CURRICULUM VITAE Chloë Sugden t: +41 76 701 16 94 e: [email protected] Education Ph.D. Doctorate funded by the Swiss National Science Foundation Department of Literature and Cultural Studies Swiss Federal Institute of Technology, Zürich, Switzerland (2023) Master of Arts Research-Based Master of Arts in Critical Curatorial Cybermedia Studies (CCC) Geneva University of Art and Design, Geneva, Switzerland (2019) Bachelor of Arts (Honours) First Class Honours in Art History University of Melbourne, Victoria, Australia (2014) Bachelor of Arts Extended Major in Art History University of Queensland, Brisbane, Australia (2012) Art and Architecture in Venice Field Trip (2011) Semester-long exchange at the University of Glasgow (2011) Semester-long exchange at the University of Copenhagen (2011-12) Academic scholarships and awards Dean’s Commendation for High Achievement, University of Queensland (2010); UQ Study Travel Grant for fieldwork in Venice, Italy, University of Queensland (2011); the Ursula Hoff Art History Scholarship for Dissect Journal, University of Melbourne (2014); the Ian Potter Cultural Trust Scholarship, Ian Potter Foundation (2017); and the Pôle Santé Sociale Scholarship, University of Geneva (2019). Volunteering, residencies and conferences Gallery volunteer for the Centre for Contemporary Photography (CCP) (Melbourne, Australia, 2015-16); attendee of the School of Machines, Making and Make-Believe Artist Residency Program—Feeling & Thinking in the Age of AI (Belgrade, Serbia, 2017); and attendee at the seventh international conference of the European Society for the Study of Western Esotericism (ESSWE) (Amsterdam, Netherlands, 2019). Events by invitation The Los Angeles Art Book Fair for Dissect Journal with Perimeter Books (Los Angeles, U.S.A., 2014); The National Gallery of Victoria Art Book Fair for Dissect Journal (Melbourne, 2016, 2018); P.A.G.E.S. Print and Art Book Fair for Dissect Journal (Geneva, Switzerland, 2019); Launch event for Dissect Journal 1, Institute of Modern Art (IMA) (Brisbane, 2013); Launch event for Dissect Journal 2, Institute of Modern Art (IMA) (Brisbane, 2015); launch event for Dissect Journal 3, Gertrude Contemporary Art Museum (Melbourne, 2016); and research work (essay and diagram) exhibited in Les multiples voix des indiennes, Département Arts visuels, HEAD-Genève (Geneva, 2020). Dissertations Sugden, C. (2014). Photographing Sculpture/Sculpting Photography: Identifying Non-Medium Specific, Photosculptural Art Practices from the Late Nineteenth Century to the Present (Honours thesis). The 1 University of Melbourne, Melbourne, Australia. Sugden, C. (2019). Rosaleen Norton: The Technomystical Witch (Masters thesis). Geneva University of Art and Design, Geneva, Switzerland. Authored publications Sugden, C. (2013). ‘Urban Guerrilla Art: (Re-)Imagining Public Space through Artistic Intervention.’ Dissect Journal, 1(1), 111–119. Sugden, C. (2016). Sisters. Melbourne: Particle Books. (Artist book; research-based photographic work.) Sugden, C. (2018a). ‘Notes on alien-human erotics in Octavia Butler’s “Dawn.”’ Speculative Arts Research, 1(1), 7–13. Sugden, C. (2018b). ‘Notes on alien-human erotics in Octavia Butler’s “Dawn.”’ In K. Eshun & C. Sugden (Eds.), The Oankali Turned Its Tentacles Towards Me (Vol. 2). Geneva: TERMS/ES and the CCC Research Master Program. Sugden, C. (2019a). ‘Gestational capture for xenogenetic rule in Octavia Butler’s “Bloodchild.”’ In K. Eshun (Ed.), Ovipositor (Vol. 3). Geneva: TERMS/ES and the CCC Research Master Program. Sugden, C. (2019b). ‘Rosaleen Norton.’ World Religions and Spirituality Project (WRSP): Special Project on Religious and Spiritual Movements and the Visual Arts. https://wrldrels.org/2019/12/18/rosaleen-norton/. Co-authored publications Sugden, C., Theodore, Z., & Schmidt, A. (2016). Editorial. Dissect Journal, (3), 30–33. Sugden, C., Theodore, Z., & Schmidt, A. (2016). ‘Interview with Isabelle Graw of Texte zur Kunst.’ Dissect Journal, (3), 67–76. Sugden, C., & Williams-Wynn, C. (2013). Editorial. Dissect Journal, (1), 4–5. Sugden, C., & Williams-Wynn, C. (2015). Editorial. Dissect Journal, (2), 9–13. Co-edited publications Burns, D. M. (2014). Apocalypse of the Alien God: Platonism and the Exile of Sethian Gnosticism. Philadelphia: University of Pennsylvania Press. Sugden, C., & Williams-Wynn, C. (Eds.). (2013). Dissect Journal (Vol. 1). Melbourne: Dissect. Co-edited essays: Butler, R. (2013). ‘Bogus Art,’ 6–11. Caird, B. R. (2013). ‘Outrage and Anachronism,’ 32–37. Cattach, E. (2013). ‘Responding to Space of a Moment,’ 58–61. Ellis, M. (2013). ‘Conservation: a political act? Conserving Keith Haring’s Collingwood mural,’124–129. Hughes, H. (2013). ‘What’s with all the site-specific art?: The Instrument Builders Project,’ 