Sunday, 22 July 2018


267: The RA’s Types of Thing

Anne Griffiths: ‘The Taxonomy of the Cornflake’

Who doesn’t like a good typology? Certainly the Royal Academy hanging committee do, judged by the number in its Summer Exhibition, from which I’ve chosen four. The ideal art typology, I think, looks initially rather too repetitive: it’s only the artist’s attention to detailed individuation which persuades the viewer that there are discriminations to be made. On those grounds, the cornflakes and peach stones  are my favourites here…

Mark Beesley: ‘Mock Tudor’

Mark Beesley won the Hugh Casson drawing prize for his pen and crayon on tracing paper depiction of 20 Mock Tudor frontages, which call to mind the typologies of the Bechers even as they channel a quintessentially English form of – bad? – taste.

Peter Randall-Page RA: ‘Peach Stones’

It isn’t immediately obvious that peach stones are markedly different one from another, yet Randall-Page, better known as a sculptor, contrives to make them seem worth looking at in his lino-cut, not to mention setting them up as sly genital substitutes. Talking of which…Cathie Pilkington RA:  ‘The Joys of Six’

From objects to actions: Cathie Pilkington’s hand-coloured lithograph is  pretty small scale, given that 64 positions are described in the Kama Sutra, but she covers the basics in typically jaunty style. That said, her formally similar set of glass animal images has sold twice as many as this sextet, which may be trickier to hang.

Anne Griffiths: ‘The Taxonomy of the Cornflake’ (detail)

The previously unknown Anne Griffiths has got plenty of press for her arrangement of 84 cornflakes, rather as if they were butterflies, with an elaborate key alongside to give each of them a reference code based on eight factors such as brand, size, colour, and degree of contortion. The alluring T7.922110, for example, is a fairly large single Tesco flake, marked, frilly-edged, teardrop-shaped, bubble-textured and somewhat curled.

266: Liverpool Biennial 2018: 14 July – 28 October

The 18th Liverpool Biennial, with 40 artists from 22 countries, steers clear of the standard offerings: there is no central hub; no big ‘wow factor’ work to provide a talking point; and far less use than in previous editions of unusual locations, preference being given to exploiting the existing infrastructure of public arts buildings – so no ‘wow locations’ either.Perhaps the idea is to call attention to Liverpool’s improved infrastructure, which is also sufficient to swallow such major parallel events as the John Moores Painting Prize, Bloomberg Contemporaries and a celebration of current art from Shanghai. That thinking extends to foregrounding existing collections, such as the World Museum’s impressive papiermâché flowers.  And the theme – Beautiful world, where are you? – is pretty loose, allowing for regret for what’s gone and optimism for the future. The result is a quietly democratic and thoughtful Biennial experience, with many of the best work too old to have been influenced by the event: three artists to whom I warmed were in that category…

Banu Cennetolu: The List on Great George Street, Liverpool
Banu Cennetolu

The Turkish artist, who is also showing at the Chisenhale currently, doesn’t necessarily see The List as art: her purpose is to draw attention to the fate of over 34,000 asylum seekers who have died since 1993 in trying to enter Europe, or within the system for detaining them. She re-presents internet-sourced data to maximise its visibility, here by showing what’s known of date, name, origin and cause of death on a massive advertising hoarding (you can also read the distressing litany of drownings, security force shootings and suicides in detention here). It  led to something of a fly posting war, as prior users of the site pulled down sheets, which then had to be replaced.
Alys in Veracrus, Mexico at age 30
Francis Alÿs

One modest room in the Victoria Museum is ringed with postcard-sized paintings which the Mexico City-based Belgian has made plein air in the course of travelling to conflict zones to make his renowned film works. And the hauntingly light touch of the paintings in Age Piece is presented as a means of self-discovery by the wall labelling, which sequences them according to how old Alÿs was – from 22 to 59 – at the time of their production.

The 1954 photographic origin of Varda’s ‘Ulysse’
Agnès Varda

The veteran French new wave film director has shown regularly in galleries this century. At FACT she combines a monumentally-sized new photograph with a three-screen installation of extracts from previous films, and the beautifully nuanced 1982 short Ulysses, in which she tracks down the subjects in her own photograph from 1954 to inform voice-over reflections on the nature of images and the effects of memory. In a subsequent Q&A, she majored on her passion for heart-shaped potatoes, beaches and cats – which she admires for how people love them but – unlike dogs – cannot tell whether they love them back.

