fine arts 2008-2009 - The British School at Rome

fine arts
2008-2009
SARA BARKER JOSEPH BEDFORD GABRIELLA BISETTO PENELOPE CAIN
DRAGICA JANKETIC CARLIN LUKE CAULFIELD KATIE CUDDON
GRAHAM DURWARD PIERRE GENDRON CELIA HEMPTON CATH KEAY
REBECCA MADGIN AMANDA MARBURG RUTH MURRAY EDDIE PEAKE
LIZ RIDEAL JAMES ROBERTSON DAVID SPERO AMIKAM TOREN

fine arts 2008-2009
Sara Barker
Joseph Bedford
Gabriella Bisetto
Penelope Cain
Dragica Janketic Carlin
Luke Caulfield
Katie Cuddon
Graham Durward
Pierre Gendron
Celia Hempton
Cath Keay
Rebecca Madgin
Amanda Marburg
Ruth Murray
Eddie Peake
Liz Rideal
James Robertson
David Spero
Amikam Toren
THE BRITISH SCHOOL AT ROME
1

The projects realised by GABRIELLA BISETTO, PENELOPE CAIN,
AMANDA MARBURG have been assisted by the Commonwealth
Government through the Australia Council, its Arts funding and
advisory body.
The Arts Council England Helen Chadwick Fellowship is
organised and administered by The Ruskin School of Drawing
and Fine Art, University of Oxford and The British School at
Rome with the support of Arts Council England and St Peter’s
College, Oxford.
Acknowledgements
David Chandler, Photoworks, London
Prof. Mihai Barbulescu, Romanian Academy, Rome
Martin Brody, American Academy in Rome
Joachim Blüher, Pia Gottschaller, German Academy Villa
Massimo, Rome
Marianna Di Giansante, Francesca Monari, Timothy Mitchell,
Æmilia Hotel, Bologna
Gianmatteo Nunziante, Nunziante Magrone Studio Legale
Associato, Rome
Casa dell’Architettura, Ordine degli Architetti P.P.C. di Roma e
Provincia, Rome
Marco Dalla Vedova, Dalla Vedova Studio Legale, Rome
Assessorato alle Politiche Culturali, Comune di Roma
Veronica Della Scala, RialtoSantambrogio, Rome
Daniela Voso, ESC Atelier Occupato, Rome
Benedetta Cestelli Guidi, s.t. fotolibreriagalleria, Rome
Daniele Bianca, Fabio Campagna, Giulia Cantisani,
Marco Delogu, Patrizia Mania, Mirela Pribac,
Luigi Prisco, Monica Scanu, Shara Wasserman
Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Lucy Davis,
Marina Engel, David Forgacs, Alessandra Giacinti, Maria Pia
Malvezzi, Eleanor Murkett, Antonio Palmieri, Renato Parente,
Giuseppe Pellegrino, Cristiana Perrella, Susan Russell, Marisa
Scarsella, Valerie Scott, Chris Siwicki, Geraldine Wellington
2
Fine Arts 2008-2009
DALLA VEDOVA
STUDIO LEGALE
Edited by Jacopo Benci
Graphic design Silvia Stucky
Photography courtesy of the artists and architects, except
Claudio Abate (pp. 16-17, 47), Serafino Amato (pp. 30-31),
Luke Caulfield (pp. 13, 46), Fernando Maquieira (pp. 24-25),
Jacopo Benci (cover image; pp. 6-11, 51, 64)
Translations Jacopo Benci
Published by THE BRITISH SCHOOL AT ROME
at The British Academy, 10 Carlton House Terrace, London SW1Y 5AH
The British School at Rome
Via Gramsci, 61 00197 Roma
Registered Charity No. 314176
ISSN 1475-8733 ISBN 978-0-904152-55-5

C O N T E N T S
04 Preface Andrew Wallace-Hadrill
06 Introduction Jacopo Benci
12 Sara Barker
14 Joseph Bedford
16 Gabriella Bisetto
18 Penelope Cain
20 Dragica Janketic Carlin
22 Luke Caulfield
24 Katie Cuddon
26 Graham Durward
28 Pierre Gendron
30 Celia Hempton
32 Cath Keay
34 Rebecca Madgin
36 Amanda Marburg
38 Ruth Murray
40 Eddie Peake
42 Liz Rideal
44 James Robertson
46 David Spero
48 Amikam Toren
51 Biographies
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P REFACE
This is the fourteenth time I have written a preface to the annual BSR Fine Arts catalogue, and it cannot be without a
certain regret that it is the last. Among the many factors which make the experience of living and working in the British
School at Rome so extraordinary and rewarding, an outstanding one is the presence of artists and architects in the
residential community. Diverse, imaginative and energetic, they constantly invite us to look at the experience of Rome and
Italy with fresh eyes, and to find surprise and excitement in what might seem to have been reduced to the banal by
centuries of over-exposure. This year, I have been taught to look at the run-down post-industrial suburbs of the Ostiense
area in a new light by Rebecca Madgin, inaugural holder of the new Giles Worsley Travel Fellowship in Architecture,
studying transformations of industrial space, and by Celia Hempton, Sainsbury Scholar in Painting, whose murals and
canvases capture the same wastelands in the bright, hazy colours of Rome’s light. Liz Rideal, the last in a fine line of
Wingate Rome Scholars in the Fine Arts, and Penelope Cain, one of a distinguished tradition of resident artists from
Australia, have shown me Herculaneum, the site at which I myself work, in a new light by their projections: the washing,
fluttering on the lines of the modern town’s most crowded and poverty-stricken quarter, gave the city of the dead a ghostly
new life. These are only examples of the constant interaction between disciplines and re-imagining of the physical
environment which seems to me a key contribution of the institution.
For this we have to thank, as ever, the many Arts Councils, foundations and bodies which support these precious
scholarships. It is always a pleasure to welcome new initiatives: in addition to the travel scholarship set up in memory of
Giles Worsley by his wife Joanna Pitman, open alike to architects and architectural historians, we welcome the fellowship
in photography funded by Photoworks, with its inaugural fellow David Spero, and the first Québec Architecture Resident,
Pierre Gendron, supported by the Conseil des arts et des lettres du Québec. We also express thanks to the Harold Hyam
Wingate Foundation for supporting over the years a series of excellent artists. And as each year, we express warm
appreciation to the bodies that continue to support awards, to the Linbury Trust in the persons of Lord and Lady Sainsbury
of Preston Candover for their enthusiastic support of two scholarships and the efforts they make to ensure the attractiveness
of these awards to outstanding candidates, to the Edwin Austin Abbey Council, the longest and most loyal of supporters of
the Fine Arts at BSR; to the Australia Council for its ongoing support of four three-month residencies; to the collaborative
efforts, led by Richard Wentworth and Paul Bonaventura of the Ruskin School of Drawing & Fine Art, supported by the
Arts Council England and St Peter’s College, Oxford, to sustain the Helen Chadwick Fellowship in both Rome and
Oxford; and to Jo Batterham and the Trustees of the Derek Hill Foundation for the support of a scholarship in painting,
this year in portraiture.
Finally, I would like to thank the many individuals to whose efforts both in Rome and in London the success of the
programme owes so much: to the Faculty of the Fine Arts, and especially its outgoing and incoming Chairs, Jenni Lomax
and John Gill; to Gill Clark who as Registrar handles the complex procedures of selection; to Silvia Stucky, to whose
design this catalogue owes an elegance out of proportion to its modest budget; and finally to Jacopo Benci, who as
Assistant Director for the Fine Arts adds so much to the richness of the experience of the resident artists and architects.
Professor Andrew Wallace-Hadrill
Director
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Fine Arts 2008-2009

