Barby Asante is an artist, curator and researcher based in London and Amsterdam. Her work creates situations and spaces for dialogue, collective thinking, ritual and reenactment. Using archival material in the broadest sense, she is interested in breaking down the language of archive, not to insert or present alternatives to dominant narratives but to interrupt, interrogate and explore the effects and possibilities of the unheard and the missing. Over the last 20 years of artistic action she has created projects that have explored, liveness, performativity and sociability, to think about issues of place, identity and belonging, critically reflecting on race and social justice. Coming from the feminist position of the personal is political Barby’s artistic journey travels through her own experience of coming from a Ghanaian migrant family growing up in the UK, institutional interventions, working with people, thinking about ways to create/ occupy space, unearth un-constituted archives and un-accredited knowledges to articulate perspectives that reflect on the histories and legacies of slavery and colonialism that inform our present. Barby has shown work and developed projects nationally and internationally. Her work has been included in Untitled, New Art Exchange, Nottingham (2017); The Diaspora Pavilion, Palazzo Pisano Santa Marina, Venice (2017); Who’s Urban Appropriation is This? TENT, Rotterdam (2017); and Starless Midnight, BALTIC Centre for Contemporary Arts, Gateshead (2017/18). Her on going project, As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa, brings together groups of womxn of colour, to explore social, cultural and political agency, through collective actions that attempt to collect and tell stories of living and forgotten womxn and the everyday political actions that do not get articulated in narratives of social, political and cultural change. The project is developed in a series of chapters, with new chapters being presented as part of And Still I Rise, Nottingham Contemporary and at BALTIC Centre of Contemporary Arts in 2019. Barby is also a PhD Candidate, CREAM University of Westminster, co founder of the collaborative project, agency for agency and on the advisory board for the Women’s Art Library.
Mel Brimfield’s diverse interdisciplinary and collaborative practice is rooted in scripted performance, incorporating live work, moving image, staged audio, installation, photography and drawing. The formulation of innovative co-production partnerships amongst multiple institutions, agencies and community groups representing a broad spread of disciplines is central to her approach, as are a series of rolling collaborative relationships with a diverse range of performance practitioners. She received a BA from Bath Spa University and an MA from Chelsea College of Arts, UAL.
Annabel Dover is an artist and lecturer, who works across a variety of media including painting, photography, video, drawing and cyanotype. She has a BA in Fine Art from Newcastle University,; MA in Fine Art from Central Saint Martins, London; PGCE in Art and Design from University of Cambridge, and a PhD from UAL looking at the unknown biography of the Victorian photographer Anna Atkins. The forthcoming novel will be published in May 2021.
Dr Althea Greenan works in Special Collections and Archives at Goldsmiths University of London and curates the Women’s Art Library (WAL) collection there. Her work with the collection began in 1989 as a volunteer with the Women Artists Slide Library, the artists’ organization that became the Women’s Art Library in 1993. She remained with the collection when it was gifted to the Library at Goldsmiths University of London. She works with artists and academic researchers to help realise new projects based on the Women’s Art Library collection, in particular those that position the collection in contemporary practices. She has written on the work of women artists since the 1980s and her doctoral research at the University of Brighton considers the Women’s Art Library slide collection as a feminist post-digital space. She has published reviews, interviews and creative pieces in a range of publications from art magazines to academic journals.
