4 July 2015
9.30am - 5.00pm
Folds in Time: Artists' Responses to the Temporal and the Uncanny
Day Conference at the Freud Museum
Convened by Brass Art as part of the Festival of the Unconscious.
This conference brings together artists, curators and writers to examine the ways artists harness aspects of the uncanny and the unconscious in their navigation of physical and imagined spaces. Built around artists’ practices which have responded to the repressed, the unthought or the untold, and which employ fractured, dream-like or metamorphic narratives; the conference will mix keynote addresses with artist-in-conversations.
Rachel Anderson (Artangel)
Saskia Olde Wolbers
Dr Alison Rowley
Uncanny Returns and the Power of Laughter: Sarah Lucas at the Freud Museum
Dr Patricia Allmer
Shadowdance - the mobile uncanny
Patricia Allmer is Chancellor’s Fellow at Edinburgh College of Art, University of Edinburgh. A leading scholar of Surrealism, her key publications include Lee Miller: Photography, Surrealism, and Beyond (Manchester University Press, 2015, forthcoming) and René Magritte: Beyond Painting (MUP, 2009). She is the curator and catalogue editor of the award-winning Angels of Anarchy: Women Artists and Surrealism (Manchester Art Gallery, 2009; Prestel), and co-curated Taking Shots: the Photography of William S. Burroughs (The Photographers’ Gallery, 2014), the accompanying volume of which was published by Prestel. She is currently working on a number of new publication projects on Magritte, and (with Dr John Sears) an exhibition project on 1930s American photography, to be held at The Photographers' Gallery, London.
Rachel Anderson joined Artangel in 2007 and is responsible for the development of short and long term collaborative projects between artists and a wide range of communities, groups and individuals. Projects include Ruth Ewan’s Did you kick the foot that kicked you? which involved the co-ordination of 100 musicians along the City of London commuter routes; The Museum of Non Participation by Karen Mirza and Brad Butler who worked with collaborators in London and in Karachi and Smother by Sarah Cole, developed with young parents and culminating in a performance in a three sided house in Kings Cross. March 2012 saw the culmination Mark Storor’s a tender subject developed with gay prisoners and prison officers over four years. Rachel was previously Education and Outreach Manager at the South London Gallery where she established a programme of on and off-site artists' collaborations with the local community. Before this she managed the Queensbridge Youth Project in Hackney where she established the Children’s Fund Local Providers Network and the Queensbridge Community Arts Partnership
Brass Art is the collaborative practice of Chara Lewis (Manchester School of Art, MMU), Kristin Mojsiewicz (Edinburgh College of Art, UoE) and Anneké Pettican (University of Huddersfield). Exhibitions include: The Imagining of Things HAG (2013), Flights of Fancy Tatton Park Biennial (2012), Dark Matters The Whitworth Art Gallery, Manchester (2011), Skyscraping Yorkshire Sculpture Park, (2008), The Jerwood Drawing Prize, London (2008). Selected presentations include: CHArt Conformity, Process and Deviation Kings College Festival of the Humanities, London (2014), Siggraph Los Angeles (2012); Technologies of Drawing European Sculpture Network (2011), ISEA2010:RUHR Dortmund, Germany (2010). Brass Art has received numerous awards including: Arts Council England, British Council, Association of Art Historians, Friends of Yorkshire Sculpture Park and AHRC. Brass Art is represented by the International3, Manchester. http://www.international3.com/artist/brass-art/
http://www.brassart.org.uk / http://www.contemporaryartsociety.org/artist-members/brass-art
Rebecca Fortnum is an artist and Professor of Fine Art at Middlesex University, London. Her publications include: Contemporary British Women Artists; in their own words, (I.B.Tauris: 2007), On Not Knowing; how artists think (Black Dog, 2013). Fortnum was instrumental in founding the artist-run spaces Cubitt and Gasworks, both in London and is Founding Editor of the Journal of Contemporary Painting (Intellect, launched 2014). Fortnum has received awards from organisations including: Pollock-Krasner Foundation, British Council, Arts Council of England, British School in Rome & AHRC. Recent exhibitions include: The Imagination of Children and Absurd Impositions, V&A’s Museum of Childhood (2011) and Self Contained, Freud Museum (2013) with accompanying publication (RGAP, 2013).
