a book for outliers

Biogs

 
1639_Lossy_Ecology_InstagramImages.Artwork5i.jpg

Contributor Biographies


Gareth Bell-Jones is curator/director of Flat Time House, a gallery and archive in the former home of post-war conceptual artist John Latham.
After graduating from the MA in Curating Contemporary Art at the RCA in 2010 he worked as curator for Wysing Arts Centre, Cambridge, for four and a half years. There he curated residencies, exhibitions, retreats, events, publications and an annual music festival with artists such as Ed Atkins, Michael Dean, Gustav Metzger, Elizabeth Price, Keren Cytter and Cally Spooner to name a few. From 2010–14 he was a regular visiting tutor to the RCA, Curating Contemporary Art Department. Previously he was curator of Tricycle Gallery, London from 2007–09. He has recently written catalogue texts for artists including Laure Prouvost, Marlie Mul, Barbara Visser and Agata Madejska.

Ralph Dorey/Uma Breakdown is an artist and researcher based in Gateshead. Their work is concerned with post- human monster-magic and they are pursuing an AHRC funded PhD at Northumbria University, ‘The Horrific Practice of Play’. Between 2009–16 they set up and ran ‘The Workshop’, a student-led space in a North London Special School which explored how a collective art studio could facilitate learning and agency. They are also part of AAS, a Guinanian-Guattarian sect that sometimes LARPs as an art group. Recent projects include The Heartbeat of Kong or More Mouse Bites at The Royal Geographical Society, London; Green Fuzz at Xero, Kline & Coma, London; and Chaotic Good: Crabhead / Collaborative Princess / Lumpy Oracle at Gallery North, Newcastle. Breakdown is included in The Body That Remains, published by Punctum in 2017.

Sabel Gavaldon is an independent curator based in London. His last exhibition took place in a derelict factory in the outskirts of Barcelona and was populated by pigeons, mushrooms, and artworks. Other shows include ‘Axolotlism’ at NoguerasBlanchard, Madrid (2015); ‘M/Other Tongue’
at Tenderpixel, London (2015); ‘Contratiempos’ at CaixaForum, Barcelona (2014); ‘Llocs comuns’ at Can Felipa, Barcelona (2014); and ‘A Museum of Gesture’ at La Capella, Barcelona (2013). The latter is part of an ongoing research project that explores gesture as a form of resistance adopted by political minorities. He is currently guest curator of the curatorial laboratory Komisario Berriak, as part of the San Sebastian European Capital of Culture programme. In 2016, he was nominated for the ICI Independent Vision Curatorial Award.

Victoria Gray is an artist and practice-led researcher. Her primary medium and material is the body, and her performance work includes actions, interventions, time-based sculpture and video, being presented in museums, galleries, and festivals in performance art, fine art and, choreographic contexts. Her research, at the intersection of affect theory, process philosophy, somatics and performance, has been published in peer-reviewed journals, and edited books including, The Drama Review (2015), Choreographic Practices (2013), Journal of Dance 87 & Somatic Practice (2012), and chapters in edited books, Kinesthetic Empathy in Creative & Cultural Practices (2012)
and Experiencing Liveness in Contemporary Performance (2016). Recent performance work has been presented at 5th Thessaloniki Biennale of Contemporary Art, Greece (2015); FADO Performance Art Centre, Toronto, Canada (2015); VIVA Art Action, Montréal, Canada (2015); The Tetley Centre for Contemporary Art, Leeds (2015), and Baltic 39, Newcastle (2015).

John Latham (1921–2006) was a twentieth century artist who extended the boundaries of nearly every artistic genre conspicuous in Western art from 1960s, including sculpture, installation work, paintings, film, land art, engineering, found-object, assemblage, video, performance happenings and theoretical writings. Preoccupied with time, he was visionary in mapping systems of knowledge, scientific or religious. He developed his own philosophy of time, known as ‘Event Structure’, which proposes that the most basic component of reality is not the particle, as purported
by physics, but the ‘least event’, or shortest departure from a state of nothing. John Latham was born in Livingstone, Northern Rhodesia (now Maramba, Zambia) in 1921. In 1946 he enrolled at Regent Street Polytechnic, London and then studied painting at Chelsea College of Art and Design, London (1947–51). His work has been exhibited widely, including documenta 6, Kassel, Germany (1977) and the
51st and 57th Venice Biennales, Venice, Italy (2005 and 2017).

