Anya Lewin




Anya Lewin is an American artist and academic based in the UK. Her work often reflects her own personal history, which includes stories of immigration, translations from multiple languages, and fictional connections to real events. She has completed two parts of a trilogy of moving image installations (and is in production on the final part) which explore her family history of immigration as well as their connection to screen history from silent cinema of the German Expressionist Era through to 1950’s & 60’s Hollywood – a path many Jewish immigrants followed. Each exhibition has become more ambitious and involved a longer period of research and production along with a move to working with commercial film crews in order to develop the high production values necessary to mimmic the source material the projects draw from. Lewin has also worked with performance, participatory practice, and single channel film and video work.

Lewin is a Reader in Art and Moving Image in the Fine Art Department at Plymouth University and serves  on the executive board for the Society for Artistic Research.

Amitesh Grover

Amitesh Grover

Amitesh Grover develops and mediates relationships in Assemblies - public mass, multitude, congregation, crowd, convention. He engages with the Gathering as a medium and form, and asks: What constitutes an assembly today? His interest is in different kinds of knowledge production in assembly-making, and an investigation into the vocabulary of ‘negotiations’ that emerge in assembly-formations....

Michele Manzini

Michele Manzini was born in Verona (Italy) in 1967. For many years his art has been concentrated on the definition of figures that can suggest instability and conflict as unresolved elements. His work develops through the use of a wide variety of media, among which video, photography, installations, writing, and performances. He has exhibited his works in numerous shows and venues in Italy and abroad, among them the Italian Institute of Culture, Prague, 2009; MAXXI, Rome, 2009; SUPEC, Shanghai during the 2010 Expo; and the Venice Biennale in 2011 and 2013. His videos have been selected  for important international festivals and have been screened at the Saitama Arts Theater in 2015; the Perez Art Museum Miami, 2016; and at the Lincoln Center for the Performing Arts in New York, 2016. He has published various essays and texts, among which “Il paesaggio e il suo mito” Editions de la Villette, Paris, 2002, and “Mescolanze” Edizioni Kn-Studio, 2011. In 2009 he was awarded the Terna prize for contemporary art.

Research and Art Interests dArt/Research/Seven points by Michele Manzini

1. First of all, before the struggle was formally declared, two kinds of knowledge and two languages found themselves opposed with regard to their reciprocal and exclusive relationship with the truth: tragic knowledge, the language of myths and stories, and philosophical knowledge. We are in the fifth century BC and the field of the dispute is Greece. Tragedy proposes the cognitive experience of dissent, disruption, precariousness, and the impermanence of existence. Against this idea was a powerful adversary: Plato and his philosophical knowledge; he managed to blacken and undermine his antagonist. Plato's victory was the foundation of philosophy and the  negation of knowledge being found in poetic and narrative fiction. 2. It was Nietzsche who later re-proposed the terms of that battle by stating that it was necessary to go back thousands of years, to the struggle by Heraclitus and Empedocles against the philosopher Plato, in order to discover a form of thought similar to that which he was trying to define by suggesting appearance as the thing in itself. Plato won the dispute. However he left it to the future to define the precise terms of the struggle, terms which were to turn up with uncertain results at various times and in various places in the history of thought. It be found, for example, in Vico's proposal of a "poetic logic", one able to guarantee the "truth of fiction". It was seen again in Hölderlin's Empedocles, permeated with the feeling that in the relationship between man and nature there was no solution or reconciliation. It flared up again in The Castle by one of the great protagonists of our century: Kafka. In fact Kafka is the "man of the struggle", the person who leads a battle against the invisible logic of the Castle in the name of the reasons of life, of a truth that is not closed and immutable but receptive of what is possible.

3. Today, one of the aspects of the crisis of modernity is the ending of dialectic; Bodei saw this as the end of a philosophical thought that was still able to organize both polemos and logos. This ending has generated conciliating philosophies such as hermeneutics, which resolve the dialogic conflict; deconstructionism, which pulverizes the conflict; or weak thought, which makes it evanescent. This ending has also led to philosophies which have emphasized the conflict, but have deprived it of all reason, as in Foucault's thought. In a word: logos without polemos or polemos without logos.

4. The suppression of conflict and otherness lowers the future's outlook and anticipations.So the future presents itself, not as an enigma, but as something immutable which delivers us back to the present. Man today is a man who lives only in the present.

5. I know that we can, all the same, build houses, places, and breeding grounds, and that we can plan a landscape. But in all those places where the horizon is analogous to that of inert things, then we can have no other enthusiasm unless that of possession or of a conciliating vision.The realm is that of the "delicate monster" of boredom, of that boundless apathy that I could call melancholy. Here Dürer's angel has her wings folded. She cannot rise in flight because, if it is true that a being unfettered by things is lightness, it is also true that this lightness is literally unbearable. The gesture of a hand caught forever in a ray of light in an interior by Vermeer where nothing can ever happen, or Hamlet's eternal mourning as he refuses to confront the death of his father in a positive manner, deny any possibility of movement for a thought that is formed through an infinity of forms which are also dissonant with each other.

6. The enjoyment of an image is an important passage in experiencing reality, but its partiality can be overcome within the conflicting dimension of a figure. The figure is the process of "another thought" with respect to that of classical philosophy, a thought that passes through literary "images" and concepts and that holds together two "half truths": the greatest abstraction of the concepts and the great strength of myths, unreasoning, analogies, and images. As Musil has said, the figure dwells between these two worlds.

7. I create figures. Figures are an attempt at making a form and which I contrast with the fascination of images which, even though laden with truth, shine and then vanish without becoming knowledge. My figures contain polemos in themselves, in the sense that they contain in themselves instability, conflict and otherness without dissolving or resolving it. This logos advances laden with unresolved tensions. Its horizon is populated by many, even infinite, possible forms; it is receptive in the same way as the destiny of tragic heroes in the face of the "many forms taken on by the divine", forms which are the terrible yet stupendous richness offered to modern people

Keywords Harmony and dissonance, instability and conflict, unresolved tension, the idea of a “figure”, esperience of limits and threshold, the concept of distance, tragic knowledge, relationships between things/space and the subject.


Elizabeth Gerdeman

Elizabeth Gerdeman considers the conflicting ways we conceive of the natural world. Working with an array of materials and images, she creates mixed-media collages, room-scale paintings, interior decor inspired installations and experimental videos taking visual cues from contemporary tourism and home improvement advertisements using images of nature as design element and branding tool. Her recent art projects deal with the human relationship to landscape – the tangible physical space occupied as well as the intangible concepts, narratives, and experiences of place – and the cultural confines through which these images are constructed.

Prior to her undergraduate and graduate studies, she served as a member of Americorps. She graduated Summa Cum Laude from the Columbus College of Art and Design in 2004, where she majored in Fine Arts and minored in both Art History and Art Therapy. In 2006, she was awarded a University Fellowship from The Ohio State University, and in 2008 she received a MFA in Art, and an additional Graduate Interdisciplinary Specialization with concentrations in Contemporary Art History and Social Geography.

Born in the United States and currently residing in Germany, over the last few years Gerdeman maintains her artistic practice exhibiting between the U.S. and Europe. She is a Visiting Artist Lecturer at the Academy of Visual Arts Leipzig. Her additional teaching experience includes Visiting Assistant Professor of Painting at Ohio University, Lecturer at The Ohio State University and Adjunct Faculty the Columbus College of Art and Design.

Art and Research Interests She is currently available to supervise MFA students focusing on the aesthetic form of nature or landscape and its substantive content, as well as those concerned about the interface between built and natural environments, both historically and during the current age of the anthropocene.

Keywords perceptions and explorations of place / placelessness / translocational identity / nature & culture / anthropocene / landscape as a medium of social, economical, and political ideologies / rise and fall of value ascribed to specific places / site-specific interventions / experience of an area through its representation / landscape as subject and object / painting / drawing / images / abstraction / collage / objects / installations / videos / urban planning / landscape design / advertising and home improvement / geography / topography / cartography / eco tourism / virtual and visual realities

Jill Magi

Jill Magi is an artist, writer, and educator working in text, image, and textile. Most of her projects explore the places where received teachings and ideologies conflict with lived experience. More recent projects investigate the compositional possibilities of systematic explorations of flatness and repetition, an investigation she believes to be counter to western-world concepts of depth, authenticity, and worth. She is the author of over five books, the most recent of which is LABOR (Nightboat 2014). Her text works are hybrid works that move between image, essay, poetry, fiction; they are both sentence-based and fragment-embracing. In spring 2015 Jill wrote weekly for Jacket2 on “a textile poetics,” and other recent essays have appeared in The Force of What’s Possible: Accessibility and the Avant-garde, The Racial Imaginary, and The Eco-Language Reader. She has held residencies with the Lower Manhattan Cultural Council, the Textile Arts Center Brooklyn, and has exhibited visual work at apexart, Pace University, the Brooklyn Arts Council Gallery, and Arcade Six Gallery Columbia College. The New York University Abu Dhabi Project Space gallery mounted a solo exhibition of her work in 2015. She teaches textiles, poetry, and art electives at NYUAD where she joined the faculty in 2013.

