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Glasgow International 2018 Panel Discussion

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Reid Auditorium

The Glasgow School of Art

167 Renfrew Street

Glasgow

G3 6RQ

United Kingdom

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Dr. Andrea Phillips chairs a panel discussion with GI Director Richard Parry and artists Jesse Darling, Cécile B. Evans, Kapwani Kiwanga, Mark Leckey, John Russell and Gary Zhexi Zhang discussing themes prevalent across GI 2018 - including questions of identity at a time of prolific social change; how we are represented and how we represent ourselves online; and utopian and dystopian visions of the future.

Supported by Glasgow School of Art.

Dr. Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art. Andrea lectures and writes about the economic and social construction of public value within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture. Recent publications include: ‘Social Dreaming: Learning about curating at Iniva and Santiniketan’ in (eds. Choi, Rosenthal, Watson), Practice International (London/Utrecht: Iniva/CASCO, 2018 forthcoming); ‘The Imperative for Self-attainment: From Cradle to Grave’ in (eds. Choi, van der Heide), Unlearning (Utrecht: CASCO, 2018 forthcoming); ‘Forgetting the Public’ in (ed.) Mick Wilson, Park Lek (London: Black Dog, 2018); ‘in conversation with Keller Easterling’ in (eds.) O’Neill, Steel, Wilson, How do Institutions Think?(Massachusetts: MIT, 2017); ‘Artistic research, publishing and capitalisation’ in (eds.) Kaila, Seppä, Slager, The Futures of Artistic Research (Helsinki: University of the Arts, 2017); ‘Where is the “Former” in Neocoloniality’ in FormerWest: Art and the Contemporary After 1989 (BAK/MIT, 2017), ‘Making the Public2’ in I Can’t Work Like This (Sternberg, 2017), ‘In Service: art, value, merit and the making of publics’ in Public Servants, (MIT/New Museum, 2016, ‘Devaluation’, PARSE Vol 1 no 2 The Value of Contemporary Art (Gothenburg: University of Gothenburg 2015); ‘Invest in what? How to work together, the Arts Council’s Catalyst Fund and art’s contemporary economic infrastructure, How To Work Together (Chisenhale Gallery, The Showroom, Studio Voltaire, 2015).

Richard Parry is the Director of Glasgow International, a role he began in May 2017. He was formerly Curator-Director of the Grundy Art Gallery in Blackpool between 2013-17, prior to which he served as assistant curator at Hayward Gallery in London. While at Grundy Art Gallery, he curated over 25 exhibitions, including the 2016 show “NEON: The Charged Line,” the largest exhibition of neon-based art to be held in the UK, as well as solo shows with Mark Leckey, Jennet Thomas and Matt Stokes. While at Hayward Gallery, he organised the exhibitions “Psycho Buildings” (2008), “The New Décor” (2010), Tracey Emin (2011) and “Wide Open School” (2012), which turned the galleries into a temporary ‘school’ run by artists. Parry is also a writer and has written for Frieze, Art Review and Modern Painters amongst other publications.

Jesse Darling is an artist working in sculpture, installation, video, drawing, text, sound and performance. Their work is broadly concerned with what it means to be a body in the world, though what that means is both politically charged and culturally determined. Their practice draws on their own experience as well as the narratives of history and counterhistory. To be a body is to be inherently vulnerable, which extends to the “mortal” quality of empires and ideas as a form of precarious optimism – nothing and no-one is too big to fail, and this for JD is the starting point for a practice in which fallibility and fungibility are acknowledged as fundamental qualities in living beings, societies and technologies. Imagining the ‘high church of the modern’ as a moveable or precarious tabernacle, JD’s works and writing feature an array of free-floating consumer goods, liturgical devices, construction materials, fictional characters and mythical symbols detached from the architectures, hierarchies and taxonomies in which they have their place. Upcoming for 2018 include a solo exhibition at Chapter Gallery, New York and participation in the Baltic Triennial 2018. Other recent projects include the curation of exhibition Mene Mene Tekel Parsin at Wysing Arts Centre and the sound performance NTGNE for Serpentine Park Nights in 2015.

