Curator interview: MATTHIEU LELIÈVRE

I first met the dynamic art historian and curator Matthieu Lelièvre when we found ourselves stationed in neighbouring gallery booths at an art fair in Basel in 2009. I was representing Ceri Hand Gallery alongside my wonderful Gallery Manager Lucy Johnston. Matthieu was representing Hamish Morrison Galerie, alongside the lovely and charming Founding Director Hamish.

We quickly discovered that we all bonded over a serious commitment to our artists and the hope and joy they bring to our lives, whilst sharing a gleefully devilish sense of humour. Our squawks of delight in the banal certainly helped break the waves of inevitable crushing tedium and paranoia experienced intermittently during the run of the fair.

I kept in touch ever since, visiting Matthieu in Berlin and Paris, following his intrepid adventures in the artworld and enjoying his programming immensely. We continue to connect over a shared love of visceral, darkly playful interdisciplinary artworks and working with artists who challenge perception and societies norms.

I admire the pace that Matthieu works at and enjoy his ability to consistently conjure something from nothing. I connect with his grit and determination to effect positive change for artists and audiences. His willpower and delight in decolonising the institution and engaging a more diverse range of creatives and audiences in a collaborative dialogue is much needed right now.

I also love our conversations. His generosity in sharing and exchanging knowledge and skills is the kind of expansive thinking and community building attitude I believe wholeheartedly in. I am always keen to know what he does next and love seeing him lifting others up wherever he goes.

Matthieu Lelièvre, Copyright E Vion-Delphin, Artwork by Jean Jullien

Matthieu Lelièvre is an art historian and independent curator for contemporary art. Since 2018 he has served as Artistic Advisor at Contemporary Art Museum in Lyon (macLYON), developing a programme dedicated to international emerging artists and international relations. Simultaneously, as a writer and an independent curator, he is currently developing several exhibitions, performances and workshops with artists and organisations in Brazil, Italy and Tunisia.

Previous experience ranges from curator and head of collections for museums and galleries such as the Musée des Arts Décoratifs, independent foundations and commercial galleries, including Galerie Thaddaeus Ropac In Paris and Hamish Morrison Galerie in Berlin.

From 2016 to 2018 he joined a private foundation as its Artistic Director to build the prefiguration of its artistic and artist residency program, while initiating a collaboration with the Fine Arts Museum of Orléans, developing several exhibition’s projects of emerging artists in dialogue with the museum’s collection and the city’s history. In 2019, he joined the Palais de Tokyo to co-curate the 15th Lyon Biennale Where waters come together with other waters.

Matthieu graduated from a MA in Museum Studies at the Ecole du Louvre and a MA in art conservation at the French Institut National du Patrimoine and has served on several boards and juries.

What are you doing, reading, watching, or listening to now, that is helping you to stay positive?

It is a very good question! It is very important for me to constantly discover new things and as it is impossible to attend to concerts, exhibitions, meet new people, I really had to question myself on how to keep learning and discovering in this restrictive context, especially now that everything is and must be online. So, I subscribed to several newspapers and I gave myself some challenges like learning Russian and reconnecting with a love from my youth: video games. It gave me of course the opportunity to dig even deeper the subjects I am working on.

Jasmina Cibic, « The Gift », 2019, 3 channel video, Courtesy of the artist

What are you working on right now?

A lot of different projects. For the Contemporary Art Museum in Lyon, which I accompany as an artistic advisor, I am still working on the exhibitions we opened last October, and I prepare some new projects, for example the first solo show in France of London based Slovenian artist Jasmina Cibic, or later solo show of Jesper Just and Mary Sibande in 2022.

Simultaneously I am working with a Rio-de-Janeiro based foundation, InclusArtiz, developing a residency program for Brazilian artists at the MADRE in Naples, Italy, and we should start the program next fall if everything is going as planned.

Also, I am working on several projects with the Tunisian art scene, work I have been developing for some time now. Next spring should open a solo show of Thameur Mejri at the B7L9, the art centre of the Kamel Lazaar Foundation in Tunis.

How has this year affected your ideas of what you want your contribution to be in future?

The purpose of a museum today. At the Contemporary Art Museum in Lyon, I am accompanying the institution to develop some ideas and values, thinking around the museum's role in society, questioning the established standards of our programmes, for example thinking of ways to co-create with new publics. Questioning the process is a never-ending job which is also fascinating because the pandemic really pushes us to renew the practices. I have worked for different structures including teaching and working with the art market. These past months have just reinforced my desire to have a curatorial practice with can help society opening its mind, based on a social dialogue. Taking the opportunity as a producer of content to defend some values and causes. In three words: to be useful.

