required). Metropolitan College of TAFE, Melbourne Thesis: Urban Renaissance: The Meaning, Management and Manipulation of Place, 1945-2002 ONE PERSON EXHIBITIONS 2003-04 MA European Urbanisation, Centre for Urban History, 2009 Guardians of The Departed, Uplands, Melbourne University of Leicester 2007 Lobster, Rex Irwin Art Dealer, Sydney 2000-03 BA (Honours), History, 2:1, University of Leicester The Other Side, Uplands, Melbourne 2006 Hell needs this town, and it’s goin’ back and goin’ damn EMPLOYMENT quick, Melbourne Art Fair 2009- Department of Urban Studies, University of Glasgow 2005 Mad Love Is Strange, Rex Irwin Art Dealer, Sydney 2007-08 Centre for Institutional Studies, University of East 2004 Giving the Devil His Due, Melbourne Art Fair & London Newcastle Region Art Gallery 2003-07 Economic and Social Research Council and 2003 Misery & Gin, Rex Irwin Art Dealer, Sydney University of Leicester 2002 Paintings, Rex Irwin Art Dealer, Sydney
58 Fine Arts 2008-2009 2001 The Bomb, TCB Art Inc., Melbourne Pentimenti, Permanent Gallery, Brighton Blank Canvas, 1-2 Carnaby Street, London SELECTED GROUP EXHIBITIONS Show RCA – Postgraduate Art and Design Annual 2008 Tempo Reale, The British School at Rome Show 2008, Royal College of Art, London 2007 Primavera, Museum of Contemporary Art, Sydney RCA Painters, Bank of America, Canary Wharf, 2005 Love and Other Bruises (with Kati Rule), TCB Art Inc., London Melbourne Royal Society of Portrait Painters, Annual Exhibition 2004 The Sure Thing (with Kati Rule), Dudespace, 2008, The Mall Galleries, London Melbourne Figurative Art Prize, The Boundary Gallery, London 2003 Cover Image Coming Soon, TCB Art Inc., Melbourne 2006 Spent, Three Colts Gallery, London Depth of Field, Shepparton Art Gallery & Monash Celeste Art Prize Finalists’ Exhibition, Old Truman University Gallery Brewery, Brick Lane, London 2001 Glacier, RMIT Gallery, Melbourne & tour Nationwide Mercury Music Art Prize, Finalists Jon Campbell’s Rock The Boat, Uplands Gallery, Exhibition, The Hospital Gallery, London Melbourne Roger Kemp Memorial Exhibition, VCA Gallery, AWARDS Melbourne 2008 Derek Hill Foundation Scholarship, The British Five, Span Gallery, Melbourne School at Rome Unsigned Artists, Niagara Galleries, Melbourne The Sheldon Bergh Award 2000 Setting Up, Sutton Gallery, Melbourne De Laszlo Prize Fascination, Centre for Contemporary Photography, Boundary Figurative Art Prize Melbourne 2006-07 Stanley-Smith Scholarship A Brush With Death, La Trobe Street Gallery, 2006 Astra Zeneca Purchase Prize Melbourne 2005 Alan Quiney Award 2004 Alan Quiney Award AWARDS AND RESIDENCIES 2008 Australia Council for the Arts Residency, The British School at Rome 2005 Art & Australia / ANZ Private Bank Emerging Artist EDDIE PEAKE Program Abbey Scholar in Painting, October 2008-June 2009 2001 Five, Span Gallery, Melbourne 1999 Roger Kemp Memorial Award, VCA, Melbourne Born 22nd August 1981. Lives and works in London
EDUCATION 2002-06 Slade School of Fine Art, London RUTH MURRAY Derek Hill Foundation Scholar, October-December 2008 ONE PERSON EXHIBITIONS 2008 Ladies, Parade, London
59 LIZ RIDEAL Birmingham Hippodrome Theatre) Wingate Rome Scholar in the Fine Arts, September 2008- 1997 London Arts Board, Individual Artist Award January 2009 SELECTED PUBLIC COLLECTIONS Lectures at the Slade and the National Portrait Gallery, London Arts Council of England www.lizrideal.com Bibliothèque Nationale, Paris British Broadcasting Corporation RECENT ONE PERSON EXHIBITIONS, INSTALLATIONS, The British Museum COMMISSIONS The Government Art Collection 2009 Hawthorn Hall of Mirrors, 454308E-205690N, Museet for Fotokunst, Denmark Radcliffe Churchill Hospital, Oxford The National Portrait Gallery 2007 Cloth Fair, Bart’s, London Tate, London 2006 Fall, River, Snow, Compton Verney, Warwickshire Vancouver Art Gallery, Canada Suc des Vosges, Lucas Schoormans Gallery, New York Victoria & Albert Museum Above and Below Ground, Gallery 339, Philadelphia 2000-05 Glass