P REFAZIONE
Questa è la quattordicesima volta che scrivo una prefazione per l’annuale catalogo Fine Arts dell’Accademia Britannica,
e non senza un certo rammarico noto che è l’ultima. Fra i molti fattori che rendono tanto straordinaria e gratificante
l’esperienza di vivere e lavorare all’Accademia, uno dei più notevoli è la presenza di artisti e architetti nella comunità dei
residenti. Diversi, immaginosi ed energici, ci invitano costantemente a guardare all’esperienza di Roma e dell’Italia con
occhi nuovi, e a trovare sorpresa e emozione in ciò che potrebbe sembrare esser stato reso banale da secoli di
sovraesposizione. Quest’anno, ho imparato a guardare sotto una nuova luce alla fatiscente periferia post-industriale
dell’area Ostiense da Rebecca Madgin, prima titolare della nuova Giles Worsley Travel Fellowship in Architecture, che
studia le trasformazioni dello spazio industriale, e da Celia Hempton, Sainsbury Scholar in Painting, i cui dipinti
murali e su tela colgono quelle stesse aree abbandonate nei colori vivaci e velati della luce romana. Liz Rideal, l’ultima
di una serie di eccellenti Wingate Rome Scholars in the Fine Arts, e Penelope Cain, appartenente a una illustre
tradizione di artisti residenti australiani, mi hanno mostrato Ercolano, il sito su cui mi trovo a lavorare, in una nuova
luce con le loro proiezioni: le lenzuola svolazzanti dai balconi del quartiere più affollato e povero del borgo moderno
hanno dato alla città dei morti una spettrale nuova vita. Questi sono solo alcuni esempi della costante interazione fra
discipline e del ripensare l’ambiente fisico che mi paiono un contributo essenziale dell’istituzione.
Per tutto ciò dobbiamo ringraziare, come sempre, i molti Arts Councils, fondazioni ed enti che sostengono queste
preziose borse di ricerca. È sempre un piacere accogliere nuove iniziative: in aggiunta alla ‘travel scholarship’ creata in
memoria di Giles Worsley da sua moglie Joanna Pitman, aperta ad architetti e storici dell’architettura, diamo il
benvenuto a David Spero, titolare della prima ‘fellowship’ in fotografia finanziata da Photoworks, e al primo Québec
Architecture Resident, Pierre Gendron, sostenuto dal Conseil des arts et des lettres du Québec. Esprimiamo inoltre il
nostro ringraziamento alla Harold Hyam Wingate Foundation per aver sostenuto negli anni una serie di eccellenti artisti.
E come ogni anno, esprimiamo il nostro caloroso apprezzamento agli enti che continuano a finanziare delle residenze: al
Linbury Trust nelle persone di Lord e Lady Sainsbury of Preston Candover per il loro appassionato sostegno di due
‘scholarships’ e per l’impegno che pongono per far sì che questi premi continuino ad attirare candidati di vaglia;
all’Edwin Austin Abbey Council, il più antico e più fedele sostenitore delle Belle Arti all’Accademia; all’Australia
Council per il suo costante sostegno a quattro residenze trimestrali; all’azione congiunta di Richard Wentworth e Paul
Bonaventura della Ruskin School of Drawing & Fine Art, sostenuta dall’Arts Council England e dal St Peter’s College di
Oxford, per mantenere la Helen Chadwick Fellowship a Roma e Oxford; e a Jo Batterham e ai Trustees della Derek Hill
Foundation per il loro sostegno a una ‘scholarship’ in pittura, quest’anno dedicata al ritratto.
In conclusione, vorrei ringraziare tutti coloro, a Roma e a Londra, al cui lavoro così tanto deve il successo del
programma: alla Faculty of the Fine Arts, e specialmente ai suoi Direttori uscente e entrante, Jenni Lomax e John Gill; a
Gill Clark che come Registrar si prende cura delle complesse procedure di selezione; a Silvia Stucky, al cui lavoro grafico
questo catalogo deve un’eleganza non commisurata al suo modesto budget; e infine a Jacopo Benci, che come Assistant
Director for the Fine Arts tanto contribuisce alla ricchezza dell’esperienza degli artisti e architetti residenti.
Professor Andrew Wallace-Hadrill
Direttore
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The year 2008-09 was marked by a large number of exhibitions and projects involving BSR artists and architects, who had
frequent contacts with residents of the other foreign institutions, especially the American, German, Romanian, Spanish
Academies and the Swiss Institute. These activities built upon contacts set in place during the previous years, and the interest of
the new city government in developing relationships with the creative arts programmes of the foreign academies. At the beginning
of October Umberto Croppi, the new ‘Assessore’ (Head) of the Department for Culture of the Comune di Roma, called for a
meeting at Palazzo delle Esposizioni with representatives of the foreign academies and cultural institutes, in order to discuss how
the Comune and the foreign institutions could collaborate on arts projects.
At the end of September 2008, a brief exhibition entitled Tempo Reale presented works created at the School during
September 2008 by Fine Arts scholars Cath Keay, Amanda Marburg, Liz Rideal, and by other artists then resident (Christopher
Cook, and former Fine Arts scholars Richard Kirwan and Tony Lloyd). It was a spontaneous event that demonstrated the
collaborative spirit often in evidence at the School, and which was greatly appreciated by September residents, as our formal
events programme does not commence until October.
The first of three BSR scholars’ introductory talks took place on 30 October. In the audience was Veronica Della Scala, arts
officer of RialtoSantambrogio, an alternative venue with which the Fine Arts programme has collaborated on several projects.
The following night, at RialtoSantambrogio, Fine Arts scholars met Fabio Campagna (curator of Aisling Hedgecock’s Hula-Gloop
Experiment in April 2008), starting a collaboration that would bear fruit throughout the year.
A late November visit to Herculaneum, organized by the Director, led to site-related video projections by Liz Rideal and
Penelope Cain, and discussion of possible future arts events under the auspices of the Herculaneum Conservation Project.
The exhibition Figure of 8 opened at the School on 12 December 2008, comprising works by Joseph Bedford, Penelope Cain,
Dragica Carlin, Katie Cuddon, Ruth Murray, Eddie Peake, Liz Rideal, and a collaboration between Celia Hempton and Rebecca
Madgin. The exhibition – supported by Dalla Vedova Legal Practice – had a good attendance, with many visitors from the other
academies and the Rome art community.
Thanks to a contact secured by the Director, on 18 December Penelope Cain, Katie Cuddon and Liz Rideal exhibited new
works under the title Avvolgere Svolgere, at Nunziante Magrone legal practice’s Christmas cocktail party.
On 23 December, Fabio Campagna organized Bites, an outdoor video projection of works by Penelope Cain and Liz Rideal
at ESC Atelier Occupato, an alternative venue in San Lorenzo.
Over a weekend in early January 2009, Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake and Liz Rideal visited
the museums, churches and historical sites of Bologna, explored its streets and experienced its ambience as guests of Marianna
Di Giansante at her Æmilia Hotel, with a view to the third consecutive exhibition of BSR Fine Arts scholars at Æmilia Hotel’s
Spazio Cultura, which took place in May.
On 30 January six Fine Arts scholars exhibited at RialtoSantambrogio in an event titled 123456 – Craack!, curated by Fabio
Campagna. The event involved video projections by Liz Rideal, Penelope Cain, Joseph Bedford, Katie Cuddon, Eddie Peake, drawings
by Celia Hempton, and a performance by Katie Cuddon, Celia Hempton and Eddie Peake, wearing costumes created by Eddie.
At the invitation of Fabio Campagna and Daniele Bianca, Eddie, Katie and Celia reworked this performance as Tracce,
walking from the Pantheon to a stage set in the Temple of Hadrian, on the final night of the yearly Alta Roma fashion show on
3 February. The performance was photographed and filmed and was covered by the media.
The next scholars’ exhibition at the BSR, Our Lives Are Full of Remarkable Coincidences, opened on 13 March (until 21
March), presenting works by Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke Caulfield, Katie Cuddon, Celia Hempton,
6
Fine Arts 2008-2009
I NTRODUCTION

