Art Monthly Events

Future Climates is a symposium that brings together an international array of artists, writers and curators who directly respond to the climate emergency. The talks attempt to move beyond established forms of activism and ask how artists and cultural practitioners might envision alternative pathways, propose new models and make real-world differences. By focusing on the unique position artists play, these talks aim to test and probe the question of how that change might be manifested.

Over the duration of the series speakers include: Lise Autogena, Fiona Banner, Ajay Singh Chaudary, Maja and Reuben Fowkes, Jay Jordan, Amal Khalaf, Maggie Murray, Alona Pardo, John Kenneth Pranada, Filipa Ramos, Oliver Ressler, Jonas Staal, Robert Zaho Renhui

29 October 2024

PANEL 1
14.00 Introduction (Chris McCormack and Uta Kögelsberger)
14.20 Alona Pardo
14.40 Maggie Murray
15.00 In conversation 1 (chair Fiona Anderson/Chris McCormack)

PANEL 2
15.45 Introduction
15.50 Ajay Singh Chaudary
16.10 Jonas Staal
16.30 In conversation 2 (chair Harry Weeks)

PANEL 3
17.30 Introduction
17.35 Fiona Banner
17.55 Filipa Ramos
18.15 Jay Jordan
18.25 In conversation 3 (chair Jo Coupe)

19.00 Drinks

20. 00 Dinner

Free event, open to the public

Fine Art Lecture Theatre, Newcastle University

Bob Dickinson discusses artists who connect the sleep crisis to the climate crisis, while Tom Denman reviews the ‘Towards New Worlds’ exhibition at MIMA in Middlesbrough.

>>Play Bob Dickinson & Tom Denman

Michael Kurtz discusses the work of Delcy Morelos; Lauren Velvick on Roy Claire Potter’s ‘The Wastes’; Sarah E James considers exhibition formats that offer more complex models than those put forward in Claire Bishop’s book ‘Disordered Attention’.

>>Play Michael Kurtz, Lauren Velvick & Sarah E James

Vaishna Surjid discusses Soumya Sankar Bose’s exhibition ‘Braiding Dusk and Dawn’ at Deflina Foundation in London; Amna Malik reviews Permindar Kaur’s exhibition ‘Nothing is Fixed’ at John Hansard Gallery in Southampton; and Henry Broome reports on public art in relation to homelessness and sanitation.

>>Play Vaishna Surjid, Amna Malik & Henry Broome

Mark Prince argues that digitalisation adds another dimension to debates about intention and production in a discussion that covers photography, painting and sculpture and covers artists ranging from Marcel Duchamp and Robert Ryman to Jon Rafman.

>>Play Mark Prince

Tom Hastings, Sam Keogh and Luisa Lorenzo Corna discuss the attempts to suppress political protest and artists’ voices in the light of the current war in Gaza.

>>Play Tom Hastings, Sam Keogh & Luisa Lorenzo Corna

Lise Autogena, artist and academic, and Maja & Reuben Fowkes, art historians and curators, discuss how their practices have responded to the climate emergency. Chaired by Chris McCormack, associate editor at Art Monthly.

‘Future Climates: Artists and Curators respond to the Climate Crisis’ is a new series of talks developed in collaboration between Art Monthly and the School of Arts and Cultures, Newcastle University. The series brings together international artists, curators, writers to reflect on how cultural practices can respond to the climate crisis and its complex, societal, political, economic, historical entanglements with a specific focus on practices and thinking that go beyond aesthetic and conceptual engagement and set about making a real-life difference.

Free event, open to the public

Fine Art Lecture Theatre, Newcastle University

Bob Dickinson surveys the rise of authoritarian rule and charts feminist art practices that resist such forces.

>>Play Bob Dickinson

Amal Khalaf, curator and artist, and Oliver Ressler, artist and filmmaker, discuss how their practices have responded to the climate emergency. Chaired by Neil Bromwich, senior lecturer at Newcastle University and part of the artist duo Walker & Bromwich.

‘Future Climates: Artists and Curators respond to the Climate Crisis’ is a new series of talks developed in collaboration between Art Monthly and the School of Arts and Cultures, Newcastle University. The series brings together international artists, curators, writers to reflect on how cultural practices can respond to the climate crisis and its complex, societal, political, economic, historical entanglements with a specific focus on practices and thinking that go beyond aesthetic and conceptual engagement and set about making a real-life difference.

Free event, open to the public
Fine Art Lecture Theatre, Newcastle University

Laura Harris claims that the Levelling Up programme is a sham and Morgan Quaintance argues that Chris Ofili’s ‘Requiem’ for the victims of Grenfell Tower was compromised from the start.

>>Play Laura Harris & Morgan Quaintance

Sarah E James discusses her article on cultural censorship and exclusion of Palestinian and pro-Palestinian voices in the arts and beyond, with the artists Jumana Manna and Larissa Sansour.

>>Play Sarah E James, Jumana Manna & Larissa Sansour

Michael Hampton argues that auto-destruction is the default condition of all visual art.

>>Play Michael Hampton

Anna Dezeuze discusses whether it is possible for art to turn the tide on ‘alt-right’ conspiracy theories, and Maria Walsh explores the work of Lebanese artist filmmaker Ali Cherri.

>>Play Anna Dezeuze & Maria Walsh

Matthew Bowman goes in search of lost experience in the commercially co-opted field of immersive art and Bob Dickinson argues that citizen artists can intervene to halt the seemingly inexorable process of gentrification.

>>Play Matthew Bowman & Bob Dickinson

Sophie J Williamson assesses the turn towards art-food practices, particularly fermentation, and how these can be politicised to counter societal decay, and Bob Dickinson argues that it is time to repair the damage done by rampant individualism, the hallmark of both modernist and neoliberal cultures, which has undermined social cohesion in art and society.

>>Play Sophie J Williamson & Bob Dickinson

Susan Jones analyses the way funding models continue to exploit artists’ labour and Stephanie Bailey discusses the work of Beijing-based artist Wang Tuo. Presented by Chris McCormack.

>>Play Susan Jones & Stephanie Bailey

Colin Perry discusses the earth work of contemporary artists and its differences from Land Art of the past or eco art of the present.

>>Play Colin Perry

Larne Abse Gogarty critiques the return of figurative painting and Rebecca Jarman reports on the São Paulo art scene.

>>Play Larne Abse Gogarty & Rebecca Jarman

Greg Thomas reports on the artists’ huts of Scotland’s Bothy Project and Sophie J Williamson discusses artists who target the excesses of extractive capitalism.

>>Play Greg Thomas & Sophie J Williamson

Morgan Quaintance discusses the dichotomy between the art world’s competitive pitching of artists against each other and its proclamations of nurturing care.

>>Play Morgan Quaintance

Martin Holman reports on a major Arte Povera survey exhibition in Paris and Mimi Howard discusses the issues around gallery presentation of video art in the age of the smartphone.

>>Play Martin Holman & Mimi Howard

Chris Fite-Wassilak on artists who make use of fungus as a pointed form of institutional critique; Chris Hayes argues that we need to re-engage with anticapitalist thinking about technology.

>>Play Chris Fite-Wassilak & Chris Hayes

And Others: The Gendered Politics and Practices of Art Collectives

BIRMAC and Art Monthly, in association with Electra, present a series of four online panel conversations investigating different questions central to collective work. Building on two months of asynchronous collective writing, involving seventeen participants, the panelists below consider how we might write, think, read and practice together through other means.

Convened and moderated by Lina Dzuverovic, Birkbeck, University of London

4: ‘The Third Hand’ – Claire, Bernadette and Friends

Helena Reckitt, Chris McCormack, Gerrie van Noord

Considering the deliberate erasure of individual identities, this panel combines two interwoven lines of enquiry. Firstly, it considers a particular approach to working collectively, one in which the identities of each individual artist involved are deliberately obfuscated, forming a singular, newly created artist with their own name and a distinct, manufactured identity – what Charles Green terms the ‘third hand’.

Online event – free, but booking essential.

And Others: The Gendered Politics and Practices of Art Collectives

BIRMAC and Art Monthly, in association with Electra, present a series of four online panel conversations investigating different questions central to collective work. Building on two months of asynchronous collective writing, involving seventeen participants, the panelists below consider how we might write, think, read and practice together through other means.

Convened and moderated by Lina Dzuverovic, Birkbeck, University of London

3: Is Ephemerality Freedom?

