MA Groups - School of Arts and Humanities

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MA Groups

The Groups takes place every Wednesdays 10am – 4pm

They relate to the Research Groups: Entanglement / Documents / Absurdity / Disorder / Fiction / Politicised Practice / Writing

Please sign up to one group for the whole year.

The Rooms will be sent to you once you have signed up to your group.

1 – Sally O’Reilly - Locomotivated Text: writing site-specifically - Fiction Group - with Brigid McLeer

18th & 25 Oct + 8th / 15th / 29th Nov/ 13th of Dec.

The group will be making site-specific text-based works – collaboratively or solo – which draw on, and potentially perturb, the site in which they are presented. Each session will step through a significant and relevant issue this entails: working in the public realm; the possibilities of text (spoken or written) in conjunction with imagery, ambient sound, gesture, architecture; writing for performance; modalities of narrative and voice; memorising and extemporising.

  • Session One (off-site) - field trip - 18th of Oct
  • Session Two (seminar room with projector and speakers) - presentation of practice - seminar on site-specificity – 25th of Oct
  • Session Three (seminar room with projector and speakers) - writing workshop - 8th of Nov
  • Session Four (seminar room with projector and speakers) - voice workshop – 15th of Nov.
  • Session Five (off-site) presentation of site-specific works – 29th of Nov.
  • Session Six (off-site) presentation of site-specific works – 13th of Dec.

Sally O’Reilly is a writer, publishing and distributing texts in many formats, from art magazines and performance lectures to video and opera. She is a part-time Tutor on the Painting programme in the School of Arts & Humanities at the Royal College of Art, where she has taught since 2010. O’Reilly writes for performance, page and video, interleaving academic research and technical knowledges with the comic, the fantastical and the psycho-social.
Besides contributing to several art magazines and numerous exhibition catalogues, she has written the novel Crude (Eros Press, 2016), the libretto for the opera The Virtues of Things (Royal Opera, Aldeburgh Music, Opera North, 2015), a monograph on Mark Wallinger (Tate Publishing, 2015) and The Body in Contemporary Art (Thames & Hudson, 2009).
She was writer in residence at the Whitechapel Art Gallery (2010–11) and at Modern Art Oxford (2016); producer and co-writer of The Last of the Red Wine, a radio sitcom set in the art world (ICA, London, 2011), and co-editor of Implicasphere (2003–8), an interdisciplinary broadsheet.

2 – Milly Thompson – Absurdity Research Group - with Jeroen Van-Dooren

Wednesday 18 Oct / 25 Oct / 8 Nov / 15 Nov

Being Serious and Being Stupid and Words

We will think about self-representation in the form of an 'advertising campaign' of sorts.

In relation to the above we will think about whether art or art-making can be 'fun' or funny, comical or absurd, whilst also being serious or not. Perhaps it might be stupid either by design or accident, and we might think about the anxiety caused by the need to 'have an idea'. We may discuss pointlessness.

There will be a field trip, a workshop where we'll make something and a group crit amongst other things.

Milly Thompson is a Tutor on the Painting programme at the RCA, teaching students through one to one tutorials and group crits. She works closely with the rest of the Painting and fine art team on course planning and structure. Milly Thompson's diverse practice focuses on pleasure, hypocrisy and self-promotion. Her 2016 exhibition COUGAR included paintings and poster-prints drawing out ideas about mid life seduction and the politics of high end collecting. Milly was a member of the collective art group BANK from 1994 and 2003. She has had a long running series of collaborations with Alison Jones culminating in the publication Alison Jones & Milly Thompson C21ST RECENT HISTORY published in 2016 by LGP. Milly has shown widely and is a Paul Hamlyn Foundation Awards for Artists recipient and was awarded the Sargent Fellowship at the British School at Rome. She is currently the lead artist for Wysing Art Centres Syllabus II and has been teaching at MFA level since 2000 at Central Saint Martins (CSM), Goldsmiths and over the last 10 years on the Painting programme at the RCA. She holds a BA Hons in Painting from the Slade School of Fine Art, University of the Arts, London.

