Call for Manuscripts | Brill Series, History of Collecting & Art Market
History of Collecting & Art Market
Brill Book Series, Edited by Christian Huemer
Brill‘s ‘Studies in the History of Collecting & Art Markets’ is a peer-reviewed book series dedicated to original scholarship on the social, cultural, and economic mechanisms underlying the circulation of art. Over the last two decades interest in the formation, display, and dissolution of art collections increased tremendously; art markets, trade routes, and dealer networks became a rich field of interdisciplinary inquiry. Scholarship brought forth a lot of information about the flamboyant personalities to whom the possession of art was a lifestyle; regarding the ‘social life of things’, i.e. the provenance of individual artworks, many research gaps could be closed.
This shift in scholarly attention from the production side to the consumption side of the art world is also reflected in the emergence of specialized post-graduate courses offered by a number of institutions internationally, as well as an ever-increasing stream of exhibitions, conferences, and publications devoted to the subject. Brill‘s book series accommodates scholarly monographs, collections of essays, conference proceedings, and works of reference that engage in the broadly defined topic of art markets and collecting practices throughout history.
We invite scholars to submit their English language manuscript proposal for the book series to Liesbeth Hugenholtz, acquisitions editor at Brill (hugenholtz@brill.com) or to the series editor Christian Huemer (C.Huemer@belvedere.at).
Editor-in-Chief
Christian Huemer (Belvedere Research Center, Vienna)
Editorial Board
Malcolm Baker (University of California, Riverside), Ursula Frohne (Westfälische Wilhelms-Universität Münster), Daniela Gallo (Université de Lorraine, Nancy), Hans van Miegroet (Duke University, Durham), Inge Reist (The Frick Collection, New York – retired), Adriana Turpin (Institut d’Etudes Supérieures des Arts, London), Filip Vermeylen (Erasmus University, Rotterdam)
More information about the series is available here»
Nationalmuseum Acquires Three English Miniatures
Press release from Sweden’s Nationalmuseum in Stockholm:
Jeremiah Meyer, A Boy In Blue Coat, 1780s (Stockholm: Nationalmuseum, NMB 2737).
Nationalmuseum has acquired three English works by miniaturists Jeremiah Meyer, Ozias Humphry and John Cox Dillman Engleheart. The portraits in question are all examples of the blossoming of portrait miniatures as an art form from the mid-eighteenth to early nineteenth centuries. The acquisitions represent an important addition to the museum’s collection of portrait miniatures, which is one of the foremost in the world.
Despite the name, a portrait miniature is defined not by its format but by its materials and painting technique. The French word miniature refers to the technique of painting with red lead (minium). As in medieval manuscripts, this was applied to vellum. Around 1700 ivory also was used as a painting surface, and in about 1820 large-format ivory was first extracted with the veneer method. This was just before miniature painting lost the battle for portraiture to photography.
Jeremiah Meyer (1735–1789) provides a reminder of the important role played by foreign artists in the development of the art form in England. Born in Tübingen, Meyer was schooled in enamel painting in London by Saxon miniaturist Christian Friedrich Zincke. In recognition of his skills, in 1764 Meyer was appointed Miniature Painter to the Queen and Enamel Painter to the King, although his greatest contribution was to develop the use of ivory for portrait miniatures both technically and artistically. By using transparent watercolours, he was able to utilise the lustre of the ivory itself to make his portraits shimmer. At the same time, his style was distinctively graphic, with colouration given a subordinate role. Meyer exhibited great technical skill in building up his portraits, alternating short, intersecting lines with longer, unbroken strokes. By varying the grading and density of his lines, he was able to impart a variety of characteristics to skin, hair and clothing. The same applied to is handling of light and shade. All of this is clearly apparent in the newly acquired portrait of a youth in a blue coat. With a few judiciously placed highlights on the tip of the nose, lips and buttons, Meyer demonstrates his total control over his chosen medium. The uncommonly well-preserved skin tone seen here is rare in his work as the red pigment the artist favoured has often faded.
Ozias Humphry, Portrait of Suliman Aga Le Luna, 1782 (Stockholm: Nationalmuseum, NMB 2747).