Edi Dubien, macLYON, 2020, Copyright Blaise Adilon

What is one of your personal favourite exhibitions you have curated and why?

The most recent one which opened this autumn at museum of contemporary art, Lyon, in France. Man of a Thousand Natures is the first museum solo exhibition of an extraordinary self-taught artist named Edi Dubien. There is a lot of happiness and pride in this exhibition. Edi Dubien, through a marvellous series of drawings and sculptures shares his thoughts and experiences about an abusive childhood, a beautiful and constructive vision of Nature and some fierce messages about gender transition. In this context, we are working with fantastic people like Eva Hayward a writer and a faculty member of the Department of Gender and Women Studies at the University of Arizona, and sociologists and activists defending the cause of trans and intersex children and teenagers.

Beside presenting extraordinary artworks to the public and a beautiful show, the exhibition and its program serve a strong and progressive purpose which turns the museum into a platform of discussion and exchange but also brings consciousness and give voice to trans and intersex people. So, my pride comes from the fact that we succeed in delivering both at the same time a marvellous exhibition and a strong and useful message.

Can you describe what you ideally want to achieve when curating an exhibition? What would you hope that people experience and learn from experiencing one of your creative outputs?

Serving the artist in spreading his/her message. Helping young artists finding their audience and helping them in the process of professionalisation. When I open an exhibition, I don't feel excited because I receive feedback that it is “beautiful”, but I am when I am told that it is interesting, challenging and that the show raises questions in the mind of its spectators. In that way I think of the spectator as an actor of the exhibition. I identified several topics and social issues I feel directly concerned by and I am doing my best to be useful, being a voice or an ally to these causes I consider to be important to defend. I don’t believe that art should necessarily “bring people together” I think it should open minds, bring awareness and self-consciousness. Give a space of expression and affirmation. That is why I am very attentive to work with women, LGBTQI+ and diversity, racial and gender...But working in public institutions forces us to work on other subjects, less personal for the sake of the diversity and the spectrum of the audience. That is why I love the opportunity of co-curating and collaborating with other professionals.

Thameur Mejri, Walking Target, 2020/21, Courtesy Galerie Selma Feriani

What do you offer or provide artists in the curatorial relationship?

The good side of having worked in commercial art galleries helped me to question and find my role in the chain between accompanying the artist being an artist, helping him/her developing their project, finding their audience, promoting it, placing the works in private and public collections, and helping them getting the attention from curators and press. Even anticipating the questions of the future like its conservation once in the collections. That range of experience gave me a lot of different skills to work with an artist during all the steps of their professional life. At the same time, working for commercial galleries, I was not interested in the process of selling but rather helping the artist building their career, so now, even as a museum curator, I am always paying attention to the global, not just getting a work done for the purpose of the show, but helping the artist's process, to think, anticipate, produce, and place his/her work. I develop also quite often a very strong connection with the artists I work with, always remaining if not a friend, at least an advisor, a collaborator and sometime a mentor, connecting, writing for them. As I am working on several precise topics, the road does not end once the show is opened.

What risks have you taken in your career that perhaps did not go so well but you learnt the most from?

The good thing is that, with the right attitude, learning from your mistakes can bring so much more, than the damages or pain caused by the actual mistakes. There are not so many things I would have done differently because they brought me where I am today. That will sound cheesy, but I think that in a career the biggest risk is to not take risks. And if you have regrets, you are also learning to use this consciousness to adapt your choices and find more energy to move and act. For me I could give the example of having trusted at some point the wrong people, but I learned so much from that, that I really cherish the lessons. I learned for instance more about the reasons why I am doing this job, and how art can serve a bigger purpose in our societies.

What was the last artwork you purchased and why?

During the lock-down Paul Pretzer, a fantastic painter I worked with in Berlin, 10 years ago and who is quietly and beautifully developing his career in Spain yet remaining at the same time very true to his aesthetic, posted a picture of an artwork on Instagram. I asked him about the story behind the painting, the price, I considered it for ten seconds, and I jumped in. I had the feeling that it could help him, but also... it helped me. Literally cheering up, (it's a very funny and cute painting...) and gave me back the feeling that despite the distance, art keeps people close to each other.  During the COVID-19 crises many artists are severely impacted by the reduction of possibilities, cancellation of residencies and exhibitions as well as the slowing down of the sales in the galleries.