I NTRODUZIONE
L’annata 2008-09 è stata caratterizzata dalla partecipazione a un gran numero di mostre e progetti da parte degli artisti e
architetti dell’Accademia Britannica, e dai loro frequenti contatti coi residenti delle altre istituzioni straniere, in particolare le
Accademie di Germania, Romania, Spagna, Stati Uniti, e l’Istituto Svizzero. Queste attività hanno potuto svilupparsi grazie
a contatti iniziati negli anni precedenti, e all’interesse della nuova amministrazione capitolina nello sviluppo delle relazioni
con i programmi di arti creative delle accademie straniere. All’inizio di ottobre 2008 Umberto Croppi, il nuovo Assessore alla
Cultura del Comune di Roma, ha voluto incontrare al Palazzo delle Esposizioni i rappresentanti delle istituzioni culturali
straniere, per discutere come il Comune potesse collaborare con queste per progetti artistici.
Alla fine di settembre 2008, una breve mostra intitolata Tempo Reale ha presentato opere create all’Accademia dai nuovi
residenti Cath Keay, Amanda Marburg, Liz Rideal, e da altri artisti ospiti durante il mese (Christopher Cook, e gli ex borsisti
Richard Kirwan e Tony Lloyd). La natura spontanea della mostra manifestava lo spirito di collaborazione che caratterizza
spesso l’Accademia, e che è stato molto apprezzato dagli altri residenti, dato che il programma formale di eventi non sarebbe
inziato che a ottobre.
La prima di tre conferenze introduttive dei residenti dell’Accademia sul loro lavoro ha avuto luogo il 30 ottobre. Fra il
pubblico vi era Veronica Della Scala, addetta per le arti del RialtoSantambrogio, spazio alternativo con cui il Programma Fine
Arts ha collaborato per diversi progetti. La sera seguente, al RialtoSantambrogio, artisti e architetti incontravano Fabio
Campagna (curatore ad aprile 2008 di Hula-Gloop Experiment di Aisling Hedgecock), mettendo le basi di una collaborazione
che avrebbe dato frutti durante l’anno.
Da una visita a Ercolano organizzata a fine novembre dal Direttore, sarebbero nate videoproiezioni di Liz Rideal e Penelope
Cain legate al luogo, e discussioni su possibili progetti artistici futuri sotto gli auspici del Herculaneum Conservation Project.
La mostra Figure of 8 si è inaugurata all’Accademia il 12 dicembre 2008, con opere di Joseph Bedford, Penelope Cain,
Dragica Carlin, Katie Cuddon, Ruth Murray, Eddie Peake, Liz Rideal, e una collaborazione fra Celia Hempton e Rebecca
Madgin. La mostra – con il sostegno dello Studio Legale Dalla Vedova – ha avuto una buona affluenza di pubblico, sia delle
altre accademie che del mondo dell’arte romano.
Grazie a un contatto creato dal Direttore, il 18 dicembre Penelope Cain, Katie Cuddon e Liz Rideal hanno esposto nuove
opere, sotto il titolo Avvolgere Svolgere, in occasione del cocktail party natalizio dello studio legale Nunziante Magrone.
Il 23 dicembre, Fabio Campagna ha organizzato Bites, videoproiezione in esterni di opere di Penelope Cain e Liz Rideal
all’ESC Atelier Occupato, spazio alternativo a San Lorenzo.
All’inizio di gennaio 2009, Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake e Liz Rideal si sono recati a
Bologna, ospiti all’Æmilia Hotel di Marianna Di Giansante, per visitare musei, chiese e siti storici, esplorare il tessuto urbano
e gustare l’ambiente della città, in vista della terza mostra di residenti della BSR nello Spazio Cultura dell’Æmilia Hotel, da
realizzare in maggio.
Il 30 gennaio l’evento 123456 – Craack!, a cura di Fabio Campagna, ha portato al RialtoSantambrogio video proiezioni di
Penelope Cain, Joseph Bedford, Katie Cuddon, Eddie Peake, Liz Rideal, disegni di Celia Hempton, e una performance di Katie
Cuddon, Celia Hempton e Eddie Peake, con costumi creati da Eddie.
Su invito di Fabio Campagna e Daniele Bianca, poi, il 3 febbraio Eddie, Katie e Celia hanno rielaborato la performance
camminando dal Pantheon fino a un palco allestito al Tempio di Adriano, per la serata finale dell’annuale evento Alta Roma.
La performance, intitolata Tracce, è stata fotografata e filmata per riviste e siti web.
La successiva mostra all’Accademia, Our Lives Are Full of Remarkable Coincidences, inauguratasi il 13 marzo (fino al 21
7

Cath Keay, Eddie Peake, and James Robertson.
The exhibition was also the subject of an on-site
lecture of the Contemporary European Art
History course of the Università della Tuscia, taught by Patrizia Mania.
Several projects and exhibitions took place during the spring, starting on 21 March with Celia Hempton’s performance of
improvised music at an architecture & fashion soirée in San Lorenzo.
Accademia delle Accademie, involving 28 artists from eight foreign academies, curated by Shara Wasserman, took place from
1 to 5 April at the Temple of Hadrian as part of The Road to Contemporary Art international art fair. The exhibition, under the
patronage of the Department for Culture of the Comune di Roma, was very well attended. A new generation of British artists was
brought to a wider public through the work of BSR participants Sara Barker, Katie Cuddon, Celia Hempton and Eddie Peake.
Marco Delogu, director of the yearly FotoGrafia international festival, and Monica Scanu, liaison officer of the Department
for Culture of the Comune di Roma, invited the foreign academies to participate in the 2009 edition of the festival with their
photographers in residence. David Spero, the first Photoworks Fellow, represented the School. Photoworks generously supported
the project by securing the shipment of David’s photographs to Rome. The exhibition, David Spero: Churches, opened at the
BSR gallery on 15 May and ran until 6 June. On 29 May David gave a talk about his work at the Palazzo delle Esposizioni as part
of the events programme of FotoGrafia 2009, and on 31 May he did a ‘book signing’ of his Churches monograph at s.t.
fotolibreriagalleria. Concurrently, David was put in touch with arts liaisons officers at the American Academy, the German
Academy and the Romanian Academy, in order for him to visit spaces suitable for his ongoing photo-sculptural project, Balls,
Wood and Audiotape.
Grand Tour Bologna – The British School at Rome II opened on 12 May at Æmilia Hotel in Bologna (until 15 June), presenting
works by Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake and Liz Rideal.
Joseph Bedford, Katie Cuddon, Celia Hempton and Eddie Peake participated in the seventh edition of Spazi Aperti at the
Romanian Academy, opening on 27 May, curated by Mirela Pribac.
The second edition of Academy Architects at the Acquario, curated by Shara Wasserman, opened on 3 June at the Casa
dell’Architettura in Rome and included Joseph Bedford and Pierre Gendron, the first Québec Architecture Resident.
Don’t Look Away, the final Fine Arts exhibition for 2008-09, opened on 12 June, involving new works by Joseph Bedford, Katie
Cuddon, Graham Durward, Pierre Gendron, Celia Hempton, Eddie Peake, David Spero, and Amikam Toren.
This long list of events and exhibitions does not fully represent the breadth of experiences that Fine Arts scholars enjoy during
their residencies. It would take more than the available space to list the number of visits, in Rome and elsewhere, to sites dating
from antiquity to the 21 st century; the lectures, exhibitions, conferences and screenings that take place throughout the year at the
School; the concerts, lectures, exhibitions, parties and informal social occasions at the other foreign academies; and the scholars’
individual and group explorations of Rome’s many different facets. One should not overlook the moments of leisure and
relaxation (on the football pitch, tennis court, ping pong table; the running and cycling...) that necessarily complement
commitment and labour.
Our thanks go to all of the above-mentioned individuals and institutions for allowing and facilitating the realization of so many
projects. We are grateful as always to all of the staff at the British School; particularly to Alessandra Giacinti, Fine Arts Research
Assistant, for her reliability, commitment and enthusiasm; and to Donatella Astolfi, Fulvio Astolfi, Alba Coratti, Antonio Palmieri,
Renato Parente, Giuseppe Pellegrino and Marisa Scarsella, for their technical and practical support.
Jacopo Benci
Assistant Director Fine Arts
8
Fine Arts 2008-2009