3 – Jesse Ash - Language of Concealment – Writing Research Group - with Sharon Boothroyd

25th of Oct / 8th of Nov? / 15th of Nov / 29th of Nov

We will look at how institutions of power communicate and conceal information to and for the public by making specifically selected site visits (these may include Mayday Rooms Fleet Street, Freemasons Hall, a news organization, a museum for example). Each session will focus on one site, using a pre-circulated text, group discussion and a process of collective transcribing which will feed into the next visit.

Jesse Ash is a tutor in Painting, working with MA and Research students in the painting program and across the School of Arts & Humanities. Jesse Ash is an artist working in a variety of media, exhibiting regularly in solo and group projects hosted by institutions, museums and commercial galleries worldwide. He has taught widely at a number of Fine Art programs in the UK including Goldsmiths, Central St Martins, Wimbledon college of Art, Camberwell College of Art, The Royal Academy Schools and Manchester Metropolitan University. He completed his MA in Painting at the RCA and a practice based Fine Art PhD at Goldsmiths College, London.
For over 10 years Jesse Ash has developed an intimately crafted collage practice that has a close relation to his current painting process and has been included in exhibitions hosted by galleries and institutions such as: Tanya Bonakdar New York, Tulips and RosesBrussels / Vilnius, Thaddeus Ropac Paris, Bonnefantenmuseum Maastrict, CA2M Madrid, Monito Rome, Mendes Wood DM Sao Paolo and BMoCA Colarado. His recent project Avoidance-Avoidance incorporates an evolving play in the form of a love story, performed amongst artworks that act like supporting props. The project has been performed in 5 languages and presented at Index – The Swedish Contemporary Art Foundation Stockholm, CAC Bretigny Paris, Arnolfini Bristol, Museo Marino Marini Florence, Monitor Gallery Rome, Mendes Wood DM Sao Paolo, and at Stericher Herbst Graz. The project is being gathered as a single book publication due to be published 2018.

4 – Tom McCarthy - Documents Research Group - Marita Fraser

- 18th October + 8th / 15th / 22nd Nov



with Tom McCarthy

How do we measure the world through aesthetics? Or should that be the other way round? In a time when all of cultural history, or just history, is available at the click of a button, how do we get a bearing on the Real? What do such acts of surveying push aside?

This group starts adrift, with few-to-no coordinates to steer by; as it progresses, there’s no guarantee we’ll become any less lost.

Tom McCarthy is a writer and artist whose work has been translated into more than twenty languages. His first novel, Remainder, which deals with questions of trauma and repetition, won the 2008 Believer Book Award and was recently adapted for the cinema. His third, C, which explores the relationship between melancholia and technological media, was shortlisted for the 2010 Booker Prize, as was his fourth, Satin Island, in 2015. McCarthy is also author of the 2006 non-fiction book Tintin and the Secret of Literature, an exploration of the themes and patterns of Hergé’s comic books; of the novel Men in Space, set in a Central Europe rapidly disintegrating after the collapse of communism; and, most recently, of Typewriters, Bombs, Jellyfish, a selection of his essays for publications such as The New York Times, The London Review of Books, Harper’s and Artforum. In 2010 he wrote the screenplay for Johan Grimonprez’s multiple award-winning film Double Take. In addition, he is founder and General Secretary of the International Necronautical Society (INS), a semi-fictitious avant-garde network of writers, philosophers and artists whose work has been exhibited internationally at venues including the Palais de Tokyo Paris, Tate Britain and Moderna Museet Stockholm. In 2013 he was awarded the inaugural Windham Campbell Prize for Fiction by Yale University.

Tom McCarthy

5 - Graham Hudson

25th of Oct. 8th / 15th / 22nd of November


The traditional art school model of tutorials, crits, seminars, studio making and general neoliberal discourse has long been detached from the realities of achievement and success in the dominant model of capitalism that the 'art world' operates within. 21st century neurology has long since proved there is no true self or will, let alone ambitions or dreams for the self. How should an aspiring 21st century artist prepare themselves? In these four group sessions we will consider the history of 'self-improvement' and 'self-help' with it's intrinsic links to psychology and postmodernity's reflective and isolationist tendencies.