Louisa Martin is a London-based artist interested in the conditions which structure and produce embodied experience, and how possibilities for altering these conditions might be exercised. Often the focus is on sensorial, affective and sub-linguistic modes, via immersive installations, or involving the apparatus of performance and stagecraft in live performances and videos. Selected exhibitions include solo exhibitions at Bluecoat, Liverpool (2017); ‘Technical Rehearsal for a Lossless Body’ at Cubitt, London (2016), and ‘The Lighthouse’ at Bloc Projects, Sheffield (2014). Group exhibitions include ‘Behind Glass’ at Open Source Contemporary Arts Festival, London (2015); ‘On Coping’ at Auto Italia South East with The Royal Standard, Liverpool (2015); ‘The Everything and Nothing Problem’ at Jerwood Visual Arts in partnership with Ceri Hand Gallery, London (2013). Louisa was the recipient of a Wellcome Trust Arts Award (2015).

Jesta Potheca is not always. A temporary division or alter, being fool, flying fish, medicine maker, state change genie, unqualified qualifier, also fictional, fanatical; emphatic fantasy fraction speaking of the storage, stories fermenting in the cool and dark, chemically changed by exposure to the hot air of the street. Elf bellows in the wind carrying the faint scent of tonic. ‘Scientists say...’ InVoBoTec sometimes operates from the third lighthouse on the coast of Dungeness, and other times Pyrénées, France.

Dr Anna Remington is a Senior Lecturer at the University College London Centre for Research in Autism and Education (CRAE). Her work focuses on superior abilities in autism, specifically with respect to attention and perception within the condition. Dr Remington began working on autism in 2004 after receiving a BA in Natural Sciences from the University of Cambridge. She obtained a Masters in Human Communication Science and a PhD in Developmental Science from UCL. Dr Remington subsequently worked as a Postdoctoral Fellow at the Institute of Cognitive Neuroscience, London and as Research Fellow at University College, Oxford, before moving to CRAE in 2013. Her findings have been published in the leading journals within the field, and she is regularly invited to present her research both nationally and internationally.

Manos Tsakiris studied psychology (Panteion University, Athens) and philosophy (King’s College, London) before completing his PhD (2006) in psychology and cognitive neurosciences at the Institute of Cognitive Neuroscience, UCL. In 2007 he joined the Department of Psychology, Royal Holloway, University of London, where he is currently Professor of Psychology. His research is highly interdisciplinary and uses a wide range of methods to 89 investigate the neurocognitive mechanisms that shape
the experience of embodiment and self-identity. He is the recipient of the 2014 Young Mind and Brain Prize, 22nd Experimental Psychology Society Prize and 2016 NOMIS Foundation Distinguished Scientist Award. He has published widely in multidisciplinary and neuroscientific journals.

Flat Time House (FTHo) was the studio home of John Latham (1921–2006), recognised as one of the most significant and influential British post-war artists. In 2003, Latham declared the house a living sculpture, naming it FTHo after his theory of time, ‘Flat Time’. Until his death, Latham opened his door to anyone interested in thinking about art. It is in this spirit that Flat Time House opened in 2008 as a gallery with a programme of exhibitions and events exploring the artist’s practice, his theoretical ideas and their continued relevance. It also provides a centre for alternative learning,which includes the John Latham archive, and an artist’s residency space.

Credits

Published by Flat Time House

210 Bellenden Road,
London, SE15 4BW
www.flattimeho.org.uk
+44 (0)20 7207 4845

Conceived and edited by Louisa Martin
Design and typeface by Fraser Muggeridge studio
Production by Emily Hadwen
Additional editing by Cecilia Wee

Thanks to Liz Pellicano and Anna Remington at the Centre for Research into Autism and Education, University College London, and Manos Tsakiris, Ruben Azevedo, and Maria Laura Filippetti at the Lab of Action and Body, Department of Psychology, Royal Holloway University of London, Christopher Campbell-Mhlope, Kitty Fedorec, Katie Gaudion, Mary Hurrell, Sue Jones, Mark Leckey, Tito Mukhopadhyay, Kate Phillimore, Cherry ’Pi, Morgan Quaintance, Shervin Shaeri, Flat Time House, and all the contributors.

Publication © 2017 Louisa Martin
All texts © the authors
Design & typeface © Fraser Muggeridge studio
Images: ‘Leaves’ © 2017 Louisa Martin
All rights reserved.

No part of this publication or website may be used or reproduced in any manner without prior permission.

ISBN: 978-0-9957231-0-8

Supported by a Wellcome Trust Arts Award and Arts Council England.