Tom Clark Info_Holding

Tom Clark

(photo, Rupert (Lt), 2024)

Tom Clark is a researcher, writer, teacher and sometime curator and publisher. He is Lecturer in Contextualising Practice at Manchester School of Art, Manchester Metropolitan University. He works in the fields of contemporary art, curating and visual-material cultures, alternative education, and critical infrastructure cultures.

Working through a constellatory approach to curatorial practice and knowledge production, he explores how contemporary cultural practices intersect collective and ‘more-than-human’ artefacts, politics, poetics and structures of meaning making and its distribution.[1] In practice this means examining the reconfiguration of art, curating and cultural production in relation to multiple scales of planetary infrastructures and ecosystems and their local iterations. The imaginaries, narratives, practices, matter, aesthetics and so on that constitute, stage, and unfold in these infrastructures are the material for his work.

 

His work includes exhibition making, public programmes, & publishing; research & writing; teaching; and research resources & toolkits. Together, this offers concepts, models, resources and opportunities for creative R&D for the interconnections and complexity of our various surrounds for thinking with infrastructure, for organisations intersected by infrastructural cultures, and for experimenting in alternatives.

 

Jump to: Practice / Research & Writing / Teaching 

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Current projects / research themes:

 

 

Key words:

 

Art, the curatorial, infrastructures, knowledges, more than human, organisation, technology, environment.

 

Full CV (2024) ➫ (PDF)

Contact:

tom (dot) clark700 (at) gmail (dot) com

Links:

➫ Research blog

➫ https://mmu.academia.edu/TClark

➫ X / twitter

➫ https://www.are.na/tom-clark/index

Ok ok ok, this is a temporary website while I update the one with images and full texts. 

Practice

Present

 

Publisher and Editor – POOL Press – 2016 – present – London & Rotterdam; Birmingham. ➫ see more 

 

2024

 

Residency – Rupert residency programme – 2024 – Vilnius, Lithuania. While at Rupert, I undertook research and development exploring how cura-infrastructural imaginaries/models of public making can be used in Rupert’s real-world setting. He will explore the integration of environments, resources, and communities into Vilnius’ art infrastructure through field work, mapping, and interviews using photography, video, and text. I initiated a new platform focused on the complex pressures inherent to shared creative life; the slow violence of reduction and control in infrastructure but also its regenerative potential. ➫ see more 

 

2023

2022

 

Co-director – Art Design Policy Education (adpe) – research studio – 2018 – 2022. With Dr. Susannah Haslam (RCA) adpe aims to better understand the relationship between art, design, policy and education through conceptual and procedural research and modelling. adpe is broadly concerned with infrastructural conditions as a ground for modelling sustainable systems to configure and test extra-disciplinary research and practice between art, design, policy and educational fields. This work is divided between a research workshop (scholarship) and a modelling workshop (applied work). Website archived at: http://adpe.tomclrk.com 

 

2021

 

2020

 

Workshop leader – “Art Research Seminar: Collaboration conditions and speculative structures: Infrastructural practice, Systemic organisation and infrastructural meanings: a panel Discussion with Victoria Ivanova on new models of systemic organisation and critique in art” – 2020 - Goldsmiths, University of London. For this flashpoint our group explored three approaches to working together that can reflect on, or change the concrete and abstract structures that might fix, repeat and divide the possibilities of that work. The key questions for the whole seminar included: How can we work together in disagreement, systemic dislocation, or with commonalities that don’t yet exist? What kinds of support structures and working methods might make this possible? Addressing these, the session moved between different scales, perspectives and possibilities of the intra and infra-structural — the relations within and the relations between — to discuss different kinds of speculative futures, politics and problems. ➫ see more

2019

 

Workshop co-leader – Annotating, Institutions as a Way of Life, “Unbuilding Infrastructure - Infrastructure Reader: Open editorial meeting,” – 5th November 2019 - IXDM Critical Media Lab, HGK Basel. Annotating is a series of workshops and discussions, seeking to elaborate and explore perspectives on institutional practices. They are public events, with invited partners and collaborators, oriented by specific sub-thematics, such as feminism, technology, individuation, dividuation, performance, publishing. with Dr. Susannah Haslam, (adpe) ➫ see more

