Kate Briggs is a writer and translator based in Paris. She is the translator of Roland Barthes’s How to Live Together (2013)and The Preparation of the Novel (2011), both published by Columbia University Press. Other publications include: Exercise in Pathetic Criticism (2011) and The Nabokov Paper (2013), both published by information as material, and ‘Small Hand (a paper-size poem)’ in Convolution: A Journal of Conceptual Criticism. She has new work forthcoming in L’esprit créateur (on practicing with Roland Barthes) and downloadable from the Leeds College of Art Library website (on ‘what we call by the book’s name’). She is a core tutor on the MFA in Fine Art at the Piet Zwart Institute, Rotterdam and also teaches at the American University of Paris.
Daniela Cascella is a London-based Italian writer. Her research is focused on sound and literature across a range of publications and projects, driven by a longstanding interest in the relationship between listening, reading, writing and in the contingent conversations, questions, frictions, kinships that the three practices generate, host or complicate. She is Honorary Research Fellow in the School of Arts, Oxford Brookes University; Writing Tutor in the MA Fine Arts, Bergen Academy of Art and Design; Associate Lecturer in Sound Arts at the University of the Arts London. www.danielacascella.com
Belén Cerezo is an artist-photographer. Within her practice and research, photography operates as the guiding notion. Through a focus on the materiality of images, she explores photography through performance attempting to renovate the discourse on images. Belén Cerezo has just completed a practice-led PhD at Nottingham Trent University where she is an associate lecturer in Photography. She is also interested in art education and she co-coordinated the Education Department for Manifesta 8, Murcia, Spain, 2010. Cerezo published the photo-book Somewhere Better, Nowhere Better in 2009. She had a solo exhibition titled Plastic People at CAB in Burgos, Spain, in 2008.
Emma Cocker is a writer-artist and Reader in Fine Art, Nottingham Trent University. Operating under the title Not Yet There, her research often addresses the endeavour of creative labour, focusing on models of (art) practice and subjectivity that resist the pressure of a stable position, remaining willfully unresolved. Cocker's writing has been published in Failure, 2010; Stillness in a Mobile World, 2010; Drawing a Hypothesis: Figures of Thought, 2011; Hyperdrawing: Beyond the Lines of Contemporary Art, 2012; On Not Knowing: How Artists Think, 2013, and Reading/Feeling, 2013. She is currently a key researcher on the project Choreo-graphic Figures: Deviations from the Line (2014 – 2016). http://not-yet-there.blogspot.com
Steve Dutton is Professor in Contemporary Art Practice at the University of Lincoln. Individual and collaborative projects have been exhibited throughout the UK and internationally, including The Institute of Beasts at Kuando Museum of Fine Art in Taipei and The Stag and Hound at PSL in Leeds UK (both Dutton and Swindells ). His collaboration with Neil Webb for the ‘End of Ends’ project was originally an Arts Council Funded project for Bend in the River in the East Midlands of the UK. He is a committee member of “Project Anywhere, Art at outermost limits of Location Specificity.”
Neil Webb works extensively with sound and his practice includes sound installation, film and live performance. His work often reinterprets elements of film and literature narratives that have included works such as ‘Far Beneath in the Abysmal Sea’ (2009), inspired by Tennyson’s sonnet and John Wyndham’s book ‘The Kraken Wakes’. He has also made work inspired by 2001 A Space Odyssey, titled ‘The Stars In Us All’ (2007). His work has been exhibited internationally and he has undertaken residencies in the UK and abroad. He is Senior Lecturer in Sound Design at Sheffield Hallam University. www.neilwebb.com
Rob Flint is an artist whose work engages with the way sound affects our other senses, especially vision. He often uses the idea of ‘voice’, in spoken, written, and printed form. He is best known for work with Christine Sullivan, with whom he has created a series of works exploring description and voice narration, including The Bill Burroughs Memorial Choir, and Conversation Piece in 'Hlysnan' at Casino Luxembourg, in the City of Luxembourg in summer 2014. Recent solo work includes sound wall composition Flock Mnemonics at The Collection in Lincoln in October 2015.
