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blinkvideo - research of video art, performance and multimedia installations.

blinkvideo - research of video art, performance and multimedia installations.

blinkvideo the platform for . . .

artists we provide a platform for extensive presentation of media works, gallerists get a direct contact to international professional audiences, collectors find a worldwide overview of contemporary trends in moving image, curators can do research via keywords and compilations, teachers use presentation opportunities for students and all professionals get password protected, extensive information about video works worldwide.

FLUID STATES. SOLID MATTER
Videonale 18.

On what basis do we live, think and act nowadays? And how are we shaping this basis for the future? The works of the exhibition FLUID STATES. SOLID MATTER open a discourse on these questions. How does our thinking of the relationship of human beings to their environment change when we no longer see the body as solid and autonomous - as it has been the case until now - but as fluid. As fluid bodies - or "Bodies of Water", as gender researcher Astrida Neimanis puts it -
we as human beings no longer stand above nature, but in interaction with it, with the living being, with the systems that surround us.
Image: © Ida Kammerloch, Resusci Anne, 2019/2020

Alexandra Meijer-Werner

Between 1993 and 2002 Alexandra Meijer-Werner's artistic work focused on creating video installations with multiple projectors, and combining sound, texture and interaction with the public. She also produced a number of documentaries which evidence her profound interest in personal transformation and the awakening of human consciousness.

Please have a look to an introduction of her work on blinkvideo.
Image: © Eugenia Meijer-Werner

Moving Images / Moving Bodies
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curated by Ludwig Seyfarth

Research into the human body and interpersonal relationships remain central themes in video and moving image art. Artists from Bulgaria and Germany, whose work is related in content, will be shown in pairs over the next weeks. The exhibition planned for November 2020 in Sofia has been postponed until 2021. Instead, a consecutive presentation of selected films by artists from Moving Bodies/Moving Images is presented on blinkvideo.
image: © Elitsa Dimitrova

Shooting Ghosts
Online screening programme in cooperation
with the Goethe-Institut Bulgaria

Curators: Kalin Serapionov, Krassimir Terziev

What we propose in this programme is a highly subjective and fragmented view on current practices in moving image in the Bulgarian art scene. We focused on practices that show affinity with speculative narratives - narratives that not just record what is in front of the cinematic eye, but also capture all the ghosts that are unreachable by the apparatus, thus projecting speculative views that intend not merely to describe, but to transform the world.
image: © Veneta Androva

Featured videos

Alexandra Meijer-Werner
Kreislauf / cycle … revolution … circulation, 1997

Kreislauf is an oneiric trip about the continuous cycle of human rebirth. Our dreams create the fabric in which the threads or individual tendencies appear and disappear, only to become visible once again. The dynamic of this video is a weave of repetitions and juxtapositions of the experiences that create the dance of life. Everything is cyclic, nothing disappears; everything is perpetually mutating in landscapes of anguish and joy, violence and calm, solitude and union. The traveler is the active force of his own fate when he realizes that what is most significant in life is the act of living itself.

Björn Braun
without title (excerpt), 2012

Sandra Boeschenstein
Besuchte Linie auf Granit, 2014

I encountered the roundworm in the Alps when I attempted to repair the water catchment of the cabin after a storm. I wished for this animal found at the spring to be a visited line, then searched for potential visitors and found, just nearby, a nest of firebugs in a dried chestnut leaf, which I placed just outside of the image field. The granite slab, roundworm, bugs’ nest and a fly lived their lives within a radius of 100 meters. My part in this was to bring them into direct proximity for the duration of an hour, to focus my camera and to breathe onto the upper part of the lens, in order to increase the atmospheric depth of the picture. Finally, to come to the allegation I’ve made via the title that something was a line that actually is an animal (when normally, in a contrary approach, characteristically formed lines represent animals or the like). The combination of the simplicity in the foundation / bedrock with a simultaneous insecurity in view of scale and nature of this white line, holds my fascination.