2018

 

Workshop co-leader – Art Research Seminar: Goldsmiths Center for Contemporary Art: A Reverse Design Brief – 2018 – Goldsmiths, University of London. Working with the designer Liam Healy (Design department, Goldsmiths, University of London), our group devised a workshop to position and explore Goldsmiths Center for Contemporary Art as an example of an infrastructural object — that is, a result and realization of a complex set of related and interlocking intentions, conditions and stakeholders. This allowed us to do two things. Firstly, to collectively discuss the some of the specific strands that made a gallery possible — University policy, the process of selecting and hiring its staff, and the perspectives of the architects — as fields in themselves, and as paths towards the realization of a university gallery. Secondly, this offered the context in which to imagine these factors as a whole, as they were combined into an actual space, and as we might re-imagine its construction. As a token of what we suggested was a more general approach, the Goldsmiths Center for Contemporary Art, was seen primarily as a vehicle to develop new frameworks of analysis that go beyond the singular institutional blueprint, to consider the infrastructures of policy and economic conditions. ➫ see more

 

 

Editor – Transformer Dialogues­ online platform (transformermalta.com) – 2017–2018 – Blitz / Central Saint Martins, Malta/London. Transformer Dialogues­ contextualised and extended TRANSFORMER INFORMAL, a discursive programme of interviews, commissioned texts, discussion and events held during the TRANSFORMER Artist-residency and Artist Run Organisation project, Valletta, 2017–2018. Website archived at: http://transformer.tomclrk.com

 

Curator - Repeats (figures and infrastructures) – May–June 2018 – Sixty Eight, Copenhagen. Featuring: Anna Zett, Asta Lynge, Dorine van Meel, Katie Hare, Paul Maheke, Simeon Barclay, Seecum Cheung, and Will Sheridan Jr., Repeats (Figures and Infrastructures) begins from the trail of accidents and aporia cast behind infrastructures and their descriptions. Most often it’s bodies, rendered as exemplary or excessive figures that are left aside. The exhibition put the figure back at the center of the frame. The work of contributing artists in different ways, points to the formation of social structures through cultural infrastructures, narrative, images, politics, movement and circulation. Not only do they see how social systems are reproduced, but who is asked to bear that task too.  ➫ see more

2017

 

Workshop leader - Curating as Publishing – Two-day workshop, developed and led – 26–27th August 2017 – Grand Union, Birmingham, UK. Responding the context of Seecum Cheung’s solo show The Dutch Window in Grand Union at the time, the session focused on quick responses to producing and editing content, and how to work collaboratively on the production and design of a publication. The second day took place at Rope Press, a risograph printers in Birmingham, where we manufactured a 40-page publication.  ➫ see more

 

Workshop co-leader – On co-produced educational futures – Against the Slow Cancellation of the Future conference – 15th Jun 2017. Centre for Cultural Studies, Goldsmiths, University of London.. Co-convened with Susannah Haslam.

 

Editor / workshop leader – Not Far From Where We Began – 2017 – Sandberg Instituut, Amsterdam (published: London and Amsterdam: Pool and Critical Studies Dept., Sandberg Instituut) This publication, produced with the students of the MFA Critical Studies Dept, is the result from a workshop with the Critical Studies department of the Sandberg Instituut. The bound texts were written beforehand, responding to a prompt on the theme of “proximity”. The loose-leaf text, an “editorial”, was written and edited during the workshop and reflects on the process over those three days. ➫ see more

 

Editor/co-publisher – Somewhere I’ve Never Been – a novel by Steph Kretowicz – 2017 (published: London and Berlin, Pool and TLTRPreß). Pulling together field recordings from international soundscapes, Somewhere I've Never Been follows the author, Steph Kretowicz's, account of loss and being alone in a self-started journey through the US, Europe and the Middle East. One part of an expanded narrative on many platforms (more at: http://thepoweroflove.cz/), and against the grain of dominant visual narratives, the book is told through the sounds of corporate expansion and pop cultural hegemony heard in an ever-uneven era of globalisation and cultural mediation. ➫ see more ➫ see more 

 

2016

 

Co-Convenor - Instituting for the Contemporary: Public Editorial Meetings – 2016 - BAK, basis voor actuele kunst, Utrecht, NL. Featuring: Simon Sheikh, Ewa Mejewska, Rachel O’Reilly; Füsun Türetken, Bernadette Buckley; 2013), pantxo ramas, Sidsel Meineche Hansen, Angela Dimitrakaki, Tom Vandeputte.