Art and Research Interests She is available to work with MFA students, especially those interested in using text, engaging in social research and art-making, textile, installation, hand-made books, and those who would like to develop systematic experimental practices to generate a body of work across mediums.

Keywords textile, weaving, embroidery, writing, writing as drawing, poetry, experimental text

Alison J Carr

Alison J Carr is an artist and writer. She studied at the California Institute of the Arts, absorbing both the critical dialogue and the lure of the Hollywood facade. She worked with Leslie Dick, Natalie Bookchin, Ellen Birrell and Jo Ann Callis, developing her critical voice as well as her singing voice (taking singing lessons to help her with singing theory). Following her soujorn to LA, she returned to Sheffield to do a PhD at Sheffield Hallam University where she had earlier gained her undergraduate degree. Supervised by Feona Attwood and Jaspar Joseph-Lester, her thesis How Do I Look? Viewing, Embodiment, Showgirls & Art Practice challenged the ubiquity of theories of objecitification and the male gaze, as part of her attempts to find her own words and ways of speaking her pleasure in watching fierce women perform. Her artwork investigates embodiment, femininity and performativity through collage, photography, video and performance pieces. Underpinning her creative gestures is a fascination with the limitations of representation as well as the empowerment possibilities of dancing with a devil-may-care insouciance. Her work disrupts the constant stream of images of women we are surrounded by in magazines, films and commercials by contrasting them with alternative encounters where the audience can see me embodying something different: an empowered showgirl who enjoys her own body, and uses her voice.

Art and Research Interests She is available to advise MFA and PhD students, and welcomes those with interests in bodily display, performance, gender, persona, pleasure as well as issues of representation, visual culture, pop and celebrity culture.

Keywords performance, pleasure, persona, speaking, collage, photography, representation, looking, viewing, display, gender, video, embodiment


Joseph Imhauser

Joseph Imhauser's artworks and events use the structure of choice as a medium to create platforms that welcome chance and encourage poetic connection to heighten the malleability of definition. His works oscillates between too many variations to list. In 2009 He co-founded Lyeberry, an informal platform for the sharing of events, experiences objects and ideas.

Imhauser received a BFA from CalArts (2005) and MFA from NYU Steinhardt (2012). In 2009 he co-founded Lyeberry, a mobile platform dedicated to undermining the hierarchical structures of dominant power through informal environments. He currently teaches art theory at NYU Steinhardt. Recent awards include the Rema Hort Mann Foundation’s YoYoYo Initiative for Lyeberry (2014) and the Carla Bruni-Sarkozy Fondation Cultural Exchange Fellowship (2013). Recent exhibitions and performances include: Poetics of a Wall Projection at Parapet Four Seasons, Los Angeles, CA (2016); Rican/Struction: Abraham Cruzvillegas & Amigos, Galería Agustina Ferreyra, San Juan, Puerto Rico (2016); Todo en Orden at Celaya Brothers Gallery, Mexico City, Mexico (2016); Anti-Aufklärung at Point Éphémère, Paris, France (2016); Exit: Cartographia de la Creatividad at Museo de Arte de Sinaloa, Culiacán, Mexico (2015); Un Cabinet de Curiosités at Antoine Lefevbre Editions, Paris, France (2015); Roulade: The Hubris Issue at Husk Gallery, London, UK (2015); Lyeberry #13: Luckyday at Santa Monica Museum of Art, Santa Monica, CA and Cratér Invertido, Mexico City, Mexico (2014); Body Politics at EMBROS Free Theatre, Athens, Greece (2014); If We Carry On Speaking the Same Language to Each Other We Are Going to End Up Repeating the Same History at PARMER, New York, NY (2014).

Art and Research Interests Joseph is available to advise MFA and PhD students with backgrounds in art theory, queer theory, contemporary philosophy, collaboration, fabrication, performance, and visual art.

His research interests include but are not limited to political and social events, consciousness, computation, artificial intelligence, anarchism, archives, autobiographical accounts, alternative formations, multidimensionality, revolution, combinations, disruption, bookmaking, boundaries, fetish, organizing, self-realization, multipolarity, affect, communicability, nonsense, everyday experiences and the intersection of social and individual perspective.