What helpful resources would you recommend to artists?

Mostly to care about the people and to build strong connections. On the contrary of some romantic idea, Artist as a profession is not a job you do alone.

Do you have any advice for people wanting to work in the arts?

I'd like to address mostly to people who might think that working in the arts is not for them. Mostly people who hear about it but have the feeling this is a world they do not belong to. I want to say that their lives, their experience, and vision is probably going to serve a bigger purpose and help other people.

Follow Matthieu on Instagram @matthieu_lelievre and Twitter @matthlelievre  

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Interview: SARAH COOK

I first met curator, writer and academic Sarah Cook when I was Director of Exhibitions at FACT in Liverpool, in 2004. Sarah was, at that time, engaged in pioneering work, establishing CRUMB (Curatorial Resource for Upstart Media Bliss), with co-founder Beryl Graham in Newcastle and Gateshead. Together they hosted workshops and courses worldwide and CRUMB was, and remains, a vital resource and network for curators of new media art.

Sarah continues to champion international artists working with technology, always creating new commissioning, funding and exhibiting opportunities for them. She thrives on immersing herself in deep research, has an enviable ability to retain facts and seamlessly weave the contemporary and historical to address the issues of our time. Throughout her work she marries the social, political and cultural spheres in order to help us re-imagine our engagement with technology, each other and how we shape the world around us.

In 2018, whilst I was Director of Programmes at Somerset House, the Director Jonathan Reekie and I invited Sarah to curate the exhibition 24/7 with Jonathan. As always, Sarah worked above and beyond, spinning academic, curatorial, writer and editor plates between Dundee, Glasgow and London, to ensure the show and catalogue were delivered in record time, and a success. This determination and tenacious dedication to her work is reflected in her habit of taking daily swims in the cold Northern sea.

Sarah Cook is Professor of Museum Studies in Information Studies at the University of Glasgow and based in Scotland. She has curated and co-curated international exhibitions of contemporary art and new media art including: 24/7: A Wake-up Call For Our Non-stop World (2019), Somerset House, 2019-20; The Gig Is Up, V2_Institute for Unstable Media, Rotterdam, 2016; Right Here, Right Now, The Lowry, Salford, 2015; Alt-w, the Royal Scottish Academy, SSA Annual Exhibition, Edinburgh, 2014; Not even the sky: Thomson & Craighead, MEWO Kunsthalle, Memmingen, 2013; Biomediations, Transitio_MX_05, Mexico City, 2013; Mirror Neurons, National Glass Centre, Sunderland, 2012; Q.E.D., AND Festival, Liverpool 2011; Untethered, Eyebeam, New York, 2008; Broadcast Yourself, AV Festival 08, Newcastle, 2008; Database Imaginary, 2004 and The Art Formerly Known As New Media, Walter Phillips Gallery, The Banff Centre, 2005.

Sarah is one of the curators behind Scotland’s only digital arts festival NEoN Digital Arts and was founding curator of LifeSpace Science Art Research Gallery in the School of Life Sciences, University of Dundee (2013-2018), where she curated 16 exhibitions including newly commissioned work from artists Mat Fleming, Heather Dewey Hagborg and Philip Andrew Lewis, Andy Lomas, Daksha Patel, the Center for Postnatural History, Helen and Kate Storey, Mary Tsang, Spela Petric and many others.

She is the editor of INFORMATION (Documents of Contemporary Art, Whitechapel and MIT Press, 2016) and co-author (with Beryl Graham) of Rethinking Curating: Art After New Media (MIT Press, 2010; Chinese edition 2016). Sarah has held a longstanding association with The Banff Center, developing exhibitions, summits, curatorial residencies and publications including co-editing with Sara Diamond Euphoria & Dystopia: The Banff New Media Institute Dialogues (Banff Centre Press, 2011). In 2008 Sarah was the inaugural curatorial fellow at Eyebeam Art and Technology Center in New York. She was curator of new media at BALTIC Centre for Contemporary Art from 2004 until 2006, hosting residencies and projects from Germaine Koh, Lev Manovich, Darko Fritz and Studer / van den Berg. For 3 years she was an associate producer with Locus+. After completing her PhD at the University of Sunderland, she also curated exhibitions for the Reg Vardy Gallery and helped establish the MA Curating programme and Professional Development short course with CRUMB.

