Clair Le Couteur
Dr Clair Le Couteur (they/them) is a non-binary research artist, educator and folk singer whose work explores voice and the fictive. Clair makes transmedia performance assemblages, entangling fact and fiction, research and creation, tradition and contemporaneity. These can take the form of objects, lecture performances, museum installations, academic publications, fictions or musical compositions. Clair is one half of live art duo Lunatraktors; they have performed in venues including the V&A Museum, the Turner Contemporary, the Aldeburgh Festival, the Royal College of Art and the Horse Hospital.
Benedict Drew lives and works in Whitstable and Margate, UK. He works across video, sculpture, music and their associated technologies. He creates large-scale installations, often concerned with ecstatic responses to socio-political anxiety.
Solo exhibitions include TRAPPED IN A STICKY SHED WITH SIDE CHAIN COMPRESSION, iMT Gallery, London; The Trickle-Down Syndrome, Whitechapel Gallery, London; KAPUT, QUAD Gallery, Derby; Walker Gallery, Liverpool; THE ANTI ECSTATIC MACHINES and Heads May Roll, Matt’s Gallery, London. Drew’s work has been exhibited internationally including at Adelaide Festival, Australia; Lofoten International Arts Festival, Norway; and in Hayward Touring exhibitions British Art Show 8 and Shonky: The Aesthetics of Awkwardness. He has been commissioned to create video works for public spaces including Art on the Underground, London and Focal Point Gallery, Southend, and his installation KAPUT (2015) was acquired by the Arts Council Collection. Drew has released several records, including Crawling Through Tory Slime (MANA Records) and The Ughhh Ballads (Bloxham Tapes) and regularly collaborates with other artists and musicians. He is a lecturer in Fine Art at Slade School of Fine Art and is represented by Matt’s Gallery, London.
Marguerite Humeau (b. 1986, FR) lives and works in London, UK. Her work stages the crossing of great distances in time and space, transitions between animal and mineral, and encounters between personal desires and natural forces. The work explores the possibility of communication between worlds and the means by which knowledge is generated in the absence of evidence or through the impossibility of reaching the object of investigation. Humeau weaves factual events into speculative narratives, therefore enabling unknown, invisible, extinct forms of life to erupt in grandiose splendour. Combining prehistory, occult biology and science fiction in a disconcerting spectacle – the works resuscitate the past, conflate subterranean and subcutaneous, all the while updating the quest genre for the information age.
Solo exhibitions of her work have been held at New Museum, New York, US; Tate Britain, London, UK; Haus Konstruktiv, Zürich, CH; Schinkel Pavillon, Berlin, DE; Nottingham Contemporary, UK; Palais de Tokyo, Paris, FR; Kunstverein in Hamburg, DE; and C L E A R I N G, New York, USA. Marguerite Humeau’s work is part of the collections of MoMA, New York, USA; Tate Britain, London, UK, Aishti Foundation, Beirut, LB; Zabludowicz Collection, London, UK; Modern Forms, London, UK.
Nkisi is the pseudonym of Melika Ngombe Kolongo, whose activities as a producer, live musician, DJ and curator are channels for an ongoing inquiry into sound as a tool of communication beyond the purely lingual. Musically, this manifests in a captivating cross-talk of African rhythms, uncompromising European hard dance tropes, foreboding synth melodies and a relentless, galvanising energy, as heard on the ‘7 Directions’ LP on Lee Gamble’s UIQ label and harnessed for her increasingly kinetic live performances and DJ sets.
Paul Maheke (b. 1985, Brive-la-Gaillarde, France) lives and works in London, UK. He completed an MA in Art Practice from ENSAP Cergy (2011) and was an Open School East Associate in 2015. With a focus on dance and through a varied and often collaborative body of work comprising performance, installation, sound and video, Maheke considers the potential of the body as an archive in order to examine how memory and identity are formed and constituted.
Maheke’s works have been performed and exhibited at Tate Modern, London (2017), the David Roberts Art Foundation, London, the 57th Venice Biennale (Diaspora Pavilion, 2017), Centre Pompidou in Paris (2018), Lafayette Anticipations, Paris (2018), the Baltic Triennial, Tallinn (2018), Manifesta 12, Palermo (2018), and the 6th Rennes Biennale (2018). In 2018 the Chisenhale Gallery, London presented a solo exhibition which travelled to Vleeshal CCA in Middelburg. In 2019 his performances were presented at the 58th Venice Biennale, the ICA Miami, and Triangle France in Marseille. He is nominated for the Fondation Ricard Prize 2019.
Sophie Mallett is an artist and filmmaker working in London. Her work concentrates on how financial, architectural and social worlds are constructed and controlled, and in turn affect our ability to co-exist. Using video, text, installation and sound she pursues a practice at the intersection of affect, politics and value. Through close attention she acknowledges clandestine societal norms, complicity and dysfunctional ethics.
Mallett’s practice is informed by previous work in documentary, sound and radio and often takes form in short video works. These are usually presented as installation, through multiple screens, with an unusual sonic environment. Educated at Open School East (2015), London College of Communication and Sydney Conservatorium of Music, Mallett’s practice is both interdisciplinary and collaborative, with a reflexive emphasis on how individuals work together.
Sarah McCrory is currently the Director of Goldsmiths Centre for Contemporary Art. Prior to this she was Director of Glasgow International (2012–2016), Curator of Frieze Projects and Film (2009–2012), and curated a program of major public commissions as part of the London 2012 Olympic Festival. McCrory was previously co-curator of the not-for-profit organisation Studio Voltaire, London, and the curator of project spaces Arts & Jobs and Swallow Street, London. For three years McCrory was curator of self-publishing fair Publish and Be Damned and was a Director of Vilma Gold, London. Sarah is also a co-founder of Open School East and presently a Trustee.
Sally O’Reilly writes for performance, page and video. Recent projects include the novella The Ambivalents (Cabinet, New York, 2017), the novel Crude (Eros Press, 2016) and the libretto for the opera The Virtues of Things (Royal Opera, Aldeburgh Music, Opera North, 2015). She was writer in residence at the Whitechapel Art Gallery (2010–11) and at Modern Art Oxford (2016), producer and co-writer of The Last of the Red Wine (ICA, London, 2011), a radio sitcom set in the art world, and co-editor of Implicasphere (2003–8), an interdisciplinary broadsheet. She has also performed her own solo and collaborative works internationally in galleries, museums, festivals and biennales.
Trish Scott is an artist, curator and researcher. Collaborating experimentally with others her work explores participatory structures and the dynamics underpinning knowledge production. Trish is Engagement Curator at Goldsmiths CCA and was previously a Curator for intergenerational learning at Tate. Between 2015–18 Trish was Research Curator at Turner Contemporary where she developed ‘Journeys with The Waste Land’, a major exhibition co-curated with members of the local community underpinned by a unique collaborative methodology. As an artist Trish has worked with organisations ranging from the Koestler Trust, to the Whitstable Biennale to Tate. Trish has a BSc in Social Anthropology from the London School of Economics, and an MA and PhD in Fine Art from the University of the Arts, London, completing her thesis ‘Socialising the archive’ in 2017.