Ximena Alarcón-Díaz, Kuda.org/Zoran Pantelic, Irene Revell, Marina Rosenfeld

This panel questions the relationship between medium and process, taking in improvised and experimental sound practices to ask questions about different attitudes to and experiences of collective work, and whether a certain openness and enthusiasm towards collaboration, and an excitement about the process itself predominates within music and sound practice, as compared to the visual arts.

Online event – free, but booking essential.

Emily Rosamond discusses online reputation warfare, Juliet Jacques reports on Manifesta 14 in Prishtina and Lucia Farinati reviews a show by Italian feminist artist group Le Nemesiache.

>>Play Emily Rosamond, Juliet Jacques & Lucia Farinati

And Others: The Gendered Politics and Practices of Art Collectives

BIRMAC and Art Monthly, in association with Electra, present a series of four online panel conversations investigating different questions central to collective work. Building on two months of asynchronous collective writing, involving seventeen participants, the panelists below consider how we might write, think, read and practice together through other means.

Convened and moderated by Lina Dzuverovic, Birkbeck, University of London

2: Why collaborate? Network Formation, Reproduction, Access

Carla Cruz, Lily Hall, Abhijan Toto, Felicity Allen, Manual Labours

Focusing on the possible divergences between external articulations of collectivity and their internal working realities, this panel explores the formation and reproduction of networks, asking how cultural organisations engage with collective work, exploring the blurry lines and unstable positions between organisational (curatorial, communication, production, administrative) and artistic work, and the gaps between naming and acting.

Online event – free, but booking essential.

And Others: The Gendered Politics and Practices of Art Collectives

BIRMAC and Art Monthly, in association with Electra, present a series of four online panel conversations investigating different questions central to collective work. Building on two months of asynchronous collective writing, involving seventeen participants, the panelists below consider how we might write, think, read and practice together through other means.

Convened and moderated by Lina Dzuverovic, Birkbeck, University of London

1: Labour, Value and Social Reproduction

Fabiola Fiocco, Katja Praznik, Karolina Majewska-Güde, Kirsten Lloyd, Jelena Vesić

This panel focuses on labour and value in collective work, acknowledging that even in most progressive artists’ groups, collectives, or communities, collectivity rests on some form of socially reproductive, affective and often unremunerated labour – most often performed by female-identifying collective members, friends, partners, mothers, administrators or curators.

Online event – free, but booking essential.

Ellen Mara De Wachter and Dave Beech discuss the ‘Carolee Schneemann: Body Politics’ exhibition at the Barbican and Maryam Jafri’s artist’s book ‘Independence Days’.

>>Play Ellen Mara De Wachter & Dave Beech

Bob Dickinson on art and class; Francis Whorrall-Campbell on Lou Lou Sainsbury; Gwen Burlington on the Brent Biennale.

>>Play Bob Dickinson, Francis Whorrall-Campbell & Gwen Burlington

Chris Hayes discusses the problems with Ireland’s proposed artist’s basic income scheme and Maria Walsh on the work of filmmaker Suki Chan.

>>Play Chris Hayes & Maria Walsh

Chris Clarke discusses the 59th Venice Biennale ’The Milk of Dreams’ and Anne Massey considers some of the shortcomings of ‘Postwar Modern: New Art in Britain 1945—1965’ currently on show at the Barbican Gallery in London.

>>Play Chris Clarke & Anne Massey

Bob Dickinson discusses the ways in which artists have attempted to engage with the legacies of trauma.

>>Play Bob Dickinson

Michaële Cutaya on the importance of surface over depth, and Chloe Carroll on the role of the monument.

>>Play Michaële Cutaya & Chloe Carroll

Morgan Quaintance on the problems with Tate’s British-Caribbean exhibition ‘Life Between Islands’, Tom Hastings on performer SERAFINE1369, and Jack Smurthwaite on Danielle Brathwaite-Shirley’s solo show at Arebyte.

>>Play Morgan Quaintance, Tom Hastings & Jack Smurthwaite

Bob Dickinson discusses ‘Art and Dyschronia’, his essay where he warns that our concern for the future should not distract us from what is happening to the past at the hands of right-wing populist governments intent on rewriting history.

>>Play Bob Dickinson

Larne Abse Gogarty on the work of artist Adam Farah, whose work was on show at Camden Art Centre, and Benoit Louiseau on Gregg Bordowitz’s AIDS-related exhibition ‘I Wanna Be Well’.

>>Play Larne Abse Gogarty & Benoit Loiseau

Maria Walsh & Chloe Carroll discuss the remote viewing of moving-image artworks during the pandemic and the work of Irish artist Sam Keogh.

>>Play Maria Walsh & Chloe Carroll

Matthew Bowman discusses the history of destruction both of and in art, and Jes Fernie’s Archive of Destruction.

>>Play Matthew Bowman

Artist John Smith discusses his pandemic-era video works ‘Citadel’ and ‘Covid Messages’ with writer Alexandra Hull.

>>Play John Smith

Tom Denman argues that further colonial and racial violences are at play in the institutional framing of so-called post-race and post-black discourses in the US and the UK.

>>Play Tom Denman

Panel discussion devised by Chris McCormack for Art Monthly and the Paul Mellon Centre for Studies in British Art.

Leigh Claire Le Berge (Associate Professor of English, City University of New York)
Marc Aziz Michael (American University, Beirut)
Dante Micheaux (Poet)
Monica Narula and Jeebesh Bagchi (Raqs Media Collective)
Oreet Ashery (Associate Professor of Fine Art, Ruskin School of Art, University of Oxford)
Jackson Davidow (Independent Researcher)

Under the violent normalisation of austerity, the pandemic has exacerbated conditions of increased work surveillance and precarity, deepening an awareness of the consequences of chronic exhaustion. The now commonplace discussion of contemporary fatigue, anxiety, and depression points us, as Lauren Berlant states, ‘to the way living also becomes a scene of the wearing out of life’. From caregivers to lives more at risk of infection through socioeconomic consequences of structural racism and underpayment, how might kinships ‘wear out’ together and apart, how might artworks play a part in redefining the public sphere or enable us to consider the interrelations of equity and collective care.

Art Criticism and the Pandemic II continues and reshapes the discussions had at two events in 2020 which considered how the structures of a globalised art world had been interrupted or changed and whether, in the context of renewed activism, the art world is addressing problems of inequity and injustice in its own order. These ideas remain urgent as the art world negotiates the legacies and ramifications of making, thinking, and writing about art in the context of a global pandemic. Two live research lunch events across two days will provide spaces for testing out ideas voiced by a panel of speakers, followed by discussion and questions from attendees.

Zoom webinar

Panel discussion devised by Chris McCormack for Art Monthly and the Paul Mellon Centre for Studies in British Art.

Stella Nyanzi (Scholar and Human Rights Activist)
Sria Chatterjee (Contributing Editor, British Art Studies)
Ariane Sutthavong (Independent Curator)
Isobel Harbison (Lecturer, Goldsmiths, University of London)

How might the tension between individual body control and collective health security during this current ‘disruption’ of the pandemic be constructed through a timeline of conflicting modernities and vaccination? Further, considering the global as one continually remade by colonial forces and extraction, how might histories of pandemics chart our understanding of the way state-craft narratives have made visible the infected, the sick or dangerous body through border control. How might these broader forces be manifested at a cultural and art institutional level, and how might art confront these forces of ‘progression’ or continue to trade in these values?

Art Criticism and the Pandemic II continues and reshapes the discussions had at two events in 2020 which considered how the structures of a globalised art world had been interrupted or changed and whether, in the context of renewed activism, the art world is addressing problems of inequity and injustice in its own order. These ideas remain urgent as the art world negotiates the legacies and ramifications of making, thinking, and writing about art in the context of a global pandemic. Two live research lunch events across two days will provide spaces for testing out ideas voiced by a panel of speakers, followed by discussion and questions from attendees.

Zoom webinar

Adam Heardman, Tess Charnley & Saim Demircan on the use of advertising space by artists, the ‘Framework for Resilience’ discussion at Fact and ART CLUB2000 at Artists Space.

>>Play Adam Heardman, Tess Charnley & Saim Demircan

Chris Clarke on his interview with Phil Collins; Bob Dickinson asks can we free ourselves from capitalist pressures to keep working; Lauren Velvick on artist Jade Montserrat.

>>Play Chris Clarke, Bob Dickinson & Lauren Velvick

Charlotte Cotton, artistic director of Tasweer Photo Festival, and Shoair Mavlian, director of Photoworks, discuss new positions on curating. Chaired by Uta Kögelsberger.