88–93. Miller, D. S. (2013). ‘Homeland Grunge,’ 154–159. Papastergiadis, N., Barikin, A., Yue, A., & McQuire, S. (2013). ‘Screen Cultures and Public Spaces,’ 66–83. Rodwell, J. (2013). ‘Mehdi Ghadyanloo and the streets of Tehran,’ 144–147. Williams-Wynn, C. (2013). ‘Privatised friction and coercive architecture,’ 42–49. Sugden, C., & Williams-Wynn, C. (Eds.). (2015). Dissect Journal (Vol. 2). Melbourne: Dissect. Co-edited essays: Chuk, N. (2015). ‘Mapping the spaces in between: The material/virtual interface in Joseph DeLappe’s work,’171–202. Coleman, S. (2015). ‘The Artist as Landscape User,’ 203–222. Cox, T. (2015). ‘The Compressed Image,’ 223–231. Drucker, J. (2015). ‘Dark Interface and the infinitely Grand Objet a,’ 75–88. Lütticken, S. (2015). ‘Rewriting the Book,’ 35–74. Palmer, D. (2015). ‘The Mistake in Photography: Patrick Pound, Jackson Eaton and the Paradoxical Self-Image,’15–34. Stack, M. (2015). ‘A Moving Target: Hito Steyerl at the Institute of Contemporary Art, London,’ 139–154. Starling Gould, A. (2015). ‘Grounding the cloud, or, Mapping a digital metabolism through art,’ 115–138. Weise, K. (2015). ‘Network Effects: DIY culture in the work of Antoinette J. Citizen,’ 89–114. Zorbas, D. (2015). ‘Hito Steyerl and Ryan Trecartin: Image-Bodies, Noise in the Signal,’ 155–170. Sugden, C., Theodore, Z., & Schmidt, A. (Eds.). (2016). Dissect Journal (Vol. 3). Melbourne: Dissect. Co-edited essays: 2 Auslander, P. (2016). ‘The Fame: Performance Art and Celebrity Culture,’ 34–66. Birch, E. (2016). ‘The Mystic and Her Inalienable Labour,’ 205–215. Burt, R. (2016). ‘Masculinity in Motion,’ 173–181. Chamberlain, T. (2016). ‘Sexting in the Museum with Karen Finley,’ 224–236. Charlesworth, A. (2016). ‘Voice in Ursula Biemann’s “Performing the Border,”’ 277–291. Finley, K. (2016). ‘Sext Me If You Can: A Retrospective Artistic Response,’ 237–241. Gentles, T. (2016). ‘Artistic Persona in the Age of Microcelebrity: On the Work of Bunny Rogers,’ 77–98. Kraus, C. (2016). ‘Accumulation,’ 216–223. Que, C. (2016). ‘Performing Biopolitics Through Community and Immunity in Christoph Schlingensief’s Cancer Diary,’ 148–163. Winata, A. (2016). ‘Okwui Enwezor and the Tension of the Postcolonial, Neoliberal Body,’ 254–276. Zlatic, J. (2016). ‘The Science Fiction of Body Logics: Australian Alternative Cinema Since the 1960s,’ 182–204. Projects Founding Co-Editor Dissect Journal International contemporary art journal (2012-ongoing) Responsibilities: Working with the Co-Editors to determine the critical theme of each issue through intensive research. Creating project timelines. Liaising with galleries, museums, bookstores, printing houses, and emerging and established local and international artists, designers and scholars. Providing detailed feedback on all submissions to the Journal (including mark-ups of long, scholarly research essays). Coordinating refereeing/peer review processes for long-form essays. Collaborating closely with designers and printers in the layout and publication process. Writing feature articles and editorials. Securing copyright permissions and ISBN/ISSN details. Digital marketing and website maintenance. Securing funding for the Journal and managing budgeting and finances. Mailorders and book distribution. Co-curating exhibitions to coincide with print issues and digital programs. Organising public lectures and readings, issue launches and book fair participation. Stockists include: The National Gallery of Victoria Bookstore (NGV) (Melbourne); Gertrude Contemporary Art Museum (Melbourne); Monash University Museum of Art (MUMA) (Melbourne); West Space Art Gallery (Melbourne); Perimeter Books (Melbourne); the Institute of Modern Art (IMA) (Brisbane); the Australian Centre for Contemporary Art (ACCA) (Melbourne); Printed Matter (New York City); and the Museum of Contemporary Art (MoCA) (Los Angeles). Founder and Curator Maia Łódź International Residency Program for Photographers (Łódź, Poland, 2014-15) Responsibilities: Planning and coordinating the residency program for emerging and established international photographers. Developing project timelines and a curatorial framework. Securing funding for artist accommodation, materials, in-studio photo exhibitions, marketing, and studio rental. Mentoring photographers. Documenting artists’ activities and output through blog and social media posts. Organising shoot locations and photographic equipment. Working with local translators, lawyers, arts workers and council members to realise offsite photography installations and other public art projects. Archiving photographic content for publication. Managing the design and publication of a photobook on the project, including: liaising with artists, designers and printers, art direction, editorial writing, and supervision of