marzo), ha presentato nuove opere di Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke
Caulfield, Katie Cuddon, Celia Hempton, Cath Keay, Eddie Peake, e James Robertson. La
mostra è stata anche il soggetto di una lezione ‘in situ’ del corso di Storia dell’Arte dei Paesi
Europei dell’Università della Tuscia, tenuto da Patrizia Mania.
Diversi altri progetti e mostre hanno avuto luogo durante la primavera, a partire dalla performance di musica improvvisata
tenuta da Celia Hempton durante una serata di moda e architettura a San Lorenzo, il 21 marzo.
Accademia delle Accademie, a cura di Shara Wasserman, ha presentato dall’1 al 5 aprile al Tempio di Adriano opere di 28
artisti di otto accademie straniere, nell’ambito della fiera internazionale The Road to Contemporary Art. L’evento, patrocinato
dall’Assessorato alla Cultura del Comune di Roma, ha avuto un ampio pubblico, che ha potuto scoprire una nuova generazione
di artisti britannici rappresentata per la BSR da Sara Barker, Katie Cuddon, Celia Hempton e Eddie Peake.
Marco Delogu, direttore del festival internazionale FotoGrafia, e Monica Scanu, incaricata dell’Assessorato alla Cultura del
Comune di Roma, hanno invitato le accademie straniere a partecipare con i loro fotografi residenti all’edizione 2009.
L’Accademia Britannica ha designato David Spero, primo Photoworks Fellow; e Photoworks ha generosamente sostenuto il
progetto finanziando la spedizione delle fotografie di David a Roma. La mostra David Spero: Churches si è aperta nella
Galleria della BSR il 15 maggio, fino al 6 giugno. Nell’ambito del programma di FotoGrafia 2009, il 29 maggio David ha
tenuto una conferenza sul suo lavoro al Palazzo delle Esposizioni, e il 31 maggio un ‘book signing’ del suo libro Churches presso
s.t. fotolibreriagalleria. Contemporaneamente, David è stato posto in contatto con i coordinatori per le arti visive delle
Accademie Americana, Tedesca e di Romania, per consentirgli di visitare spazi utilizzabili per il suo progetto foto-scultoreo in
corso, Balls, Wood and Audiotape.
Grand Tour Bologna – The British School at Rome II si è inaugurata il 12 maggio all’Æmilia Hotel a Bologna (fino al 15
giugno), presentando opere di Joseph Bedford, Katie Cuddon, Celia Hempton, Eddie Peake e Liz Rideal.
Joseph Bedford, Katie Cuddon, Celia Hempton e Eddie Peake hanno partecipato alla settima edizione di Spazi Aperti, a
cura di Mirela Pribac, inauguratasi all’Accademia di Romania il 27 maggio.
La seconda edizione di Academy Architects at the Acquario, a cura di Shara Wasserman, si è aperta il 3 giugno alla Casa
dell’Architettura di Roma con la partecipazione per la BSR di Joseph Bedford e di Pierre Gendron, primo Québec Architecture
Resident.
A conclusione del programma Fine Arts 2008-09, si apre il 12 giugno la mostra Don’t Look Away, con nuove opere di Joseph
Bedford, Katie Cuddon, Graham Durward, Pierre Gendron, Celia Hempton, Eddie Peake, David Spero e Amikam Toren.
Questa lunga lista di eventi e mostre non rappresenta a pieno la gamma di esperienze offerte agli artisti e architetti durante
le loro residenze. Ci vorrebbe ben più dello spazio qui disponibile per citare le visite a siti dall’antichità al XXI secolo, a Roma
e altrove; le conferenze, mostre, convegni, proiezioni che hanno luogo durante l’anno all’Accademia; i concerti, conferenze,
mostre, feste, occasioni informali di socializzazione delle altre accademie straniere; e le esplorazioni individuali e di gruppo dei
molteplici volti di Roma. Né vanno trascurati i momenti di svago e relax (sul campo di calcio e da tennis, al tavolo da ping
pong, correndo e andando in bicicletta...) che sono necessario complemento dell’impegno e del lavoro.
Vogliamo ringraziare tutte le persone e istituzioni sopra citate per aver consentito e agevolato la realizzazione di tanti
progetti. Siamo grati come sempre a tutto il personale dell’Accademia Britannica; in particolare ad Alessandra Giacinti, Fine
Arts Research Assistant, per la sua affidabilità, impegno ed entusiasmo; e a Donatella Astolfi, Fulvio Astolfi, Alba Coratti,
Antonio Palmieri, Renato Parente, Giuseppe Pellegrino e Marisa Scarsella, per il loro sostegno tecnico e pratico.
Jacopo Benci
Assistant Director Fine Arts
9

10
Figure of 8, 12-20 December 2008
Fine Arts 2008-2009
Our Lives Are Full Of Remarkable Coincidences, 13-21 March 2009

E XHIBITIONS
T EMPO R EALE 26-27 September 2008
Cath Keay, Amanda Marburg, Liz Rideal,
Christopher Cook, Richard Kirwan, Tony Lloyd
F IGURE OF 8 12-20 December 2008
Joseph Bedford, Penelope Cain, Dragica Janketic Carlin, Katie Cuddon,
Celia Hempton, Rebecca Madgin, Ruth Murray, Eddie Peake, Liz Rideal
O UR L IVES A RE F ULL O F R EMARKABLE C OINCIDENCES 13-21 March 2009
Sara Barker, Joseph Bedford, Gabriella Bisetto, Luke Caulfield, Katie Cuddon,
Celia Hempton, Cath Keay, Eddie Peake, James Robertson
D ON’ T L OOK AWAY 12-20 June 2009
Joseph Bedford, Katie Cuddon, Graham Durward, Pierre Gendron,
Celia Hempton, Eddie Peake, David Spero, Amikam Toren
11

Sara Barker
Selecting a floor, the elevator regulates the movement of
adverbial, while they in turn trim the story lines short;
restricting time and place, they dwell on manner and pass
over cause in silence. They reduce plot to a minimum. But
it is not they who are the essence of the invisible structure,
just as it is not the ropes strung over the abyss, nor the
ocean currents, nor the precipitous lines of the graphs of
market reports in the Financial Times. Its core and
foundation may turn out to be the predicates of sentences,
which as a rule are unfeeling and, like judicial sentences,
irreversible. No one knows where they come from; the
narrator does not know either. They become visible only
when they are firmly fixed in tenses; they take the space of
the sentences into their possession. And when they pass on,
a void is left behind.
From Moving Parts, Magdalena Tulli, a gift from my friend Harry.
Text translated from the Polish by Bill Johnston, Archipelago
Books, 2005, p. 123
12
Fine Arts 2008-2009
Selezionando un piano, l’ascensore regola il movimento
avverbiale, mentre essi a loro volta accorciano gli intrecci;
limitando tempo e luogo, si soffermano sul comportamento
e sorvolano la causa in silenzio. Riducono la trama al
minimo. Ma non sono loro l’essenza della struttura
invisibile, così come non lo sono le corde tese sull’abisso, né
le correnti oceaniche, né le ripide linee dei diagrammi
dell’andamento dei mercati nel Financial Times. Il suo
nucleo e fondamento potrebbero rivelarsi essere i predicati
delle frasi, che di norma sono insensibili e, come sentenze
giudiziarie, irreversibili. Nessuno sa da dove vengano;
nemmeno il narratore. Diventano visibili solo quando sono
fermamente fissate in tempi verbali; prendono in loro
possesso lo spazio delle frasi. E quando procedono oltre, si
lasciano dietro un vuoto.
Da Moving Parts di Magdalena Tulli, un dono del mio amico
Harry. Testo tradotto dal polacco da Bill Johnston, Archipelago
Books, 2005, p. 123
Inside a crypt at the non-catholic cemetery
in Rome

Unfolding arms behind my back, 2009
cement, clay, woodfiller, card, acrylic, plywood, mahogany, 118 x 79 x 220 cm
Courtesy of Mary Mary, Glasgow
13