265: The Downside of Germany’s World Cup Failure

Aleksandr Deineka: ‘Football’,1924
I can’t claim that the combination of art and football in a magazine excited me when the new magazine OOF was announced, but the first two issues have been excellent. The first included articles on Leo Fitzmaurice’s soccer strips made out of cigarette packs; Chris Ofili’s obsession with Mario Balotelli; Hans Ulrich Obrist interviewing Rose Wylie about her football paintings; and how Marcin Dudek’s youthful stint as a KS Cracovia hooligan has fed into his art. The second, out for the World Cup, includes a thorough discussion with Eddie Peake of exactly what his naked five aside matches might mean; an assessment of crowd behaviour as demonstrated by Julie Henry and Debbie Bragg’s riveting film of reactions to a goal; and how Aleksandr Deineka’s still-fresh ‘Football’ (1924) fed into the more formulaic development of ‘socialist realism’ in the USSR. In sum, OOF has unearthed interesting art which just happens to feature football, and has proved commendably international, female and analytical. Moreover, Justin Hammond, who launched the magazine with Time Out’s Eddy Frankel, has converted his J Hammond Projects gallery into a pub of sorts for the duration of the World Cup. There are drinking and match viewing opportunities alongside the art, and a chance to hear how Mark E Smith read the results in 2005. Jurgen Teller, who also features in Issue 2, probably won’t be attending: the photographer, a passionate Germany fan, set up a project in Russia to record himself watching every game his team plays. Alas – perhaps – Germany failed to progress for the first time since 1938, leaving him with blank screens. Oof!

Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head



Still from Yuan Goang-Ming: ‘Dwelling’, 2014 

London’s Art Night shifts zone each year, encouraging exploration beyond Mayfair (2016) to the East End (2017), the South Bank (this year) and on to Waltham Forest (2019) and Brent (2020). Judged by last year, the free fare on offer on 7-8 July from will be very lively and crowded. With 70-odd projects (12 curated by the Hayward Gallery on the theme of ‘home’), and the South Bank – Vauxhall – Nine Elms areas not easy to traverse, some careful preplanning is advised using the official guide. Here’s what I’m looking forward to most in a geographically feasible order moving west:

* young Dutch artist Puck Verkade presents a video installation at the Oxo Tower which draws pointed parallels between sexual violence and environmental threats, yet does so with whimsical wit (purple number 56 on the official map).
* The Hayward Gallery itself gives you the chance to catch the excellent retrospective of Lee Bul in the main gallery and Yuan Goang-Ming’s three films in the project space before looking at his fourth, projected onto the building. It’s a vision of normality – only underwater and exploding (green 12).
* Jane Bustin has an attractive way of building narrative – including ballet – into abstract painting. Now she branches into a music and dance performance at Marriot County Hall (purple 37)
* The Morley Gallery is showing a brand new two screen film ‘txt??rz’ by 2012 Turner Prize winner Elizabeth Price: her striking subject is a contagion of muteness (purple 34). You could warm up for that earlier in the day, incidentally, with a whole Mute show at Amanda Wilkinson’s gallery in Soho. Let’s hear it for the mute!
* Turkish artist Halil Altindere is occupying the British Interplanetary Society (yes, really!) with an extensive installation with film and virtual reality which pretends to take seriously the sarcastic proposal that migrants should be settled on Mars (green 8)
* The Sunday Painter, which started in Peckham but moved to Vauxhall last year, combines the sharp group exhibition ‘The Shape Left By The Body’ with performative readings of – you guessed it – an erotic fiction about liquid PVC (purple 32).
* Tamara Henderson will fill the New Covent Garden Market – it moved to Vauxhall in 1974 and Saturday bring its weekly inoperative night, with a choreographed procession of dressed in costumes made from material found at the market (green 4).
* Another Turner Prize winner, 2004’s Jeremy Deller, brings the Melodians Steel Orchestra UK to Prince of Wales Drive the Nine Elms area, playing a spectacular 53 instruments made from 45 gallon oil drums (green 3).
*  DRAF’s film choices at Battersea Power Station’s village hall look interesting: a one hour loop from six artists including David Shrigley, Cyprien Gaillard and Lars Laumann. That also provides a chance to see how the redevelopment of the massive site is going (purple 8). And it’s followed (11pm-4am) by a club night with the Lisson Gallery, with live sets from Haroon Mirza and Hans Berg.

