Associates Programme Faculty

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

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.

Anthea Hamilton

Anthea Hamilton’s work is always site-specific: a consideration of the location, the cultural and political environment as well as personal circumstances at the time provide a framework for Hamilton’s research. The environments she produces are live and conversational. Hamilton’s work considers the lineage of materials and images, tracing their changeable meanings in elaboration of alternative kinds of knowledge. She has shown internationally in solo, group exhibitions and biennales. The New Life, Secession, Vienna (2018); The Squash, Tate Britain, London (2018); Lichen! Libido! Chastity!, SculptureCenter, New York (2015); Britsh Art Show 8, various venues (2015-17) and the 58th Venice Biennale (2019). Hamilton was nominated for the Turner Prize in 2016.

Marguerite Humeau

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

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

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.

Sally O’Reilly

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.