Talk 11 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Free online event. Request link and password: chris@artmonthly.co.uk

Morgan Quaintance, Stephanie Schwartz and Conal McStravick on art-world manoeuvres over the past decade, photography books by David Levi Strauss and Jörg Colberg, and the work of Scottish artist Jamie Crewe.

>>Play Morgan Quaintance, Stephanie Schwartz & Conal McStravick

Morgan Quaintance, Izabella Scott & Gwen Burlington on the ever-widening gap in the UK art world between social, cultural and political realities; artists’ responses to the US’s denial of its colonial history; and the recent work of Irish artist Eimear Walshe.

>>Play Morgan Quaintance, Izabella Scott & Gwen Burlington

Tom Denman and Sophie J Williamson discuss artists who counteract paradigms of racial representation, and also those who reveal unspoken taboos in art through the intimacy of being with someone dying.

>>Play Tom Denman & Sophie J Williamson

Mark Wilsher and Adan Heardman consider the notion of presence in art during a pandemic and discuss Elizabeth Price’s Artangel video installation ‘Slow Dans’.

>>Play Mark Wilsher & Adam Heardman

Amy Budd & Frances Whorrall-Campbell on Onyeka Igwe’s work exploring her family’s Nigerian history, and the changing way that pandemics have been televised by artists, from Stuart Marshall’s Bright Eyes during the AIDS crisis in 1984 to Grayson Perry’s response to Covid-19, Grayson’s Art Club.

>>Play Amy Budd & Frances Whorrall-Campbell

Bob Dickinson & Sophie J Williamson discuss the home in art as a place of haunted obsession, and explore silence not as a retreat from the world but as a state from which to enact protest.

>>Play Bob Dickinson & Sophie J Williamson

Larne Abse Gogarty
Robert McRuer
Jade Montserrat
Neo Sinoxolo Musangi
Marina Vishmidt

We are witness to how structural inequity has exacerbated the effects of the pandemic including for people in poverty, for keyworkers, for women and for people of colour. Using the frame of the art world, this event queries whose body is cared for and whose is ignored? It will turn to the current visibility of long-term racial injustices and the momentum of the Black Lives Matter movement. It will ask how art practice and writing can foster care and healing, renewal and health in light of the pandemic.

Khairani Barokka
David Dibosa
Juliet Jacques
Barbara Rodriguez Munoz
Rehana Zaman

Several months into a devastating pandemic, the globalised art world has been grounded and changed. Exhibition models and curatorial pursuits including the Blockbuster, the Biennale and the art fair, are left in limbo. Are the restricted conditions of movement for many in the western world fostering alternative forms of practice, display and exchange? This event aims to glimpse possibilities for renewal beyond existing globalised systems. Speakers will address a wide-ranging set of issues and raise questions of ecological imperative, use of technology and the new status of art, for consideration and discussion.

Morgan Quaintance, Khairani Barokka & John Douglas Millar discuss the current rush to online content and the failings of prescriptive commissioning policies, ableism in the art world, and new books by Olivia Laing and Paul B Preciado.

>>Play Morgan Quaintance, Khairani Barokka & John Douglas Millar

Adam Heardman and Adam Hines-Green discuss art, labour and the fall of the Red Wall in the north of England, and Steve McQueen’s locked-down exhibition at Tate Modern.

>>Play Adam Heardman & Adam Hines-Green

John Douglas Millar, Andrew Wilson and Morgan Quaintance discuss David Wojnarowicz’s New York, Genesis P-Orridge and the western art world’s blinkered approach to decolonialism.

>>Play John Douglas Millar, Andrew Wilson & Morgan Quaintance

Luisa Lorenza Corna, Kathryn Lloyd & Conal McStravick ask what has happened to feminism, discuss the work of artist-filmmaker Sophie Cundale and consider two books that examine the work of David Wojnarowicz in relation to New York’s changing waterfront.

>>Play Luisa Lorenza Corna, Kathryn Lloyd & Conal McStravick

Adam Hines-Green & Hana Noorali discuss the work of German–Vietnamese artist Sung Tieu and the exhibition ‘A.O.–B.C. An Audiovisual Diary’ at State of Concept in Athens.

>>Play Adam Hines-Green & Hana Noorali

Ekaterina Degot, director of Steirischer Herbst in Graz in Austria, and Bas Vroege, director of Paradox in the Netherlands, discuss new positions on curating. Chaired by Harry Weeks, lecturer in art history at Newcastle University.

Talk 10 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Lizzie Homersham, Elisa Adami, Vera Mey and Amna Malik discuss the changing nature of intimacy and its reflection in art, Anne Boyer’s book ‘The Undying’, the 15th Berwick Film & Media Arts Festival and the photographic project The Found Archive of Hani Jawherieh.

>>Play Lizzie Homersham, Elisa Adami, Vera Mey & Amna Malik

Morgan Quaintance, Elisabetta Fabrizi & George Vasey analyse the problems with Kara Walker’s Turbine Hall commission at Tate Modern, discuss the BFI London Film Festival’s Experimenta strand and explore the coercive role of images as revealed in the work of video artist Imran Perretta.

>>Play Morgan Quaintance, Elisabetta Fabrizi & George Vasey

Katerina Gregos, curator of the inaugural Riga Biennale, and Mirjam Varadinis, curator at Kunsthaus Zurich. Chaired by Alessandro Vincentelli, curator of exhibitions and research at Baltic Centre for Contemporary Art.

Talk 9 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Virginia Whiles, Sarah Jury and Jack Smurthwaite discuss the work of Pakistani-born video artist Bani Abidi, the need for safety protocols to protect participants in live art works known as larps (Live Action Role Plays), and Dave Beech’s book ‘Art and Postcapitalism – Aesthetic Labour, Automation and Value Production’.

>>Play Virginia Whiles, Sarah Jury & Jack Smurthwaite

Jonathan P Watts, Louisa Lee and Laura Harris discuss British art 1976–95, BANK, Jef Cornelis’s art documentaries, and pay & conditions in the art world.

>>Play Jonathan P Watts, Louisa Lee & Laura Harris

Giulia Smith, Erika Balsom, Vladimir Seput & Conal McStravick discuss the ‘Civic Duty’ exhibition at Cell Project Space, Lis Rhodes’s exhibition at Nottingham Contemporary, Laura Mulvey and Peter Wollen’s exhibition at Peltz Gallery, and queerness and gentrification.

>>Play Giulia Smith, Erika Balsom, Vladimir Seput & Conal McStravick

Tom Snow, Maja and Reuben Fowkes & Matthew Bowman discuss activism as art, the ‘Southern Constellations’ exhibition in Ljubljana and Cory Arcangel’s show at Firstsite in Colchester.

>>Play Tom Snow, Maja and Reuben Fowkes & Matthew Bowman

Adam Heardman, Adam Hines-Green & Lauren Houlton discuss Petra Bauer’s socially engaged art practice, Richard Billingham’s film ‘Ray & Liz’ and the ‘Workforce’ exhibition at NewBridge Project in Gateshead. Presented by Alexandra Hull.

>>Play Adam Heardman, Adam Hines-Green & Lauren Houlton

Bassam El Baroni, assistant professor at Aalto University in Helsinki, and Adam Szymczyk, artistic director of Documenta 14.

Talk 8 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Kathryn Lloyd, John Parton, Jamie Sutcliffe and George Vasey discuss exhibitions by Laure Prouvost, Callum Hill and Reinhard Mucha as well as the ‘Is This Tomorrow?’ exhibition at the Whitechapel Gallery.

>>Play Kathryn Lloyd, John Parton, Jamie Sutcliffe & George Vasey

Louise Ashcroft, Joseph Constable and Daniel Neofetou discuss collaborative models of artistic self-determination from alternative art schools to community interest companies, Ghislaine Leung’s exhibition at Chisenhale Gallery and Josephine Berry’s book Art and (Bare) Life: A Biopolitical Enquiry.

>>Play Louise Ashcroft, Joseph Constable & Daniel Neofetou

Sarah McCrory, director of Goldsmiths CCA, and Fatos Ustek, director of DRAF.

Talk 7 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Isobel Harbison, Andrew Hibbard, Dominic Johnson and Chris McCormack discuss the work of Josephine Pryde, Ulay and David Raymond Conroy as well as art, activism and AIDS.

