Skip to content

Invited Speakers

Maria Fusco

Maria Fusco is a Belfast-born writer, editor and academic, based in London. The Mechanical Copula, her first book of short stories, is published by Sternberg Press, Berlin & New York (2010). She writes for a broad range of international magazines such as: Art Monthly; dot dot dot; Frieze; Metropolis M, and has recently contributed to books including: Judgment and Contemporary Art Criticism, Vancouver: Fillip & Artspeak (2010); A Manual for the 21st Century Gallery, Just What Is It That Makes Today’s Institutions So Different, So Appealing?, Köln: Koenig Books & London: Whitechapel Gallery (2009) and Hey Hey Glossolalia, New York: Creative Time (2008).

Maria is Director of Art Writing at Goldsmiths, University of London, and is the founder/editor of The Happy Hypocrite, a journal for and about experimental art writing. She recently devised and organised Cosey Complex, a one-day event at the ICA in London, speculating on the possiblities of Cosey Fanni Tutti as methodology.

She was the inaugural Critic-in-Residence at Kadist Art Foundation, Paris (2008-9) and the inaugural Writer-in-Residence at Whitechapel Gallery, London (2009-10). Maria is currently working on a novel, Sailor, about a vervet monkey and a Hi-Power Browning pistol, and on a screenplay with Austrian artist Ursula Mayer for the feature film Gonda.


Maeve Connolly

Maeve Connolly is a Dublin-based writer, researcher and lecturer. Her book, The Place of Artists’ Cinema: Space, Site and Screen (Intellect/University of Chicago Press, 2009), examines the social, economic and political conditions shaping the production and exhibition of artists’ film and video since the mid 1990s. Current research projects include a study of the relationship between contemporary art  and public service broadcasting, entitled TV Museum. Her writing on art and film has appeared in journals such as Afterimage, Artforum, Art Monthly, Boundary 2, CIRCA, Contemporary, Frieze, MAP, Screen, Third Text and Variant, and in 2000 she co-edited  a collection of texts and artists’ projects, entitled The Glass Eye: Artists and Television (Dublin: Project Press).

Other publications include texts on the work of desperate optimists, Anita Di Bianco, Gerard Byrne, Vivienne Dick, Jesse Jones, Niamh O’Malley and Sarah Pierce. She is a Lecturer in the School of Creative Arts at Dun Laoghaire Institute of Art, Design & Technology in Dublin, where she leads the Visual Cultural Research module on the MA in Visual Arts Practices. Further details can be found at


Kevin Atherton

Dublin-based Artist, Kevin Atherton (born Isle of Man 1950) is currently the Head of Sculpture at the National College of Art and Design in Dublin. He was educated at the Isle of Man College of Art and graduated from the groundbreaking experimental Fine Art course at Leeds Polytechnic in 1972. Prior to moving to live in Ireland in 1999, in order to become the inaugural Head of the Fine Art Media Department at NCAD, he had taught in the Fine Art Department at Chelsea College of Art, London since 1982.

Part of a generation of artists in Britain who pioneered video and performance art in the 70’s and early 80’s, Atherton’s decades-spanning video installation ‘In Two Minds – Past Version’ (1978-2006) was exhibited in 2009 as a part of the ‘The Studio Dialogues’ exhibition at The Museum of Modern Art San Francisco (SFMOMA). Recent exhibitions include “Changing Channels: Art and Television” at the Museum of Modern Art, Vienna (MUMOK) in 2010. Earlier this year he was the Guest Editor/Curator of the ‘Virtual Fictional’, issue of ‘Printed Project’ and recently completed his written PhD entitled ‘Atherton on Atherton, An Examination of the Self-Reflexive Role of Language in Critically Examining Visual Art Practice through a Consideration of Kevin Atherton’s Work’.


David Berridge

David Berridge is a writer based in London. He curates VerySmallKitchen, whose recent projects include WRITING/ EXHIBITION/ PUBLICATION (The Pigeon Wing, London) and DEPARTMENT OF MICRO-POETICS (AC Institute, New York). In 2010 he was a writer in residence for the BCCA in West Bromwich, and The Charles Dickens Museum in London. His installation DOG MAN’S WEEK OF THE 10,000 STORIES was installed in October at the Gooden Gallery 24/7 Vitrine in London as part of the serial exhibition NierghtravAOnWint’sIf A Teller: a book in 8 chapters and 4 dimensions. He writes essays and scripts, often exploring relations of writing and exhibition making and the connections of experimental poetics and art practice. Chapbooks include The Moth is Moth This Money Night Moth (The Knives, Forks and Spoons Press) and Game Global Green Grown Guys (Beard of Bees). For more information, see


Declan Long

Declan Long is a writer and a lecturer at the National College of Art &
Design, Dublin, where he coordinates (with Francis Halsall) the MA Art
in the Contemporary World.  He has published widely on contemporary art and his recent writings include essays on artists Willie Doherty, Mamma
Andersson, Ulla Von Brandenburg, Sarah Brown and Gareth Kennedy, William McKeown, Barrie Cooke, Fergus Feehily and Jesse Jones.  He is a board member of the Douglas Hyde Gallery, Dublin, and an editorial panel
member of the Visual Artists Ireland journal Printed Project. He has
also been a regular visual arts reviewer for RTE radio and television
programmes such as Arena and The View and, more recently, for The Sunday Business Post.

