fine ARTS 2009-2010 - The British School at Rome

f i n e ARTS 2009-2010THE BRITISH SCHOOL AT ROME

f i n e ARTS 2009-2010Phillip AllenKim AndersonDouglas ArdernJoanna BryniarskaNicholas ChampkinsWilliam GharraieLothar GötzBrent HarrisCelia HemptonGwyn Lloyd JonesDarren MurrayJan MurrayDavid O’KaneTom PriceDarrel RonaldHelen L. SturgessVictoria WatsonMartin WestwoodTHE BRITISH SCHOOL AT ROME1

The projects realised by KIM ANDERSON, BRENT HARRIS, JANMURRAY, HELEN L. STURGESS have been assisted by theCommonwealth Government through the Australia Council, itsArts funding and advisory body.The Arts Council England Helen Chadwick Fellowship isorganised and administered by The Ruskin School of Drawingand Fine Art, University of Oxford and The British School atRome with the support of Arts Council England and St Peter’sCollege, Oxford.AcknowledgementsProf. Mihai Barbulescu, The Romanian Academy, RomeRoberto Casiraghi, Roma The Road to Contemporary ArtCasa dell’Architettura, Ordine degli Architetti P.P.C. di Roma eProvincia, RomeShara WassermanMonica Scanu, Assessorato alle Politiche Culturali, Comune diRomaDina Dancu, Mirela Pribac, Spazi Aperti, The RomanianAcademy, RomeDaniela Voso, ESC Atelier, RomeFrancesca CampliDonatella Astolfi, Fulvio Astolfi, Alba Coratti, Lucy Davis,Marina Engel, Maria Pia Malvezzi, Eleanor Murkett,Joanna Norledge, Antonio Palmieri, Renato Parente,Giuseppe Pellegrino, Susan Russell, Marisa Scarsella,Martina Sconci, Valerie Scott, Geraldine WellingtonEdited by Jacopo BenciGraphic design Silvia StuckyPhotography courtesy of the artists and architects, exceptClaudio Abate (pp. 29, 32, 33, 38); Michael Franke (pp. 24, 25);Fernando Maquieira (p. 29); Christopher Sanders (pp. 14, 15);courtesy The Approach, London (pp. 12, 13); Jacopo Benci (pp.10, 34, 35, 48, 62)Translations Jacopo BenciPublished by THE BRITISH SCHOOL AT ROMEat The British Academy, 10 Carlton House Terrace, London SW1Y 5AHThe British School at RomeVia Gramsci, 61 00197 RomaRegistered Charity No. 314176ISSN 1475-8733 ISBN 978-0-904152-56-22Fine Arts 2009-2010

C O N T E N T S04 Preface Christopher Smith06 Introduction Jacopo Benci12 Phillip Allen14 Kim Anderson16 Douglas Ardern18 Joanna Bryniarska20 Nicholas Champkins22 William Gharraie24 Lothar Götz26 Brent Harris28 Celia Hempton30 Gwyn Lloyd Jones32 Darren Murray34 Jan Murray36 David O’Kane38 Tom Price40 Darrel Ronald42 Helen L. Sturgess44 Victoria Watson46 Martin Westwood49 Biographies3

P REFACEIt is a very pleasant duty, and a great privilege, to introduce this year’s Fine Arts report, and my first one as Director of theBritish School at Rome. This institution has always been characterised by the remarkable convergence of different worldsunder one roof, and the discovery of common ground and revelation. This experience leaves its trace on all those whowork in the School, as I know from my own experience; it is an honour to work with colleagues here, in the UnitedKingdom and throughout the Commonwealth to ensure that this special place continues to bring the best artists and thebest scholars together.The community we create would not work without the active participation of the residents themselves. This year, forexample, artists and scholars collaborated on a colloquium which brought together themes of space and architecturaldesign from across the whole School, and there has been the usual fruitful sharing of experience and understanding. I amimmensely grateful to all the resident artists and architects this year for sharing their talent and energy with me and witheach other.We are extraordinarily fortunate in our sponsors. In difficult times, many have dug very deep to continue to supportartists to come to Rome. The significance of this patronage is immense for the individuals, indispensable for the School,and I am confident that it will contribute to the ways in which we maintain cultural values and artistic excellence acrossthe Commonwealth. It is my pleasure to thank here the Edwin Austin Abbey Council, the Arts Council England and StPeter’s College, Oxford for supporting the Helen Chadwick Fellowship, the Linbury Trust, the Conseil des arts et deslettres de Québec, the Australia Council, the Trustees of the Derek Hill Foundation, and the Trustees of the Giles WorsleyTravel Fellowship; and behind these institutions and trusts, the many individuals who have generously support us, amongstthem Lord and Lady Sainsbury of Preston Candover, Joanna Pitman, Jo Batterham, Johanne Lariviere-Tieri, RichardWentworth and Paul Bonaventura, and to all the members of our Faculty of Fine Arts, led by John Gill, and the otherappointing committees, who give generously of their time and energy to ensure the outstanding quality of the artists whocome to the School.This year, as we begin to look ahead to the inevitable reduction in public spending, and the grave consequences itwill have for us, we have had to look hard at ourselves, to define and to focus on what is essential. As much as possiblewe have tried to do this together, with Faculty and sponsors, friends and colleagues, and with this year’s artists andscholars.I am more convinced than ever, as a result of these conversations, that art and architecture are core and critical to themission of the School. We are seeking therefore to invest in our architecture programme through the appointment ofMarina Engel as the British School at Rome Fellow in Architecture, and to sustain through the immense hard work ofJacopo Benci a full programme of exhibitions in the Gallery. I am committed to my belief that the British School at Romeis unthinkable without the presence of artists of the highest quality.We are a single institution, with a single aim of producing work of outstanding excellence in whatever field we support.The similarities between creativity and scholarship are far greater than the differences, and the practice of creativity, andthe study of that practice, learn from each other, and contribute to each other. The British School at Rome has for acentury stood for the essential nature of this exchange; it also stands for the need to enrich and sustain our lives throughseeing and thinking together. I am grateful to all who have made it possible to produce this volume, as a testimony to thework of this year, and grateful to all those who have and who will help us foster the brilliant work of talented artists,scholars and architects in the unique community which is the British School at Rome.Professor Christopher SmithDirector4Fine Arts 2009-2010

P REFAZIONEÈ un dovere molto piacevole, e un grande privilegio, introdurre il catalogo Fine Arts di quest’anno, il mio primo qualeDirettore dell’Accademia Britannica. Questa istituzione è sempre stata caratterizzata dalla rimarchevole convergenza sottoun unico tetto di mondi differenti, e dalla scoperta e la rivelazione di terreno comune. Questa esperienza lascia la sua tracciain tutti coloro che lavorano all’Accademia, come so dalla mia personale esperienza; è un onore lavorare con colleghi qui, nelRegno Unito e nel Commonwealth, per assicurare che questo luogo speciale continui a mettere assieme i migliori artisti e imigliori studiosi.La comunità che creiamo non potrebbe funzionare senza l’attiva partecipazione degli stessi residenti. Quest’anno, adesempio, artisti e studiosi hanno collaborato per un convegno che ha unito l’intera Accademia sui temi dello spazio e dellaprogettazione architettonica, e si è manifestata la consueta, fruttuosa condivisione di esperienza e comprensione. Sonoimmensamente grato a tutti gli artisti e architetti residenti di quest’anno per aver condiviso il loro talento ed energia con me efra loro.Siamo straordinariamente fortunati ad avere i nostri sponsor. In momenti difficili, molti di essi hanno fatto più chepotevano per continuare a far sì che gli artisti possano venire a Roma. Il valore di questo mecenatismo è immenso per gliindividui, indispensabile per l’Accademia, e ho fiducia che esso contribuirà a permetterci di continuare a sostenere i valoriculturali e l’eccellenza artistica di tutto il Commonwealth. È per me un piacere ringraziare qui l’Edwin Austin AbbeyCouncil; l’Arts Council England e il St Peter’s College di Oxford per il loro sostegno alla Helen Chadwick Fellowship; ilLinbury Trust; il Conseil des arts et des lettres du Québec; l’Australia Council for the Arts; i Trustees della Derek HillFoundation, e i Trustees della Giles Worsley Travel Fellowship; e, dietro a queste istituzioni, le molte persone che ci hannogenerosamente sostenuto: fra esse Lord e Lady Sainsbury of Preston Candover, Joanna Pitman, Jo Batterham, JohanneLarivière-Tieri, Richard Wentworth e Paul Bonaventura, tutti i membri della nostra Faculty of Fine Arts, guidata da JohnGill, e le altre commissioni selezionatrici, che prodigano il loro tempo ed energia per garantire l’eccellente qualità degli artistiche giungono all’Accademia.Quest’anno, mentre iniziavamo a intravedere l’inevitabile riduzione della spesa pubblica e le gravi conseguenze che ciòavrà per noi, abbiamo dovuto guardare attentamente a noi stessi, per definire e concentrarci su ciò che è essenziale. Abbiamocercato il più possibile di far ciò con la Faculty of Fine Arts e gli sponsors, gli amici e colleghi, e con gli artisti e studiosiresidenti quest’anno.Sono più che mai convinto, come esito di queste conversazioni, che l’arte e l’architettura siano un elemento fondamentalee critico della missione dell’Accademia. Intendiamo dunque investire sul nostro programma di architettura attraverso lanomina di Marina Engel a ‘Fellow in Architecture’ dell’Accademia Britannica; e sostenere, grazie allo strenuo lavoro diJacopo Benci, un completo programma di mostre nella Galleria.Credo fermamente che l’Accademia Britannica sia impensabile senza la presenza di artisti della più alta qualità.Siamo un’unica istituzione, con l’unico obiettivo di produrre opere di chiara eccellenza in qualunque campo. Le affinitàfra lavoro creativo e di ricerca sono molto maggiori delle differenze, e la pratica della creatività e lo studio di quella praticapossono imparare l’una dall’altra, e contribuire reciprocamente. Da un secolo l’Accademia Britannica incarna il carattereessenziale di questo scambio; essa rappresenta inoltre la necessità di arricchire e sostenere le nostre vite per mezzo del vedere epensare insieme. Sono grato a tutti coloro che hanno reso possibile la realizzazione di questo volume, come testimonianza dellavoro di questo anno, e a tutti coloro che ci hanno aiutato e ci aiuteranno a promuovere l’eccellente lavoro di artisti,architetti e studiosi di talento in quella comunità unica che è l’Accademia Britannica.Professor Christopher SmithDirettore5