In many ways, Ozias Humphry (1742–1810) was Meyer’s diametric opposite, both as an artist and a person. Colouration initially played a greater role in his work than line, a result of Humphry’s equal interest in oils and pastels. His blonde, warm tones have often been taken as an indication of a close relationship to pastels as an art form. For a while, it seemed as if Humphry would entirely abandon portrait miniatures; however, after an extended study trip to Italy he chose to concentrate on the form due to its better financial rewards. The striking portrait of Suliman Aga Le Luna, who visited London as a representative of the Regency of Tripoli, was painted in 1782 as a commission for Mary Bruce, Duchess of Richmond. This visit from afar was in connection with the British Government’s efforts to curtail the effects of piracy on their Mediterranean fleet. Two years later, Humphry travelled to India in the hope of earning considerable sums from painting portraits of maharajahs, but the trip proved to be a disappointment. On his return in 1787, his failing sight finally culminated in blindness, putting a premature end to his career.
John Cox Dillman Engleheart (1784–1862) was the nephew and apprentice of the more famous miniaturist George Engleheart. He first worked for his uncle, earning a living copying the older man’s works. In contrast to George Engleheart’s distinctive draughtsmanship, which distanced portrait miniatures from oil paintings, John developed a more refined technique, toning down visible brush strokes and using warmer colours. The recently acquired group portrait, probably of one the artist’s brothers-in-law with family, is testimony to John Engleheart’s own fine painting technique. Here, the artist has expended just as much energy in capturing the faces of the models as the inlays on the canapé. Painted in the 1820s, this large-scale portrait miniature of the Barker family demonstrates that, at that time, the art form had ambitions to measure itself against oil painting, both in terms of format and area.
New Book | Itch, Clap, Pox
From Yale UP:
Noelle Gallagher, Itch, Clap, Pox: Venereal Disease in the Eighteenth-Century Imagination (New Haven: Yale University Press, 2019), 288 pages, ISBN: 978-0300217056, $65.
A lively interdisciplinary study of how venereal disease was represented in eighteenth-century British literature and art
In eighteenth-century Britain, venereal disease was everywhere and nowhere: while physicians and commentators believed the condition to be widespread, it remained shrouded in secrecy, and was often represented using slang, symbolism, and wordplay. In this book, literary critic Noelle Gallagher explores the cultural significance of the ‘clap’ (gonorrhea), the ‘pox’ (syphilis), and the ‘itch’ (genital scabies) for the development of eighteenth-century British literature and art. As a condition both represented through metaphors and used as a metaphor, venereal disease provided a vehicle for the discussion of cultural anxieties about gender, race, commerce, and immigration. Gallagher highlights four key concepts associated with venereal disease, demonstrating how infection’s symbolic potency was enhanced by its links to elite masculinity, prostitution, foreignness, and facial deformities. Casting light where the sun rarely shines, this study will fascinate anyone interested in the history of literature, art, medicine, and sexuality.
Noelle Gallagher is Senior Lecturer in Eighteenth-Century Literature and Culture at the University of Manchester. She is the author of Historical Literatures: Writing about the Past in England, 1600–1740.
Lecture | Kevin Salatino, Chasing Casanova
Next month at BGC:
Kevin Salatino, Chasing Casanova: Venice and the Grand Tour
Bard Graduate Center, New York, 3 April 2019
Kevin Salatino will speak at the Seminar in Renaissance and Early Modern Material Culture on Wednesday, April 3, at 6pm. His talk is entitled “Chasing Casanova: Venice and the Grand Tour.”
The Grand Tour was both finishing school and rite of passage for the British (male) aristocrat. As Samuel Johnson noted, “a man who has not been in Italy, is always conscious of an inferiority.” While Rome was “the great object,” Venice was an essential stop on the way. The floating city’s wondrous novelty, its reputation for license and luxury, and its much-touted devotion to liberty were compelling attractions for the Grand Tourist. Famous for its courtesans, its masked revelers, its mystery and secrecy, its appeal inevitably swung toward the sensual and the sexual. This talk addresses the British Grand Tourist’s experience of eighteenth-century Venice in the context of the erotic, through a close examination of that city’s art, as well as texts and cultural artifacts from both sides, Venetian and British.
