Fine Arts 2011-12 - The British School at Rome

Transcript

fine ARTS
T HE
2011-2012
B RITISH S CHOOL
AT
R OME
fine ARTS
2011-2012
Rashid Ali
Angela Catlin
Charles Cooper
Colin Darke
Domenico de Clario
Kimathi Donkor
George Egerton-Warburton
Nicholas Hatfull
Jessica Kirkpatrick
David Lock
Fiona MacDonald
Duarte Natário dos Santos
Laure Prouvost
Luke Roberts
Felix Schwimmer
Heather B. Swann
Covadonga Valdés
T HE
B RITISH S CHOOL
AT
R OME
1
The projects realised by D OMENICO DE C LARIO , G EORGE
EGERTON -WARBURTON , L UKE ROBERTS, H EATHER B. S WANN have
been assisted by the Commonwealth Government through the
Australia Council, its Arts funding and advisory body.
The Derek Hill Foundation
Giles Worsley Fund
IFLA
The Incorporated Edwin Austin
Abbey Memorial Scholarships
INTERNATIONAL FEDERATION
OF LANDSCAPE ARCHITECTS
Acknowledgements
All works © the artists and architects
Prof. Mihai Barbulescu, Eleonora Farina, The Romanian Academy,
Rome
Roberto Casiraghi, Ginevra Pucci, Roma Contemporary
Claudia Conforti, Giuseppe Bonaccorso, Tor Vergata University,
Rome
Inge Lyse Hansen, Antonella Salvatore, John Cabot University,
Rome
Daniela Bigi, Roberto Lambarelli, Arte e Critica / Arte e Roma
Mary Wilsey, Wanted in Rome
Edited by Jacopo Benci
Celia Yang, Anna Prosvetova, Giorgia Tamburi, Clara Giannini
Graphic design Silvia Stucky
Photography courtesy of the artists and architects, except
Claudio Abate (pp. 6-7, 8-9, 10, 16-17, 18, 20, 27, 32-33, 43, 4445, 46); Celia Yang (pp. 8, 9)
via Stucky (p. 32);
Translations Jacopo Benci
Published by T HE B RITISH S CHOOL
AT
R OME
at The British Academy, 10 Carlton House Terrace, London SW1Y 5AH
Donatella Astolfi, Fulvio Astolfi, Alice Bygraves, Alba Coratti,
Marina Engel, Lara Johnson-Wheeler, Joanna Kostylo,
Maria Pia Malvezzi, Eleanor Murkett, Antonio Palmieri,
Renato Parente, Giuseppe Pellegrino, Marisa Scarsella,
Valerie Scott, Magdalena Sygidus
The British School at Rome
Via Gramsci, 61 00197 Roma
Registered Charity No. 314176
ISSN 1475-8733
2
Fine Arts 2011-2012
ISBN 978-0-904152-64-7
C
O N T E N T S
04
Preface
06
Introduction
12
Rashid Ali
14
Angela Catlin
16
Charles Cooper
18
Colin Darke
20
Domenico de Clario
22
Kimathi Donkor
24
26
Nicholas Hatfull
28
Jessica Kirkpatrick
30
David Lock
32
Fiona MacDonald
34
36
Laure Prouvost
38
Luke Roberts
40
Felix Schwimmer
42
Heather B. Swann
44
Covadonga Valdés
47
Biographies
Christopher Smith
Jacopo Benci
3
P R E FA C E
The 2011-12 Fine Arts programme has been another success, a combination of startlingly original work and
huge diversity. After the great uncertainties of recent years, my colleagues in the Faculty of the Fine Arts have
worked tirelessly to create new funding opportunities and new awards, and I am as grateful to them as I am
delighted to see new artists coming to the BSR. As we rebuild, slowly, from the past, we also have the
opportunity to bring new ideas and new projects to Rome.
I am particularly pleased that from this year, for the first time, all members of the BSR will receive the
Fine Arts catalogue. One of our ambitions was to re-establish links with the whole BSR community, and by
so doing, to encourage old friends to reconnect with us, and recent award-holders to sustain their
connection. We hope all of those who are reading this review will be inspired to come back to the BSR, and
it is tremendous that this summer, in July, August and September, all our studios will be occupied by former
or current award-holders.
For many of our supporters, this has been a difficult period too, and to them, both long-standing friends and
new sponsors, we are truly grateful. This year, we have received support from the Arts Council of Northern
Ireland; the Australia Council for the Arts; the Conseil des Arts et des Lettres, Québec; Creative Scotland; the
Derek Hill Foundation; the Giles Worsley Fund (in collaboration with the RIBA); the Incorporated Edwin
Austin Abbey Memorial Scholarships; the International Federation of Landscape Architects; the Linbury
Trust; the Max Mara Art Prize for Women (in collaboration with Whitechapel Gallery), and the National Art
School, Sydney. Beyond doubt the most significant achievement was the contribution by a group of former
award-holders to revive the Rome Prize in Architecture for 2012-13.
We are also beginning to broaden the number and nature of arts related events at the BSR; we began the
year with a lecture by the Otolith Group, who were showing at the MAXXI. It is our determination to
continue to work on this area of our activity and to provide a stronger programme to support arts and
architecture.
We see no distinction between the intellectual value and challenge of the various areas of the BSR’s activity.
What makes the BSR so unusual as a British research institute is the range and quality of activity; the very best
artists from across the Commonwealth and the very best scholars live and work together, and their interactions
illuminate our shared experience. We are always open to new ideas and new projects. The fascinating overlaps
between the work of portraitist Kimathi Donkor, architect Rashid Ali, and our two BSR / Society for Libyan
Studies fellows Mattia Toaldo and Barbara Spadaro in exploring the relationships between northern Africa and
Italy from the later 19th century to the contemporary period is simply one example of the uniquely
international and interdisciplinary nature of BSR work.
I hope you will enjoy this review, and I hope you will encourage others to become part of this unique and
wonderful institution. With your support, we will continue to stand for the lasting value of creativity and the
arts.
Professor Christopher Smith
Director
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Fine Arts 2011-2012
P R E FA Z I O N E
Il programma Fine Arts nel 2011-12 è stato nuovamente un successo, una combinazione di opere
sorprendentemente originali e grande diversità. Dopo le forti incertezze degli ultimi anni, i miei colleghi della
Faculty of the Fine Arts hanno lavorato instancabilmente per procurare nuovi finanziamenti e nuove borse
residenziali, e sono riconoscente a loro quanto sono felice di vedere nuovi artisti giungere all’Accademia
Britannica. Mentre lentamente recuperiamo rispetto al passato, abbiamo anche l’opportunità di portare a
Roma nuove idee e nuovi progetti.
Sono particolarmente lieto del fatto che da quest’anno, per la prima volta, tutti i sottoscrittori della BSR
riceveranno il catalogo Fine Arts. Una delle nostre ambizioni era di ristabilire i legami con l’intera comunità
BSR, incoraggiando in questo modo i vecchi amici a riconnettersi con noi, e i borsisti recenti a mantenere il
contatto. Ci auguriamo che tutti coloro che leggono questa pubblicazione ne traggano desiderio di tornare
alla BSR, ed è eccellente che quest’estate, in luglio, agosto e settembre, tutti i nostri studi saranno occupati da
borsisti passati o attuali.
Anche per molti dei nostri sostenitori questo è stato un periodo difficile, e siamo veramente grati sia agli
amici di lunga data che ai nuovi sponsor. Quest’anno abbiamo ricevuto il sostegno di Arts Council of
Northern Ireland, Australia Council for the Arts, Conseil des Arts et des Lettres del Québec, Creative
Scotland, Derek Hill Foundation, Giles Worsley Fund (in collaborazione con il RIBA), Incorporated Edwin
Austin Abbey Memorial Scholarships, International Federation of Landscape Architects, Linbury Trust, Max
Mara Art Prize for Women (in collaborazione con la Whitechapel Gallery), e National Art School, Sydney.
Senza dubbio il risultato più significativo è stato il contributo di un gruppo di ex borsisti, che consentirà di
far rivivere il Rome Prize in Architecture nel 2012-13.
Stiamo anche ampliando il numero e la natura degli eventi artistici alla BSR, e abbiamo iniziato l’anno
con una conferenza di The Otolith Group in occasione della loro mostra al MAXXI. È nostra ferma
intenzione continuare a lavorare in questo settore della nostra attività e offrire un più forte programma a
sostegno delle arti e l’architettura.
Riteniamo non ci siano differenze di valore e impegno intellettuale tra le varie aree di attività della BSR.
Ciò che rende l’Accademia unica fra gli istituti di ricerca britannici è la gamma e la qualità delle sue attività;
i migliori artisti e i migliori studiosi provenienti da tutto il Commonwealth vivono e lavorano insieme, e le
loro interazioni illuminano la nostra esperienza condivisa. Siamo sempre aperti a nuove idee e nuovi progetti.
Le affascinanti tangenze tra i lavori del pittore ritrattista Kimathi Donkor, dell’architetto Ali Rashid, e dei
nostri due borsisti BSR / Society for Libyan Studies, Mattia Toaldo e Barbara Spadaro nell’esplorare le
relazioni tra Nord Africa e Italia dalla seconda metà del XIX secolo a oggi, sono solo un esempio dell’unicità
del carattere internazionale e interdisciplinare del lavoro dell’Accademia Britannica.
Spero che apprezzerete questa pubblicazione, e suggerirete ad altre persone di diventar parte di questa
istituzione unica e meravigliosa. Con il vostro aiuto, continueremo a sostenere il duraturo valore della
creatività e delle arti.
Professor Christopher Smith
Direttore
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INTRODUCTION
The academic year 2011-12 brought two new Fine Arts residential awards, the Creative Scotland Document
Fellowship, whose first recipient was Scottish photojournalist Angela Catlin, and the Max Mara Art Prize for
Women, awarded to French artist Laure Prouvost; and the resumption of the Rome Scholarship in Landscape
Architecture, awarded to the Portuguese architect Duarte Natário dos Santos and supported by the International
Federation of Landscape Architects. We are grateful to our sponsors for the welcome addition of these
scholarships. Their recipients demonstrate once again that the British School is increasingly multinational as well
as multidisciplinary. This year we had the pleasure to have as our residents – in addition to six artists from
England, Scotland, Northern Ireland – five artists from Australia; three from France, Spain, the United States; and
three architects from Somalia, Québec, and Portugal.
On 22 September 2011, Domenico De Clario, Australia Council Resident over the summer months, staged a
one-night public performance/installation entitled Forestories, in collaboration with fellow Australian performance
artist Sam Burke. Simultaneously Richard Gasper (Sainsbury Scholar in Painting and Sculpture 2010-11)
presented works he had made in Rome during the last part of his twelve-month residency.
The first Fine Arts group exhibition of 2011-12, Seven Things To Do In An Emergency, held between 12 and 21
December, featured new works by artists Richard Gasper, Nicholas Hatfull (Sainsbury Scholar in Painting and
Sculpture), Kimathi Donkor (Derek Hill Foundation Scholar), David Lock (Abbey Scholar in Painting), Fiona
Macdonald (Abbey Fellow in Painting), Heather B. Swann (Australia Council Resident), and architect Rashid Ali
(Giles Worsley Travel Fellow). Kimathi Donkor and Rashid Ali both contributed to the development of a crossdisciplinary research theme on relations between Italy and North Africa.