The four sessions will be highly interactive and physically demanding, with no time given or interest shown for group discussion or critical framing, this is about the business of improving you. Lets get to work.

Graham Hudson’s work is object, sound, performance and moving image, often all at once, sometimes by accident, and usually (with a bit of luck) falling over. His interest is in the psychology of an artwork’s construction and mediation. If you are reading these words in a chair, sitting comfortably, they will mean one thing to you, if you are on an aeroplane, something else. If you’re hungry, your judgement of this text is likely to be faster and harsher than if you are reading this just after breakfast. We know that that the same memory is never recalled the same twice, and that the meaning of every artwork is different for every person, you are a constant work in progress. If you ever met the person you will be in ten years, or the person you were ten years ago, you would probably not like them. These kind of psychological questions underpin Hudson’s work in the research, conceptual and material methodology of his process as well as giving him a good excuse when things go wrong, or perhaps, right.

Graham Hudson graduated from Chelsea College of Art and Design (2000) and The Royal College of Art (2002).

Hudson’s solo exhibitions include Locust Projects, Miami, (2008); The Contemporary, Austin, (2011); Museo d'Arte Contemporanea di Roma, (2012); and Monitor, Rome. (2017) Residency partners have included The Henry Moore Foundation (2006) Gasworks and Triangle (2007) Kings Cross and The Arts Council England (2010) and Progetto Diogene, Turin (2011) Hudson has exhibited in group exhibitions at institutions including, The Camden Arts Centre, London (2008) The David Roberts Art Foundation, London (2009) The VanAbbe Museum, Eindhoven (2010) The BALTIC, Gateshead, (2010) The Fundament Foundation, Tilburg, (2011) ARoS, Aarhaus, (2011) Sunday Painter (2012) The Art Gallery of South Australia (2012). Commissions have included Frieze Sculpture Park, London (2009), DesignMiami (2010), Comme Des Garçons, Tokyo, (2011) Film and Video Umbrella, London (2013).

6 – David Blandy – Fiction Research Group

8th / 15th / 22nd Nov / 13th of December

Altered realities, Imagining futures

8th Nov Group presentation

15th Nov All Day - Workshop

22nd Nov All Day- Reading Group

13th Dec Field Trip

A group investigating the possibilities offered by science fiction, cybernetics, virtuality and the ideas of the trans and post-human. Reading Ursula Le Guin, Philip K. Dick, Katherine Hayles and Debord, we’ll look at the cultural phenomena of cosplay, furries, LARPing, video game obsession and virtual and augmented reality. What are the implications of a High Definition Lifestyle, and what happens to those without access to technology?

David Blandy (b. 1976) - Lives and works in Brighton & London - David Blandy works with the image in the digital world, from the YouTube tutorial and music videos, to television series, anime and the narrative sections of computer games; highlighting our relationship with popular culture and investigating what makes us who we are. Within each work he deconstructs the form, placing himself as the alienated subject in a prefabricated cultural archetype. Through this process Blandy questions our relationship with the narratives that surround and shape us, to find what forms the contemporary collective unconscious.

He has exhibited at venues nationally and worldwide such as Bloomberg Space, London, UK; The Exchange, Newlyn Art Gallery, UK; Kiasma Contemporary Art Museum, Helsinki, Finland; The Baltic, Gateshead; Turner Contemporary, Margate; Spike Island, Bristol; Künstlerhaus Stuttgart, Germany; MoMA PS1, New York, and Museum of Contemporary Art, Shanghai, China.

He is represented by Seventeen Gallery, London

Films are distributed by LUX, London

7 – Aura Satz

PhD Student: Laura Oldfield Ford – Entanglement Research Group

Listening and Attunement

22nd of Nov / Date TBC (15th of Nov) / 7th of Feb / 21st of Feb

'Civic Listening and Attunement'.