>>Play Isobel Harbison, Andrew Hibbard, Dominic Johnson & Chris McCormack

Larne Abse Gogarty, Lizzie Homersham, Morgan Quaintance & Jack Smurthwaite discuss Flo Brooks’s show at Project Native Informant, the ‘Before Projection’ exhibition of video sculpture at SculptureCenter, the Bow Gamelan Ensemble presentation at Cooper Gallery and the writing of Mark Fisher.

>>Play Larne Abse Gogarty, Lizzie Homersham, Morgan Quaintance & Jack Smurthwaite

Alex Fletcher, George Vasey & Maria Walsh discuss the 12th edition of Manifesta, the roving European biennale, in Palermo, Sicily; the current art scene in Kampala, Uganda; and the work of video artist Lucy Beech.

>>Play Alex Fletcher, George Vasey & Maria Walsh

Michelle Cotton, director of Bonner Kunstverein, and Woodrow Kernohan, director of John Hansard Gallery. Chaired by Neil Bromwich, senior lecturer in Fine Art at Newcastle University.

Talk 6 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Lisa Le Feuvre, inaugural executive director of the Holt-Smithson Foundation, and James Lingwood, co-director of Art Angel, discuss new positions on curating. Chaired by Chris McCormack, associate editor at Art Monthly.

Talk 5 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Amy Budd, Sara Jaspan & Tom Snow discuss the art scene in Rotterdam, the ICA workshop ‘On Cripping’ and Chad Elias’s book on contemporary art in post-civil war Lebanon.

>>Play Amy Budd, Sara Jaspan & Tom Snow

Vassilios Doupas, Andrew Hunt and Ellen Mara De Wachter discuss contemporary art shows in Athens, different models of curating and the ‘Somewhere in Between’ exhibition at Bozar in Brussels.

>>Play Vassilios Doupas, Andrew Hunt & Ellen Mara De Wachter

Stephanie Schwartz, Giulia Smith and Dan Ward discuss the relationship between art and health, Martha Rosler and Hito Steyerl’s show in Basel, and Meriem Bennani’s show in Kingston.

>>Play Stephanie Schwartz, Giulia Smith & Dan Ward

Ashiya Eastwood, Daniel Neofetu and Maria Walsh discuss the promotion of Forensic Architecture within the art world and its implications for political art, Taryn Simon’s ‘An Occupation of Loss’ and the Groundwork programme of international art in Cornwall.

>>Play Ashiya Eastwood, Daniel Neofetu & Maria Walsh

Martin Clark, director of Camden Arts Centre, and Mason Leaver-Yap, associated curator at Kunstwerke Berlin. Chaired by George Vasey, curator at Wellcome Collection.

Talk 4 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Isobel Harbison on the Joan Jonas survey exhibition at Tate Modern, Taylor Le Melle on Sophia Al-Maria’s show at Project Native Informant and Edward C Ball on the art scene in Paris, including the opening of the Rem Koolhaas-designed gallery, Lafayette Expectations.

>>Play Edward C Ball, Isobel Harbison & Taylor Le Melle

Achim Borchardt-Hume (director of exhibitions at Tate Modern) and Paul Goodwin (independent curator and urban theorist, UAL chair of contemporary art & urbanism and director of the Transnational Art, Identity and Nation Research Centre) discuss themes of conflict, recalcitrance and the ‘undercommons’. Chaired by Laura Sillars, director of MIMA.

Talk 3 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Chrissie Iles (Anne and Joel Ehrenkranz curator at Whitney Museum of America Art) and Polly Staple (director of Chisenhale Gallery) discuss the place of the institution as a site of change and practice. Chaired by Alistair Robinson, director of NGCA.

Talk 2 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Dave Beech discusses the idea that the robot is to visions of the future what the genius was to the industrial age, and argues that current thinking devalues labour while simultaneously ushering in a new form of slavery.

>>Play Dave Beech

Jennifer Thatcher discusses the art world’s We Are Not Surprised anti-harassment movement in response to the wider post-Weinstein #MeToo campaign, and Amy Budd discusses the ‘No, No, No, No’ exhibition at Cell Projects. Presented by Chris McCormack.

>>Play Amy Budd & Jennifer Thatcher

Ashiya Eastwood explores TJ Demos’s book Against the Anthropocene, Kathryn Lloyd examines Sophie Jung’s performance-based art practice and Virginia Whiles discusses her interview with Rasheed Araeen.

>>Play Ashiya Eastwood, Kathryn Lloyd & Virginia Whiles

Writer Erika Balsom discusses her book After Uniqueness: A History of Film and Video Art in Circulation and director of Film and Video Umbrella Steven Bode reflects on the changing landscape of moving-image production in the UK. Introduced by Uta Kögelsberger, senior lecturer at Newcastle University, and chaired by Chris McCormack, associate editor of Art Monthly.

Talk 1 of ‘The Producers Part II: New Positions on Curating’ devised by Uta Kögelsberger of Newcastle University and Chris McCormack of Art Monthly, with the generous support and input of staff at the Hatton Gallery, from the School of Arts and Cultures, Newcastle University and from Art Monthly.

Lizzie Homersham on Hannah Black and her recent show at Chisenhale Gallery, Seth Pimlott on Erika Balsom’s book ‘After Uniqueness: A History of Film and Video Art in Circulation’ and George Vasey on David Dye’s exhibition at the Henry Moore Institute.

>>Play Lizzie Homersham, Seth Pimlott & George Vasey

Bob Dickinson on art, life and the algorithm, Giulia Smith discusses the upsurge in art about sickness, and Virginia Whiles reports on Manchester's New North and South exhibition marking 70 years of independence for India and Pakistan.

>>Play Bob Dickinson, Giulia Smith & Virginia Whiles

Isobel Harbison on the Gothenburg Biennial, Richard Hylton on the rise in thematic shows of black artists, and Maria Walsh on Leon Wainwright’s book ‘Phenomenal Difference: A Philosophy of Black British Art’.

>>Play Isobel Harbison, Richard Hylton & Maria Walsh

Lisa Le Feuvre discusses the crisis in public sculpture highlighted by this year’s Münster Sculpture Project.

>>Play Lisa Le Feuvre

Sophia Phoca on Documenta, Jamie Sutcliffe on Jenna Sutela’s exhibition at Banner Repeater and Lauren Velvick on Marlie Mul’s project at Glasgow GoMA, ‘This exhibition is cancelled’.

>>Play Sophia Phoca, Jamie Sutcliffe & Lauren Velvick

Bob Dickinson on crowdthinking and the political fallout from the rise of referendums, and Chris Fite-Wassilak on the music-themed exhibition Wagstaff’s at Mostyn in Llandudno and Martin Herbert's book of artist refuseniks ‘Tell Them I said No’.

>>Play Bob Dickinson & Chris Fite-Wassilak

Brian Hatton suggests that the loop in art predates its usage in film and video art theory; Maria Walsh takes a critical view of a slew of women’s art shows; Sophie J Williamson argues that cultural translation can both help and hinder understanding.

>>Play Brian Hatton, Maria Walsh & Sophie J Williamson

Paul O’Kane on the book ‘On Stage: The Theatrical Dimension of Video Image’, Jamie Sutcliffe on Tate’s screening of American experimental animation from the 1970s and 1980s, and Bryony White on the Performistanbul festival and the wider the wider Turkish art scene.

>>Play Paul O'Kane, Jamie Sutcliffe & Bryony White

Morgan Quaintance and Virginia Whiles discuss cults and collectivism, asking can artworks reveal the radical potential of self-reflection while avoiding the dangers of a slide to the far right?

>>Play Morgan Quaintance & Virginia Whiles

Tim Dixon discusses art and accelerationism, Andrew Hunt proposes gonzo curating and Andrew J Stooke reports on the Shanghai Biennale.

>>Play Tim Dixon, Andrew Hunt & Andrew J Stooke

Mark Prince argues that abstract art has performed a 50-year volte-face.

>>Play Mark Prince

Virginia Whiles discusses Suzanne Lacy’s collaborative performance at Brierfield Mill in Lancashire, Bob Dickinson wonders what the rise of art self-help books means, and David Lillington considers why death has become a fashionable subject in contemporary art and exhibitions.

>>Play Bob Dickinson, David Lillington & Virginia Whiles

Morgan Quaintance wonders why there is not more politically engaged art in these turbulent times, while Maria Walsh posits the end of critique.

>>Play Morgan Quaintance & Maria Walsh

David Lillington discusses an exhibition curated by artist Elizabeth Price at Whitworth Gallery in Manchester, Kathryn Lloyd discusses recent exhibitions in London at Pump House Gallery, Laure Genillard and the Barbican, and Jamie Sutcliffe discusses the work of artist Kitty Clark.