In December, the magazine Arte e Roma published a brief interview with Jacopo Benci where he illustrated the
Fine Arts programme, including the forthcoming Creative Scotland Document Fellowship and Max Mara Art
Prize for Women residency.
The second Fine Arts group exhibition, I don’t know how a rock feels, held between 16 and 24 March,
included works by artists Nicholas Hatfull, David Lock, Angela Catlin, Charles Cooper (National Art School
Sydney Resident in Drawing), Colin Darke (Arts Council of Northern Ireland Fellow), George Egerton-
1-2. Domenico De Clario and Sam Burke, Forestories, 22 September 2011
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Fine Arts 2011-2012
2
INTRODUZIONE
L'anno accademico 2011-12 ha portato al programma Fine Arts due nuove residenze, la Creative Scotland
Document Fellowship, la cui prima premiata è stata la fotogiornalista scozzese Angela Catlin, e il Max Mara Art
Prize for Women, assegnato all’artista francese Laure Prouvost; e la ripresa della Rome Scholarship in Landscape
Architecture, assegnata all’architetto portoghese Duarte Natário dos Santos e sostenuta dalla Federazione
Internazionale degli Architetti di Paesaggio (IFLA). Siamo grati ai nostri sponsor per aver posto in essere queste
borse. Gli artisti cui sono state assegnate mostrano ancora una volta che l’Accademia Britannica è sempre più
multinazionale oltre che multidisciplinare. Quest’anno abbiamo avuto il piacere di avere fra i nostri residenti – oltre
a sei artisti provenienti da Inghilterra, Scozia, Irlanda del Nord – cinque artisti provenienti dall’Australia, tre da
Francia, Spagna, Stati Uniti, e tre architetti dalla Somalia, Québec, e Portogallo.
Il 22 settembre 2011, Domenico De Clario, Australia Council Resident durante i mesi estivi, ha presentato per
una sola sera la performance/installazione Forestories, in collaborazione con la performer australiana Sam Burke.
Allo stesso tempo Richard Gasper (Sainsbury Scholar in Painting and Sculpture 2010-11) ha presentato le opere da
lui realizzate a Roma durante l’ultima parte della sua residenza annuale.
La prima mostra collettiva Fine Arts del 2011-12, Seven Things To Do In An Emergency, si è tenuta dal 12 al
21 dicembre e ha presentato nuove opere degli artisti Richard Gasper, Nicholas Hatfull (Sainsbury Scholar in
Painting and Sculpture), Kimathi Donkor (Derek Hill Foundation Scholar), David Lock (Abbey Scholar in
Painting), Fiona Macdonald (Abbey Fellow in Painting), Heather B. Swann (Australia Council Resident), e
l’architetto Rashid Ali (Giles Worsley Travel Fellow). Kimathi Donkor e Rashid Ali hanno inoltre contribuito a
sviluppare un programma di ricerca trans-disciplinare sulle relazioni tra Italia e Nord Africa.
Nel mese di dicembre, la rivista Arte e Roma ha pubblicato una breve intervista con Jacopo Benci che ha
illustrato il programma Fine Arts, tra cui le novità della Creative Scotland Document Fellowship e del Max Mara
Art Prize for Women.
La seconda collettiva dell’anno, I don’t know how a rock feels, si è tenuta dal 16 al 24 marzo ed ha incluso opere
degli artisti Nicholas Hatfull, David Lock, Angela Catlin, Charles Cooper (National Art School Sydney Resident in
Drawing), Colin Darke (Arts Council of Northern Ireland Fellow), George Egerton-Warburton (Australia Council
3-4. Seven Things To Do In An Emergency, 12-21 December 2011: works by Heather B. Swann, Kimathi Donkor, Nicholas Hatfull; David
Lock, Richard Gasper, Fiona MacDonald
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4
7
Warburton (Australia Council Resident), Covadonga Valdés (Abbey Fellow in Painting), and architects Duarte
Natário dos Santos, and Felix Schwimmer (Québec Architecture Resident).
On 20 April Duarte Natário dos Santos and Felix Schwimmer presented illustrated papers on their Rome
projects at the annual international conference Grand Tour del Terzo Millennio held at the Tor Vergata University
of Rome.
Colin Darke, Nicholas Hatfull, and Laure Prouvost took part in the tenth edition of the Spazi Aperti exhibition,
curated by critic Eleonora Farina at the Romanian Academy, which opened on 23 May and finished on 15 June
in coincidence with the opening of the Fine Arts exhibition at the School.
On 25 May, following a pattern inaugurated last year, the 2012 edition of the Roma Contemporary art fair
brought collectors and gallery-goers to visit to the artists’ studios.
On 15 June the final group exhibition of the academic year, entitled wher you live now, featured works by
Colin Darke, Nicholas Hatfull, Jessica Kirkpatrick (Abbey Fellow in Painting), David Lock, Laure Prouvost, and
Luke Roberts (Australia Council Resident).
Through these activities, and thanks to the high standard and variety of the creative work of our award holders,
the Fine Arts programme contributes substantially to the life and profile of the School, while at the same time it is
recognized and praised by the Roman public for its quality and interest. Over the last year, several of our artists
have been featured on the front cover of the capital’s leading English language magazine, Wanted in Rome.
The Fine Arts programme could not provide a thorough service without the precious help of voluntary
assistants. This year’s Fine Arts interns came from Rome based John Cabot University, consolidating a
collaboration between the two institutions that proved to be of mutual satisfaction. Celia Yang worked from
October 2011 to March 2012; Anna Prosvetova, from January to early May; Giorgia Tamburi, later joined by Clara
Giannini, took over when Anna left. They all ably and reliably helped sourcing materials and suppliers for the
residents’ works, and assisted with the preparation, communication, and invigilation of exhibitions, while working
on the inventory of hundreds of scholars’ files in the Fine Arts archive, spanning over two decades.
Jacopo Benci
Assistant Director Fine Arts
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5-6. Seven Things To Do In An Emergency, exhibition opening,
12 December 2011: works by Fiona MacDonald, David Lock
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Fine Arts 2011-2012
Resident), Covadonga Valdés (Abbey Fellow in Painting), e degli architetti Duarte Natário dos Santos, e Felix
Schwimmer (Québec Architecture Resident).
Il 20 aprile Duarte Natário dos Santos e Felix Schwimmer hanno presentato relazioni sui loro progetti romani al
convegno annuale internazionale Grand Tour del Terzo Millennio presso l’Università Tor Vergata di Roma.
Colin Darke, Nicholas Hatfull e Laure Prouvost hanno partecipato alla decima edizione della mostra Spazi
Aperti, curata dal critico Eleonora Farina presso l’Accademia di Romania, che ha aperto il 23 maggio e si è conclusa
il 15 giugno in coincidenza con l’inaugurazione della mostra Fine Arts all’Accademia Britannica.
Il 25 maggio, seguendo un modello inaugurato lo scorso anno, l’edizione 2012 della fiera Roma Contemporary
ha portato collezionisti e pubblico dell’arte alla BSR per visitare gli studi degli artisti.
Il 15 giugno la collettiva finale dell’anno, dal titolo wher you live now, ha presentato opere di Colin Darke,
Nicholas Hatfull, Jessica Kirkpatrick (Abbey Fellow in Painting), David Lock, Laure Prouvost, e Luke Roberts
(Australia Council Resident).
Attraverso queste attività, e grazie all’alto standard e alla varietà del lavoro creativo dei nostri residenti, il
programma Fine Arts dà un contributo essenziale alla vita e al profilo dell’Accademia Britannica, ed è riconosciuto e
apprezzato per qualità e interesse dal pubblico romano. Nell’ultimo anno, opere di diversi nostri artisti sono state
scelte come copertine della principale rivista in lingua inglese della capitale, Wanted in Rome.
Il programma Fine Arts non potrebbe fornire un servizio adeguato senza il prezioso contributo di assistenti
volontari. Le Fine Arts Interns quest’anno sono state studentesse della John Cabot University di Roma, consolidando
tra le due istituzioni una collaborazione dimostratasi di mutua soddisfazione. Celia Yang ha lavorato alla BSR da
ottobre 2011 a marzo 2012; Anna Prosvetova, da gennaio a inizio maggio; Giorgia Tamburi ha iniziato quando
Anna è partita, venendo poi affiancata da Clara Giannini. Tutte hanno contribuito efficacemente alla ricerca di
materiali per le opere dei residenti, e alla preparazione, comunicazione, guardiania delle mostre, lavorando inoltre
all'inventario di centinaia di cartelle individuali di borsisti dell’archivio Fine Arts, che copre oltre due decenni.
Jacopo Benci
Assistant Director Fine Arts
7. I Don’t Know How A Rock Feels, 16-24 March 2012: L-R, works by Nicholas Hatfull, Charles Cooper, Covadonga Valdés
8-9. I Don’t Know How A Rock Feels, exhibition opening, 16 March 2012: L-R, works by Felix Schwimmer, David Lock, Charles Cooper,
Angela Catlin; Duarte Natário dos Santos
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EXHIBITIONS
FORESTORIES
22 September 2011
Domenico de Clario with Sam Burke
SEVEN THINGS TO DO
IN AN
EMERGENCY
12-21 December 2011
Rashid Ali, Kimathi Donkor, Richard Gasper, Nicholas Hatfull,
David Lock, Fiona MacDonald, Heather B. Swann
I DON’T KNOW HOW
A
ROCK FEELS
16-24 March 2012
Angela Catlin, Charles Cooper, Colin Darke, George Egerton-Warburton,
Nicholas Hatfull, David Lock, Duarte Natário dos Santos, Felix Schwimmer, Covadonga Valdés
WHER YOU LIVE NOW
15-23 June 2012
Colin Darke, Nicholas Hatfull, Jessica Kirkpatrick,
David Lock, Laure Prouvost, Luke Roberts
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Rashid Ali
Mogadishu, View towards the native quarter 1924 Società Geografica Italiana
Architecture and built form of Mogadishu, 1910-1936
Architettura e forma costruita di Mogadiscio, 1910-1936
To the popular imagination, the Somali capital Mogadishu
has in recent years come to be characterized by death,
destruction and displacement caused by infighting among
the various groups of clans, militias, warlords, religious
groups and its government, who all sought to subject their
control over what remains of its population and built
environment. However, only two decades or so ago
Mogadishu was physically, politically, socially and
culturally a very different place.
In the course of its history Mogadishu has been influenced
by the various cultures of its diverse inhabitants, traders
and rulers, which came to strongly inform its pre civil war
social, cultural and physical characteristics.
Most significantly it began as an important pre-colonial port
city for trading of goods with Arabian Peninsula and the
spread of Islamic cultural influences along the East African
coast. However, the city’s pre civil war architecture and
urban environment owes its morphology and characteristics
to its former colonial power, Italy, the last of the European
powers to join the ‘scramble for Africa’. The city began to
expand after Rome took over direct administration of the
country from Italian trading companies. A small group of
military and civil officials were entrusted with the task of
providing the city with administrative organisation and the
construction of infrastructure and public buildings began
to be implemented from around 1910.