Kevin Salatino is Chair and Curator of Prints and Drawings at the Art Institute of Chicago. He was previously Director of the Art Collections at the Huntington Library, Art Collections, and Botanical Gardens, San Marino, California; Director of the Bowdoin College Museum of Art, Brunswick, Maine; Curator and Head of the Department of Prints and Drawings at the Los Angeles County Museum of Art; and Curator of Graphic Arts at the Getty Research Institute. Salatino holds a BA from Columbia University and a PhD from the University of Pennsylvania. Among his publications are Incendiary Art: The Representation of Fireworks in Early Modern Europe (a revised French edition of which was recently published); Edward Hopper’s Maine; and Blue Boy and Company: European Art at The Huntington. He has published on artists as diverse as Henry Fuseli, Jacques-Louis David, Francisco Goya, Richard Pousette-Dart, and James Ensor, and has lectured extensively on subjects ranging from fireworks to the Grand Tour. Most recently, he curated the Art Institute exhibitions, Shockingly Mad: Henry Fuseli and the Art of Drawing; Gods and Superheroes: Drawing in an Age of Revolution; and Into the Void: Prints of Lee Bontecou.
Workshop | Antiquarian Science in the Scholarly Society
A Priestess Speaking from within a Prehistoric Barrow in Drenthe, from Johan Picardt, Korte beschryvinge van eenige vergetene en verborgene antiquiteten (Amsterdam 1660), f. 47 (Rijksmuseum, RP-P-OB-77.857).
◊ ◊ ◊ ◊ ◊
From the project website:
Antiquarian Science in the Scholarly Society
Society of Antiquaries of London, 1–2 April 2019
Organized by Vera Keller and Anna Marie Roos
This is workshop II of the AHRC International Networking Grant: Collective Wisdom: Collecting in the Early Modern Academy. What was the relationship between archaeological fieldwork or antiquarianism and learned travel or the Grand Tour? What does collecting on tour say about the manner and scale of personal and institutional contacts between London and the scientific world of the Continent? What tools of natural philosophy were utilised to understand buildings and artefacts? What were the implications of the collecting of ethnographic objects for political dominance and Empire?
Ex libris of Z. C. von Uffenbach (Amsterdam: Rijksmuseum, RP-P-2015-26-1860).
Speakers include Philip Beeley (Oxford), Dominik Collet (Oslo), Luke Edgington-Brown (East Anglia), Dustin Frazier Wood (Roehampton), Vera Keller (Oregon), Chantel Grell (Versailles), Clare Hornsby (British School at Rome), Stephanie Moser (Southhampton), Staffan Müller-Wille (Exeter), Cesare Pastorino (Berlin), Anna Marie Roos (Lincoln), Edwin Rose (Cambridge), Martin Rudwick (Cambridge), Kim Sloan (British Museum), Alexander Wragge-Morley (NYU), Elizabeth Yale (Iowa).
A working session using sources from the Society of Antiquaries Library and Museum will also be part of the programme. The Society’s library is Britain’s oldest major research library for archaeology, architectural history, decorative arts (especially medieval), material culture, and the historic environment. It contains books, archives, manuscripts, prints, and drawings. Its Accredited museum collection—which was formed before the introduction of public museums and galleries in the mid-18th century—contains prehistoric, classical and medieval antiquities, seal matrices and impressions, and paintings. Full fee: £100 including lunch. Student/Concessions: £50 including lunch.
