Angela Bartram is an artist working in expanded sculpture (objects, sound, video, print, performance event) and published text, concerning thresholds of the human body, gallery or museum, definitions of the human and animal as companion species and strategies for documenting the ephemeral.
Bartram is Professor of Contemporary Art and Head of Arts Research and the Digital and Material Artistic Research Centre at the University of Derby. She leads The Alternative Document, a research project which comprises exhibitions, symposium and published text. Bartram is Executive Board Member for the Society for Artistic Research (from 2018). She is a peer review panelist for Project Anywhere global exhibition programme (University of Melbourne), and Emotion, Space and Society journal, consultant for The Danish National School of Performing Arts journal And Kingdom University, Bahrain. Additionally she is a Co-Chair of the steering group for Contemporary Visual Arts Network East Midlands, and is an advisor to the project Broken Grey Wires.
Andrew Bracey’s work questions the role of the original, the reproduction and exhibition display. His current PhD by Practice is exploring how contemporary artists use historical paintings to initiate a dialogue between the past and the contemporary, through the metaphor of the parasite and mutualism. Bracey is also currently working on solo projects, a research project ‘Bummock’ with Danica Maier, and with Steve Dutton on a Curatorial project, ‘Midpointness’. He is Programme Leader of MA Fine Art at The University of Lincoln, England.
Andrew Bracey is based in Waddington, Lincolnshire. He has exhibited extensively with solo exhibitions including: Project Space Plus, Lincoln; General Practice, Lincoln (2019); Isherwood Gallery, Wigan (2017); Usher Gallery, Lincoln (2014); Nottingham Castle (2014); Manchester Art Gallery (2009); Transition Gallery, London (2007) and Firstsite, Colchester (2006). He has also exhibited in over 150 national and international group shows. Curated exhibitions include ‘Enough is Definitely Enough’, General Practice, Lincoln and touring (2019-20); ‘Midpointness’, Airspace Gallery, Stoke-on-Trent (with Steve Dutton, 2016); ‘(detail)’, H-Project Space, Bangkok and touring (2014-15); ‘Misdirect Movies’, Royal Standard, Liverpool, and touring (with John Rimmer, 2013); and ‘Unspooling: Artists & Cinema’, Cornerhouse, Manchester (with Dave Griffiths, 2010).
David Brazier and Kelda Free’s itinerant practice sees them working site specifically, negotiating the complex relationships that constitute ‘site’. They examine relationships between a location’s social, economic, political and institutional dimensions and their personal histories, working methodologies and artistic autonomy. They seek tensions within these relationships and employ a variety of social forms and gestures in order to interrogate and re-imagine the systems and spaces they occupy. Their work has been supported by organisations that include Arts Council England, Arcus Japan, Khoj International Artists’ Association India, NAVA Australia and California College of the Arts.
Luce Choules is an artist and independent researcher whose praxis encompasses environmental collapse and the documents, objects and afterlife of performance. Their works deal with ecological precarity, accelerated change, extractivism, post-industrial tourism, social movement, aggregate structures, material and immaterial transformation, temporal loop, and shape-shifting. Their research investigates dynamic form and engages with the challenge of recording and broadcasting time-based practice.
Choules has performed, exhibited, and held screenings and presentations internationally, recently at AADK Spain (Centro Negra), Royal Geographical Society, MIMA, Hangar Barcelona, GroundWork Gallery, British Library, Baltic 39 (WOON Studios), Verge Gallery, DeVos Art Museum, AirSpace Gallery, Project Space Plus, Burton Art Gallery, Parasol unit foundation for contemporary art, Arts Catalyst, The Culture Capital Exchange, and Centre for the Geohumanities Royal Holloway University of London. Their practice has been supported by Askeaton Contemporary Arts, Hangar Barcelona, Curator’s Network Madrid, a-n, Invisible Dust, Heritage Futures, Rabbit Island Foundation, Arts Council England, Centre for Life-Writing Research King’s College London, Rednile Projects, and CRP Hauts-De-France. Choules is a collaborator with AADK Spain (Centro Negra) and Fellow of the Royal Geographical Society. They founded and coordinate the itinerant artist network TSOEG.org.
