t h e H O L D

t  h  e      H O L D

Stanley Picker Gallery
26 September – 14 December 2019
Opening Wednesday, 25 September, 6 – 8.30pm

For their exhibition t  h  e      H O L D, We Are Publication will realise a series of interconnected projects expanding on the group’s central preoccupations around cut-up, fragmentation and modes of collective re-composition and assemblage.

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Photography Ellie Laycock

Gallery text:

t  h  e      H O L D is an exhibition by the artists’ group We Are Publication (WAP) featuring contributions from over 50 artists. It consists of posters, a soundscape, a hand-woven carpet, and a series of live events all set within an expansive sculptural display structure occupying the gallery space.

The poster is a key production site for WAP and provides an important working-tool for collective visual and conceptual dialogue. Contributed materials are grouped and regrouped, with salient conversations between component parts gradually taking hold. At the Stanley Picker Gallery, this process of contingent reassembling is accentuated through a multiplicity of spliced and overlapped poster material.

The exhibition’s primary structure is formed from steel decking of the type commonly used for theatrical stage and exhibition design; its modular character mirrors WAP’s own combinatory approach to artistic production. Suggestive of a schematic mountain-scape, the structure grips and scales the gallery’s own vertiginous architecture, encouraging metaphoric ascents, descents and transversal movement.

Preoccupations with mountainous landscapes are further taken up by t  h  e      H O L D’s soundscape whose indeterminate atmospheres take their cue from the secluded alpine sanatorium described by Thomas Mann in The Magic Mountain (1924). Individual sonic contributions are here re-imagined as if circulating within the spaces of a remote mountain refuge, where acoustic fragments pass and mingle via a series of rest-cures, breakfasts, luncheons and dinners, eventually to disperse in slumber.

Part home-furnishing, part-collage, a custom-made handwoven rug was central to WAP’s Notes on a Carpet project between 2017-18. The carpet itself re-alights here, as well as in the form of live-stream video documentation of one of its previous manifestations.

Throughout the duration of the exhibition, t  h  e      H O L D will host a series of live events with key performances taking place on the 6th of November and the 4th of December.

contributors include: Jonathan Allen, Holly Antrum, Bill Balaskas, Sarah Bennett, George Charman, Rachel Cattle, Jenna Collins, Ilsa Colsell, Craig Cooper, Edward Dorrian, Volker Eichelmann, Abbe Fletcher, Adam Gillam, Keira Greene, Bruce Haines, Felicity Hammond, Mark Harris, Ayano Hattori, John Hughes, James Irwin, Gareth Jones, Simon Josebury, Marianne Keating, Dean Kenning, Lau Chak Kwong, John Lawrence, Bill Leslie, Anna Lucas, Stine Ljungdalh, Katy Macleod, Rachel Mader, Russell Miller, Christian Newby, Louis Nixon, Tom O’Dea, Alex Pollard, Elizabeth Price, Mónica Rivas Velásquez, Joey Ryken, Daniel Shanken, Andrea Stokes, Stephen Sutcliffe, Charlotte Warne Thomas, Andy Tam, Erika Tan, Mandy Ure, Sebastian Utzni, Roman Vasseur, Mark Aerial Waller, Steven Warwick, Matt Williams.


We Are Publication: Live Event
Wednesday 6 November 6-8pm | All Welcome

We Are Publication: (Edges of) a close/d screening
Thursday 21 November 6-8.30pm | All Welcome

Further details: https://www.stanleypickergallery.org/exhibitions/we-are-publication/

Stanley Picker Gallery
Kingston School of Art, Grange Road
Kingston upon Thames KT1 2QJ




Dekalb Gallery
Pratt Institute

200 Willoughby Avenue
Brooklyn, NY 11205

11-22 February 2019

We Are Publication’s latest project, We.Are.Cut.Up. emanates from the group’s recent manifesto and expands on central preoccupations around cut-up, fragmentation and modes of collective re-composition and re-assemblage. We.Are.Cut.Up. consists of a soundscape and a series of posters, both specifically conceived for the Dekalb Gallery at Pratt Institute, New York.


We.Are.Cut.Up’s iteration of We Are Publication comprises contributions by Jonathan Allen, Holly Antrum, Rachel Cattle, Jenna Collins, Ilsa Colsell, Edward Dorrian, Volker Eichelmann, Keira Greene, Bruce Haines, Felicity Hammond, John Hughes, James Irwin, Gareth Jones, Simon Josebury, Marianne Keating, John Lawrence, Bill Leslie, Anna Lucas, Stine Ljungdalh, Katy Macleod, Christian Newby, Alex Pollard, Monica Rivas Velazques, Joey Ryken, Daniel Shanken, Andrea Stokes, Charlotte Warne Thomas, Matt Williams, Andy Tam, and Mandy Ure.

Mandy Ure

Dean, Kingston School of Art


In Mandy Ure’s paintings there is an absurd investment, a committed doubt, in producing paintings that address temporality, belief and scepticism in a paintings ability to signify anything. Her paintings rehearse the rhetoric of painting, using the precedents and conventions of mark making, picturing and construction. These mechanistic methods are absorbed and conflated with an expressionless declaration of physical fact and a fascination with the desire for a potentially stable pictorial referent. The paintings fluctuate – by way of production and forms implied – between a simulation of meaningful activity and a belief that the temporality of painting can (still) allow for an alternate (s)pace of understanding.

Painting no. 108, 2016. Credit: Andy Keate

Recent research includes exhibitions Native, Durden and Ray, LA, Here, there and somewhere in between, Horatio Jr, London, Welcome to Corfu, Depot, London and symposium ‘Women; Art, Books and Printed Matter’, Hauser and Wirth, Somerset.

Volker Eichelmann

Director of Postgraduate Research, School of Art & Architecture


In 1925, Stephen Tennant (1906–1987), perhaps the most intriguing of England’s ‘Bright Young Things’, contemplated a novel about “high life with a capital H & full of crude impossibilities”. He favoured amongst other titles The Monkey House, as well as Gutters of Gold. Despite his elaborate preparations, this book, like so many others imagined by Tennant during his life in a sequestered Wiltshire manor house, was never to materialise. Volker Eichelmann has resurrected Gutters of Gold as an intriguing visual essay. In this publication Eichelmann’s paintings, collages and photographs overlap and underlie Tennant’s drawings and personal ephemera. Reflections on landscape gardens and water-features, Greek antiquities and ruination, horticulture and eighteenth century découpage emerge as joint preoccupations that shift and expand in proximity as they unfold in a succession of scenarios conceived by Eichelmann under evocative chapter headings.

(from: Volker Eichelmann with Stephen Tennant, Gutters of Gold, Black Dog Publishing, 2017)

Jenna Collins, PhD

We Are the Road

Contemporary archival art practices utilise their artefacts in a variety of ways. My approach foregrounds certain artefact’s own internal and pre-existing complexities, separate from the complexities of an archive. This is distinct from archival art practices that focus on specific histories and their misrepresentation or absence; and practices that critique the archival construct itself.

We Are the Road, 2017

I undertake the research through the production of moving image and sound artworks that seek to adopt and critically reformulate the processes of commercial film production and the artefacts it produces (such as the location report and the screenplay). This manoeuvre responds to the notion of instrumentality, criticised in philosophical thinking about technology.

