Tigersprung 1936 . 1972



Two dates: 1936 and 1972.

On the one hand, a time of emerging fascism and war. On the other, a time just after worldwide social conflicts culminated into the global protests of the late 1960’s.

Jumping between these two dates, how can we catch a glimpse of our contemporary moment?

. . . . . . . . . . . .

The next Goldsmiths Art Research Symposium is dedicated to these two dates – one day for each date. As artist researchers, we will read, experience, research, speak and dance 1936 and 1972. We will make history and, through this, we will think through its implications for now.

Date:               9 March (9:30am -6:30pm) – 10 March (9:30am – 11:00pm) 2017
Location:         Goldsmiths College, Laurie Grove Baths, Room G6 (unless otherwise noted)
Reserve tickets through Eventbrite. The event will conclude with raucous disco.
All are welcome!
Click here for a document containing further information, a schedule of events and embedded web links to background reading.

Potatoes & Stones: A Student-Led Art Research Symposium

Thursday, 24 – Friday, 25 November 2016

St James Hatcham Building (The Church), Goldsmiths
Number 41 on campus map:http://tinyurl.com/jpyctne

Potatoes & Stones is the first of two research symposia for 2016-17 organised and led by MPhil & PhD Researchers in the Department of Art at Goldsmiths College. Finding form through common research interests, this two-day programme of events mobilises thinking and practices around Maintenance, Care, Proximity, Potatoes and Stones. Here questions will be posed and shaped, methods presented and discussed, that situate these collective concerns within the wider context of art and practice research.

Schedule of Events

Day 1 : Thursday, 24 November 2016

THE SHAPE OF A QUESTION // Time: 10.00 – 13.00
Researchers, both on the programme and beyond, are invited to bring one question to the table. We will think carefully about the shape of the question and how it is posed. Will it be posed through speaking, writing, gesturing, moving image, sound?

MAINTENANCE / CARE // Time: 14.00 – 16.00
For this session, Dr. Susan Kelly, Professor Viviane Maximino and Teresa Calonje each give a talk related to artistic and research practices that develop strategies around maintenance and care. They will speak from their practices which propose passages between artistic practices, institutional analysis and health care; between desire, care, fetish and the sacred.

Curated by Cristina Thorstenberg Ribas.

Guests include Professor Viviane Maximino (Federal University of São Paulo and Goldsmiths), Dr. Susan Kelly (Goldsmiths) and Teresa Calonje (Goldsmiths).

(UN)WANTED PROXIMITY // Time: 17.00 – 20.00
(Un)Wanted Proximity is a marriage of words including multiform thoughts. This event will cover art and fiction, improvisation and text, sudden interruptions, the responsibility to respond, the face of the Other in interpersonal contact, likeness, the weight of the outside world or research, obligatory psychoses, among other ideas. The abstract suggestion of the title, nearly an oxymoron, allows for the creation of unprecedented affiliations among subjects. It aims at enacting thinking across categories.

A new project by writer and curator Giulia Damiani and curator Barbara Mahlknecht.

Invited Speakers: Helena Rice, Dr Nicky Coutts, others tbc.

Day 2 : Friday, 25 November 2016

Practice Research in Practice
// Time: 10.00 – 13.00
Here we invite guests to articulate, through their work, a relation to the notion of ‘practice research’. In doing so, we seek to arrive at a more general understanding of ‘practice research’ through the particular practices of artist researchers – a movement from specific to type.

Guests include Daniel Peltz (Goldsmiths), Dr. Edgar Schmitz (Goldsmiths) and Dr. Nina Wakeford (Goldsmiths)

SPEAKING THROUGH STONES // Time: 14.00 – 17.00
This practice-led session takes the figure of the stone as starting point to open out discussion on (dis)embodied speech, its excesses and extravages.

Artists Katharine Fry, Sigrid Holmwood, Åsa Sonjasdotter, Kate Pickering, and Sophie Sleigh-Johnson present five new works across video, text, sound and painting. Taking the séance as both a structure for the panel and a form of communal channelling, the séance evokes the invisible, specifically states of haunting and inertia, through the body and stones. Varying disembodied voices and breaths are heard and not heard, fused and doubled, flickering between the simulacra and the real.

Curated by Sophie Sleigh-Johnson, Sigrid Holmwood, Kate Pickering, Katharine Fry & Åsa Sonjasdotter.