Art Night runs 6pm on Saturday 7 July to 6am on 8 July, but some projects (see the guide) run on through Sunday and a few beyond that.

The community on Mars as imagined by Halil Altindere

Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head

263: Darkness, Tea and Art


Roughly what I didn’t see

Only after I had attended a tea ceremony at  Yamamoto Keiko Rochaix  (19 Goulston Street  to 3 August*) did I receive a beautifully written formal invitation. I replied immediately with my apologies, for such are the paradoxes put in play by Yoi Kawakubo’s solo exhibition ‘I/body/ghost’. Kawakubo explores the nature of phenomena which are hard to pin down with a physical presence,  for example by sanding the gallery walls to form charts of share price movements. And he presents the Japanese tea ceremony in a room rendered totally dark.  Biscuits and tea are served, as the evidence of taste indicates, and the sounds  of what I – new to the ceremony – imagine are its preparation can be heard. There are two things going on here. First, the darkness, which alters the impact of our other senses and made me wonder whether what was said to be there was actually present: I was asked to admire the floral arrangement and calligraphic art which are integral to the setting. Second, there is the ceremony, which has an ancient tradition – originating in peace-making discussions between warlords – and has many precisely defined variants are possible.  Both darkness and ceremony are interesting in themselves, but the particular characteristic here was their combination. I was asked to imagine something I had never seen, whereas Japanese participants would have found familiar visuals replaced by a novel foregrounding of sound.  Either way, routine perceptions are challenged – which is, after all, just what art is meant to do.

* slots available, £10,  between 4pm and 6pm on Saturdays 7, 14, 21 July – contact to arrange

Roughly what I did see
Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head

262: Bricks in Basel

View of Per Kirkeby works at Michael Werner

Brick sculptures were one characteristic stream of work by  Per Kirkeby, who died in May at 79. Michael Werner showed one of his last at Art Basel. The Danish artist, who grew up in the shadow of a brick church, invokes mystical and monumental as well as the everyday and minimal  by making buildings without a purpose – there are no entry points.  As it happens, Basel had several other interesting works featuring bricks, as if extending the tribute.

Asta Gröting: ‘Naturkundemuseum’, 2016 at carlier gebauer
Carlier Gebauer showed one of Asta Gröting ‘Berlin Facades’, which – before such scenes disappear as the city redevelops – hauntingly capture the physical impact of war damage on Berlin’s buildings through an exacting silicon casting process for which the artist has set up her own factory.

Elisabetta Benassi: ‘Equivalenti’, 2014 at Magazzino
 Two artists used real but distorted bricks interestingly: Elisabetta Benassi arranged misfired examples in the number and formation of a classic sculpture by Carl Andre, undermining its minimlist perfection.

Kate Newby: ‘I want to hear everything’, 2018 at The Sunday Painter
Kate Newby – both at The Sunday Painter’s stand at Liste and now in the London gallery  – herself vandalises the bricks in her platforms, which serve as the base for many subtle interventions. Ugo Rondinone and Michael Wilkinson transfer the look of brick into the language of painting.

Ugo Rondinone: ‘erstermärzzweitausendundsechzehn’, 2016 at Esther Schipper
The former has them painted, somewhat expressively in oil on burlap – yet deadpan and titled just by date – as a way of importing their studied neutrality into the more historically and emotionally charged matter of applying paint.

Detail of Michael Wilkinson ‘Untitled’ lego work at The Modern Institute
The  latter uses lego bricks to set up a minimalist barrier partly inspired by Pink Floyd’s The Wall . Both depart as suits them from traditional brick colours, something Kirkeby never did.

Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head



261: Subversion at the Royal Academy

Tal R: House 44, 2015 – Pigment and rabbit glue on canvas, 254 x 254 cm
I’m not sure one could claim that the Royal Academy Summer Exhibition (12 June – 19 Aug) is now cool. But in its 250th anniversary year it is no longer so uncool that it is simply ignored. Instead, it is ripe for being subverted. To some extent, lead organiser Grayson Perry does that himself with the riotous and provocative tastelessness of his hang (‘the biggest, brightest and most colourful Summer Exhibition yet’ says the PR).  Some contributing artists play along. Perhaps it’s no coincidence that Michael Landy’s large drawing, teeming with figures making a sort of salon hang of warning signs, is called ‘Not Fit for Purpose’. Mike Nelson could be playing on both the social standing of the average visitor and the inevitability that many of the 1350 works in the show will be overlooked by placing a homeless person on the grand stairs leading up to the exhibition – or, rather, a suggestion of such made from the telling material of building detritus. My observations confirmed that most people didn’t notice the piece, but those who did were strongly drawn in.  The colourfully abstracted architecture of Tal R’s ‘Haus 44’ 2015 looks much more innocuous. I imagine few of those filing past will twig that it introduces a brothel into the polite environs of the Summer Exhibition: it’s one of a series looking at frontages from the sex industry – which Tal likes for how, like much art, ‘you only know if you enter’.

A visitor who did spot Mike Nelson’s ‘Untitled (Public Sculpture for a Redundant Space)’, 2018 – sleeping bag, concrete and rubble
Detail from Michael Landy: ‘Not Fit for Purpose’, oil stick on paper
Art writer and curator Paul Carey-Kent sees a lot of shows: we asked him to jot down whatever came into his head

Sunday, 15 July 2018


Up Now in London

Aki Sasamoto: Clothes Line @ White Rainbow 47 Mortimer St - Fitzrovia

To 4 Aug (Tues-Fri 11-7)

Sasamoto making a performative drawing at the opening

I wasn’t surprised when New York based Japanese artist Aki Sasamoto told me she has experience as a stand-up comic. Her practice centres on wry dialogues delivered in a Japanese accent as delightful as Laure Prouvost’s French, all the while making drawings to illustrate her points. At White Rainbow You can see the drawn result of her London performance alongside films of her actions and resulting drawings from three further performance projects in America. To give you a flavour, one starting point is to contrast the detailed view of the dung beetle with the broad sweep of a bird. What kind of life do you want? One which includes this show would be a sensible start…

Sasamoto in dung beetle mode in the film Yield Point


Rafal Zajko: Jaka praca dziś - takie nasze jutro and Jutro @ Castor Projects, Resolution Way, Deptford

To 4 Aug

Anna Perach: The Red House Lord, 2018 - hand and gun tufting, artificial hair and yarn, 140 x 115 cm

Now is the time to visit Deptford, as Andy Wicks is expanding from one of the enclaves at Resolution Way to take Castor into two - but for a while he has all three. The old space contains Rafal Zajko's solo show, which sees him move from a performance-based practice to an emphasis on sculptural forms derived from public art in his native Poland, but retaining a performative element: inserted ice melts, cracks and falls; visitors have the chance to add chewing gum. The new double unit holds a group show which elegantly plays wall-based sculptures off against each other, curated by Zajko together with Wicks and introducing some fresh Eastern European voices. 

*  The work of today – determines our tomorrow

Rafal Zajko: Technological Reliquary I (Current), 2018: Jesmonite, embroidery, steel, push button, ice 80 x 50 x 4.5 cm


Summer is traditionally the time for group shows, typically combining gallery artists with a sprinkling of guests and tied to a theme which suits a fairly light curatorial touch. That can become formulaic, but it’s not necessarily a bad formula. Timothy Taylor, Simon Lee have good examples and White Cube a grad version. My favourites so far are either muted or expression-mutingly masked:

Mute @ Amanda Wilkinson, 18 Brewer St - Soho and Elizabeth Price: txtʃərz   at Morley College, 61 Westminster Bridge Rd - South Bank (to 14 July including Art Night)

Derek Jarman: Household God III (Wagner), 1989

‘Mute’ is, quite simply but originally, a series of works which keep themselves quiet in various ways. Angela Bulloch’s ‘On/Off Line Drawing Machine’, 1991, allows itself hardly any expressive capacity as it proceeds to build up a horizontal. Derek Jarman decapitated the busts of several composers, replacing their implied music with rocks or objects found near Dungeoness. France Alys provides a delicately hesistant drawn gesture. Jimmy Desana’s figures are gagged. Isa Genzken’s radio is concrete.