I NTRODUCTIONThe academic year 2009-2010 has been one of changes and challenges for the School, but thanks to a cohesive, focused andengaged group of Fine Arts scholars we have continued to attract the interest of the Roman public and their praise for the highstandard of the works created by resident artists and architects during their residencies, shown in the exhibitions at the Schooland in other events at various venues in Rome.On 25 and 26 September 2009, an informal exhibition entitled Tempo Reale 09 took place in the BSR gallery comprisingworks created during the summer months by the artists then resident: Fine Arts scholars Kim Anderson, Celia Hempton, TomPrice, as well as Christopher Cook, Susie David, Margaret Kelly and 2006 Australia Council Resident, Nicole Ellis. Theexhibition, though primarily meant for the School community, was also visited by scholars of other foreign academies andRome based artists and critics.October brought the first of three informal presentations by Fine Arts and Humanities scholars, aimed at introducing theirpractice or research to the residents and staff and facilitating cross-disciplinary discussion. Also in October, a programme offilm screenings entitled ‘Contemporary Rome in Postwar Cinema’ started with Rossellini’s Rome Open City, followed over thesubsequent months by De Sica’s Bicycle Thieves, Visconti’s rarely seen short Appunti su un fatto di cronaca, Maselli’s Storiadi Caterina, Fellini’s La Dolce Vita, Pasolini’s Accattone, Antonioni’s L’eclisse. For each film I gave a brief presentation inorder to set it into the broader context of contemporary Italian history, arts and culture. Visits to twentieth-century sites inRome – often related to the films – included tours of Garbatella’s council housing estates, Adalberto Libera’s Palazzo deiCongressi and Gaetano Minnucci’s Palazzo degli Uffici at EUR (this visit was very well received and was repeated), the filmstudios at Cinecittà, and Luigi Moretti’s 1930s buildings at Foro Italico.The first Fine Arts scholars’ exhibition of the academic year opened on Friday 11 December 2009. Its title, The things Idid and the money I spent, was inspired by a visit to the Ara Pacis led by the Director, Professor Christopher Smith, whoillustrated the Res Gestae et Impensae by Emperor Augustus. The exhibition presented works by artists Joanna Bryniarska,William Gharraie, Brent Harris, Celia Hempton, Darren Murray, David O’Kane, Martin Westwood, and architects DouglasArdern, Nicholas Champkins and Gwyn Lloyd Jones. On Monday 14 December a day conference took place, conceived andorganized by Nicholas Champkins and Amy Russell, Ralegh Radford Rome Scholar. Entitled Across and Between: aninterdisciplinary colloquium on space, it involved a series of presentations by resident artists, architects, scholars onapproaches to the experience and study of space. Nicholas and Amy wrote, «from the ancient world to the modern, fromarchitectural space to spatial metaphors in music, we bring together speakers who consider space and its character in manyforms. The practice of working artists and architects creates a rich dialogue with the research of scholars participating in thepast decade’s ‘spatial turn’ providing new, unexpected perspectives. Art in space, space in art; time, space and memory; spatialdivisions and connections». Speakers included Fine Arts scholars Douglas Ardern, Nicholas Champkins, Brent Harris, GwynLloyd Jones, Martin Westwood, and Humanities scholars Amy Russell, Catherine Fletcher, Joseph Hammond, Ann Liebeck,and Clare Rowan.The second Fine Arts exhibition of the academic year, Se non è vero, è ben trovato, opened on Friday 12 March 2010.The show presented works by artists Phillip Allen, Joanna Bryniarska, William Gharraie, Celia Hempton, Darren Murray, JanMurray, Tom Price, and architects Nicholas Champkins and Darrel Ronald. The public at the opening also enjoyed animproviso musical performance by Celia Hempton, for electric guitar and loops.As a result of the combined effort of the Fine Arts team’s liaison and publicity work, and BSR residents’ contactswith their colleagues at the other foreign academies, both the December and March exhibitions were well attendedby Rome based artists, curators, and collectors. Studio visits, organized with the help of Fine Arts Research AssistantMartina Sconci, brought invitations for Fine Arts scholars to participate in several outside exhibitions during thespring.6Fine Arts 2009-2010

In May Joanna Bryniarska, William Gharraie, Celia Hempton, Darren Murray, alongside four Roman artists, took part inBSR_Downtown curated by Daniela Voso with Martina Sconci at ESC Atelier; Accademia delle Accademie at Santo Spiritoin Sassia, curated by Shara Wasserman (as part of the 2010 edition of the international art fair, Roma The Road toContemporary Art), saw the participation of Joanna Bryniarska, William Gharraie, Lothar Götz, Celia Hempton, DarrenMurray and Helen Sturgess. June brought Foreign Architects Rome, again curated by Shara Wasserman, at the Temple ofHadrian, with the participation of Victoria Watson; Spazi Aperti 2010 at the Romanian Academy, curated by Mirela Pribacand Dina Dancu, including works by Helen Sturgess and Victoria Watson; and finally, Joanna, William, Lothar, Celia,Darren, Helen and Victoria took part in the third Fine Arts exhibition at the School, entitled Nice Work.The Fine Arts programme could have not succeeded in assisting the resident artists and architects without the valuablecontribution of Research Assistants and interns.This year, Joanna Norledge, a young RCA graduate and recent intern at the British Museum Archive, worked at the BSR asvoluntary Research Assistant during September 2009. She examined a cross-section of Fine Arts files, and wrote a clear anduseful report summarizing her analysis and suggestions.When Joanna left, Martina Sconci took over as voluntary Research Assistant from October 2009 to June 2010. Hercontribution, besides what was already outlined above, included revising and updating press contacts and mailing lists,working on publicity and contacts with press, assisting with the hang of exhibitions and invigilating. In December 2009,Martina invited critic Francesca Campli to visit the BSR studios, and the outcome was Francesca’s thorough article entitled‘British School at Rome – un occhio esterno sulla città di Roma’ in the on-line magazine Art A Part of Culture.On behalf of the resident artists and architects, as well as my own, I want to conclude by thanking all of the staff at theBritish School for their constant help and support; especially to Maria Pia Malvezzi, Donatella Astolfi, Alba Coratti, MarisaScarsella, Fulvio Astolfi, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino.Jacopo BenciAssistant Director Fine Arts8Fine Arts 2009-2010

A maggio, Joanna Bryniarska, William Gharraie, Celia Hempton e Darren Murray, assieme a quattro artisti romani,hanno esposto in BSR_Downtown, a cura di Daniela Voso e Martina Sconci all’ESC Atelier; Joanna Bryniarska, WilliamGharraie, Lothar Götz, Celia Hempton, Darren Murray e Helen Sturgess hanno partecipato ad Accademia delle Accademienel Complesso di Santo Spirito in Sassia, curata da Shara Wasserman nell’ambito dell’edizione 2010 della fierainternazionale Roma The Road to Contemporary Art. A giugno Victoria Watson ha partecipato alla mostra ForeignArchitects Rome al Tempio di Adriano, anch’essa curata da Shara Wasserman; Spazi Aperti 2010 all’Accademia diRomania, a cura di Mirela Pribac e Dina Dancu, ha incluso opere di Helen Sturgess e Victoria Watson; quindi, aconclusione dell’anno, Joanna, William, Lothar, Celia, Darren, Helen e Victoria hanno partecipato alla mostra Fine Artsall’Accademia Britannica, intitolata Nice Work.Il programma Fine Arts non potrebbe garantire pieno sostegno agli artisti e architetti residenti senza il significativocontributo di Research Assistants e stagisti.Joanna Norledge, giovane laureata del Royal College of Art e poi stagista presso l’Archivio del British Museum, halavorato alla BSR come Research Assistant volontaria durante settembre 2009. Dopo aver esaminato una selezione dimaterali dell’archivio Fine Arts, ha riassunto in un chiaro e utile rapporto le sue analisi e i suoi suggerimenti.Quando Joanna è andata via, le è subentrata come Research Assistant volontaria Martina Sconci, da ottobre 2009 agiugno 2010. Il suo contributo, oltre a ciò che ho delineato più sopra, ha compreso revisione e aggiornamento dei contattistampa e degli indirizzari, preparazione del materiale e contatti con la stampa, assistenza nell’allestimento delle mostre enella guardiania. A dicembre 2009, Martina ha invitato il critico Francesca Campli a visitare gli studi dell’Accademia, e ilrisultato è stato un ampio articolo di Francesca per il portale Art A Part of Culture, intitolato ‘British School at Rome – unocchio esterno sulla città di Roma’.Devo infine ringraziare, a nome degli artisti e architetti residenti oltre che mio personale, tutto lo staff dell’AccademiaBritannica per il costante aiuto e sostegno; e in particolare, Maria Pia Malvezzi, Donatella Astolfi, Alba Coratti, MarisaScarsella, Fulvio Astolfi, Antonio Palmieri, Renato Parente, Giuseppe Pellegrino.Jacopo BenciAssistant Director Fine Arts9

E XHIBITIONST EMPO R EALE 0925-26 September 2009Kim Anderson, Celia Hempton, Tom Price,Christopher Cook, Susie David, Nicole Ellis, Margaret KellyT HE THINGS I DID AND THE MONEY I SPENT11-19 December 2009Douglas Ardern, Joanna Bryniarska, Nicholas Champkins, William Gharraie, Brent Harris,Celia Hempton, Gwyn Lloyd Jones, Darren Murray, David O’Kane, Martin Westwood‘SE NON È VERO, È BEN TROVATO’12-20 March 2010Phillip Allen, Joanna Bryniarska, Nicholas Champkins, William Gharraie,Celia Hempton, Darren Murray, Jan Murray, Tom Price, Darrel RonaldN ICE W ORK11-19 June 2010Joanna Bryniarska, William Gharraie, Lothar Götz, Celia Hempton,Darren Murray, Helen L. Sturgess, Victoria Watson11

Phillip AllenThe Profit of Wow (Slives Version) 2009oil on board, 41 x 51 cmcourtesy The Approach, London12Fine Arts 2009-2010

The Drama of False Appearances 2009oil on board, 41 x 51 cmcourtesy The Approach, London13

Kim AndersonBody Fragment II: Eroded Strength 2009ink over graphite wall rubbing on Japanese paper, approx. 75 x 48 cmThe body is everywhere in Rome; in the museums and galleries, on the streets, the obelisks, the aqueducts and the fountains.The city itself is a living, breathing entity, an ancient being possessing the wisdom and knowledge borne out of three thousandyears of experience. It has loved and lost, been abandoned and left others behind, lived through riches and poverty, triumphs,defeats and tragedies. Its weathered surface is like a ravaged skin bearing the traces and scars of a lifetime. Fragments of stoneand marble become as broken bones and worn teeth, and glimpses of faces and figures evoke memories of a once vigorous andyouthful body now aged and weary.14Fine Arts 2009-2010