>>Play David Lillington, Kathryn Lloyd & Jamie Sutcliffe

Lizzie Homersham tackles gendered issues surrounding ideas of empathy and autism, while Morgan Quaintance argues that that art’s relationship with private finance comes at a price.

>>Play Lizzie Homersham & Morgan Quaintance

Naomi Pearce discusses the Martine Syms exhibition at the ICA; Adam Pugh reports on the Oberhausen Short Film Festival; Jamie Sutcliffe examines artists’ repurposing of video games to reveal the fantasy of freedom that virtual technologies offer.

>>Play Naomi Pearce, Adam Pugh & Jamie Sutcliffe

Virginia Whiles discusses her interview with Mona Hatoum and her report on the Dhaka Art Summit, and Peter Suchin discusses his reviews of the ‘Barthes/Burgin’ show and John Roberts’s latest book, as well as remembering the late Jon Thompson.

>>Play Peter Suchin & Virginia Whiles

Isobel Harbison discusses the Hot Babe theory of objectification, Erika Balsom recounts the north-east's socialism-oriented AV Festival and Sophia Phoca tackles James Coleman’s exhibition at Marian Goodman Gallery.

>>Play Erika Balsom, Isobel Harbison & Sophia Phoca

Kathryn Lloyd on Iván Argote’s show at Space, Jamie Sutcliffe brings a worm’s eye view to art and the Chthulucene and Lynton Talbot discusses the Whitechapel Gallery’s ‘Electronic Superhighway (2016-1966)’ exhibition.

>>Play Kathryn Lloyd, Jamie Sutcliffe & Lynton Talbot

Maria Walsh discusses Adam Chodzko’s eco-art film Deep Above, Alex Fletcher reports from Raven Row’s exhibition ‘The Inoperative Community’ and Chris Fite-Wassilak examines Jessie Brennan and Nathan Coley’s artists’ books about art and regeneration.

>>Play Chris Fite-Wassilak, Alex Fletcher & Maria Walsh

Beth Bramich reports from ‘Art & Stupidity’, Nathan Jones makes sense from non-sense with glitch poetics and Paul O’Kane seeks orientation without maps.

>>Play Beth Bramich, Nathan Jones & Paul O’Kane

Jonathan P Watts discusses art and the commodification of happiness, Lauren Velvick introduces the work of Jennet Thomas, and Jamie Sutcliffe examines Marcus Werner Hed and Nathaniel Mellors’s film The R&B Feeling about the life of Bob Parks.

>>Play Jamie Sutcliffe, Lauren Velvick & Jonathan P Watts

Walsh returns to her feature ‘I Object’ to consider how artists such as Mark Leckey, Hito Steyerl and Ed Atkins are keen to dissolve their subjectivity in order to exist in a non-hierarchical network of things. Quaintance questions whether post-internet is an aesthetic that relinquishes criticality for a compliance with corporate and right-wing thinking, while Grayson asks what are the ‘ends of post-internet art’, analysing why the trend has become so popular.

Read the articles online:
I Object Maria Walsh on art and the new objecthood
Right Shift Morgan Quaintance on the end of post-internet art
Talkin’ ’bout their g-g-g-generation Richard Grayson on the ends of post-internet art

>>Play The End(s) of Post-Internet Art

Matthew Bowman and Mark Wilsher discuss the latter’s ‘Everyone is an Curator’ show, Chris Fite-Wassilak introduces the social art of Jonathan Hoskins and Rob La Frenais reports on the Istanbul Bienali.

>>Play Matthew Bowman, Chris Fite-Wassilak, Rob La Frenais & Mark Wilsher

Larne Abse Gogarty discusses the reinvention of documentary, Richard Grayson explores the ends of post-internet art and Alex Fletcher talks about the recent film work of Ben Rivers..

>>Play Larne Abse Gogarty, Richard Grayson & Alex Fletcher

Andrew Hunt discusses the return of the exhibition itself to the heart of curatorial thinking while Paul O’Kane considers Robert Smithson’s legacy.

>>Play Andrew Hunt & Paul O’Kane

Patricia Bickers discusses Okwui Enwezor’s Venice Biennale with host Chris McCormack, Morgan Quaintance argues that we are at the end of post-internet art and Jamie Sutcliffe reports on Katrina Palmer’s Artangel commission End Matter on the Isle of Portland in Dorset.

>>Play Patricia Bickers, Morgan Quaintance & Jamie Sutcliffe

Larne Abse Gogarty asks how artists make a living, Alex Fletcher discusses Harun Farocki’s Labour in a Single Shot project and Virginia Whiles reports on the art scene in Lahore.

>>Play Alex Fletcher, Larne Abse Gogarty & Virginia Whiles

Lizzie Homersham, Cherry Smyth and Marina Vishmidt discuss exhibitions by Sarah Sze and Rachel Reupke as well as the willingness of post-internet artists to embrace the art market and patrons that other artists choose to boycott

>>Play Lizzie Homersham, Cherry Smyth & Marina Vishmidt

Bob Dickinson on art and laughter, and Peter Suchin on Art & Language

>>Play Bob Dickinson & Peter Suchin

Paul O’Kane and Morgan Quaintance question whether photography problematises judgement in art, and discuss the unique art scene of New Orleans.

>>Play Paul O'Kane & Morgan Quaintance

Peter Suchin on the exhibition ‘Show Me the Money’ and the latest books from his round-up article ‘Transgressions and Transmissions’.

>>Play Peter Suchin

Dave Beech, Paul Carey-Kent and Andrew Hunt discuss art boycotts, antagonistic public art and the Folkestone Triennial.

>>Play Dave Beech, Paul Carey-Kent & Andrew Hunt

Bob Dickinson tackles the Liverpool Biennial and Nick Warner discusses London exhibitions while Ajay Hothi philosophises about art on the web.

>>Play Bob Dickinson, Ajay Hothi & Nick Warner

Gilda Williams discusses how Andy Warhol went beyond Pop Art while Omar Kholeif is critical of Juan A Gaitán’s Berlin Biennale.

>>Play Omar Kholeif & Gilda Williams

Dave Beech discusses what art schools should teach while Colin Perry examines Chris Marker's film work.

>>Play Dave Beech & Colin Perry

Daniel Miller, Paul O'Kane and Stephen Wilson on political art, Romanticism and Taipei.

>>Play Daniel Miller, Paul O'Kane & Stephen Wilson

John Douglas Millar, Morgan Quaintance and Virginia Whiles discuss art writing, Cevdet Erek's sound art, David Joselit's recent book and new art from Iran and Iraq.

>>Play John Douglas Millar, Morgan Quaintance & Virginia Whiles

Chris Fite-Wassilak, Larne Abse Gogarty and Omar Kholeif on art, technology and labour.

>>Play Chris Fite-Wassilak, Larne Abse Gogarty & Omar Kholeif

Bob Dickinson on art’s relationship with unemployment, leftist politics and radical conservatism.

>>Play Bob Dickinson

Morgan Quaintance and Laura McLean-Ferris on Kara Walker at Camden Art Centre, Steve McQueen’s 12 Years a Slave and the Lyon Biennale.

>>Play Laura McLean-Ferris & Morgan Quaintance

Paul O’Kane on the rhetoric of transparency in an age of self-surveilling social media.

>>Play Paul O’Kane

George Vasey and Maria Walsh discuss feminist self-portraiture as well as art and the new objecthood.

>>Play George Vasey & Maria Walsh

Morgan Quaintance and Dave Beech discuss post-racialism plus art as economic anomaly.

>>Play Dave Beech & Morgan Quaintance

Dean Kenning, Margareta Kern and Sophie J Williamson discuss art’s collusion with unquestioned capital.

>>Play Dean Kenning, Margareta Kern & Sophie J Williamson

Patricia Bickers, Daniella Rose King and Chris McCormack discuss the real lines dividing art’s insiders and outsiders, with reference to the Venice Biennale exhibition ‘The Encyclopedic Palace’ and the Hayward Gallery’s ‘The Alternative Guide to the Universe’.

>>Play Patricia Bickers, Daniella Rose King & Chris McCormack

Christopher Townsend on the legacy of the Pictures Generation and MTV.

>>Play Christopher Townsend

Bob Dickinson, Jennifer Thatcher and George Vasey discuss feminism and inequality in the art world, and also turn their attention to recent exhibitions in London and Manchester.