Sarah holds a Masters degree from the Center for Curatorial Studies at Bard College, New York (class of 1998) and is proud to have begun her professional career as a curatorial researcher in the longstanding internship program at the Walker Art Center in Minneapolis working on exhibitions with Yayoi Kusama and Lorna Simpson.

What are you doing, reading, watching or listening to now that is helping you to stay positive?

During lockdown there were some new relaxing weekend routines (involving issues of Grazia and chocolate Magnums for instance) but there wasn’t one thing. Unless you count the Netflix production of Lemony Snicket’s A Series of Unfortunate Events, which I’d been meaning to watch for years having loved the books, and it didn’t let me down. The world is quiet here. Whatever bad thing you think is just around the corner, it’s bound to be something worse. Look away.

Which is to say, I adopted a slight ‘ignorance is bliss’ or serendipitous happenstance approach to stop feeling overwhelmed, not just by the bad news, but by the amount of digital creative art content available to consume online and the pressure to be producing material to add to the discussions around it.

Given my academic post in museum studies, I should be writing about the massive change museums have experienced during lockdown. As a sometime historian of new media and digital art I should be tweeting non-stop about this thing called online art that museums are only now discovering. I am doing a bit of both, but it is not possible to do only that given the projects I have on the go and all the time-pressured tasks that come with University work (not least planning for an uncertain year ahead). Despite lockdown lifting and museums and galleries now open again, it’s still not over. I'm watching it all, taking notes, lodging these cultural shifts in my memory, they’ll come in handy later.

I’ve been able to stay positive by not guilt-tripping myself if I miss being part of a conversation thread online, or by delighting in the serendipity of checking social media and finding a link to a live discussion or performance happening right that minute and tuning in for as long as I can. I’ve given myself permission to be both present and absent. Or as Lemony Snicket would say, to do something else right now if it will save my life: “There are times to stay put, and what you want will come to you, and there are times to go out into the world and find such a thing for yourself.”

Installation view of the exhibition The Gig is Up!, 2016 Curated by Sarah Cook for V2_,
showing crowd-sourced drawings of clouds by self-employed creatives working on fiverr, by Addie Wagenknecht and Pablo Garcia

Do you have an enthusiasm, specialism or a research focus that you bring to your teaching and academic practice?

I love works of art that take pieces of information and turn them into other, often networked, experiences. I like forging connections between early works made with networks or technology, with new works, often made for collective experience.

I have knowledge of media art history - including Internet art - and of the intersection of art and science (which has patches of history of technology and philosophy of science thrown in too). This might explain my curatorial choices.

So, for example, the large-scale exhibition 24/7: A Wake-Up Call For Our Non-Stop World at Somerset House (which I co-curated with Jonathan Reekie) included (among many other things!) Alexandra Daisy Ginsberg’s Machine Auguries, a light and sound installation based on an AI-generated dawn chorus, Thomson&Craighead’s BEACON, a flap sign displaying randomly a decade’s worth of Internet searches mixed with live searches, and Daily tous les jours I Heard There Was a Secret Chord - a room where you could collectively hum Leonard Cohen’s song Hallelujah, creating a choir based on the number of people listening to the track online around the world at that minute. All of these works used innovative software coding and to a certain extent ran live, some in a generative form.

And in the spin-off of 24/7, the show Sleep Mode (an online takeover I curated in June at Somerset House because the original show at Glasgow International in April was cancelled due to COVID-19) viewers could watch Addie Wagenknecht’s online security tips disguised as beauty tutorial videos, or Hyphen-Labs compilation of yawns taken in their facial recognition photo-booth, or hear Alan Warburton talk about the digital rendering of 3D ‘natural’ landscapes in virtual space, on-screen, and how at odds that feels with our desire to collectively experience real nature, off-screen.

lnstallation view of Daily tous les jours' I heard there was a secret chord, seen in the exhibition 24/7: A Wake-Up Call For Our Non-Stop World,
Somerset House, October 31 2019-February 23 2020. Photo courtesy of Somerset House

I currently teach students who want to go on to work in the cultural heritage sector - galleries, libraries, archives and museums - and so to help them understand the practice of curating (and digital curation, which is not the same thing) I use these ‘lively’ interdisciplinary art works to foster discussion around big ideas that curators have to ask themselves, like, where is the audience? How much context is needed to understand this thing? What happens if the material a work uses is unstable – which part is worth preserving? Where or when does the art ‘happen’? Who is responsible for that encounter?

