Symposium | Women in Conceptual Art

A K Dolven. Still from ‘Amazon’ 16mm film, mute, 1 min 34 (2005).  Edited to the Allegro Molto of Shostakovich’s String Quartet No.8b In C Minor, Op. 110

24 May 2018

9.30am to 7pm

The Women in Conceptual Art symposium will present new research in performance, scores, film and happenings emerging from female artists’ conceptual art practices: artists’ work to be addressed will be drawn from but not limited to the following: Christine Kozlov, Eleanor Antin, Lee Lozano, Deborah Hay, Dorothea Rockburne, Hanne Darboven, Ann Hamilton, Pip Benveniste, Carlyle Reedy, Marie Yates, Annabel Nicolson and Anne Bean.

Schedule

09.30 – 10.00Registration
10.00 – 10.10Introduction to symposium proceedings
10.10 – 10.30Welcome
Jo Melvin
10.30 – 11.00when I discovered the end I wanted to live really long
A K Dolven
11.00 – 11.25Conceptual Art Daily
Amy Tobin
11.25 – 11.55Break
11.55 – 12.20covfefe - language in a meme economy
Ami Clarke
12.20 – 12.45Pip Benveniste: Time and Time again
Rozemin Keshvani
12.45 – 13.00Q&A
13.00 – 14.00Lunch
14.00 – 14.25IT IS ALL IN OUR BODIES STRETCHING INTO MATERIALS:
Carolee Schneemann’s Parts of a Body House as score, document and publication
Karen Di Franco
14.25 – 14.50Performing Womens Work: Investigating the ‘feminist performance score’
Irene Revell
14.50 – 15.15The Sonic Material of Consciousness: Work by Meredith Monk, Pauline Oliveros, Yoko Ono and Hanne Darboven
Kate Doyle
15.15 – 15.30Q&A
15.30 – 16.00Break
16.00 – 16.25Live and Dissonant: Female performance and the politics of appearing
Sophia Y. Hao
16.25 – 16.55Vantage Points
Lina Hermsdorf
16.55 – 17.20Panel Discussion
A K Dolven, Jo Melvin, Catherine Wood
17.20 – 17.30Summary and closing remarks
Mo Throp
17.30 – 19.00Drinks at Chelsea Space

 
Tickets: £8/6 (includes lunch and post-event drinks) 
Book your place below or CLICK HERE.

Convened by Dr Jo Melvin and presented by the Camberwell, Chelsea, Wimbledon Graduate School Public Programme. 


Image: A K Dolven still from ‘amazon’ 16mm film, mute, 1 min 34 (2005).
Edited to the Allegro Molto of Shostakovich’s String Quartet No.8b In C Minor, Op. 110

Speaker biographies
 
Ami Clarke is an artist, writer and educator. She works within the emergent behaviours that come of the complex protocols of platform capitalism, focused for many years on the interdependencies between language and code, amid the unacknowledged currency of data. She is founder of Banner Repeater; a reading room with a public Archive of Artists’ Publishing and project space, opening up an experimental space for others, on a working train station platform at Hackney Downs station, London.  Ideas that come of publishing, distribution, and dissemination, that lead to a critical analysis of post-digital art production, are shared in her practice as an artist and inform the working remit of Banner Repeater.  She has recently exhibited work at HereNow art + tech residency SPACE (2018), Xero Kline and Coma (2017), Centrespace Dundee (2016), ICA (2016), Wysing Arts Centre (2016), Hayward Gallery (2015).  Recent and forthcoming writing includes: ‘covfefe: language within a meme economy’, “Text as Market” Artists Re-thinking the Blockchain, “The Currency of Data” Sonic Acts journal, ‘Ami Clarke: Author of the Blank Swan’ with Elie Ayache. Her work has recently been included in Information edited by Sarah Cook (2016) (Whitechapel Documents in Contemporary Art and MIT Press, 2016.
 
A K Dolven lives and works in Oslo and Lofoten, Norway. Dolven’s practice spans a variety of mediums, such as painting, photography, performance, installation, film and sound. Her work alternates between the monumental and the minimal, the universal and the intimate, resonating with concepts and structures beyond the confines of any particular piece. Interpersonal relations and interactions are central to her practice, and many of her performance-based works involve collaborations with other people. 
A K Dolven has exhibited extensively internationally at a wide range of institutions and galleries including:  KunsthalleBern; Philadephia Museum of Art; Hamburger Bahnhof, Berlin; IKON Gallery, Birmingham; Platform China, Beijing; The National Museum of Art, Oslo; KIASMA, Helsinki; Nordnorsk Kunstmuseum, Tromsø; CCC Tours, France and Louisiana Museum of Modern Art. Her work is included in central international private and public collections, among others Art Institute of Chicago, Louisiana Museum of Modern Art in Denmark, Hoffmann Collection and Sammlung Goetz in Germany. Recent solo exhibitions include Kunsthall Svalbard, Longyearbyen, OSL contemporary, Oslo, (2016) and IKON Gallery, Birmingham, (2015).  Recent group exhibitions include the Louisiana Museum of Modern Art, Denmark and 21st Century Minsheng Art Museum, Shanghai. 
 
