Archive for the ‘Fellowships’ Category

Débora Delmar

Débora Delmar will develop a new body of work Terms and Conditions investigating money’s relationship to value, objects and time in the context of the current financial crisis. Supported by the research community at Kingston University, Delmar will examine the political and economical factors that determine inflation, its effects in society and relation to materiality.

Delmar will also herby explore further strategies of her working within systems, contracts, relationships and institutions. By incorporating the contractual structure of the Stanley Picker Fellowship, Delmar aims to explore artistic labour as a form of currency, hence questioning the power relations established between artists and institutions. Additionally, Delmar seeks to scrutinise our personal relationship with money and its influence within wider society; through conversations with staff, students and members of the public at Kingston University. Her fellowship project will culminate with an installation and architectural intervention at the Stanley Picker Gallery followed by public events and presentations.

Débora Delmar’s work investigates the effects of globalisation on everyday life focusing on issues of class, gender, cultural hegemony and gentrification. This is borne from the omnipresent influence of the United States in Mexico (Delmar’s place of birth), and in the wider world. Within her practice she examines the contextual value of goods, analysing their systems of production, distribution and consumption. In her installations Delmar frequently references the sanitised aesthetic utilised in non-spaces, a neologism coined by sociologist Marc Augé to describe places such as banks, airports as well as corporate and government buildings, which are commonly under surveillance. She’s particularly interested in the psychological and behavioural influence of this kind of architecture. Physical barriers working as metaphors for political and societal restrictions have been a recurrent subject matter in recent projects. Delmar often works appropriated images and objects, as well as with local production processes and direct architectural interventions. She frequently incorporates immaterial components within her exhibitions such as video, text, sound, scent, and situations.

Selected exhibitions include Body Blend Trade Culture, Museo Universitario del Chopo, MX, 2014, Upward Mobility, Modern Art Oxford, UK, 2015; 9th Berlin Biennial, DE, 2016; Biennial of the Americas, US, 2016; and more recently Femsa Biennial, Michoacán, MX, 2020-2021. She has received numerous grants such as the Jumex Museum Scholarship, MX, 2016-2018; Red Mansion Art Prize, UK/CN ,2018; and the Wolfson College Cambridge RA Graduate Prize, UK, 2019. Upcoming solo exhibitions include LIBERTY., Gallleria Pìu, Bologna, IT, 2022 and TBC, Llano, Mexico City, MX, 2023.

Thomas Pausz

Thomas Pausz’ project Haunted Ecologies will intersect the research fields of media, ecology, and ‘hauntology’ – the understanding that our perception of contemporary environment and culture is always haunted by spectres of the past, and by hopes and visions of the future – to propose immersive installations echoing the transformations of local ecosystems in the vicinity of the Stanley Picker Gallery.

From early wildlife photography to digital sensors signalling the pulse of climate in real-time, the media constellations we design evolve with and change our perception of ecosystems. However, in times of loss of biodiversity and climate change, our relationships with the environment are becoming so ambiguous that they seem to escape our means of representation and experience. Relational modes of presence and cohabitation are crossfading with affects of longing, absence, and loss. The scale and temporality of environmental objects are equally changing, from the human-centered perspective and scale of modernism to microscopic events, fine particles and geological time. We are all like Alice, wondering if she needs to shrink or expand, or both at the same time.

Thomas Pausz is an artist and researcher born in Paris and based in Reykjavik. He graduated from the Royal College of Arts in 2009 after studying philosophy and epistemology of sciences in Paris. Pausz´s fictional ecosystems take various forms to explore unforeseen interactions between humans, non-human life forms, and media. His worldbuilding projects are informed by field research in specific environments, and critical dialogues with researchers in the fields of biology, climate science, and bioethics. Pausz puts a particular emphasis on the design of exotic technologies as a medium to redefine interspecies relations. Can VR for pollinators, software to read sea shells, or ´spectral´ wildlife photography refocus the human gaze and offer poetic spaces, where biological and technological are renegotiated? Recent projects include Making New Land, An Intertidal Aesthetics, an essay in speculative biology published by the Performance Philosophy Journal; Species Without Spaces, a series of documented expeditions reflecting on media representation of endangered ecosystems for the Laboratoire Modulaire (FR), where Pausz is a guest artist in 2022. Previously he was a fellow of the Academy Schloss Solitude (DE), artist in residence at the Politics of Food program at the Delfina Foundation (UK), and member of the interdisciplinary Swamp School (LT).

Recent exhibitions include Interspecies Futures (IF) at Centre for Book Arts, New York; Nature in Transition, Shifting Identities at The Nordic House, Iceland; The Wildflower at Hafnarborg Museum, Iceland; The Swamp Pavilion at the Venice Architecture Biennale; Species Without Spaces at Istanbul Design Biennale 2018; Food: Bigger than the Plate at the Victoria & Albert Museum, London UK and Out of the Sea at Passerelle Contemporary Art Centre Brest, France.