Guests include Josh Cohen (Goldsmiths), Tristam Adams (Goldsmiths Visual Cultures research student), and Katrina Palmer (Ruskin School of Art).

Goldsmiths, St James,
New Cross, London,
SE14 6NW

Animate Assembly Series #5: Jalal Toufic: “Dance”

6 October, 17:00-19:00,

Studio A, Barriedale Building, Goldsmiths

Dance, which, in the realm of altered body, silence, and movement into which it projects a subtle version of the dancer, makes possible immobilization, the genetic element of motion, allows all sorts of extraordinary movements, including an auto-mobility of the inanimate. The first couple of times when its winding mechanism came to a stop, the doll became again motionless; the third time the winding mechanism came to a stop, its faint sound no longer audible, the doll continued to move, having acceded to the auto-mobility allowed by dance in the realm of altered body, silence, and movement in which it projects a subtle version of the dancer. When the mechanical doll attains the state of dance, a cessation of its movement would be due to its becoming frozen in dance’s realm of altered body, movement, silence, and music. The notion of rewinding the doll’s mechanism occurred to its erstwhile master, but, being himself a dancer, he dismissed it—he must have sensed that he would not be able to do so since the doll was then frozen still, thus withheld from time, with the consequence that the action of rewinding it, one that takes place in time or is a form of time, could not be effectuated until the doll was no longer frozen but subject to time again. The doll resumed its movement on its own once the silence-over had receded.

Jalal Toufic is a thinker and a mortal to death. He was born in 1962 in Beirut or Baghdad and died before dying in 1989 in Evanston, Illinois. His books, many of which were published by Forthcoming Books, are available for download as PDF files at his website: http://www.jalaltoufic.com. He was a participant in the Sharjah Biennials 6, 10 and 11, the 9th Shanghai Biennale, Documenta 13, the 3rd Athens Biennale, and “A History: Art, Architecture, and Design, from the 1980s Until Today” (Centre Pompidou). In 2011, he was a guest of the Artists-in-Berlin Program of the DAAD; and in 2013–2014, he and Anton Vidokle led Ashkal Alwan’s third edition of Home Workspace Program, based in Beirut. He assumed the position of Director of the School of Visual Arts at the Lebanese Academy of Fine Arts (ALBA) in September 2015.

The Animate Assembly network understands animation as a discrete set of experiential and technological possibilities, on the one hand, and as a generalised politico-economic set of conditions on the other. Drawing on the crossovers and proliferations afforded by this doubling, the Animate Assembly network aims to debate the currency and significance of analogue and digital animation studies in view of the fundamental transformations occurring in cultural knowledge. Animate Assembly is propelled by Verina Gfader (Aarhus), Esther Leslie (Birkbeck), Edgar Schmitz (Goldsmiths) and Aylish Wood (Kent).

The assembly is funded by the Research Programme, Department of Art, Goldsmiths.

Research Presentations

PhD Research Presentations

Barriedale Building, Studio A, Main Seminar Space

Thursday, 29th September – Friday 30th September

We will be hosting a drinks reception for all researchers to conclude the presentations. All are welcome! Please feel free to invite guests …




Roman Vasseur The Materialism of the Apparatus – Truffaut’s Vase


Asa Sonjasdotter On Plant Memory


Ramon Bloomberg The Speculative Origins of the Term Drone as a Metaphoric Description for a Technical Object


Katharine Fry House Arrest




Millie Brown How Class Became Bourgeois in Contemporary British Art Practice: Art Informed by Lived Experience


Irina Botea Camin Cultural: Between Political Programme and Cultural Appropriation from 1955 to the Present Day


Sigrid Hollywood Nelly and Ishi: Living in the Museum




Anna Gonzalez Suero Baudrillard’s Mother


Rose Jejeune From Hayward to Home – Florence Peake at Gallery Lejeune


Giulia Damiani To change one’s skin. On Feminist and Artistic Transits


Cristina Thorstenberg Ribas Research Processes, Knowledge Production and Processual Creativity: Schizoanalytic Cartographies in Brazil


Kate Pickering Bowels of Steel


Scott Raby The Contract Is the Ultimate Legal Mechanism for Defining Relations Within a Capitalist Society


Sophie Sleigh-Johnson Slip Into Stone: Performing the Disruption




Daniel Peltz An Accidental Audience Encounters an Object of Uncertain Origin


Kristien Van Den Brande The Undercommons as Chance Support


Barbara Mahlknecht How Do you Keep Going? Social Re/Production, Feminism and Curatorial Politics