Cecile B. Evans (b. 1983, Belgian-American) lives and works in London and Berlin. Recent and upcoming solo exhibitions include: Amos’ World, Episode 2, mumok, Vienna, 2018; Art Basel Statements with Galerie Emanuel Layr, Basel, 2017; Sprung A Leak, Museum M, Leuven, 2017; Sprung a Leak, Tate Liverpool, 2016; Feeling For You, Museum of Contemporary Art Santa Barbara, 2015. Recent and upcoming group exhibitions include: Blind Faith, Haus der Kunst, Munich, 2018; Unthought Environments, Renaissance Society, Chicago, 2018; Still Human, Rubell Family Collection, Miami, 2017; 7th Moscow International Biennale of Contemporary Art, 2017; Screening of How Happy a Thing Can Be, Whitney Museum, New York, 2017; 9th Berlin Biennale, Berlin, 2016. Evans was awarded the Schering Stiftung (2016), the Andaz Art Award, (2015), Grant for the Arts (2014), and Push Your Art Prize (2013).

Kapwani Kiwanga (b. 1978 in Hamilton, Ontario, CA) lives and works in Paris (FR). In her most recent works Kapwani Kiwanga appears like a scientist, mobilizing her knowledge in social sciences to develop research projects. Following a singular methodology, she creates specific protocols which she uses like filters to observe specificities and capacity to change of cultures; the result can take the form of installations, videos or happenings. Kapwani Kiwanga studied anthropology and comparative religion at McGill University (Montreal, CA). She has followed the programme “La Seine” at the Ecole Nationale Supérieure des Beaux-Arts de Paris, and also works at Le Fresnoy (a french national centre for contemporary art). She was artist in residence at the MU Foundation in Eindhoven (NL) and at the Box in Bourges (FR). Kapwani Kiwanga’s works have previously been exhibited in Centre Georges Pompidou (FR), Glasgow’s Centre for Contemporary Art (UK), the Museum of Modern art de Dublin (IE), the Bienal Internacional de Arte Contemporáneo de Almeria (ES), Salt Beyoglu in Istanbul (TK), the South London Gallery (UK), the Jeu de Paume in Paris (FR), the Kassel Documentary Film Festival (DE), the Kaleidoscope Arena Rome (IT) and at Paris Photo (FR). Kapwani Kiwanga has been nominated as the Armory Show’s Commissioned Artist, where a solo show was devoted to her work in 2016. Twice nominated for BAFTA, her films have received awards at several international festivals.

Mark Leckey (born 1964) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Light and Magic (2008), for which he won the 2008 Turner Prize. His work has been widely exhibited internationally, including solo exhibitions at Kölnischer Kunstverein, Cologne, in 2008 and at Le Consortium, Dijon, in 2007. His performances have been presented in New York City at the Museum of Modern Art, Abrons Arts Center; at the Institute of Contemporary Arts, London, both in 2009; and at the Solomon R. Guggenheim Museum, New York City, in 2008. His works are held in the collections of the Tate and the Centre Pompidou.


John Russell (b. 1963) lives and works in London. His education includes St Martin’s School of Art London (BA), Slade School of Art, and Goldsmith’s College of Art (MA). Recent solo exhibitions include: DOGGO, Kunsthalle Zurich, Zurich (2017); Head Gallery, Okey Dokey: Head Gallery hosted by Linden, Dusseldorf (2017); SQRRL, Bridget Donahue Gallery, New York (2015); Aquarium Proletarium, MOT International, London, (2014); Then Suddenly Like All At Once, The Black Mariah, Triskel Arts Centre, Cork (2013). Recent group exhibitions include: It’s all the same fucking day, man…, Galerie Crevecoeur, Paris (2018); CONDO: Emalin, London (2017); Cos only Difference can return my friend, 83 Pitt Street, (2016); Against Interpretation, 265 Canal, New York (2016); Le Bourgeois, 4 Eros House, London (2016); Lofoten International Art Festival 2015, Disappearing Acts, (2015).

Gary Zhexi Zhang (b. 1993 in Suzhou, China) lives and works in Cambridge, MA. U.S.A. His recent work explores the entanglement of bio- and technological networks in material, speculative and poetic imaginaries. Zhang is especially interested in morphological behaviours within decentralised organisations: mycelia, swarms, internets and markets. Solo exhibitions include: Current Assets, the Assembly Hall, Glasgow, UK (2015); how do i convince my friends to play soggy biscuit?, Black Box, Kungliga Konsthögskolan, Sweden (2014). Group exhibitions include ALL CHANNELS OPEN, Wysing Arts Centre, Bourn, UK (2017); Hereafter at The White Building, London, UK (2017); Would You Like Help?, EMBASSY Gallery, Edinburgh, UK.


Image courtesy Cécile B. Evans

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Reid Auditorium

The Glasgow School of Art

167 Renfrew Street

Glasgow

G3 6RQ

United Kingdom

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