We are living through a huge shift in what we understand to be ‘cultural heritage’ if everything we produce digitally is now part of that. The cultural heritage sector has to rethink what role its institutions play in the creation of culture too. Digital art might tell us as much about the digital transformation of our lives as a defunct computer in a museum display case; bio-art might tell us as much about the major developments in life sciences as an unreadable genome sequence. The Instagram photos of the demonstrators toppling the statue of slaver Colston tell us more about this moment than the removed statue itself does. In a time of total information overload, where do we draw the line around what is a valuable piece of information and what isn’t? Is the Bristol Museum going to save the Instagram posts as well as the graffiti on the statue they dredged out of the harbour? Can we tell the difference between authentic and post-produced types of information (#fakenews)? Perhaps an artist can tell us. Or point us in the direction of the real story.

YoHa (Graham Harwood),, Commissioned for the exhibition Database Imaginary, 2004, Curated by Sarah Cook, Steve Dietz and Anthony Kiendl,
for the Walter Phillips Gallery, Banff Centre, Canada (and touring)

What systems or processes do you use to ensure a contemporary critical teaching practice?

I follow the artists and their work. Which means, I encourage students to interrogate what an artist has done, how and why and who for. And then I question where that reading of the work has come from: Have they been misled by patchy documentation? Did anyone record a first hand experience of the work that they could consult? Is the artist’s intent recorded anywhere? I try not to reinforce an academic hierarchy between sources, but question their authenticity, and thereby encourage students to make their own documentation. In my ‘Curating Lively Practices’ class last semester I said that no one could cite a Wikipedia page in their essays unless they’d edited the Wikipedia page themselves. I think that frightened a few, which it wasn’t meant to, it was to encourage participation in the creation of resources about art, participation in the online culture we all unthinkingly consume.

What aspects of your teaching practice do you work hard at to keep consistent and why?

Probably being approachable and slightly tangential in my thinking, drawing on my own experience and offering my own connections, memory or impression of something as a document to go test the veracity of. I show I am connected to current practice, that I have seen or attended exhibitions or talked to artists or other curators, or visited museums, or tried to keep my own papers and digital documentation in order (and failed). This means I can be understood as a practitioner constantly engaged in research, and therefore that curating is an ongoing, iterative activity.

 Installation view of Bill Miller, Ruined Polaroids, at NEoN Digital Arts Festival, 2017, Installed in DC Thomson’s West Ward Works,
former newspaper printing facility in Dundee, as part of the curated exhibition Media Archaeologies

What art educators, art colleges, courses or curriculum have inspired you?

A friend who has written a book about toilets (Lezlie Lowe’s No Place to Go) was asking something about public conveniences in the UK post-pandemic, and it sent me on a deep trawl of’s Wayback Machine to find the syllabus for a course (I didn’t take, but a friend did) at the defunct MRes/PhD programme The London Consortium (run by Tate, The AA, The ICA, The Science Museum and Birkbeck) about the history of shit and civilisation. I was reminded how much I love an idiosyncratic reading list (that combines art work, philosophical texts, historical records, museology, archival theory, sociology, film, etc.).

I think if an artist or designer wants to work with digital tools then I’d send them to the School for Poetic Computation, run by TaeYoon Choi, or Interactivos? run from Medialab Prado. Or if they want to experiment with biological materials in art I’d send them to Cultivamos Cultura in Portugal, or to Symbiotica at the University of Western Australia...There are any number of niche communities and hard working organisations out there for whatever it is an artist wants or needs to learn.

Learning from practitioners is key. I was taught by an amazing roster of curators when I was a masters student in New York last century. I particularly remember being challenged by the art critic Peter Schjeldahl to be less dashing in my disdain in my writing, and to not overthink or over-intellectualise things (still failing at that!). Dia Art Foundation curator Lynne Cooke (now at the National Gallery of Art in Washington) taught me that conversation with the artist is the most important thing - go to their studio! Diana Nemiroff, longtime curator at the National Gallery of Canada, taught me that context, facts and materials need to be properly researched and understood in order to curate, more so than (the then emerging) tomes of curatorial theory. Art historian Linda Norden taught me to follow my instinctive reading of a work down a path, articulate it. And during lockdown, a few months ago now, Canadian artist and lover of libraries, Cliff Eyland, died, and I remembered that after I’d curated a mad show about snowboard culture, he told me that my ethnographic methodology (curating outwith the bounds of my own expertise, infiltrating a scene, and trusting the experience and knowledge of others) was valid and I should continue with it. I think I have.