This group explores the use of voice/sound/signal in urban space, collective gatherings and activism. Drawing on a range of materials, compositional and listening practices (Deep Listening, human microphones, emergency signals, etc.) the sessions will test the notion of listening as passive reception.

Dr Aura Satz is Moving Image Tutor and Reader in Fine Art (Sound and Moving Image) on the Contemporary Art Practice programme at the Royal College of Art. Aura Satz completed a practice/theory PhD at the Slade School of Fine Art. Between 2002 and 2005, she was a recipient of the Henry Moore Post-Doctoral Sculpture Fellowship, hosted at the Slade School of Fine Art. From 2009–10, she was artist-in-residence at the Ear Institute, UCL, funded by the Wellcome Trust. In 2012, she was shortlisted for the Samsung Art+ Award and the Jarman Award. From 2014–15, she is practitioner-in-residence at Chelsea college of Arts. She has also been awarded a Leverhulme artist’s residency to make a film at the Institute of Sound and Vibration Research, the Department of Music, and the John Hansard Gallery, hosted at the University of Southampton. Aura has performed, exhibited and screened her work nationally and internationally. This has included events and exhibitions at Tate Modern, Tate Britain, the Hayward Gallery, the Hayward project Space, Barbican Art Gallery, ICA, the Wellcome Collection, BFI Southbank, Whitechapel Gallery, (London); Oberhausen Short Film Festival (Oberhausen); the Rotterdam Film Festival (Rotterdam); the New York Film Festival (NY); Gertrude Contemporary (Melbourne); De Appel Art Centre (Amsterdam); AV festival (Newcastle); Arnolfini (Bristol); Turner Contemporary (Margate); and Baltic Centre for Contemporary Art (Gateshead). She has had solo exhibitions at the Wellcome Collection (2010–11, London); the Hayward Project Space (2013, London), Paradise Row gallery (2013, London), Gallery 44 (2014, Toronto), The Gallery, Tyneside Cinema (2014, Newcastle), George Eastman House (2015, Rochester NY), John Hansard Gallery (2015-16), and Dallas Contemporary (2016), as well as mini-retrospectives at the Rotterdam Film Festival (2013, Rotterdam), The New York Film Festival (2013, NY), and The Cinematheque (2015, Vancouver). She is included in the 20th Sydney Biennale 'The future is already here — it’s just not evenly distributed.'

8 – Margarita Gluzberg

PhD Student: Despina Zacharopoulou - Entanglement Research Group


29th of Nov / 13th of Dec / 24th of Jan / 31st of Jan

"This School Group Things will run jointly with Despoina Zacharopoulou. Things will focus on ideas around resistance, desire and material production through physical reconnaissance of objects and bodies both in the studio and the external world.”

Margarita Gluzberg is a Senior Research Tutor and Reader in Contemporary Visual Production in the School of Arts & Humanities at the Royal College of Art. Born in Moscow, Gluzberg is an artist who has lived and worked in London since 1979. Her work spans drawing, performance, sound installation, photography and moving image. Margarita Gluzberg studied at New College Oxford and the Royal College of Art. Her work has been exhibited and performed at major contemporary art spaces such as the MAC/VAL, Paris; CAC, Vilnius; Rooseum, Malmo; KAde Kunsthal, The Netherlands; Lunds Konsthall, Lund; British School, Rome (where she was a Wingate Scholar), and the De La Warr Pavilion, Bexhill.

She is currently working with scientists at King’s College, London on a project supported by the Wellcome Trust, Rock On Bones.

Term 2

9 – Tamsin Dillon – Politised Practice Research Group - with

Liz Murray

17th Jan / 24th Jan / 31st of Jan. + 7th/ 21th / 28th Feb

looking at a range of methodologies for creating and/or presenting work in an urban context exemplified by the formal practices of for example: Situations, Artangel, Skulpture Project Munster, Creative Time, Sonsbeek, Documenta, Liverpool Biennial, Art on the Underground, Millennium Park in Chicago, the High line in New York; and the more informal modes of intervention by artists, artist collectives and other groups relating to activist or other ideologies.