Body Fragment I: Ravaged Beauty 2009ink over graphite wall rubbing on Japanese paper, approx. 73 x 46 cmIl corpo è ovunque a Roma: nei musei e nelle gallerie, nelle strade, su obelischi, acquedotti e fontane. La città stessa è un’entitàvivente che respira, un essere antico che possiede una saggezza e una conoscenza frutto di tremila anni d’esperienza.Un essere che ha amato e perso, che è stato abbandonato e che ha lasciato altri alle proprie spalle, è vissuto in ricchezza epovertà, trionfi, sconfitte e tragedie. La sua superficie erosa dalle intemperie è come una pelle rovinata che reca le tracce e lecicatrici di un’intera vita. Frammenti di pietra e marmo divengono come ossa spezzate e denti consunti, e scorci di volti e figureevocano ricordi di un corpo un tempo vigoroso e giovanile, ora invecchiato e stanco.15

Douglas Ardern‘ROOMS UNDER THE SKY’‘STANZE SOTTO IL CIELO’The fossilised ‘Aedicule’ is today mostly foundonly in funeral architecture & thus is literallydying – a death which parallels that which itrepresents.Through an exploration of an historicalaccount of Rome ~ its mythology, art &architecture were revealed to me by staff & fellowscholars of the School. Realisations were found ineach lingered view & dwelt sensation. Theirdetailed discovery being extracted through thereciprocation of dérive & sketching; theirsublimation into a discourse echeloned throughthe ecumenism found within new friendships.To clarify these episodes, an epistle wascomposed to the muse; constructed in diary form~ its tale, circularly, drove and was driven by thedescribed consanguineity of events.Echoes of this text were installed within aninstantiated alcove that, in turn, catalyzed theleitmotif of the work. In this way, a pseudo miniaturecappella was exhumed from the detritus of a storagecupboard. Its altar, a model of a proposedchimerical crematorium subtitled ‘Dead Palatine’,was also described in two side altarpieces. Therefore,paralleling my hitherto veiled understanding ofarchitectural, painterly and sculptural workspresented within (and embodied as) the churches ofRome, so too did I seek to convey the poeticallyplagiarized parables of ‘Aedicule Niche’; theprotagonist in a projected text interspersed withfurther illuminations that formed a shifting mainaltarpiece within this professedly picayunegalleria’s vestry postulated as propitious priory.‘Dead Palatine’ depicts a triptych of sacellapictured upon an allegorical Golgotha. Togetherthey formulate the atavistic relationship betweenthemselves and that upon which they have beenplaced. Thus, posited over the remains of thetemples ‘Magna Mater’, ‘Victoria Virgo’ &‘Victory’ are, respectively, the ‘Columbaria diPoetica’ (vacillating between De Chirico & the‘Square Colosseum’), the Renaissance ‘Palazzo delMorto’ (space for a wake) & the funeral chapel‘Cappella Spiritualità’. Piazza Gola (the throat[voice]) is the space found between.La fossilizzata ‘Aedicula’ si trova oggi per lo piùsolo nell’architettura funeraria & dunque staletteralmente morendo – una morte che corrispondea ciò che essa rappresenta.Attraverso l’esplorazione di una descrizione storicadi Roma ~ la sua mitologia, arte & architettura mivennero rivelate dal personale & e dai colleghiresidenti dell’Accademia. Consapevolezze vennerotrovate in ciascuna persistente visione & sensazionesu cui ci si soffermasse. La loro dettagliata scopertaveniva estratta grazie allo scambio di dérive & schizzi;la loro sublimazione in discorso si scaglionavanell’ecumenismo trovato in nuove amicizie.Per chiarire questi episodi, venne compostaun’epistola alla musa; costruita in forma di diario ~il suo racconto, circolarmente, conduceva ed eracondotto dalla descritta consanguineità degli eventi.Echi di tale testo vennero concretamente installatientro un’alcova che, a sua volta, catalizzava illeitmotif dell’opera. In tal modo, una pseudocappellain miniatura venne esumata dai detriti diun deposito. Il suo altare, modello di proposta per unchimerico crematorio sottotitolato ‘Dead Palatine’, fualtresì descritto in due pale laterali. Dunque,trovando un’equivalente per la mia fin allora velatacomprensione delle opere architettoniche, pittoriche escultoree presentate nelle (e incarnate come) chiese diRoma, cercai anch’io d’esprimere le parabolepoeticamente plagiate di ‘Aedicule Niche’: ilprotagonista di un testo proiettato, punteggiato diulteriori illuminazioni che formavano una mobilepala principale entro questa sacrestia –dichiatamente di scarso valore – della galleria,postulata quale propizio monastero.‘Dead Palatine’ raffigura un trittico di sacellipresentati sopra un allegorico Golgota. Insiemeformulano l’atavistica relazione fra sé e ciò su cuisono stati collocati. Così, sopra i resti dei templi di‘Magna Mater’, ‘Victoria Virgo’ & ‘Vittoria’stanno, rispettivamente, i ‘Columbaria di Poetica’(vacillanti fra De Chirico & il ‘ Colosseoquadrato’), il rinascimentale ‘Palazzo del Morto’(spazio per una veglia) & la funeraria ‘CappellaSpiritualità’. Piazza Gola (la gola [voce]) è lospazio che si trova in mezzo.Watercolours with pencil & pen describing the decay of Rome through that of its plaster, each 6 by 3.5 cm‘Dead Palatine’ (over leaf) Architectural drawings ~ pencil & watercolour on paper, 75 by 50 cm16Fine Arts 2009-2010

Joanna BryniarskaUntitled 2010gesso and oil on laminated digital print mounted on forex, 81 x 60 cm18Fine Arts 2009-2010

Drink Deep Or Taste Not The Plasma Spring 2010digital print, 8 x 6 cm19

Nicholas ChampkinsRome dispels the notion that ordinary buildings areuninteresting. Amidst the ruins of classical antiquity and theset piece architecture of the Renaissance and Baroque, abackdrop of generous and simple space is provided foreveryday city living. A city needs hierarchies of scale andcharacter in its urban fabric to ensure a coherent andlegible whole, but it is the everyday which provides theclues for a contemporary architecture embedded in ‘place’.An understanding of the buildings and spaces thatregister at this ‘lower volume’ allows an architect to workwithin, and contribute to, situations, each with a peculiarset of existing conditions. Such an emphasis – an interest inthe everyday (the quiet, interesting and imperfect) – doesnot necessarily lead to an intervention that silently mimicsor blends with its neighbours. Rather, architecture can beproposed that modifies or distorts the familiar and local tomake a subtle yet tangible contribution to the real, andflawed, situation. The value lies in the desire to make abuilding that could be nowhere else but there.Architecture is by definition about stasis, and about themaking of material interventions of a finite size, in specificsituations. With each site and project the architect isrequired to make a balanced judgement as to when to createor inflect the special and different. In other words: when toturn the volume up. This need not, however, equate tobringing a predetermined architectural vocabulary to anygiven situation nor pursuing the creation of original shapesand spatial experiences. It can mean considering thecomplexities and ambiguities found in familiar architecturalforms to represent the existing and known.The drive for perpetual novelty and popularity of thearchitecture of the ‘icon’, with its generalising impact on thecharacter of a place, undermines cultural continuity. Muchgreater richness can be found in an architecture that isconscious of its ‘fit’, one which recognises the differencebetween being inside, looking out, and being outside,observing, and participating in, not just one structure butthe city. This is an approach that celebrates, andemphasises, gaps and thresholds, rooms, and the spacesbetween. The arrangement and articulation of wallsdescribes the relationship between the inside and theoutside, the tension between things. A valuable and relevantarchitecture can be developed where apertures order andarticulate, linings describe internal volumes and claddingresponds to the material context.Roma smentisce la nozione che gli edifici ordinari siano privid’interesse. Fra le rovine dell’antichità classica e l’arredoarchitettonico del Rinascimento e del Barocco, uno sfondo dispazio generoso e semplice viene fornito alla vita quotidianadella città. Una città ha bisogno di gerarchie di scala ecarattere nel suo tessuto urbano per assicurare un assiemecoerente e leggibile, ma è il quotidiano a fornire le indicazioniper un’architettura contemporanea radicata nel ‘luogo’.La comprensione degli edifici e degli spazi che vengonopercepiti a questo ‘volume più basso’ consente a un architettodi lavorare, e di contribuire all’interno di situazioni ognunacon un assieme specifico di condizioni esistenti. Una taleenfasi – un interesse per il quotidiano (quieto, interessante eimperfetto) – non porta necessariamente a un intervento chetacitamente mimi ciò che sta intorno o vi si mescoli. Si puòproporre un’architettura che modifichi o distorca il familiare eil locale per dare un sottile ma tangibile contributo allacompromessa situazione reale. Il valore sta nel desiderio direalizzare un edificio che non possa trovarsi altro che là.L’architettura ha a che fare per definizione con la stasi,con il fare interventi materiali di dimensione finita insituazioni specifiche. Per ciascun sito e progetto si chiedeall’architetto di dare un giudizio equilibrato su quandocreare o quando modulare ciò che è speciale e differente. Inaltre parole: quando ‘alzare il volume’. Questo non deve,peraltro, corrispondere all’applicare un vocabolarioarchitettonico predeterminato a qualunque situazione datané al perseguire la creazione di forme ed esperienze spazialioriginali. Può voler dire considerare le complessità e leambiguità che si trovano nelle forme architettoniche familiariper rappresentare l’esistente e il conosciuto.La spinta alla perpetua novità e popolaritàdell’architettura della ‘icona’, col suo impatto generalizzantesul carattere di un luogo, mina la continuità culturale.Un’assai maggior ricchezza può essere trovata inun’architettura che sia cosciente di dove ‘va bene’, chericonosca la differenza fra lo stare all’interno, guardare fuori, elo stare all’esterno, osservare, e partecipare, non solo ad unastruttura ma alla città. Tale approccio celebra, e sottolinea,interstizi e soglie, stanze e spazi intermedi. La disposizione earticolazione dei muri descrive la relazione fra interno edesterno, la tensione fra le cose. Un’architettura che abbiavalore e pertinenza può essere sviluppata laddove le aperturediano ordine e articolino, le pareti descrivano volumi interni eil rivestimento si adegui al contesto materiale.20Fine Arts 2009-2010

Detail, Via del Babuino, March 201021

William GharraieLife Shelled, Against Heaven 201022Fine Arts 2009-2010

Lothar GötzNebenräume – Schwarz 2009colour pencil on paper, 84 x 59 cmprivate collection24Fine Arts 2009-2010

Untitled 2009acrylic and colour pencil on board, 60 x 42 cmcourtesy Petra Rinck Gallery, Düsseldorf25

Brent Harristhe devil loves you no. 2 2010charcoal and gouache on panel, 42 x 28 cm26Fine Arts 2009-2010

the devil loves you no. 3 2010charcoal and gouache on panel, 42 x 28 cm27

Celia HemptonBlack Hearted 2009oil on canvas, 30 x 30 cm28Fine Arts 2009-2010

Billennium 2010acrylic on board, neon, found object, dimensions variableSound Track for Billennium 2010performance