Isabella Fürnkäs
In Ekklesia, 2015

The title, ‘In Ekklesia,’ comes from the Greek word ‘ecclesia,’ which refers to the democratic parliament that served Athens in its halcyon days by being open to male citizens every other year. Solon, an Athenian legislator and a sage, allowed all citizens to serve the parliament regardless of their social class in BC 594. The Ecclesia made decisions about war, military strategies, and all judicial and administrative issues. This work satirizes various facets of humans and machines in the 21st century, unconsciously within a dystopian environment. Isabella Fürnkäs introduces a method of combining and overlaying countless images in her work, providing the new experience of sensations that act in ambiguous flows, movements, interference, and interjection. The piece is about the new metaphysical and material connections appearing through digital conversations that are divorced from the general notion of time and space, as well as isolation and alienation. Text by Hyun Jeung Kim (Nam June Paik Art Center Seoul)

Ryan Gander
Man on a bridge - (A study of David Lange) , 2008

A digital video transferred from 16 mm film shows a number of slightly differing takes of the same short sequence: A man walks over a bridge and seems to notice something over the railing to his left hand side. As he moves in for a closer inspection, the film cuts, which is then followed by another take of the same shot.

Wim Catrysse
MSR, 2014

On the Kuwait roads the journey goes in a western direction, past military bases and a line of oil transporters. Dreary sound sequences are pumped out by the radio. In the middle of rubbish heaps by the roadside a pack of wild dogs is trying to find shelter from the wind. Wim Catrysse presents the Kuwait desert both as a post-apocalyptic setting and as protagonist. During the journey, the car window is an obstacle, made even more so by the screen. The viewer, dumped in the desert, does not manage to reach it through the window. MSR, the Main Supply Route, is the main highway used to coordinate military operations in the Gulf War in 1990/91 and the War in Iraq in 2003. Filming is forbidden here, so the pack of wild dogs carries the story at first. But their behaviour keeps on bringing the desert into focus as the principal actor. Underlined by the sound track, its seeming hostility to life awakens the impression of a dystopian timelessness reminiscent of the apocalyptic scenarios in films and makes the viewer feel ill at ease. Catrysse examines conventions, both in a political-dogmatic and in a filmic sense.Nathalie Ladermann

Johanna Reich
CRAWLER, 2020

A crawler is a searchbot in the internet which Johanna Reich uses to collect special comments or phrases about the most discussed topics during the last years like A.I., climate change, digital revolution, gender and the turn of democratic systems. Johanna Reich selects several of the collected phrases composing a robot performance: self-driving projectors move across the exhibition space and project comments about a.i., gender or climate change onto the audience and architecture.

Annika Kahrs
solid surface, with hills, valleys, craters and other topographic...., 2014

solid surface,with hills,valleys,craters and other topographic features,primarily made of ice„solid surface, with hills, valleys, craters and other topographic features, primarily made of ice“ is set in a planetarium with a projected starry sky, in the center of which is situated a light spot, that explores the space. The Film deals with the moment, shortly before the actual visualization of pluto’s surface properties, whereas the entire cupola hall of the planetarium serves as a metaphorical projection surface of Pluto. The round light spot formally points to the shape of the celestial object and functions as placeholder for its soon arising image.

Ann Oren
The World Is Mine, 2017

In cosplay of the Japanese cyber diva Hatsune Miku, the artist moved to Tokyo, seeking an identity in the world of Miku fanatics, where she was drawn into a love affair with one of the fans. Miku is a Vocaloid, a vocal synthesizer software personified by a cute animated character. Her entire persona: lyrics, music and animation – is fan created, and that's her charm. She even performs sold out concerts as a hologram. By transforming herself into a Miku character through cosplay, Oren enters a world of real hardcore fans where fantasy is more real than reality and the differentiation between the two becomes obsolete. The film examines the performative nature of cosplaying – dressing up and playing the role of fictional characters – as a hybrid space where reality blurs into fetishistic fantasies and pop culture clichés. Combining fan-made lyrics and songs, Oren's trials and tribulations in the fictional Miku world unfolds through vague erotic episodes and encounters with characters whose ontological status remains mysterious, bringing to mind the adventures of a modern Alice in a virtual Wonderland.