The Italic I is an ongoing collaboration between Emma Cocker and Clare Thornton. Emma Cocker is a writer-artist and Associate Professor in Fine Art at Nottingham Trent University. Cocker’s writing has been published in Failure, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; On Not Knowing: How Artists Think, 2013; Choreo-graphic Figures: Deviations from the Line, 2017; The Creative Critic: Writing as/about Practice, and as a solo collection entitled The Yes of the No, 2016. Clare Thornton was an interdisciplinary artist and educator working from her studio at KARST Projects, Plymouth. She has shown her work extensively as a solo artist and in on-going cross-disciplinary collaborations with Jan Steinum (Norway), Paul Hurley and the Performance Re-enactment Society, which she co- founded in 2007 with projects shown at Arnolfini, Spike Island (Bristol), FlatTimeHouse, South London Gallery (London), Gagosian Gallery (New York).
Kate Corder is an independent artist and researcher. She was awarded a PhD in Art Practice at University of Reading in 2014. Her work often investigates plant material, earth works, rural labour and cultivation. In 2011 Kate instigated Cultivation Field, a symposium and exhibition project concerned with plants as material. Her exhibitions include Documents, Alternatives, (touring 2016- 2018), Performance Activism Documentation at Duke House, Institute of Fine Art, New York (2016) and EAST International, Norwich (2009). During 2014-2016 Kate performed a series of HOW – Heathrow Orchard Walks exploring contested land surrounding Heathrow Airport and the suggested “Third Runway”. Two of these Walks (April and September 2014) were part of Kathrin Böhm’s Haystacks event program. Kate’s published writing includes Rachael Champion’s Camden Arts Centre Residency File Note essay (2012) and the chapter “Plant growth as transient or durational material constructing sculpture through time” for “Skulptur und Zeit im 20. und 21. Jahrhundert”, (Böhlau: 2017).
Steve Dutton is an artist, researcher and curator who works on both collaborative and individual projects. He is currently working on solo projects and with Andrew Bracey on a Curatorial project entitled ‘Midpointness’ which has had manifestations for The Lock Up Gallery In Newcastle, Australia, Trans Art Triennial and Airspace in Stoke-on-Trent, UK. He is also currently developing a new body work under the working title of “industry” which is including drawings, sound works, animations, objects and texts, some of which is in Documents, Alternatives. He is a Professor and Head of Art at Bath Spa University.
Tim Etchells is an artist and a writer based in the UK whose work shifts between performance, visual art and fiction. He has worked in a wide variety of contexts, notably as the leader of the world-renowned Sheffield-based performance group Forced Entertainment. Exhibiting and presenting work in significant institutions all over the world, he is currently Professor of Performance & Writing at Lancaster University.
Rochelle Haley’s practice is engaged with painting, drawing and movement to explore relationships between bodies and physical environments. Working with dancers, her painting installation and performance works investigate space structured around the sensation of the moving body. Haley is interested in merging compositional strategies of painting and choreography choreographic, experimenting with abstraction at the boundaries of disciplines to discover how movement of bodies can be expressed and felt by audiences. Overall Haley’s work re-imagines material surfaces of representation by discovering methods that are sensory, kinaesthetic, affective and rhythmic.
Haley lectures in painting and drawing at UNSW Art & Design, where she completed a PhD in 2009. She is currently involved in international research projects ‘Precarious Movements: Choreography and the Museum’ and ‘Dancing with the Non-Human; the Aesthetics of Encounter’, contributing her expertise in the convergences between visual arts and dance in gallery contexts.
Annie Morrad and Ian McArthur live at opposite ends of the planet. They compose and play collaborative sound work and live performances through the use of digital software Mixlr and Skype. Morrad (London) and McArthur (Sydney) began working together in 2014 exploring their interest in sound art, rhythm in the urban environment, improvisation, jazz, crowds and the city. During live events McArthur broadcasts electronic sounds, field recordings and live mixing. Morrad plays live improvised alto and tenor saxophone against these. For their recorded sound work the starting points vary from being concept driven to ‘I’ve got this idea…’.
Andrew Pepper’s practice examines aspects of the unsupported line, marks in space and our visual / physical engagement with apparent three-dimensional volumes in which they are manifest. He works with holography, projected light and installation to combine and manipulate marks, releasing them from the surface they appear to rest on. Recent pieces attempt to question our expectations around the visual fidelity of holographic images and employ aspects of the ‘sideward glance’ the peripheral view and the vocabulary of ‘framing’ and ‘placement’.
Louise K. Wilson is a visual artist who makes installation, audio and video works. She has exhibited widely in North America and Europe. Processes of research are central to her practice and she frequently involves the participation of individuals from industry, museums, medicine and the scientific community in the making of work. Previous associations have included the Montreal Neurological Institute, the Science Museum, the Yuri Gagarin Cosmonaut Training facility in Moscow, the RSPB and the Tyne and Wear Fire and Rescue Service. She is a lecturer in Art and Design at the University of Leeds.