Teresa Calonje Ownership and Dispossession

Animate Assembly 3: WJT Mitchell: ‘Method, Madness, and Montage’


10 June 2016

RHB 256 6-8pm

“Method, Madness, and Montage”

Images not only exist within environments such as museums, books, monitors, and commercial displays. They also become environments in their own right, forming a spectacular surround of pictures, texts, and screens that constitutes a world of image operations, a kind of “iconoscape” in which many images may be viewed simultaneously. As “working environments” they range from Aby Warburg’s Bilderatlas to Andre Malraux’s Musee Imaginaire to military situation rooms and forensic wall displays in police and spy dramas. Verging on a kind of iconomania, the “wall of images” is a form of method-driven montage that flirts with madness. Examples from art history, cinema, and forensic science will be discussed.





4–8 May, Studio A, Barriedale Buildings, Goldsmiths

by appointment with agonz013@gold.a.cuk

Preview 3 May, 5:30-8pm

The Fetus Phallus Studio will put some of its old specimens on display. Feminist research shows that there is no ahistorical fetus and begins with the fact that fetuses are cultural, social, political, and legal artifacts. There are multiple and competing fetuses: fetuses are artifacts.

Anna began her practice-based PhD in the Art Department at Goldsmiths in September 2015. Anna has expressed her ideas through many mediums, including collage, video, photography, performance, and writing. She studied Fine Art at Cooper Union in New York and received a BFA in Audiovisual Art from Gerrit Rietveld Academy in Amsterdam. Anna has worked in clinical practice and organized artistic projects at hospitals across Germany. She has participated in artist residencies and exhibitions worldwide. Currently living and working in Cologne, Germany.




caption: The Fetus Phallus Studio by Anna Gonzalez Suero

Reading the Word, Reading the World. On Display: The Aesthetics of Resistance*

E-Mail invite

Research Symposium, Birkbeck/Goldsmiths’ Art Department, University of London and The Field, New Cross.

Reading the World, Reading the World. On Display: The Aesthetics of Resistance*

 25th – 27th April 2016

Research Symposium organized by Claudia Firth (Cultural and Critical Studies, Birkbeck) and Achim Lengerer (Art Depart­ment, Goldsmiths) in collaboration with Kristien Van den Brande (Art Department, Goldsmiths), Cristina Ribas (Art Department, Goldsmiths) and Vera Weghmann (Centre for the Study of Social and Global Justice, Nottingham University).

The events will take place at both Goldsmiths’ Art Department and Birkbeck, with an informal workshop session to be hosted at The Field, an alternative community space in New Cross.

Taking Peter Weiss’ historical novel The Aesthetics of Resistance as a loose starting point, the symposium will take a sideways glance at questions of how we might ‘read’ leftist historical narratives. While deferring an interrogation of the term resistance to a later point in time (and a further symposium in October at Birkbeck), we will follow a thread of collective learning and sharing knowledge and ask how subjectivity and politics might intersect through the process of ‘reading’ together. One of our questions will be: how are these processes of collective ‘reading‘ organised and what can we draw from this collective experience for a contemporary artistic-activist praxis.

Events will include: debates on the crossovers between work; education and workers’ education from a historical and a contemporary perspective; the reading group as cultural, social and historical form in relation to The Aesthetics of Resistance; the historical essay as exhibition and films by Peter Weiss; reading groups as a practice outside or at the margins of institutions; the interrelations between collective reading and political praxis.

Monday 25th April

Birkbeck Evening Event

7 pm – 9 pm

Keynes Library, 43 Gordon Sq.

An evening panel on the changing nature of work, education and workers’ education. The shift to Post Fordist modes of production and cultural and immaterial labour have changed our relationship to knowledge and how it is produced as well as changing the nature of work itself. With the increasing presence of work in education (for example through ‘employability’ training and work placements) it seems pertinent to ask questions regarding the relationship between work and education and the organisation of higher education itself. How have these relationships changed?  Are there models from the past that could be mobilised now? What might alternative models of organization have to offer? Birkbeck College itself comes from a history of Mechanics Institutes in the UK originally formed in the 19th century to provide adult education to working people and seems the perfect setting in which to ask some of these questions.

Round table with Claudia Firth and Vera Weghmann and guests:

Stevphen Shukaitis, lecturer at Essex University. His work includes writings on Autonomia, self-organisation, class (re)composition and cultural labour.

