Julika Gittner

Artist exploring the role of sculpture in contested politics of space
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United Kingdom (residence), Germany (citizenship) °1974
research interests: public sculpture, art & activism, art & regeneration
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Julika teaches and practices across the disciplines of art and architecture. Her sculpture, performance, sound and video works have been shown internationally and explore the social and political role of art and architecture. She has taught art and architecture at universities in the UK and abroad and has been Design Fellow in Architecture at the University of Cambridge since 2010 where she is currently teaching on the MPhil in Architecture and Urban Design (MAUD).  In 2019 Julika was awarded the SWW DTP2 PhD studentship to undertake an interdisciplinary practice-based PhD in Fine Art and Architecture at the Universities of Reading and Cardiff. Her thesis is entitled Manufacturing Dis-Content - Sculpture as a tool for counter propaganda and aims to develop a sculptural art practice that can communicate counter evidence in today’s contested politics of space.

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research expositions

  • The application of creative practice as a means of disrupting or re-defining the dynamics of power in, with or for different communities. (2022) author(s): Sabrin Hasbun, Gareth Osborne, Rachel Carney, Julika Gittner, Catherine Cartwright, agnes villette, Harry Matthews published in: Journal for Artistic Research
    In this exposition, seven research practitioners investigate how creative practice can be applied as a form of knowledge production in order to disrupt or re-define the dynamics of power in a range of different contexts. These applications of creative practice take varied and complex forms, often transferring creativity from the practitioner-researcher to their participants, increasing participant agency or re-defining existing hierarchies, as they form, empower, and enlighten real and conceptual communities. This collaborative exposition has been developed through presentations and discussions over the course of two years. Although each researcher applies different methodologies to their individual projects, our work as a group followed a pattern of creative practice, reflection, and reformulation, as we responded to each other’s research, creating a research community of our own. We want to emphasize that creative practice can not only disrupt or re-define the dynamics of power in a range of different contexts, but that it can do this in an infinite number of ways. In this variety and adaptability lies the potential of creative research.
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