Gwyn Lloyd JonesWHEN FRANK MET FRANCESCOQUANDO FRANK INCONTRÒ FRANCESCOThe aim of this research was to explore the cross-culturaldialogue between Frank Lloyd Wright (1967-1959) andItalian architecture. Wright’s journeys to Italy were anexample of a cross-cultural exchange that form an importantpart of architectural ‘progress’, and his visit to Fiesole in1910 assisted in coalescing his organic architecture. Afterthe Second World War, Bruno Zevi returned to Italy fromexile to promote Wright, publishing Towards an OrganicArchitecture (1945) – a direct attempt to reclaim the spirit ofmodernism away from Le Corbusier’s functionalistmanifesto. In 1951, Wright’s embodiment of Americanideals and creative virility was called upon as a bulwarkagainst the Italian Communists when he opened his ownretrospective in Florence.Within The Modern Language of Architecture (1978) Zeviexplicitly confronts The Classical Language of Architecture(1964) by John Summerson, presenting an “anti-classicallanguage”, and he claims that the Baroque and Organicarchitecture shared the same “linguistic phenomenon” thatwas derived from similar sources: the Baroque representedthe dissolution of the Renaissance rigor, mediated byMannerism, and Wright’s ‘organic’ architecture was a breakfrom the rationalism of Chicago industrial architecture.Whilst escorting Wright in June 1951, Zevi describes theirlast day together: “...wandering much of the afternoonaround Rome, where he met the architect I love most afterWright, the Baroque master Francesco Borromini.”Furthermore, Borromini and Wright were related by anunderstanding of nature and its primacy in architecture.Zevi’s proposed connection between the organic andbaroque was a stimulating and contentious analogy.Wright’s early work had Baroque tendencies: at the UnityTemple (1905), the centrality and massiveness of theenclosure were apparent, whilst the Robie House (1909)exhibits a perpetual movement and distortion. However,Wright displayed a worrying trend towards the end of hiscareer with bombastic Baroque-Rococo buildings, and itmay be that Wright’s later work exhibited a Roman Baroqueinfluence. Despite Zevi’s best efforts, the work of Wrightwithin Italy was peripheral, there were individual exemplarprojects where Wright’s work found willing disciples, somemotivated by Wright’s ideas, politics or aesthetic – but theywere not a movement and Wright’s architecture remainscontested.Lo scopo di questa ricerca era esplorare il dialogotransculturale fra Frank Lloyd Wright (1967-1959) el’architettura italiana. I viaggi di Wright in Italia furono unesempio degli scambi transculturali che costituiscono unaparte importante del ‘progresso’ architettonico, e la sua visitaa Fiesole nel 1910 contribuì a definire la sua architetturaorganica. Dopo la seconda guerra mondiale, Bruno Zevitornò in Italia dall’esilio per promuovere Wright,pubblicando Verso un’architettura organica (1945) – untentativo diretto di allontanare lo spirito del modernismo dalmanifesto funzionalista di Le Corbusier. Nel 1951, quandoWright inaugurò la sua retrospettiva a Firenze, si feceappello al suo incarnare gli ideali e la virilità creativadell’America quale bastione contro i comunisti italiani.Ne Il linguaggio moderno dell’architettura (1973) Zevi,presentando un “linguaggio anti-classico”, affrontaesplicitamente The Classical Language of Architecture(1964) di John Summerson, e sostiene che il Barocco el’Architettura Organica condividono lo stesso “fenomenolinguistico” che era derivato da fonti simili: il Baroccorappresentava la dissoluzione del rigore del Rinascimento,mediato dal Manierismo, e l’architettura ‘organica’ di Wrightrompeva col razionalismo dell’architettura industriale diChicago. Accompagnando Wright nel giugno 1951, Zevidescrive il loro ultimo giorno assieme, “...vagando gran partedel pomeriggio per Roma, dove egli incontrò l’architetto cheio amo di più dopo Wright, il maestro barocco FrancescoBorromini”. Borromini e Wright erano inoltre legati dallacomprensione della natura e del suo primato in architettura.Il collegamento proposto da Zevi fra architettura organica ebarocca era un’analogia stimolante e controversa. L’operainiziale di Wright aveva tendenze barocche: nello UnityTemple (1905) la centralità e imponenza del recinto eranoevidenti, mentre la Robie House (1909) esibisce un perpetuomoto e distorsione. Peraltro, verso la fine della sua carrieraWright manifestò una preoccupante tendenza versoampollosi edifici barocchi-rococò, e può darsi che l’operatarda di Wright mostri un’influenza del Barocco romano.A dispetto degli sforzi di Zevi, l’opera di Wright in Italia fumarginale; vi furono singoli progetti esemplari in cui l’operadi Wright trovò volonterosi discepoli, alcuni dei qualimotivati dalle idee di Wright, politiche o estetiche – ma noncostituirono un movimento e l’architettura di Wright restacontroversa.30Fine Arts 2009-2010

Sant’Ivo alla Sapienza, Rome(1642-60) by Francesco BorrominiSocial Services Building, Ivrea(1954-57) by Figini and Pollini31

Darren MurrayHe will show you a magnificent cathedral 2009gouache on board, 18 x 24 cm32Fine Arts 2009-2010

The sound of ancient music borne upon the light of a new dawn 2009gouache on board, 18 x 24 cm33

Jan MurrayTorn in Roma 2010installation: paint on wall; 2 paintings, oil on linen, 60 x 45 cm each34Fine Arts 2009-2010

Da LF ma per Alba [After LF but for Alba] 2010oil on linen, 5 paintings, 30 x 30 cm each35

David O’KaneStills (Carol Anne), 2010oil on canvas, 12 paintings from a series of 24, 50 x 40 cm each, & animated HD videoStills (Carol Anne) is an installation of 24 paintings and an animated high definition video composed of these 24 paintings as frameswithin one second. The installation portrays a complete rotation around the figure in two different media. The illusion of movementcreated by the animation imbues the paintings with a sculptural quality that generates a spatial depth. It is a space of perpetual motion thatvanishes when the movement stops. The difference between the animated video and the installation of paintings is similar to the contrastbetween a flat map of the world and a globe. Certain elements are lost in translation so that other aspects can be distinguished with greaterclarity. The linear display of the paintings actually inverts the inward gaze, transposing the depicted reality into a panoramic frieze.The piece highlights the impossibility of an overall view. It is primarily concerned with distortions and failure inherent in the mechanicsof representation and the attempt to reconcile the discrepancies with a perceived reality. It encompasses painting, drawing, video,photography, sculpture and virtual reality either explicitly through an employment of these media or by association.The Academic of no Academy is an ongoing project composed of interviews, performances, animation and still photographs. The projectexplores the various views of the enigma that is Giordano Bruno through an organic reappraisal of history from shifting perspectives. I haveconducted several interviews with experts on Bruno such as Ingrid Rowland and Hilary Gatti. I have also filmed performances byChristopher Smith and Jacopo Benci. At present these elements take the form of a high definition video and they will be developed into alarger project in the future.36Fine Arts 2009-2010

The Academic of no Academy, 2010HD video, 30’17”Stills (Carol Anne) è un’installazione di 24 dipinti e un video d’animazione ad alta definizione composto dai 24 dipinti come fotogrammidella durata di un secondo ognuno. L’installazione descrive una rotazione completa attorno alla figura in due differenti media. L’illusionedel movimento creata dall’animazione conferisce ai dipinti una qualità scultorea che genera profondità spaziale. È uno spazio di motoperpetuo che svanisce quando il movimento cessa. La differenza fra il video d’animazione e l’installazione di dipinti è simile al contrastofra una mappa piana del mondo e un globo. Certi elementi si perdono nella traduzione così che altri aspetti si possano distinguere conmaggior chiarezza. La disposizione lineare dei dipinti inverte in effetti lo sguardo rivolto all’interno, trasponendo la realtà raffigurata inun fregio panoramico. L’opera sottolinea l’impossibilità di una veduta complessiva. Riguarda primariamente le distorsioni e il fallimentoinerenti alla meccanica della rappresentazione, e il tentativo di conciliare le discrepanze con una realtà percepita. Comprende pittura,disegno, video, fotografia, scultura e realtà virtuale, esplicitamente attraverso l’impiego di questi media, o per associazione.The Academic of no Academy è un progetto composto da interviste, performances, animazione e fotografie. Il progetto esplora lediverse visioni sull’enigma che è Giordano Bruno attraverso un organico riesame storico da prospettive in movimento. Ho condottodiverse interviste con esperti di Bruno quali Ingrid Rowland e Hilary Gatti. Ho inoltre ripreso performances di Christopher Smith eJacopo Benci. Questi elementi hanno attualmente la forma di un video ad alta definizione, e saranno sviluppati in futuro in unprogetto più ampio.37

Tom PriceHead 12 (Looking back at Rome) – Clay sculpt 2010polymer clay, brass, MDF, epoxy resin, paint, 20 x 18 x 18 cm38Fine Arts 2009-2010

Hand Arrangement (Marble draft) 2010perspex face mounted digital print on Fuji Crystal Archive paper, 59.4 x 42 cm39

Darrel RonaldThe three works shown in the exhibit run parallel to theresearch carried out while in Rome concerning Cities andComplexity. These three pieces are part of an effort todocument my experience and interpretation in/of Rome.Both Roman Constructions and Roman Mapping areelaborated ideas from the first work, Rome: A Project AboutProjects, which is a catalogue of project ideas that I hadwhile working at the BSR, but did not have time toelaborate upon. They are documentation (sketches) ofpotentiality.I tre lavori esposti nella mostra procedono in parallelo allaricerca che ho sviluppato durante la mia residenza a Roma,riguardante Cities and Complexity. Questi tre lavori sonoparte di un tentativo di documentare la mia esperienza einterpretazione a/di Roma. Sia Roman Constructions cheRoman Mapping sono idee elaborate a partire dal primolavoro, Rome: A Project About Projects, che è un catalogo diidee progettuali nate mentre lavoravo alla BSR, ma che nonho avuto tempo di elaborare. Sono documentazione (schizzi)di potenzialità.Roman Mapping (Ongoing work) 2010ink on tracing paper40Fine Arts 2009-2010

Roman Constructions 2010digital print on photographic paperRome: A Project About Projects 2010laser print and ink on paper41