The artefacts located by this project are the material remains of non-technical aspects (communities, ideas, events) that have accumulated around the development of moving image and screen-based technological products since the late 20th century. Their continued existence as digital files and second-hand products is not the result of an organised recognition of their worth, rather, they have accumulated in the wake of technological advancement as so much junk floating around at the margins of the archive. The intention of the project is not to rehabilitate overlooked materials but to explore the idea that these unheroic fragments and their stubborn specificities actualise moments of lived experience entangled with technology.


Rachel Cattle, PhD

I am a Stylus: Play, Erase, Replay, Overdub, Broadcast

Climbing the stairs and stepping out, its pitch black. I’m disorientated, my eyes are wide open, but I can’t make anything out. Once they become accustomed, I make out tiny lights winking blue and yellow coming from banks of electronic equipment, linked together by long black wires. Thinner brightly coloured wires hang in coils across the space, looping down between the equipment, a series of receivers, amplifiers and tuners, the debris of an abandoned radio station. I notice that everything is connected.

Rachel Cattlesmall

The air is soft, malleable, and as I start to feel my way around my fingers leave small indents. How to convey this? ((((((((((((((((())))))) ((((((((((((((((()))))))))))))))) I turn up the sound and you hear a woman’s voice softly humming on a repeated loop.


Jonathan Allen, PhD

Casting for the voice of Strength || Austin Spare and the cultures of cartomancy


This project takes direction from a forgotten deck of fortune-telling cards, hand-painted circa 1906 by the English artist and mystic Austin Osman Spare, and recently rediscovered within the collections of London’s Magic Circle museum. Seen more broadly as one of many contested sites of enchantment within late modernity, this directive object here prompts its own historical overview, and a range of contingent fictocritical readings.


Dr Dan Kidner

Senior Lecturer, Fine Art

Dan Kidner is a London-based curator and writer. He has researched and written on the overlapping histories of political cinema, experimental film and video art; their relation to radical politics; and their exhibition in the spaces of contemporary art. His current research interests include catastrophe as a mode of thinking and practice, and the development of an ‘ill-disciplined’ exhibition form.

Leslie Thornton, Peggy and Fred in Hell: Folding, 1984-2015, 16mm film and video transferred to digital, 95 min. Exhibition view The Inoperative Community, curated by Dan Kidner, Raven Row, London, 3 December – 14 February 2016. Photograph by Marcus J. Leith

Leslie Thornton, Peggy and Fred in Hell: Folding, 1984-2015, 16mm film and video transferred to digital, 95 min. Exhibition view The Inoperative Community, curated by Dan Kidner, Raven Row, London, 3 December – 14 February 2016. Photograph by Marcus J. Leith

Kidner was director of art organisations Picture This, Bristol (2011 – 2013) and City Projects, London (2004 – 2011). His most recent publication, the DVD Edition Nightcleaners and ’36 to ’77 was co-edited with Alex Sainsbury and published by Raven Row, Koenig Books and LUX (2018). His other books include Working Together: British Film Collectives in the 1970s (2013) and A Detour Around Infermental (2011). He regularly writes for art magazines and journals such as Screen, Frieze and Texte Zur Kunst. He contributed the chapter ‘“The Hoxton Mob Are Coming”: The Lux Centre and the Merging of Cultures of Experimental Film and Video Art in the 1990s,’ to the anthology Artists’ Moving Image in Britain After 1989, ed. Erika Balsom (New Haven: Yale University Press, 2019), and his most recent exhibitions include The Inoperative Community, Raven Row (2015) and Rozdzielona Wspólnota (The Inoperative Community II), Muzeum Sztuki, Łódź, Poland (2016).

Dr Bill Balaskas

Associate Professor & Director of Research, Business and Innovation, School of Art and Architecture

Bill Balaskas is an artist, theorist and educator. His works use a playful visual language and a variety of media to reflect on contemporary political issues. Although this interest was catalysed by the global financial crisis of 2008 and his original studies in economics, in recent years, the focus of his practice has partly shifted from economic subjects to their cultural roots, as well as to the existential threats posed by climate change and the revived prospect of nuclear conflict. Balaskas often examines such ideologically charged subjects by drawing connections with the past, exploring how history can function both as an ally and a foe to our perspective. At the same time, an important thematic area in his practice and writings is the socio-political role of new media technologies and digital culture. Through the amalgamation of those themes and interests, Balaskas’s aim is to demystify a globalised-yet-hostile world, in which the truth is contested on an everyday basis. Such contradictions are vividly reflected in the protagonist role of humour and irony in much of his artistic practice – two elements that allow him to interrogate in more depth the increasing spectacularization of the public sphere. Finally, many of Balaskas’s works are characterised by the use of language as a major tool of expression – an interest that he holds both as a writer and a visual communicator who aims to imbue his works with a sense of urgency.


Mark Aerial Waller

My research concerns how we as spectators can have the understanding of ourselves and our surroundings (our subjectivity) thrown into disarray, so that what we understand of ourselves is radically changed. This change of subjectivity implies that the position we previously occupied is not the same as now, it is other to us. It is a question of identity. So if we no longer share identity with our previous self, what relation do we have with ourselves from beforehand? These ideas are often used in horror and comedy cinema, where the fundamental understanding of a situation spins on its head, prompting terror or hysterical laughter. My practice-based research aims to critically examine this through the concept and processes of metalepsis, a condition experienced by audiences through a particular encounter with the uncanny. Narrative metalepsis occurs when a story’s narrator intrudes into the narrative universe, or the inverse. 

Metalepsis is the central theme of an emerging field of research termed ‘Boundary Language’ (Kunze, 1998 to present) a visual study promoting experiment in critical theory, through interdisciplinary study of topology, architecture and psychoanalysis. My own research seeks to employ this methodology as a means to test ways that radically shift the subjectivity of a spectator of moving image to profoundly reconceptualise the experience of difference.

I am developing a series of experimental moving image works that radically flip the subjectivity of the audience. The works test how a spectator may be radically positioned in relation to the screen, author and auditorium, to confront oneself as Other in a process where fear and hatred meet jouissance.  Can our fear and desire be repositioned so that we can move from intolerance towards jouissance in the encounter of the other?

George Charman

Fragments and Formworks: Architectural Possibilities for Edward James’s Archive

The intention of this research project is to utilise through practice, the Edward James archives at West Dean College as a stimulus for dialogic exchange and collaborative making between contemporary art and architecture. Edward James’ position as a poet and patron to the Surrealists is well acknowledged. What is less known and unexplored is James’ discernible artistic impact on contemporary art relating to his contributions to sculpture and experimental architecture evidenced in the archives through the speculative plans, sketches, formwork moulds, and the realised structures James produced throughout his life, specifically relating to the monumental concrete pavilions of Las Pozas in Northern Mexico. By considering the archives from the perspective of research through art practice, inherently open and social in character, this project seeks to critically consider and expand on James’ artistic contribution to push key debates within contemporary art relating to site-specificity, acts of interpretation and interdisciplinary exchange. Through site-responsive sculptural intervention and live broadcasting this research will consider how interpretations of James’ realised and unrealised sculptural and architectural work can contribute to contemporary art practice as platforms for communities of enquiry.