Nowadays I am inspired by and learn from the younger curators, curatorial assistants, exhibition producers, technicians, and digital producers that I work with, recently at Somerset House and with NEoN.  At NEoN we’ve had two recent graduates from University of Glasgow’s Digital Media and Information Studies programme join us on summer placements and I’ve learned a huge amount from them, not least about digital file management!

Installation view of Braking Matter by Michel de Broin; viewing the work are artists Sascha Pohflepp and Alexandra Daisy Ginsberg, whose work Yesterday’s Today was also part of the exhibition
(Q.E.D., Liverpool John Moore's University Art and Design Academy Galleries, September 2011, as part of the AND [Abandon Normal Devices] Festival.) Photo courtesy of AND Festival

Which contemporary artists seem to be influencing artists today and why do you think that is?

Come back to me with this question in a few week’s time after I’ve reviewed the Goldsmith’s MFA (online) degree show! I’m expecting to see work influenced by artists such as Rachel Maclean and Tai Shani (fictional+digital+persona+history+storytelling+performance+++)

What tips or exercises do you recommend to artists who have creative block?

During lockdown I tried to chat regularly with friends who were furloughed and am still checking in with them as to how they’re staying engaged when facing uncertain job futures in the shrinking cultural sector. I think uncertainty or doubt leads to inertia, so you need a routine to fall back on (even if that involves chocolate magnum ice-creams or issues of Grazia). I was reminded of Ellie Harrison’s Artists’ Training Programme which was a spoof website but had a very good daily schedule as part of it. At the time she made it, it was related to all the work she was doing about quantifying her life, and data tracking. The schedule involves always listening to Front Row - tune in after the Archers - whether you like it or not. Routine is important to give your mind time to wander. This might not get you to make art, but it might send you off down another research path which might later become part of your work.

What current issues, themes or concerns have you noticed arising in students practice in recent times? And which philosophers, theorists, writers or thinkers are influencing students today?

Those students focused on museums are deeply concerned about expertise, authority, accessibility, transparency, ethics - who decides what gets collected, what gets shown, how it gets talked about. With Black Lives Matter and the attention to public memorials and statues, anti-racist and inclusive practices of co-creation are a key concern. In rethinking the museum I’ve also been encouraging students to think about alternative spaces where culture is produced or preserved, including digital spaces, and so that includes thinking about who owns those spaces, how they are run, what they prioritise, are they held in common?

In 1968 Jack Burnham wrote in ArtForum that we’d shifted from an object-oriented culture to a systems-oriented one, where “change emanates, not from things, but from the way things are done” —museums have evolved to recognise that culture means not just looking after things but enabling audiences to engage with those things in new ways, but the artists are still ahead, always suggesting new ways for things to be done, new systems. Perhaps now we are shifting to an (inter-species? post-human?) experience-oriented culture, change emanating from how we experience the world (and all those experiences are unique, if understood to be connected). I’m not sure if this reflects what artists are working on, but I sense a real mixing of the disciplines, an intersectionality (influenced by the writings of Rosi Braidotti, Anna Tsing, Tim Ingold, Timothy Morton, all the materialist-object-oriented-speculative-design folk, and by reading horoscopes, magic spells, tarot cards, learning other knowledge systems) whether that is across social and political discourses, environmental and ethical concerns, gender and science, personal and private or collective, historical or future-oriented… COVID-19 will be part of this too, as will the Black Lives Matter movement.

So despite not having time, I’m going to dive into yet another Slack thread about how museums are responding to lockdown, in case I can convince any of them to collect some digital art made from it…



Follow Sarah Cook on Instagram @littlecurator and Twitter @sarahecook and visit her website

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Coming Next...

An interview with Gavin Wade, artist-curator, Director of Eastside Projects, and Senior Research Fellow at Birmingham City University. His curated and co-curated exhibitions include Sonia Boyce: In the Castle of My Skin, (2020), This is the Gallery and the Gallery is Many Things X, (2018), Display Show, (2015–16), Temple Bar Gallery/Eastside Projects/Stroom den Haag; Painting Show (2011–2012), and Narrative Show, (2011) at Eastside Projects.

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