Ilona Sagar

Ilona Sagar will develop a new body of work exploring the politics of scientific optical imaging, particularly brain scanning, through a gendered lens with a focus on brain injury. Research into concussion often focuses primarily on men. Recent studies have shown women take longer to recover from head trauma and concussions, and have more severe symptoms than men. Through film, sound-design and text, Sagar will navigate tools of bodily observation within their sociological and technological context as a way to reapproach the gendered body and its historical after-images at the edges between vision and data.

Ilona Sagar works with a diverse range of media spanning moving-image, text, performance and assemblage, forming research-led works that resonate with the politically charged social and historic infrastructures found in the public and private spaces we inhabit. By instrumentalising historical archives and their institutions, not as an encounter with a safely sealed past, but as something current and unstable that speaks urgently to our present condition, she explores the links between language, surface, technologies and the body through our increasingly mediated encounters in social, political and experiential space. A significant aspect of her practice is the broad cross-disciplinary dialogue generated through collaboration with a range of art and scientific disciplines; including dance, architecture and neurology. Illusion and material [dis]honesty set the stage for works which seek to seduce, alluding to something familiar yet other. In 2018 she won the Research in Film Award at BAFTA HQ and is the Saastamoinen Foundation, Helsinki, artist for 2021. Forthcoming commissions include ‘The Radio Ballads’ Serpentine Gallery, where she is one of four new commissions with Sonia Boyce, Helen Cammock and Rory Pilgrim (2022), and is embarking on a new solo commission with Firstsite Gallery, Colchester. 

Recent projects include: ‘Deep Structure’(2019) S1 ArtSpace, Sheffield, ‘Living with Buildings’, Wellcome Collection, London (2018/2019); ‘Self Service’ publication and event series, CCA and GOMA, Glasgow as part of Glasgow International (2018); ‘Correspondence O’, solo exhibition at South London Gallery, London (2017/2018); ‘GLORIA’, Yinka Shonibare Guest Projects 10 year anniversary, London (2018); HereAfter group show as part of the SPACE HereAfter residency, The White Building, London (2017); solo project at Pump House Gallery, London as part of ‘The Ground We Tread’ (2016).

Ligaya Salazar

Ligaya Salazar’s project A World of Islands – On Palms, Storms and Pineapples considers the juxtaposition between contemporary interests of the Global North in indigenous practices and materials, and historical fabrications of tropical utopia and dystopia. Positing the ‘tropics’ as both a mythological and real place with shared colonial trauma but wildly divergent histories and cultures, the project will unpick some of the tropes of tropicality and relocate agency in the ‘tropical’ narrative.

Using the relationship between the Philippines and Mexico in the period of the Manila-Acapulco Galleon trade (1565 – 1815) as a starting point, in particular the exchange of plants and the craft, building, food and medicinal knowledge associated with them, the project focusses on the continued omission of the individuals that held and continue to pass on knowledge about these practices. The coconut palm, banana tree and pineapple plant act as lenses into the subject.

A World of Islands references the importance of readjusting notions of what can be understood as the centre and the periphery (the mainland and the island) in the trade of knowledge plants, and material. It reminds us of how we all interconnect in ways we have unlearnt.

Ligaya Salazar is a curator and programme director who has devised creative cultural programmes across the cultural and museum sectors for 15 years. Her work as a curator and commissioner focuses on contemporary interdisciplinary practice at the intersection of design, fashion, art and graphics. Her approach is shaped by an interest in how audiences can be positioned at the heart of curatorial practice, enabling a human-centred take on storytelling. As Director of Fashion Space Gallery and Arcade East, at the University of the Arts’ London College of Fashion campus, she developed the strategic direction for the two spaces and managed the programme, budget and team. She devised the public exhibition and events programmes there from 2013–20 and curated specific projects as part of that, including the Designer in Residence programme, Creative Lab, Polyphonic Playground and Fordlandia

She is currently working on two upcoming exhibitions: on the subjectivity of sight at the Wellcome Collection, London (2022), and on the design of sneakers at the Design Museum, London (2021).

Dani Admiss

Dani Admiss is a curator and researcher working across the fields of design, art, technology and science. Her approach is framed by world-making practices and community-based research prioritising these as lenses to explore alternative forms of curatorial practice.

Her Fellowship project Sunlight Doesn’t Need a Pipeline explores and enacts just transition in the arts. Across 2022, a coalition of art workers, agitators, dream weavers, makars, and caregivers, will co-create a bottom-up and open-source decarbonisation plan for art workers.

