Notes on Contributors - Peter Lang
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Notes on Contributors
Lee Campbell is undertaking PhD research at School of the Arts,
Loughborough University, interrogating ideas around the term ‘heckler’.
He presented research at De Appel, Amsterdam, 2012, was a resident artist
at the Banf f Centre, Alberta, Canada, 2012, and co-organized a symposium
with Mel Jordan concerning the heckler at Trade Gallery, Nottingham,
2013. He is an Associate Lecturer/Visiting Practitioner at Central Saint
Martins College of Arts and Design, London. He has published in Body,
Space & Technology journal by Brunel University.
Dr Maria Chatzichristodoulou [aka Maria X] is a cultural practi-
tioner (curator, performer, writer) and Lecturer in Performance and New
Media at the School of Drama, Music and Screen, University of Hull. She
is co-editor of the volumes Interfaces of Performance, Ashgate, 2009, and
Intimacy Across Visceral and Digital Performance, Palgrave Macmillan,
2012. She has published numerous book chapters and articles in journals
such as Leonardo and Visual Culture in Britain, and has lectured widely.
Maria was co-founder and co-director of the international media art festi-
val Medi@terra and Fournos Centre for Digital Culture, Athens, Greece,
1996–2002; co-convener of the Thursday Club, Goldsmiths University of
London, 2006–9; initiator and co-director of the festival and symposium
Intimacy: Across Visceral and Digital Performance, London, 2007; and co-
director/co-convener of several other conferences and symposia including
Becoming Nomad, York St John University, 2013. She is currently working
on a monograph which explores performance practices that develop within
networked environments.
Dr Eva Fotiadi is a Lecturer in Contemporary Art and Theory at the
University of Amsterdam and the Gerrit Rietveld Academy Amsterdam.
She has also taught at Utrecht University and New York University. Her
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interests and publications revolve around ephemeral and participatory art,
art in the public domain, socially and politically engaged art, performance,
theories of play and games as well as history of exhibitions and curating
in the twentieth century. She has participated in many international con-
ferences and has organized exhibitions and symposia. She holds a BA in
Archaeology from the Aristotle University of Thessaloniki, Greece, an
MA in Museum Studies from the University of Leicester and a PhD in
Contemporary Art Theory from the University of Amsterdam. Her thesis
was published as The Game of Participation in Art and the Public Sphere,
Maastricht: Shaker Publishing, 2011.
Professor Beryl Graham is Professor of New Media Art at the School
of Arts, Design and Media, University of Sunderland, and co-editor of
CRUMB. She is a writer, curator and educator with many years of profes-
sional experience as a media arts organizer, and was head of the photography
department at Projects UK, Newcastle, for six years. She curated the inter-
national exhibition Serious Games for the Laing Gallery, Newcastle, and
the Barbican, London, and has also worked with the Exploratorium, San
Francisco, and SF Camerawork, San Francisco. Her book Digital Media
Art was published by Heinemann, 2003, and she co-authored, with Sarah
Cook, Rethinking Curating: Art after New Media, MIT Press, 2010. She
has chapters in many books including New Media in the White Cube and
Beyond, University of California Press, Theorizing digital cultural herit-
age, MIT Press, and The ‘Do-It-Yourself ’ Artwork, Manchester University
Press. Professor Graham has presented papers at conferences including
Navigating Intelligence, Banf f Centre, Alberta, Museums and the Web,
Vancouver, and Decoding the Digital, the Victoria and Albert Museum,
London. Her PhD concerned audience relationships with interactive art
in gallery settings, and she has written widely on the subject for books and
periodicals including Leonardo, Convergence, and Art Monthly .