Victoria Gray is an artist, writer and practice-led researcher. She has presented work in the UK, USA and throughout Europe. Often durational, her performance and video work is concerned with affect and kinesthetic experience, integrating affect theory, process philosophy and somatics. Recent publications include articles in Journal of Dance & Somatic Practice (2012), Choreographic Practices (2013) and The Drama Review (2015), and, chapters in the edited books Kinesthetic Empathy in Creative and Cultural Practices (2012) and forthcoming, Experiencing Live: Liveness, Eventness, Nowness and the Arts (2015). Victoria is a PhD candidate at Chelsea College of Art & Design, University of the Arts, London. www.victoriagray.co.uk
Mark Leahy is a writer, artist, and teacher, operating among textual practices, performance, and installed arts. He works with the body as sensing and as affected, using language, models of perception, and objects of everyday use. Including spoken word, task-based actions, and digital operations his performances address the body as a site of inscription and activation. His textual practice utilizes constraints, structuring rules, and operates to cross or question category and genre divisions including around identity and agency. He is based in Devon, and teaches part-time at Falmouth and in Plymouth Universities. www.markleahy.net
Joanne Lee is an artist, writer and publisher whose research attends to everyday life and the ordinary places in which she lives and works. Much of her activity emerges through a serial publication, the Pam Flett Press, which explores the visual, verbal and temporal possibilities of the ‘essay’, and via the opportunities for production that arise in dialogue with creative and critical friends. She is Senior Lecturer in Fine Art at Nottingham Trent University and Associate Lecturer in Graphic Design at Sheffield Hallam University. www.joannelee.info
Martin Lewis a Nottingham based artist and teacher. He has been engaged in a drawing practice since 2009. Lewis’s focus is on the act of drawing, paying attention to the mutations and deviations that occur during the transition between the cognitive and the somatic. His recent exhibitions include: Drawology (Part1, Bonnington Gallery Nottingham. Part 2, Lanchester Gallery, Coventry). Alignment, at Backlit Gallery, Nottingham and Insisting Over Skin, Drawing After Surface with Robert Luzar at the Kingsgate Gallery London.
Sarat Maharaj is Professor of Visual Art and Knowledge Systems, Malmo Art Academy/Lund University and Research Professor, Goldsmiths’ University of London where he was History/Theory of Art Professor (1980 – 2005). He was Rudolf Arnheim Professor, Humboldt University, Berlin (2001 – 02). He was co-curator of Documenta XI, 2002, ‘Farewell to Postcolonialism’, Guangzhou (2008) and the 29th Sao Paolo Biennial, 2010. He was chief curator of ‘Pandemonium – art in a time of creativity fever’, Göteborg, 2011. His specialist publications cover Marcel Duchamp, James Joyce and Richard Hamilton, visual art as non-knowledge and no-how, textiles, globalization and cultural translation.
Brigid Mc Leer is an Irish artist based in London. She trained in Fine Art at NCAD, Dublin, University of Ulster, Belfast and Slade School of Art, London. She works in various media/modes including video, durational performance, photography, and drawing/writing. Recent solo exhibitions include ‘One + One’, at Highlanes Gallery, Drogheda and Wexford Arts Centre, Ireland, ‘Horizontal Ontologies’ Art Currents Institute, New York, Isoli [cont.], Lanchester Gallery Projects, Coventry, and ‘Vexations’, Site Gallery Sheffield, UK. She is currently studying for a PhD by project in Fine Art (Photography) at the Royal College of Art, London. www.brigidmcleer.com
Hester Reeve explores art as a species of philosophical agency, invested first and foremost in the task of thinking and thinking’s relationship to the body and matter at large. Working with action, writing, sculpture, drawing and Bohmian Dialogue, she chooses to operate via ‘HRH.the’ (a conceptual persona), an intellectual and fantastical strategy by which she navigates her complex relationship to the world. Recent venues showing her work include Yorkshire Sculpture Park, Tanzquartier Vienna and Tate Britain (under the umbrella ‘The Emily Davison Lodge,’ an on-going collaboration with Olivia Plender). Reeve is Senior Lecturer in Fine Art at Sheffield Hallam University.
Dr Lisa Watts is an artist with an eclectic practice of performance, sculpture, photography and video. Recent projects have included Skittish, a UK touring gallery exhibition for Spacex, Vane and The Tetley, which exhibited Watts’ live work together with other artists’ sculptures that culminated in a symposium, Puff of Smoke: curating live art/performance in the gallery (2014). A documentary about her facilitation/ visual art methods has been recently launched, for the AHRC Birthproject, titled, Mothers Make Art (2015). Her book 32 Significant Moments: An Artist's Practice as Research (2014) presents a close-up, detailed view of some of her artistic processes.