Many of the buildings that defined the city’s appearance
dated from 1920 onwards and tended to be of a mixture of
colonial, Arabic and Modernist aesthetic, which continued
to influence the subsequent built form until the 1980’s,
before much of it was destroyed during the civil conflict
from the early 1990’s onwards. Modernism, which
continued to influence the architecture and built form
after independence, was largely seen as a manifestation,
with which the country could assert its new identity
through new architectural forms.
Nell’immaginazione popolare, la capitale somala
Mogadiscio è stata negli ultimi anni caratterizzata da
morte, distruzione e sfollamento causati da lotte intestine
tra i vari gruppi di clan, milizie, signori della guerra, gruppi
religiosi e il governo, che hanno tutti cercato di imporre il
proprio controllo su ciò che resta della sua popolazione e
dell’ambiente urbano. Peraltro, solo due decenni fa circa
Mogadiscio era fisicamente, politicamente, socialmente e
culturalmente un luogo molto diverso.
Nel corso della sua storia Mogadiscio è stata influenzata
dalle varie culture dei suoi diversi abitanti, commercianti e
governanti, che giunsero a determinare le sue caratteristiche
sociali, culturali e fisiche prima della guerra civile.
Essenzialmente, Mogadiscio nacque come importante città
portuale precoloniale per il commercio con la penisola arabica
e la diffusione di influenze culturali islamiche lungo la costa
orientale africana. Peraltro, l’architettura e l’ambiente urbano
della città prima della guerra civile debbono morfologia e
caratteristiche alla potenza coloniale che l’aveva dominata,
l’Italia, ultima potenza europea a partecipare alla ‘corsa
all’Africa’. Mogadiscio iniziò ad espandersi dopo che Roma
rilevò la gestione del paese da imprese commerciali italiane.
A partire dal 1910 circa, il compito di fornire alla città
un’organizzazione amministrativa e di costruire
infrastrutture e edifici pubblici venne affidato a un piccolo
gruppo di funzionari militari e civili.
Molti degli edifici che definirono l’aspetto della città datano
dal 1920 in poi, e tendono a essere una miscela di estetica
coloniale, araba e modernista che continuò a influenzare
l’edilizia successiva fino agli anni Ottanta, prima di essere
in gran parte distrutti durante la guerra civile dai primi
anni Novanta in poi. Il modernismo, che continuò ad
influenzare l’architettura e l’urbanistica dopo
l’indipendenza, era per lo più visto come una
manifestazione tramite cui il paese poteva affermare la sua
nuova identità attraverso nuove forme architettoniche.
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Fine Arts 2011-2012
Fiat garage 1934
Laboratorio di Ricerca Documentazione Storica Iconografica, Roma Tre University
Radio Mogadishu building 1936
Laboratorio di Ricerca Documentazione Storica Iconografica, Roma Tre University
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Angela Catlin
Urban Landscapes, 1. Corviale 2012
inkjet print on paper, dimensions variable, height 60 cm
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Fine Arts 2011-2012
City Portrait 5 2012
inkjet print on paper, dimensions variable, height 40 cm
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Charles Cooper
Excavation 2012
basalt, clay, acrylic paint on paper-covered timber base, 15 x 120 x 143 cm
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Fine Arts 2011-2012
Oculus 2012
glass mirrors, clay, acrylic paint, acetate, paper, linen on timber base, 38 x 38 x 38 cm
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Colin Darke
For Courbet 2012
apples and stone, dimensions variable
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Fine Arts 2011-2012
Sealed Lips 2012
correction fluid on ivy plant
dimensions variable
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Domenico de Clario
Sam Burke and Domenico de Clario presented a sitespecific performance in the BSR Gallery in late September
2011. It was titled forestories and the following is an
abridged version of the collaborative text/map they
performed inside four installations made specifically for the
BSR Gallery space:
Sam Burke e Domenico de Clario hanno presentato una
performance site-specific nella Galleria della BSR a fine
settembre 2011. Si intitolava forestories e la seguente è una
versione ridotta del testo/mappa collaborativo che hanno
eseguito all’interno di quattro installazioni realizzate
appositamente per lo spazio della Galleria BSR:
1. home (his story)
last night like most nights she fell asleep as he was reading
to her he reads to her every night the odyssey the poems
of kabir sufi essays accounts of the strange lives of zen
monks
he
watched
her breathing become
more
regular
as it aligned itself to the rhythm of his reading
when they became as one he asked are you asleep?
1. home (la storia di lui)
ieri sera come quasi tutte le sere lei si addormentò mentre
lui leggeva a lei lui legge a lei ogni sera l’odissea le poesie
di kabir saggi sufi racconti delle strane vite dei monaci
zen lui guardava il respiro di lei diventare più regolare
mentre si adeguava al ritmo della sua lettura
quando
essi divennero
una cosa sola
lui
chiese
dormi?
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Fine Arts 2011-2012
2. aspettaci (their story)
i sat down on one of the kitchen chairs on the footpath
outside her house and she came to sit next to me
what i remember is her hands they reminded me of
plants of the stalks of a long-gone species of flowers
that had once resembled human hands looking up
at the grand eucalypt with its furtherest away leaves
blinking in the morning sun i said to him ‘i don’t
want to live in italy i want to live here this is
where i live this is where my heart is this is my
home’ the pearl hidden inside the shell is built from
irritants from what isn’t wanted into the perfection of
imperfection ‘aspettaci!’ she cried out from the
platform as i negotiated my suitcase down the train
aisle it rang in my ears and made my heart beat
loudly and the train oblivious pulled slowly out
2. aspettaci (la loro storia)
mi sedetti
su una delle sedie da cucina sul vialetto
davanti a casa di lei e lei venne a sedersi accanto a me
quello che io ricordo sono le sue mani che mi ricordavano
delle piante degli steli di una specie di fiori estinta da tempo
che un tempo avevano assomigliato a mani umane
guardando in alto al grande eucalipto con le sue foglie più
distanti tremolanti nel sole del mattino gli dissi ‘non voglio
vivere in Italia voglio vivere qui qui è dove vivo il mio
cuore è qui questa è casa mia’ la perla celata nella
conchiglia è formata da sostanze irritanti provenienti da
ciò che non si vuole
nella perfezione dell’imperfezione
‘aspettaci!’
ella
gridò
dalla banchina mentre io
armeggiavo con la mia valigia lungo il corridoio del
treno risuonava nelle mie orecchie e mi faceva battere
il cuore forte
e
il treno
ignaro
partiva lentamente
3. love (everyone’s story)
love is not eternity / nor is it the time of calendars and
watches successive time / it is the perception of all
times of all lives in a single instant / it does not free
us from death but makes us see it face to face / what
does the couple see in the space of an instant?
the
equation of appearance and disappearance the truth
of the body and the non-body…
octavio paz
3. love (la storia di tutti)
l’amore non è l’eternità / non è nemmeno il tempo di
calendari e orologi
il tempo successivo / è la
percezione di tutti i tempi di tutte le vite in un solo
istante / non ci libera dalla morte ma ce la fa vedere
faccia a faccia / cosa vede la coppia nello spazio di un
istante?
l’equazione di apparizione e scomparsa
la
verità
del corpo e del non-corpo...
octavio paz
4. only a weathercast warning (her story)
on a street in the town of palermo
an old man went about on his way
when he stopped by a jewellery shop window
for something took his breath away
4. only a weathercast warning (la storia di lei)
su una strada nella città di palermo
un vecchio andava per la sua strada
quando si fermò vicino alla vetrina di una gioielleria
perché qualcosa gli tolse il respiro
on a shelf in between the gold watches
a silver ring with a pearl
its beauty was that of no other
it was meant for only one girl
su un ripiano tra gli orologi d’oro
un anello d’argento con una perla
la sua bellezza era senza eguali
era stata concepita per una sola ragazza
in his pocket it sat for the train ride
to the fisherman’s town cefalù
when that night in the dark of their bedroom
by the light of a sicilian moon
restò nella sua tasca durante il viaggio in treno
fino al paese di pescatori cefalù
quando quella notte nel buio della loro camera da letto
alla luce di una luna siciliana
she cried at its beauty
they wept in each others’ arms
fear is the anchor of duty
love is a bird of winged charm
ella gridò per la sua bellezza
piansero tra le braccia l’uno dell’altra
la paura è l’ancora del dovere
l’amore è un uccello dal fascino alato
it was only a weathercast warning
but she took to the sea anyway
did not hear artemis calling
til she took the pearl ring away
era solo un avvertimento meteorologico
ma lei prese il mare in ogni caso
non sentì artemide chiamare
fino a che lei portò via l’anello con la perla
21
Kimathi Donkor
St Matthew beset by six Rome skylines 2012
c-type print, 20 x 30 cm
22
Fine Arts 2011-2012
St Iphigenia (Laura, Mohamed, Njambi) 2011
oil on canvas, 120 x 150 cm
23
Why are you wearing athletic gear if you’re not playing
any sport today? is an auto-reflexive film documenting the
theft of a camera.
Perché indossi abiti sportivi se oggi non hai intenzione di
praticare dello sport? è un film autoriflessivo che
documenta il furto di una macchina fotografica.
In a single take, the footage escorts us past landmarks of
Imperial Rome and sites rendered notorious in Italian
cinema.
In un’unica ripresa, il filmato attraversa gli antichi
monumenti della Roma imperiale e i luoghi resi celebri dal
cinema italiano.
It conjures questions of an artist’s physical and fiscal
endurance, and strips the film back to the acquisition of
the camera used to shoot it. Perhaps it does little more
than associate the production of experimental film with
being an idiot. It provides a perambulating tour of Rome.
Il film evoca riflessioni sulla resistenza fisica e fiscale di un
artista e lo riporta al punto dell’acquisizione della
macchina usata per fare la ripresa. Forse fa qualcosa in più
che associare la produzione di un film sperimentale
all’essere un idiota. Di certo offre un giro a piedi per Roma.
24
Fine Arts 2011-2012
Why are you wearing athletic gear if you’re not playing any sport today? 2012
HD video and text, 26.06 minutes
25
Nicholas Hatfull
26
Fine Arts 2011-2012
Raggi solari 2012
acrylic on insulation panel with enamel and plastic sign, 120 x 248 cm and 12.5 x 18.5 cm
27
Jessica Kirkpatrick
The Crossing Jan 2012
oil on canvas, 122 x 183 cm
28
Fine Arts 2011-2012
Violet Crime December 2011
oil on card, 23 x 31 cm
29
David Lock
Interior (Carousel) 2012
oil on board, 70 x 100 cm
30
Fine Arts 2011-2012
Misfits (Dark Train) 2011
oil and acrylic on board, 70 x 100 cm
31
Fiona MacDonald
My research in Rome centred on how painting and
sculpture inform each other within my practice. Seeing
Carracci’s Perseus and Andromeda (Palazzo Farnese),
something in the positioning of the dramatis personae held
my attention. Andromeda, chained to a rock, dominates and
divides the painting, her weeping parents to the right, and a
tiny Perseus slaying the sea-monster to her left. Tied down,
Andromeda is rendered on some level two dimensional.