Admiss has curated projects across the UK, Europe and internationally including at the Barbican Centre, Somerset House, MAAT, Lisbon and Lisbon Architecture Triennale. 

Larry Achiampong

Larry Achiampong is an artist whose solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity. For his Fellowship project Achiampong and his frequent collaborator, Nephertiti Oboshie Schandorf are developing a new work processing the imprints of depression, digital anxiety and Black Masculinity. Through field recordings, moving image and materials from Achiampong’s personal archives, the project ‘A Letter, A Pledge & A Funeral’ delicately unfurls the tensions of grief, dislocation, legacy and lost kin.

Achiampong is a 2018 Jarman Award-nominated artist and a 2019 Paul Hamlyn Award recipient (for Visual Arts) and has worked with major institutions on commissions, residencies and exhibitions with spaces including Tate Galleries, the Venice and Singapore Biennales, Somerset House and Transport for London.

Maeve Brennan

Maeve Brennan is an artist based in London. Her practice explores the political and historical resonance of material and place. Working primarily with moving image and installation, she develops long-term investigations led by personal encounters.

For her Stanley Picker Fellowship, Brennan’s proposal focuses on the illicit antiquities trade; working collaboratively with forensic archaeologist Dr Christos Tsirogiannis, the project will trace international underground networks that facilitate the looting, smuggling and selling of cultural artefacts.

Brennan has recently had solo exhibitions at Wäinö Aaltonen Museum, Finland (2019); Jerwood Space, London; Mother’s Tankstation, Dublin (both 2018); The Whitworth, Manchester; Spike Island, Bristol and Chisenhale Gallery, London (all 2017). She was the recipient of the Jerwood/FVU Award 2018.

Ben Judd

Ben Judd is based in London. His work examines collectivity and participation through performance, moving image and installation, enabling different forms of communities to be explored in relation to site and context. He often works with collaborators as a method to develop self-reflexive folk histories and construct temporary communities.

For his Stanley Picker Fellowship, Judd will collaborate with students from Kingston School of Art to create an offsite project using the nearby River Thames as the site for a floating resource for the local community that reflects upon Britain’s island status. 

Judd has exhibited widely in the UK and abroad, recently including ICA, Art Night London, Whitstable Biennale and Victoria Gallery & Museum, University of Liverpool. 

The Decorators

The Decorators is an interdisciplinary design collective founded by Suzanne O’Connell, Carolina Caicedo, Xavi Llarch Font and Mariana Pestana in 2011. With backgrounds in landscape architecture, spatial design, curation and psychology, they work on spatial design projects that aim to reconnect the physical elements of a place with its social dimension.

The Decorators’ projects can be read as the testing of possible infrastructures for communal life, designing programmes and physical elements for a space that turns an individual into a collective. In particular they have produced tables, seating configurations and frameworks for collective eating. Commensality – eating and drinking at the same table, is a fundamental social activity, which creates and cements relationships, but which can also defy dominant power structures. For The Decorators, the act of eating is a political act.

During their fellowship they want to consolidate this experience and build an inventory of objects and situations that produce collective experiences based on the consumption of food. By staging a series of design experiments both in and outside of the Stanley Picker Gallery, in collaboration with students and the local community, The Decorators seek to develop a series of observations, situations and working sculptures which they will exhibit, use, photograph, draw and compile into a catalogue of (political) commensality.

Erika Tan

Erika Tan is an artist and curator whose work is primarily research-led and manifests itself in multiple formats such as moving image, publications, curatorial and participatory projects. Appointed to the Stanley Picker Fellowships at Kingston University in 2018, she is Course Leader of the MA in Fine Art, Reader in Contemporary Art Practice in Central Saint Martins and an Associate Researcher in the Decolonising Art Institute, UAL (London).

Tan’s most recent research has focused on the postcolonial and transnational, working with archival artifacts, exhibition histories, received narratives, contested heritage, subjugated voices and the transnational movement of ideas, people and objects; her future projects point towards the digitization of collective cultural memory and cloud architecture through the prism of ruins, hauntings, and mnemonic collapse.

Tan’s work has been exhibited, collected and commissioned internationally including: The Diaspora Pavilion (Venice Biennale 2017); Artist and Empire (Tate Touring, National Gallery Singapore 2016/7); Come Cannibalise Us, Why Don’t You (NUS Museum, Singapore 2014); There Is No Road (LABoral, Spain 2010); Thermocline of Art (ZKM, Germany 2007); Around The World in Eighty Days (South London Gallery / ICA 2007); The Singapore Biennale (2006); Cities on the Move (Hayward Gallery, London). Recent curatorial projects include Sonic Soundings/Venice Trajectories.