Jonathan Monaghan
Den of Wolves, 2020

Den of Wolves is a seamlessly-looping video installation drawing on a range of references to weave a new multi-layered mythology. The work follows three bizarre wolves through a series of increasingly surreal retail stores as they search for the regalia of a monarch. Composed of one continuous camera shot, the work is an immersive, dreamlike journey drawing connections between popular culture, institutional authority and technological over-dependence.

Stefan Panhans
HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – H.V.Installation Mix, 2018

At transmediale, Stefan Panhans and Andrea Winkler show their work HOSTEL Sequel #1: Please Be Careful Out There, Lisa Marie – Hybrid Version, a new project that combines film, installation, and staccato stage reading (on blinkvideo we are showing a trailer of the integrated film). With everyday racism, celebrity worship, stereotypes, and the dominating power of the economic all on the rise, precariously and flexibly traveling cultural workers of different origin deliver a sort of spoken word battle about their experiences and dreams. They constantly switch roles and, at the same time, form a choir that clashes with the rapped reports of everyday life. As in a collaborative gymnastic exercise—surrounded by scenery made up of set pieces from outfits of airports, hostels, and courier services, from self-optimization tools and game show displays—they fight for a voice and to be heard, building new alliances along the way. for more information: opening of transmediale

Mariola Brillowska
Children Of The Devil, 2011

Mariola Brillowska’s animation film relates the total collapse of the family system in the 21st century. Six cartoon episodes present an unsparing account of how children become murderers of their parents.

Julia Charlotte Richter
Point Blank, 2019

“Point Blank” refers to a film scene from "The Misfits" (1961) that is now re-enacted and further contextualized. In the original scene, the recently divorced main character Roslyn (Marilyn Monroe) rises up against three worn-out cowboys and, in the middle of the desert, confronts the men with all their lacks and lost dreams. In “Point Blank”, we see a young woman wandering around in surreal desert landscapes, a journey into the remoteness of the world and her own inner life. With every step out into the desert, the girl descends into her own depths searching for a place that seems to be suitable for her emotions and words. Unlike Roslyn, the young woman now refers to absent addressees: "Liars", "Murderers" and "Dead Men" she screams and turns around wildly. The words, which spread like bullets in the air, fall back on her. Except for a faint echo, there is no resonance at this place that depicts the obsessions of a distorted, patriarchal society and has become a dramatic backdrop of yearnings within the collective history of cinema. Where Roslyn was able to elicit a terrified astonishment from the three men, the character in Julia Charlotte Richter's video remains to herself and unheard, the desert as the only witness of her manifesto, her anger and her strength.

Ulrich Polster
Frost, 2003 / 2004

The night city. Industrial ruins filmed in contrejour. Memories from childhood. Different places and times combined at the mountain. It is a hollow portrait of Eastern Europe that carries the traces of its history.

Ene-Liis Semper
FF REW, 1998

Dimitri Venkov
The Hymns of Muscovy, 2018

The film is a trip to the planet Muscovy, which is an upside down space twin of the city of Moscow. As the title of the work suggests, the journey also takes us back in time. Gliding along the surface of the planet, we look down to the sky and see historic architectural styles fly by - the exuberant Socialist Classicism aka Stalinist Empire, the laconic and brutish Soviet Modernism, and the hodgepodge of contemporary knock-offs and revivals of the styles of the past. An essential companion to this journey through time and space are Hymnic Variations on the Soviet anthem by the composer Alexander Manotskov. The anthem was written in 1943 and has undergone three editions of lyrics yet musically remained unchanged to now serve as the official anthem of the Russian Federation. Manotskov used an early recording of the anthem as source material to create three electronic variations each corresponding to an architectural style. As if in a twist of Goethe’s phrase, architecture plays its frozen music. Look closely, can you hear it?