Mike Neary from the Social Science Centre, Lincoln, who currently provide free co-operative higher education. The SSC is run as a not-for-profit co-operative, and organised on the basis of democratic, non-hierarchical principles.

Richard Clarke, until 2012, was Senior Lecturer in Conservation at Birkbeck College and Director of the University of London Centre for European Protected Area Research.

Tuesday 26th April

Goldsmiths Day Session

10 am – 6 pm

Seminar room, Studio A, Barriedale Buildings, Goldsmiths, New Cross, London SE 14 6NW

10 am Claudia Firth and Achim Lengerer. In Collective Reading as Political Act? Firth and Lengerer will introduce their shared research of various Aesthetics of Resistance reading groups in East and West Germany during the 1970s/1980s. They will explore the reading group as a social, cultural and semi-public form, what it means to read and learn collectively and what this might mean for critical knowledge production and subjectivity.

11:30 am – 1 pm Carles Guerra. 1979: a Monument to Radical Instants is the title of an exhibition Guerra curated in Barcelona in 2011 inspired by The Aesthetics of Resistance and Foucault’s lectures on biopolitics. The exhibition was conceived as a kind of historical essay that operated through image and object to organise the temporal moment as monument. Choosing 1979, Guerra focussed the exhibition on a pivotal year for Spain and one that could be characterised as epitomising the birth of neoliberalism.

2 – 4 pm Open conversation with protagonists of different reading groups: the New Cross Commoners, The Litany Reading Group (Nicola Guy, Katherine Jackson, Louisa Lee, Sophie Risner and Amy Tobin), and Katie Hare and Andrea Williamson, who are part of a group of 12 MFA candidates at Goldsmiths that are meeting on the self-selected theme of love and politics. These three self-organised reading groups will share their experiences as groups that have read together and reflect on the interrelations between reading and their particular social and political practices. The session is co-hosted by Kristien Van den Brande whose experience with reading groups range from memorising books by heart, durational collective readings and self-organised recurrent reading sessions in and outside of academia.

4 – 6 pm Screening and lecture by Florian Wüst. This thinking in oppositions: Peter Weiss and the political self of the artist. Looking at the period in which Peter Weiss shifted from film to theatre in the early 1960s, Florian Wüst elaborates on Weiss’s growing efforts to examine the social, political and economic realities surrounding him. How to learn from the follies of history through art? How to activate societal change without dismissing intellectual critique and freedom? The screening will be followed by a conversation with Edgar Schmitz (Art,Goldsmiths).

Wednesday 27th April

‘Reading Group’ Afternoon Session

Starts 1 pm

The Field, 385 Queen’s Rd, New Cross

This will be a practical workshop session in which participants are asked to bring fragments from their experiences of the previous two days’ events. These could be words, things, dates, feelings or anything they might have taken away with them. Together, we will ‘read’ these fragments using a variety of methods and perspectives. Starting with discursive modes towards more affective registers to include the body, voice, rhythms and dynamics. This will be in collaboration with Cristina Ribas who proposes the title Protocol to intersect vocabularies for her intervention. The symposium finishes with an invitation to join us and the New Cross Commoners at the People’s Kitchen at the Field for a communal meal.


Contacts: Achim Lengerer: lfp.lengerer at gmail.com, Claudia Firth: claudiaf at talktalk.net

* The title refers to Paulo Freire as well as to Harun Farocki’s film On Display: Peter Weiss (Zur Ansicht: Peter Weiss), 1981. The image on the poster collages a subtitle as well as fragments of a still image from Farocki’s film.





On Display: The Aesthetics of Resistance


An evening on reading Peter Weiss

Date: Tuesday 10th November 7pm-9pm
Place: Professor Stuart Hall Building LG2
Goldsmiths, University of London

Screening of Harun Farocki’s film “On Display: Peter Weiss/Zur Ansicht: Peter Weiss”. Readings from “The Aesthetics of Resistance” and letters between Farocki and Weiss.

Special guest artist Karen Mirza who set up a London based reading group in 2010 and Edgar Schmitz (Department of Art, Goldsmiths).