 

Guest Editor – General Fine Arts Vol.2 #1. – 2016 – [online] (publisher: Berlin: Version House)

 

2015

 

Co-curator – Just frustration – 2015 – Sixty Eight, Copenhagen, DK. Just frustration, proposes frustration as a ground for artistic production. Frustration that at the same time as a feeling, takes aim at the entrenched ideologies, local specificities, and claims for global progress that bind the everyday. The artists in this exhibition call attention to particularly European–historical paradigms, alongside recent social and economic collapses, and the conservative crusade of ‘common sense’: where futures seem to be permanently seen from the perspective of a past of outwardly and inwardly expressed fear and appear only to withhold and repeat the dogmatic values with which the ‘old Man of Europe’ has shaped its relation to the world.  Featuring: Ester Fleckner (DK), Rachel McLean (UK), Imran Perretta (UK), Louise Haugaard Jørgensen (DK), Amel Ibrahimovic (DK), Hanne Lippard (UK), Chloe Seibert (US)  ➫ see more 

 

Co-curator – Devotions – 2015 – MOT Projects – London. Featuring: Jesse Darling, Milou Van Der Maaden, Imran Perreta and Takeshi Shiomitsu. (Co-curated with Takeshi Shiomitsu)  ➫ see more 

 

2014

 

Co-Curator – Every Line Ever Spoken, 2014 – 68m2 project space, Copenhagen, DK. Featuring: Takeshi Shiomitsu and Sandra Vaka Olsen.

 

Editor – Every Whisper Is a Crash On My Ears Anthology – 2014 – Acadia Missa Publications; London, April 2014

 

Editor - How to Sleep Faster Arts Journal – Acadia Missa Publications; London. Issues: 5 (Winter 2014); 4 (Autumn 2013); 3 (Autumn 2012); 2 (Spring 2011); 1 (Winter 2011)

 

Editor – Arcadia Missa Publications Artist Books: Danklands – Holly Childs (2014); Ecology of Secrets – William Kherbek (2013); Ocean Living – Holly White and Megan Rooney (2013)

 

Advisor - Lunchbytes talks – 2014. Talks series in partnership with Goethe Institut, London, ICA, London, Goldsmiths, University of London.

 

2013

 

Editor – HTSF E – Digital journal – 2013 – Acadia Missa Publications; London. Issues: 1–3

 

Editor – Arcadia Missa Open-Office Anthology – 2013 – Acadia Missa Publications; London, April 2013

 

Co-Curator – Arcadia Missa (networked) Programme – 2013 – Arcadia_Missa Gallery, London. Funded by the Arts Council.

 

2012

 

Co-curator - The Reading Room (in conjunction with Redmond Entwistle) – 27 June – 28 July 2012 – International Project Space, Birmingham. (Curated with Anthony Davies.)

 

Co-curator – Jesse Darling: Stockholm Syndrome and Other System Failures ­– 2012 - Arcadia_Missa Gallery, London.  

 

Co-Curator – Arcadia Missa Open-Office Programme – 2012 - Arcadia_Missa Gallery, London. Funded by the Arts Council.

 

 

2011

 

Exhibition Coordinator / Researcher / Co-curator – InExchange –24 January – 4 March 2011 – Central Saint Martins College of Art and Design, London.  (Curated with Anthony Davies.)