Perseus rescues and marries her, thus bringing her to (3D)
freedom and fulfilment. He uses Medusa’s head to turn the
sea monster to stone, whilst riding Pegasus, the steed that
leapt from her severed neck. Petrification is an obvious
metaphor for the sculptural, also death, but it is Andromeda’s
transformation into painting that is described as liberating by
Joanna Woodall’s illuminating essay on the subject
(‘Wtewael’s Perseus and Andromeda, looking for love in
seventeenth century Dutch painting’, in Manifestations of
Venus. Art and Sexuality, ed. Arscott & Scott 2010). In Ovid,
when Perseus first glimpses Andromeda, he assumes she is a
statue. In rescuing her, he restores her ‘to the full flesh and
blood beauty which is painting’. In Carracci’s version,
Perseus rescues the ‘feminine’ only via the ‘monstrous
(Medusan) feminine’, which Woodall aligns (‘horrific,
uncontained matter’) with ‘the messy material debris of the
painter’s studio’! That’s a state of matter I resonate with – full
of uncertainty and superabundance.
32
Fine Arts 2011-2012
La mia ricerca a Roma si è incentrata su come pittura e
scultura si informino reciprocamente nella mia pratica.
Vedendo Perseo e Andromeda di Carracci (Palazzo Farnese),
qualcosa nel posizionamento delle dramatis personae ha
attirato la mia attenzione. Andromeda, incatenata ad una
roccia, domina e divide il dipinto, i suoi genitori piangenti a
destra, e un piccolo Perseo che uccide il mostro marino alla
sua sinistra. Legata, Andromeda è resa in qualche modo
bidimensionale. Perseo la salva e la sposa, portandola così alla
libertà e realizzazione (in 3D). Egli usa la testa di Medusa per
mutare il mostro marino in pietra, mentre cavalca Pegaso, il
cavallo che scaturì dal collo meduseo reciso. La pietrificazione
è una ovvia metafora della scultura, e della morte, ma è la
trasformazione di Andromeda in pittura che è descritta come
liberatrice nel saggio illuminante di Joanna Woodall
sull’argomento (‘Wtewael’s Perseus and Andromeda, looking for
love in seventeenth century Dutch painting’, in Manifestations
of Venus. Art and Sexuality, a cura di Arscott & Scott 2010).
In Ovidio, quando Perseo vede per la prima volta Andromeda
ritiene sia una statua. Nel salvarla, la restituisce alla ‘bellezza
di carne e sangue che è la pittura’. Nella versione di Carracci,
Perseo salva il ‘femminile’ solo attraverso il ‘femminile
mostruoso (meduseo)’, che Woodall allinea (‘orribile,
incontenibile materia’) con ‘i caotici detriti materiali dello
studio del pittore’! Questo è uno stato della materia con cui ho
sintonia – pieno d’incertezza e sovrabbondanza.
A liberation in three acts 2011
painting: oil and acrylic on linen, 120 x 85 cm
wall mounted sculpture: wood, clay, pigmented silicone, brass, wire, 70 x 50 x 34 cm
33
Parco Centocelle is an archaeological park in the southeast of Rome. My work consists of a proposal for the
requalification of Parco Centocelle into an agricultural and urban park. Sustainable demands ask for new approaches in
landscape architecture. Capitalizing on the idea of urban allotment and community gardens, the new park will serve the
people of Centocelle and its surroundings. There are numerous benefits of urban farming practices, with emphasis on
the role they could play in the household economy and the quality of nutrition as well as numerous social and
environmental benefits. At a time when the UN considers the promotion of urban agriculture as the most important
urban planning of the XXI century, Italy and Rome should be able to conciliate the urban socio-economic development
with their agricultural potential. My research and project allowed me to develop on this subject.
My proposal consists in a study of the evolution of the agricultural landscape in Italy, with a more detailed approach on
the Roman Agricultural Landscape, and how Italy and Rome can rescue and develop this values, in the modern landscape
design.
As a case study I propose the theme of urban vegetable gardens.
As a more specific example of this kind of approach in Rome, my proposal is to develop a project for a new urban park
located in the area that is now the Parco Centocelle, on the southeast of the city, now abandoned, that was 95 hectares of
Agro Romano. With the creation of sustainable urban gardens, contributing for food and income for the local people, and
also promoting the development of different activities and events, selling local products, organic weekly market, food fairs
and exhibitions.
34
Fine Arts 2011-2012
Il Parco Centocelle è un parco archeologico nel sud-est di Roma. Il mio lavoro consiste in una proposta per la riqualificazione
del Parco Centocelle in parco agricolo e urbano. Le esigenze della sostenibilità richiedono nuovi approcci nell’architettura di
paesaggio. Sfruttando l'idea di orti urbani in concessione e giardini comunitari, il nuovo parco servirà gli abitanti di
Centocelle e dintorni. Ci sono numerosi vantaggi nelle pratiche agricole urbane, in particolare il ruolo che esse possono
svolgere per l'economia familiare e la qualità della nutrizione, oltre a numerosi benefici sociali e ambientali. Nel momento in
cui le Nazioni Unite ritengono che la promozione dell'agricoltura urbana sia la pianificazione urbanistica più importante
del XXI secolo, l'Italia e Roma dovrebbero essere in grado di conciliare lo sviluppo urbano socio-economico con il proprio
potenziale agricolo. La mia ricerca e il mio progetto mi hanno permesso di approfondire questo argomento.
La mia proposta consiste in uno studio dell'evoluzione del paesaggio agrario in Italia, con un approccio più dettagliato sul
paesaggio agricolo romano, e su come l'Italia e Roma possano salvare e sviluppare questi valori nella progettazione del
paesaggio moderno.
Come caso di studio propongo il tema degli orti urbani.
Per un esempio più specifico di questo tipo di approccio a Roma, la mia proposta è quello di sviluppare un progetto per un
nuovo parco urbano situato nella zona che ora è il Parco Centocelle, a sud-est della città, 95 ettari di Agro Romano
attualmente abbandonato. La creazione di orti urbani sostenibili, che danno un apporto alimentare e di reddito alla
popolazione locale, ma promuovono anche lo sviluppo di diverse attività ed eventi, la vendita di prodotti locali, un mercato
biologico settimanale, fiere gastronomiche e mostre.
35
Laure Prouvost
Ideally here 2011
sign
before, before 2011
installation, mot international
it, heat, hit 2010
video, 6 minutes
Burrow me 2009
video, 13 minutes
36
Fine Arts 2011-2012
The artist 2010
installation
37
Luke Roberts
In Mob We Trust (Richard Bell) 2012
acrylic on canvas and wood, 120 x 120 cm
courtesy Milani Gallery, Brisbane
Luke Roberts has developed an intricate personal
mythology that interpolates local and cosmological, and
past and future to offer a unique view on themes of
religion, sexuality, and human history.
In the 1970s, inspired in part by Chariots of the Gods and
Fellini’s Roma, he created the extraterrestrial alternative
pontiff persona, Pope Alice, to contest the Catholicism
and Western paradigm in which he was raised.
He creates works in many different media, especially
photography. His Wunderkammern installations are
concerned with concealed human history and gullibility
and attempt a fuller understanding of our world and
each other.
38
Fine Arts 2011-2012
Luke Roberts ha sviluppato una complessa mitologia
personale che interpola locale e cosmologico, e passato e
futuro, per offrire un punto di vista unico sui temi della
religione, la sessualità, e la storia umana.
Negli anni Settanta, parzialmente ispirato da Gli
extraterrestri torneranno e da Roma di Fellini, ha creato il
pontefice alternativo extraterrestre, Papa Alice, per
contestare il cattolicesimo e il paradigma occidentale in cui
egli si è formato.
Roberts crea opere in diversi media, soprattutto fotografia.
Le sue installazioni Wunderkammern trattano della storia
umana occulta e della credulità, e tentano di comprendere
più pienamente il nostro mondo e noi stessi.
Pope Alice (Aton salute) 2009
photographic performance, Lake Galilee, Western Queensland, Australia, June 2009, camera: John Elliott
courtesy Milani Gallery, Brisbane
39
Felix Schwimmer
Archaeology of the Future: Dystopian Tourism in Rome
Archeologia del futuro: turismo distopico a Roma
A speculative project of architecture that presents a fictional
narrative based in Rome is devoted to the prescient subject of
ecological change and adaptations caused by artificial
interventions into existing ecosystems.
The plot is set in a future conditioned by recurring floods more
devastating than historical ones, by a ‘technocratic world
government’ owning political power and where technologies
mutate as they are transferred from one field to another.
Compelling underwater vedutas explore architecture through a
dystopian eye, where the focus of the project is less in the form of
a final object than as a script that it inserts into the city. A series
of inventions enables coexistence with the underwater city: firstly
a colossal inhabitable porous self-supporting structure floats
above the city; second a mechanical fish was designed to travel
inside the marvelous ruins.
Against this backdrop, one reflects upon the major contemporary
processes that capture, power and govern the changes and
challenges we are facing today, questioning what architecture
could generate when faced with extreme scientific, cultural and
political scenarios.
Un progetto speculativo di architettura che presenta un racconto
di finzione ambientato a Roma, dedicato al tema preveggente del
cambiamento ecologico e degli adattamenti causati da interventi
artificiali negli ecosistemi esistenti.
La storia è ambientata in un futuro condizionato da ricorrenti
inondazioni più devastanti di quelle storiche, da un ‘governo
tecnocratico mondiale’ che detiene il potere politico, e da tecnologie
che mutano quando vengono trasferite da un campo a un altro.
Avvincenti vedute sottomarine esplorano l’architettura con occhio
distopico, in cui il punto focale del progetto non è tanto un oggetto
finito quanto il copione che inserisce nella città. Una serie di
invenzioni consente la convivenza con la città sommersa: in primo
luogo una colossale struttura abitabile porosa autoportante fluttua
sopra la città, in secondo luogo un pesce meccanico è stato
progettato per viaggiare all’interno delle meravigliose rovine.
Su questo sfondo, si riflette sui principali processi contemporanei
che conquistano, alimentano e governano i cambiamenti e le sfide
che ci troviamo ad affrontare oggi, mettendo in discussione ciò che
l'architettura potrebbe generare di fronte a scenari scientifici,
culturali e politici estremi.
more information at: www.schwimmer.ca/bsr-blog
Per ulteriori informazioni: www.schwimmer.ca/bsr-blog
Flooding in Portico di Ottavia 2012
digital composition printed on photographic paper, 42 x 59.4 cm
Mapping tourism in Rome 2012
map printed on tracing paper framed
on a light box, 59.4 x 42 cm
Detail of: Satellite Image capturing
Rome in floods 2012
digital composition printed
on photographic paper, 59.4 x 42 cm
Flooding in Piazza della Minerva 2012
digital composition printed on
photographic paper, 29 x 42 cm
Detail of Hydrometric wall on Basilica di
Santa Maria sopra Minerva 2012
digital composition printed on
photographic paper, 34 x 22 cm
Heather B. Swann
In Rome I was looking at animals in architecture.
A Roma ho guardato gli animali nell’architettura.
I went to St Peter’s on the two-tone green number 19 tram,
with its white laminex seats. It was sunny and warm and
golden. As I walked towards the church a small white
feather fell from the sky into my hand. I tucked it under my
wedding ring. In the basilica there are marble doves at the
bases of the central columns. I thought that if they all stood
together they would make a forest. As we were evicted the
moon was rising over Rome, full and enormous. Everyone
caught their breath. On the tram home, the feather tickled
my finger in the late summer breeze.