Karen Di Franco is a curator and PhD researcher with Tate Britain and Reading University researching forms, strategies and contexts within artists’ publishing. Current projects include the group show, ORGASMIC STREAMING  ORGANIC GARDENING  ELECTROCULTURE (co-curated with Irene Revell), at Chelsea Space, London.  She has written on Lee Lozano and Carolee Schneemann (Art Review and Art Monthly) and curated exhibitions on Carlyle Reedy, Annabel Nicholson and Marie Yates, (Flat Time House and Chelsea Space). She has recently completed an AHRC research fellowship at the Archives of American Art (Smithsonian), Washington DC. Other projects include Book Works online archive and publication Again, A Time Machine (2010-12).
 
Kate Doyle specializes in the study of experimental music and sound in visual and performance art. Her interdisciplinary work draws from a background in musicology, art history, and communication theory. Kate presents at international conferences and public forums on arts and culture, and her essay on composer Pauline Oliveros will be published in the forthcoming Analytical Essays on Music by Women Composers, Volume 4 from Oxford University Press.
 
Sophia Y. Hao is Curator of Cooper Gallery at Duncan of Jordanstone College of Art and Design, University of Dundee in Scotland. Appropriating a rhizomatic approach, Hao positions the role of the curatorial as a mode of critical inquiry that engages with culture and the political as an open question. Notable projects include NOTES on a return (2009); a re-contextualisation of performance art in 1980s’ Britain, Studio Jamming: Artists’ Collaborations in Scotland (2014), CURRENT: Contemporary Art from Scotland (2015 - 2018)a four-phase exhibition and event programme in collaboration with contemporary art organisations in China, Of Other Spaces: Where Does Gesture Become Event? (2016 - 2017) that evokes the political ethos of feminism to reveal the urgency of alternative politics in culture and society. Hao is co-curator (with Edgar Schmitz ) of the ongoing touring forum Hubs and Fictions and the founder and editor of  &labels. Her books include Hubs and Fictions: On Current Art and Imported Remoteness (co-edited with Edgar Schmitz), A CUT A SCRATCH A SCORE (2015) and NOTES on a return (2010). 
 
Lina Hermsdorf
Often mediated through lecture performances and text-based installations, Hermsdorf’s practice engages with characteristics of the living. Her essayistic works unfold narrative threads, which explore how power structures, technology and biological components interact with one another. She studied Theatre at the University in Giessen and Fine Arts at the Städelschule in Frankfurt. Recent shows include 'State 0', Flat Time House (2017), 'Vantage Point', Künstlerhaus Bremen (2017), 'Immortalismus', Kunstverein Freiburg (2017), 'The Best Answer You Can Give Is Symmetry’, Museum Abteiberg Mönchengladbach (2016) and 'A Biologically Immortal Being Can Still Die', BlockUniverse, London (2016) among other venues.
 
Rozemin Keshvani is a curator and writer working with artists and their archives. Hers is a critical practice that excavates undiscovered contemporary histories and establishes alternate and often disjunctive narratives through discursive means--probing the archive, critical writings, interviews and encouraging dialogic situations. She is particularly interested in oral histories, conflict and memory and seeks to facilitate resistant knowledge production structures and lay the groundwork for alternate epistemologies and narratives. Recent projects include Jubilee Arts - Time, Legacy, Aspiration, Devotion at Zamana Space, London (2018); The Writing of Art, Ismaili Centre (2017), a group exhibition featuring contemporary diasporic interpretations of indigenous Islamic calligraphy; Aftershock, The Grammar of Silence – Werner Schreib; Annea Lockwood, Laure Genillard Gallery (2016); Exploding Utopia, Laure Genillard Gallery (2013); Better Books: Art Anarchy Apostasy, Trondheim kunstmuseum (2014), ZKM Karlsruhe (2012-2013), Flat time House (2012). Rozemin is currently working toward the production of an exhibition and monograph for 2019 on the radical sculpture course at St Martin’s School of Art known as The Locked Room and is Curator for the Pip Benveniste archive and estate.
 