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blinkvideo is a website for the research of video art. Founders: Julia Sökeland, Anita Beckers. blinkvideo ist eine Plattform zur Recherche nach Videokunst

Toby Huddlestone

Works


Galleries

Videonale e.V. im Kunstmuseum Bonn
Tasja Langenbach
Friedrich-Ebert-Allee 2
53113 Bonn
Germany

Phone: +49-(0)228-692818
E-Mail: langenbach@videonale.org




Statement

Actions such as rupturing, blurring, interrupting, trans-coding and agitating are interesting ways of formulating questions about things.

I want my practice to question, examine, re-question, re-examine and subvert itself. It is always an investigation of the workings or process of something.

I am always looking into structures (the way things work), deconstructing them, repositioning and altering certain aspects of them, then throwing them back out in a new form. I may repeat this process over and over, never wanting an answer as such, but more in order to investigate and learn through action and play.

The use of duration and repetition is a reoccurring theme as works in the studio are often made in series, and interventions and actions concentrate on a critique and deconstruction of the event.


Biography

Born 1980 in Goole, East Yorkshire
Based in Ramsgate and London

Education

2004-2007 MA Fine Art, University of the West of England.
2000-2003 BA (Hons) Fine Art (1st class honours degree), Swansea Institute of Higher Education.

Solo exhibitions and performances

2013
The John Gingell Award, g39, Cardiff
The Origins of Another Artwork, Market Gallery, Glasgow

2012
Phobos Self-Degradation and 11 Minutes, PAC Home, Plymouth Arts Centre, Plymouth
sculpture/bar/performance - Enclave Projects, Deptford, London

2011
Lecture Apathy, solo performance at LCCA, Riiga, Latvia

2010
To appear to have done something..., ROOM, London
I’m so bored of viewing, Engine Room, Wellington, NZ
Lecture Apathy, VCA, Melbourne and The Physics Room, Christchurch

2009
ON ON / PROTEST APATHY, Outlet, Manchester

2008
Double Yes, Solo show, Plan 9, Bristol
Homage to Bruce, In Focus space, Oriel Davies Gallery, Newtown, Wales

Selected group exhibitions  / projects

2014
Videonale.14 on tour, Videofest 2K14 Bienal Internacional de Video Y Cine Contemporaneo, Baja California, Mexico.
Videonale.14 on tour HudPromo (organised by Bayerisches Haus), Galerie Odessa, Ukraine
Yearbook Edition exhibition, Enclave Projects, London
Falling in Hankering for Classification, Federation House, Castlefield Gallery, Manchester
Performance as Publishing, New York Art Book Fair, MOMA PS1, New York

2013
Videonale.14 on Tour, The Central House of Artists (CHA), Moscow, Russia
MUSLIHAT OK. VIDEO / 6th Jakarta international Video Festival, Jakarta, Indonesia
Appropriation Beyond the Object, Banner Repeater, London
A3 Works, A3 Project Space, Birmingham
Video Dumbo, New York
Brand Innovations for Ubiquitous Authorship, Carroll / Fletcher, London
Words to be Spoken Aloud, curated by Ruth Beale and Nicole Bachmann, Turner Contemporary, Margate
Rule of 3' at Islington Mill, Salford
Videonale v.13, Bonn, Germany

2012
Dawdle, SPACE Studios, London
Young London 2, V22, London
Audio work in Rockmore for the Baltic Triennial, CAC Vilnius, Lithuania.
Document Documenting Documentation, V22 Summer Club, London
It looked like a theatre. Act1, Scene 7: The Apocralypse, hypothetical talks programme curated by Barry Sykes.
Video Apathy screened at Festival of Failure, Chapter Cinema, Chapter Arts Centre, Cardiff.
Shit show at Malgus/Naudet, Manchester
Testing Ground: Acoustic Mirrors, 176 Zabludowicz Collection, London

2011
Again, A Time Machine, Bookworks project at Spike Island, Bristol
Space Exchange, for The Woodmill, Aid and Abet, Cambridge
Performance as Publishing, South London Gallery, London
Airline, ABC Gallery, Christchurch, New Zealand
Resonance 104.4 FM project Gone With the Wind at Raven Row, London
We Are Grammar, group show, Pratt Manhattan Gallery, New York, USA