Radio Broadcast WE.ARE.CUT.UP.


Broadcast on Art Licks Weekend radio station, run in partnership with TACO! and RTM.
17/10/19 8-9pm

ALW Thurs.jpg

The Art Licks Weekend is an annual festival that celebrates the activity of artist-led and non-profit project spaces across London. For its seventh year, the Art Licks Weekend (17–20 October 2019) takes on the theme of Interdependence: considering how participating projects work within a network of friendship, exchange and shared dialogue.


Mónica Rivas Velasquez

My PhD project centres on a speculative productive fusion of contemporary art practice, botanical research, autobiographical narratives and political histories, past and present, within the context of my native Colombia.

My research focusses on the plants Espeletia, Brugmansia Arborea and Mimosa Pudica in an attempt to attend to the multi-layered complexity that each species unfolds and to chart the affective responses that these encounters with the botanical world unlock. By an interweaving of practices such as drawing, writing, installation and public readings, my research aims to further the exploration and experimental articulation of plant-human relations.


Keira Greene

In the global event of rapacious consumption, it is evidently unethical, as an artist, to work with toxic material or dwindling natural resources. In this climate, working with the physical body as material can be considered an ecological and political act. My practice-based research focuses on the body as a site of investigation within the cross-disciplinary field of contemporary art and dance. I will look to the work of women–artist–dancers that use dance to construct meaning and challenge dominant representations of the body. Through a primarily feminist discourse, the body engaging with dance will be analysed as a body that performs the defining ideas of the time. I will argue that the physical body negotiates and reflects the ideologies in which it is situated and therefore can motivate alternate translations of representation.

As a filmmaker I look to the context of dance as a generative site of contestation. I will focus on somatic practices, movement practices that involve a dual observation by the dancer; they are simultaneously aware of their gesture and the feeling of that gesture. The term somatic, from the word Soma, is the body as perceived from within. I will approach this interior territory to critically dispute the language of the sensing physical body. I will explore movement practice that turns the sensing body inside out to perform aesthetics of feeling and in turn perform political agency. 

John Lawrence

Through a practice located in art writing I am invested in exploring the peripheries of where meaning can be generated through language, towards asking the question ‘To what extent might ‘site of reception’ be considered as a facet of language itself?’

Framed around a speculative concept of ‘Spatial Writing’, and extending ideas around ‘Spatial Music’ as established by 20th century avant-garde composers such as Xenakis, Nono and Stockhausen, my research engages practices, forms and sites of live textual production, as well as forms of language that might resist such recuperation, in order to understand how embodied experience, spectacle and the materiality of site can affect and inform a collective reception of meaning.

Through the proposed choice of sites of-and-for the work, I aim to embrace tensions around non-instrumentalised hedonistic spectacle versus a capitalist instrumentalisation of culture, and plan to frame my research within a partial reevaluation of Adorno & Horkheimer’s ‘Enlightenment as Mass Deception’ in relation to industry and religion.

James Irwin

Using Printmaking and the Moving Image to relocate the individual within Algorithms and Automation.

My research will address printmaking and the moving image as sites for understanding the vexed relationship between digital imagery and authenticity in a context of algorithmic automation. Software used for the production of digital imagery provides the means through which to access a recorded history of actions, where each stage of production can be revisited at any point within an image making timeline. When presented with a digital image, we are no longer merely looking at a fixed record of the present moment, but a single ‘selection’ from a potentially infinite series of images. This singular image ‘surfaces’ through post-production processes that provide the means to entirely reshape the representation of reality. As a credible artefact, or as a means for presenting ‘true’ forms of representation, the digital image is fallible. Just as pixels can be numerically manipulated, new forms of agency arise at the points at which the individual – the user – inserts themselves within the digital production process. Within a system that has led to the proliferation of the ubiquitous image, where industry standard tools algorithmically stylize image output to recognisable norms, how and where are new forms of subjectivity being produced? How can artistic practice contribute to and shape the production of these subjectivities? As efficiencies of automation and distribution threaten to normalise originality, with the ‘viral’ gaining cultural currency over the unique or the ‘one off’, what sorts of works of art correspond to these changed perspectives on humanistic ideals?



Ilsa Colsell

Overlay: How can we use layering and obscuring as a strategy for making?

When two objects are placed together, one partially or even completely concealing the other, we make by obscuring, edit by covering over or omit by denying visual access; and as we do this we leave our trace actions behind.


As an artist my research questions what is revealed here in this moment of apprehending the composite object made in this way; how do these interrupted, seemingly discontinued fragments of visual information collide, both physically and in terms of their now combined images and attendant meanings.
Within this body of research I specifically suggest that if by refocusing our attention on the overlaid surface, and, looking beyond the severed edges that have come to dominate and historically frame the conversation around collage production, we can begin to ask how the process of overlay offers a renewed vantage point within this mode of artistic production.

Charlotte Warne Thomas

Golden Age; On the Contemporary Agency of Gold

My practice-based research examines the changing role of gold as a material and metaphor for financialization since the cessation of the gold standard in 1971. I deploy real gold, gold plate, gold leaf and artificial gold to elicit the complex dual roles of gold as adornment and as money, exploring its shifting status as a repository for standardised (economic) value and a universal signifier of wealth and status. Focusing specifically on the process of electroplating, whereby a micron thick layer of gold is deposited onto a metallic substrate, I seek to draw parallels with the alchemic moment of the creation of luxury and the complex financial systems which govern the neoliberal economic climate.


Charlotte Warne Thomas



Alex Pollard

The Clairvoyance of Painting: Is Paint Ganymede Slime?

Taking the form of paintings and theory-fiction this practice-based inquiry explores a revised role for intuition in painting [i].
Playing with narrative devices borrowed from Philip K Dick I plan to utilise “fictioning” as a methodology to examine pre-cognitive intelligence within the practice of painting. I aim to examine “Myth-Science”[ii], the work of Rudolf Steiner on intuition and quotations from painters such as Philip Guston that examine the complex relationship between “intuitive” painting and the repetitious re-occurrence of mythic archetypes throughout history[iii].
Fictioning can function as a position “against the dominant reality”, allowing us to “imagine and image alternatives”[iv]. The human subconscious is now a political battleground owing to the role of big data companies. Algorithms woven into web 2.0 hi-jack our thoughts, desires, opinions and behavioural patterns and store them for capitalistic gain. My project intends to address the need for new images and narratives to be produced by artists that shift our consciousness away from this manipulation by examining the role of human intuition in a culture ruled by data metrics and predictive analysis. Fictioning in this context functions as a form of Accelerationism that imagines alternative visions of the future within the present, providing a much-needed reflection on the role of the painterly in digitalised times.

[i] I see it as building on my previous output as a painter where I have created fictions in order to explore pockets of history that had never occurred, such as Paleo Fauvism.

[ii] Myth-Science being the strategic collision of the residual, dominant and emergent parts of culture. Key practitioners commonly identified in this field would be Sun-Ra and Mike Kelley.

