Derek Horton

is an artist, writer, teacher and curator. After working on adventure playgrounds and community arts projects in the 1970’s, he spent many years teaching art in higher education. He co-founded the online magazines /seconds with Peter Lewis in 2005 and Soanyway with Lisa Stansbie in 2009, relaunched with Gertrude Gibbons in 2018. He writes about art and occasionally about music, contributing articles, interviews and exhibition reviews to various books and art magazines. Book chapters include those for Marc Leger [ed.] The Idea of the Avant Garde–And What It Means Today (Manchester University Press), and Russell Marshall & Phil Sawdon [eds.] Drawing Ambiguity–Beside the Lines of Contemporary Art (IB Taurus). He was part of the three-person collective running &Model gallery in Leeds from 2013 to 2017, and has been Visiting Professor at the School of Art, Birmingham City University, UK. Currently he is working with the art historian Dr Alice Correia and Touchstones Rochdale as an independent research curator on the project A Radical Decade: Rochdale Art Gallery in the 1980s, funded by a grant from the Paul Mellon Centre for Studies in British Art.

Gertrude Gibbons

is a writer based in London. She studied Writing at the Royal College of Art and English and Related Literature at the University of York. She has written for The French Literary Review, NERO Magazine, The Fortnightly Review, The Theatre Times, Witkacy!, Corridor8 among others, and has recently written essays on Guillaume Apollinaire, Witkacy, Jean Cocteau and Philip Glass. Currently, she is researching Polish theatre and cultural reception in the UK and Italy, and writing about theories of absorption and seduction in the arts. She plays and teaches violin and has a keen interest in early music and opera. Other research areas include architecture, archives, graphics and design. As a young teenager she co-founded the experimental language group ‘Slavia’ and wrote two novels and a play: Plato’s Cave, performed at Arcola Theatre, Hackney, The Phaistos Disk (Ankrapath Press, 2012), and The Silent Violinist (Troubador Publishing, 2021). 


Steve Argüelles

is a percussionist, jazz drummer and record producer. A restless experimenter, since the 1980s his diverse musical career has included collaborations with Django Bates, Dudu Pukwana, Mose Allison, Alex Balanescu, Steve Lacy, Lee Konitz, and more recently The Recyclers, Dhaffer Youssef, Omar Sosa, Ambitronix, Benoît Delbecq, DJ Req, Noël Akchoté, and many others. Anglo-Catalan and born in Birmingham, he has long been based in France, producing records and making music for films, theatre and dance. He is the founder of the Plush record label and Bureau de Son.

Billy Cancel

is a poet-performer and sound-collage artist, based in New York City. His work has been widely published, including two recent and critically acclaimed collections, Psycho'clock and Mock Trough Rasping Crow. His poems have been described as, “a dazzling & jolting pleasure”, and the poet Todd Colby has described him as, “our era’s John Donne, doused with the spittle of Mark E. Smith, while he dances to Captain Beefheart”. With Thursday Fernworthy (Lauds), Billy Cancel makes up the noise/poetry band Tidal Channel.

Leah Capaldi

is an artist working at the boundaries of sculpture and performance, influenced by the pioneering performance artists of the late 1960s and early 70s. She explores the inter-relationship of object and subject, around a concern with exploitation, power and desire. She exhibits internationally and has recently shown in Columbia, South Korea, Berlin and Holland. UK exhibitions have included Matt’s Gallery, the Serpentine Gallery, the ICA, Site Gallery and Parasol Unit. Winning the Arts Foundation Sculpture Award and the Gerston/Zevi Land Art travelling residency enabled her to undertake new work in the USA at the sites of earlier land art by Robert Smithson, Nancy Holt, Michael Heizer and Walter de Maria. She is a founding member of Trackingshot, a site responsive collaborative project in partnership with Field Broadcast, and is represented by Matt’s Gallery, London.

Chris Paul Daniels

is an artist/filmmaker. He won the 2010 Deutsche Bank Award for his collaborative project with Maria Anastassiou, Unravel, ‘the longest hand painted film in Britain’, producing over 100 interactive public events across the UK, including Tate, BFI Southbank, CCA Glasgow, and installations at Ikon Gallery, Chisenhale Gallery, and the Whitney Museum in New York. Residencies in Kenya and China have resulted in feature length experimental documentaries and Chris has collaborated in film and music projects in China, Iceland, Sweden, and the Netherlands.

Poulomi Desai

is an artist and curator, working with large-scale sound and photography installations that interrogate the politics of identity, listening and perception, as well as improvised sound art performances using prepared sitar, electronics, sirens, radio soundscapes, and slide projections. In her teenage years she worked in post-punk street theatre, at the age of 14 setting up Hounslow Arts Co-op, and in 1987 co-founding Shakti, the first South Asian LGBTTQ organization in Europe. Since 2010 she has curated many exhibitions and events at Usurp, her experimental artist-led space in Harrow, London, and her work has been seen and heard widely in exhibitions, festivals, installations and performances in the UK, India, the USA and Japan. She has been a Leverhulme Research Fellow at Heritage Quay Archives and the British Music Collection and, in 2017, curated We Are The Lions, the first comprehensive exhibition on the 1976-78 Grunwick strike.