Please join us for an evening on Peter Weiss’ seminal novel “The Aesthetics of Resistance” hosted by Claudia Firth (Birkbeck) and Achim Lengerer (Goldsmiths) who are currently researching Peter Weiss reading groups in East – and West Germany during the 1970s/1980s. They want to consider the collective process of reading Weiss within general questions of (workers) education and self-organised learning outside of institutional frameworks. The evening will include the first UK screening (English subtitles) of Harun Farocki’s 1981 film “On Display: Peter Weiss (Zur Ansicht: Peter Weiss)”. Farocki’s film is an interview with Weiss about the writing process of “The Aesthetics of Resistance” (1975-1981), an anti-fascist historical novel that follows a small group of young working class students as they visit museums, discuss art and political history and fight in the Spanish Civil War and the resistance to Nazism. The main premise of the book is that through self-learning the affinity between political resistance and art might be explored. The book itself also presents an opportunity for self-organized learning and has engendered a plethora of reading groups organized around it.

Special thanks to Antje Ehmann for the screening rights of Harun Farocki’s film.

Peter Weiss (1916 – 1982) was a German writer and experimental filmmaker of adopted Swedish nationality. He is particularly known for his plays Marat/Sade and The Investigation and his novel The Aesthetics of Resistance.

Harun Farocki ( 1944 – 2014) was a German filmmaker, author and lecturer in film. From the 1960s onwards, Farocki brought Weiss’ filmic work to public attention in Germany. He is also the author of an edition of the German magazine “Filmkritik” in 1981, devoted to Weiss’ films.

Karen Mirza has col­la­bo­ra­ted with Brad But­ler since 1998, and in 2004 for­med no. w. here (www. no-w-here. org. uk), an ar­tist-run space for the pro­duc­tion, dis­cus­sion and dis­se­mi­na­ti­on of prac­tices en­ga­ged with the mo­ving image, po­li­tics, tech­no­lo­gy and aes­t­he­tics. no. w. here’s role as a co­ope­ra­ti­ve en­vi­ron­ment is di­rect­ly re­la­ted to the cen­te­ring of Mirza and But­ler’s own prac­tice upon col­la­bo­ra­ti­on, dia­lo­gue and the so­ci­al. Since 2007 they have pur­sued a strain of prac­tice en­t­it­led The Mu­se­um of Non Par­ti­ci­pa­ti­on (www.museumofnonparticipation.org).

Installations: Series 1

Summer 2015 : Download Programme



Opening Thursday 7 May, 6-8pm, Studio A

We Knew The World Would Not Be The Same. A Few People Laughed, A Few People Cried, Most People Were Silent.

Tue 5 May – Fri 8 May.

The title of the installation is taken from Robert Oppenheimer’s post-war recollection of the first atomic blast at Alamogordo in the spring of 1945. A confrontation of the scientist’s testimony, a 700kg multi chamber crystal geode and stories of the last days of death row inmates is intended to tackle notions of change, time and contingency. The installation (especially the geode) is to be touched, heard and sensed.



Daily performances at 6:30 and 8:00pm, Studio A

Acts IX – V.

Mon 11 May – Fri 15 May.

Act IX – Owed to (C)ode

Act VIII – Sight Reading (featuring Benji Jeffery, Lucy Warren, Mel Powell and Rose Dagul) Act VII – Owed to the Uncanny

Act VI – Screening

Act V – Finale



Opening Thursday, May 21, 12-6pm & 7-9pm, Studio A

Flatness Conversations With Artists On Sound And Affect In The Visual Arts

Mon 18 May – Fri 22 May

I have invited the following artists to spend the day in the space with me opening out our on-going conversations and overlapping research to the visiting audience. A durational experi-ment rather than a purely visible one, instead of a site-specific display or timed performance, ideas and practices will be rehearsed, tweaked and added to over the course of each day.

Thursday 12-6pm & 7-9pm – Jason Dungan

Friday 12-6pm – Tom Richards and the Daphne Oram archive



Opening Thursday 28 May, 6-8 pm, Studio A

The Neighbourhood Academy Prinzessinnengarten Visits London.

Detailed timing tbc.

During the summer of 2015 the newly established Neighbourhood Academy Prinzessinnengarten will host a discursive program with base in Berlin, Germany. The program will look into questions of connectedness and of urban and rural politics on land, water and neighborhoods. From May 26 to 29 the Open Knowledge Network will host a workshop in London. More details on both the Berlin and London programs will be announced by April 30 on http://prinzessinnengarten.net.

