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How do specific geographic contexts shape different models of art schools? Bringing together case studies from the UAE, Thailand, Singapore and Pakistan, this panel offers insight into experimental ways that artists have organised alternative models of practice that often challenge assumptions about what pedagogy might mean.
What are the strategies of engagement that have developed from these particular contexts, and how are new and alternative models developing? Exploring different communities of practice, from zines to collectives and spaces, this panel considers artists that have dealt with these questions in relation to their training, their access to information and their networks.
With contributions from curator Hammad Nasar, artist David Alesworth, writer David Morris, curator Vera Mey and moderated by Sofia Victorino, Daskalopoulos Head of Education & Public Programmes, Whitechapel Gallery.
David Chalmers Alesworth, is a UK-based dual national artist, who divides his time between Bristol, UK and Pakistan. Alesworth’s work echoes his long engagement with Pakistan as an art educator, horticultural consultant and visual artist. Alesworth’s work has been exhibited widely, recently including: The 8th Berlin Biennale (2014); “The Missing One”, Dakha Art Sumit, curated Nada Raza (2016); Jameel Prize, V&A, Pera Museum, Istanbul, (2016); How We Mark the Land, Gandhara Gallery, Karachi curated Aziz Sohail, (2016); “Taqseem” Koel Gallery, Karachi, curated Zarmeen Shah (2017), and Karachi Biennale (upcoming, 2018).
Vera Mey is an independent curator and PhD candidate at SOAS, University of London currently researching Southeast Asian art between 1955 – 1980. She is on the curatorial team of SUNSHOWER: Contemporary art from Southeast Asia 1980, which recently opened at the Mori Art Museum and National Art Centre Tokyo in Japan (July 2017).She was part of the founding team of the NTU Centre for Contemporary Art Singapore, a contemporary art research centre of Nanyang Technological University (NTU) as Curator, Residencies.
David Morris is a researcher, writer and editor based in London.
Hammad Nasar is an independent curator and Senior Research Fellow at the Paul Mellon Centre for Studies in British Art, where he co-leads the London, Asia project. He co-founded the London-based arts organisation Green Cardamom (2004-12), and was Head of Research & Programmes at Asia Art Archive, Hong Kong (2012-16). His curatorial projects include Lines of Control: Partition as a Productive Space (2005-2013) and, most recently, Rock, Paper, Scissors: Positions in Play – the UAE’s national pavilion at the 57th Venice Biennale (2017).