Helen L. SturgessMemory and loss are recurring themes inmy work, as are attendant feelings ofnostalgia, despair, isolation andvulnerability. A fascination with memoryand other thought processes extends to theways we reinforce and retain positivememories and associations, as well as howwe avoid confronting the unpleasant.I want to make thought visible, from thesubversive and repugnant to the sacred orheroic. In investigating the nature ofthought and memory, I am trying to maketangible some of the most fleeting orrepressed. Much of my work is small inscale, reflecting the interior landscape I amexploring – tiny worlds where one is leftoutside peering in. In Dark Matter I havereversed that – a scale so large that oneinhabits a drawn world of thought.Memoria e perdita sono temi ricorrenti nelmio lavoro, così come i concomitantisentimenti di nostalgia, disperazione,isolamento e vulnerabilità. L’interesse perla memoria ed altri processi di pensiero siestende ai modi in cui rafforziamo econserviamo ricordi ed associazioni positive,così come a quelli con cui evitiamo diaffrontare quelli spiacevoli.Voglio rendere visibile il pensiero, dalsovversivo e ripugnante al sacro o l’eroico.Nell’indagare la natura del pensiero e dellamemoria, cerco di rendere tangibili alcunedelle cose più fugaci o represse. Molto delmio lavoro è di piccola scala, riflettendo ilpaesaggio interiore che sto esplorando –minuscoli mondi cui non si può guardareche dall’esterno. In Dark Matter hocapovolto l’approccio – una scala cosìgrande che ci si trova ad abitare un mondodisegnato di pensiero.Black 2010plasticine on column, dimensions variable42Fine Arts 2009-2010

Dark Matter 2010plasticine and paper, dimensions variable43

Victoria WatsonAir Grid/Soft Wall, view A 2010silk thread, foam board and white lacquerThe project that is the subject matter of this research thinks about the building element of the wall through the medium of theAir Grid. In order to serve as a guide to this manner of thinking the research work turns between the ancient walls of Rome, asimagined in the depictions of Piranesi and another, modern wall of Rome, which is the one kilometre long block of housingthat lies in the South Western sector of the City and is called Corviale.For more information about Air Grid visit: www.thebigairworld.co.uk44Fine Arts 2009-2010

Air Grid/Soft Wall, view B 2010silk thread, foam board and white lacquerIl progetto che è argomento di questa ricerca riflette sull’elemento costruttivo della parete attraverso il medium della Air Grid.Al fine di servire da guida a questo modo di pensare, il lavoro di ricerca si muove fra le antiche mura di Roma, come furonoimmaginate nelle raffigurazioni di Piranesi, e un altro, moderno muro di Roma, il complesso abitativo lungo un chilometroche si trova nella zona sud-occidentale dell’Urbe ed è chiamato Corviale.Per maggiori informazioni sulla Air Grid visitare: www.thebigairworld.co.uk45

Martin WestwoodA Seed is Still a Stone Until it is Sown 2009DVD, 12’15”46Fine Arts 2009-2010

B IOGRAPHIES49

PHILLIP ALLENAbbey Fellow in Painting, January-March 2010Born 1967, London. Lives and works in LondonEDUCATION1990-92 MA Fine Art, Royal College of Art, London1987-90 BA Fine Art, Kingston University, LondonONE PERSON EXHIBITIONS2009 Kerlin Gallery, Dublin2008 The Approach, London2007 Xavier Hufkens Gallery, Brussels2006 Milton Keynes Gallery, UK2005 Kerlin Gallery, DublinSolo Presentation, Brussels Art Fair2004 The Approach, London2003 Xavier Hufkens Gallery, Brussels2003 PS1, New York2002 The Approach, London1998 The Approach, LondonGROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School atRome2009 Rubbernecking, Transition Gallery, LondonHerbert Read Gallery, UCA, CanterburyKaleidoscopic Revolver, Hanjiyun ContemporarySpace, BeijingKaleidoscopic Revolver, Total Museum, Seoul, KoreaClassified, Tate Gallery, London2008 M25, Centro Cultural Andratx, Mallorca, Spain(curated by Barry Schwabsky)100 years 100 artists, London Underground20 years, Kerlin Gallery, Dublin2007 Hope and Despair, Cell, LondonEcho Chamber, British Council, 31 Alcalá, MadridLayer Cake, Fabio Tiboni Arte Contemporanea,BolognaKerlin Gallery, Dublin2006 Abstract, Mitchell Inness & Nash, New YorkKerlin Gallery, DublinArchipeinture, Le Plateau (FNAC), Paris, inconjunction with Camden Arts CentreWhen forms become attitude, AR/Contemporary Art,MilanSummer Exhibition, Kerlin Gallery, Dublin2005 British Art Show 6, touring exhibitionFantasy Island, Metropole Galleries, FolkestoneSuperNova, British Council touring exhibition2004 Stay Positive, Marella Arte Contemporanea, MilanReflections, Tongeren, Belgium2003 Candy Land Zoo, Canterbury Institute of Art, KentMillefiori Art Space, Athens, GreeceThe Drawing Show, Keith Talent Gallery, LondonKerlin Gallery, DublinDirty Pictures, The Approach, LondonPost Flat, New Art From London, Lock’s Gallery,Philadelphia (curated by Barry Schwabsky)2002 Another Shitty Day in Paradise, Bart Wells Institute,LondonThe Galleries Show, The Royal Academy, London2000 Nervous Kingdom, Bluecoat Gallery, Liverpool1998 British Invasion, Saks Fifth Avenue, New York1997 Cardboard Box and Tape, Norwich Gallery, Norwich(curated by Kirsty Ogg)Still Things (2 person show with Stuart Cumberland),The Approach, LondonMultiple Choice, Cubitt Gallery, LondonGrin and Bear It, Gasworks, LondonAWARDS AND RESIDENCIES2010 Abbey Fellowship in Painting, British School in RomeEDITIONS13, edition of 35, Other Criteria, London, 2007Phillip Allen. Drawings, edition of 50, Other Criteria, London,2007T-shirt design, Marni Fashion HouseSlim Volume, Andrew HuntPUBLIC COLLECTIONSTate Gallery, LondonSouthampton City Gallery, SouthamptonCCA Andratx, Mallorca, SpainThe British CouncilGovernment Art CollectionKIM ANDERSONAustralia Council Resident Artist, July-September 2009Born 1979, Ballarat, AustraliaEDUCATION2008 MFA, Duncan of Jordanstone College of Art &50Fine Arts 2009-2010

Design, University of Dundee, Scotland2006 Postgraduate Certificate in Art Conservation Studies,University of Melbourne2003 BFA (Hons), University of Ballarat Arts Academy1999 Diploma of Arts (Professional Writing and Editing),University of BallaratONE PERSON EXHIBITIONS2010 Soul / Skin / Space, Counihan Gallery, MelbourneA Natural Comparison, Art Gallery of Ballarat2008 The Hands of Huntly (installation), Deveron Arts,Huntly, Scotland2008 The year I disappeared, Arthur Creative Space, Ballarat2007 Lost/Found, The Convent Gallery, DaylesfordSELECTED GROUP EXHIBITIONS2010 Black + White, Space 22, Ballarat2010 Scope 10, Post Office Gallery, Ballarat2009 Tempo Reale 09, The British School at RomeAgendo Emerging Artist Award (finalists’ exhibition),Phoenix Gallery, MelbourneWorks on Paper 09 (finalists’ exhibition), BrunswickStreet Gallery, Melbourne2009/08 Flanagan Art Prize (finalists’ exhibition), St Patrick’sCollege, Ballarat2008 MFA Degree Show, Generator, Dundee, ScotlandRSA Student Exhibition, Royal Scottish Academy,Edinburgh, ScotlandLoops Haunt the Members, Generator, Dundee,Scotland2003 Over and Out, University of Ballarat Arts Academy2002 Beyond the Obvious, Chapel Off Chapel, MelbourneAWARDS AND RESIDENCIES2010-11 Honorary Artist in Residence, University of BallaratArts Academy2009 Australia Council International Studio Residency, TheBritish School at Rome2009 Hill End Artist in Residence Programme, MurraysCottage, Hill End, Australia2008-09 Curatorial internship, Deveron Arts, Huntly, Scotland2008 Hospitalfield House Residential Arts Centre, Arbroath,Scotland2007 Discovery Scholarship, University of Dundee,Scotland2002 Arts Academy Award for Excellence, University ofBallaratPUBLICATIONS2010 International Drawing Annual 5 (to be publishedOctober 2010), Manifest Creative Research Galleryand Drawing Center, Cincinnati, USADOUGLAS ARDERNRome Scholar in Landscape Architecture,October-December 2009HIGHER EDUCATION2009 RIBA Part III (ARB), London Metropolitan University1998 Studios in Architecture, Photography & Painting(mixed media), Rhode Island School of DesignExchange Program1998 Diploma in Architecture, Edinburgh College of Art1995 Bachelor of Architecture with Honours’ of the firstclass, Edinburgh College of ArtAWARDS, SCHOLARSHIPS AND BURSARIES2010 Prince of Wales Bursary for the Arts for The BritishSchool at Athens: shortlisted (current status)2009 Rome Scholarship in Landscape Architecture,The British School at Rome2008 Accordia, Cambridge: housing: Project Leader forMaccreanor Lavington Architects(in association with Feilden Clegg Bradley Architects& Alison Brooks Architects)Stirling Prize winner 2008National RIBA award winner 2008Regional RIBA award winner 2008Manser Medal 2008 (Short Listed)Wood awards 2007(Highly commended, Private Category)Housing Design Awards 2006(Medium-Build Winner & Overall Winner)Housing Design Awards 2003 (Project Winner)2005 Waterloo Road, London: mixed use apartment tower(completed as a hotel):Project leader for Maccreanor Lavington ArchitectsHousing Design Awards 2005 (Project Winner)Maccreanor Lavington2009 Masterplanner of the Year Award,Architect of the Year Awards 20092008 Private Housing Architect of the Year (over 14 units),Architect of the Year Awards 20081994 Andrew Grant Bequest Scholarship 1994(Best Student of the Year), Edinburgh College of Art51