>>Play Bob Dickinson, Jennifer Thatcher & George Vasey

Felicity Allen, David Barrett, Dave Beech and Patricia Bickers discuss art education: the agenda behind funding cuts, the tension between creativity and bureaucracy, and the disruption of the higher education market.

>>Play Felicity Allen, David Barrett, Dave Beech & Patricia Bickers

Reuben Fowkes discusses the return of the East European; Paul O’Kane ponders art and being in an age of technocapitalism; and Mark Harris reflects on Duchamp et al at the Barbican.

>>Play Reuben Fowkes, Mark Harris & Paul O’Kane

Sophie J Williamson discusses the use of viral images within grassroots popular protests, with particular reference to the case of Khaled Mohamed Saeed, whose death in 2010 sparked the Egyptian revolution.

>>Play Sophie J Williamson

Omar Kholeif and Morgan Quaintance discuss the culture of online curating and the phenomenon of virtual lives.

>>Play Omar Kholeif & Morgan Quaintance

Christopher Townsend, Kate Villevoye and John Lowe reflect upon the work of filmmaker Jonas Mekas, who celebrated his 90th birthday in December 2012 while exhibiting four retrospective exhibitions around the world. Mekas is interviewed in the February 2013 issue Art Monthly.

>>Play Christopher Townsend, Kate Villevoye & John Lowe

Michael Hampton and Ajay Hothi discuss recent exhibitions that have presented art in pastoral settings and the influential 1960s magazine-in-a-box, Aspen.

>>Play Michael Hampton & Ajay Hothi

John Douglas Millar examines the literary form Conceptual Writing and its connection with visual art, while Colin Perry considers recent exhibitions that raise questions about art and its benefactors.

>>Play John Douglas Millar & Colin Perry

Paul O’Kane discusses the act of making in the process of producing art and Sophie J Williamson argues that contemporary artists such as Christoph Schlingensief and Ai Weiwei tap into the spirit of the ancient Greek Cynics for political protest.

>>Play Paul O’Kane & Sophie J Williamson

Jennifer Thatcher and Morgan Quaintance discuss Tino Sehgal's work for Tate Modern's Turbine Hall and Claire Bishop's book on relational aesthetics.

>>Play Jennifer Thatcher & Morgan Quaintance

Nick Warner and Chris Fite-Wassilak discuss recent exhibitions in London and Norwich including a collaborative gallery exhibition between two net artists who have not met each other in person.

>>Play Nick Warner & Chris Fite-Wassilak

Maria Walsh discusses Jo Spence’s photography and Emily Roysdon’s online performance for Tate Modern, Cherry Smyth discusses Nancy Holt's earthworks and Mikhail Karikis’s film installation at Wapping Project.

>>Play Cherry Smyth & Maria Walsh

Sophie J Williamson discusses curating beauty after Gustave Flaubert, Peter Suchin on the collected writings of artist-educator Jon Thompson and Morgan Quaintance defends the term ‘practice’.

>>Play Sophie J Williamson, Peter Suchin & Morgan Quaintance

Paul O’Kane discusses the artwork as object in a world of immaterial labour and Omar Kholeif tracks the influences of Kraftwerk.

>>Play Paul O’Kane & Omar Kholeif

Christopher Townsend discusses the physicality of drawing; even the most apparently hands-off of artists are drawn to reveal their corporeality through the medium – albeit at one remove.

>>Play Christopher Townsend

Morgan Quaintance makes the case for imaginative engagement as a form of participation, arguing that discussion around particpatory art has missed this important category of engagement: artwork that purposefully cues up and then directs the individual viewer’s imagination.

>>Play Morgan Quaintance

Omar Kholeif discusses western appropriation of art from the Arab world and Paul O’Kane redefines outsider art in an attempt decontextualise art as existing inside an ‘art world’.

>>Play Omar Kholeif & Paul O’Kane

John Douglas Millar discusses the Gerhard Richter exhibition at Tate Modern: ‘As this exhibition well demonstrates, Richter’s work contains a dual critique that acts as a painterly plague on both houses of the Cold War divide. There is the desire, on the one hand, to suspend and/or indict ideological thinking, coupled with the will to mourn its effects on his country and his people.’

>>Play John Douglas Millar

Colin Perry discusses the vexed relationship between art and TV – where are the activist video artists?

Correction: Artworks by David Hall are misattributed to Tony Hill in this broadcast.

>>Play Colin Perry

Mark Prince discusses the resistance of objects in relation to his article on sculpture ‘The Made v The Readymade’.

>>Play Mark Prince

Laura McLean-Ferris discusses her essay on dissolution of the body in the internet age, and Morgan Quaintance follows up on his review of the book Digital and Other Virtualities.

>>Play Laura McLean-Ferris & Morgan Quaintance

Christopher Townsend discusses how mid-century British modernism has become inaccessible to contemporary viewers since it can now only be viewed through contemporary culture's mythologising of late capitalism.

>>Play Christopher Townsend

John Douglas Millar on why experimental writing thrives in the art world, and Peter Suchin on Focal Point Gallery's 'Tarot' exhibition.

>>Play John Douglas Millar & Peter Suchin

Bob Dickinson reports on the nuclear-bunker-based Time Machine Biennial in Bosnia and Herzegovina, and Paul O’Kane discusses Gillian Whiteley’s book on assemblage, Junk: Art and the Politics of Trash.

>>Play Bob Dickinson & Paul O’Kane

Stephanie Schwartz discusses her feature article ‘Photography as Work’, which questions the utopian potential of digital photography, with reference to the Jorge Ribalta-curated exhibition ‘A Hard, Merciless Light: The Worker-Photography Movement 1926-1939’ at the Museo Nacional Centro de Arte Reina Sofia, Madrid.

>>Play Stephanie Schwartz

Maria Walsh discusses her interview with Mary Kelly, and JJ Charlesworth argues that theory’s current obsession with objective critique misses the mark in comparison with subjective criticism.

>>Play Maria Walsh & JJ Charlesworth

Critic, musician and curator Morgan Quaintance joins critic and artist Peter Suchin. They discuss General Idea’s ‘Haute Culture’ exhibition in Paris and Suchin’s ‘Rebel Without a Course’ article on practice-led PhDs, which questions the institutionalisation and professionalisation of artists.

>>Play Morgan Quaintance & Peter Suchin

Dave Beech and Larne Abse Gogarty discuss ugliness, in relation to Beech's feature article 'On Ugliness', and Gregory Sholette’s book about guerilla activist art, Dark Matter: Art and Politics in the Age of Enterprise Culture.

>>Play Dave Beech & Larne Abse Gogarty

Art Monthly Editor Patricia Bickers discusses with Dean Kenning his report on art students’ recent direct-action campaigns, including occupation, teach-ins and protests. The pair also discuss Mike Watson’s polemic (AM342), which advocates that art schools become independent of the university system.

>>Play Patricia Bickers & Dean Kenning

Zoë Shearman discusses the British Art Show 7: ‘In the Days of the Comet’, while Maria Walsh focuses on Berthold Brecht’s influence on artist filmmakers, who, she argues, should explore fiction and narrative rather than pure reflexivity.

>>Play Zoë Shearman & Maria Walsh

Richard Hylton discusses two films by Ruth McClennan and is joined by Sophia Phoca who asks how might artist filmmakers might go about producing their films today when funding bodies are being forced to close and many support structures have disappeared.

>>Play Richard Hylton & Sophia Phoca

Colin Perry and Klara Kemp-Welch discuss Manifesta 8 in Murcia and ‘Touched’, the Liverpool Biennial.

>>Play Colin Perry & Klara Kemp-Welch

Arguably contemporary art’s most significant performance artist, the Belgrade-born, New York-based Marina Abramovic has produced provocative and compelling live work for almost 40 years. Her unrelenting focus on the body and the limits of the performer has resulted in some of the canon’s seminal works, from Rhythm 10, 1973, in which the artist duplicated a recording of herself stabbing knives between her fingers, through to her three-month endurance work The Artist is Present, 2010, which was part of her solo exhibition at New York MoMA – the museum’s largest ever exhibition of performance art. Abramovic won the Golden Lion at the Venice Biennale in 1997, has been included in Documenta three times, and has exhibited in numerous museums internationally. In 2012 she will open the Marina Abramovic Institute, dedicated to the preservation of performance art.

>>Play Marina Abramovic

In this 15-minute Talk Show extra, Matt Hale and Andrew Hunt discuss the likely impact of forthcoming government spending cuts on the arts. Andrew Hunt, who runs Focal Point Gallery in Southend, reports back from a meeting at Tate Modern attended by the heads of over 70 public galleries from across the country to discuss the cuts and the fightback.

>>Play Andrew Hunt on Cuts to the Arts

John Douglas Millar discusses the ethics and aesthetics of docu-art as practised by artists such as Renzo Martens, Harun Farocki and Aernout Mik, and asks: does art’s subjectivity give it a unique angle on the exploitation of tragedy? Andrew Hunt, meanwhile, suggests that optimism and humour are intelligent alternatives to the cynicism of postmodern irony.

>>Play John Douglas Millar & Andrew Hunt

The interview: an invaluable historical tool or a perpetuation of the cult of celebrity? The first in the Whitechapel Gallery’s Banjos at Dawn series of duelling debates sees Art Monthly contributors Gilda Williams and Julian Stallabrass take up opposing positions, while Sally O’Reilly ensures etiquette is observed.

>>Play For and Against the Interview

Andrew Hunt and Jennifer Thatcher discuss new trends and approaches to gallery design, and a new book, Curating and the Educational Turn, which suggests that a shift towards education pervades current curatorial practice.

>>Play Andrew Hunt & Jennifer Thatcher

Coline Milliard and Mark Prince discuss the the literary tendency in contemporary art, and the recent Falmouth Convention where the keynote speech was by Lucy Lippard.

>>Play Coline Milliard & Mark Prince

Theorist Dan Smith talks to host Matt Hale about current use of the spiritual in art, and artist and activist John Jordan discusses Liberate Tate’s recent protest against BP sponsorship at Tate’s summer party while critic JJ Charlesworth argues that the activists oversimplified the issue.

>>Play Dan Smith, John Jordan & JJ Charlesworth

Artist Dean Kenning and poet Cherry Smyth join Matt Hale to discuss Kenning’s feature on relational, collaborative artwork in the public realm – in particular projects by David Collins and Emma Hart in Morpeth School, Bethnal Green, London – and Smyth’s review of Rachel Harrison’s exhibition at the Whitechapel Art Gallery.

>>Play Dean Kenning & Cherry Smyth

Gilda Williams and Maria Walsh join Matt Hale to discuss ways in which artists utilise the difference between ruined buildings and the merely derelict, and how Hannah Sawtell’s films analyse entropy in the age of the digital.

>>Play Gilda Williams & Maria Walsh

Japanese artist Tatsuo Miyajima rose to prominence in the late 1980s with his distinctive use of glowing LED numerical counters, with later works seeing these counters attached to moving devices or embedded in natural materials, such as piles of coal or submerged underwater. Miyajima describes his practice as addressing humanist ideas within a Buddhist philosophy: ‘keep changing, connect with everything, continue forever’. He has work in the Tate Collection, has twice exhibited in the Venice Biennale and presented a solo show at London’s Lisson Gallery earlier this year.

>>Play Tatsuo Miyajima

Sally O’Reilly and Mark Prince join Matt Hale to discuss the work of John Smith and the idea of artists as curators of the self.

>>Play Sally O’Reilly & Mark Prince

Patricia Bickers and Alex Coles discuss the work of artist Sturtevant, appropritation in both visual art and advertising, and the failure of ‘designart’.

>>Play Patricia Bickers & Alex Coles

Born in South Korea, New York-based artist Kimsooja is renowned for her performative video works and sculptural installations. Meditating on the crossover between cultural, social and personal identity, her work has previously been selected for the Venice Biennale ? 2001, 2005 and 2007 ? as well as the Whitney Biennial and the Yokohama Triennial. She currently has a solo exhibition at the Baltic in Gateshead.

>>Play Kimsooja

Matt Hale talks to Colin Perry and Gavin Grindon. Perry has written about artists who use the law as an artistic medium; something that can be manipulated and tested. He is joined by Grindon who writes about art and activism. Grindon has recently returned from the Climate Conference in Copenhagen and he tells us about the new forms of art and activism he saw out there.

>>Play Colin Perry & Gavin Grindon

Host Matt Hale talks to Peter Suchin about Terry Smith’s show at The Foundling Museum and Colin Perry about Chen Chieh-jen’s exhibition at Iniva, while Dave Beech scrutinises the face of Conservative cultural policy in the form of Roger Scruton’s new book on beauty.

>>Play Dave Beech, Colin Perry & Peter Suchin

Patricia Bickers and Jennifer Thatcher discuss the convergence of artistic and entrepreneurial values, and the ‘Pop Life’ exhibition at Tate Modern.

>>Play Patricia Bickers & Jennifer Thatcher

The highlight of Documenta 12 was Harun Farocki?s 12-screen video installation Deep Play, 2007, which analysed the football World Cup final from different perspectives. Born in the German-annexed Czechoslovakia and now living in Berlin, Farocki has produced over a hundred film and video works for art galleries, cinema and TV. He is also a lecturer and theorist, and for a decade from 1974 he was the editor of Filmkritik magazine.

>>Play Harun Farocki

Matt Hale discusses Modern and Conceptual Art with Rachel Garfield and Mark Prince.

>>Play Rachel Garfield & Mark Prince

Matt Hale in conversation with Alex Coles and Rikke Hansen discussing art criticism.

>>Play Alex Coles & Rikke Hansen

John Baldessari was one of the founders of Conceptual Art in the 1960s and has gone on to become a giant of the West Coast art scene in the US, both as an artist and highly influential lecturer at CalArts. At this year?s Venice Biennale he was awarded the Golden Lion Lifetime Achievement Award. He has exhibited in major museums globally and this talk coincides with the launch of his major retrospective at Tate Modern.

>>Play John Baldessari

Matt Hale in conversation with Dave Beech and Paul Usherwood discussing the fall of public art.

>>Play Dave Beech & Paul Usherwood

Matt Hale in conversation with Maxa Zoller and Colin Perry discussing the history of artists’ films.

>>Play Maxa Zoller & Colin Perry

Matt Hale in conversation with Patricia Bickers and Lisa Le Feuvre discussing the 53rd Venice Biennale.

>>Play Patricia Bickers & Lisa Le Feuvre

Matt Hale in conversation with Michael Corris and Richard Grayson discussing the economy of art.

>>Play Michael Corris & Richard Grayson

Swiss artist Pipilotti Rist won the Premio 2000 prize at the 1997 Venice Biennale for her subversive video Ever is Over All in which a young woman strolls down a Zurich street casually smashing the windows of parked cars with a fake tropical flower. She has been included in four Venice Biennales and had solo exhibitions at MoMA New York and FACT, Liverpool.

>>Play Pipilotti Rist

The video artist interviewed by Sally O?Reilly.

Matt Hale in discussion with Sally O’Reilly and Rikke Hansen talking about themed group exhibitions.

>>Play Sally O'Reilly & Rikke Hansen

Matt Hale discusses the student occupation of Byam Shaw School of Art with Jamie Wagg, Jon Rees and Jessica Scott.

>>Play Jamie Wagg, Jon Rees & Jessica Scott

Matt Hale in conversation with Peter Suchin and Colin Perry discussing Nicolas Bourriaud‘s exhibition ‘Tate Triennial: Altermodern’ and A Brief History of Curating by Hans Ulrich Obrist.

>>Play Peter Suchin & Colin Perry

New York-based African-American artist Lorna Simpson came to prominence in the 1980s with challenging work that dealt with issues surrounding race, gender and sex. Though deceptively simple and extremely elegant, her juxtapositions of text and image pack a powerful punch, as in Untitled (2 necklines) of 1989, in which the text between two circular photographs of necklines reads: ?ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop?, ending with the phrase, ?feel the ground sliding from under you?.

>>Play Lorna Simpson

Matt Hale in conversation with Dave Beech and Jennifer Thatcher discussing critical art after Postmodernism.

>>Play Dave Beech & Jennifer Thatcher

French artist Christian Boltanski thinks of himself as a painter but is best known for his photographic installations. A photographer who often re-photographs found images, including family snapshots, he associates photography with death and describes himself as a ?cadaver merchant?. For the inaugural Folkestone Biennial of 2008, Boltanski created a moving sound piece, Whispers, comprising readings from the private love letters of soldiers and their lovers from the First World War.

