Keynote conference speakers
Richard Clay, Newcastle University, UK
Published research has focused on aspects of iconoclasm’s histories, but I’ve also written about: contemporary jewellery as sculpture; Matthew Boulton and mass produced art of the 1790s; graffiti’s roles in armed conflict; cross-sector collaboration; and the roles of the digital in cultural collections’ display spaces. In 2009, I co-curated a Barber Institute of Fine Art exhibition and, in 2014, helped to lead the AHRC International Network that advised Tate Britain on its 2013 show Art Under Attack. I’ve written 6 x 60-minute BBC4 documentaries:Tearing Up History; A Brief History Of Graffiti;
https://vimeo.com/14855472
https://documentaryvine.com/video/brief-history-graffiti/
Published research has focused on aspects of iconoclasm’s histories, but I’ve also written about: contemporary jewellery as sculpture; Matthew Boulton and mass produced art of the 1790s; graffiti’s roles in armed conflict; cross-sector collaboration; and the roles of the digital in cultural collections’ display spaces. In 2009, I co-curated a Barber Institute of Fine Art exhibition and, in 2014, helped to lead the AHRC International Network that advised Tate Britain on its 2013 show Art Under Attack. I’ve written 6 x 60-minute BBC4 documentaries:Tearing Up History; A Brief History Of Graffiti;
https://vimeo.com/14855472
https://documentaryvine.com/video/brief-history-graffiti/
Ilaria Hoppe, Catholic Theological Private University Linz, Austria,
Since 2016 Professor at the Institute of Contemporary Arts and Media at the Department of Art History of the Catholic Private University in Linz, Austria. From 2015 to 2016 working as visiting professor first at the Chair of Early Modern Studies, than for the Chair of Modern Art at the Institute of Art and Visual History of the Humboldt-Universität zu Berlin. From 2005 until 2015, working as assistant professor at the Chair of Modern Art at the same institution with a regular teaching commitment for Gender Studies. In 2012 the dissertation The rooms of the regent. The Villa Poggio Imperiale in Florence was published, after the defence of the PhD thesis in 2004 at the Technical University Berlin. From 1997 to 2000 fellow at the Bonn Graduate Research Colloquium The Renaissance in Italy and its European Reception: Art – History – Literature and of the DAAD.
Since 2007, I pursue the research project for my second book Urban Art: On the Relationship Between Art and Urbanity (working title). From this research result different articles and the international workshop Urban Art: Creating the Urban with Art at the HU Berlin in the summer of 2016 (proceedings are in course of publication). Main research areas are Urban Art, Gender Studies, Early modern art esp. in Italy, and Architecture.
Since 2016 Professor at the Institute of Contemporary Arts and Media at the Department of Art History of the Catholic Private University in Linz, Austria. From 2015 to 2016 working as visiting professor first at the Chair of Early Modern Studies, than for the Chair of Modern Art at the Institute of Art and Visual History of the Humboldt-Universität zu Berlin. From 2005 until 2015, working as assistant professor at the Chair of Modern Art at the same institution with a regular teaching commitment for Gender Studies. In 2012 the dissertation The rooms of the regent. The Villa Poggio Imperiale in Florence was published, after the defence of the PhD thesis in 2004 at the Technical University Berlin. From 1997 to 2000 fellow at the Bonn Graduate Research Colloquium The Renaissance in Italy and its European Reception: Art – History – Literature and of the DAAD.
Since 2007, I pursue the research project for my second book Urban Art: On the Relationship Between Art and Urbanity (working title). From this research result different articles and the international workshop Urban Art: Creating the Urban with Art at the HU Berlin in the summer of 2016 (proceedings are in course of publication). Main research areas are Urban Art, Gender Studies, Early modern art esp. in Italy, and Architecture.
Jacob Kimvall, Stockholm University, Sweden
Jacob Kimvall is a Swedish art critic, art historian and lecturer on visual culture, specialized in graffiti and street art. He holds a PhD in Art History from Stockholm University. His PhD-thesis ”THE G-WORD: virtuosity and violation, negotiating and transforming graffiti” (2014) examines the historiography of graffiti and suggests that this subcultural phenomenon should be understood as jointly produced by subcultural and institutional agents. In 1992 he co-founded the international graffiti art magazine Underground Productions (UP), and worked as one of the magazine’s editors throughout the 1990-ties.
Jacob Kimvall is a Swedish art critic, art historian and lecturer on visual culture, specialized in graffiti and street art. He holds a PhD in Art History from Stockholm University. His PhD-thesis ”THE G-WORD: virtuosity and violation, negotiating and transforming graffiti” (2014) examines the historiography of graffiti and suggests that this subcultural phenomenon should be understood as jointly produced by subcultural and institutional agents. In 1992 he co-founded the international graffiti art magazine Underground Productions (UP), and worked as one of the magazine’s editors throughout the 1990-ties.
Peter Bengtsen, Lund University, Sweden
One of my main areas of interest is street art as an artistic and social phenomenon. I have been writing about street art academically since 2006. In 2014 I published a book on the topic entitled The Street Art World. My research on street art has led to an interest in the publicness of public space in general and spatial justice in particular.More recently, I have also been working within the field of visual ecocriticism. In this research, I investigate how themes like biocentrism, anthropocentrism and anthropomorphism are treated in visual art and how this may influence the relationship between human beings and the environment.