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Research & Writing

Ongoing

 

Member – Art Research Group, Member of the Curating and Fine Art Research Cluster – 2023–Present– School of Art and Design, Manchester Metropolitan University

 

2024

 

2023

 

Conference Paper – “Critical Infrastructures” ­– 13 – 17 November 2023- Contested Infrastructures: Art Criticism and the Institutionalisation of Art. 55 AICA Congress, Kraków, Poland.  ➫ see more 

 

PhD in Curating - Changing what infrastructure means: Instituting critical models for curatorial-infrastructural practice, artefacts and imaginaries - 2017–2023 - Goldsmiths, University of London, London. Supervisors: Primary: Suhail Malik; Secondary: Simon Sheikh. examined by Prof. Andrea Phillips and Dr. Janna Graham. This thesis on what infrastructure might mean as a cultural site or artefact was constructed through a series of speculative curatorial test cases. These both staged and examined the problem and potential of embodying, embedding and alignments of infrastructural meaning-making and staging to intervene in a series of infrastructural scenes. It offers a critical framework for practicing among emergent imaginaries or ways of imagining when we shift the ontological, epistemic or cultural register to the infrastructural, and the multi-dimensional, more than social, planetary and eco-material assemblages that it coheres. This PhD was funded by an AHRC/CHASE consortium Scholarship. ➫ see more 

 

2022

 

 

2021

 

Book chapter – “Restaging Infrastructural Images That Make the World: Reconfiguring Scale” 2021 – in El Baroni, B., Between the Material and the Possible (Berlin: Sternberg).  ➫ see more

 

2020

 

Article – “The Maintainer and the Rouge Reader” – 2020 – in Sully I., Sweetman E., eds., kunstlicht, vol. 41 no 4.  ➫ see more

Article – “What if the ground is not art?” co-authored with Dr. Susannah Haslam – 2020 – in McAnally J., Hunn S., eds., March International no. 1.  ➫ see more 

 

Critical Reader – “Unbuilding Infrastructure,” co-edited with Dr. Susannah Haslam – 2020 – in Garnicnig B., Kolb L., Allen, J., Freire M., eds., Annotating, Institutions as a Way of Life, Reader, Critical Media Lab – University of Applied Sciences and Arts Northwestern Switzerland.  ➫ see more

 

Article – “What we rely on,” Ginger and Piss – 2020 – Vol. 5, Audience, Kunstverein, Amsterdam (originally published under the pseudonym Nathanial Clark).  ➫ see more 

 

2019

 

Exhibition text – “Dependencies”– March 2019 – Rhodiola, Alserkal Avenue, Dubai, commissioned by 3 137, Athens. ➫ see more

 

Conference Paper – “Imagining Users,” 19 – 20 April 2019 Designing Community, EHESS/Noodesign, Espace Niemeyer, Paris.  ➫ see more  

Conference Paper – with Dr. Susannah Haslam, (adpe) “Indeterminate—Infrastructure” – 21 – 23 March 2019 – Productive Gaps: SAR International Conference #10, Society of Artistic Research, ZHdK, Zurich, Switzerland.

 

2018

 

Review – Ways of Learning at Grand Union – 2018 – Temporary Art Review.  ➫ see more 

 

Articles – “Making Alternative Futures: Instituting in a Weird World, Parts 1, 2, 3” – 2018 – three-part essay, Temporary Art Review.  ➫ see more 

 

Conference Paper – with Dr. Susannah Haslam, (adpe) – “What if the ground is not art?” – 3 November 2018 – BXNU Symposium: In Need of Education, BALTIC, Newcastle.

 

2017

 

Book Section – “Post Internet,” 2017 in Rosi Braidotti and Maria Hlavajova, eds., Posthuman Glossary(London: Bloomsbury)  ➫ see more

 

Catalogue Essay – “Invited In” 2017 – Laure Provost for Art Night 2016

 

Report - “ViC Report: A Multi-Channel Network (MCN) for the Arts” – 2014 – Video In Common.

 

Workshop – On co-produced educational futures – Co-convened with Susannah Haslam – 15 Jun 2017 – Against the Slow Cancellation of the Future conference, Centre for Cultural Studies, Goldsmiths, University of London.

 

Curatorial Talk – “Curatorial Research Group” – 25 May 2017 – Eastside Projects, Birmingham.

 

Moderator – “Why Publish? Why Print?” presentations by Ben Freeman of Ditto Press and Anja Aronowsky Croneberg of Vestoj Journal – 9 March 2017 – Print Publishing Symposium: Print Matters – London College of Fashion, London.

 

2016

 

Panellist & Talk – “A Throw of the Dice Will Never Abolish Chance” – 22 October 2016 – Blockchain Workshop – Banner Repeater, London.