PROFESSIONAL EXPERIENCE2002- Maccreanor Lavington Architects Ltd, London2002 Bambus Arkitekter AS, Oslo, Norway (July-Oct)2000-02 Harper Mackay Architects, London1998-99 Lund Hagem Arkitekter AS, Oslo, Norway1995-96 Mecanoo Architecten, Delft, The NetherlandsGROUP EXHIBITIONS2009 The things I did and the money I spent, The BritishSchool at Rome: ‘Rooms Under the Sky’,installation piece2008 Home/Away: Five Architects Build Housing in Britainand Europe, British Pavilion exhibit at the VeniceBiennale: Project leader for Maccreanor LavingtonArchitects, Terraced Housing in Cambridge (Accordia)2008 Evolving Norms of British Housing exhibition, RIBAHeadquarters, London: Project leader for MaccreanorLavington Architects, Terraced Housing in Cambridge(Accordia)2005 Exhibitions of Design Submissions (final six), RIBAHeadquarters, London: Project leader for MaccreanorLavington Architects, Atlantic College,Student Housing2001 Bolig 2000, competition exhibit, The NorwegianDesign and Architecture Centre, Oslo: 3 rd place entryJOANNA BRYNIARSKASainsbury Scholar in Painting and Sculpture,October 2009-June 20112009 The things I did and the money I spent, The BritishSchool at RomeRoyal Academy Graduation Show 2009, RoyalAcademy Schools, London2008 New Works, FAFA Finnish Academy of Fine ArtsGallery, Helsinki, FinlandPremiums 2008: Royal Academy Schools Interim Show,Sackler Wing, Royal Academy of Arts, LondonThe Painting Room, Transition Gallery, London2007 Influx: Royal Academy Students Group Exhibition,Nolias Gallery, Liverpool Street, London2006 Mirror Image: Self Portraits and Portraits, ArtonomyFine Art, Truro, CornwallBack to Back: An Exhibition of Paintings by AlexCalinescu and Joanna Bryniarska, Artonomy Fine Art,Truro, Cornwall2005 Bofu Bofu: University College Falmouth GraduatesExhibition, Surface Gallery, NottinghamAWARDS AND RESIDENCIES2009-11 Sainsbury Scholarship in Painting and Sculpture, TheBritish School at Rome2008 Richard Ford Award, Museo del Prado, Madrid, plusadditional awardHelsinki Exchange: symposium and exhibition,Finnish Academy of Fine Arts, Helsinki2007 Annual RWA Bursary, Royal West of EnglandAcademy, Bristol2004-05 Graduate Fellowship, Spike Island, BristolBorn 26 September 1981, Swindon, UKEDUCATION2006-09 Postgraduate Diploma, Fine Art, Royal AcademySchools, London2001-04 BA (hons) Fine Art, University College, Falmouth2000-01 Foundation Diploma, Art & Design, University ofWales Institute, CardiffONE PERSON EXHIBITIONS2005 Project Room, Collective Gallery, EdinburghGirl and Dead Goose, Spike Island, BristolGROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School atRomeNICHOLAS CHAMPKINSRome Scholar in Architecture, October 2009-March 2010Lives and works in London.Guest critic and tutor at several schools of architecture.www.champkins.co.ukEDUCATION2003 Post Graduate Certificate in Professional Practice,University of Cambridge2000 Master of Architecture, MArch (distinction), Universityof BathNominated for RIBA President’s Silver Medal andawarded Master of Architecture Design PrizeSuccessfully Grade II listing of ‘Overshot’, by Samueland Harding, 193752Fine Arts 2009-2010

PROFESSIONAL EXPERIENCE2000- Associate, Allies and Morrison Architects, LondonPrivate Practice, Nicholas Champkins Architects,LondonSELECTED PROJECTS2008- Project Associate: King’s Cross Central, a new majorheadquarters building for Sainsbury’s2007- Project Associate: Hamilton Gardens, Felixstowe, threecliff top apartment buildings2006 Project Architect: University of Bath masterplan andreplacement academic building2006 Project Architect: Girton College Library and Archive,University of Cambridge. RIBA, Civic Trust andSCUNOL Awards2004 Project Architect: Sidgwick site masterplan and newacademic building for the Institute of Criminology,University of Cambridge2002 Architect: BBC Media Village, White City, London,masterplan and first phase commercial development.RIBA AwardEXHIBITIONS2010 Se non è vero, è ben trovato, The British School atRome2009 The things I did and the money I spent, The BritishSchool at RomePUBLIC TALKS2010 Architecture: Reveals, conference paper presented at‘Grand Tour del Terzo Millennio’, Università di RomaTor Vergata2010 Walls Matter – a primer for contemporary practice,public lecture, The British School at Rome2009 Neither In nor Out, conference paper presented at‘Across and Between: An interdisciplinary Colloquiumon Space’, The British School at Rome. Co-organiserWILLIAM GHARRAIEAbbey Scholar in Painting, October 2009-June 2010Born Derbyshire, February 7 th , 1985EDUCATION2004-08 BA Fine Art, Newcastle UniversitySELECTED GROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School at Rome2009 The things I did and the money I spent, The BritishSchool at Rome2008 Saatchi’s 4 New Sensations, LondonAWARDS2009 Abbey Scholarship in Painting, The British School atRomeBartlett Scholarship2007 Bartlett Award, Siena2005 Bartlett Award, KrakowLOTHAR GÖTZAbbey Fellow in Painting, April-June 2010Born in Günzburg. Lives in London. Since 1999 he is SeniorLecturer in Fine Art at the University of Sunderland.EDUCATION1996-98 MA Painting, Royal College of Art, London1993-95 Kunstakademie, Düsseldorf1991-95 MA Aesthetics, University of Wuppertal1983-88 BA Visual Communication, Fachhochschule AachenSELECTED ONE PERSON EXHIBITIONS2009 ...driven by emotion – Olle Baertling’s proposal for TVtower and Parliament Building in Düsseldorf revisited,Petra Rinck Galerie, Düsseldorf2008 Mit Fritz im Beton Haus, rahncontemporary, Zürich2007 1952, Sitegalerie, Düsseldorf2006 All day long, Platform for Art / London Underground2005 Rutting Season – Theatre Royal, Nanling, China2004 Häuser für Tollmi, Museum Goch2003 Schloß Schachen, The Economist, London2002 Künstlerverein Malkasten, Düsseldorfforever young, Chisenhale Gallery, London2001 Gasworks Gallery, London2000 Kunstverein RecklinghausenStudio Galerie, Städtisches Museum Leverkusen,Schloss MorsbroichGoethe Institut, LondonMappin Art Gallery, SheffieldSELECTED GROUP EXHIBITIONS2010 Murals, Fundació Joan Miró, BarcelonaLe rêve – der Traum, Museum Bochum53

2009 privat, Von der Heydt-Museum, WuppertalWildwuchs, Niedersächsisches Landesmuseum,HannoverCoalesce/Happenstance, SMART project space,AmsterdamDrawing 2009, The Drawing Room, London2008 Re-Reading the Future, Prague Triennale, NationalGallery, PragueArchitektur in Bewegung, Kunsthalle Wilhelmshaven2007 Language of vision, mima, MiddlesbroughIdylle, Städtische Galerie RemscheidIdylle, DA2 Domus Artium, Salamanca, SpainSnap, Cell Project Space, London2006 Idylle, Phoenix Hallen / Sammlung Falckenberg,Hamburgcasa mia, mmki, Düsseldorf2005 Colours and trips, Palais Thurn und Taxis, BregenzFöhn, Chelsea Space, Londonlalaland, project, Dublinart futures, CAS / Bloomberg Space, London2004 Alterity Display, Lawrence O’Hana Gallery, London2003 remain in light, Northern Gallery of ContemporaryArt, SunderlandColors and Trips, Jacky Strenz Galerie, BerlinDrawn to be alive, Hales Gallery, Londonintermission, Bow Church/The Nunnery, London2002 Further-Up in the Air,The Independent, LiverpoolBiennialThe Bold and Beautiful, The Pavilions, LondonLove, curated by David Risley, London2001 Zwemmer Gallery, London2000 Gallery Bunkier Sztuki, KrakowVon der Heydt Museum, WuppertalStädtisches Museum BochumAWARDS AND RESIDENCIES2010 Abbey Fellowship in Painting, The British School atRome2006 Cocheme Fellowship, Byam Shaw School of Art,London2004 Artist Links Residency for Shanghai/China2002 Further-Up in the Air, LiverpoolTriangle Workshop, New York2000 London Arts Board Award1997-98 DAAD Postgraduate Scholarship for LondonBRENT HARRISAustralia Council Resident Artist, October-December 2009Born Palmerston North, New Zealand, 1956. Arrived Australia1981. Lives MelbourneEDUCATION1982-84 BFA, Victorian College of the Arts, MelbourneSELECTED ONE PERSON EXHIBITIONS2008 Deluge, Tolarno Galleries, Melbourne2007 Heads, Lister Gallery, PerthBorrowed plumage, Kaliman Gallery, Sydney2006 Deities, Tolarno Galleries, MelbourneJust a feeling: Brent Harris, selected works 1987-2005,The Ian Potter Museum of Art, University of MelbourneSwamp op – Brent Harris, Art Gallery of WesternAustralia, Perth2005 Singapore print and paper pulp works, Singapore TylerPrint InstitutePlato’s cave, Tolarno Galleries, Melbourne2004 The face, Art Gallery of New South Wales, SydneyAWARDS AND RESIDENCIES2009 Australia Council Residency, The British School atRome2004 Residency, Singapore Tyler Print Institute1999 Residency, Nagasawa Art Park, Japan1997 Grant, Visual Arts/Craft Board of the Australia Council1993-94 Residency, Cité Internationale des Arts, Paris (VisualArts/Craft Board of the Australia Council and PowerInstitute, the University of Sydney)1988 Grant, Visual Arts/Craft Board of the Australia Council1987-89 Residency, 200 Gertrude Street inc. Gertrude StreetArtists’ Spaces, MelbourneSELECTED COLLECTIONSArt Gallery of New South Wales, SydneyArt Gallery of South Australia, AdelaideArt Gallery of Western Australia, PerthBritish Museum, Department of Prints and Drawings, LondonMuseum of Contemporary Art, SydneyNational Gallery of Australia, CanberraNational Gallery of Victoria, MelbourneNational Portrait Gallery, CanberraQueensland Art Gallery, BrisbaneTasmanian Museum and Art Gallery, HobartThe Ian Potter Museum of Art, University of Melbourne54Fine Arts 2009-2010