[iii] Joseph Campbell, The Hero with a Thousand Faces, New World Library; 3rd edition (23 April 2012)

[iv] Deleuze Against Control: Fictioning to Myth-Science, Simon O’Sullivan, Goldsmiths College, Theory, Culture, Society,2016

Andy Tam

“Global Economics” making “Global Contemporary”


Making money is art and working is art and good business is the best art.”
(Andy Warhol)

The study explores the fundamental nature of art in relation to the eco-social development of society. For some instance, Art is not only motives of pleasure and expression, but also immerses a perspective of social criticism, social awareness, and social reforms at the end. For some extents, the concept of Post Pop has been widely adopted and explained as social and artistic phenomenon in China. The economic success in China has been demonstrated as influences and social documentations from consumerism, media, and popular culture material. Finally it triggers global economics and global contemporary, and then shapes the mottos of “China as World City of Consumerism”. Art is representation of the global consumer society, and shows a sense of existence as consumption procedure (as Barbara Kruger’s (1987) art work “I shop therefore I am”) to psychological behaviour “I see therefore I am”, and reveals the very nature of instinct: art as pursuing pleasure rather than retinal pleasure.

Anna Lucas

Looking, looking away, looking again – The photographic still as an object on film

What perceptual transformations occur when the photographic image is (re-)looked at through another lens? How can physical manipulation of photographs on film evoke an embodied response in the viewer?


This practice led enquiry focuses on the physical characteristics of photographs as objects alongside their visual content, at a moment of image saturation, digital transformation and screen-based image consumption.

I am interested in the shared act of looking, performativity and gesture, the charisma of the photograph as an object in which layers of imagery, shared experience and time unfold, overlay and intersect. The work considers how inclusion and influence of others affects creative practice. Using the double ‘look’ at a photographic image through another lens as analogous to dialogue.

Using the camera as a research tool and filmic conventions to prompt physical interaction with diversely sourced photographs in studio and lab spaces I am exploring the material implications of the printed photograph in film aiming to focus attention on it’s ‘volume, opacity, tactility, and physical presence in the world’ (Batchen G1997 Photography’s objects).

This heuristic process allows for accidental events and playful uncertainties to confound our expectations of physical and virtual, abstraction and representation, stillness and movement in order to question the illusion of effortless digital image manipulation.
The work is situated within a context of artists moving image that considers structuralist, documentary and essay film as relevant. Through an investigation in film, photography, anthropology and material culture theory, this research will take into account contemporary philosophical debates around the nature of photographs, their ‘magic’, mutability, role in making meaning and inscribing the past, and their relationship to time and movement.

This research enquiry is significant and innovative in its use of the intangible nature of film to represent an embodied understanding of the photograph as a material object, reflexively establishing practical and theoretical agency for both mediums whilst challenging our cultural dependence on digital technologies.


We Are Publication

We Are Publication is a research group based at Kingston School of Art’s Contemporary Art Research Centre which seeks to test out innovative forms of contemporary art publishing. The group consists of a fluctuating number of staff and current and past research students, brought together by a shared sense of experimentation and the possibilities inherent in collaboratively conducted research.

The group has produced speculative publications in the form of a launch event (ICA, London, 2014), a 5-minute video (Stanley Picker Gallery, 2015), the 60-minute radio broadcast Diagram of an Hour (Resonance FM, London, 2016) and a vinyl record documenting the broadcast event (Curved Pressing, 2017). Between 2017 and 2018 We Are Publication produced Notes on a Carpet, a project that took the shape of a handmade rug. In 2018 the carpet was presented alongside a series of readings and performances at Five Years, London, Black Tower Projects, London, Focal Point Gallery’s Unit Twenty-One, Southend-on-Sea and the London Art Book Fair, Whitechapel Gallery. Earlier in 2019 We Are Publication presented the exhibition We.Are.Cut.Upat Pratt Institute, New York. The We.Are.Cut.Up soundscape has been transmitted as part of Radiophrenia, CCA Glasgow in May and will feature on Art Licks Weekend radio station, run in partnership with TACO! and RTM from 17 – 20 October 2019.

We Are Publication at Twenty-One


We Are Publication took up a one-day residency at Focal Point Gallery’s Unit Twenty-One on the 17th October 2018. During this time the group produced an experimental and speculative publication; the shape and form of which was determined on the day and presented to the public between 4pm and 6pm.

17 October 2018, 4-6pm
Unit 21
Pier Approach
Western Esplanade
Southend-on-Sea SS1 2EH




London Art Book Fair

We Are Publication will be sharing a table space at the Book Fair with artist-led record label and publishing imprint Oh (John Lawrence/Mat Jenner).



We Are Publication will be presenting a new version of Notes on a Carpet featuring the Diagram of an Hour double album.

We Are Publication’s latest project, Notes on a Carpet has taken the shape of a rug presented alongside a series of readings and performances at Five Years and Black Tower Projects in April and June 2018 respectively. The  group are currently working on a presentation for Focal Point Gallery, Southend-on-Sea in October 2018 and will show Notes on a Carpet at Pratt Institute, New York in February 2019.



Notes on a Carpet


Saturday 7 April 2018 2–6 pm (live events and video stream from 3pm)

Five Years, Unit 2B1, Boothby Road, Archway, N19 4AJ

Part home-furnishing, part-collage, Notes on a Carpet is the latest collaborative iteration of We Are Publication, a contemporary art research group based at Kingston University, London. At Five Years, a luxurious hand-tufted floor carpet stages underfoot the research concerns of the group’s current contributors. How can the mutability of textiles foster individual critical interests as collective representation? This question attempts to embed the conventions of publishing i.e.,contributors, editors, printers, alongside live aspects of performance and theatre, allowing the carpet to function as magazine, as stage, and as a record recounting the groups’ own sense of shared play and experimentation.

Performance running order:
Mind to Mind & How, 1951, Austin Osman Spare (extract) – Jonathan Allen
A Machine Chamber in 4 parts, part 1 – John Hughes
Bergman’s House – Jenna Collins
A Machine Chamber in 4 parts, part 2
Pastiche by Gareth Jones
Le Gai Savoir, 1969 Jean-Luc Godard (extract) – Jenna Collins
Your Singing Eyes and Fingers (after Elizabeth Frasers Song to The Siren, 1983)Rachel Cattle
A Machine Chamber in 4 parts, parts 3 + 4 /Lift Safety Devices, 1928 (extract)

Carpet Bodies, augmented reality app – Daniel Shanken (throughout)

Carpet constructed by Christian Newby


Diagram of an Hour

 Vinyl record by We Are Publication

Launch at Cubitt’s studio 5, 6pm -8pm, 4th July 2017.
8 Angel Mews, Islington, London N1 9HH


Diagram of an Hour is a 60 minute radio broadcast first aired at 11am on the19th of June, 2015 as part of the Modulations series on Resonance 104.4 fm. Proceeding from a diagram of an hour on paper, the sound work was produced and assembled by We Are Publication, a collaboration between researchers in the Centre for Useless Splendour at Kingston University, with contributions from; Jonathan Allen, Anat Ben-David, Rachel Cattle, Lucy Coggle, Jenna  Collins, Cullinan Richards, Volker Eichelmann, Dean Kenning / Maria Yashchanka, Katie Macleod, Andrea Stokes, Stine Ljungdahl and Roman Vasseur


This record documents the broadcast in 15 minute segments as it was received in several places, as well as the final section of the original composition.