Sono andata a San Pietro sul tram verde bicolore 19, con i
suoi sedili bianchi di laminex. Era soleggiato e caldo e
dorato. Mentre camminavo verso la chiesa una piccola piuma
bianca cadde dal cielo nella mia mano. L'ho nascosta sotto il
mio anello nuziale. Nella basilica ci sono colombe di marmo
alle basi delle colonne centrali. Ho pensato che se fossero
state tutte insieme avrebbero fatto una foresta. Quando siamo
stati fatti uscire la luna stava sorgendo su Roma, piena ed
enorme. Tutti hanno trattenuto il fiato. Sul tram del ritorno,
la piuma solleticava il mio dito nella brezza di fine estate.
The dove with the olive branch is easily overlooked in its
ubiquity, its message old and faded.
La colomba col ramoscello d’ulivo viene facilmente trascurata
per la sua ubiquità, il suo messaggio vecchio e sbiadito.
There are no real animals in Rome except domestic dogs
and cats. Many pigeons. This is the story of cities. I sat in
the Piazza Farnese and drew the pigeons. I went back to
count the St Peter’s doves. There are 52 panels, with a
dove at the bottom and top of each. I made 12 birds, to
resonate with the calendar number of the basilica and of
the apostles; I am not religious but it is the stuff that one
breathes in here.
Non ci sono veri animali a Roma ad eccezione di cani e
gatti domestici. Molti piccioni. Questa è la storia delle città.
Mi sono seduta a Piazza Farnese e ho disegnato i piccioni.
Sono tornata a contare le colombe di San Pietro. Ci sono 52
pannelli, ognuno ha una colomba alla base e una in cima.
Ho fatto 12 uccelli, per echeggiare il numero calendariale
della basilica e degli apostoli; non sono religiosa, ma queste
sono le cose che si respirano qui.
The doves were made in the unseasonal warmth of Roman
October 2011. Sweet. White. Pure. Too much so – by this
time I was stumbling over the sinister. Walking dirtier
streets. Seeing through stories. Working the underhand
economy. Running up against power. The olive branches
are mere bunches of sticks.
Le colombe sono state fatte nel tepore fuori stagione
dell’ottobre 2011 a Roma. Dolci. Bianche. Pure. Troppo – a
questo punto stavo inciampando in cose sinistre.
Camminavo per strade più sporche. Capivo meglio le storie.
Lavoravo sottobanco. Mi scontravo con il potere. I rami di
ulivo non sono altro che fasci di bastoni.
The fasces is also everywhere and unnoticed. Since
ancient Rome it has symbolised power and authority.
The rods bound together represent strength in unity.
The bundle is tied with a ribbon and includes an axe,
signifying the legal authority to kill. I had made these
sticks; I decided to make the axe. As I made the handle it
metamorphosed into a goat leg. The devil’s leg.
Anche il fascio è ovunque e passa inosservato. Fin dall’antica
Roma è simbolo di potere e autorità. Le verghe legate insieme
rappresentano la forza nell’unione. Il fastello è legato con un
nastro e contiene una scure, a significare l’autorità legale di
uccidere. Avevo fatto questi bastoni, ho deciso di fare l’ascia.
Mentre facevo il manico, questo si trasformò in una zampa di
capra. La gamba del diavolo.
Doves, olive branches, faggots, fasces, axe, devil’s leg,
hoary old goat.
Colombe, rami di ulivo, fascine, fasci, ascia, gamba del
diavolo, canuto caprone.
Rome.
Roma.
Too many meanings to make sense.
Troppi significati per avere senso.
42
Fine Arts 2011-2012
Fasces 2011
mixed media, installation variable
43
Covadonga Valdés
Strada romana 2012
gouache on paper, 64 x 70 cm
44
Fine Arts 2011-2012
Piramide 2012
gouache and pastel on paper, 64 x 70 cm
45
BIOGRAPHIES
47
R ASHID A LI
2006-10 University of Nottingham, Institute of Architecture, 2nd
Giles Worsley Travel Fellow, October-December 2011
Year BA design studio tutor
2006-07 Manchester School of Architecture, Manchester, 2nd
Lives and works in London
Year Studio design tutor
http://www.rashidali.eu
P UBLICATIONS
E DUCATION
2012
‘Medellín – Social forms of Urbanism’, P.E.A.R.
2011
‘Young Architect of the Year’, Building Design
2010
‘Istanbul – Inside and Out’, P.E.A.R. Magazine (April)
2009
‘Jouberton Nursery’, Blueprint Magazine (August)
2011-09 MSc City Design and Social Science, London School
of Economics and Political Science
2010
Magazine (June)
Advanced Diploma in Professional Practice, Royal
Institute of British Architects
(October)
2000-02 Post Graduate Diploma in Architecture, Bartlett
School, University College London
‘In the void and in emptiness’, Scarf magazine (June)
1996-99 BA (Hons) Architecture, University of Greenwich
‘Jouberton Nursery’, Building Design (June)
‘Copy and Duplication’, P.E.A.R. Magazine (June)
O NE P ERSON E XHIBITIONS
2012
2008
Mogadishu – Forgotten Pasts and Distant Futures,
London Festival of Architecture
‘Young Architect of the Year long list’, Building Design
(October)
2006
Vladislav and Liudmila Kirpichev, EDAS – Design
Kommunalka. Non Functional Space, Vienna & New
S ELECTED G ROUP E XHIBITIONS
2011
York: Springer Publishers
Seven Things To Do In An Emergency, The British
School at Rome
Young Architect of the Year Shortlist, Architecture
A NGELA C ATLIN
Foundation, London
Creative Scotland Document Fellow, January-March 2012
‘Sample and Synthesis’, P.E.A.R. Magazine issue 3,
2009
2008
Architectural Association
Lives and works in Glasgow, Scotland.
‘Copy and Duplication’, P.E.A.R. Magazine issue 1,
Between 1990 and 2006 she was news photographer for The
New London Architecture Centre
Herald newspaper, Glasgow. During this time she won several
Young Architect of the Year Longlist, New London
Scottish and UK photojournalism awards, including Scottish
Architecture Centre, London
Photographer of the Year (twice) and Scottish/UK Feature
Photo of the Year (four times). Since 2006 she has worked as a
C OMPETITIONS
free-lance photographer, specialising in the coverage of
AWARDS
AND
2011
Young Architect of the Year award (finalist)
humanitarian and social issues. International trouble spots that
Giles Worsley Travel Fellowship, British School at
she has covered include Syria, Lebanon, Israel, Gaza, Rwanda,
Rome (awarded)
Russia, Cambodia, Indonesia, Colombia, Guatemala, Haiti,
Home at MUDE, Lisbon (shortlisted)
Somalia and Burkina Faso.
New UK_Portugal Architects (selected)
www.angelacatlin.com
2010
2008
Young Architect of the Year award (nominated)
2004
Arab Cultural Centre, Washington (commended)
E XHIBITIONS
2012
B OOKS
I Don’t Know How A Rock Feels, The British School at
Rome
T EACHING
2010-11 Oxford Brookes University School of Architecture,
2nd/3rd Year studio leader
2011
Victims of Torture, Platform Gallery, Glasgow
2010
Pictures from the Middle East, Edinburgh Film House,
2009-10 Bartlett School, University College London, Summer
School design tutor and continuing guest critic of the
Edinburgh
2009
BSc in Architecture
2008-09 Welsh University School of Architecture, Cardiff
University, 2 Year design studio leader
nd
48
AND
Fine Arts 2010-2011
The Peacemakers, The Scottish Parliament, Edinburgh,
and Scotland tour
2008
Life after Iraq, St. Mungo’s Museum and Galleries,
Glasgow, and UK tour
1985
Natural Light, a book of portraits of Scottish authors;
2005
exhibition opened Edinburgh Book Festival, and
Wet River Dry Lake, Canberra School of Art,
Scotland tour
Australian National University
2004
AWARDS
2012
Out There, Ivan Dougherty Gallery, Sydney
Works on Paper, Robert Steele Gallery, New York
Sulman Prize, Art Gallery NSW
Creative Scotland Document Fellowship, The British
2003
School at Rome
2011
Winner, Red Cross Scotland Award for Photography
2010
Winner, Oxfam Scotland Award for Photography
2008
Shortlisted, Amnesty International Awards, London
Significant Tilt, Macquarie University Gallery,
Sydney
2001
Geometry of the Earth, Orange Regional Gallery
Harmonic Visions, Tamworth City Gallery, NSW
2000
Works on Paper at the Armory, Adam Baumgold Fine
Art, New York
P UBLICATIONS
Scotland on Sunday, Spectrum Magazine, Sunday Herald, Herald
S ELECTED AWARDS
Magazine, Mail on Sunday ‘Live Magazine’, The Guardian,
2012
AND
R ESIDENCIES
National Art School Studio Residency in Drawing,
The British School at Rome
Sunday Times Scotland, The New York Times, New Zealand
2007
Residency, Penrith Regional Gallery, NSW
2006
National Art School Studio Residency, Cité
2005
Residency, Canberra School of Art, Australian
January-March 2012
1998
Trustees’ Watercolour Prize, Art Gallery of New South
Lives and works in Sydney
1996
Australia Council CEAD Grant
Herald, The Age (Australia), Irish Examiner, Al Jazeera, BBC
Internationale des Arts, Paris
C HARLES C OOPER
National Art School Sydney Resident in Drawing,
National University
Wales
Represented by Annandale Galleries, Sydney
C OLLECTIONS
E DUCATION
Wollongong City Gallery, Albury Regional Art Centre, La Trobe
1988
University, Orange Regional Gallery, Mildura Art Centre,
MA (Visual Arts), City Art Institute, Sydney
Gippsland Arts Centre, Swan Hill Regional Gallery, Hamilton
R ECENT O NE P ERSON E XHIBITIONS
City Art Gallery, Warrnambool Art Gallery, Commonwealth
2010
Peak Oil Paintings, Annandale Galleries, Sydney
Artbank, Australian Stock Exchange; private collections in
Circling the Block, Slot, Sydney
Australia, New Zealand, USA, Europe
Rivers and Roads, Hawkesbury and Orange Regional
Galleries, NSW
2006
Crossroads, Annandale Galleries, Sydney
C OLIN D ARKE
2004
Approaching the Block, Tin Sheds, Sydney University
Arts Council of Northern Ireland Fellow, January-June 2012
2003
Traffic, Annandale Galleries, Sydney
Lives in Belfast
S ELECTED R ECENT G ROUP E XHIBITIONS
2012
2011
E DUCATION
Rome
2007-10 PhD, University of Ulster, Belfast
William Dobell Prize for Drawing, Art Gallery of New
1977-80 BA (Hons) Fine Art, Goldsmiths’ College, University
of London
South Wales
2009
2008
Group Show feat. Cooper, Dumbrell, Bartlett, Bass &
Buzacott, Annandale Galleries, Sydney
S ELECTED O NE P ERSON E XHIBITIONS
Pairs, Opposites, Dualities, Mildura Arts Centre,
2010
Ireland
Victoria
2006