CELIA HEMPTONSainsbury Scholar in Painting and Sculpture,October 2008-June 2010Born 1981, Stroud2007 Neville Burston Memorial Award, Royal College ofArt, London2003 Carnegie Travel Award, Royal Scottish Academy,EdinburghLandscape Drawing Prize, Glasgow School of ArtEDUCATION2005-07 MA Painting, Royal College of Art, London2000-03 BA (Hons) Fine Art, Painting, Glasgow School of ArtGWYN LLOYD JONESGiles Worsley Travel Fellow, October-December 2009SELECTED RECENT EXHIBITIONS2010 Easyjetsetters, The Forgotten Bar, BerlinThis Matter, The Royal Standard, LiverpoolRiff-Raff, hosted by A Palazzo Gallery (Brescia),LondonSe non è vero, è ben trovato, The British School atRome2009 The things I did and the money I spent, The BritishSchool at RomePurpling, Gimpel Fils Gallery, LondonMermaids vs Unicorns, i-20 Gallery, New YorkAtlas: Separated by Intervals, The Crypt Gallery atSaint Pancras Church, LondonAccademia delle Accademie, Temple of Hadrian, RomeOur lives are full of remarkable coincidences, TheBritish School at Rome123456 Crack!!!, RialtoSantambrogio, Rome2008 Figure of 8, The British School at RomeCelia Hempton, Contemporary Art Projects, London00 Nature, Contemporary Art Projects, London2007 My Penguin, 39 Gallery, LondonRoyal Academy Summer Show, Royal Academy of Arts,LondonS.A.W. Show, Sawmill, GlasgowMaterial Intelligence, Keith Talent Gallery at TrinityBuoy Wharf, LondonHot for Teacher, Nog Gallery, London2006 St Mungo and Me, Lightbox Gallery, Los Angeles2005 Circus Circus, Park Circus Gallery, Glasgow2004 Discerning Eye Exhibition, Mall Galleries, LondonPanorama, The Jail, GlasgowNew Scottish Contemporaries, Leith Gallery, EdinburghSELECTED AWARDS2008-10 Sainsbury Scholarship in Painting and Sculpture, TheBritish School at Rome2008 Shortlisted for Sovereign European Art Prize, ChelseaSpace, London2009 Giles Worsley Travel Fellowship, British School inRome – When Frank met Francesco, a cultural reviewof Frank Lloyd Wright’s engagement with Italianarchitecture, considering the influence of the Baroqueand Francesco BorrominiPresented paper On the Road with Frank LloydWright, AHRA Fieldwork Conference, EdinburghResearcher for Human Habitation Conference, RIBA,LondonPostgraduate Certificate of Special Study inSupporting Learning, University of Westminster2008 Judge for Architectural Scholarship for the WelshNational Eisteddfod2006 Writer and Presenter for Y Daith yw’r Stori (TheJourney was the Story), a television programme onFrank Lloyd Wright made for S4C, Welsh Channel 4Presented paper Unusual views of Outstanding sites,AHRA Student Symposium, Edinburgh2004 Registered for a part-time PhD research degreeentitled A Tale of Six Cities, investigating the culturalimpact of Frank Lloyd Wright beyond America, at theUniversity of WestminsterAwarded the LKE Ozolins Studentship by the RIBAResearch Awards CommitteeProfessional Practice in Architecture (Part 3),University of Westminster2002 Judge for Anne Spink Award for Excellence inArchitectural Education2001 Inaugural winner of the RIBA President’s DissertationMedal. The study entitled 12 Part Narrative retracedFrank Lloyd Wright’s annual migration betweenTaliesin North and Taliesin West and established anarmature for a cultural review of his work withinAmericaReginald W. Cave Prize for the Best Dissertation atOxford Brookes UniversityGraduate Diploma in Architecture (Part 2), OxfordBrookes University55

1995- Engaged with a number of architectural practicesincluding: Anthony Hunt Associates, Quay 2c,Skidmore, Owings and Merrill (SOM), Tonkin Liu,Stock Woolstencroft, and Weston Williamson1994 BA in Architecture (Part 1), University of NorthLondonDARREN MURRAYArts Council of Northern Ireland Fellow,October 2009-June 2010Born 1977. Lives and works in BelfastEDUCATION1996-99 BA Hons Fine and Applied Art, University of UlsterONE PERSON EXHIBITIONS2007 Darren Murray, The Third Space Gallery, Belfast2006 The Assisted Sublime, Kevin Kavanagh Gallery, DublinResort, Arte Ricambi,Verona2004 Pursuit of Pleasure, Kevin Kavanagh Gallery, Dublin2002 Constructed for Leisure, Kevin Kavanagh Gallery,Dublin2001 Halcyon Days, Context Gallery, DerryGROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School at Rome2009 The things I did and the money I spent, The BritishSchool at Rome2008 RHA 178 th Annual Exhibition (invited), RoyalHibernian Academy, DublinWexford Art Festival, Johnston Castle, Wexford2007 The Colour Show, Driaocht, BlanchardstownThe Double Image, Golden Thread Gallery, BelfastJourneys, Louvian Institute for Ireland, Leuven,BelgiumResolutions, American University Museum,Washington DCThings we may have missed, Golden Thread Gallery,BelfastTides, Regina Gouger Miller Gallery, Pittsburgh2006 Dogs Have no Religion, Czech Museum of Fine Art,Prague2005 The Nature of Things: Artists from Northern Ireland,51 st Biennale, Venice2004 Thinking About Ideas, Golden Thread Gallery, Belfast2003 Colourchart, Ormeau Baths Gallery, Belfast2002 Vivid, Laois Arts Festival, Portlaoise2001 Orrery, Golden Thread Gallery, BelfastARCO 2001, Madrid Art Fair, represented by CatalystArts2000 The Repeated Disappearance of Painting, OrmeauBaths Gallery, BelfastFriends and Neighbours, ev+a 2000, Limerick CityGalleryBarbie on the Beach, Proposition Gallery, Belfast1999 Fresh Ground, Ards Art Centre, NewtownardsAWARDS AND RESIDENCIES2009-10 Arts Council of Northern Ireland Fellowship, TheBritish School at RomeJAN MURRAYAustralia Council Resident Artist, January-March 2010Lives in Melbourne, AustraliaEDUCATION1993-95 Master of Art in Fine Art, Royal Melbourne Institute ofTechnology1980-81 Graduate Diploma in Fine Art, Victorian College ofthe Arts1976-78 Diploma of Fine Art, Ballarat College of AdvancedEducationSELECTED ONE PERSON EXHIBITIONS2009 Just Looking, Charles Nodrum Gallery, Melbourne2008 Torn, TCB Inc, MelbourneIncident, West Space, Melbourne2006 Constellations, Charles Nodrum Gallery, Melbourne2004 Southern Light, touring exhibition, Ballarat, Hamiltonand Wangaratta Art Galleries2003 In the Studio, Charles Nodrum Gallery, MelbourneSouthern Light, Glen Eira Gallery, Melbourne2002 Pilaster, Conical Inc, Melbourne2001 Echo, Charles Nodrum Gallery, MelbourneSELECTED GROUP EXHIBITIONS2009 A4 Art, West Space, MelbourneArthur Guy Memorial Art Prize, Bendigo Art Gallery,BendigoMinimalism, Charles Nodrum Gallery, Melbourne56Fine Arts 2009-2010

2008 A4 Art, West Space, MelbourneWhen You Think About Art, George Paton Gallery,MelbourneContemporaneous, Wangaratta Art Gallery, WangarattaRubic, Charles Nodrum Gallery, Melbourne2007 Recent Acquisitions, Ballarat Fine Art Gallery2006 A4 Art, West Space, Melbourne2005 Selecta, West Space, Melbourne2002 Off the Wall and Grounded, Latrobe University ArtMuseum, MelbourneAlbury Art Prize, Albury Regional Art Gallery, AlburyThe Painted Fold, The Garment in Art, CharlesNodrum Gallery, MelbourneTransit Narratives, Centro per la Cultura e le ArtiVisive Le Venezie, Villa Letizia, TrevisoSELECTED AWARDS AND RESIDENCIES2010 Overseas Residency, Visual Arts Board, AustraliaCouncil, The British School at Rome1999 Overseas Residency, Visual Arts/Craft Fund, AustraliaCouncil, Milan Studio1984 Overseas Fellowship, Visual Arts Board, AustraliaCouncil, Künstlerhaus Bethanien, BerlinDAVID O’KANEDerek Hill Foundation Scholar, October-December 2009Born in Donegal, Ireland in 1985. Lives and works in Berlinand Leipzig in Germany and Donegal in Ireland.www.davidokane.comEDUCATION2007-09 Graduation with Distinction, under professor NeoRauch, Academy of Visual Arts Leipzig, Germany2002-06 BA Joint-Honours Degree in History of Art and FineArt Painting (First Class Honours), The NationalCollege of Art and Design, Dublin, IrelandSELECTED ONE PERSON EXHIBITIONS2010 Still, Cavancor Gallery, Donegal, Ireland2009 Animare, Galerie Schuster, BerlinDissection, Filipp Rosbach Gallery, LeipzigDoppelgänger, Pierogi Gallery, Spinnerei, Leipzig2007 Scriptorium, CAP Foundation exhibition, Dublin2006 Camera Lucida, Galerie Sign, Groningen, TheNetherlandsSELECTED GROUP EXHIBITIONS2010 New Bottle, Old Wine, Filipp Rosbach Gallery, LeipzigThe Library of Babel / In and Out of Place, 176Zabludowicz Collection, London (curated by Anna-Catharina Gebbers)2009 The things I did and money I spent, The British Schoolat RomeCAP Foundation Exhibition, NCAD Gallery, DublinNeun Neue, Lindenau Museum, Altenburg, GermanyObART, Kirschau, GermanyVerona Art Fair with Gallery Perlini, ItalyClaremorris Open Exhibition, Claremorris, Ireland(curated by Tom Morton)Baluster, Columbus Art Foundation, LeipzigWerkschau 2009, Leipzig (opened by the GermanChancellor Angela Merkel)ev+a – Reading the city, Limerick, Ireland (curated byAngelika Nollert and Yilmaz Dziewior)Babble + Doppelgänger, installations, Haus desBuches, Leipzig179 th RHA Annual Exhibition, The Royal HibernianAcademy, DublinCirca Art Fair with Walter Otero Gallery, Puerto RicoScope Art Fair with Galerie Schuster, New York2008 Impressions, Galway Arts Centre, Galway, IrelandWinter Salon, Temple Bar Gallery, DublinClaremorris Open Exhibition, Claremorris, Ireland(curated by Lizzie Carey Thomas)1st Montijo International Plastic Arts Biennial – IXVespeira Prize, PortugalSerralves em Festa 2008, Oporto, Portugal (selected byRegina Guimarães)ev+a –Too early for vacation, Limerick, Ireland(selected and curated by Hou Hanru)2007 Paper illusions, FIKE International Short Film Festival,Evora, PortugalFear Not, Sligo Art Galley, Ireland (curated by PatrickDempsey)Platform 059, Eigse, Carlow, Ireland (curated byFrancis McKee, Garret Phelan and Maeve Butler)Paper illusions, film screening, Växhuset in Västerås,SwedenSELECTED AWARDS AND RESIDENCIES2009 Derek Hill Foundation Scholarship, The BritishSchool at RomeClaremorris Open Exhibition Award, Ireland (awardedby the curator Tom Morton)57