 

Panellist & Talk – The Value of Visibility – 24 September 2016 – W139 – Kunstvlaai, Amsterdam, NL.

 

Panellist & Talk – Thinking Through Publishing Symposium – 12 February 2016 - Central Saint Martins and Flattimehouse, London.

 

Panellist – Friday Salon - Artists’ Visibility – 15 January 2016 – ICA, London.

 

Exhibition text – “Notes towards the “right to write” and the things that get in the way” Dream works exhibition – 2016 – Lethaby gallery, London. ➫ see more 

 

Exhibition text – Modest Villa Immense Versailles group exhibition – 2016 – Kinman Gallery, London. ➫ see more

 

Exhibition text – Carburettor, Rebecca Ackroyd – 2016 – Kinman Gallery, London.

 

2015

 

Conference Paper – Made in spite of, defiantly enmeshed among, the Internet – 6 September 2015 – Věra Jirousová Award for Young and Established Art Critics and the Research Centre of the Academy of Fine Arts in Prague, Veletržní palác (National Gallery), Prague.

 

Panellist – CopyPress Reader’s Union at Housmans Bookshop; Developing and Contact – 10 April 2015 – Revisiting the Bonaventure Hotel by Jaspar Joseph-Lester, Housmans Bookshop, London.

 

Panellist – Art Publishing – 2015 – Art15 – London

 

Exhibition text – “2bd” Devotions – 2015 – MOT International Project Space, London. ➫ see more 

 

2014

 

Talk – AoDL Meetup – 8 December – 2014- Subscribe, Share, Comment – dashboard-based institutions – The Photographers Gallery, London.

 

Lecture – On new languages in publishing after networks – 19 November 2014 – Modern #1 Moody – La Biennale De Art Lyon - macLYON, Lyon, France.

 

Panellist – Artist Run Festival – 11 May 2014 – Copenhagen, Denmark.

 

Lecture - Digital Networks and Research – 12 December 2014 – Funen Art Academy, Denmark.

 

Research and Archive Associate – 2011 – 2014 – MayDay Rooms Radical Archive, London

 

Exhibition text – SameSame, Jesse Darling and Takeshi Shiomitsu – 2014 – ბათუმი, Georgia.

 

2013

 

 

2012

 

Essay / residency - Revolutionizing Desire: A Reclamation of Representation for Its Affective Potential – 2012 – UNpublish Project, (London: Banner Repeater)

 

Interview – “Self-Compression: Interview with Jesse Darling” – July 2012 – Mute Magazine, vol. 3, no. 3. ➫ see more 

 

2011

 

Research and Archive Assistant – 2009 – 2011 – 10th Floor Research Group / Central Saint Martins Teaching Archive, London.

 

2010

 

Coordinator, Research and Admin Assistant – 2009–2010 – The ‘A’ Course: An Inquiry Conference – 10thFloor Research Group / Central Saint Martins Archive – London UK (26th -27th Mar 2010).

 

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Teaching

 

Ongoing

 

Lecturer: Contextualising Practice, School of Art and Design, Manchester Metropolitan University, UK – 2022–present. 

 

→ UG L4 Fine Art, Art History and Practice, Art History and Curating. Thinking About Art – Unit Leader (23/24; 24/25)

 

→ CP1 Thinking About Art will teach you the skills you need to cultivate and pursue your own personal research and creative practice. It aims at building understanding, discussing, teasing out and critically reflecting on the meaning and value of what artists, curators and art historians make and use. We will explore some of the key conceptual, historical, and thematic issues that contextualise the making, showing and reflection on art today. There will be a focus on how artists have developed critical and inventive strategies for navigating, challenging and creating alternatives within the intersections of issues, ideas and stories that make up the contexts they work within. What will we look at? The contemporary world is complex, often fragmented, and best understood by the intersection of many factors. The same goes for what contemporary (and indeed historical) artists make, why they make it, and the setting in which they do. By looking at artistic and curatorial examples and core theoretical and art historical texts we will use art to think about and follow some important through lines and threads amongst the complexity and urgency of the world today and what art means, does and promises in it. This semester was built around the following themes: Context, Bodies, Socials, Stories, Worlds.