Susan Hansen, Middlesex University, UK
Susan Hansen is Senior Lecturer in the Department of Psychology at Middlesex University, London and Chair of the Forensic Psychology Research Group. She has research interests in communities' material engagements with, and affective responses to, street art and graffiti; in the analysis of graffiti as a form of visual dialogue; and in the promise of an archaeological approach to understanding street art and graffiti through the longitudinal photo documentation of single sites. Chair of the Visual and Creative Methods Group at Middlesex University, London, and convenor of Art on the Streets, an annual symposium at the Institute of Contemporary Arts, London.
Panel ‘Street Art Curatorial Practices: Lessons from Norway’
The panel will be moderated by Susan Hansen,
Information about the panelists:
Martyn Reed is the founder and curator of Norway’s Nuart Festival regarded as the world’s leading Street Art Festival of it’s type. He is a regular contributor to Juxtapoz magazine and the Editor in Chief of the academic Nuart Journal amongst other things.
Emma Arnold is a research fellow at the Department of Sociology and Human Geography at the University of Oslo. Her research focusses on urban aesthetics and politics, including graffiti and street art.
Nipper John is a Norway based street artist. Nipper has produced a series of original drawings, paintings, stencils, collages and zines along west coast of Norway.
Viktor Rakov Gjengaar is the founder and director of Urban Samtidskunst (Oslo), curator for Tøyen Utegalleri and the outdoor spaces of Tøyen and Grønland.
Laima Nomeikaite is a researcher and human geographer. She works at the Norwegian Institute for Cultural heritage Research (Oslo), where she researches on the interplay between street art, heritage and urban space.
Susan Hansen is Senior Lecturer in the Department of Psychology at Middlesex University, London and Chair of the Forensic Psychology Research Group. She has research interests in communities' material engagements with, and affective responses to, street art and graffiti; in the analysis of graffiti as a form of visual dialogue; and in the promise of an archaeological approach to understanding street art and graffiti through the longitudinal photo documentation of single sites. Chair of the Visual and Creative Methods Group at Middlesex University, London, and convenor of Art on the Streets, an annual symposium at the Institute of Contemporary Arts, London.
Panel ‘Street Art Curatorial Practices: Lessons from Norway’
The panel will be moderated by Susan Hansen,
Information about the panelists:
Martyn Reed is the founder and curator of Norway’s Nuart Festival regarded as the world’s leading Street Art Festival of it’s type. He is a regular contributor to Juxtapoz magazine and the Editor in Chief of the academic Nuart Journal amongst other things.
Emma Arnold is a research fellow at the Department of Sociology and Human Geography at the University of Oslo. Her research focusses on urban aesthetics and politics, including graffiti and street art.
Nipper John is a Norway based street artist. Nipper has produced a series of original drawings, paintings, stencils, collages and zines along west coast of Norway.
Viktor Rakov Gjengaar is the founder and director of Urban Samtidskunst (Oslo), curator for Tøyen Utegalleri and the outdoor spaces of Tøyen and Grønland.
Laima Nomeikaite is a researcher and human geographer. She works at the Norwegian Institute for Cultural heritage Research (Oslo), where she researches on the interplay between street art, heritage and urban space.
Keynote street authors
Nipper, Norway
Mission Directives – a series of small scale installations that promote the sharing economy, creativity and citizen-led communication in public space.
About who has the power and authority to communicate messages and create meaning in our shared spaces, and the public’s relationship to their urban environment, Mission Directives becomes part of a broader conversation of social significance.
Mission Directives – a series of small scale installations that promote the sharing economy, creativity and citizen-led communication in public space.
About who has the power and authority to communicate messages and create meaning in our shared spaces, and the public’s relationship to their urban environment, Mission Directives becomes part of a broader conversation of social significance.
Os Espacialistas, Portugal
Laboratory research project of the theoretical and practical connections between art and architecture.
It begun activity in 2008. They replace the pencil by the camera as a drawing device, of thought, of perception and of diagnosis of the countryside and the built environment, their actions are governed by the "Diário do Espacialista" and aided by the "Kit Espacialista Por/táctil" they carry along.
Laboratory research project of the theoretical and practical connections between art and architecture.
It begun activity in 2008. They replace the pencil by the camera as a drawing device, of thought, of perception and of diagnosis of the countryside and the built environment, their actions are governed by the "Diário do Espacialista" and aided by the "Kit Espacialista Por/táctil" they carry along.
Carrie Reichardt , UK
She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work.
She is perhaps best known as a ceramicist and mosaicist, working internationally on large scale public murals. She creates anarchic artworks where vintage floral, kitsch, royal and religious crockery is given a new twist by re-firing with layers of new ceramic decals They are modified in a "radical use of traditional things" and often adorned with skulls, cheeky slogans and political statements. Her first solo exhibition, entitled "Mad in England", provided an exploration of this theme, which she has continued to pursue in subsequent work.