2010
The Politics of Utopia conference at Bahktin Centre, Sheffield University
Prop, group show at Departure Gallery, London (curated by Louise Ashcroft)
Collaborators 2, group show, R O O M, London
Super8station, Arnolfini, Bristol
Pile on included into Crosstalk Video Festival, Budapest, Hungary

2009
Trade City, group show represented by Exocet, Contemporary Art Manchester
A Line, A Road, Abridged, Group show, Hold and Freight, London
SALE, Royal Standard, Liverpool
Coalesce, curated by Paul O’Neill, SMART Project space, Amsterdam

2008
Did I tell you I used to be a barbarian?, Group Show, Plan 9, Bristol

2007
INTER exchange, exhibition at HIAP and Galleria Huuto, Helsinki, Finland
An-Froo-Ka, group exhibition at Bristol Zoo Gardens

2006
We Have Net Curtains, Hotel MariaKapel in Hoorn, Holland

Commissions, awards and residencies

2013
John Gingell Award, G39, Cardiff
2012
Garden of Reason, commission for National Trust, Ham House, Richmond
2011
Walk the Line, public commission for EXCHANGE RADICAL MOMENTS festival, LCCA, Latvia
Iteration: Again, large-scale temporal public commission, Tasmania
2010
Commission for Liverpool Biennial for DEADPAN at Royal Standard, Liverpool
Public commission for Field Broadcast, curated by Projeckt, Wysing Arts Centre, Cambridge
2009
Artist-in-residence for Contemporary Art Society, Istanbul Biennial
Residency and public commission for OUTPOST, Contemporary Art Norwich (CAN09)
Public commission for Platform, Vaasa, Finland
2007
INTER exchange, Residency with exhibition at HIAP and Galleria Huuto, Helsinki, Finland
2006
Residency with exhibition at Hotel MariaKapel in Hoorn, Holland

Selected curatorial / organisational projects

2013-2015 COLLABORATIVE RESEARCH GROUP, conception of and coordination of an alternative education programme (perceived as an MA in Doing), hosted by CRATE Studio and project Space.
2012-2013 AUTO-ARCHIVE: A research exhibition in four parts, commissioned by Lionel Dobie Project, Manchester, in partnership with Curatorial Timeshare, Enclave, London
2011-2012 EXHIBITION AS MEDIUM programme, CRATE Studio and project Space, Margate. 12-month programme focusing on alternative exhibition formats, the processes of exhibition making and the de-stabilising of production.
2008-2009 Curator of I AM COMEDY, multi-locational exhibition, screening and event project at Worm (Rotterdam), W139 (Amsterdam), HMK (Hoorn) and Arnolfini (Bristol, UK) including work by Kim Noble, Bedwyr Williams and Olaf Breuning.
<>2005-2008 Co-director of Plan 9, Bristol including curating of BRSLAXVAA (2005), UTSTALLRUMM (2007)
2007 INTER exchange. Residency and exhibition exchange between Bristol and Helsinki.
2005 Co-curator of Curating Degree Zero touring archive, Spike Island.

Publications / resource / talks

2014 Year Book Edition, Enclave Projects, London
Young London catalogue, V22 London
2013 Recap, Onwards..., Solo publication, John Gingell Award, g39, Cardiff
Videonale catalogue and DVD
Interruption: Again catalogue
The Nomadic Studio – Art, Life and the Colonisation of Meanwhile Space, Edition Taube, Stuttgart, 2013
2012 Talk, Plymouth Arts Centre
11 minutes transcribed for CCA Glasgow's publication 2HB
Inert Gas Series: Box included in Oscilations, Paris
Art Forum talks series, UTAS, Hobart, Tasmania.
2011 Performative Tactics and the Reinvention of Public Space, Martin Patrick, Art and The Public Sphere
Protest Apathy included in UTOPIA TOOLBOX_, edited by Juliane Stiegel
2010 ‘Context’, presentation and panel discussion at Knowle West Media Centre
2009 Work included in Periphery, YH485 press in association with Gymnasium.
Axisweb curated selection curated by Anthiny Shapland
2008 In discussion:Gisela Motta and Leandro Lima, chair of discussion of Plan 9’s International residency artists presentation discussion.
Underdogs: Artists in Unusual Places, symposium on DIY artists’ initiatives hosted by Plymouth College of Art and Design.
2007 Navigating the International, public seminar at Watershed, Bristol - in discussion with Alessio Antoniolli (Director, Gasworks)

