This talk looks at the methodology of Anthea Hamilton’s practice, which can come to be understood primarily as ‘exhibition-making’. Everything becomes materials and an analysis of the sculptural, associative properties of things whether found objects, images, institutions, and the bodies who are present within them with a thinking that shifts from the flatness of two-dimensions to the invisibility of multiple-dimensions. Discussing collaborations, infatuations and the dead ends of Hamilton’s obsessions, this talk looks back over several large-scale projects as case studies and details of that blur the personal and professional experiences of making them.

Anthea Hamilton (born 1978) is a London-based artist, whose current practice comprises installation, sculpture, and performance. Her work is always site-specific: a consideration of location, the cultural and political environment and her personal circumstances form the framework for research. Hamilton’s interest in the exchanges between art, fashion, and design has informed various collaborative projects. Constituted from a combination of objects and images, rooted in a common experience of the world, the environments she produces are humorous, devotional, minimal and pulsing with content. Hamilton’s projects include: Cold, Cold Heart, kaufmann repetto, Milan (2022); Mash Up, MuHKA, Antwerpen (2022); Primetime, Hayward Gallery, London (2022); 58th Venice Biennale (2019); The New Life, Secession, Vienna (2018); The Squash, Tate Britain, London (2018); LOVE (Cold Shower), Schinkel Pavilion, Berlin (with Nicholas Byrne); 10th Gwangju Biennale (2015) and Lichen! Libido! Chastity!, SculptureCenter, Long Island City, NY (2015).

The lecture will be held in English language.