Mungo Place Willandra Time (Canberra School of
Art), Mildura Arts Centre, Victoria
Parodos GTG, Golden Thread Gallery, Belfast,
2009
The Capital Paintings, Droichead Arts Centre,
Drogheda, Ireland
49
2008
The Capital Paintings, Temple Bar Gallery, Dublin,
1998
MA (Performance Studies), Victoria University,
1976
Diploma of Art, PIT
Ireland
Melbourne
2005
Capital, Context Gallery, Derry, Ireland
1999
Labour In Irish History, Oakville Galleries, Oakville,
1995
Toronto, Canada
SELECTED ONE PERSON EXHIBITIONS/PERFORMANCES SINCE 2010
A Contribution to the Critique of Political Economy,
2012
duet for two voices (the listened world),
performance/installation, Room No 7, Appin Motel,
Orchard Gallery, Derry
Appin, New South Wales
duet for two voices (the listened world), drawing
2012
Interplanetary Revolution, Golden Thread Gallery,
installation and four keyboard performances, John
Belfast
Buckley Gallery, Melbourne
2009
2008
2004
Commodity Form, The Bluecoat, Liverpool (two-
2011
Artisti Italiani nel Mondo, Italian Pavilion, 54th
person show with David Mabb)
Biennale di Venezia, Venice
God and Goods, Villa Manin Centro d’Arte
2047 (the immortal), painting installation and
Contemporanea, Passariano, Codroipo, Italy
performance, John Buckley Gallery, Melbourne
Drawing a Line – A Contemporary Survey of Art from
conversazione con les estrellas, installation and
Northern Ireland, Heilongjiang, China
performance, Latrobe University Gallery, Bendigo,
Victoria
Art in the Age of Terrorism, Millais Gallery,
Southampton, England
2010
cathedral, blindfold piano performance, Clemenger
Busan Biennale, Busan Metropolitan Art Museum,
Prize, National Gallery of Victoria (Ian Potter),
South Korea
Melbourne
Clandestini, Forte Spagnolo, L’Aquila, Italy
settevoltecieco, lithographs and monotypes, Art Vault
2003
Venice Biennale 50, Arsenale, Venice
Gallery, Mildura
2002
Something Else, Turku/Helsinki, Finland
lardethac (wendloeht = dloweneht), two-week
2000
Manifesta 3, Ljubljana, Slovenia
installation/performance, 20 Westbury Street,
Better Society, Golden Thread Gallery, Belfast
Hackney, Adelaide
(three-person show with Phil Collins and Daniel
who says words with my mouth, all-night solstice
Jewesbury)
performance/installation, Heide Museum of Modern
Ambiguous Authority, Beacon Street Galley, Chicago
Art, Melbourne
1999
A Measured Quietude, Drawing Center, New York
triestement (more-is-u-thrill-o), painting installation and
1998
Tracings, Ormeau Baths Gallery, Belfast (four-person
performance, John Buckley Gallery, Melbourne
show with Sol LeWitt, Simon Patterson, Leo de
(machine-for-contacting-the –dead, installation and
Goede)
performance, Cottee’s Factory, Murray-Darling
Palimpsest Festival, Mildura, Victoria
S ELECTED C OLLECTIONS
Arts Council of Northern Ireland; National Self-Portrait
S ELECTED G ROUP E XHIBITIONS /P ERFORMANCES
Collection of Ireland; Oakville Galleries, Toronto; David Roberts
2012
Art Foundation, London
SINCE
2010
Contemporary Australian Drawing 2, University of the
Arts, London
Small Room with Animals and Humans, Mars Gallery,
Melbourne
D OMENICO
DE
C LARIO
In the Doghouse, performance/installation, MARS
Australia Council Resident Artist, July-September 2011
Gallery, Melbourne, with Sam Burke, Lotte & Toots
2011
Born 5 June 1947, lives in Melbourne.
Forever Young: 30 Years of the Heide Collection, Heide
Museum of Modern Art, Melbourne
‘forestories’, Sight Lines, installation/performance, with
E DUCATION
Sam Burke, Langford@120 Gallery, Melbourne
2001
PhD (Performance Studies), Victoria University,
samadifference; Generations, installation/performance,
Melbourne
with Sam Burke, Wollongong Art Gallery, Wollongong
50
Fine Arts 2010-2011
‘forestories’, with Sam Burke, Melaka Arts Festival,
K IMATHI D ONKOR
Kuala Lumpur, Malaysia
Derek Hill Foundation Scholar, October-December 2011
from the opaque 3, installation/performance,
Federation Square, Melbourne, for the Light in
Born in Bournemouth, 1965. Lives and works in London
Winter Festival
www.kimathidonkor.net
National Biennale, Artists’ Self Portrait Prize,
2010
University of Queensland Museum (by invitation)
E DUCATION
Freehand. Recent Australian Drawing, Heide Museum
2010
MA, Fine Art, Camberwell College of Arts, London
of Modern Art, Melbourne
1992
Post-graduate Certificate in Education, Art & Design,
1987
BA Hons, Fine Art, Goldsmiths’ College, London
Goldsmiths’ College, London
Global Mind, sound performance, Federation Square,
Melbourne (with Stelarc, Jill Orr and Karen Casey)
Journey to the Surface of the Earth (collaborative sound
performance with Stephen Whittington, Tony Yap and
Janette Hoe), Madley Studios, University of Adelaide
2008
R ESIDENCIES
AWARDS
AND
2011
University of Queensland Museum, National Artists’
Hawkins & Co, Market Theatre Gallery, Armagh,
Northern Ireland
futbol, Bianca Hester Project, ACCA, Melbourne
2005
Fall/Uprising, Bettie Morton Gallery, London
2004-5
Caribbean Passion: Haiti 1804, Bettie Morton Gallery,
London; Art Exchange Gallery, Nottingham
Self-Portrait Award, Winner
2010
2009
Visual Arts Board of the Australia Council for the Arts:
Studio Residency, The British School at Rome
2012
Invisible Forces, Furtherfield, London
Invited Finalist, Clemenger Art Prize, National
2011
Gallery of Victoria
School at Rome
1999
Axé Foundation, Salvador de Bahia, Brazil
Precious little, St Martin-in-the-Fields, London
1998
ASIALINK Residency, Silpakorn University, Bangkok
Multiple authors & previous owners, Chelsea Triangle
Space, London
Artist Residency, Govett-Brewster Gallery, New
Plymouth, New Zealand
1997
2010
Artist Residency, Penny McCall Foundation Grant
29th Bienal de São Paulo, Brazil
(New York, USA)
Askew in the Garden of Desire, The Castle, London
be careful what you wish for, Space Station Sixty Five,
1996-98 Australia Council, Visual Arts/Crafts Board
London
Fellowship
1996
Artist Residency, Sabbathday Lake, Maine, USA; The
2009
Kréyol Day, Conway Hall, London
Quiet In the Land: Everyday Life, Contemporary Art
2008
Hawkins & Co, Contemporary Urban Centre,
Liverpool
and the Shakers
1995
Ha sempre um copo de mar para um homem navegar,
Artist Residency, Threadwaxing Space, New York
2007
Torture Care Auction, The Building Centre, London
Hawkins & Co, Elspeth Kyle Gallery, London
Since 2011 Domenico de Clario has been collaborating with
2006
Telltale, Elspeth Kyle Gallery, London
Australian performer, musician and multidisciplinary artist Sam
2005
Orature, Stephen Lawrence Gallery, London
Burke. After graduating from the University of Melbourne’s
2004
Historicism, 198 Gallery, London
Music Conservatorium in 2000, majoring in voice, Burke went
2003
The Jamaican Influence, The Fridge Gallery, London
on to further her training in Vienna. Since then she has
1987
Creation for Liberation, Brixton Library, London
performed throughout Australia, New Zealand, USA and Europe
1986
Young Black & Here, People’s Gallery, London
Monti Wa Marumo, Brixton Art Gallery, London
and in 2012 she released her second solo album Your Name is
Safe in My Mouth. Sam Burke is a dedicated yogini whose
discipline informs all aspects of her practice.
1985
Creation for Liberation, Brixton Recreation Centre,
London
Black Artists for Azania, Upper Street Gallery, London
Artists Against Apartheid, Royal Festival Hall, London
51
AWARDS
AND
2011
Derek Hill Foundation Scholarship, The British
RBS Art Award, Sydney (finalist)
School at Rome
Rounds, Perth Institute of Contemporary Arts
Shortlisted for the Bar-Tur award, University of the Arts
Chicken Stampede, public performance & exhibition,
London
Next Wave Festival, Melbourne (solo)
2010
R ESIDENCIES
Joya Residency, Cortijada Los Gázquez, Almeria,
Friends (curated by Charlie Sofo), TCB Melbourne
2009
Spain
Yellow vest syndrome (curated by Jasmin Stephens),
Fremantle Arts Centre
2009-10 Arts and Humanies Research Council, professional
Burnie Print Award, Tasmania
masters scheme full award
Hatched National Graduate Show, PICA
PICA Studio Residency
Fremantle Print Award, Fremantle Art Centre
G EORGE E GERTON -WARBURTON
Australia Council Resident Artist, January-March 2012
Summer, Goddard De Fiddes gallery, Perth
2008
Public Improvisations, Fabbrica del Vapore/CareOf,
Milan
Born 1988, Kojonup, Western Australia
Corso Aperto, San Francesco, Lake Como, Italy
Represented by Goddard de Fiddes Gallery, Perth, Western
Fremantle Print Award, Fremantle Arts Centre
Australia
Print Association of Western Australia Awards, Moores
Building Frematle
E DUCATION
2009
BA with Honours, Curtin University, Perth
AWARDS , G RANTS
2008
Public Improvisations with Yona Friedman, Advanced
2012-14 Gertrude Contemporary Studio residency, Melbourne,
AND
R ESIDENCIES
Australia
Course in Visual Arts, Fondazione Ratti, Como, Italy
2012
DCA Development grant
S ELECTED E XHIBITIONS
Australia Council Rome Studio residency, The British
2012
School at Rome
Living with living, Sutton Gallery Project Space, Next
Wave Festival, Melbourne (solo)
2011
Artspace residency, Sydney, NSW Australia
Techno Park, Melbourne (solo)
2010
Fremantle Art Centre residency, WA Australia
2009
DCA Development grant
Rome
Australia Council Development grant
No reasonable offer refused (curated by Liang
PICA studio residency
Luscombe and Patrice Sharkey), Westspace,
Kick Start Development program, Melbourne
Melbourne
2011
2008
Advanced course in the Visual Arts: Public
The Stalactite love review, ‘Dialogues with landscape’,
Improvisations with Yona Friedman, Fondazione Ratti,
Perth International Arts Festival, University of Western
Como, Italy
Australia
Country Grammar, TCB, Melbourne (solo)
C OLLECTIONS
Post project (curated by Hannah Matthews and
Artbank, John Curtin Gallery, Curtin University Library, private
Caterina Riva as part of Power to the people), ACCA,
collections Australia-wide
Melbourne
High and Lofty, the ecclesiastical banner project
P UBLICATIONS
(curated by David Capra), Parramatta Artist Studios,
2010