Michelle Williams Gamaker

is a London-based artist working with moving image and performance. She is currently completing a trilogy of short films (The Eternal Return (2019), The Fruit is There to be Eaten (2018) and House of Women (2017) that explores the idea of brown protagonists: recasting individuals of colour to play characters who were once played by white actors. Her source material are 1930s and 40s British and American studio films that are layered with complex colonial and race politics. She utilises the forms of plays and films through scriptwriting to propose new narratives and alternative structures. Michelle is also a Lecturer in BA Fine Art at Goldsmiths College, University of London, Chair of Trustees of Pavilion, a visual arts commissioning organisation in Leeds, and co-founder of the Women of Colour Index (WOCI) Reading Group with Samia Malik and Rehana Zaman.

Alexandra Kingston-Reese

is a writer and researcher, currently teaching in the Department of English and Related Literature at the University of York, UK. Until 2016, she taught at the University of Sydney, Australia, where she previously completed her PhD. Her research interests lie in the intermedial relationships between the contemporary novel and visual culture. She has written for ASAP/JMFSMosaic, the Journal of Urban Cultural Studies, and The Conversation. Her first book, Writing Against the Image, considers the work of a range of contemporary novelists, interrogates the 21st-century American novel's negative aesthetic experiences and what it looks like as it embraces visual culture and intermediality.

Evelyn Loschy

is an artist working with video, photography, land art and location-specific interventions, and in recent years she has primarily focused on kinetic, auto-destructive sculpture. Born in Graz, Austria, she studied at the University of Arts in Berlin, the Gerrit Rietveld Academie, Amsterdam, and then with Brigitte Kowanz at the University of Applied Arts, Vienna. She is a co-founder of the women artists’ collective Lafin C'estmerde, an interdisciplinary platform for exhibitions, performances, concerts, readings and lectures in Vienna, where their current studio and club/restaurant at Jörgerstraße 17 in Hernals has become a focal point of the Viennese cultural scene. Evelyn is also the drummer in the art rock band Perlen für die Säue (Pearls for Swine), and she is represented by Galerie Michaela Stock, Vienna.

Sara Makari-Aghdam

is a curator, and writer. She contributed to the exhibition Localism at Middlesbrough Institute of Modern Art in 2015, and her first major exhibition, Vinyl Icons: Persian Pop and Turkish Psychedelia, was held at Vane Gallery, Newcastle-Upon-Tyne in 2016. Of Azeri-Turk, Persian and English descent, she was born in Stockton-on-Tees, UK and grew up with her father’s tape collection from pre-revolutionary Iran (tapes of songs he liked recorded from the radio when he couldn’t afford to buy records). She studied the history of modern art, design and film at the University of Northumbria, graduating in 2007, then completed her Masters degree in curating and contemporary design at the Design Museum in London, with Kingston University.

Catriona McAra

is an art historian and curator. She holds a doctorate from the University of Glasgow (2012) and completed a postdoctoral fellowship at the Institute for Advanced Studies in the Humanities at the University of Edinburgh (2013-2014). Her research interests are in feminist aesthetics and the legacies of surrealism in contemporary cultural practice, as well as the aesthetics of geology and the archaeology of modernism. Her books include: A Surrealist Stratigraphy of Dorothea Tanning’s ChasmIn Fairyland: The World of Tessa Farmer; and Leonora Carrington and the International Avant-Garde. Having previously worked at the University of Huddersfield, she is currently the University Curator at Leeds Arts University.

Harold Offeh

is an artist, curator and educator. His work encompasses performance, social practice, live art, video and photography in the context contemporary popular media representations of racial identity and desire, exploring the body, space, race and gender. He was born in Accra, Ghana in 1977, grew up in London, UK, and now lives in Cambridge and works in Leeds and London. He was the 2017 Open House residency artist at Kettle's Yard Gallery in Cambridge and a summer artist-in-residence at Wysing Arts Centre. He has exhibited widely including at Tate Britain; the Museum of Contemporary Art in Val de Marne, France; New Art Exchange in Nottingham; the Museum of African Diaspora, San Francisco; The Studio Museum, Harlem; and at Miami Art Basel, Miami.

Jonathan Watkins

is a curator and writer and has been Director of Ikon Gallery in Birmingham, UK since 1999 as well as writing extensively on international contemporary art. Previously he worked in London, as Curator of the Serpentine Gallery (1995-1997) and Director of Chisenhale Gallery (1990-1995). He has curated large international exhibitions including the Biennale of Sydney (1998), Facts of Life: Contemporary Japanese Art (Hayward Gallery, London 2001), Quotidiana (Castello di Rivoli, Turin 1999, Tate Triennial (2003), Shanghai Biennale (2006), Sharjah Biennial (2007), Negotiations (Today Art Museum, Beijing 2010) and the Guangzhou Triennial (2012). He curated the Iraqi Pavilion for the Venice Biennale in 2013 and Floating World, Bahrain in 2017, and was on the curatorial team for Riwaq (Palestinian Biennial 2007). In 2019, he will curate Small Between the Stars, Large Against the Sky, at the Quebec Biennial.

Grace Weir

is an artist whose work ranges from film and installation to experimental videos, lecture-performances and web projects. These are concerned with the nature of ideas and the ways in which thinking is materialised, so that the work often refers to the act of its own making and the mediums in which it is made.  She has a particular interest in scientific phenomena and the ways we construct, rationalise and experience time, and her work is informed by conversations and experiments with scientists, philosophers and practitioners from other disciplines. Grace Weir represented Ireland at the 49th International Venice Biennale and has exhibited widely nationally and internationally. She was recently Artist-in-Residence in the School of Physics, Trinity College Dublin, and had a solo exhibition at the Irish Museum of Modern Art in 2016.

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