Tamsin Dillon

Tamsin Dillon is a curator with over 20 years of experience working in a range of situations and contexts. Current projects include: Curator for 1418-NOW, working on a number of ambitious large-scale public commissions for the UK-wide cultural programme marking 100 years since WW1; and co-curator of The King’s Cross Project, working with the developer Argent to commission new works for a range of sites in King’s Cross, London.

Previously, as Director of Art on the Underground, Tamsin worked with leading international and emerging artists to commission contemporary art for the millions of people that use London Underground. She developed the programme in a series of project strands including permanent and temporary artworks as well as participatory projects, public events, publications and on-line platforms.

Previously Tamsin has worked at Tate Liverpool, Chisenhale Gallery, Whitechapel Gallery, London; Capp Street Project, San Francisco. Other roles include: founding Trustee & Vice-Chair of Turner Contemporary Gallery, Margate; Member of the Commissioning Group for the Fourth Plinth in Trafalgar Square and Turner Prize Jury 2016.

10 – Andy Holden – Documents Research Group - with Annabelle Craven-Jones

24th / 31st of Jan. + 7th/ 21th / 28th Feb & 7th March

Tumblr Club (or Kant After the Internet)

This class will look at the wider economy of images, what do they want, how do they move,

how do the images artist's produce exist within this ecosystem of pictures and texts.

Questions of judgement, what does it mean to 'like' an image, what methods can we use to interpret images. A space for open-ended discussion based on free association, sharing of source material, sharing of tools. We will look at one novel, various critical texts (possible Kant, likely Benjamin, more recent books such as Kill all Normies). Each week everyone is to bring one clip, image, sound, file in to share and present, as a starting point for asking what makes an image resonate, what makes an image move. WE will collaboratively try to assemble a gentle syllabus of texts that can help us make sense of the present moment.

Andy Holden is an artist working across a number of mediums. Recent works include Laws of Motionin a Cartoon Landscape shown at Venice Biennial, Glasgow International and performed live at Tate Britain, and Natural Selection, a commission by Artangel which is touring to Leeds Museum and Bristol Museum in 2017. Other works include Towards a Unified Theory of M!MS at the Zabludowicz Collection and Kunsthalle Winterthur in 2013, Pyramid Piece for Art Now at Tate Britain in 2010, and releasing music with the Grubby Mitts.

11 – Rosalie Schweiker - Maths for Artists – Politicised Practice Research Group - with Finlay McInlay

31st of Jan. + 7th/ 14th / 21th / 28th Feb & 7th March

Maths for Artists are six workshops about equations, variables, unknowns and numbers in everyday art practice with Rosalie Schweiker and Mia Frostner, Shiri Shalmy and Divya Osborn. Is there even such a thing as maths or artists. During these six Wednesdays we will try to develop our own systems for evaluating, calculating and experimenting with artistic methodologies in relation to external and internal financial constraints.

  • January 31: introduction and group crits - Meet 10am at studios
  • February 7: Workshop with Rosalie and Mia Frostner (Please bring a laptop, if you have one)
  • February 14: Walk with Rosalie and Shiri Shalmy - Meet 10.00 in the Barbican lobby, ground floor. wear comfy shoes and clothing appropriate for the weather.
  • February 21: Workshop with Rosalie
  • February 28: Excursion with Rosalie and Diyva Osbon
  • March 7: Workshop with Rosalie and mystery guests - Meet 10am at 17 Reading House, SE15 1RS London Keep the evening free if possible.

Optional: Every Wednesday after the sessions, I will go to Camberwell Leisure Centre for a swim. You're welcome to join me. Tickets are £4.50.

Rosalie Schweiker (*1985) has a very strict work policy for 2017. The work policy does not allow her to issue CVs or bios. The work policy also states, that whenever Rosalie is invited, she has to invite somebody else in return. For the workshops she has asked designer Mia Frostner (studio Europa), Anti-University founder Shiri Shalmy and curator Divya Osborn to join her.