Rounds, PICA publication
Sydney
PRE MIX (curated by Daniel Bourke and Clare
2010
2009
Yellow Vest Syndrome (catalogue essay), Fremantle Arts
Wohlnick), Galleria, Perth
Centre Press, 2009
Life, Fraser Studios, Sydney
Hatched, PICA publication
Joondalup Art Award
‘Metamorphapportioning’ (essay), Runway magazine
Goddard De Fiddes Gallery, Perth (solo)
Joondalup Art Award (minor prize winner)
52
Chicken Stampede, self-directed
Fine Arts 2010-2011
N ICHOLAS H ATFULL
AWARDS
Sainsbury Scholar in Painting and Sculpture,
2011-12 Sainsbury Scholarship in Painting and Sculpture, The
October 2011-September 2012
AND
R ESIDENCIES
British School at Rome
2011
Dover Arts Club Prize for Printmaking
Born 1984, Tokyo
www.nicholashatfull.com
C OLLECTIONS
Saatchi Gallery, Franks-Suss Collection, 1:1 Projects Archive
E DUCATION
2008-11 Postgraduate Diploma, Royal Academy Schools,
London
J ESSICA K IRKPATRICK
2003-06 Ruskin School of Drawing and Fine Art, Oxford
Abbey Fellow in Painting, April-June 2012
S OLO E XHIBITIONS
Born 1980. Lives and works in Edinburgh, Scotland
2011
Il Bagno, Peles Empire, London
www.jessicakirkpatrick.com
2009
Ignorant with the Suncream (Seafroot Delivery),
Karsten Schubert, London
E DUCATION
2010
MFA, Painting and Drawing, Edinburgh College of
2004
BFA, University of Colorado at Boulder, USA
Art
P ERFORMANCES
2011
Hallo Bagno Hallo Sommelier, Royal Academy
Schools exhibition, London
2010
Fusilli Jerry takes a Mysterious Bath, Fold Gallery,
S ELECTED E XHIBITIONS
London
2012
Lynn Painter Stainer Prize, Mall Galleries, London
Visual Arts Scotland Annual, Royal Scottish Academy,
Edinburgh
2012
Recent Work, The Parlour, Edinburgh, UK (solo)
The world is bound in secret knots (curated by Jennifer
Teets), various locations
2011
D’après Giorgio (curated by Luca lo Pinto),
Fondazione Giorgio e Isa de Chirico, Rome
2011
Recrea(c)tion, Art’s Complex, Edinburgh
2010
Return to Source, Art’s Complex, Edinburgh (three
person show)
Rome
The Inexorable, MFA Degree Show, Edinburgh
College of Art
School at Rome
Post-Graduate Show, Atkinson Gallery, Somerset,
The Call, Peles Empire, Cluj, Romania
England
Egocentric Space Lines (curated by Shama Khanna),
Brief Habits Programme, Event Gallery, London
Inexorable I, Total Kunst Gallery, Edinburgh (solo)
2009
Open Studios, Takt Kunstprojektraum, Berlin
Royal Academy Schools Show, London
Third Wheel, Embassy Gallery, Edinburgh
Drawing 2011, The Drawing Room, London
Maquette, Big Red Door, Edinburgh
Ready Meal, The Sunday Painter, London
2010
Studio 5.18, Art’s Complex, Edinburgh
2008
Newspeak – British Art Now, Saatchi Gallery, London
3032 Miles, John David Mooney Foundation, Chicago
A Shoulder Bears Its Edge, Pirate Gallery, Denver (solo)
Premiums, Sackler Galleries, Royal Academy,
R ESIDENCIES
London
AWARDS
AND
2006
The Heat is Rising, Modern Art Oxford
2012
Leith School of Art Prize, Visual Arts Scotland Annual
2005
Montana Butch, Great Eastern Hotel, London
Show
2004
Atomic Art Bomb, Modern Art Oxford
Open Eye Gallery Prize, Visual Arts Scotland Annual
Show
P UBLICATIONS
Abbey Fellowship in Painting, The British School at
Briefly Noted (serviette-ish evil eye), available at www.xym.no
Rome
2011
Cove Park Centre, Scotland
53
2010
John David Moonie Foundation, Chicago
2009
Takt Kunstprojektraum, Berlin
TemporaryContemporary Gallery, London
2002
Us and Them, The Great Eastern Hotel, London
The Most Dangerous Game, Rhodes and Mann
P RIVATE C OLLECTIONS
Susie Leiper, Edinburgh; Jane and Ian Murray, Edinburgh;
Gallery, London
2001
High Kickin’ – High Falutin’, VTO Gallery, London
Douglas May, Edinburgh; Antje and Bernd Gürner, Berlin; Tim
Glamourhammer (curated by David Lock), Thomas À
Woods, Superior, CO; Hank Ridless, Boulder, CO; Robert
Becket Boxing Gym, London
Preston, Boulder; Kimberly Dellaca-Badgett, Boulder; Keith
2000
Treyball, New York NY; Bridget Sivanich, Dallas TX
Assembly, Stepney City, London
Juicy (curated by Michael Stubbs), Goldsmiths,
London
D AVID L OCK
AWARDS
Abbey Scholar in Painting, October 2011-June 2012
2011-12 Abbey Scholarship in Painting, The British School at
Born 1970, lives and works in London
2006
John Jones Work on Paper Prize, Zoo Art Fair, London
2000
Arts and Humanities Research Board Award
AND
R ESIDENCIES
Rome
E DUCATION
2000-01 MA Fine Art, Goldsmiths, University of London
1999-00 PG (Dip) Fine Art, Goldsmiths, University of London
F IONA M AC D ONALD
1995-99 BA (Hons) Fine Art, University of Reading
Abbey Fellow in Painting, October-December 2011
1994-95 Art Foundation, De Montfort University, Leicester
2007
http://www.fionamacdonald.co.uk
John Jones Work on Paper Prize, Zoo Art Fair, London
Misfits & Maladies, Fred, London/Leipzig
E DUCATION
1995-97 MA History and Theory of Modern Art, Chelsea
2012
College of Art, London
1989-92 BA Hons Fine Art, Leeds Metropolitan University
Rome
2011
2010
School at Rome
2011
Works from the mirrored series, 10 Gresham Street,
London
Misfits, DS Contemporary, Belgium
Au-delà de l’horizon, TemporaryContemporary @
2009
Morphology, Maddox Arts, London
Trajector Art Fair, Belgium
2007
Anthropoflora, Long and Ryle, London
2008
Import/Export, Fred, Leipzig
2006
Habitat, Phoenix Gallery, Brighton
2007
Kate Davis, Mark Fairnington, David Lock & Matthew
2004
On the Verge, Vertigo, London
Usmar Lauder, Binz & Cramer Gallery, Cologne
2006
The Juddykes (curated by Ben Judd and Howard Dyke),
T WO P ERSON E XHIBITIONS
John Jones Project space, London
2010
Metropolis Rise: New Art from London (curated by
Southend
Anthony Gross and Jen Wu), Dashanzi 798 Art
A Point in the Field, with Anne Gathmann, Exeter
Phoenix, Exeter
District, Beijing and travelling to CDQ Design
Centre, Shanghai, China
2005
Phyllida Barlow and Fiona MacDonald, Coexist,
2007
Dirty Nature, with John Holland, Standpoint Gallery,
London
The Drawing show (curated by Denise Kum), Shangrila Tattoo, London
Uneven Surfaces: Painting Now,
TemporaryContemporary, London
2011
Mesmer: Scrutiny, Seduction and slight of hand,
54
Fine Arts 2010-2011
School at Rome
Salonaise, Centrifugal Projects at Trajector Art Fair,
2010
Brussels
2008-09 Frequency in the Erasmus mobility program in the 5th
Trainee in the company LAND srl, Milan, Italy
How the Light Gets In, with Mermaid & Monster, Hay
year of Architettura del Paesaggio, Facoltà Ludovico
on Wye
Quaroni, Sapienza University, Rome
Lights Are On But Nobody’s Home, Standpoint
2010
2009
2008
2007
Gallery, London
P ROJECTS
Doris, Stedefreund, Berlin
AND
Manchester Contemporary, with Mermaid and Monster
2011
AND
A CCOMPLISHMENTS
AS
A UTHOR
C O - AUTHOR
Garden for Family House Antonio Lobo, Maia,
Summer Exhibition, Royal Academy, London
Portugal
3 Water Tower Artfest, Sofia, Bulgaria
Landscaping for the square in front of the City’s
Who is Telling the Story?, curated by Basement Art
Casino, for the Office of Public Constructions of the
Projects, Galata Perform and the Ist International
City of Póvoa de Varzim, Portugal
Artists Initiative, Istanbul
Participation as Project Coordinator in the contest
Salon 09, Matt Roberts Arts, London (selected by Ceri
‘Development Project for Rehabilitation and
Hand)
Improvement of Pateira de Fermentelos’, under the
The Damned and the Saved, Studio 1.1, London
intervention of Polis (3rd place)
00 Nature, Contemporary Art Projects, London
Article ‘Sustainable Urban Planning and Urban
Hairport (performance), Late at Tate, Tate Britain
Environment’, published in the Journal of Amarante,
Beauty (performance) Beaconsfield Gallery
Portugal, 25 July 2011
Irrational Exuberance, Maddox Arts, London
Participation as Project Coordinator in the contest
Celeste Art Prize, Truman Brewery, London and
Competition for the City Alcobaça Green Park, held
Edinburgh
with landscape architects Isabel Castro Freitas and
Intervention, Fieldgate Gallery, London
Marilia Conceição
rd
Creekside Open 2, APT, London
2010-11 Collaboration in the Design Competition for the
Project of the Urban Park of the Palace of Giela -
R ESIDENCIES
Arcos de Valdevez, in the company X-scapes, Porto
AWARDS
AND
2011
Rome
Plans for the Recovery of Abandoned Quarries /
2010
EKWC
Inactive in the North’, inserted in the Action Plan for
2007
Braziers International Artists Workshop
Qualification of the Environment in Northern
2006
Arts Council England, Grants for the Arts
Portugal, held with the landscape architect Sara Ratola
D UARTE N ATÁRIO
DOS
S ANTOS
IFLA Rome Scholar in Landscape Architecture,
2010
Collaboration and co-author on the project ‘Programs /
L AURE P ROUVOST
Winner, Max Mara Art Prize for Women 2011, April-June 2012
January-March 2012
Born 1978 Lille, France. Lives and works in London.
Born 3 June 1987, Porto, Portugal
http://laureprouvost.com/
E DUCATION
E DUCATION
2010
Master in Landscape Architecture, Faculty of Science,
2007-10 Goldsmiths’ College, University of London
University of Porto
1999-02 Central St Martins, London
2007-08 Degree in Landscape Architecture, Faculty of Science,
University of Porto
2012
MOTinternational, London and Bruxelles (October)
G ENERAL T RAINING
Laure Prouvost at Treasurer’s House, York, residency in
2011
Frequency in the course of Environmental Educator
partnership with The Barbara Hepworth Wakefield
Training, Porto
(July)
55
2011
Frieze Projects, Frieze Art Fair, London
2009
EAST award, East International, Norwich
2008
Lighthouse, new commission, Brighton
Laure Prouvost, IPS, Birmingham
Time Machine, Bookworks, Spike Island, Bristol
AAP, artist placement associate LUX, London
before, before. before it was, the title sequence, spinning
before next, a squid, MOTinternational, London
2010
All These Things Think Link, Flat Time House,
L UKE R OBERTS
London
Australia Council Resident Artist, April-June 2012
Art Now Lightbox, Tate Britain, London
2009
Frieze Frame, Frieze Art Fair, London
Luke is a director of the Pope Alice Xorporation managing the
Present Future, Artissima Art Fair, Turin
earthly affairs of Her Divine Holiness Pope Alice.