M O N D A Y , 1 A P R I L 2 0 1 9
10:00 Registration
10:15 Welcome and Introduction by Vera Keller and Anna Marie Roos
10:20 Plenary Talk
• Stephanie Moser (Southampton) and Christian Hoggard (Aarhus), Visual Testimony: Images and Discipline-Building at the Society of Antiquaries of London
11:15 Egypt and ‘Scientific Antiquarianism’
Chair: Roey Sweet (University of Leicester)
• Chantal Grell (Université de Versailles), Tito Livio Burattini: A Seventeenth-Century Engineer and Egyptologist
• Anna Marie Roos (University of Lincoln), The First Egyptian Society, 1741–43
12:15 Lunch
1:00 The Republic of Letters, Scholarly Societies, and Antiquarianism (Seventeenth Century)
Chair: Lisa Skogh
• Vera Keller (University of Oregon), The Ottoman History of Letters
• Dominik Collet (University of Oslo), Weak Ties, Big Science: Challenges to ‘Blended Learning’ in Early Academic Collections
• Philip Beeley (University of Oxford), ‘The Antiquity, Excellence, and Use of Musick’: Ancient Greek Music and Its Reception in Late Seventeenth-Century Oxford
• Cesare Pastorino (Technische Universität, Berlin), The Features of Early Modern English Antiquarian Metrology
3:00 Coffee Break
3:15 The Republic of Letters, Scholarly Societies, and Antiquarianism (Eighteenth Century)
Chair: Jana Schuster (Cambridge)
• Dustin Frazier Wood (University of Roehampton), Antiquarian Science and Scientific Antiquarianism at the Spalding Gentlemen’s Society, 1710–55
• Clare Hornsby (British School at Rome), Winckelmann, the Descrizione della Villa dell’Em Alessandro Albani, and the Society of Antiquaries of London
4:15 Hands-On Session I
6:00 Reception
T U E S D A Y , 2 A P R I L 2 0 1 9
10:00 Registration
10:30 Plenary Talk
• Kim Sloan (British Museum), Sloane’s Antiquities: Providing a ‘Body of History’ through Beads, Bottles, Brasses, and Busts
11:30 Ruins and Remains
Chair: Caroline Barron (Birkbeck, University of London)
• Alexander Wragge-Morley (NYU), In Search of Lost Design: The Science of Ruins in the Seventeenth Century
• Elizabeth Yale (University of Iowa), Elf-Arrows and Origins: Antiquarian Collections and Human Descent
• Luke Edgington-Brown (University of East Anglia), The 1901 Excavation of Stonehenge and Its Connection to Antiquarian Research in Late Nineteenth-Century Japan
1:00 Lunch
2:00 Eighteenth-Century Natural History and Antiquarianism
Chair: Arthur MacGregor (Oxford)
• Martin Rudwick (University of Cambridge), Volcanoes and Vases: Naturalists, Antiquaries, and the Mobilisation of Images
• Staffan Müller-Wille (University of Exeter), Following Footsteps: Linnaeus in Lapland
• Edwin Rose (University of Cambridge), From Collection to Publication: Joseph Banks, Thomas Pennant, and Defining Natural History and Antiquarianism in Late Eighteenth-Century Britain
3:30 Coffee Break
4:00 Hands-On Session II
New Book | Martin Lister and his Remarkable Daughters
Distributed in North America by The University of Chicago Press:
Anna Marie Roos, Martin Lister and his Remarkable Daughters: The Art of Science in the Seventeenth Century (Oxford: Bodleian Library, 2019), 224 pages, ISBN: 978-1851244898, $40.
A royal physician and fellow of the Royal Society, Martin Lister was an extraordinarily prolific natural historian with an expertise in shells and mollusks. Disappointed with the work of established artists, Lister decided to teach his daughters, Susanna and Anna, how to illustrate images of the specimens he studied. The sisters became so skilled that Lister entrusted them with his great work, Historiæ Conchyliorum, assembled between 1685 and 1692. This first comprehensive study of conchology consisted of more than one thousand copperplates of shells and mollusks collected from around the world. Martin Lister and his Remarkable Daughters reconstructs the creation of this masterwork, presenting original drawings, engraved copperplates, draft prints, and photographs of the finished books.
Susanna and Anna portrayed the shells of this collection not only as curious and beautiful objects, but also as specimens of natural history, rendering them with sensitivity and keen scientific empiricism. Beautiful in their own right, their illustrations and engravings reveal the early techniques behind scientific illustration and offer fascinating insight into the often hidden role of women in the scientific revolution.
Anna Marie Roos is a reader in the history of science and medicine at the University of Lincoln.
New Book | Jefferson on Display
From the University of Virginia Press:
G. S. Wilson, Jefferson on Display: Attire, Etiquette, and the Art of Presentation (Charlottesville: University of Virginia Press, 2018), 308 pages, ISBN: 978-0813941295, $30.
When we think of Thomas Jefferson, a certain picture comes to mind for some of us, combining his physical appearance with our perception of his character. During Jefferson’s lifetime this image was already taking shape, helped along by his own assiduous cultivation. In Jefferson on Display, G. S. Wilson draws on a broad array of sources to show how Jefferson fashioned his public persona to promote his political agenda. During his long career, his image shifted from cosmopolitan intellectual to man of the people. As president he kept friends and foes guessing: he might appear unpredictably in old, worn, and out-of-date clothing with hair unkempt, yet he could as easily play the polished gentleman in a black suit, as he hosted small dinners in the President’s House that were noted for their French-inspired food and fine European wines. Even in retirement his image continued to evolve, as guests at Monticello reported being met by the Sage clothed in rough fabrics that he proudly claimed were created from his own merino sheep, leading Americans by example to manufacture their own clothing, free of Europe.