12 – Larry Achiampong – Writing Research Group - with Charan Singh

7th/ 21th / 28th Feb & 7th March

Larry Achiampong's 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 – in particular, dichotomies found within a world dominated by social media and digital frameworks. With the enduring expansion and sharing of information via the Internet, the idea of a one-size-fits-all version of history, as previously dictated, continues to be eradicated. At the heart of this phenomenon lies Achiampong’s increased interest in what new truths or versions become available, the multiple possibilities that are created and maintained in the digital realm and the consequences related to ‘IRL’ or ‘In Real Life’. Achiampong crate-digs the vaults of history, splicing audible and visual qualities of the personal and interpersonal archive-as-material - offering multiple dispositions that reveal the socio-political contradictions in contemporary society.

Achiampong has exhibited, performed and presented projects within the UK and abroad including Tate Britain/Modern, London; dOCUMENTA 13, Kassel; The Institute For Creative Arts, Cape Town; The British Film Institute, London; Modern Art Oxford, Oxford; David Roberts Art Foundation, London; SAVVY Contemporary, Berlin; Bokoor African Popular Music Archives Foundation, Accra; The Mistake Room, Los Angeles; and Logan Center Exhibitions, Chicago. Achiampong’s recent residencies include Tyneside Cinema, Newcastle; Praksis, Oslo; The British Library/Sound & Music, London; Wysing Arts Centre, Cambridge; and Primary, Nottingham. He’s currently artist in residence at Somerset House Studios (London) and is a current recipient of the Artist’s Bursary Scheme with Artsadmin (London). Achiampong is currently exhibiting artwork in the Diaspora Pavilion at the 57th Venice Biennale, and is displaying his flag commission atop of Somerset House until late January 2018. He has also been selected for the fourth iteration of Prospect New Orleans’ international art exhibition, Prospect.4 (P.4).
Achiampong (b. 1984, UK) completed a BA in Mixed Media Fine Art at University of Westminster (2005) and an MA in Sculpture at Slade School of Fine Art (2008). He lives and works in London.

13 – Nicky Coutts (Print) - Writing with Animals - Writing Research Group - with Asa Johannesson

7th/ 14th / 21th / 28th Feb & 7th March

‘Writing with Animals’ will involve a series of physical encounters with non-human animals. We will look at what can be read, written, shaped and spoken between, and in the midst, of species.

Following the pre-circulation of a weekly text we will go on site visits (to a gorilla sanctuary, insect house, owl centre, for example). Group discussions and a series of collective and individual exercises will take place on site. Week on week these will build into a collection of examples addressing how we might understand and approach relation or non-relation to the animal and the potential for knowledge beyond the human.

Nicky works with MA students in the Print program and with MA and Research students across the School of Arts & Humanities. Nicky Coutts is an artist working in a variety of media, exhibiting regularly in solo and group exhibitions hosted by galleries and institutions worldwide. Since completing a research degree in Fine Art, Photography at the RCA in 2001, Nicky has been a Post-Doctoral Fellow in Fine Art at Middlesex University and an Associate Lecturer on the MA Photography program at London College of Communication, University of the Arts. She has also taught widely as a Visiting Lecturer at UCL, Goldsmiths University of London, De Montfort University and Glwyndr University amongst others. Nicky’s work has been exhibited in galleries and museums such as: the ICA, London; Künsthalle Mainz; Haus der Kulturen der Welt, Berlin; Reina Sofia National Museum, Madrid; Fotografisk Center, Copenhagen and Youkobo Artspace, Tokyo.

14 – Edward Thomasson – Absurdity Research Group - with Soon Hak Kwon

Wednesday 14 Feb / 21 Feb / 28 Feb / 7 Mar 2018

Break A Leg: The Practicalities and Politics of Staging Performance

Moving from casting, through workshop and rehearsal, to presentation Edward Thomasson will work with the group to explore the practical and ethical implications of working with performers. Together with actors, volunteers, musicians and dancers, the group will attempt to navigate some of the complexities of working together. Moving through notions of power, exchange and performativity the group will investigate what it means to perform in public, on Camera, on stage and in everyday life.