Drapes & Light Column, Birmingham Hippodrome Theatre 2004 Kerfuffle, BBC Broadcasting House, London JAMES ROBERTSON 2002 Mandrake Tango/Works 1992-2002, University of Rome Scholar in Architecture, January-March 2009 Massachusetts Monotypes, Aurobora Press, San Francisco Born 5 July 1978. Lives and works in Manchester 2001 Stills, Lucas Schoormans Gallery, New York 2000 Photographs 1996 -1998, Lucas Schoormans Gallery, EDUCATION New York 2004 RIBA Advanced Diploma in Professional Practice in Seasonal Stills, HackelBury Fine Art, London Architecture (Part 3), Pass 2001-02 Postgraduate Diploma in Advanced Architectural SELECTED GROUP EXHIBITIONS Studies (RIBA Part 2), Pass with Distinction, The Scott 2008 Avvolgere/Svolgere, Nunziante Magrone, Rome Sutherland School of Architecture (Robert Gordon Figure of 8, The British School at Rome University), Aberdeen 2006-08 Picturing Eden, The George Eastman Kodak Museum, 1996-2001 BSc (Hons) Architecture with Languages (RIBA Part Rochester, Museum for Photographic Arts, San Diego, 1), First Class, The Scott Sutherland School of California & USA tour Architecture, Aberdeen 2005 Revealed, Castle Museum, Nottingham, featuring Tapis Volant; a tapestry (made at Dovecot Studios, AWARDS Edinburgh) commissioned by the Contemporary Arts 1998 Honourable Mention, Structur’Halle Competition, Society for the museum collection Grenoble, France 2001 Hall of Mirrors: Variants of the Portrait, Museet for Stage 2 Student Prize, Scott Sutherland School of Fotokunst, Denmark Architecture Nageant vers Noël – Swimming towards Christmas 1997 Stage 1 Student Prize, Scott Sutherland School of (projection), Town Hall, Lyon, France Architecture
AWARDS EXHIBITIONS 2008 Wingate Rome Scholarship in Fine Arts, The British 2009 Our Lives Are Full of Remarkable Coincidences, The School at Rome British School at Rome 2006 Fundación Valparaíso, Mojácar, Spain 2002 Royal Scottish Academy Student Exhibition, Glasgow 2005 The British Council 2004 The Lorne Award EMPLOYMENT 2002 RIBA (Special Mention for Glass Drapes at the 2007-08 WhiteBox Architecture, Knutsford, Cheshire, UK
60 Fine Arts 2008-2009 2006-07 Richard Drinkwater Architects, Manchester The Citibank Collection, Photographers’ Gallery, London 2002-06 Broadway Malyan (Architects), Manchester Airport, Netherlands Photo Institute, Rotterdam 2000 Triangle Architects, Manchester 1997 Airport, Photographers’ Gallery, London 1999-2000 Bergami-Gay Architectes, Clermont-Ferrand, France Little Boxes, Fotofusion Gallery, London Zelda Cheatle Gallery, London 1994 B.T. New Contemporaries, Camden Arts Centre, London; Cornerhouse, Manchester; Arnolfini, Bristol; DAVID SPERO Fruitmarket, Edinburgh Photoworks Fellow, April-June 2009 AWARDS Lives and works in London 2009 Photoworks Fellowship, The British School at Rome: www.davidspero.co.uk 2007 Arts Council International Artists Fellowship, Finland, managed by Fotonet, hosted by The Northern EDUCATION Photographic Institute, Oulu 1990-93 MA Photography, Royal College of Art, London PUBLICATIONS RECENT ONE PERSON EXHIBITIONS 2007 Churches, SteidlMACK, London 2009 Churches, The British School at Rome Balls, Wood & Audiotape, The Winchester Gallery, SELECTED COLLECTIONS Winchester Victoria & Albert Museum, London 2006 Settlements, New Art Gallery, Wallsall Citibank Collection, London 2005 Settlements, Photographers’ Gallery, London British Council
