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the Roberts Institute of Art
the Roberts Institute of ArtEpisodes
the Roberts Institute of Art
the Roberts Institute of Art
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Episodes of the Roberts Institute of Art
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Osman Yousefzada’s poem, Untitled (for Prem), is written in response to Prem Sahib’s User_01 (2016), a panel of black aluminium covered with drops of resin that look like sweat and moisture, smudged in one part as if by a hand. The work’s eroti
Marina Warner’s Pentimento is written in response to Paula Rego’s drawing in pencil and conte, St Mary of Egypt (2011) and tells the story of the little-known saint from fragments of reports of those who knew and remembered her. Knowing Rego’s
Heather Phillipson’s The Creeps is written in response to Emma Talbot’s How the Web was Woven (2009), an acrylic on canvas work with a variety of vignettes, spider webs, texts and mysterious figures. Reflecting the haunting, unsettling atmosphe
Julie Ezelle Patton’s Three Phases of Eva, 1965 is written in response to Eva Hesse’s Three (1965), a triptych of gouache and oil on paper collage. Patton takes Hesse’s triptych and title to structure the poem in three, imaginatively exploring
Imani Mason Jordan’s 1:1 is written in response to Ellen Gallagher’s Untitled (2005). Gallagher’s intimate work shows two silhouetted figures etched onto a gold leaf background. The figures, posed as if in conversation, recall nineteenth-centur
Renee Gladman’s All These Not-Places for Wandering is written in response to Ayan Farah’s Stardust (2011), a work dyed and bleached by UV light and painted with acrylic paint. Gladman approaches the work and the project of writing about it ques
In this podcast, we invited Liliane Lijn, whose work is featured in the David and Indrė Roberts Collection to choose a piece from the collection as a starting point for a conversation.Lilliane is one of the curatorial collaborators for Deep Hor
In this podcast, artist Valerie Asiimwe Amani discusses her first live performance To dismantle a house which was jointly commissioned by the Roberts Institute of Art and South London Gallery and presented in June 2022.RIA and South London Gall
In this podcast series, we ask an artist represented in the David and Indrė Roberts Collection, and who was also part of one of the Evening of Performances, to select a work by another artist represented in the collection as the starting point
In this podcast series, we ask an artist who performed in one of the Evening of Performances to choose someone to be in conversation about collaboration, their respective practices and the future of performance.In this edition, DJ and producer,
Grace Schwindt is a German artist working with film, live performance, sculpture, and drawing. As part of Evening of Performances 2018, Grace presented The Boxer. The Boxer proposed the intimate moment of sharing physical and mental wounds as a
We invited Phyllida Barlow, whose work is featured in the David and Indrė Roberts Collection, to choose a piece from the collection as the starting point for a conversation about influences and objects of interest. She chose Bethan Huws’ Untitl
Arike Oke is currently the Managing Director of the Black Cultural Archives in Brixton, which is known as the leading institutional voice on the Windrush Generation and the home of Black British history.Independent curator, writer and researche
Michaela Crimmin is an independent curator and co-director of the not-for profit agency, Culture+Conflict. For over 15 years she taught on the Royal College of Art’s curating contemporary art MA.Hrair Sarkissian is a photographer who was brough
Matthew Spellberg is a scholar whose topic of study is the comparative history of dreaming—how dreams are experienced, shared, and made use of in different cultures. Originally trained as an architect, Professor Richard Sommer is interested in
Gander chose Study of a Coloured Tile Path With Red, Black and White Tiles, 1988 due to seeing a shared interest in time and collecting places in moments. It is a meticulous recreation of a randomly chosen area of the earth's surface in resin,
Emma Talbot selected What is Love (2013) by Huma Bhabha when asked to pick a work from the David and Indrė Roberts Collection to discuss in relation to her own practice.Bhabha’s painted sculpture, which could just as easily be an alien from the
Both having keen interests in the animal world, art history and mythology, Caroline Achaintre quickly gravitated to Berlinde De Brucykere when asked to choose a work from the David Roberts Collection other than her own to discuss. De Bruyckere'
An artist he has long loved and admired, artist Jonathan Baldock quickly gravitated towards Niki de Saint Phalle when asked to choose a work to discuss from the David Roberts Collection. Topic of deliberation is her small sculpture Nana Danseu
Glasgow-based artist France-Lise McGurn has chosen to talk about Art Deco painter Tamara de Lempicka’s drawing Sur La Plage, made circa 1926. This drawing from the David Roberts Collection becomes the basis for a conversation that touches on th
Nicoletta Lambertucci's career so far has been a story of beginnings. Firstly, working as a Curator at DRAF, she joined the team in 2012 just after the Foundation moved to its previous site, which was a huge former furniture factory in Camden.
How do bodies excavate movements, and do we archive movement?SERAFINE1369 and Fernanda Muñoz-Newsome discuss how their approaches to these questions, what role translation plays in dance, and how to navigate proximity and intimacy—particularly
Sound is a portal. It can shape how we perceive our environment, call our attention or create cognitive dissonance. Artists Anne Hardy and Aura Satz are particularly attuned to the workings of sound or noise, working with it as a material. Aura
DRAF Broadcasts: Live with Shezad Dawood and Professor Madeleine van OppenProfessor van Oppen's work finding ways to enable coral reefs to adapt better to rapid changes in ocean conditions and her approach to making her findings more accessible
DRAF Broadcasts: Podcast with Laura SmithHaving worked as a Curator at Tate St Ives for many years before moving to Whitechapel Gallery, Laura Smith has a good understanding of the benefits of building relationships with local audiences. Her cu
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