Edward Thomasson is a Visiting Tutor on the Photography programme in the School of Arts & Humanities. Edward Thomasson works with groups of trained and untrained performers to make videos and plays that explore how performance is used to navigate personal, interpersonal and occupational problems. Specifically looking at how the act of storytelling is used as a way to understand environments and exchange experiences, Thomasson’s work draws on the language of musical theatre and its affective engagement with the audience to navigate the space between interior experience and exterior presentations of the self within social contexts. He also works collaboratively with Lucy Beech on live works. The making of these performances punctuate his independent projects. These choreographed group activities refer to therapeutic games and often involve the live collective construction of sound. Edward Thomasson trained at Chelsea College of Art and Design, London at BA level followed by an MA at Slade School of Fine Art, London. He also participated on LUX Associate Artists Programme. Recent residencies include Chisenhale Gallery CREATE Residency (2012/2014) and The Nina Stewart Artist Residency, South London Gallery (2011-2012). He lives and works in London.

15 – Gareth Bell-Jones – Entanglement Research Group - with Marina Hadjilouca

31st of Feb / 7 of March / 14th of March / 21st of March / 28th of March / 14th of April

Gareth Bell-Jones is the director and curator of Flat Time House, a gallery, education space and archive in the former home of post-war conceptual artist John Latham. Over the course of six sessions Gareth will draw out different aspects of curatorial practice using Flat Time House as a model for how to apply these strategies.

Introduction to Flat Time House, its unusual model and the artwork and ideas of the artist behind it.

Curatorial workshop. Introduction to curatorial practice and opportunity to put together a temporary exhibition. Archiving workshop.

Introduction to the John Latham archive and hands on opportunity to work with archival material. Day focusing on the Artists Placement Group, artist residencies and social practice.

Field Trip.Studio visit with artist exhibiting at FTHo, discussion on how they have made new work within the context of FTHo.

Gareth Bell-Jones (b. 1982) is the director/curator of Flat Time House (FTHo), a gallery, education space and archive in the former home of post-war conceptual artist John Latham. At FTHo he manages the archive, has developed residencies, alternative learning platforms and the exhibition programme, which has included shows by Sean Lynch, Marc Camile Chaimowicz and Lina Hermsdorf. After graduating from the MA in Curating Contemporary Art at the RCA in 2010, he worked as curator for Wysing Arts Centre, Cambridge where he worked with artists including Ed Atkins, Michael Dean, Gustav Metzger, Elizabeth Price, Keren Cytter and Cally Spooner. At Wysing he developed residencies, retreats and educational programming, curated exhibitions, events, an annual music festival and worked on many publications. From 2017 Bell-Jones is an associate lecturer and assessor for MA Curating and Collections at Chelsea School of Art and from 2010–14 he was a regular visiting tutor to the RCA, Curating Contemporary Art Department. He regularly writes catalogue and exhibition texts for artists and is the editor of NOIT, a journal exploring the continued relevance of Latham’s ideas.

16 – Anne Duffau – with Janina Lange - Fiction Research Group

24th / 31st of Jan. + 7th/ 21th February

Declare the Unspoken & Rewrite ‘Reality’

How do we deconstruct pre-conceived/imperialist knowledge? Looking at references often through the scope of science fiction, popular culture, & current critical writing – we will meet / discuss / visit shows and work on an outcome, a project / show or publication.

By the way,

it is not about you

it possibly looks at your perception

or at a general but intimate sense

an awareness

often banal / familiar / mundane

but distant, behind glasses

a clear feeling of separation / disaffection / estrangement

broken up, fragmented with objects from common & sometimes

alien aesthetics

what if it is about you

your desire / your fascination / your aspiration

yet you cannot help but disclosing

your apathy

your disgust

your animosity

a frequent disturbance

Anne Duffau is the founder and producer of the experimental curatorial platform A---Z. As a Freelance curator, Anne has collaborated in various projects with ArtLicks, Tai Shani, the Institute for Mathematical Sciences Project, V22, Danielle Arnaud, Please Stand By, She is currently working at the Royal College of Art as the Curriculum and Special Projects Coordinator for the School of Art & Humanities and runs the StudioRCA Riverlight in Nine Elms.