SELECTED GROUP EXHIBITIONS 2008 By Itself, Room Art Gallery, London 2007 How We Are: Photographing Britain, Tate Britain, AMIKAM TOREN London Sargant Fellow, May-July 2009 Something That I’ll Never Really See. Contemporary Photographs from the V&A, touring exhibition Born in 1945, Israel Look07 Photography Festival, CUBE Gallery, Manchester 2006 Arcadia, Yancey Richardson Gallery, New York SELECTED ONE PERSON EXHIBITIONS Saudade, Highbury Studios, London 2008 Carrots, Anthony Reynolds Gallery, London Green, The Winchester Gallery, Winchester 2006 Ten Last Drawings, The Room, London The Mouse That Roared, Project 133, London 2005 Plan B, Noga Gallery, Tel Aviv 2005 Peculiar Encounters, Arts Space EC1, London 2003 Golem, Anthony Reynolds Gallery, London PhotoEspaña, Circulo de Bellas Artes, Madrid 1997 Hand in Glove, Galerie Gabrielle Maubrie, Paris Door To The River, Flaca, London 1991 Chisenhale Gallery, London 2004 Art of the Garden, Tate Britain, London 1990 Ikon Gallery, Birmingham (cat.) 2003 Then Things Went Quiet, MWProjects, Frieze Art Fair, 1989 Rotterdam Kunststichting, Rotterdam London 1984 Actualities, Matt’s Gallery, London (cat.) 2001 Darklight, Galerie Martin Kudlek, Cologne 1981 Mirroring, Lewis Johnstone Gallery, London Gone Missing, Frederieke Taylor Gallery, New York 1979 Replacing, ICA, London (cat.) Percy Miller Gallery, London 1976 Serpentine Gallery, London 2000 Breathless, Photography and Time, Victoria & Albert 1973 Annely Juda Fine Art, London Museum, London 1999 Path, Chisenhale Gallery, London SELECTED GROUP EXHIBITIONS 1998 Re-Presenting Architecture, Victoria & Albert Museum, 2009 British Subjects 1948-2000, Neuberger Museum of Art, London New York
61 2008 Marc Camille Chaimowicz – In The Cherished Company of Others, de Appel, Amsterdam; PMMK, Oostende, Belgium Intimacy, Australian Centre for Contemporary Art, Victoria, Australia 2005 Whatever Happened to Social Democracy, Rooseum Center for Contemporary Art, Malmö 2000 Live in Your Head: Concept and Experiment in Britain, 1965-75, Whitechapel Art Gallery, London (cat.) 1999 British Artists, Galerie Krinzinger, Vienna John Moores Exhibition 21, Liverpool (Prize winner) 1998 A-Z (curator Matthew Higgs), The Approach, London 1997 L’empreinte, Musée National d’Art Moderne, Centre Georges Pompidou, Paris 1993 Second Tyne International, Newcastle-upon-Tyne (cat.) 1992 And What Do You Represent?, Anthony Reynolds Gallery, London 1991 Kunstlandschaft Europa, Kunstverein Freiburg 1986 Furniture Sculpture, Victoria Miro Gallery, London 1984 Problems of Picturing, Serpentine Gallery, London 1977 On Site, Arnolfini Gallery, Bristol 1967 Paris Biennale
SELECTED PUBLICATIONS 1991 Amikam Toren (preface Elisabeth A. Macgregor, texts by Christoph Blase, Michael Archer, Conor Joyce and Desa Philippi), Ikon Gallery, Birmingham; Arnolfini Gallery, Bristol 1987 Amikam Toren, Pidgin Paintings (text by Patricia Bickers), Anthony Reynolds Gallery, London 1984 Amikam Toren, Actualities (text by David Coxhead), Matt’s Gallery, London Problems of Picturing (text by Sarah Kent), Serpentine Gallery, London 1979 Replacing, Amikam Toren (text by Sarah Kent), Institute of Contemporary Art, London
62 Fine Arts 2008-2009 T HE BRITISH SCHOOL AT ROME
Director Andrew Wallace-Hadrill Assistant Director Susan Russell Research Professor in Archaeology Simon Keay Research Professor in Modern Studies David Forgacs Molly Cotton Fellow Helen Patterson Cary Fellow Robert Coates-Stephens Assistant Director (Fine Arts) Jacopo Benci Fine Arts Research Assistant Alessandra Giacinti Curator, Contemporary Arts Programme Cristiana Perrella Assistant, Contemporary Arts Programme Maria Cristina Giusti Librarian Valerie Scott Deputy Librarian Beatrice Gelosia Library Assistants Francesca De Riso, Francesca Deli Archivist Alessandra Giovenco Registrar & Publications Manager (London Office) Gill Clark Director’s Assistant Eleanor Murkett School Secretary Maria Pia Malvezzi Hostel Supervisor Geraldine Wellington Subscriptions Secretary Jo Wallace-Hadrill Bursar Alvise Di Giulio Accounts Clerk Isabella Gelosia Domestic Bursar Renato Parente Maintenance Fulvio Astolfi Technical Assistant & Waiter Giuseppe Pellegrino Cleaners Donatella Astolfi, Alba Coratti, Marisa Scarsella Cooks Giuseppe Parente, Dharma Wijesiriwardana Waiters/Porters Antonio Palmieri, Pathirannehelage Somapala
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63 Printed in Italy by Società Tipografica Romana, Rome
May 2009
64 Fine Arts 2008-2009 Published by THE BRITISH SCHOOL AT ROME London ISSN 1475-8733 ISBN 978-0-904152-55-5