Lithography Residency at Obelisk Studio,Uithuizermeeden, The NetherlandsArtist in Residence at the Royal Hibernian Academy,Dublin2008 Honorary Award for Video + Installation, 1st MontijoInternational Biennial, PortugalArtistic Projects Tender, Serralves em Festa, Oporto,Portugal (awarded by Regina Guimarães)ev+a Open Award, Limerick, Ireland (awarded by thecurator Hou Hanru)Leipzig International Art Programme, Spinnerei, Leipzig2007 Travel and Mobility Award, Arts Council of Ireland,DublinDAAD Scholarship (+ extension in 2008), Bonn2006 Travel and Mobility Award, Arts Council of Ireland,DublinR.C. Lewis-Crosby Award for Painting at the RoyalDublin Society, IrelandCAP Foundation Residency Award, Lower LeesonStreet, Dublin (selected by Linda Pilaro, Luke Clancy,Duncan McClaren and Neil Burke Kennedy)Short-listed for Hennessy Craig Scholarship, RoyalHibernian Academy, DublinO’Sullivan Award for Graphic Art, Royal HibernianAcademy, Dublin2005 Emerging Artist Award, Portrait Ireland, Wexford,Ireland2004 Henry Higgins Travel Award, Royal Dublin SocietyThomas Dammann Travel Scholarship, RoyalHibernian Academy, DublinSELECTED COLLECTIONSThe Zabludowicz Collection, The CAP Foundation, TheTrapaga-Fonalledas Family Collection, The Office of PublicWorks, Bank of Ireland, Academie Minerva, AXA InsuranceTOM PRICEArts Council England Helen Chadwick Fellow,September 2009-March 2010Born 1981, London. Lives and works in Londonwww.tompricestudio.comEDUCATION2004-06 MA, Sculpture School, Royal College of Art, London2001-04 BA, 1 st Class Hons (sculpture), Chelsea College of Art,London2000-01 Art Foundation BTEC diploma (Distinction),Camberwell College of Art and Design, LondonSELECTED ONE PERSON EXHIBITIONS2008 Next Chicago Art Fair, solo show, Chicago, USASELECTED GROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School atRomeThe Armory Show, New York CityThe Royal Academy Summer Show (invited artist),London2009 Art Basel Miami, Miami, USA60 Miles by Road or Rail, Fishmarket Gallery,Northampton, UKIdentity, Andipa Gallery, London2008 Freedom Centre – This Show Will Change Your Life,Hales Gallery, LondonBeck’s Canvas, Entrance Gallery, Royal College of Art,London2007 Video Apartment, Dublin, IrelandAnticipation, One-One-One (David Robert’s gallery),London2006 Bloomberg New Contemporaries 2006, LondonRise Week 2006, Tricycle Short Film Festival,LondonTricycle Cinema, London (also guest speaker at event)In Motion, LondonNo Man is an Island, London2005 Peripheral Visions, Cork Film Centre, Ireland (curatedby Nigel Rolfe)2004 Future Map, The Arts Gallery, LondonLife or Theatre, MTV Studios, London2003 A Little Flat in Kensington, LondonAct 02, 291 Gallery, LondonPeter Blake – Circus, The Arts Gallery, London2002 Line Technician, winner of SUSTRANS commissionfor launch of new River Wandle trail routeAWARDS AND COMMISSIONS2009-10 Arts Council England Helen Chadwick Fellowship,The British School at Rome2008 Overall winner of Beck’s Canvas Competition(http://www.becks.co.uk/canvas.aspx)2004-06 Winner of Sir John Cass Foundation Scholarship58Fine Arts 2009-2010

DARREL RONALDQuébec Architecture Resident, Januar-March 2010HELEN L. STURGESSAustralia Council Resident Artist, April-June 2010Montréal, Canadawww.maketank.orgwww.openformarchitecture.comEDUCATION2003-05 Master’s Architecture, Computer Aided Design option;Graduated with Honours, Université de Montréal(CA)1997-2002Bachelor of Environmental Design, Architectureoption; Graduated with Honours, University ofManitoba (CA)PROFESSIONAL EXPERIENCE2009 Open Form Architecture, Partner2007 Dysturb.Net Web Magazine (www.Dysturb.Net )2008-09 The ARCOP Group, Montréal, CA2005-07 Maxwan Architects + Urbanists, Rotterdam2004-05 MedialabAU, Montréal2002-03 Hal Ingberg Architect, MontréalSELECTED GROUP EXHIBITIONS2010 Se non è vero, è ben trovato, The British School atRome2006 City of Skyscrapers, 3 rd International ArchitectureBiennale Ljubljana, Ljubljana (Slovenia)MedialabAU – Desynchronized Public Spaces, Maisonde l’architecture, Annecy (France)2005 RAIC Gold Medal Exhibition, Centre de l’Exposition,Montréal (CA)MedialabAU – Desynchronized Public Spaces, Societyfor Arts and Technologies, Montréal (CA)SELECTED AWARDS2010 Québec Architecture Residency, Conseil des Arts etLettres du Québec, The British School at Rome2008 Type B Research and Creation Grant, Conseil des Artset Lettres du Québec2005 Finalist, RAIC Gold Medal, Royal ArchitectureInstitute of Canada2002- Faculty of Architecture Endowment Fund, Universityof Manitoba, CanadaLives and works in London, Englandwww.helensturgess.comEDUCATION2009 MFA Sculpture, Slade School of Fine Art, London2006 BA Hons., Fine Art: Sculpture, Wimbledon School ofArt, London1995 Post-graduate Diploma in Third Sector Management,TAFE, Sydney1989 BA Psychology, University of New South Wales, SydneySELECTED ONE PERSON EXHIBITIONS2010 Dark Matter, Meantime, Cheltenham, UK2008 Escape Velocity (performance), The Observatory,UCL, London2008 Don’t Go There, Bookable Space, UCL, London2008 Things I might have seen... had I been looking, TheObservatory, UCL, LondonSELECTED GROUP EXHIBITIONS2010 Open West, CheltenhamPrint Now, London Art Fair, London2009 Goblet, Bearspace Gallery, Deptford, LondonDegree Show, Slade School of Fine Art, London2007 Episode 2: Studio / Storage / Show, Woburn SquareResearch Centre, London (curated by FormContent)2006 Dairy, The Installation Space, Wimbledon School ofArt, London (selected and curated by SorayaRodriguez)AWARDS2008-09 Audrey Wykeham Prize2006 Nominee for Idris Pearce PrizeRESIDENCIES2010 Australia Council for the Arts, The British School atRome2010 Meantime Project Space, Cheltenham2008 Kurt Schwitters Merz Barn, Littoral Trust, CylindersEstate, CumbriaCOLLECTIONSSplash, The Edward James Foundation, West Dean Estate,Chichester, UKSculpture, Library Archive, Henry Moore Institute, Leeds59

VICTORIA WATSONSargant Fellow in Architecture, April-June 2010MARTIN WESTWOODAbbey Fellow in Painting, October-December 2009Architect & Senior Lecturer at the University of Westminster,LondonEDUCATION2004 Doctor of Philosophy (Architecture), UniversityCollege, University of London1996 Master of Science (History of Architecture), UniversityCollege, University of London1985 Diploma in Architecture, Polytechnic of CentralLondon1981 Bachelor of Science (Architecture), UniversityCollege, University of LondonEXHIBITIONS AND EVENTS2009 Speculative Models, Air Grid and the Blossoming ofPerspective, two person show, with PenelopeHaralambidou. London Gallery West, University ofWestminster, Harrow, Middlesex. Funded by the ArtsCouncil2008 Air Grid: The City of Unimaginable Subjects – This isTomorrow Too, art/architecture event in collaborationwith The Mobile Studio, London Festival ofArchitecture 2008, Montague Place. Funded by theArts Council2005 Something For The Birds, with Will Mclean, BarnesBun Architecture Biennale, Barnes, London1989 An Apartment in Clerkenwell, realised project.Published in Domus, 704 (April 1989)PUBLICATIONS2009 ‘Problems of Painting and Building in Architecture –Introduction,’ Guest Editor, The Journal ofArchitecture, vol. 14, no. 3 (June 2009), 289-294.‘Pictorial Grids: reading the buildings of Mies van derRohe through the paintings of Agnes Martin,’ TheJournal of Architecture, vol. 14, no. 3 (June 2009), 421-438.2007 ‘How Henri Lefebvre Missed the Modernist Sensibilityof Mies van der Rohe: vitalism at the intersection of amaterialist conception of space and a metaphysicalapproach to architecture’, The Journal of Architecture,vol. 12, no. 1 (February 2007), 99–111.Lives and works in LondonEDUCATION1992-94 MA Fine Art, The Royal College of Art, London1988-92 BA Fine Art, Chelsea College of Art and Design,LondonONE PERSON EXHIBITIONS2009 Bloomberg Space, LondonObject Not Found, SE8, London2008 Silt Inter Lace, The Approach, London2007 The Approach, London2006 Art Statements, Art 37, Basel2005 fade held, Art Now Gallery, Tate Britain2004 Angelus Novus, Collective Gallery, Edinburgh2003 fatfinger (HAITCH . KAY . EKS), Project Arts Centre,Dublin2001 A Seed Is a Stone, The Approach, LondonSELECTED GROUP EXHIBITIONS2010 Acute Melancholia, curated by Linda Persson, Studio44, Stockholm, Sweden2009 The Real, curated by Fergal Stapleton, Biscuit Factory,London2008 Prospects and Interiors: Recent acquisitions of sculptors’drawings, The Henry Moore Institute, Leeds, UK2006 Metropolis Rise, Shanghai, 798 Space, Beijing,China2004 Reflections, Artuaca Kunsterfgoed Festival, Tongeren,BelgiumMotes in both eyes, The Ship, London2002 The Galleries Show, The Royal Academy, LondonLondon Underground, Taipei Fine Art Museum,Taiwan2001 Gate 13, Spitalfields, London2000 Limit less, curated by Matthew Higgs, GalerieKrinzinger, ViennaHeart & Soul, Borough, LondonEAST International, Norwich School of Art,Norwich1997 September, The Approach, London, selected by PeterDoig60Fine Arts 2009-2010

AWARDS AND RESIDENCIES2010 EKWC, The Netherlands2009 Abbey Fellowship in Painting, The British School atRomeStanley Picker Fellowship, Kingston UniversityElephant Trust2008 Ricklundgarden, residency in Saxnas, Sweden2005 Arts Council England, Grants to Individual Artists2004 Arts Council England, Grants to Individual Artists2001 British Council Grant2000 London Arts Board, Individual Artist Grant1994-96 Delfina Studio Trust Awards, Two Year StudioResidency61

T HE BRITISH SCHOOL AT ROMEDirectorAssistant DirectorResearch Professor in ArchaeologyMolly Cotton FellowCary FellowAssistant Director (Fine Arts)Fine Arts Research AssistantLibrarianDeputy LibrarianLibrary AssistantsArchivistRegistrar & Publications Manager (London Office)Director’s AssistantSchool SecretaryHostel SupervisorBursarAccounts ClerkDomestic BursarMaintenanceTechnical Assistant & WaiterCleanersCooksWaiter/PorterChristopher SmithSusan RussellSimon KeayHelen PattersonRobert Coates-StephensJacopo BenciMartina SconciValerie ScottBeatrice GelosiaFrancesca De Riso, Francesca DeliAlessandra GiovencoGill ClarkEleanor MurkettMaria Pia MalvezziGeraldine WellingtonAlvise Di GiulioIsabella GelosiaRenato ParenteFulvio AstolfiGiuseppe PellegrinoDonatella Astolfi, Alba Coratti, Marisa ScarsellaGiuseppe Parente, Dharma WijesiriwardanaAntonio Palmierivia Gramsci, 61 00197 Romatel. +39 06 3264939 fax +39 06 3221201www.bsr.ac.uk63

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Published by THE BRITISH SCHOOL AT ROME LondonISSN 1475-8733 ISBN 978-0-904152-56-2