>>Play Christian Boltanski

Dennis Oppenheim’s practice has taken in actions, performances, installations, sculptures, film, architecture and everything in between. Seminal early works include Cancelled Crop, 1969, a field was harvested in the form of an X, and Reading Position for Second Degree Burn, 1970, a photographic diptych of Oppenheim lying on Jones Beach in New York, one with an open book (titled Tactics) face down on his chest, and one without showing the void created after five hours exposed to the sun. In recent years he has returned to the object and created installations including the Garden for the Accused in New York.

>>Play Dennis Oppenheim

What is the Future of Art Education?

In response to demand, Art Monthly organised two public debates: one in London in September and one in Birmingham in October. At these events readers were given the opportunity to question educational professionals and policy makers.

The panels debated the motion: ‘Is further privatisation, corporatisation and instrumentalism inevitable or are there alternatives?’ and responded directly to the question ‘What is the Future of Art Education?’

Panel:

Pavel Büchler, artist and research professor at Manchester Metropolitan University.

Phyllida Barlow, artist, professor of fine art and director of undergraduate studies at Slade.

Michael Corris, writer and professor of fine art at the Art & Design Research Centre, Sheffield Hallam University.

Vaughan Grylls, artist and former director of Kent Institute of Art and Design.

What is the Future of Art Education?

In response to demand, Art Monthly organised two public debates: one in London in September and one in Birmingham in October. At these events readers were given the opportunity to question educational professionals and policy makers.

The panels debated the motion: ‘Is further privatisation, corporatisation and instrumentalism inevitable or are there alternatives?Æ and responded directly to the question ‘What is the Future of Art Education?’

Panel:

Michael Corris is a writer and professor of fine art at the Art & Design Research Centre, Sheffield Hallam University.

Lisa Le Feuvre is a writer, curator and lecturer on the curatorial programme at the Department of Art, Goldsmiths.

Paul Gough is chair of the art and design group of the Research Assessment Exercise and pro-vice chancellor at University of West of England in Bristol.

Irit Rogoff is an art historian and professor of visual cultures at Goldsmiths.

Paul Wood is the author of ‘Between God and the Saucepan’, a study of English art education from the 18th century to the present day, which will be published in the History of British Art in November 2008.

Susan Hiller is renowned for making works that investigate everyday phenomena that are often overlooked. Previous subjects have included UFO sightings (Witness, 2000), horror movies (Wild Talents, 1997), near-death experiences (Clinic, 2004), Punch and Judy shows (An Entertainment, 1990) and dreams (Dream Mapping, 1974). She uses sound, video, text and photography, often creating large-scale installations. She has been described as a feminist, a conceptualist and a para-conceptualist.

>>Play Susan Hiller

?My work is all about the potential of materials ? even when it looks like they?ve lost all possibilities.? In the course of making her work, Cornelia Parker has shot at objects, thrown them from cliffs, blown them up and rolled over them with a steam roller. Her sculptural processes have been described as ?mimicking cartoon deaths?. Parker?s work is both dramatic and delicate, powerful and intricate ? out of destruction she creates tragedy and beauty.

>>Play Cornelia Parker

I went to see, I went to see Logan?s Run,? right?
They had a movie of the future called Logan?s Run
There ain?t no niggers in it!
I said ?Well white folks ain?t planning for us to be here!?

[Text work by Glenn Ligon]

New York-based artist Glenn Ligon is renowned for works across a variety of media including sculpture, neons, drawing and painting that explore issues surrounding race, sexuality, identity, representation and language.

>>Play Glenn Ligon

Gustav Metzger, born 1926, is the renowned artist and political activist who developed the concept of Auto-Destructive Art and co-organised the Destruction in Art Symposium in London in 1966. Metzger was also involved in the Fluxus movement and famously declared an Art Strike from 1977 to 1980. Concerned with environmental issues in art already in the 1970s, many of his projects are now seen as astonishingly prescient. After a career spanning decades, he is now in greater demand than ever, generating new projects as for Münster Sculpture Projects 2007 or realising earlier ideas, as with Project Stockholm, originally conceived in 1972 for the UN Environmental Conference in Stockholm. Now produced for the Sharjah Biennale (2007), the huge installation consists of 120 cars that discharge their exhaust fumes into a plastic structure.

>>Play Gustav Metzger

In 1968 Lawrence Weiner formulated his famous ?Declaration of Intent? which became a manifesto of Conceptual Art:

1. The artist may construct the piece.
2. The piece may be fabricated.
3. The piece need not be built. Each being equal and consistent with the intent of the artist the decision as to condition rests with the receiver upon the occasion of receivership.

After a prolific career of more than forty years, his art remains singularly relevant today. Following his highly acclaimed retrospective As far as the eye can see (Whitney Museum of American Art, New York), Lawrence Weiner discusses his work with art historian and critic John Slyce.

>>Play Lawrence Weiner

Artist Christian Marclay is renowned for his collages of music, sculpture, film and image. Marclay?s best-known works include Recycled Records, 1980-86, collages of broken and reassembled vinyl record still playable on the turntable; the video Guitar Drag, 2000, which features an amplified Fender guitar attached to a rope being pulled behind a pick-up truck; Video Quartet, 2002, a five-screen montage of great and/or obscure musical moments and The Sounds of Christmas shown at Tate Modern in 2004. Marclay, who is now based in Britain, recently had a solo show at White Cube.

>>Play Christian Marclay

Love them or loathe them Art Fairs are here to stay. Part of the art market, art fairs don’t just benefit dealers and collectors but artists too, so why do so many art critics despise them? Isn’t it time to move the debate along from the default position of ‘museum shows good: art fairs bad?’

Panel: Pryle Berhman, Lisa Le Feuvre, Peter Suchin

The two artists in conversation.

In 2001 Atelier Van Lieshout realised AVL-Ville, a ?free state? in the port of Rotterdam, the biggest work of art by Atelier van Lieshout to date. This free state is a mix of art environment and sanctuary, full of well-known and new works by AVL, with the special attraction that everything is fully operational. Not art to simply look at, but to live with, to live in and to live by. In 2002 AVL has recently located its first AVL-Ville export product in Park Middelheim in Antwerp: the AVL Franchise Unit. One of the most recent projects of AVL is SlaveCity, an up-to-date concentration camp, a sinister disutopian project which is very rational, efficient and profitable. The inhabitants of the city work in vast patterns of seven hours; they work in the CallCenters and also labour to maintain the city. SlaveCity is the first ?zero energy? town of this size in the world and functions without imported mineral fuel or electricity.

>>Play Joep van Lieshout

The influential American artist interviewed by Iwona Blazwick.

>>Play Martha Rosler

David Ryan and Kirsten Norrie are both artists and both musicians, Sally O’Reilly is a critic and curator of performance events and all three write for Art Monthly. They discussed the crossovers between music, performance and other art forms and tried to address some of problems of definition that arise as a result. They tackled the common questions about interdisciplinarity such as how do you critique or react to a work which combines more than one art form? How context affects the work – when music is played within an art context and vice versa? What difference can the audience make if the work is ‘participatory’, ‘interactive’, or ‘transactive’?

Worlds within Worlds: The Institutions of Art

‘If institutionalisation once lurked ominously in the distance for the avant-garde radical, today it is instantaneous, ubiquitous and unexceptional.’ – Dave Beech

Are today’s artists powerless to resist institutionalisation?

The Art Monthly panel will attempt to define the concepts of ‘institutionalisation’ in art and ‘the institutions of art’ and debate the changing practice of institutional critique, including the phenomenon of self-institutionalisation which, arguably, has superseded it.

Hans Haacke, known for his incisive, unflinchingly political works exposing systems of power and influence both within and without the art world, gives his first interview in this country since his two major retrospectives in Germany earlier this year.

>>Play Hans Haacke

The Camera Never Lies?

Despite the crimes committed in the name of photographic truth are photographs themselves innocent? With Art Monthly critics Craig Burnett, Alison Green, Axel Lapp and Julian Stallabrass.

The Good, the Bad and the Ugly: Judging the Value of Art

How is art judged in the present anti-aesthetic, yet post-theoretical times? Who judges the value of art – the collector, the dealer, the curator or the critic? Art Monthly critics Dave Beech, JJ Charlesworth, Jonathan Harris and Sarah James met to debate the relationship between criticism and the art market and what this means for the formation of critical judgements about art.

The State of Art Criticism

Following a seminar convened by Alex Coles and held at Tate Britian on the theme of the state of Art Criticism a series of features were published in Art Monthly. Michael Archer’s riposte to Coles’s ‘The Bathroom Critic’ provoked other writers and critics to reply, their responses in the form of features, letters and polemics continued to be printed in Art Monthly across five issues.