Nadia Hebson is an artist and lecturer. She works across painting, objects, large scale prints, apparel and text through subjective biography most recently exploring the expanded legacy of American painter Christina Ramberg. Hebson studied at Central St Martins and the Royal Academy Schools and is senior Lecturer in Painting at the Royal Institute of Art Stockholm. Exhibitions and commissions include Gravidity & Parity &, Hatton Gallery, Newcastle upon Tyne; one on one: on skills, The Contemporary Art Museum of Estonia, EKKM, Tallin; I See You Man, Gallery Celine, Glasgow and Alpha Adieu, Museum of Contemporary Art Antwerp, M HKA. In 2014 with AND Public she published MODA WK: work in response to the paintings, drawings, correspondence, clothing and interior design of Winifred Knights (an expanded legacy). In 2017 with Dr Hana Leaper she co-convened the conference, Making Womens Art Matter at the Paul Mellon Centre, London. Currently Dorich House Museum Artist in Residence she has been working remotely throughout 2020 and her contribution to Dora Volume one can be read here:
Melanie Jackson is a tutor in sculpture at the Royal College of Art. Her multidisciplinary practice involves modes of non-fiction storytelling – through space/objects/text/moving image and sound. She works with the sensorial and affective capacity of the material, and the inventive ways we reconcile or resist living with the technologies around us – produced as they are in conditions of extraction capitalism. She engages with stories of excess and the absurd imbricated in the production flows and networks of the biotechnocapital, and their ‘ur’ formation in other times and places. Jackson has recently completed a practice based PhD at the University of Reading. Her forthcoming work Hellmouth – a speculation on toxicology, will take the form an animation, a public sculpture and a lecture. It starts with mercury, dental amalgams and the origins of money. Solo exhibitions include Deeper in the Pyramid at Grand Union, (Birmingham); Primary (Nottingham) and Banner Repeater (London all 2018); The Urpflanze Part 2 (2013) and The Urpflanze Part 1 (2010) at the Drawing Room and Flat Time House, (London). She was awarded residencies in Shanghai and Hong Kong (British Council); Mauritius (Gasworks); and in the UK (University of Bristol, The Mothership). She has been shortlisted for the Whitechapel Max Mara Art Prize for Women and was a winner of the Jerwood Drawing Prize. She has work in the Tate and Government Art Collections, and in Private Collections.
Laura Lancaster’s practice uses painting to re-contextualise found anonymous analogue imagery, unlocking the latent psychological charge of potentially mundane subjects. Through paint handling, shifts in scale and obfuscation these images take on otherworldly uncanny qualities. In this ambiguous liminal space the slippage of the meaning and identity of the subject is explored and manipulated. Lancaster graduated from Northumbria University, Newcastle Upon Tyne and lives and Works Newcastle Upon Tyne. Her work is held in public and private in the UK and internationally.
Cathy Lomax is a London based artist and winner of the 2016 Contemporary British Painting Prize. On completing a MA in Fine Art at Central St Martins in 2002 she set up Transition Gallery in East London. She also edits two art and culture magazines, Arty and Garageland. In 2016 Lomax started a PhD at Queen Mary University of London, researching the role of makeup in the creation of the female film-star image. Her artwork assimilates the seductive imagery of film, fame and fashion and juxtaposes it with personal narratives and the everyday. Her resulting paintings and installations play with history by combining influences from disparate sources to form new groupings and categories.
Eleanor Moreton studied painting at Exeter College of Art and Chelsea College of Art, and Art History and Theory at the University of Central England. Her work explores ideas around gender, sexuality, love, psychological theories, and history. She also appears from time to time as a musician and musicians often feature in her paintings. Her solo show A Cold Wind From The Mountains at the Phoenix Exeter in 2017, was recently included in the Anomie Review of Contemporary British Painting by Matt Price (Anomie, 2018). Other solo shows include the Ceri Hand Gallery in Liverpool and in London, Canal, London and Jack Hanley, New York. She has taken part in group exhibition in the UK and abroad. She was a Durham Cathedral Artist in Residence. Her work also features in Picturing People by Charlotte Mullins (Thames and Hudson 2015).
Laura Moreton-Griffiths‘ philosophical practice works with the limitless possibilities of science fictions; drawing on many historical, cultural and personal references, theoretical ideas and art criticism, her themes being ideology, conflict and control. London-based, she curates, teaches, writes and programmes artist talks. Studies include: Royal College of Art, MA Contemporary Art Practice, Critical Practice; The Royal Drawing School Drawing Intensive Scholarship Programme; Turps Correspondence Course; Camberwell College of Arts BA Painting; Interactive Multimedia at the ARTEC; Foundation at St Martins School of Art. Her work is held in private collections in the UK and internationally.