An offsite extension to Elizabeth Price’s new film at the Morley Gallery is very much on track: in her trademark ‘archive with disco’ style, she presents the 6 minute story of a strike-of-sorts through which the governing committees of universities and museums opt for wordlessness in – it would seem – the face of increasing corporatisation of those institutions. The only visuals are collaged video clips of magazine clippings showing long dresses as worn by models c. 1960-80: on the one hand summoning better days for academic freedom from commerce, on the other referencing hoe the dresses’ models had to pose for the purpose of display, rather like a lecturer ticking inspectorial boxes. 
Elizabeth Price: still from txtʃərz

Mask @ Kamel Mennour, 51 Brook Street – Mayfair

To 28 July

Installation view including François (left), Rondinone (centre) and Halilaj (right)
An obvious enough theme avoids the obvious: Nobuyoshi Araki shows half-face, half-flower collages of what were previously two separate streams of work to propose 'a still life which masks the psychosexual desire of the Japanese people'; Petrit Halilaj’s ‘Do you realise there is a rainbow even if it’s night’ is a moth; Michel François half-masks his then-wife Ann Veronica Janssens with a white liquid dip; Alberto García‑Alix photographs himself as partially self-masked - and so on, with 13 artists in all… True, Ugo Rondinone appropriates the look of an African tribal mask, but that winks at us, conspiratorially. 

Araki collage

Yuko Mori: Voluta and Peter Fraser: Mathematics @ Camden Arts Centre 

To 16 Sept 

Seasonal light on two Untitled images from Mathematics - chairs and a thinker.

Camden’s latest pairing is of Peter Fraser’s saturated photographs with Yoko Mohri’s cutely contingent orchestration of objects. Is there a connection?  Maybe, if you see the Japanese artist’s way with fish, spoons, bells and percussive Venetian blinds as a model of our thoughts pinging round our brains. For Fraser’s untitled photographs form the project ‘Mathematics’, which show (i) scenes which remind him of how maths underlies reality and (ii) portraits of people asked to imagine that something they had long held to be true had just been proved false. So both can be related, but abstractly, to thought: for we can’t see what Fraser’s subjects are thinking, and pretty much any items might have illustrated the metaphysics of maths, given it’s attributed to everything.  Both shows prove to be metaphysically knowing in a wryly amusing way.

A spoon prepares to play a bell in Voluta


Dialogues with a Collection @ Laure Genillard, 2 Hanway Place – Tottenham Court Rd

To 16 Sept

Lucy Heyward: Face Up Face Down, 1998

The premise for Laure Genillard’s new show sounds a tricky one to pull off: ask 11 artists to show their own work as complement to one of the works she has in her own collection. It turns out, though, that the original works, the new works, the pairings, and the precise explantory texts supplied come together beautifully. Highlights include Gerhard Lang’s ‘visus signatus’ (unsighted) drawing of clouds alongside their meteorological data in response to Frank Heath’s penetratingly funny project of inscribing computer back up in laser cut form; Sarah Staton’s updating of the language in Stephen Willats’ 1960’s rearrangable clothing with text (‘poor / rich / sick…’) with categories from 2018 (‘pangender / neurodivergent / aromantic…’) and Lucy Heyward's 'Face Up Face Down', which seems to derive some sort of merger of sex and forensic anthropology from the attractively tweaked logic of displaying a photogram of a plate-stand on that very plate-stand as if it were itself a plate.. Laure also has as a good a Tomma Abts as you’ll find at the Serpentine…
Tomma Abts: Zerka, 2015

Caroline Jane Harris: A Bright Haunting @ ASC Gallery, Taplow House, Thurlow Street - Elephant & Castle (to Aug 3) and Superimposition @ Partners & Mucciaccia, 45 Dover St - Mayfair (to 31 Aug)

Caroline Jane Harris: Shroud, 2018 - hand-cut archival pigment print, 130 x 100cm

I’d better start with a double bias-alert. I chose Caroline Jane Harris as winner of a solo show at ASC Gallery; and I helped write the text for the rather substantial catalogue of Catherine Loewe and Michael Stubbs' curation. All the same, here are two excellent shows which investigate the nature of image-making today. 

Caroline Jane Harris: Monolith II (detail) 2017–18 - white pencil rubbing on archival Kozo pigment print, 112 x 66cm

Harris uses all manner of technical processes to expose and work through the digital aspects of such quotidian views as clouds seen through a window, which becomes the screen of post-production. The intricately beautiful results emerge not as a critique of any truth attributed to  analogue indexicality, but (to quote Jon K. Shaw's catalogue essay) as ‘an affirmation of the visual mysteries of the everyday’. 

Paul Morrison: Pyxide, 2010 - gold leaf and acrylic on linen, 72 x 54 cm

The superimposition in 'Superimposition' can be seen various ways: Barry Reigate mixes modes over each other – carton, graffiti, abstraction. Mark Titchner imposes language on pattern to baroque effect. Michael Stubbs obscures graphic signs with abstract overlays. Paul Morrison ruptures space by combining different scales and sources within the same pictorial space – an implied planar superimposition. All of which suggests the digital overlaps of the screen without using its technologies directly, and makes for a highly stimulating conversation of contrasting yet related voices. 

Mark Titchner: Up, 2012 - carved wood and imitation gold leaf, 141 x 141 x 10cm     

Richard Woods: The Ideal Home Exhibition @ Alan Cristea Gallery, 43 Pall Mall  - central

To 31 July

House with Solar Panels, 2018

At last year’s Folkestone triennial Richard Woods came across the illogical combination of houses being sold as second homes because the locals couldn’t afford to buy them as their only residence.  That – in the form of implausibly colourful model ‘holiday homes’ - is the starting point for a rich mix of ideas bringing the housing market to Woods’ characteristic modes. Fashionable cellar extensions and solar panels are mocked. Eight prints of ‘Dream Homes’ refer to the somewhat double-edged compliments of estate agents: does ‘mature garden’ mean it's overgrown, does ‘potential to convert’ indicate it's currently uninhabitable? Another set converts Woods’ famous wood effect prints – by rotation, cropping and minimal intervention – into ‘handheld landscapes’, ie views of plots of ground to be sold. 

Handheld Landscape (51 acres), 2018 - Acrylic on birch plywood, 27 x 20 cm

Carol Bove @ David Zwirner, 24 Grafton St – Mayfair
To 3 Aug
May, 2018

Some of Carol Bove’s best known work uses peacock feathers, quite an apparent contrast with the big all-metal collages here, which she makes ‘in the air’ using a robust system of hoists, jacks and harnesses. Yet – perhaps due to that – there’s a lightness to Bove’s combinations which she says she ‘imagines fast’, as if working in clay. The results are compelling. Partly due to the interplay of rusty found steel, manipulated and then powder coated steel tubing, and highly polished steel discs. Partly due to the superbly orchestrated ‘abstract narrative’ (if I can be allowed the term) which unfolds over the two floors. 
View with Nike I and Nike II, 2018


Family Values: Polish Photography Now @ Calvert 22 Foundation, 22 Calvert Avenue – Shoreditch

To 22 July

From Zofia Rydet's Sociological Record

At the core of this show, despite its subtitle, are two stunning long-term series from the last century.  Zofia Rydet made an amazing 20,000 images of Poles in their homes for her Sociological Record (1978-90) – detailed orchestrations at a rate of five per day from age 67 to her death! Film maker Józef Robakowski, banned from exhibiting his work, turned to the apolitically personal, albeit with the texture of surveillance, as a way of protesting obliquely at collectivist ideology. From My Window (1978-2000) is just that: the neighbourhood’s coming and goings to a commentary which stresses their personalities just as it transmits Rabakowski’s. There are also four recent projects in the show. Remarkably, they assert themselves successfully in the context of the older work, especially Aneta Grzeszykowska’s Negative Book and Aneta Bartos’ startling dual portraits of herself with her bodybuilder father. 

From Aneta Grzeszykowska’s Negative Book 



Images courtesy / copyright the relevant artists and galleries 


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About Me

My photo
Southampton, Hampshire, United Kingdom
I was in my leisure time Editor at Large of Art World magazine (which ran 2007-09) and now write freelance for such as Art Monthly, Frieze, Photomonitor, Elephant and Border Crossings. I have curated 20 shows during 2013-17 with more on the way. Going back a bit my main writing background is poetry. My day job is public sector financial management.