Record 1
A Side. Stream (repeat) recorded London, UK. 21/07/15 16:45:00
B Side. Stream (live) recorded Visby, Sweden, 19/06/15. 12:00:05

Record 2
A Side. Broadcast (104.4 FM) recorded London, UK. 19/06/15. 11:00:00
B Side. Master, produced and compiled London, 2015.

Recordings of broadcasts made by Jenna Collins and Andrea Stokes, compiled by Jenna Collins, cover by Daniel Shanken, supported by the Contemporary Art Research Centre, Kingston University. 2017.


Louis Nixon

Associate member
Director of the Academy of Visual Arts, Hong Kong

My research is underpinned by an on-going engagement with an expanded sculptural practice. I produce kinetic sculptures, sound works, films and paintings, which combine a manipulation of technology with the creation of new modes of presentation.

I continue to define my work as part of an expanded practice of sculpture, which experiments with new ways of configuring sculpture in a wider social context.

A developing research theme, which equates with the physical and political components of landscape is encapsulated in the idea of borders. Recent work traces borders, most often making journeys by car and travelling the boundary of a landscape, particular site or territory where a route of circumvention may be dictated for geographical or political reasons.

Black Rock, 2017. Jesmonite, paint, motors, micro controller and ultra sonic sensors. 300cm x 200 cm x 200cm.

Black Rock (pictured) is a sculpture that looks like a rock, it has motors and sensors which make it move forwards and backwards across a space or landscape, changing its direction when it encounters another object.

Felicity Hammond

Portals in the Urban Terrain: excavating the virtual ruins of rendered architectural propositions


Monumental billboards concealing construction sites have become commonplace in towns all over the world, with images envisaging desirable, aspirational and unfathomably clean living and working environments. On closer inspection however, these projections quite literally disintegrate. This practice-led research addresses the spatial inconsistencies provided by simulated architectural propositions, and challenges their material status when they intersect the post-industrial landscape. We are at a key moment in image production, where as the software that is used to produce computer generated imagery becomes more readily available, the rendered image starts to break down. Through the interdisciplinary nature of my practice, I am arresting images that although temporal, have a lasting impact on the social and economic fabric of the urban landscape. I am paying particular attention to the ‘slippage’ that occurs in these propositions, and it is this unintentional error that I am adopting as my methodology for creating new photographs and installations.


Marianne Keating

‘They don’t do much in the cane-hole way’ Representing Caribbean Whiteness and the Irish Diaspora in Jamaica through visual and material culture.

Still from Interview with Ms Dunna, Jamaica. 9/1/2017
Duration 5min and 6 sec

My research harnesses post-colonial and archival theory to analyse the migration of the Irish diaspora to Jamaica.
Through re-examining and documenting this largely unknown and unaddressed history, my research traces the migration of the Irish from 1835 to 1842s and their arrival in Jamaica through narratively reconstructing this history through its archival traces. This research addresses fragmented identities via archival and postcolonial frames and the creolization of the Irish in Jamaica and the resulting legacies in contemporary Jamaica.

Through postcolonial theory and archival theory, I analyse and respond to the cultural legacies of colonialism and the human consequences of imperialism. And I seek to determine new historical narratives in response to the dominant “master narratives” of Western nationhood, identity and culture. The repercussions of colonial rule can still be felt today, and my work focuses on the rewriting of histories of the dominated “Other” and returning a voice, which had been rendered mute.

Situating my practice within the historiographic turn in contemporary art discourse and in relation to the archive, notably through the examination of unrecorded, private and disregarded histories, my multi-disciplinary approach to the research, the archival record and the archival image questions the legitimacy of the archive and falsification or lack within the recorded image and text.


Simon Josebury

Beautility:  printed matter, moving image and the question of Use

My research takes as its framework the beauty-utility opposition in aesthetics to then probe and explore how the formulation of aesthetic distance is constructed conceptually and echoed socially. This study will be pursued theoretically in written research, and practically through an expanded conception of publication as practice, investigating mechanical and digital reproduction in the widest sense. This research will practically interrogate the formal representation of aesthetic theory, and question what is at stake in the notion of aesthetic distance, producing both printed matter and digital video that address the social and political implications of concepts of taste, value, and judgement itself.

Dr Sarah Bennett

Head of School Art & Architecture

SarahBennett_Fagotto 2014
Fagotto, 2014

In her artistic research Bennett critiques the historical and contemporary contexts of psychiatric provision through embodied actions, digital recording methods and site-based interventions. Her four channel video installation Safe-keeping (Custodia) (2014) was developed through an invitation to work on an interdisciplinary and international research project Geographies of affect and memory at the Museo Laboratorio Della Mente, in Rome. The project explored the creative methods by which the museum constructs a contemporary mental health promotion message by forcing an emotional engagement with histories and memories of institutionalisation and the phenomenon of mental illness. Related projects include: Reformations (2010) and Institutional Traits (2012).  Her published conference papers explore links between sited art practices, psychiatry, cultural geography, visual anthropology, museology and architecture.


John Hughes

Surface and Sub – Surface Subversion UNDERGROUND: experimental inter-disciplinary fiction in contemporary art

I am experimenting with combinations of text and sound.
I am asking:
What happens when text is punctured by sound?
How does the use of sound change the narrative?

Sample DATA: The Gunnersbury Triangle part 1, LIVE!
Description: audience wear latex animal masks whilst listening to performed soundscape. 12 x found / captured animal noises (plus impersonations) composed using SAMPLR App / CASIO SKI Electronic Keyboard. Samples feature an Otter, Badger, Nightjar, Barn Owl, Crow, Mole, Fox, Pigeon and Horse. Recording Date: 09/01/19, ICA Studio, CARC Duration: 12:26:00 Notes: #sound collage  #narrative  #voice

Listening to The Gunnersbury Triangle, LIVE! CARC, ICA Studio, 2019


Jo Addison

Head of Department, Fine Art

 The relationship between objects and the body, and of objects to one another is intrinsic to the haptic and spatial curiosity at the heart of Addison’s sculptural research. Drawing from Bruno Latour, James Elkin, Jane Bennet’s theories on things, and Tim Ingold and Richard Sennet’s writing on making, she implements methods by which her decisions are governed by the behaviour of materials. Additionally, in collaboration with Natasha Kidd, Jo is engaged in a collaborative practice through which they explore learning as form. To date, this has included the production of a number of significant educational resources, objects and events, participation in educational research groups and contributions to national and international conferences and symposia.

Jo Addison
Bisanbos, 2015. Hanging object, mixed materials, jesmonite, 200mm diameter (approx)

Recent activities include: No Working Title, Tate Exchange and Blip Blip Blip, Gettin’ the Heart Ready, The Royal Standard; Good Things to Come, The Gallery at Plymouth College of Art; Buffetd’art, Meinblau Gallery, Berlin; Stop Bugging Me | Frame 3, Tintype London 2015; Alioli, Outpost Norwich 2015; Combines #1, Model Liverpool 2014; Ideas are Faster, Five Years London 2012; Easy does it, David Dale Gallery Glasgow, Aid & Abet Cambridge, Supercollider Blackpool 2013.