Sophia Yadong Hao is a Curator of Exhibitions and Visual Research
Centre at Duncan of Jordanstone College of Art & Design, Dundee. Her
curatorial methodology adopts new institutionalism as a starting point to
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develop a cross-disciplinary model of curation. Notable projects include
NOTES on a return which critiqued the role and legibility of documenta-
tion of performance art, a solo exhibition by Turner Prize 2012 nominee
Paul Noble and a large-scale new commission of performance and exhibi-
tion by pre-eminent sculptor Bruce McLean. Hao has published books,
articles, interviews and poetry worldwide, she is also the founder and editor
of the art journal &labels.
Kaija Kaitavuori is an art historian and a gallery educator. She worked
as the Head of Education at the Contemporary Art Museum Kiasma,
Helsinki, where she was responsible for designing and implementing the
education programmes since the opening of the museum, 1998–2008.
In the interim, for three years, she was the Director of the Art Museum
Development Department, Finnish National Gallery, leading the depart-
ment in charge of professional development and the network of art muse-
ums in Finland. Her MA in Art History is from the University of Helsinki,
and currently she is working for a PhD degree at the Courtauld Institute
of Art, London, on the subject of contemporary art and audience partici-
pation. Kaija is a founding member and the first president of the Finnish
Association for Museum Education Pedaali. She has taught courses, lec-
tured and written widely about contemporary art and museum education;
most recently she was the convener of the conference and co-editor of
the publication It’s All Mediating. Outlining and Incorporating the Roles
of Curating and Education in the Exhibition Context (2013). She lives in
Birmingham, UK, and Helsinki, Finland.
Dr Pip Laurenson is the Head of Collection Care Research at Tate. She
received her PhD from University College London and held the post of
Head of Time-based Media Conservation at Tate, 1996–2010. Her research
focuses on the conservation of contemporary art and she is currently the
Principal Investigator for Collecting the Performative, a research network
examining emerging practice for collecting and conserving performance-
based art. She is an accredited member of the Institute for Conservation
in the UK and a member of the steering committee for INCCA, the
International Network for the Conservation of Contemporary Art.
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Dr Marika Leino is Senior Lecturer in the History of Art at Oxford
Brookes University. Her research focuses on sculpture in fifteenth and
sixteenth-century Italy, concentrating especially on small-scale works made
for the scholarly study. She is also interested in the history of collecting
sculpture across the early modern period. Her book Fashion, Devotion and
Contemplation: the Status and Functions of Italian Renaissance Plaquettes
was published in 2013. Marika is currently working on the construction
of image in fifteenth- and sixteenth-century portraiture, both painted
and sculpted, which will be the focus of her study during her fellowship
at the Harvard Center for Renaissance Studies, Villa i Tatti, 2014. Leino
is on the editorial board of the Sculpture Journal. She is a committee
member of the Museums and Exhibitions Group, the Association of Art
Historians (AAH), creating a cross-dialogue between academics and arts
professionals.
Leah Lovett is an artist and PhD student at the Slade School of Fine
Art, UCL. Her research interests include invisible theatre, performance,
spatial politics and protest. Her performances, films and installations have
been shown throughout the UK and internationally.
Dr Laura MacCulloch is Curator at Royal Holloway, University of
London where she is responsible for a collection most well-known for its
nineteenth-century paintings. She began curating contemporary art during
her time as Curator of British Art at National Museums Liverpool where
she acquired new works, collaborated with artists over exhibitions and
took part in the Contemporary Art Society’s Sculpture Fund Scheme in
which five north-west galleries have come together to buy contemporary
sculpture. Her specialism is Victorian art and her PhD focused on the Pre-
Raphaelite painter Ford Madox Brown. Other research interests include
the work of female artists and contemporary interventions within historic
collections. She is a committee member of the Museums and Exhibitions
Group, the Association of Art Historians (AAH), creating a cross-dialogue
between academics and arts professionals.
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Dr Amy Mechowski holds a PhD in the History of Art from University
College London on the performative construction of the self in fin-de-
siècle photography. As an Assistant Curator at the Victoria and Albert
Museum, 2007–13, she curated a display on women sculptors of the Arts
& Crafts Movement working in wax and was a Research Fellow at the Yale
Centre for British Art. She is Course Leader of the semester course ‘Art
Museums, Galleries and Curating’ at Sotheby’s Institute of Art in London.