Keywords Nonsense is sense for the future. - Chus Martinez

Christina McPhee

Christina McPhee’s images move within a matrix of abstraction, shadowing figures and contingent effects. Her work emulates potential forms of life, in various systems and territories, and in real and imagined ecologies. Her dynamic, performative, physical engagement with drawing, in both her analogue and digital works, is a seduction into surface-skidding calligraphic gestures and mark-making. The tactics of living are in subterfuge, like the dazzle ships of camouflage in war. Lines throw down rope-like bridges, cat’s-cradling figures, or a search for grounding and commons. Cached and clustered, fragments take exception to systems. Color sparks disruptions of scale that reveal allusions to biochemical contraventions, migration, grammars, and marine stress. Her work takes on violence, tragi-comic exuberance, and vitality from within a ‘post-natural’ experience of community.

Christina McPhee’s live and recorded drawings animate dense montage within images of fragile marine ecologies and seismic landscapes. “McPhee’s drawing, extended to and infiltrated with digital video, seems to outline a different and stranger project: that of creating as yet unknown material composites by aligning the rapid time-processing of our nervous systems with the emergent natures at actual sites of energy production or extraction” (Ina Blom).

Christina McPhee’s work is in the collections of the Whitney Museum of American Art, Rhizome Artbase-New Museum, the Kemper Museum of Contemporary Art, and Storefront for Art and Architecture, Thresholds New Media Collection, Scotland, and elsewhere. Solo museum exhibitions include the American University Museum, Washington, D.C., and Bildmuseet, Umea, Sweden. She has participated in group exhibitions, notably Documenta 12, Bucharest Biennial 3, Museum of Modern Art Medellin, Bildmuseet Umea, Berkeley Art Museum/Pacific Film Archive, California Museum of Photography/Digital Studio, and the Institute of Contemporary Art (ICA), London. She was a recipient of a 2012 MAP Fund for Performance in collaboration with Pamela Z for the multimedia performance in video, voice and chamber ensemble, Carbon Song Cycle, which premiered at Berkeley Art Museum/Pacific Film Archive. Forthcoming in 2016: a new monograph on her work with Punctum Books, and a solo exhibition at Cerritos College Art Gallery, Los Angeles.

Born in Los Angeles, she lives and works in California.

Art and Research Interests Christina McPhee is interested in working with students around processes, and strategies in drawing, painting, photography and moving image. She works as well as a thesis writing coach.Topics of special interest include feminist data visualization, critical approaches to the science and mediated information around climate change,  grammars and polysemic  mark-making in visual and sonic scores...She combines this research with network-based texts and image-shards, to explore the seduction and violence at play in contemporary aspiration, desire and consumption. McPhee's dynamic, performative, physical engagement with materials in both her analogue and digital works is a response to a late-capitalist, disembodied, screen-based age. Evidence of the human touch is literally embodied in the works: smearing, tearing, scraping, slicing all tinted with bruise-like purples, blood-like reds, or shit browns. Color enables the unfolding narrative within the work, sparking and pulling the image from the inanimate object that tries to contain it. McPhee uses techniques of multiplicity, doubling, mirroring, shattering, editing, cropping and ghosting to explore vitality and loss. Absence and presence echo simultaneously across her canvasses. Jagged shards vye for position and collide with animate and anime-like elements that together swarm, fold, cascade and crash in compositions that suggest tumbling, swelling and accelerating mass movements.  Isolated individual components break free or rejoin and regroup, striving for common ground. McPhee's videos feature collaborations with sound artists, including Pamela Z, Pauline Oliveros, and Quinn Dougherty.  Her photography  involves Rorschach-like gelatin silver prints that have a forensic quality and call into question the creative act itself.

Keywords drawing and writing, technological sublime, painting, photography, video installation, video,anthropocene, climate change, data visualization, big data, data sonification, third-wave feminism, post-nature, nature, subjectivity, drawing, polysemic, asemic,  trans-media, noetic, topologies, topographies, mapping, grammar, grapheme, pre-linguistic, linguistic, feminist, performance, performance theory, political-aesthetic, literature and visual art, illumination, spirituality, text-based, visual text, animation, montage, cinematic, materialism and art, transformation, metonymy, metaphor, alchemy, pharmakon, contemporary new music and visual art, visual poetry, visual music