Toby Huddlestone
Born 1980 in Goole, East Yorkshire Based in Ramsgate and London Education 2004-2007 MA Fine Art, University of the West of England. 2000-2003 BA (Hons) Fine Art (1st class honours degree), Swansea Institute of Higher Education. Solo exhibitions and performances 2013 The John Gingell Award, g39, Cardiff The Origins of Another Artwork, Market Gallery, Glasgow 2012 Phobos Self-Degradation and 11 Minutes, PAC Home, Plymouth Arts Centre, Plymouth sculpture/bar/performance - Enclave Projects, Deptford, London 2011 Lecture Apathy, solo performance at LCCA, Riiga, Latvia 2010 To appear to have done something..., ROOM, London I’m so bored of viewing, Engine Room, Wellington, NZ Lecture Apathy, VCA, Melbourne and The Physics Room, Christchurch 2009 ON ON / PROTEST APATHY, Outlet, Manchester 2008 Double Yes, Solo show, Plan 9, Bristol Homage to Bruce, In Focus space, Oriel Davies Gallery, Newtown, Wales Selected group exhibitions  / projects 2014 Videonale.14 on tour, Videofest 2K14 Bienal Internacional de Video Y Cine Contemporaneo, Baja California, Mexico. Videonale.14 on tour HudPromo (organised by Bayerisches Haus), Galerie Odessa, Ukraine Yearbook Edition exhibition, Enclave Projects, London Falling in Hankering for Classification, Federation House, Castlefield Gallery, Manchester Performance as Publishing, New York Art Book Fair, MOMA PS1, New York 2013 Videonale.14 on Tour, The Central House of Artists (CHA), Moscow, Russia MUSLIHAT OK. VIDEO / 6th Jakarta international Video Festival, Jakarta, Indonesia Appropriation Beyond the Object, Banner Repeater, London A3 Works, A3 Project Space, Birmingham Video Dumbo, New York Brand Innovations for Ubiquitous Authorship, Carroll / Fletcher, London Words to be Spoken Aloud, curated by Ruth Beale and Nicole Bachmann, Turner Contemporary, Margate Rule of 3' at Islington Mill, Salford Videonale v.13, Bonn, Germany 2012 Dawdle, SPACE Studios, London Young London 2, V22, London Audio work in Rockmore for the Baltic Triennial, CAC Vilnius, Lithuania. Document Documenting Documentation, V22 Summer Club, London It looked like a theatre. Act1, Scene 7: The Apocralypse, hypothetical talks programme curated by Barry Sykes. Video Apathy screened at Festival of Failure, Chapter Cinema, Chapter Arts Centre, Cardiff. Shit show at Malgus/Naudet, Manchester Testing Ground: Acoustic Mirrors, 176 Zabludowicz Collection, London 2011 Again, A Time Machine, Bookworks project at Spike Island, Bristol Space Exchange, for The Woodmill, Aid and Abet, Cambridge Performance as Publishing, South London Gallery, London Airline, ABC Gallery, Christchurch, New Zealand Resonance 104.4 FM project Gone With the Wind at Raven Row, London We Are Grammar, group show, Pratt Manhattan Gallery, New York, USA 2010 The Politics of Utopia conference at Bahktin Centre, Sheffield University Prop, group show at Departure Gallery, London (curated by Louise Ashcroft) Collaborators 2, group show, R O O M, London Super8station, Arnolfini, Bristol Pile on included into Crosstalk Video Festival, Budapest, Hungary 2009 Trade City, group show represented by Exocet, Contemporary Art Manchester A Line, A Road, Abridged, Group show, Hold and Freight, London SALE, Royal Standard, Liverpool Coalesce, curated by Paul O’Neill, SMART Project space, Amsterdam 2008 Did I tell you I used to be a barbarian?, Group Show, Plan 9, Bristol 2007 INTER exchange, exhibition at HIAP and Galleria