Pavel S. Pyś is Exhibitions & Displays Curator at the Henry Moore Institute, Leeds. He holds an MFA in Curating (Goldsmiths College) and MSc Culture & Society (London School of Economics & Political Science). He frequently contributes to Frieze, Mousse and ArtReview, was the winner of the inaugural Zabludowicz Collection Curatorial Open (2011) and one of the three curators in residence at the Fondazione Sandretto Re Rebaudengo, Turin. At the Institute he recently curated Carol Bove / Carlo Scarpa, touring to Museion Bolzano in Italy and Museum Dhondt-Dhaenens in Belgium, and co-curated The Event Sculpture. Pyś is currently working on the first posthumous presentation of work and archival material by Christine Kozlov (1945-2005), opening at the Institute in December 2015.
Alison Rowley is Reader in Cultural Theory in the School of Art, Design and Architecture at the University of Huddersfield. Her book Helen Frankenthaler: Painting History, Writing Painting was published by I.B.Tauris in 2007. Her writing on contemporary art includes essays on AES+F, Chantal Akerman, Willie Doherty, Eva Hesse, Sarah Lucas and Trinh T. Minh-ha. Her new book Common Gestures Class Acts: Young British Art in Retrospect will be published by I.B.Tauris in 2015.
Lindsay Seers works and lives in London and Sheerness-on-Sea. She studied at the Slade School of Fine Art, (BA Hons, Sculpture and Media) and at Goldsmiths College, (MA Fine Art), where she now works as a lecturer on MA Fine Art. Her works are in a number of collections including those of the Tate, Arts Council, Artangel and MONA, Tasmania. She has won several prestigious grants and awards such as: the Sharjah Art Foundation Production Award, UAE; Le Jeu de Paume production award for the Toulouse Festival, France; the Paul Hamlyn Award; the Derek Jarman Award; AHRC Award; a number of Arts Council and British Council Awards, and the Wingate Scholarship from The British School at Rome (2007/8). Seers is represented by Matt’s Gallery, London. http://www.lindsayseers.info
Daniel Silver studied Sculpture at the Slade School of Fine Art and The Royal College of Art. Recent projects include: Rock Formations, solo exhibition at Frith Street Gallery, London (2015); A Thousand Doors, curated by Whitechapel Gallery and NEON (Gennadius Library) Athens, Greece (2014); Dig, Odeon Site London, curated by Artangel, (2013); Museo Carlo Zauli, Faenza, Italy (2012); Coming Together, Kunsthaus Glarus, Switzerland (2011); Heads, Camden Art Centre, London (2007). Silver is represented by Frith St Gallery, London. http://www.frithstreetgallery.com/shows/view/daniel_silver_rock_formations
Saskia Olde Wolbers lives and works in London and lectures at Goldsmith University. Recent solo exhibitions and projects include: Yes, these Eyes are the Windows, Artangel commission, London, (2014); Art Unlimited, Art Basel (2014); Kinemacolor, Museum M Leuven, Leuven, Belgium, (2013); Ota Fine Arts in Tokyo and Singapore, (2013); Maureen Paley, London, (2012); A Shot in the Dark, Secession, Vienna, (2011). Group exhibitions include Kino der Kunst, Munich (2015); Twixt Two Worlds, Whitechapel Gallery, London, (2014); Unmade, Contemporary Art Center, Cincinnati, USA, (2014); Penetrating Surfaces. Apparitions in Digital Space, Österreichisches Filmmuseum, Vienna, (2014); She has received numerous awards including: Beck's Futures Award, The Baloise Prize, The Charlotte Kohler Award, The Prix de Rome Film & video, and is represented by Maureen Paley, London & Stigter van Doesburg, Amsterdam http://www.maureenpaley.com/ http://www.stigtervandoesburg.com
Rachel Withers holds degrees in Fine Art and Critical Studies, and the History of European Art and Architecture. She teaches at Bath School of Art & Design at Bath Spa University. Her project Roman Signer’s Library of Marvels (Fast Version), preliminary findings from her excavation of Swiss artist Roman Signer’s book collection, has recently been on show at the Rose Lipman Building in Hackney, London. A frequent contributor to Artforum International, Withers has also written for the Guardian, the New Statesman and other mainstream publications, and contributed to numerous exhibition catalogues and books. In 2007 Dumont Verlag published her illustrated monograph on Signer. She has served on the juries of various national and international art awards. In 1988-9 she was the Freud Museum’s first artist-in-residence, a project that led to the staging of her mixed-media installation Real Life at the museum in 1989.