 

→ MA Curating ­– Workshop leader (23/24)

 

→ MFA Curating session 1 – Research and Practice Curating Spaces Session – “Mapping the Art Stack”. In this session I will talk about my curatorial, publishing, and pedagogical practice — discussing a moment of curatorial research into the intersections of curating x infrastructure x environments. I’ll draw on my recent PhD research to share how the idea of “infrastructural critique” shifts what the curatorial is, can be, and must do, if it is to engage the scales and urgencies of contemporary planetary-sized problems, possibilities and the intimate, grounded, and knotted legacies of modernity, empire and the Anthropocene. In the second half of this session, we will work together to activate and explore ways of enabling a shift in curatorial practice away from the institution, event or object as primary sites and concerns of the field towards other modes of working in the visual-material-social and ecological cultures through which we can now understand our collective situation. We will prototype an approach to understanding the scenes, events, and processes undertaken and possible in curatorial work as situated by and acting on its infrastructural context. We will also look to ways and opportunities for activating this understanding starting from the layers of context and resources that pass through the art field.

 

→ MA Curating session 2 - Publishing as curating: editorial platforms for curatorial projects.

 

Publishing is a central aspect of curating. It is a vehicle for expanding on or providing context or background to an exhibition, it can be used to create or share new curatorial knowledge, or include what is not on display. It also offers a different economic dimension: publications (might!) sell in much greater numbers than an artwork; or publishing platforms, especially those online, might make it possible to develop entirely new models and associated conversations because of this. In this workshop we will explore some of the aspects and productive relationships between publishing and curating. To begin with this will allow you to consider/develop how you might use publishing/publication to create and expand the context for your curatorial projects. We will also think more generally about the wider implications and possibilities for the models of curatorial publishing platforms through workshopping an in-formation platform and first interview / commission. Two lenses will be used to guide our discussion and work, the editor and the interviewer.

 

→ UG Art History and Practice, Art History and Curating

 

→ Writing for art’s audiences: Editing and being edited workshop.

 

In this session we will work through some of key aspects and issues in writing about art and its audiences through the prism of editing / the editor. The editor offers an interesting place to think about the purpose, function, meaning and how we interact with audiences in writing about art. This is a complex and multi-faceted, multi-positional role and practice. It is also something that is known and done through practice. The workshop will be an opportunity to trial and discuss these embodied, embedded knowledges. Practical, real-world advice should come through this. By producing some material to be edited, and collaboratively editing this, we will work on core principles and begin to explore the conceptual, creative aspects possible in this field. What is important here, is to experience the aspects of editing so that we can understand and use principles in context.

 

PGCert in Teaching and Learning in Higher Education – 2022 – ongoing – Goldsmiths, University of London —> Transferred —> Manchester Metropolitan University ­

 

2024

 

External reviewer – Myriam Crass MA Thesis – 2024 – School of Art, Design and Architecture, Aalto University, Finland, MA Visual Art Curating Contemporary Art.

 

Associate Lecturer: Connected Curriculum, Centre For Academic Literacies – 2023–2024 –  Goldsmiths, University of London, UK.

 

→ I led weekly seminar groups on foundational critical studies topics for students from a wide range of disciplines at the college; giving tutorials, undertaking assessment (formative and summative) and giving essay feedback and undertaking pastoral and administrative duties.

 

→ Semester 1 - Identity, Environment and Agency 1: Everything is a Text

 

→ In this module, subtitled Everything is a Text, you will consider a series of texts that connect to Goldsmiths and our local area in London. You will establish strategies for reading and understanding different texts and you will consider and analyse the knowledge and ideas they present. By exploring academic and theoretical contexts, histories and ideas from our world and the eco-systems that you live and work in, you will reflect upon your identities as learners and future professionals. Your exploration of texts will help you develop academic literacies and will provide you with diverse ways of knowing, supporting you to consider what counts as ‘legitimate’ knowledge. You will engage with a wide range of academic and non-academic materials to examine attitudes and assumptions about ideas and culture. You will encounter the variety of ways you can engage with diverse perspectives and interpretations.