A---Z is an exploratory curatorial platform. Taking the formula of the alphabet, A---Z uses words related to the idea of Entropy as a starting point to map out and test various unstable potentials. one Letter, one experiment, twenty six times

17 - Jaspar Joseph-Lester - Writing Research Group - with Mel King

17th / 24th / 31st / 7th of Feb.

Critical Cartographies: Engineering and Mapping the Future City

Increasingly produced and experienced outside the gallery art often takes the form of interventions into urban public space that are designed to produce immediate and unpredictable public responses. The role of walking, recording and mapping is often directly connected to the critical and creative engagement that artist have with their changing urban environment. These first hand encounters with the social and physical geographies of the city provides material in the form of fictional narratives, encounter, protest, documentary, spatial narratives, actions, participation, risk, collaboration, fiction, chance and spectacle. For this Cross-School Group we will explore how urban walking connects disciplines and facilitates a range of processes and methods for the production of critical practices that situate art within the context of our contemporary urban condition.

Field Trip

A day of City walks. Including walks led by Laura Oldfield Ford, Nayan Kulkarni and Anna Adahl.

Reading Group

Andreas Philippopoulos-Mihalopoulos (Professor of Law & Theory, University of Westminster), Director of The Westminster Law & Theory Lab and Editor Space, Materiality and the Normative Routledge Series will be coming into the RCA to speak about Spatial Justice on Thursday 27 October. It would be great if you could attend this talk as we will be reading from his book Spatial Justice, Body, Lawscape, Atmosphere (2015) later in the year.

Other suggested reading includes:

Keller Easterling, Extra State Craft: The Power of Infrastructure Space, London: Verso, 2014.

Fredric Jameson, Postmodernism or, the Cultural Logic of Late Capitalism, London: Verso, 1991.

Norman Klein, The Vatican to Vegas: A History of Special Effects, London, The New Press, 2004,

Wade Sheppard, Ghost Cities of China, London: Zed Books, 2015.


A city guide (dimensions to be confirmed) will be produced by the participants - designed and printed after the workshop.


17th / 24th / 31st / 7th of Feb.

Jaspar Joseph-Lester is an artist based in London whose work explores the role images play in urban planning, social space, and everyday praxis, latterly focusing on conflicting ideological frameworks embodied in urban regeneration projects. His research is situated between art making, curating and writing and draws from the fields of architecture, design, urban studies, human geography, philosophy, cinema and media studies, spatial theory and economics. Key to this research is the development of platforms and contexts for art that force new ways of thinking the reconfiguration of social and life experiences for the future. In 2010 he was invited to curate the Dallas Pavilion, launched at the 2013 Venice Biennale. Recently published work includes: ‘The Mimetic Drive of Capital’, Adjacent Realities (Austrian Cultural Forum, 2015); ‘A Guide to the Casino Architecture of Wedding’, Casino Real, Collapse: Philosophical and Research Development (Urbanomic, 2015); ‘Endnotes to Capital: From Commodity Form to Experience Economy, the rise of the Infinity Pool’, Crazy about their bodies (Café Gallery Projects 2014; commissioned artwork for EROS: INTERIORS, 2015 and Coventry: A Guide (Lanchester Gallery Projects, ACE commission, 2013). Other photo-essays include ‘A Guide to the Casino Architecture of Wedding’ (COLLAPSE: Philosophical Research and Development, 2013) and ‘Spirit’, in Vicissitudes Histories & Destinies of Psychoanalysis (Routledge, 2013). He has exhibited widely in the UK and abroad and is author of Revisiting the Bonaventure Hotel (Copy Press, 2009), co-editor of TEGEL: Propositions and Speculations (Greenbox, 2014) and Episode: Pleasure and Persuasion in Lens-based Media (Artwords, 2008). Walking Cities: London will be published in August 2015.

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