Forthcoming publications cover subjects such as the female nude in nine-
teenth century British sculpture as well as performativity, sexuality and
spectatorship in museums and galleries.
Mary Oliver is a performance artist, writer and head of the Performance
Research Centre in the School of Arts and Media at the University of
Salford. She is currently devising perceptive media performances, per-
forming with inanimate objects and organizing the ‘As Yet Impossible’
public lecture series at Media City UK. She is on the editorial boards of
the International Journal of Performing Arts and Digital Media, Intellect
Publishing, and Performing Magic, University of Huddersfield Press.
Dr Outi Remes is the Gallery Director of the New Ashgate Gallery, Surrey.
She leads the service, strategic direction and organizational objectives of
the Gallery as the educational charity. She has lectured on contemporary
art and exhibitions for more than ten years in a range of organizations,
including the Richmond American International University, London,
Birkbeck College, the University of London and the University of Reading.
Previously, Outi worked as the Head of Exhibitions, South Hill Park Arts
Centre, Bracknell, and was awarded a PhD from the University of Reading.
She is the author of many publications, including Conspiracy Dwellings:
Surveillance in Contemporary Art, 2010, co-edited with Pam Skelton, and
the curator of numerous projects such as Rules and Regs live art residen-
cies, 2007–11, and At Play, the touring exhibition series, supported by Arts
Council England, 2009–12 with Cally Trench, re-creating a sense of what
it is like to be a child at play. She is a committee member of the Museums
and Exhibitions Group, the Association of Art Historians (AAH), creat-
ing a cross-dialogue between academics and arts professionals.
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Dr Vivian van Saaze is a postdoctoral researcher and lecturer at the
Faculty of Arts and Social Sciences, Maastricht University. She completed
her PhD, an ethnographical study into conservation practices, at Maastricht
University and the Cultural Heritage Agency of the Netherlands. Her
research further explores museum practices of contemporary art con-
servation with a focus on installation art and performance-based art.
She is the author of Installation Art and the Museum. Presentation and
Conservation of Changing Artworks, AUP 2013, and co-founder of Collecting
the Performative: A research network examining emerging practice for col-
lecting and conserving performance-based art.
Helen Sloan’s career spans over twenty-five years during which time she
has curated, commissioned and convened over two hundred exhibitions,
new works, and events. As the Director of SCAN, she has developed the
organization as a creative development agency working on arts projects
and strategic initiatives in arts organizations, academic institutions and
further aspects of the public realm. Helen has written on and researched
a number of key strands in digital arts including wearable technologies,
the intersection between art and science, and arts policy. Her recent com-
missions include Congregation, an interactive sound and light public art
piece by KMA for Shanghai Expo, Inside Out Festival, Bournemouth and
Tate Britain; Broken Stillness, the Relationship between Digital Arts and
Photography/Painting, ISEA 2011 and the twelfth Istanbul Biennial; and
a touring one person exhibition with David Cotterrell, Monsters of the Id,
John Hansard Gallery, 2012. Her current areas of interests are digital arts
and place/environment; models of arts practice in relation to the economy
and creative use of datasets.
Claudia Marion Stemberger is an art historian []. She has a magister degree in art history, a masters in
arts management and doctorate in medicine. She is currently working on
a PhD in art history at McGill University, Montreal. Her research inter-
ests include chance and contingency in art practice and discourse, curat-
ing performance and contemporary art in South Africa. She has curated
numerous exhibitions and edited many catalogues. Her articles include
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‘Schwindel der Postmoderne. Zufall und Kontingenzpotenzierung’ (with
Isabel Exner) in Performance und Film, ilinx 1 (2010).
Cally Trench is an artist and curator who is primarily interested in art
that requires a viewer’s presence and participation, including board games,
banquets, performances, peephole boxes, books and life-size drawings
.
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