Sally O’Reilly writes for performance, page and video, interleaving academic research and technical knowledges with the comic, the fantastical and the psycho-social. Besides contributing to several art magazines and numerous exhibition catalogues, she has written the novel Crude (Eros Press, 2016), the libretto for the opera The Virtues of Things (Royal Opera, Aldeburgh Music, Opera North, 2015), a monograph on Mark Wallinger (Tate Publishing, 2015) and The Body in Contemporary Art (Thames & Hudson, 2009). She was writer in residence at the Whitechapel Art Gallery (2010–11) and at Modern Art Oxford (2016); producer and co-writer of The Last of the Red Wine, a radio sitcom set in the art world (ICA, London, 2011), and co-editor of Implicasphere (2003–8), an interdisciplinary broadsheet.
Irini Papadimitriou is a curator and cultural manager, whose practice draws on interdisciplinary and critical discourse to explore the impact of technology in society and culture, and the role of art in helping us engage with contemporary challenges. Currently Creative Director at FutureEverything, an innovation lab and arts organisation in Manchester, she was previously Digital Programmes Manager at the V&A, where she initiated and curated the annual Digital Design Weekend festival and Digital Futures programmes; and Head of New Media Arts Development at Watermans. Her exhibition, Artificially Intelligent, was on display at the V&A in 2018 exploring our complex relationships with technology, invisible technological infrastructures and boundaries of humanness. She has been a co-curator for the Arts & Culture experience at Mozilla Festival, with the most recent project ‘Trustworthy AI: Imagining Better Machine Decision Making’ in October 2019. She is a co-founder of Maker Assembly, a critical gathering about maker culture, and an Associate at IWM Institute. Irini has been a recipient of curatorial research programmes including MOBIUS (Finnish Institute), Art Fund, Mondriaan Fonds and British Council, and has served as a jury member for Prix Ars Electronica, Lumen Prize, EU STARTS and ACM Siggraph.
Erika Tan’s practice as artist, lecturer and curator is primarily research-led and manifests in multiple formats: moving image, publications, curatorial and participatory projects. Recent research has focused on the postcolonial and transnational, working with archival artefacts, exhibition histories, received narratives, contested heritage, subjugated voices and the transnational movement of ideas, people and objects. Future projects point towards the digitization of collective cultural memory and cloud architecture through the prism of ruins, hauntings, and mnemonic collapse. Tan’s work has been exhibited, collected and commissioned internationally including: The Diaspora Pavilion (Venice Biennale 2017); Artist and Empire (Tate Touring, National Gallery Singapore 2016/7); Come Cannibalise Us, Why Don’t You (NUS Museum, Singapore 2014); There Is No Road (LABoral, Spain 2010); Thermocline of Art (ZKM, Germany 2007); Around The World in Eighty Days (South London Gallery / ICA 2007); The Singapore Biennale (2006); Cities on the Move (Hayward Gallery, London). Recent curatorial project: Sonic Soundings/Venice Trajectories www.sonicsoundings.com.
Nye Thompson is an artist turned software designer turned artist. She creates data-generating artist software systems to explore new technology paradigms, and has a particular interest in the machinic gaze and its underlying power dynamics. Her recent creation The Seeker is a Demiurge AI, a network-based entity, which travels the globe virtually. It looks out onto our world and describes its visions. She has exhibited around the UK, Europe and the Far East, including Tate Modern, The Barbican, The V&A, ZKM Karlsruhe, Ars Electronica and The Lowry. Her first solo show Backdoored.io – described by C4 News as “too shocking to broadcast” – became global clickbait and triggered an international government complaint. Her work has been featured on BBC, C4, CNN Hong Kong, the Guardian and Wired, and she was guest presenter on BBC Radio 4’s ‘The Art of Now: Surveillance’. She was the recipient of an Arts Council England G4A award in 2017, a British Council/ACE travel award in 2018, and an Arts Council England Projects Grant award in 2019. She was a Lumen Prize finalist in 2018 & 2019, and was shortlisted for the 2019 Rapoport Award for Women in Art and Technology. Her work was recently acquired for the V&A Museum’s permanent collection.