By paying close attention to Jefferson’s controversial clothing choices and physical appearance—as well as his use of portraiture, architecture, and the polite refinements of dining, grooming, and conversation—Wilson provides invaluable new insight into this perplexing founder.
G. S. Wilson is Shannon Senior Historian at the Robert H. Smith International Center for Jefferson Studies, Monticello.
C O N T E N T S
List of Illustrations
Acknowledgments
Introduction
The European Experience
1 At the French Court and among the Literati
2 Remembering the Revolution
The Politics of the 1790s
3 Returning to a New America
4 Campaigning for Change
The Presidency
5 A New Presidential Profile
6 But Always the Cosmopolitan Gentleman
Retirement at Monticello
7 Contemplating Legacy
8 A Final Image
Epilogue
Notes
Bibliography
Illustration Credits
Index
Exhibition | French Memories of the War for America
Press release (18 March 2019) for the exhibition:
Revolutionary Reflections: French Memories of the War for America
American Revolution Institute of the Society of the Cincinnati in Washington, D.C., 5 April — 27 October 2019
Nicolas-René Jollain, Allegorical Portrait of Thomas François Lenormand de Victot, 1783, oil on canvas, 90 × 117 cm (Washington: The Society of Cincinnati).
King Louis XVI sent thousands of French soldiers and sailors across the Atlantic to support the American War of Independence. It was an adventure none of them would forget. The special exhibition, Revolutionary Reflections: French Memories of the War for America, on view at the American Revolution Institute of the Society of the Cincinnati in Washington, D.C., from April 5 through October 27, 2019, explores how the king’s officers understood the American Revolution and their role in the achievement of American independence, and how they remembered the war in the years that followed—years of revolutionary upheaval in France that included the execution of the king and many of their brothers-in-arms.
Drawn from the Institute’s collections, along with loans from private collections, Revolutionary Reflections pairs the written recollections of French officers with life portraits of the writers, including masterpieces by the French artist Jean-Baptiste Greuze and the great Spanish portrait painter Vicente López y Portaña. Among the treasures on view will be the original manuscript memoir of General Rochambeau, who commanded the largest French army sent to America, along with his family’s annotated copy of the published work.
Another highlight of the exhibition is the long-lost portrait of the marquis de Saint-Simon, who commanded 4,000 French troops at Yorktown, together with Saint-Simon’s manuscript journal of the Yorktown campaign. The portrait was long owned by the marquis’ descendants, but was hidden during the Spanish Civil War and then long forgotten. The American Revolution Institute acquired it and brought it to Washington in 2018. The portrait has never been displayed in a formal exhibition in the United States. The journal—yet to be published in English—has never been displayed anywhere.
The most striking piece on view is a posthumous allegorical portrait of Thomas François Lenormand de Victot by Nicolas-René Jollain, painted in 1783. A French naval officer who died during the war, Lenormand is depicted opposing Death, portrayed as a skeleton in flight bearing a sickle. The Institute acquired this extraordinary painting in 2010.
The eight officers whose memories are featured in the exhibition were well-educated French nobles. They made sense of their wartime experiences through careful observation and documentation. Some were battle-tested veterans. Others, including the marquis de Lafayette, were young men when they arrived in America. The war for American independence was a defining event for all of them. Together their reflections remind us that historical memory is fragile, always shifting, and often very personal.
New Book | Grammars of Approach
From The University of Chicago Press:
Cynthia Wall, Grammars of Approach: Landscape, Narrative, and the Linguistic Picturesque (Chicago: The University of Chicago Press, 2019), 352 pages, ISBN: 978-0226467665 (cloth), $105 / ISBN: 978-0226467832 (paper), $35.
