Morgan Quaintance analyses the absence of discussion of working-class lives in the arts, and the cultural influence of the middle class in how such lives are understood.

Rachel Pronger discusses the work of Vaginal Davis at the Gropius Bau, Peter Suchin covers Barbara Steveni’s work at Modern Art Oxford, Henry Broome looks at the troubled history between art and gentrification and Elizabeth Fullerton reports on the art scene in Tallinn.

Maja and Reuben Fowkes discuss the lessons we may learn from trees, and how artists can be their voice in this Pyrocene age.

Jamie Sutcliffe discusses artists’ tabletop role-playing games. Hosted by Matt Hale.

Erika Balsom on John Smith’s latest film ‘Being John Smith’, Ben Burbridge on rave culture as an unfulfilled promise for a new politics of the left and Dan Kidner reviews the Deep Time festival at Fruitmarket in Edinburgh.

Mark Prince discusses postwar US modernist abstraction as a form of cultural protectionism.

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.

Talks devised by Art Monthly’s Chris McCormack and Newcastle University’s Uta Kögelsberger.

26 November 2024

PANEL 1
15.00 Introduction
15.10 Josephine Berry
15.30 Jonas Staal
15.50 In conversation 1 (chair Chris McCormack)

PANEL 2
16.50 Introduction
17.00 Robert Zhao Renhui
17.20 John Kenneth Paranda
17.40 In conversation 2 (chair Olga Smith)

Free event, open to the public

 Fine Art Lecture Theatre, Newcastle University

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.

Talks devised by Art Monthly’s Chris McCormack and Newcastle University’s Uta Kögelsberger.

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.

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’.

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.

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.

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.

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.

Talks devised by Art Monthly’s Chris McCormack and Newcastle University’s Uta Kögelsberger.

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.

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.

Talks devised by Art Monthly’s Chris McCormack and Newcastle University’s Uta Kögelsberger.

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.

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.

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

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.

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.

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.

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.

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

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

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.

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

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.

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.

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.

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’.

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

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

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.

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

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

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.

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.

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’.

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

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

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

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.

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.

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.

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.

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.

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.

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’.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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’.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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’.

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

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’.