Melissa Gordon

The Value of Gestures

MelissaGordonJoke Gesture Cleaning Table copy

My PhD aims to address the question of how the value of a gesture is determined in a painting. In my approach I have considered contemporary debates around paintings post-condition and its aggregate nature, as well as research into the value form of negative gestures of withdrawal. I have developed new bodies of work that aim to make visible the invisible procedures of labor in the production of painting and exhibition making (as the framing device of the painting).  My PhD is developing a language around gesture that envisions it as fluid, and uses the philosophy around early cinema to determine where a gesture happens (between images). This PhD aims to expand the discussion of value around contemporary painting, focusing on how painting gestures are both a conduit for the movement of value to and from certain spaces in the contemporary art world, but also as a potential fluid conduit for outsider, radical positions which question the role of value distribution through terms such as ‘author’ and ‘genius’.


Christian Newby

Among the Living: Articulating Craft Methodologies Beyond Ornament and Skill in Contemporary Art Practice

My research examines how the use of applied art and handicraft techniques in the production of artworks can focus a spotlight on and put forward new ways of understanding how nodes of instability and conditionality within the definition of craft offer it as a crucial social tool for understanding the ever-changing propositions of material culture.



Daniel Shanken

Unconscious and pre-programmed systems of influence and their implications within art practice

common descent2
Common Descent, HD Video (still), 11:30 min

Daniel Shanken is an artist from Los Angeles, living and working in London. Recently his work has been shown at Studio RCA Riverlight, Art Basel Hong Kong, Yvonne Lambert Gallery, Whitechapel Gallery, CCA Glasgow, Nottingham Contemporary, CFCCA Manchester, Kiasma Helsinki, and CGP London.


Seyyed Sadegh Aleahmad

Anxieties of Difference

As a young Iranian artist living in the UK, the examination of my position in the cultural space that exists between the West and the Middle East is an instrumental voice in my research. In order to address and disarm the habitual notions of Islamic Identity I have adapted subversive approaches to my practice including Maddahi singing, choreography with mirrors and cameras, and performances with fake explosives.

Sadeghaleahmad_pic2 copy

My work questions the ideas of self as a site of conflict between an entity and its projected re-presentation, and explores underlying assumptions and clashes between artistic intensions and viewer’s perception. This is stimulated by the tension present between the presumed role of an active artist being mistakenly recognised for a terrorist


Adam Gillam

Course Leader BA Fine Art

Revelling in material and visual flippancy, Adam Gillam fidgets, probes and tweaks the abundant dark matter of studio experimentation and collected pound-shop tat. The resulting images, objects and accumulations present a potential, momentary resolution between improvisation and refinement.


Adam Gillam studied at Liverpool John Moores University from 1991-1994 and at The Royal Academy Schools, London, from 1994-1997 and is currently represented by Tintype Gallery, London.

Adam Gillam currently lives and works in London.

Mark Harris

Associate Professor in Fine Art

Mark Harris’ key area of research and specialism is the history of the printed image and the processes and journey it takes through reproduction, translation and documentation. His own practice is informed by the language of print, using discarded publications as material to create collages, sculptures and multiples that explore themes of Utopian landscapes and interpretations of unrealised architectural schemes and models.

Mark Harris
Pro-Patria EGH5 (160 x x120cm) collage on canvas, 2016

He has presented at International Print Symposiums in China and New Zealand. Recent exhibitions are a solo show at the De La Warr Pavilion, Bexhill, UK, and the 2015 London Open at the Whitechapel Gallery. In 2016 he was invited to give a Public Lecture at The Garage Museum of Contemporary Art, Moscow, Russia, in response to the exhibition Proof: Work of Francisco Goya, Sergei Eisenstein, and Robert Longo.


Gareth Jones

How to fabricate the ideal city

I’m looking at how to fabricate the ideal city, using a methodology that I’ve called the Tablescape. This is a form of architectural model making that employs found and repurposed materials to create fictive spaces that become a springboard for different forms of publicity. To fabricate is both to make and to fake, and the ambiguity of the word is key to my research. I am making, through the process of assemblage; I am faking, by constructing stories about the ideal city from these fragments.


This is not based on an abstraction. I grew up in a modernist utopia called Milton Keynes, an ideal living environment planned for 250,000 people on a large area of North Buckinghamshire. My research considers the possibility of vision in the public realm, moving between art, architecture and design. A testing ground for this is a project called City Club, an ambitious scheme to remodel and curate an area of Central Milton Keynes according to the utopian perspective of the city’s first architects and planners.


Bill Leslie, PhD

What happens to a sculpture when it is filmed and photographed?

What happens to a sculpture when it is filmed and photographed? How is it effected and changed by this process of capture and representation?  Can sculpture and media act together to produce something which has its own particular force and existence? Can a mediated object be considered as an art object in its own right?

Bill Leslie

This practice-led enquiry will open out the possibilities of the pictured sculpture, conceiving of the act of mediation as integral to the creation of the art object, a radical transformation and fundamental constitutive act without which the object would not be what it is. Using various representational media – still, moving and virtual – I will test the power of the media to transform the sculptural object giving to it unexpected qualities, altering its perceived scale and materiality, finding ways for the pictured sculpture to exceed its origins entering into the viewer’s perception as something distinct yet inseparable from the process of mediation.

This research will take into account key philosophical debates around the nature of objects and of representational media, alongside phenomenological analysis articulating the complex and intertwined relationship of object, and the media through which it reaches the viewer, not merely as something seen visually but perceived bodily. This will be underpinned by an analysis of how the art object has been forged historically in relation to the photographic image and how artists over the past century have used representational media to put the integrity of the art object into question. This research will create new understandings of the nature and possibilities of the pictured sculpture, establishing it as a locus of practical and theoretical inquiry which is at the heart of image production in contemporary art.


Maryam Tafakory

Devotion and absence:  towards a cinematic écriture féminine

This research proposes to investigate the intersection of documentary, experimental video and ethnography within the context and theory of Helene Cixous’s écriture féminine, exploring how socio-political and allegorical narrative is channelled through the self as implicated in the wider social structure.

Bringing into dialogue feminist theory and cinematic auto-ethnography as a device for challenging the assumptions attached to identity in order to open up new forms of writing, alterity and resistances within the system. I aim to research both practice-based and theoretical constituents of feminist cine-writing, developing film pieces testing these investigations into emergent, poetic relationships between visual text and speech act.



Dr Dean Kenning

Research Fellow in Fine Art

There are two main aspects to my art practice. Firstly art as a form of generative exploratory communication and thinking through drawing. This includes allegorical and diagrammatic based philosophical, political and economic investigations such as the Metallurgy and Capital projects, as well as the pedagogical Social Body Mind Maps. Secondly, material object based work that is compulsive, humorous and engages a B-movie horror aesthetic. In particular my kinetic rubber and sound sculptures. The two aspects come together most clearly in video and performance work. I often work as part of art groups. My work has been shown at the ICA, Grundy Art Gallery, BAK and the Whitechapel Gallery.