Storeybored, After the Butcher, Berlin
www.popealice.com
E DUCATION
2012
Be With Me, Peter Bergman, Stockholm
2001
Reflexion und Einfühlung, KAI 10 Arthena
1972-74 Queensland College of Art
MFA, Queensland University of Technology
Foundation, Düsseldorf
2011
P ERSON E XHIBITIONS
The Starry Rubric Set, Wysing Arts Centre, Wysing
S ELECTED
Painting Show, Eastside Projects, Birmingham, UK
2011, ‘10 AlphaStation/Alphaville, Australian Centre for
ONE
Photography, Sydney and Institute of Modern Art,
Fracas, Portikus, Frankfurt, Germany
Brisbane
Subjective Projections, Bielefelder Kunstverein,
Bielefeld, Germany
2006
You Are Not Alone, Institute of Modern Art, Brisbane
Time Again, Sculpture Center, New York
2000
Ecce Homo, Artspace, Sydney
Department Of Wrong Answers, Wysing Arts Centre,
1996
Clutch, Institute of Modern Art, Brisbane
Cambridge
1994-95 Wunderkammer/Kunstkamera, Queensland Art Gallery,
Brisbane
Bedtime Stories, Supportico Lopez, Berlin
Avec Excoffon, IFF, Marseille, France
2010
Museum of Speech, Extra City-Kunsthal Antwerpen,
Belgium
2011-12 Sourris Collection, Gallery of Modern Art, Brisbane
More Pricks Than Kicks, David Roberts Art
2002
Australian Representative at Museum of
Contemporary Art, 13th Biennale of Sydney
Foundation, London
Kryptonim Matrioszka, Bunkier Sztuki, Krakow,
1997
PS1 Studio Artists, the Clocktower, New York
Poland
1996
2nd Asia-Pacific Triennial, Queensland Art Gallery,
Brisbane
R ESIDENCIES
AWARDS
AND
2012
Winner, Max Mara Art Prize for Women 2011
1995, ‘91 Australian Perspecta, Art Gallery of New South Wales,
Sydney
2011-12 Treasurer’s House, York, residency in partnership with
2011
R ESIDENCIES
The National Media Museum, Bradford (September-
AWARDS
AND
January)
2012
Australia Council Rome Studio residency, The British
School at Rome
Artist in residence, Inheritance Projects, UK
57 Oberhausen Short Film Festival, Principal Prize
th
2010-
winner
Artist-in-residence, Central Queensland University,
Rockhampton
Winner of Film London Artist’s Moving Image
1997
Network Grant, 2011
1996-97 Fellowship, PS1 Studio, ICA, New York
Sala Diaz, San Antonio, Texas
Wysing Arts Center, The Department of Wrong
2010
Answers Residency, Cambridge
P UBLIC A RT C OMMISSIONS
CCA Residency, Glasgow
2003
UFO, Fiveways, West End, Brisbane
56th Oberhausen Short Film Festival, Principal Prize
2000
SPQR, Roma Street Parklands, Brisbane
winner for Monologue
56
Fine Arts 2010-2011
G RANTS
S ELECTED R ECENT G ROUP E XHIBITIONS
2008
Professional Development, Arts Queensland
1998
Professional Development, Arts Queensland
2012
Rome
1996
Fellowship, PS1 New York, Australia Council
Migrating Landscapes, Parisian Laundry, Montréal,
Canada
P UBLICATIONS
2010
Bartlett Master Show, Wates Building, London
2012
AlphaStation/Alphaville (monograph), Institute of
2001
Biennale de St-Etienne, Beaux-Arts de Saint-Etienne,
2011
Video document, interviewed by Doug Hall for the
Modern Art, with text by Daniel Mudie Cunningham
France
Sourris Collection, State Library of Queensland
S ELECTED AWARDS
Archive
2012
AND
R ESIDENCIES
Shortlisted for Migrating Landscapes Organisation,
1999
Vanitas (monograph), Institute of Modern Art, Brisbane
Venice Architecture Biennale 2012
1996
Luke Roberts: A Black Swan of Trespass, Institute of
Winner of Rome Architecture Residency, Conseil des
Modern Art, Brisbane
Arts et des Lettres du Québec, The British School at
Rome
C OLLECTIONS
2010
National Gallery of Australia, Canberra; Art Gallery of New
South Wales, Sydney; Museo Centro de Arte Reina Sofia,
Scholarship, Ministère de l’Éducation, du Loisir et du
Sport, Québec
2008
Madrid
Finalist for Lorenz, 75 ore: watch design competition,
Italy
2006
Winner of Invitation competition for Shanghai Media
Group office interior design, China
F ELIX S CHWIMMER
2003
Québec Architecture Resident, January-March 2012
Study Abroad Scholarship, Ministère de l’Éducation,
du Loisir et du Sport, Québec
Born 1977. Lives and works in L’Aquila, Italy and Montréal,
P UBLIC TALKS
Canada
2011
Transgression as a creative tactic, invited group
conference, The Bartlett, University College
Guest critic in several schools of design and architecture. Co-
London
founder of E.A.T. collective: www.eat-collective.com
2010
E.A.T. an international research group, invited group
E DUCATION
conference, Digital Studio Architecture, Greenwich
2010
M.Arch. Architectural Design, The Bartlett, University
University
2003
Bachelor of Interior Design, Université de Montréal,
College London
2008
Pecha Kucha Night, conference paper on ‘Projects in
China’, Udine, Italy
Canada
S ELECTED P ROFESSIONAL P ROJECTS
H EATHER B. S WANN
2011
Australia Council Resident Artist, October-December 2011
Sassa 137, new housing complex, eight villas with
communal park, Officina ScH Architettura, L’Aquila
Camarda 3in1, new residence for three family,
Born 10 December 1961. Lives and works in Melbourne,
Officina ScH architettura, L’Aquila
Australia
2007-08 Shenzhen Stock Exchange interiors, new headquarters
2006
for the Shenzhen Stock Exchange, Office for
E DUCATION
Metropolitan Architecture, Shenzhen, China
2003
MFA, University of Tasmania
Shanghai Television, television editing office floor,
1993
BFA with Honours, University of Tasmania
SMG, Shanghai, China
2004-06 Il Ponticello, refurbishment, tourist and recreational
R ECENT O NE P ERSON E XHIBITIONS
multi-use complex, Construction Boca inc, Old Port of
2011
Bone, Karen Woodbury Gallery, Melbourne
Montréal, Canada
2009
Troublemaker, Kristian Pithie Gallery, Melbourne
57
2008
Sweet, Helen Maxwell Gallery, Canberra
2005
Dog Eat Dog, Helen Maxwell Gallery, Canberra
2004
Animal Behaviour, Bett Gallery Hobart
2003
Night Creatures, Plimsoll Gallery, Hobart
Invited artist, Summer Exhibition, Royal Academy of
Arts, London
2011
Torrance Art Museum, California
Contemporary Art Fair, Oviedo, Spain
Charlie Smith Gallery, London
Garboushian Gallery, Los Angeles
2012
Queer Urban Tales, The Substation, Melbourne
Disputatio, Gooden Gallery, London
2011
School at Rome
2007
The Collection and Usher Gallery, Lincoln, UK
2010
Galeria Mada Primavesi, Madrid
Text (as) Image, Level 17 Artspace, Melbourne
Carter Presents, London
A Room Inside, Ian Potter Museum of Art, University
KIAF 2010 International Art Fair, Seoul, Korea
of Melbourne
2009
Turps Banana Show, Galleria Marabini, Bologna
Waterhouse & Dodd Gallery, London
S ELECTED AWARDS
AND
C OMMISSIONS
2008
Scope Art Fair, London
2011
Australia Council Studio, The British School at Rome
2010
Fender Katsalidis Architects, NewActon, Canberra
2007
Laneways Commissions, City of Melbourne
2005
Goddard Sapin-Jaloustre Scholarship, France
2005
The Hunting Art Prize, Royal College of Art, London
1998
Rosamund McCulloch Scholarship, University of
2004
John Moores 23, Liverpool Museums, Liverpool
The Wharf Road Project, V22 Collection, London
2006
BP Portrait Award, National Portrait Gallery, London
John Moores 24, Liverpool Museums, Liverpool
Tasmania, Cité Internationale des Arts, Paris
S ELECTED AWARDS
2011
C OVADONGA VALDÉS
Abbey Fellow in Painting, January-March 2012
AND
R ESIDENCIES
Rome
2009
Ricklungarden Museum Residency, Sweden
2007
Art Grant, Spanish Embassy, London
1999
Florence Trust Residency, London
http://www.covadongavaldes.com
1985
First Drawing Award, Principado de Asturias, Spain
Residency, University of Cabuenes, Spain
E DUCATION
1992-94 MA Fine Art, Slade School of Fine Art, University
College, London
1988-92 BA (Hons) Fine Art, Chelsea College of Art, London
2012
Angulo Gallery, Asturias, Spain
2007
Hideaway, Contemporary Art Projects, London
Touring Exhibition, Cajastur, Spain
2000
Gallery Trazos Tres, Santander, Spain
1999
Pump House Gallery, London
1998
Council of Cangas de Onis, Asturias, Spain
1997
Gallery Trazos Tres, Santander, Spain
1996
Council of Oviedo, Spain
1995
City Art Gallery, London
1994
The Slade, University College, London
2012
Rome
58
Fine Arts 2010-2011
T H E B RITISH S CHOOL
AT
R OME
Director
Christopher Smith
Assistant Director
Joanna Kostylo
Research Professor in Archaeology
Simon Keay
Cary Fellow
Robert Coates-Stephens
Rome Fellow in Architecture
Marina Engel
Assistant Director (Fine Arts)
Jacopo Benci
Librarian
Valerie Scott
Deputy Librarian
Beatrice Gelosia
Library Assistants
Francesca De Riso, Francesca Deli
Archivist
Alessandra Giovenco
Registrar & Publications Manager (London Office)
Gill Clark
Development Officer
Mary Ellen Mathewson
Director’s Assistant
Eleanor Murkett
Administrative Assistant
Alice Bygraves
Systems Consultant
Susan Rothwell Smith
School Secretary
Maria Pia Malvezzi
Receptionist
Magdalena Sygidus
Bursar
Alvise Di Giulio
Accounts Clerk
Isabella Gelosia
Domestic Bursar
Renato Parente
Maintenance
Fulvio Astolfi
Technical Assistant & Waiter
Giuseppe Pellegrino
Cleaners
Donatella Astolfi, Alba Coratti, Marisa Scarsella
Cooks
Giuseppe Parente, Dharma Wijesiriwardana
Waiter/Porter
Antonio Palmieri
via Gramsci, 61 00197 Roma
tel. +39 06 3264939 fax +39 06 3221201
www.bsr.ac.uk
59
Printed in Italy by STR Press, Rome
May 2012
Published by T HE
ISSN 1475-8733
B RITISH S CHOOL
AT
R OME London
ISBN 978-0-904152-64-7

Fine Arts 2011-12 - The British School at Rome

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