Joseph Bedford
THE WALLS OF ROME: TOWARDS A THEORY OF
DETERMINATION
Architecture has always been an image of stability and
presence; its memory has lent words their weight. But this
stability also contains a forgotten violence: the violence of
walls and locked doors, of towers and keeps, of bastions and
ramparts; of cloistered sanctuary, and walled courtyards; of
veiling porticos and false windows. As walls structure our
words and their memories form our dream worlds, the past
becomes absorbed into a slipstream of spatial metaphors:
from firewalls, chat rooms and websites to windows, portals
and trap doors; a past architectural Real haunts a future
virtual Imaginary.
The agonistic and antagonistic exclusions sedimented
in the architectural unconscious of Rome reveal parallels
in the latent exclusions of our technologically mediated
world: from the explicit Walls of Aurelian fortifications to
the many implicit walls of centuries of courtyards, palaces
and villas – the myths of Rome provide a source for
understanding the myths of our 21 st century boundaries.
At the greatest scale Rome’s city walls are saturated by
myth. Romulus left a violent mark upon invisible
boundaries; their spatialized significance kept alive by
augurs and emperors. And Janus left a watchful presence
over the gates of the walls; looking behind and beyond,
opening and closing their doors, setting a compass for
empire and an origin for retreat. At the smaller scale, these
multiplied walls, once turned Rome’s inside into another
outside. Its papal, merchant and mendicant islands
became an archipelago of separations, which, today, are no
longer visible past tourist brochures and retail stores.
It is no longer obvious how freedom was once
conditioned by masonry and, although the hardware of
our cities is changing, the software of our cities remains
the same. The same separations and seductions still
persist; only their visibility and symbolisation is no longer
constitutive of their power. The surveillance networks,
pass-cards, wireless encryptions, security scans, tinted
screens, biometric prints, one-way mirrors, anti-climb,
anti-skate, anti-pigeon, automated, electronic and
hydraulic doors recede behind images of connectivity and
intimacy.
Something of the visual articulation that once
accompanied structural exclusion in the urban
topography of Rome may offer a way to rethink the
recuperation of the visibility of power that is needed today
for the proper functioning of our political space.
14
Fine Arts 2008-2009
LE MURA DI ROMA: VERSO UNA TEORIA DELLA
DETERMINAZIONE
L’architettura è sempre stata un’immagine di stabilità e
presenza; la sua memoria ha dato alle parole il loro peso.
Ma questa stabilità contiene anche una violenza
dimenticata: la violenza di mura e porte chiuse, di torri e
mastii, di bastioni e baluardi; di rifugi appartati, e cortili
cinti da mura; di portici dissimulanti e false finestre. Così
come i muri strutturano le nostre parole e i loro ricordi
formano i nostri mondi onirici, il passato viene assorbito in
una scia di metafore spaziali: da ‘firewalls’, ‘chat rooms’ e
siti web a finestre, portali e ‘trap doors’; un passato Reale
architettonico infesta un futuro Immaginario virtuale.
Le esclusioni agonistiche e antagonistiche sedimentate
nell’inconscio architettonico di Roma rivelano paralleli con
le latenti esclusioni del nostro mondo tecnologicamente
mediato: dalle esplicite fortificazioni delle Mura Aureliane
alle molte mura implicite di secoli di cortili, palazzi e ville –
i miti di Roma offrono una fonte per comprendere i miti dei
nostri confini del XXI secolo.
Su scala massima, le mura urbane di Roma sono saturate
dal mito. Romolo impresse un segno violento su confini
invisibili; il loro significato spazializzato fu tenuto vivo da
auguri e imperatori. E Giano lasciò una vigile presenza sulle
porte delle mura; guardando indietro e oltre, aprendo e
chiudendo le loro porte, stabilendo un ambito per l’impero e
un’origine per la ritirata. Su scala minima, queste mura
moltiplicate, un tempo mutarono l’interno di Roma in un
altro esterno. Le sue isole papali, mercantili e mendicanti
divennero un arcipelago di separazioni che, oggi, non sono
più visibili al di là delle brochures turistiche e dei negozi.
Non è più ovvio come la libertà fosse un tempo
condizionata dalla muratura e, sebbene lo ‘hardware’ delle
nostre città stia cambiando, il loro ‘software’ rimane lo stesso.
Le stesse separazioni e seduzioni persistono; solo che le loro
visibilità e simbolizzazione non è più costitutiva del loro
potere. Reti di sorveglianza, ‘pass-cards’, criptografie per
‘wireless’, scansioni corporali di sicurezza, vetri oscurati,
impronte biometriche, specchi semitrasparenti, sistemi antieffrazione,
anti-skate, anti-piccioni, porte automatiche,
elettroniche e idrauliche recedono dietro immagini di
connettività e intimità.
Qualcosa dell’articolazione visiva che un tempo
accompagnava l’esclusione strutturale nella topografia
urbana di Roma può offrire un modo per ripensare il
recupero della visibilità del potere che è oggi necessaria per il
corretto funzionamento del nostro spazio politico.

Nested Space
Separated Space
Reconnected Space
15

Gabriella Bisetto
me 2009
collagene casing
16
Fine Arts 2008-2009

you / god 2009
bread, hair
17

Penelope Cain
Pound 2009
video installation, The British School at Rome (video still)
The Voice: If you build it, he will come.
Annie Kinsella: If you build what, who will come?
Ray Kinsella: He didn’t say.
Field of Dreams
18
Fine Arts 2008-2009
La Voce: Se lo costruisci, egli verrà.
Annie Kinsella: Se costruisci cosa, chi verrà?
Ray Kinsella: Lui non l’ha detto.
L’uomo dei sogni

Pedestrians / Struscio 2009
digital print on transparent acetate and board, pins, detail of installation 8 m x 2 m, University of East London Gallery
19

Dragica Janketic Carlin
Gaze 2008
20
Fine Arts 2008-2009

Circles 2008
oil on canvas, 90 x 90 cm
21

Luke Caulfield
“Atti del Seminario Europeo ‘Falcon One’ sulla Criminalità Organizzata”, Roma, 26/27/28 aprile 1995
Strategia terroristico-mafiosa connessa con gli attentati del 1993 in Italia: una ricostruzione
1.1 Nel centro di Firenze, tra le ore 1.02 e le ore 1.04 del 27.5.1993, si verificava una
violentissima esplosione...
L’esplosione cagionava il crollo di un'ala della Torre del Pulci ove ha sede l'Accademia dei
Georgofili, con la sovrastante abitazione del custode che decedeva con la moglie e due giovani figlie.
Altre numerose persone (36) riportavano lesioni a seguito della deflagrazione e dei devastanti effetti
prodotti dalla stessa. I vicini palazzi storici venivano sventrati e nell'incendio del palazzo ubicato
in via Lambertesca n. 3..., decedeva uno studente che lì abitava.
Gli effetti della deflagrazione, devastanti per l’elevato numero delle vittime, risultavano gravissimi
anche per gli enormi danni materiali agli edifici monumentali, artistici e storici ed alle opere
d’arte...
...venivano gravemente danneggiate le seguenti opere: ...Van der Weyden - “Deposizione nel Sepolcro”;
Sebastiano del Piombo - “Morte di Adone”...
1.3.3 Rispettivamente alle ore 23,58 del 27.7 ed alle ore 00,02 ca. del 28.7.1993, in Roma nella
Piazza San Giovanni in Laterano ed ancora in
Roma alla Chiesa di San Giorgio al Velabro,
si verificavano due esplosioni determinate da
due autobomba: la prima esplosione cagionava,
tra l'altro, i seguenti eventi: gravi danni
alle strutture murarie della Basilica di San
Giovanni in Laterano e del Palazzo
Lateranense; danni più o meno ingenti ai
veicoli in sosta o in transito nelle
vicinanze.
La seconda esplosione cagionava, tra l'altro:
danni alle strutture murarie della Chiesa di
San Giorgio al Velabro ed agli edifici
limitrofi...
Time Machine 2009
acrylic and ink on card, card, matches 30 x 42 cm; 28 x 40 cm; 5.1 x 5 x 6 cm (x 2)
Courtesy of One in the Other, London
22
Fine Arts 2008-2009

“Papers of the European Meeting ‘Falcon One’ on organised crime”, Rome, April 26/27/28, 1995
Mafia Terrorist Strategy Related to the 1993 Bomb Attacks in Italy: a Reconstruction
1.1 Between 1.02 and 1.04 a.m. of 27.5.1993, a massive explosion occurred in the centre of
Florence...
The explosion caused the collapse of one wing of the Torre del Pulci, headquarters of the
Georgofili Academy, and the home of the caretaker who died together with his wife and two young
daughters.
Many other people (36) were injured by the blast and its devastating effects. Historical buildings
nearby were demolished and a student died in the fire that broke out in the building where he was
living, located in Via Lambertesca, 3...
The explosion effects were devastating causing a number of casualties and damage to monuments,
artistic and historical buildings and works of art...
...the following works of art were severely damaged:
...Van der Weyden - "Deposition in the sepulchre";
Sebastiano del Piombo - "Death of Adonis"...
1.3.3 Two explosions occurred in Rome, in Piazza San
Giovanni in Laterano and in front of the Church of San
Giorgio in Velabro, on 27.7.1993 at 11.58 p.m. and on
28.7.1993 at 0.02 a.m. respectively. Both explosions
were produced by a car bomb.
The first caused the following: severe damage to the
walls of the Basilica di San Giovanni in Laterano and
to the Palazzo Lateranense; damage to vehicles parked
or in transit around the area.
The second blast caused the following: damage to the
walls of the Church of San Giorgio al Velabro and
nearby buildings...
Return of the Living Dead 2009
acrylic on linen, card, matches 31 x 31 cm (x 2); 5.1 x 5 x 6 cm (x 2)
Courtesy of One in the Other, London
23

Katie Cuddon
Untitled Hunting Apparatus 2008
plaster, log, steps
24
Fine Arts 2008-2009

May It Always Be 2009
plaster, wood, pen and pencil on paper
25

Graham Durward
Thurifer of light (2) 2009
oil on canvas, 167.6 x 142.2 cm
26
Fine Arts 2008-2009