Dean Kenning

I have written on art and politics, ‘idiot art’, and art education, publishing in journals such as Art Monthly, Third Text and Mute, and co-organising symposia at Tate Modern, Whitechapel and the ICA. At Kingston I have published a series of booklets based on transcripts from the Stanley Picker Public Lectures series.


Diagram of an Hour Radio Broadcast

Diagram of an Hour- Scoring, Composition, Publication

In this programme, We Are Publication, the Fine Art Research Group at Kingston University, score an hour into seventeen discrete sections of various lengths, according to a prescribed notation.

This programme was made by We Are Publication Research Group at the Faculty of Art, Design and Architecture, Kingston University London: Jonathan Allen, Anat Ben‐David, Rachel Cattle, Jenna Collins, Lucy Coogle, Volker Eichelmann, Dean Kenning, Stine Ljungdalh, Katy Macleod, David Panos, Cullinan Richards, Andrea Stokes, Charlie Tweed, Roman Vasseur, Martin Westwood and Esther Windsor. Edited by Jenna Collins.

It was first broadcast on Friday 19 June 2015 as part of the first series of Modulations: Broadcasting Research in the Arts, Humanities and Social Sciences, on Resonance 104.4fm.

Katy MacLeod

Associate Member

Art research, particularly within the framing of a PhD: artists’ research processes specific to the practice of Art; PhD submissions, especially written texts and their relation to PhD exhibitions and ensuing research.

Katy MacLeodsmall

Funded research, including AHRC, into student and supervisor experience of PhDs in Fine Art;  examples of PhD, Fine Art submissions, Macleod, K & Holdridge, L, 2001-2003;  artist researchers’ specific approaches to research subject identification and related research processes through to submission, Macleod, K & Chapman, N, 2009-2012;  particular thought processes inherent to and engendered by art practice research and their broader relevance to other research arenas.

Research training aimed at underpinning art practice research;  also experimental writing;  research group collaboration and reading group work; Art theorisation.


Professor Mike Nelson

Mike Nelson’s work has centred on the transformation of narrative structure to spatial structure, and on the objects placed within them, immersing the viewer and agitating their perception of these environments. The narratives employed by the artist are not teleological, but multi-layered, and often fractured to the extent that they could be described as a semblance of ‘atmospheres’, put together to give a sense of meaning. The more discrete sculptural works are informed by this practice, often relying on their ambiguity to fade in and out of focus, as a sculpture or thing of meaning, and back to the very objects or material from which they are made. By working in this way the more overtly political aspects of the early works have become less didactic, allowing for an ambiguity of meaning, both in the way that they are experienced and understood. This has led to the possibility of the viewer being coerced into a state where the understanding of the varied structures of their existence, both conscious and sub-conscious, are made tangible.

I, IMPOSTER, 2011. Installation view, 54th Venice Biennale, British Pavilion, Venice, 2011. Photo: Cristiano Corte. Courtesy the artist and 303 Gallery, New York; Galleria Franco Noero, Turin; Matt’s Gallery, London; and neugerriemschneider, Berlin.

Professor Elizabeth Price

London-based artist Elizabeth Price (British, b. 1966) creates richly multi-layered narrative moving image works made specifically for gallery environments. Often beginning with research undertaken in archives and museum collections, Price draws on varying references, such as architectural sites, social and political histories, as well as and the language of advertising copy. Composed of collaged imagery – analogue and digital photography, animation, and motion graphics – Price’s works almost always include scrolling text, sometimes read out loud by a narrator’s computerised voice set against a musical background. Through the artist’s choice of composition, archival footage is brought into conversation with digitally rendered imagery, blurring the boundary between historical fact and fiction, real and imagined narratives. Editing plays a key role in Price’s practice, and her arresting works are widely regarded for the interplay of the visual and aural – the rapid succession of imagery combined with layered soundtracks.

A RESTORATION 2016, 2 channel digital video. Courtesy the artist.

In 2012 Price was awarded the Turner Prize for her solo exhibition ‘HERE’ at the Baltic Centre for Contemporary Art, Gateshead. The same year she also won the Paul Hamlin Award for artists. In 2013 she was awarded the Contemporary Art Society Annual Award, a commission prize which enable her to make a work for the collection of the Ashmolean Museum, Oxford. She was featured in the British Art Show 2011, and has since had solo presentations at Bloomberg International and Chisenhale Gallery London; The New Museum, New York; Julia Stoschek Collection, Düsseldorf; The Swedish Contemporary Art Foundation, Stockholm; Kunsthalle Winterthur, Switzerland, the Musée d’art Contemporain de Montréal and the Neuer Berliner Kunstverien, Berlin.

Forthcoming she will be presenting major solo exhibitions at ISAW, New York and the Chicago Institute of Art in 2017; The Walker, Minneapolis; Nottingham Contemporary; Berlin Natural History Museum in 2018 and a major survey show at the Whitworth Manchester in 2019.

Charlie Tweed, PhD

Re-writing the overcode

Charlie Tweed’s practice based PhD research project ‘Re-writing the overcode’ has developed from in depth research around the history, materialities and agency of machinic technologies and their relationship with theories of control. During the PhD he firstly created a number of video works which have tested out particular ‘escape routes’ and new forms of machine assemblage voiced by various non human personas.  For the final output he has developed a large scale audio work ‘The Signal and the Rock’ along with an accompanying publication that channels the utterances of the post-human ‘ghosts’ of obsolete and decaying technologies from a fictional research space located below one of the world’s largest e-waste sites.


Oporavak (2017)

Charlie Tweed (GB), born in 1974, is an artist and academic based in Bristol. He has an MFA in Art Practice from Goldsmiths, London, and is currently completing his Arts and Humanities Research Council funded PhD at Kingston University. Recent solo shows include: “Notes I, II & III” at Spike Island, Bristol; “Animate Projects” and “Alma Enterprises”, London; “i am algorithm” at Aspex, Portsmouth and Exeter Phoenix. Recent group shows include: WRO Media Art Beinnale: Draft Systems (2017); “Selected VI” (videoclub touring programme); “Both Sides Now III: Screenings in East Asia” (videoclub); “Silent Signal” (multiple venues); Oberhausen Short Film Festival; “Cold Bodies, Warm Machines”, NRW-Dusseldorf; Inland Art Festival; “dragged down into lowercase” (Sommerakademie) at the Zentrum Paul Klee, Bern, Switzerland; “The Box Season 5”, Aberystwyth Arts Centre, Wales; “The London Open”, Whitechapel Gallery.

Lucy Renton

Associate Professor

Lucy Renton

Lucy Renton studied Fine Art at St. Martin’s School of Art and the Royal College of Art, and is currently working towards a Professional Doctorate in Fine Art at the University of East London.

Lucy’s research addresses the experience of excess in colour, repetition, and ornament, with recent artworks using an expanded definition of printmaking, drawn and painted figure and line, and appropriated domestic objects and patterns.

Lucy is currently artist in residence on the Arts Council funded Bummock project, led by artists Danica Maier and Andrew Bracey. This five-year research project explores artists’ use of archives, including the Nottingham Lace Archive, where Lucy has been researching and making work, participating by invitation in the Nottingham Trent University ‘Summer Lodge’ artist workshops in 2016/17. In October 2016 Lucy co-curated the artist residency and symposium inside inside in the parallel programme of the 3rd Istanbul Design Biennale.