Huuto, Helsinki, Finland An-Froo-Ka, group exhibition at Bristol Zoo Gardens 2006 We Have Net Curtains, Hotel MariaKapel in Hoorn, Holland Commissions, awards and residencies 2013 John Gingell Award, G39, Cardiff 2012 Garden of Reason, commission for National Trust, Ham House, Richmond 2011 Walk the Line, public commission for EXCHANGE RADICAL MOMENTS festival, LCCA, Latvia Iteration: Again, large-scale temporal public commission, Tasmania 2010 Commission for Liverpool Biennial for DEADPAN at Royal Standard, Liverpool Public commission for Field Broadcast, curated by Projeckt, Wysing Arts Centre, Cambridge 2009 Artist-in-residence for Contemporary Art Society, Istanbul Biennial Residency and public commission for OUTPOST, Contemporary Art Norwich (CAN09) Public commission for Platform, Vaasa, Finland 2007 INTER exchange, Residency with exhibition at HIAP and Galleria Huuto, Helsinki, Finland 2006 Residency with exhibition at Hotel MariaKapel in Hoorn, Holland Selected curatorial / organisational projects 2013-2015 COLLABORATIVE RESEARCH GROUP, conception of and coordination of an alternative education programme (perceived as an MA in Doing), hosted by CRATE Studio and project Space. 2012-2013 AUTO-ARCHIVE: A research exhibition in four parts, commissioned by Lionel Dobie Project, Manchester, in partnership with Curatorial Timeshare, Enclave, London 2011-2012 EXHIBITION AS MEDIUM programme, CRATE Studio and project Space, Margate. 12-month programme focusing on alternative exhibition formats, the processes of exhibition making and the de-stabilising of production. 2008-2009 Curator of I AM COMEDY, multi-locational exhibition, screening and event project at Worm (Rotterdam), W139 (Amsterdam), HMK (Hoorn) and Arnolfini (Bristol, UK) including work by Kim Noble, Bedwyr Williams and Olaf Breuning. <>2005-2008 Co-director of Plan 9, Bristol including curating of BRSLAXVAA (2005), UTSTALLRUMM (2007) 2007 INTER exchange. Residency and exhibition exchange between Bristol and Helsinki. 2005 Co-curator of Curating Degree Zero touring archive, Spike Island. Publications / resource / talks 2014 Year Book Edition, Enclave Projects, London Young London catalogue, V22 London 2013 Recap, Onwards..., Solo publication, John Gingell Award, g39, Cardiff Videonale catalogue and DVD Interruption: Again catalogue The Nomadic Studio – Art, Life and the Colonisation of Meanwhile Space, Edition Taube, Stuttgart, 2013 2012 Talk, Plymouth Arts Centre 11 minutes transcribed for CCA Glasgow's publication 2HB Inert Gas Series: Box included in Oscilations, Paris Art Forum talks series, UTAS, Hobart, Tasmania. 2011 Performative Tactics and the Reinvention of Public Space, Martin Patrick, Art and The Public Sphere Protest Apathy included in UTOPIA TOOLBOX_, edited by Juliane Stiegel 2010 ‘Context’, presentation and panel discussion at Knowle West Media Centre 2009 Work included in Periphery, YH485 press in association with Gymnasium. Axisweb curated selection curated by Anthiny Shapland 2008 In discussion:Gisela Motta and Leandro Lima, chair of discussion of Plan 9’s International residency artists presentation discussion. Underdogs: Artists in Unusual Places, symposium on DIY artists’ initiatives hosted by Plymouth College of Art and Design. 2007 Navigating the International, public seminar at Watershed, Bristol - in discussion with Alessio Antoniolli (Director, Gasworks)

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