When I was young I had no head my eye was single and my body filled with light 2009
oil on canvas, 121.9 x 101.6 cm
27

Pierre Gendron
My work functions as a device which offers a perceptual
experience that momentarily splits us from reality and
moves us towards a fictional and ideal space. This
experience is often achieved by a simultaneous perception
of real views, still images, transparencies, translucencies,
and reflections. Precise points of view, datums, and
alignments organize and give specific shape to my work.
The development of a project arises from a careful and
precise mapping of a site or situation. Images from this
documentation are then manipulated, multiplied, and
decomposed to eventually become something other. As a
basis for the development of form, I am interested in using
numerical structures, the notion of time, and perception as
a conceptual framework. The layering of those elements
creates a perceptual complexity which conceals the logic
and process of the work.
one foot x one foot x one second 2007
birch plywood and laser-cut plexiglass, 30 x 30 x 30 cm
28
Fine Arts 2008-2009
Il mio lavoro funziona come dispositivo che offre
un’esperienza percettiva che ci separa momentaneamente
dalla realtà e ci sposta verso uno spazio finzionale e ideale.
Questa esperienza è spesso ottenuta per mezzo di una
percezione simultanea di vedute reali, immagini statiche,
trasparenze, traslucenze, e riflessi. Precisi punti di vista,
dati, e allineamenti organizzano e danno specifica forma al
mio lavoro. Lo sviluppo di un progetto nasce dall’attento e
preciso rilevamento di un sito o di una situazione.
Le immagini derivanti da questa documentazione sono poi
manipolate, moltiplicate, e decomposte per divenire infine
qualcosa d’altro. Quale base per lo sviluppo della forma,
mi interessa usare strutture numeriche, la nozione di
tempo, e la percezione come telaio concettuale. La
stratificazione di questi elementi crea una complessità
percettiva che dissimula la logica e il processo del lavoro.

60 seconds wall 2006
digital print on photographic paper, 100 x 100 cm
29

Celia Hempton
30
Fine Arts 2008-2009

Quay Cur 2008
acrylic on wall, 300 x 1040 cm
31

Cath Keay
‘ERA’
Childhood memories, fixed through play, amusement, or
surprise, define the limits of lived reality. The 1930s are
the decade furthest in the recall of most our oldest relatives
and acquaintances, a moment of utopian thought that
subsequently hardened into dogma. I researched Italian
Colonie and Case del Balilla from this era as vivid
architectural forms expressing the recollections of some
generations ago. They show a playful innocence in the
shadow of impending war and upheaval, mirroring the
Futurists’ transformation of engineering feats into aesthetic
ends in themselves.
In Calambrone, the Colonia Principe di Piemonte takes the
form of an aeroplane if viewed from above, an
architectural embodiment of the contemporaneous
Futurist aeropitture. In Cattolica, dormitories suggest
streamlined trains welcoming expatriate children. These
optimistic holiday buildings appear free from the dictates
associated with the modernism of the later Fascist era, yet
commands written on the walls belie an insipient credo of
regimentation.
I explored the continued significance of the colonie as
formative childhood memories, mining the tension
between spontaneous mass play and assumptions of mass
compliance with visionary imperatives. The works
regenerate living memories through the interpolation of
resonant images, recollections and associations. Wax avatars
of the buildings invite the overhaul of a swarm of bees, and
texts can dissipate as well as dictate. Such mutable and
mercurial materials as colonies of ants or fire on a windy
beach exhort command and its inherent failure; uncertain
ideology that embraces the fragmentation of multiplicity.
I ricordi d’infanzia, fissati attraverso il gioco, il
divertimento, o la sorpresa, definiscono i limiti della
realtà vissuta. Gli anni Trenta sono il decennio più
lontano nel ricordo di gran parte dei nostri più anziani
congiunti e conoscenti, un momento di pensiero utopico
che in seguito si sarebbe indurito in dogma. Ho compiuto
ricerche sulle Colonie e Case del Balilla italiane di
quell’era, in quanto vivide forme architettoniche che
esprimono i ricordi di alcune generazioni addietro. Esse
mostrano una giocosa innocenza su cui gettano ombra
l’imminente guerra e sconvolgimento, rispecchiando la
trasformazione futurista di imprese ingegneristiche in fini
estetici in sé stessi.
32
Fine Arts 2008-2009
Insabbiare 2009
carved firelighters on the beach at Ostia Lido, 100 cm
A Calambrone, la Colonia Principe di Piemonte vista
dall’alto ha la forma di un aeroplano, incarnazione
architettonica delle contemporanee aeropitture futuriste.
A Cattolica, i dormitori suggeriscono aerodinamici treni
che accolgono bimbi espatriati. Questi ottimistici edifici
per le vacanze sembrano immuni dai dettami associati al
modernismo della tarda era fascista, eppure le parole
d’ordine scritte sui muri nascondono un insipiente credo
di irreggimentazione.
Ho esplorato il duraturo significato delle colonie in
quanto formativi ricordi d’infanzia, indagando la tensione
fra gioco di massa spontaneo e supposta conformità di
massa a imperativi visionari. Le opere rigenerano memorie
viventi attraverso l’interpolazione di immagini, ricordi e
associazioni risonanti. Gli avatar di cera degli edifici
invitano la ristrutturazione da parte di sciami d’api, e i
testi si possono dissipare tanto quanto imporre. Materiali
mutevoli e mercuriali quali colonie di formiche o il fuoco
su una spiaggia ventosa ammoniscono il comando e il suo
intrinseco fallimento; incerta ideologia che abbraccia la
frammentazione della molteplicità.

Principe di Piemonte 2009
beeswax, 70 x 50 x 15 cm
33

Rebecca Madgin
THE CONTEMPORARY VALUE OF INDUSTRIAL ARCHITECTURE
34
Fine Arts 2008-2009
To the eyes of the foreigner and the visitor,
Rome is the city contained within the old
Renaissance walls. The rest is a vague,
anonymous periphery, unworthy of
interest. 1
Contemporary regeneration schemes are forced to reevaluate
the existing environment. In carrying out this reassessment
of the built environment the values assigned to
certain buildings, architectural styles, structures and
cultural markers are altered. Values are not ‘inherent in any
cultural items or properties received from the past’, rather
value ‘depends on the particular cultural, intellectual,
historical and psychological frames of reference held by the
particular individuals or groups involved’. 2 These frames of
reference rest with the urban context, the remit of the
agencies involved and broader cultural trends.
Ostiense, on the periphery of Rome, is one such example
of an area currently undergoing regeneration in order to
meet the needs of contemporary Rome. The process of
remaking places involves both the physical reconstruction
and mental representation of urban space. Intrinsic to this
regenerative process is the built legacy left from Rome’s
industrial past, i.e. the gas towers, Mercati Generali,
Magazzini Generali and Mira Lanza. The re-use of the
Montemartini power plant into a museum and the ongoing
plans for Mercati Generali to become a ‘City of Youth’
complete with leisure, retail and commercial facilities is
part of a wider city-wide ideological transformation
concerning the value of the historic environment.
The twenty-first century Piano Regolatore shifted the focus
from the ‘historic centre’ of Rome to the ‘historic city’
through an extension of the chronological boundaries of
value to embrace the nineteenth and early twentieth-century
architecture, primarily located on the outskirts of Rome.
As such industrial, hidden, redundant Ostiense, which had
previously been ‘unworthy of interest’ and located on an
‘anonymous periphery’ was given a contemporary value that
related to its capability to contribute to the planned
polycentric growth of Rome during the twenty-first century.
1. Pier Paolo Pasolini, ‘Il fronte della città’, Vie Nuove, 24 May 1958; translated as ‘The city’s true face’, in P.P. Pasolini, Stories from the City of
God: Sketches and Chronicles of Rome, 1950-1966, ed. by W. Siti, trans. by M. Harss (New York: Handsel Books, 2003), pp. 166-7.
2. W.D. Lipe, ‘Value and Meaning in Cultural Resources’, in H.F. Cleere (ed.), Approaches to the Archaeological Heritage (Cambridge:
Cambridge University Press, 1984), p. 2.