 

→ Semester 2 – Identity, Agency and Environment 2: Researching Our World & Lives

 

→ This module, subtitled ‘Researching Our World & Lives’ builds on the conceptual and contextual foundations of Identity, Agency and Environment 1. The point of doing this module is to understand how to research academically. We have chosen climate change and the Earth Crisis as the object of research as an example. This is because it is obviously an important subject to learn about. During the module, you will learn how to conduct academic research, and will be offered the opportunity to broaden and deepen your understanding of the relationship between your own interests, skills, values, career and non-career aspirations, the concepts, theories and contexts of your discipline, and the world.

 

 

2023

 

Associate Lecturer: BA Fine Art, Critical Studies – 2022–2023 – Goldsmiths, University of London, UK.

 

→ I led weekly seminar groups on foundational critical studies topics in Contemporary Art; giving tutorials, undertaking assessment (formative and summative) and giving essay feedback and undertaking pastoral and administrative duties.

 

2022

 

2021

 

Associate Lecturer: BA Fine Art, Critical Studies – 2020–2021 – Goldsmiths, University of London, UK. (online – post covid-19 protocols)

 

→ Duties and responsibilities as above  

 

2020

 

Associate Lecturer: MFA Curating – 2019–2020 – Goldsmiths, University of London, UK.

 

→ I developed and led seminar groups on infrastructure; gave tutorials and essays feedback studies, and undertook assessment (formative and summative).

 

2019

 

Associate Lecturer: BA Fine Art, Critical Studies – 2018–2019 – Goldsmiths, University of London, UK.

 

→ Duties and responsibilities as above  

 

2018

 

Visiting Lecturer – ADS4, MA Architecture – 2018 – Royal College of Art.

 

→ I ­led two seminars on professional curatorial and infrastructural research expertise for RCA students on the “Postproduction Architecture: a manual for redesigning reality” course.

 

Graduate Trainee Tutor – BA Fine Art extension degree, Critical Studies – 2017–2018 – Goldsmiths, University of London, UK.

 

→ As a Year 0, BAFA critical studies tutor, I led a weekly seminar group on foundational critical studies topics from Contemporary Art. I lectured on the topic of curating and gave tutorials, undertook assessments (formative and summative), and gave essay feedback.

 

BA Creative Direction for Fashion – 2016–2018 – London College of Fashion, University of the Arts, London.

 

→ Co-conceiving, teaching (lectures seminars and tutorials) and assessing a module on cross-platform publishing. Various group and individual tutorials.

 

2017

 

Guest Tutor / Editor – 2016–2017 – Sandberg Instituut, Amsterdam.

 

→ (2017) Three-day writing workshop and tutorials, producing publication on the theme of proximity and publishing as a critical practice and educational model.

→ (2016) Guest Tutor: seminar on editing and group tutorials.

 

Workshop / Visiting Lecturer – BA Fine Art Critical Practice – 2017 – University of Brighton.

 

2016

 

2015

 

Visiting Lecturer – BA Fine Art – 2015 – Central Saint Martins, University of the Arts, London.

 

→ Developed and delivered various workshops on collaborative writing and editing, alternative and digital publishing and professional development. Various group and individual tutorials.

 

Visiting Lecturer – BA Fine Art – 2015 – Central Saint Martins College of Art and Design, University of the Arts London.

 

→ Workshops, individual and group tutorials and off-site projects at Arcadia Missa Gallery.

 

2014

 

2013

 

Visiting Lecturer – BA Fine Art – 2013 – Central Saint Martins College of Art and Design, University of the Arts London.

 

→ Practice Post-University workshop.

 

2012

 

2011

 

Visiting Lecturer – BA Fine Art – 2011 – Central Saint Martins College of Art and Design, University of the Arts London.

 

→ Critical Studies – Unit 8 Dissertation workshop,

 

Graduate Trainee Lecturer – BA Fine Art – 2011 – Central Saint Martins College of Art and Design, University of the Arts London.

 

→ In Exchange at the Lethaby Gallery (3D Pathway) & Art Publications / Self-publishing and the St Martins Archive (2D Pathway) – (Jan 6th – Mar 30th)

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Tab 2

[1] This means knowledges, artefacts, cultures, meaning made across, because of, and sometimes against the relations between things, actors, processes, etc., that make up shared existence and experience on this planet and which alter it.