During this event, art critic Louisa Buck, led a conversation between project creator Simon Moretti, contributing artists Marysia Lewandowska and Jimmy Robert, and designer of the book and window presentation, Kirsty Carter, director at A Practice For Everyday Life.
BIOGRAPHIES
Louisa Buck is a writer and broadcaster on contemporary art. Since 1997 she has been London contemporary art columnist for The Art Newspaper, and is a regular reviewer on BBC radio and TV, including Front Row, Nightwaves and BBC World Service’s The Strand. Other outlets include Vogue, Artforum, Guardian and Sunday Telegraph and she is the author of a number of catalogue essays for institutions including Tate, Whitechapel Gallery, ICA London and Stedelijk Museum Amsterdam. Her books include Relative Values or What’s Art Worth? (co-authored with Philip Dodd) (BBC Books 1991); Moving Targets 2: A User’s Guide to British Art Now (Tate 2000); Market Matters: The Dynamics of the Contemporary Art Market (Arts Council England 2004) and Owning Art: The Contemporary Art Collector’s Handbook (co-authored with Judith Greer) (Cultureshock Media 2006). Her book, Commissioning Contemporary Art : A Handbook for Curators, Collectors and Artists was published by Thames & Hudson in October 2012. Louisa was a judge for the 2005 Turner Prize.
Kirsty Carter is the co-founder of A Practice for Everyday Life, a graphic design studio based in London. Their work includes art direction, identities, publications, exhibitions, type design, signage and digital. They have built a reputation as an internationally renowned and sought-after collaborator through work with like-minded galleries, institutions and individuals, and their work with a conceptual rigour that ensures each design is meaningful and original. APFEL’s working methodologies reflect the way they interact the world, and their design approach is discursive, collaborative and research-led. They work closely with artists, architects, writers and curators from the outset of each project, and enjoy playing an integral role in the realisation of ideas within broader contexts.
Marysia Lewandowska is a Polish-born artist based in London since 1985. She has been exploring the public functions of archives, museums and exhibitions often resulting in conceptually driven projects reflecting on the social and immaterial public realm. In 2009 she established the Women’s Audio Archive followed by a publication Undoing Property? co-edited with Laurel Ptak in 2013. Her work has been presented by Tate Modern, Moderna Museet, Muzeum Sztuki, Whitechapel Gallery. The latest installation It’s About Time occupied the Pavilion of Applied Arts at the 58th Art Biennale in Venice. The Museum of Modern Art in Warsaw has recently included the Enthusiasts Archive project in their collection.
Simon Moretti lives and works in London. Select projects include The Enigma of the Hour: 100 Years of Psychoanalytic Thought, Freud Museum, London( 2019); Dadadandy Boutique, ARTPROJX SPACE, London (2008); Le Palais des Etoiles, Selfridges, London (2007); Space is the Place, Ritter Zamett London (2006); and EXPO 21: Strategies of Display, Angel Row Gallery, Nottingham and Mead Gallery, Coventry (2004). Select exhibitions include None of the Above, KanalCentre Pompidou, Brussels (2020); To Be Free is to Lose Sight of the Shore, Archaeology of the Final Decade, Dhaka Art Summit, Dhaka (2018); The Camera Exposed, works from the collection, Victoria and Albert Museum, London (2016); Revolt of the Sage, Blain Southern, London (2016); L’Intime, Le Collectioneur Derrier la Porte, La Maison Rouge, Paris (2011); The Art Parade, Deitch Projects, New York (2007); The Sleep of Ulro, Liverpool Biennial 06, Liverpool (2006); Thank You for the Music, Sprueth Magers, Munich/London (2005); From A to B and Back Again, Galerie Chez Valentin, Paris (2005); and None of the Above, Swiss Institute, New York (2004). Awards include the Selfridges Commission as part of Surreal Things in collaboration with the Victoria & Albert Museum, London (2007); the Fondazione Teseco commission, Pisa (2006); the Henry Moore Institute Award; the Art Council of England Artist Award (2002); and Tate Modern Turbine Hall commission (2000).
Jimmy Robert lives and works in Berlin. He works with diverse media including photography, collages, objects, art books, short films and performance art. Questions of identity and its representation are his main interest, and he uses a variety of references to literature, art and music to emphasise the fragility of the materials he uses. In recent years, Robert has exhibited at 8th Berlin Biennale of Contemporary Art, Berlin; Tate Britain, London; WIELS, Brussels; CCA Kitakiushu Project Gallery, Japan; Cubitt Gallery, London; Neuer Aachen Kunstverein, Germany; CAC Bretigny, France. Jimmy Robert was the 2009 laureate of the Follow Fluxus–After Fluxus grant. In 2012 Jimmy Robert had two solo shows one at gallery du Jeu de Paume in Paris and one at the Museum of Contemporary Art (MCA) in Chicago and in June 2013 a solo show at the Power plant in Toronto. He performed at MoMA New-York in 2014 and participated to Performa 17 in 2017 and was commissioned in 2019 to do a new performance at KW in Berlin. He Participated in the recent Chicago architecture biennial and is currently working on a touring mid-career survey which will start at Nottingham contemporary then go to Museion Bolzano and then CRAC de Sète this year. He is currently professor of Sculpture and Performance at UdK, Berlin.