IL VALORE CONTEMPORANEO DELL’ARCHITETTURA INDUSTRIALE
Per lo straniero e il visitatore Roma è la
città contenuta entro le vecchie mura
rinascimentali: il resto è vaga e anonima
periferia, che non vale la pena di vedere. 1
I progetti contemporanei di rigenerazione devono
riconsiderare l’ambiente esistente. Nell’effettuare questa
nuova valutazione dell’ambiente edificato, i valori attribuiti
a certi edifici, stili architettonici, strutture e marcatori
culturali vengono alterati. I valori non sono ‘inerenti a
qualsivoglia oggetti o proprietà culturali ricevuti dal
passato’; il valore, piuttosto, ‘dipende dalle particolari
strutture di riferimento culturali, intellettuali, storiche e
psicologiche che caratterizzano gli specifici individui o
gruppi implicati’. 2 Queste strutture di riferimento
dipendono dal contesto urbano, dalle competenze degli
organismi coinvolti e dalle più generali tendenze culturali.
Ostiense, alla periferia di Roma, è un esempio di area
attualmente in fase di rigenerazione per rispondere alle
necessità della Roma contemporanea. Il processo di
rifacimento dei luoghi comprende sia la ricostruzione fisica
sia la rappresentazione mentale dello spazio urbano.
Intrinseco a tale processo rigenerativo è il retaggio edificato
del passato industriale di Roma, vale a dire il gazometro, i
Mercati Generali, i Magazzini Generali e la Mira Lanza.
Il riuso della Centrale Montemartini come museo e
l’attuale progetto per fare dei Mercati Generali una ‘Città
della Gioventù’ completa di strutture per il tempo libero e
le attività commerciali sono parte di una più vasta
trasformazione ideologica su scala cittadina, che concerne
il valore dell’ambiente storico.
Il Piano Regolatore del XXI secolo ha spostato l’attenzione
dal ‘centro storico’ di Roma alla ‘città storica’ tramite
un’estensione dei limiti cronologici di valore per includere
l’architettura dei secoli XIX e XX, sita primariamente ai
margini di Roma. A Ostiense, area industriale, nascosta,
ridondante, che in passato ‘non valeva la pena di vedere’,
posta in una ‘anonima periferia’, è stato conferito un valore
contemporaneo connesso alla sua capacità di contribuire alla
prevista crescita policentrica di Roma durante il XXI secolo.
35

Amanda Marburg
V 2009
oil on linen, 106 x 76 cm
36
Fine Arts 2008-2009

VIII 2009
oil on linen, 106 x 76 cm
37

Ruth Murray
Pars Fortuna 2008
oil on canvas, 80 cm diameter
38
Fine Arts 2008-2009

Child of the Great Transformers 2008
oil on canvas, 120 x 100 cm
39

Eddie Peake
40
Fine Arts 2008-2009

Liz Rideal
FROM THE BOOTH TO BORROMINI, VIA NAPOLI
It was with the intention of studying Bernini and his
drapery that I came to Rome. But on a visit to the Palazzo
Barberini I stood inside his square staircase and then did
the same with Borromini’s elegant twisting helicoidal
staircase opposite, and immediately sensed the excitement
of the space; the swirling oval gradation embodying a
feeling of utter balance and exquisite form.
So began a quest, to experience the spaces of Borromini in
the city, and to animate them with my drapery, using it to
highlight the spatial ambiguities of his architecture, to
complete the circle, to stand at the point where the
spectator is implied, even invited by him. Borromini’s
restrained decoration, unique interpretation of architectural
language, and his mathematic logic become the perfect foil
for the subtleties of the ephemeral, richly coloured
transparent silks, that billow and twist with sublimated
sexual energy. The gauze veils and reveals details of his
buildings, and tantalisingly implies the human presence,
evoking fleeting figures and a variety of emotional states.
The chaotic movement of the drapery contrasts with the
deliberate grace of Borromini’s details, while the colour
complements his monochrome spaces.
Drappeggio in Ercolano was projected outdoors in a variety
of venues, making much of layering and spatial
ambiguities. The open air of Neapolitan washing led to the
contained spiritual space, and I photographed
confessionals; suggesting an analogy with my earlier
photobooth collages. I was intrigued by the physical
similarity of the confessional and photobooth, both private
and yet a conduit for content, one side for performers, the
other for audience, one for religion, the other secular.
42
Fine Arts 2008-2009
DALLA CABINA FOTOGRAFICA A BORROMINI, VIA NAPOLI
Ero giunta a Roma con l’intento di studiare Bernini e i suoi
panneggi. Ma durante una visita a Palazzo Barberini sostai
entro il suo scalone a pianta quadrata e poi feci lo stesso con
l’elegante scala elicoidale serpeggiante di Borromini al lato
opposto, e immediatamente percepii l’emozione dello spazio;
la vorticosa gradazione ovale incarnava un sentimento di
assoluto equilibrio e squisita forma.
Così ho iniziato una ricerca, per esperire gli spazi di
Borromini nella città, e animarli con i miei panneggi,
usandoli per sottolineare le ambiguità spaziali della sua
architettura, per completare il cerchio, per stare nel punto
dove lo spettatore è implicato, perfino invitato dall’architetto.
La sobria decorazione di Borromini, la sua interpretazione
unica del linguaggio architettonico, e la sua logica
matematica danno perfetto rilievo alle sottigliezze delle
effimere, trasparenti sete dai ricchi colori, che si gonfiano e si
avvolgono con sublimata energia sessuale. La mussola vela e
rivela dettagli dei suoi edifici, e implica, provocante, la
presenza umana, evocando fuggevoli figure e una varietà di
stati emozionali. Il caotico movimento del panneggio
contrasta con la deliberata grazia dei dettagli borrominiani,
mentre il colore fa da complemento ai suoi spazi monocromi.
Drappeggio in Ercolano è stato proiettato in esterni in
diversi luoghi, valorizzando le stratificazioni e ambiguità
spaziali. Il ‘plein air’ dei panni stesi napoletani ha condotto
a uno spazio spirituale contenuto, e ho fotografato dei
confessionali, suggerendo un’analogia con i miei precedenti
collage di foto automatiche. Ero affascinata dalla
somiglianza fisica fra confessionale e cabina per foto
automatiche, ambedue luoghi privati eppure condotto per il
contenuto, un lato per i performer, l’altro per il pubblico,
uno religioso, l’altro secolare.
Drappeggio in Ercolano 2008
projected onto the Aurelian Wall at Via D. Fontana, 21.12.08
7.5 minutes, HDV

Dancing with Borromini: Palazzo Spada 2008
digital inkjet print on Hahnemühle paper, edition 1-3, 100 x 120 cm
Liz Rideal would like to thank Lisa Beaven, Fabio Campagna and Cristiana Perrella.
43

James Robertson
The display demonstrates work in progress for the
methodological element of my doctoral research, Faith &
Rationality: Jack Coia and the Impact of Modern
Ecclesiastical Architecture in Scotland and Europe. It is a
snapshot of a continuing exercise, and will form part of a
larger analytical study.
Based on the concept of a taxonomy of churches, the work
aims to contextualise the ecclesiastical oeuvre of Jack Coia,
of the architectural firm of Gillespie, Kidd & Coia, within
the Roman setting with which it is contemporary, and
within which it becomes possible to draw parallels and
contrasts between Coia, the Scottish-Italian architect, and
his Italian contemporaries. This work marks a shift in
focus, since studying in Rome, from a Europe-wide study to
an analysis of predominantly Italian church design of the
first half of the twentieth century, and of the associated
architectural themes and characteristics.
Faith & Rationality – Church Taxonomy Map 2009
print, ink, and coloured pencil on paper, each image 15 x 15 cm
44
Fine Arts 2008-2009
Questa presentazione illustra il lavoro in corso per
l’elemento metodologico della mia ricerca di dottorato,
Faith & Rationality: Jack Coia and the Impact of
Modern Ecclesiastical Architecture in Scotland and
Europe. È l’istantanea di un’indagine in atto, e farà parte
di un più ampio studio analitico.
Basato sul concetto di una tassonomia di chiese, il lavoro
mira a contestualizzare l’opera in campo ecclesiastico di
Jack Coia, dello studio di architetti Gillespie, Kidd & Coia,
in rapporto all’ambito romano ad essa contemporaneo,
entro cui è possibile tracciare paralleli e contrasti fra Coia,
architetto scozzese-italiano, e i suoi contemporanei italiani.
Questo lavoro, in quanto svolto a Roma, segna uno
spostamento di centro focale da uno studio su scala
europea a un’analisi su base prevalentemente italiana della
progettazione di chiese nella prima metà del ventesimo
secolo, e dei connessi temi e caratteri architettonici.