Tine Melzer

Tine Melzer uses language as material. The amazement and enchantment of language and its mechanisms between humans is the nucleus of all of her art work; it is situated on the edge of theory and practice, knowing and seeing, describing and showing, text and image. She holds a BA degree in both philosophy and fine arts and currently reads for a Phd in the Arts to connect both disciplines. Her work was shown lately at Projectroom of IMMA, Dublin, Museum voor hedendaagse Kunst MuhKA Antwerp, Belgium, de Appel and Stedelijk Museum Amsterdam, The Netherlands. She has realized the permanent installation HIER in public space of Nuremberg, Germany and teaches internationally.

 The work aims to host concepts on language in order to give language sensory tactility and spatial visual dimensions. Melzer can be seen as a ‘translator’ from theoretical aspects on language – and our own experience within it – into visual perception. The work aims to visualize questions about our lives with verbal language in the context of visual art, which most people experience and accept as a language in one way or another. These questions and the resulting art works are simple and purified.

 Melzer’s work is multidisciplinary: it employs means of sculpture, installation, graphic printwork, book art and writing. Taking the world literally and having language show itself in the reduced undertakings of creation is a key effort in her work. What might sound dry and theoretical, are simple forms for exciting phenomena of ordinary language: our jokes, gossip, doubts, failures and aha-moments. The language-games we play are the material for the work, the work succeeds if we can recognize our own behaviour or experiences in the structure called ‘language’. 

Daniel Jewesbury

Daniel Jewesbury is an artist and writer based in Belfast. He graduated from the National College of Art and Design in Dublin in 1996 and completed a PhD in the Media Studies department of the University of Ulster in 2001. Daniel’s particular area of interest is the relationship between people and the places they inhabit: through his films, his writing and various other projects, Daniel explores the ways in which different forces – economic, social and political, historical and geographical – impinge on sites and on citizens. His most recent film, ‘NLR’, was shot in the New Lodge area of Belfast between 2008 and 2010. He is currently working on new projects in Belfast, London and Ljubljana. 

Tamarin Norwood 

Tamarin Norwood (b.1981) is an artist and writer. She graduated from Oxford University in 2004 and Central Saint Martins in 2007 with first class honours in Linguistics & Medieval Italian and Fine Art respectively, and completed the Goldsmiths MFA Art Writing in 2010. Her research into and within the field of Art Writing has developed from these influences and currently focuses on the possibility of reciprocation between art and writing and between practice and everyday life.
Tamarin writes and edits Homologue, an art writing blog and serial print publication. Other recent publications include artist book DO SOMETHING (2010, (U)LS), Text As Toolkit (2009, VerySmallKitchen), contributions to a-n Magazine, Cannon Magazine, Content, and LADA’s Performance Writing study-room guide (all 2010) and to Garageland (2009). Her artworks have been exhibited in the UK and internationally, with her latest work Musica Practica programmed for Tate Britian’s Late at Tate in 2011.

In 2006 Tamarin co-founded art writing platform antepress, with whom projects include events at the ICA, Whitechapel Gallery and DRAF, writing residencies with Art on the Underground, FormContent and South London Gallery, and a two-year series of weekly art writing programmes on Resonance 104.4FM.


Jesse Jones

Jesse Jones’ practice reflects and re-presents historical moments of collective resistance and dissent. In her films and videos she explores the gesture of the revolutionary action, and finds resonance in our current social and political landscape. Previous exhibitions include Nought to sixty at the ICA as well as the 2009 Istanbul biennial. Jones used a recent fellowship in Location One New York to expand her writing practice as an artist – a resulting text was commissioned by MAP magazine in June 2010.

As part of this discussion on writing and artistic practice Jones will present a new video ‘The Predicament of Man’, 2010, which emerged from this text.  Using footage shot in an opal mine in Cobber Pedy, Australia, intercut with over a thousand still images that appear momentarily on screen, Jones subliminally contrasts the desolate landscape with flashes of often recognisable 20/21st century icons and events. ’The Predicament of Man’ creates an uneasy and foreboding slippage in time that hints at an apocalyptic future. Its title is borrowed from an essay in Limits to Growth, by the economist group the Club of Rome in 1972 and examines the consequences of dramatic population increase. Meanwhile, the accompanying soundtrack is performed by frequent collaborator and Theramin musican Lydia Kavina, and is based on Edward Artemiev accompaniment to Andrei Tarkovsky’s Solaris (also 1972). Jones’ prophetic tone addresses the nature of humanity and the imminent future we face.
Jones is based in Dublin and is working on a commission for Collective Gallery in Edinburgh and for a solo show for Redcat Gallery in Los Angeles for 2010. THE PREDICAMENT OF MAN, 2010, video, 3m 8s

Fiona Fullam (curator/chair) 

Fiona Fullam is an artist and writer based in Dublin. Her practice includes writing and art-writing, organising exploratory talks, drawing, video-installation and photography. For Fiona, art could be understood as a platform for exploring, exposing, making pertinent or incisive commentary about a thematic, as a means of knowledge production / of creating new knowledge or attempting new or alternative ways of thinking. She holds a Masters in Visual Arts Practices and a Masters in German.

 Her main body of current work explores the relationship between language, art, text, theory and other ways of thinking. She is particularly interested in the points of intersection between media, philosophies, working and thinking processes, and the possibility of other ways of thinking, both for the artist and the audience/ reader, which the area of art-writing might engender.


No comments yet

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: