Previously at the ICA - Events
15 Feb 2013
This Friday Salon proposes to reflect on participatory practice and the key themes that have emerged over the years. Referring to recent critical and curatorial debates, artists and educators Felicity Allen and Sophie Hope will attempt to examine how participation succeeds in providing forms of knowledge through formal as well as more emancipatory education.
Felicity Allen is an artist, writer and educator. A Visiting Research Fellow at London South Bank University, in 2011-12 she was a guest scholar at the Getty Research Institute, where her work focussed on the question: what does globalisation mean for gallery education? Current work includes a dialogic portraits series in prose and watercolour, as well as contributions to projects in the Eastern Mediterranean. Two books came out in 2011: Education (MIT/Whitechapel Documents of Contemporary Art) and Your Sketchbook Your Self (Tate). She has been involved in gallery education for the last two decades, most recently leading the education department at Tate Britain (2003-10). Current and forthcoming publications are Invasive Assessments, Surprise, and Performing the Self in the Sketchbook in the Belgian / Dutch journal De Witte Raaf (The White Raven), issue 160, Nov 2012, and Textual Intimacies: Letters, Journals, Poetry - Ghost Writing Telegraph Cottage, with Simon Smith, in Nothing Normal: Essays on Literary Intimacies, ed. Jennifer Cooke, Bloomsbury Academic. From March to May 2013 Felicity will be presenting a series of seminars at London's Whitechapel Gallery titled Education: Politics and Practices with invited guests.
Sophie Hope’s practice-based research focuses on the relationships between art and society. She has worked as an independent curator (as one half of the curatorial partnership B+B), a writer and evaluator of public and socially engaged art and is a lecturer in arts management in the Media and Cultural Studies Department at Birkbeck, University of London. Sophie has developed a number of practical projects through which to research cultural policy, labour conditions and community art histories in the UK. These include a three-year participant-led investigation into socially engaged art (Critical Friends 2008-2011) and a large-scale community performance in a Dutch new town (Het Reservaat 2007). Her PhD (completed in 2011), entitled: Participating in the Wrong Way? Practice Based Research into Cultural Democracy and the Commissioning of Art to Effect Change explored the limits and possibilities of criticality in the context of an artists' contract.
In association with Art Works and supported by the Paul Hamlyn Foundation.