In Grammars of Approach, Cynthia Wall offers a close look at changes in perspective in spatial design, language, and narrative across the late eighteenth and early nineteenth centuries that involve, literally and psychologically, the concept of ‘approach’. In architecture, the term ‘approach’ changed in that period from a verb to a noun, coming to denote the drive from the lodge at the entrance of an estate “through the most interesting part of the grounds,” as landscape designer Humphrey Repton put it. The shift from the long straight avenue to the winding approach, Wall shows, swung the perceptual balance away from the great house onto the personal experience of the visitor. At the same time, the grammatical and typographical landscape was shifting in tandem, away from objects and Things (and capitalized common Nouns) to the spaces in between, like punctuation and the ‘lesser parts of speech’. The implications for narrative included new patterns of syntactical architecture and the phenomenon of free indirect discourse. Wall examines the work of landscape theorists such as Repton, John Claudius Loudon, and Thomas Whately alongside travel narratives, topographical views, printers’ manuals, dictionaries, encyclopedias, grammars, and the novels of Defoe, Richardson, Burney, Radcliffe, and Austen to reveal a new landscaping across disciplines—new grammars of approach in ways of perceiving and representing the world in both word and image.
Cynthia Wall is professor of English at the University of Virginia. She is an editor of works by Bunyan, Defoe, and Pope, and the author of The Literary and Cultural Spaces of Restoration London and The Prose of Things: Transformations of Description in the Eighteenth Century, the latter also published by the University of Chicago Press.
C O N T E N T S
List of Illustrations
A Note on My Text
Acknowledgments
Introduction
1 The Architectural Approach
The etymology of ‘approach’ (n.s.)
The concept of approach (n.s. and v.): the ‘ancient’ and the ‘modern’ lines
The language of approach (v.): architectural and syntactical design
The traveler’s approach
The novelists approach
2 The Prepositional Building
The park gate lodge
The topographical view: angles and staffage
A Bridge to the next part: ‘A Village on, or across, the Thames‘
3 The Topographical Page
The typographical landscape
The letters on the page:
i. fonts
ii. capitals and italics
iii. catchwords
iv. pointing
4 The Grammar in Between
The rise of grammar
The rise of the preposition
Clarissa and the little words: the avenue and the approach
i. Richardson as printer
ii. Clarissa and prepositions
iii. Clarissa as prepostion
5 The Narrative Picturesque
Syntactical architecture in textual landscapes
i. Bunyan: “thinges . . included in one word”
ii. Defoe: “in a Word”
iii. Haywood: “In fine, she was undone”
The narrative picturesque
i. Radcliffe and the prepositional phrase
ii. Burney and the psychological interior
iii. Austen and the approach to the interior
Coda: A Topographical Page
Notes
Bibliography
Index
Workshop | The Mind in the Matter
From Eventbrite:
The Mind in the Matter: New Approaches to the Psychology of Collecting
Institute of Historical Research, London, 27 March 2019
Organised by the Society for the History of Collecting
Psychology informs us about what drives an individual to collect. In the Enlightenment, the human mind was often analysed and discussed by means of metaphors and analogies borrowed from the world of collecting. In the nineteenth-century, the stereotypes surrounding the monomaniac, eccentric or perverse collector was codified in the art press and through fiction. In the twentieth century, the topic was treated at length by scholars such as Werner Munsterberger, often working in an explicitly psychoanalytic framework. Whilst this Freudian approach has been subject to intense criticism in the past thirty years, many scholars continue to interpret collecting in terms of categories such as ‘lack’, ‘surrogacy’, ‘desire’ and ‘loss’.
Join us for a workshop that investigates the extent to which psychological models are still valid and necessary to understand collecting as a human activity. Is there a tension between the universalising psychological theories and the drive to study collecting historically? What sources are particularly useful or revealing for uncovering the collector’s motivations or relations to his objects? What can recent developments in psychology and neuroscience add to our understanding? How far can or should we enter the interior life of a collector, and what role does imagination play in communicating these insights to new audiences? And what are the meaningful alternatives, apart from opportunistic acquisitions; to a psychological approach of the study of collecting—can we ever escape from this way of thinking?
The workshop brings together six specialists working in different disciplines, who approach the ‘psychology of collecting’ from alternative perspectives, using historical case-studies and scientific models. Confirmed speakers include the pioneering historian of collecting Professor Susan Pearce; neuropsychologist Professor John Harrison; artist, collector and scholar Dr Jane Wildgoose; librarian and heritage expert Dr Tony Burrows; doctoral researcher into the collector Sir William Burrell, Isobel Macdonald; and contemporary art adviser Shaune Arp.
Organising committee: Tom Stammers, Adriana Turpin, Eleni Vassilika
Enfilade 
leave a comment