Jo Melvin is a curator and writer, Reader in Archives and Special Collections at Chelsea College of Arts, UAL, London and Director of the Estate of Barry Flanagan. Recent exhibition projects include ‘The Hare as Metaphor: Barry Flanagan’ Paul Kasmin Gallery, New York 2018, Grace Weir ‘unfold’ Laure Genillard Gallery, (2017) ‘fifteen people present their favorite book’, Spoleto, Italy (2017) ‘Barry Flanagan Light Pieces and other works’ & Model, Leeds, (2017) ‘Christine Kozlov: Information No Theory’ Henry Moore Institute, Leeds, (2015) ‘The Xerox Book’, Paula Cooper Gallery, New York, (2015) 'Five Issues of Studio International' Raven Row, London (2015). She is currently curating ‘Sculptureless sculpture’ with Vittoria Bonifati at Villa Lontana Rome, with the Dino and Ernesta Santorelli Collection and is guest curator with the Mahler & LeWitt Studios, Spoleto Italy and devising an artist publication and publication-as-exhibition project in collaboration with Viaindustriae, Folignio and with Radio Arte Mobile, Rome and with The Brooklyn Rail, Brooklyn, USA 2018-2019. 2018 recent publications include Keith Milow, Ian Davenport, Helio Oiticica and David Nash.
 
Irene Revell is a curator whose work seeks out new contexts and connections for practices with challenging social and political implications. Recent projects include the exhibition ORGASMIC STREAMING  ORGANIC GARDENING  ELECTROCULTURE with Karen Di Franco (Chelsea Space, London, 2018); “These Are Scores” workshop series (ZHDK, Zurich, CNEAI, Paris et al, 2017-ongoing); and monthly Now Showing screenings with Cinenova Working Group (LUX, The Showroom et al, London, 2015 -ongoing). Much of her work since 2004 has been with the London-based curatorial agency Electra of which she is co-director. Recent writing has appeared in journals including Sound Studies, Cesura//Acceso (with Annea Lockwood), On Curating (with Lina Džuverović). Since 2014 she has been Visiting Curator and Lecturer on the MA Sound Arts at London College of Communication where she now holds an AHRC TECHNE award for doctoral research.
 
Mo Throp is a practising artist, curator, writer and researcher in the Camberwell, Chelsea, Wimbledon Graduate School where she supervises a number of PhD students. She was BA Fine Art Course Director at Chelsea College of Arts until 2011 and was previously critical theory tutor on the MA Fine Art at Goldsmiths. Mo studied sculpture at St Martin’s College of Art followed by an MA and PhD at Chelsea. With Dr Maria Walsh, Mo is co-convenor of the Subjectivity & Feminisms Research group at Chelsea.
Mo showed her video installation Love Stories at the Wallace Collection in 2004; is author of The Performance Dinners which documents several of the collaborative events organised by The Subjectivity & Feminisms Research Group. Recent events co-curated with Maria Walsh include an exhibition at The Chelsea Space: Can Do;  a symposium at the ICA Feminist Methodologies in the Archive; a publication by I.B. Tauris Twenty Years of MAKE Magazine: back to the future of women’s art. Her forthcoming book Fine Art Practice as Research will be published by Routledge NY in 2019.
 
Amy Tobin is a lecturer in the History of Art Department at the University of Cambridge and Curator of Events, Exhibitions and Research at Kettle's Yard, Cambridge. She completed her PhD at the University of York in 2017 with a thesis on feminism, art and collaboration in the 1970s. Her research on art, film and feminsim has been published in the journals Tate Papers and MIRAJ, as well as in Sue Clayton and Laura Mulvey's edited collectionOther Cinemas: Politics, Culture and Experimental Film in the 1970s (IB Tauris, 2017) and in Hilary Robinson and Maria Buszek's Companion to Feminist Art (Blackwell, 2019). She is also co-editor of London Art Worlds: Mobile, Contingent and Ephemeral Networks 1960–1980 (PSUP, 2018) with Jo Applin and Catherine Spencer, and the author of 14 Radnor Terrace: A Woman's Place (Raven Row, 2017). She is currently working on a manuscript on art and feminist sisterhood called Picturing the Movement, Imagining the Movement. 
 


An Affiliated exhibition, ORGASMIC STREAMING | ORGANIC GARDENING | ELECTROCULTURE  featuring artists Beatrice Gibson, Alison Knowles, Ghislaine Leung, Annea Lockwood, Claire Potter, Charlotte Prodger, Carolee Schneemann, Tai Shani and Mieko Shiomi is open at Chelsea Space from 25/4 - 25/5.