Andrea Stokes

Associate Professor, Fine Art

My research is through a Fine Art practice that uses video, drawing and publication to interrogate space and place, informed by a feminist politic that treats ourselves, our bodies and histories as material.

andrea stokessmall

Recent work includes: Net Curtain (2014) a collaborative drawing made by 25 women creating trompe-l’oeil curtains in the Thelma Hulbert Gallery situated in the historic lace-making town of Honiton, reanimating the presence of the overlooked eponymous artist and engendering conversations about women’s work and the textiles industry.

Contemporary Dance for Beginners (2014) a video made and shown at the Whitechapel Idea Store, an iconic building and controversial replacement for the local library. Working alongside the women participants of a ten-week evening class I inhabit and map space through the repetition of choreographed dance sequences.

In current work resulting from a residency in Northern Greenland, I adopt the persona of Captain Janeway from the US TV franchise Start Trek, inhabiting the site of a controversial zinc mine with an embodiment of imperialism.


Martin Westwood, PhD

Through [sic]_[[sic]], I ask a question: how can the material fixity of embodiment and the mobility of information be performed together by practice and by theory?

Martin Westwood

Addressing this, through text and exhibit, this project illustrates and produces cognitive sequences of information in technical, material, formal and somatic transitions.


Alexis Teplin

Senior Lecturer in Fine Art

Alexis Teplin’s practice is routed in painting and performance that extends to include sculpture and large scale installation. Concerned with the language of abstraction, Teplin constructs performative installations based in seduction, artificiality and cultural signification.


Arch (The Politics of Fragmentation) 2016

Exhibitions include Arch (The Politics of Fragmentation), the 20th Sydney Biennale, Drag, Push HOOT, Mary Mary, Glasgow, HE and HO for O, Rise Projects, Silvie Fleming Collection, London, Sacre 101 – An exhibition based on the Rite of Spring, P and C, Migros Museum, Zurich, San Marino Calling, Museo D’Arte Modena e Contemporanea, San Marino, sss T !!, Hayward Gallery, Project Space, London, The Party, performances at Tramway for Glasgow International, Glasgow and the Serpentine Gallery, SANAA Pavilion, London.

We Are Publication video

Experiments elaborated intensive collaborative studio workshop props words object text image performance imagine the edit. We are sequence we are movement we are cut up we are reel.

01:22 extract of 05:00

A video presentation by Kingston’s Fine Art PhD research group ‘We Are Publication’ with contributions from Jonathan Allen, Anat Ben-David, Rachel Cattle, Jenna Collins, Lucy Coogle, Volker Eichelmann, Dean Kenning, Stine Ljungdalh, Katy Macleod, Cullinan Richards, Andrea Stokes, Charlie Tweed, Roman Vasseur and Esther Windsor. Edited by David Panos.

Presented at the Stanley Picker Gallery Evening Salon,  November 2014, and the Institute of Contemporary Art, February 2015.

Dr Roman Vasseur

Course Leader MFA Fine Art

Roman Vasseur
The Franchise, © 2008. Single Channel Video / no audio / looped Sequence duration: 4.25 min. Displayed on Plasma screen.

My artworks, curatorial projects and writing redeploys fragments of cinema, architecture and cultural narratives to explore conflicting or transitional materialities and economies. The transportation of a crate of earth from Transylvania to Los Angeles via London and New York resulted in the merging of a gothic fiction with the banalities of transporting a material to its cinematic point of origin. More recently I was commissioned to reinterpret a post war town’s master plan, questioning the role of art in its original vision. The ensuing art works questioned the function of these spaces and objects in the present and the how economies of information supersede and alter these objects potential for agency.

I have exhibited at Cubitt Gallery, London (solo), the ICA, London, Jeffrey Charles Gallery, London, Project, Dublin and Raid Projects, Los Angeles. I have contributed to conferences and panel discussions at Tate Britain, the ICA and Milton Keynes Gallery and published with Mute Magazine and the Journal of Visual Arts Practices.

We Are Publication

Kingston’s Contemporary Art Research Centre presents an evening a series of events with publishing as it’s focus on and around publishing.

It’s hubris, hu… bris. We know about the dangers. That you might think it meaningless. That if nothing much happens you will give it up. And that if his magic trick doesn’t quite work you will feel shortchanged. She says people shouldn’t take these things for granted. She says it can exist just as well this way. We insist on serving up the scraps. We insist on second thoughts. Then we can stop and think of the other things – the emperor, the ink, the blindfold. Because it’s not supposed to end properly.

We are publication

Ex libris – Volker Eichelmann
Bookmark – Stine Ljungdalh
Torn page – Rachel Cattle
Coffee stain – Martin Westwood
Folded corner – Jonathan Allen
Marginalia – Audrey Reynolds
Crease – Anat Ben David

Organised by Rachel Cattle, Jonathan Allen and Volker Eichelmann.

Presented at the Institute of Contemporary Art, 2014.

Completed PhD projects

Bill Leslie, (AHRC techne) – ‘Good Enough Sculptures: What Happens When Sculptures Are Made to Be Filmed?’, 2020

Maureen de Jager – ‘History [TBC]: Refocusing the South African War through Praxis’, 2019

Jenna Collins (AHRC techne) – ‘We Are the Road.’ 2018

Charlie Tweed – ‘Re-writing the Operations of the “Electronic Noosphere” and its  Control over Populations and the Environment’, 2018

Rachel Cattle (AHRC techne)  – ‘I am a Stylus: Play, Erase, Replay, Overdub, Broadcast’, 2017

Jonathan Allen (AHRC) – ‘Casting for the Voice of Strength || Austin Spare and the Cultures of Cartomancy’, 2017

Martin Westwood (AHRC) – ‘[sic]_[[sic]]’, 2017

Stine Ljungdalh – ‘The Zone – A Subjective Investigation, Set Up as a Meta-Fictional Play Towards Recognition of the Event in the Process of Creation’, 2016

Anat Ben-David – ‘The OperArt – Composition as Alienation in Art’, 2016

Mark Greenwood – ‘The Performing Body in the Event of Writing: “Lad Broke”, 20 April 2012, Camp Furnace, Liverpool’, 2013

Emma Hart – ‘How to Do Things with Cameras’, 2013

Susan Barnet – ‘Journeying to Eudemonia: Travel as a Creative Consideration’, 2012

Arnaud Desjardin (AHRC) – ‘The Everyday Press, an Imprint of Books by Artists’,  2012

Dan Hays – ‘Painting in the Light of Digital Photography’, 2012

Anastasia Souliotou – ‘Art and Movement in Public Transport Networks of Contemporary Metropolises’ [MA by Research], 2012

Matthew Thompson (AHRC) – ‘Fragments from a Future Archive’, 2012

Ailbhe Ní Bhriain – ‘The Aesthetics of Exile- An Exploration of Location and Dislocation within the Image Space and its Application to Textuality and Visuality in Ireland’, 2009

John Russell – ‘Staging and the Event: Performative Strategies in Contemporary Art’, 2007