The Open Knowledge Network 2015 summer program will host workshops, walks and talks with visiting guests such as architect and artist Marjetica Potrč and her class ‘Design for the Living World’, Hochschule für Bildende Künste Hamburg; lawyer Paula Z. Segal, 596acres, New York; artists Bonnie Fortune and Brett Bloom, Copenhagen / Chicago, and architect Mathias Hayden, Berlin.



Opening Thursday 4 June, 6-8pm, Studio A

Latest Research Findings And Progress Report From The Peasant-painter’s Garden.

Tuesday 2 June – Friday 5 June.

This Project centres on the development of a pigment garden for Peasant Painting on an abandoned water catchment system in the arid mountains of the Sierra María Los Vélez, in Andalusia. The demands of painting structures the task, while the research process reconfigures the painting. The question of what painting is expands through its material networks. This dialogic materialism follows lines of colonisation, invasion and co-habitation, on the part of humans, insects, plants and earths. The figure of the peasant is central as she who must be excluded in order to construct modernity and as the stubborn persistence of the non-modern.

During this week I will be presenting paintings along with video and performance. With painting as the start and end point, I will be operating through discordant modes of knowledge, from analytical chemistry, Meso-american códices, through to BBC documentaries and clowning.

I will be working with a clown from Sweden, David ‘Tito’ Carmel, culminating in a performance on Thursday evening. The installation of paintings and videos will be open to the public during the week.



Opening Thursday 11 June, 6-8pm, Studio A


Wed 10 June – Sunday 14 June.

The event in time, video experiments 1-x. Achronological refuge, prototype 2.

Feminist Duration in Art and Curating

Research Symposium, Goldsmiths, Department of Art
Monday 16th & Tuesday 17th March, 2015

Feminist duration in art and curating symposium

Venue: RHB 325 & 326, Goldsmiths, University of London
# 25 on the Campus Map: http://www.gold.ac.uk/media/campus-map.pdf
Take staircase B up 2 flights of stairs

Free and Open to All. If you could like to come please email to reserve a seat as places are limited: h.reckitt@gold.ac.uk

Presenters include visiting artists and researchers and a range of lecturers, PhD Art and MFA Curating students at Goldsmiths, University of London

Nella Aarne, Lisa Busby, Kajsa Dahlberg, Giulia Damiani, Claire Fontaine, Dimitra Gkitsa, Melissa Gordon, Catherine Grant, Laura Guy, Shama Khanna, Nina Power, Helena Reckitt, Cristina Thorstenberg Ribas, Emily Rosamond, Louise Shelley, Amy Tobin, Rehana Zaman

Monday March 16th
10am -10.30am Introduction, Andrea Phillips and Helena Reckitt
10.30am – 11.30am Catherine Grant, A Time of One’s Own
11.30am – 1pm Rehana Zaman, Screening of Some Women, Some Other Women and all the Bittermen, 2015
Louise Shelley, Communal Knowledge – is this working?
Lisa Busy: Introduction to Sound Piece
1pm – 2pm Break
2pm – 3pm Melissa Gordon, Exits and Dropouts (title tbc)
Giulia Damiani, Le Nemesiache from Napoli: Amplifying Women’s History
3pm – 3.30pm Break
3.30pm – 4.30pm Cristina Thorstenberg Ribas, Do I have to be a Mother to Discuss Social Reproduction from a Feminist Perspective?
Emily Rosamond (title tbc)
4.30pm – 5pm Break
5pm Claire Fontaine, And they ask for her help more than they are ready to help her, response by Nina Power [in the Stuart Hall Building]

Tuesday March 17th
10am – 11am Helena Reckitt, Support Acts
11am – 12.30pm Laura Guy and Kajsa Dahlberg, I Want a President
12.30pm – 1.30pm Break
1.30pm – 2.30pm Shama Khanna, Flatness: Refusal. Screening with works by Helen Chadwick, Domestic Sanitation: Bargain Bed Bonanza, 1976; Lucy Clout, Shrugging Offing, 2013; Barry Doupé, Life and People, 2014; Bonnie Camplin, My Name is Ko Ko, 2001
2.30pm – 3pm Amy Tobin, Youth, family and home: thinking with and against second wave feminist art
3pm – 3.30pm Break
3.30pm – 4.30pm Dimitra Gkitsa, Where Have All the Cyborgs Gone?
Nella Aarne, Encounters in the Dynamic of Love: Notes on ‘Feminine Curating’
4.30pm – 5pm Open Discussion