Faith & Rationality – Church Taxonomy Map 2009
print, ink, and coloured pencil on paper, each image 15 x 15 cm
45

David Spero
Studio 3, Hallituskatu 7, Oulu 2007
C-type photographic print, dimensions variable, 2007
These photographs are from an ongoing series Balls, Wood and Tape which explores building minimal forms and structures within
existing spaces. The spaces in which the images have been made are mostly uninhabited. They provide an almost neutral
environment in which arrangements of balls, wood, tape and present objects are used to construct delicately balanced temporary
structures, to be viewed from the camera position from which they are finally photographed. They are then dismantled.
The results are delicate lines and nodal points marking out three dimensional forms in space, created by a process that sits somewhere
between sculpture and drawing. The structures, which we only see reduced to a two dimensional photograph, appear to fluctuate
between different planes within the image as our sense of perspective shifts back and forth between different points of reference.
These delicate forms subtly respond to the spaces in which they have been constructed, creating gentle choreographies between
structure, light and space.
46
Fine Arts 2008-2009

Pikisaarentie 10 A, Oulu 2007 (I)
C-type photographic print, dimensions variable, 2007
Queste fotografie appartengono alla serie in corso Balls, Wood and Tape che esplora la costruzione di forme e strutture minimali entro
spazi esistenti. Gli spazi in cui sono state realizzate le immagini sono per lo più disabitati. Essi offrono un ambiente quasi neutrale in
cui le disposizioni di sfere, legno, nastro e oggetti presenti vengono usate per costruire strutture temporanee dal delicato equilibrio, che
vanno viste dall’angolazione da cui vengono infine fotografate. Vengono quindi smantellate.
Ciò che ne risulta sono delicate linee e punti nodali che delineano forme tridimensionali nello spazio, create con un procedimento
che si pone in un qualche punto fra scultura e disegno. Le strutture, che vediamo solo ridotte a fotografia bidimensionale, sembrano
fluttuare fra piani diversi entro l’immagine, con lo slittare avanti e indietro del nostro senso prospettico fra diversi punti di
riferimento. Queste delicate forme rispondono sottilmente agli spazi in cui sono state costruite, creando lievi coreografie fra struttura,
luce e spazio.
47

Amikam Toren
Black Hole 1997-2006
orange peel, plastic bag, 70 x 60 x 60 cm
48
Fine Arts 2008-2009

Plan B 2003
mixed media, 152 x 100 x 70 cm
49

B IOGRAPHIES
51

SARA BARKER
Rome Scholar in the Fine Arts, February-April 2009
Born in Manchester, England, 1980. Lives & works in Glasgow
EDUCATION
1999-03 BA (Hons) Fine Art, Painting, Glasgow School of Art
1998-99 History of Art, University of Glasgow
SELECTED ONE PERSON EXHIBITIONS
2009 Four Gallery, Dublin
2008 All these are for my personal use, Present Futures,
Artissima, Turin
hanging a way of dressing, Glasgow Project Rooms,
Glasgow
2007 Mary Mary, Glasgow
2006 New Work Scotland, Collective Gallery, Edinburgh
SELECTED GROUP EXHIBITIONS
2009 Ville du Parc Centre d’Art Contemporain, Geneva
The Actuality of the Idea, Stuart Shave/Modern Art,
London
Accademia delle Accademie, Temple of Hadrian, Rome
Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
Solid Objects, Bettina Buck invites Sara Barker, Merko
Mayer, Cologne
2008 Base: Object (Sara Barker, Patrick Hill, Matthew
Monahan, William J. O’Brien, Sterling Ruby), Andrea
Rosen Gallery, New York
Open Eye Club, Tramway, Glasgow
Flatworks, exhibition as a publication
Esse Quam Videri (Laura Aldridge, Sara Barker, Tim
Facey, Lynn Hynd, Conal McStravick), Fabio Tiboni
Gallery, Bologna
Claire Barclay, Sara Barker, Neil Clements, Sally
Osborn, Jonathan Owen, Albrecht Schafer,
Doggerfisher, Edinburgh
2007 Studio Voltaire, London
2006 Peaton House, Cove Park, Argyll & Bute
2005 Re-Escape, Hamburg, Germany
Sara Barker, Neil Bickerton, Gregor Johnson,
Transmission, Glasgow
AWARDS & RESIDENCIES
2009 Rome Scholarship in the Fine Arts, The British
School at Rome
2005 Cove Park, Argyll and Bute
52
Fine Arts 2008-2009
JOSEPH BEDFORD
Rome Scholar in Landscape Architecture, October 2008-June
2009
Born Huddersfield, October 7 th , 1981
EDUCATION
2005-07 5yr Professional B.Arch, The Cooper Union for the
Advancement of Science and Art, New York
2000-03 BA, MA First Class Honours, Cambridge University
ARCHITECTURE
2008 Atopia, New York
2007-08 Architecture Research Office, New York
2005 Meadowcroft Griffin Architects, London
2004 Edward Cullinan Architects, London
2003 Michael Hopkins and Partners, London
FILM-MAKING
2008-09 Towards DeTermination
2008-10 Form without Polemic: Stirling & Gowan’s Leicester
Engineering Building, with Jessica Reynolds
2006-07 Molach: The New York City Blackout of 1977
CURATING
2008 Unpacking My Library, Municipal Art Society, New
York (Curator)
TEACHING
2006-07 Pratt Institute, Brooklyn, New York (Thesis Supervisor)
PUBLISHING
2006 Log 8, New York (Copy-editor)
2004 Scroope, Cambridge Architecture Journal, London
(Editor)
AWARDS
2008-09 Rome Scholarship in Landscape Architecture, The
British School at Rome
2007 Azham Kahn Award for Urban Design, The Cooper
Union

GABRIELLA BISETTO
Australia Council Resident Artist, January-March 2009
Adelaide, Australia
PROFESSIONAL
2002-08 Studio Head, Ceramics and Glass University of South
Australia
2008 Invited Speaker, Ausglass conference, Canberra
Demonstration with Janet Lawrence, Ausglass
conference, Canberra
Instructor, Pilchuck Glass School, Seattle, USA
Advisory Board member, AsiaLink Committee
2007 Invited Speaker, Take a Deep Breath conference, Tate
Modern, London
2006 Artist in Residence – Glass workshop, Alberta College
of Art and Design, Calgary, Canada
Visiting Artist, Glass workshop, Alfred University, New York
2004 Instructor, Canberra School of Art Summer School,
Canberra
1996-99 Production Manager, Glass Department, JamFactory
Craft and Design Centre, Adelaide
1997- Founding member, blue pony studio, Adelaide
1993-96 Self-employed glassblower
1990-92 Resident Designer and Glassblower, JamFactory Craft
and Design Centre, Adelaide
1986-90 Bachelor of Visual Art – Glass, Institute of the Arts,
ANU, ACT
SELECTED EXHIBITIONS
2009 Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
2008 Trades, Jam Factory Craft and Design, Adelaide
2007 Limited Lines, Canberra Glassworks, Canberra
New Work (solo), BMG Gallery, Adelaide
Little Breaths (solo), Masterworks Gallery, Auckland,
New Zealand
2006 Australia – Art and About, Gaffer Glass Gallery, Hong
Kong
2005 Sculptural Objects, Functional Art (SOFA), Chicago
SIX, BMG Art, Adelaide
2004 Permutations, Foster White Gallery, Seattle
Distend (solo), Masterworks Gallery, Auckland, New
Zealand
AWARDS, RESIDENCIES, GRANTS
2009 Australia Council for the Arts Residency, The British
School at Rome
2006 Leadership Grant, Arts SA
Professional Experience Program (PEP) July 2006-Jan
2007
COLLECTIONS
Queensland Art Gallery, Australia
South Australian Art Gallery, Australia
Parliament House, Canberra ACT
Canberra Institute of Art
PENELOPE CAIN
Australia Council Resident Artist, October-December 2008
Lives and works in Sydney
EDUCATION
BA Visual Arts (Hons), Australian National University
Bachelor of Veterinary Science (Hons), University of Sydney
SELECTED ONE PERSON EXHIBITIONS
2009 Infestation, Australian Centre for Photography, Sydney,
Australia (forthcoming)
Drum Beat, MOP Gallery, Sydney (forthcoming)
Sink or Swim, Billboard at QUT Kelvin Grove,
Brisbane
Antiparallelogram, University of East London Gallery,
London
2008 Out of Office Message, Australian Commerce Offices,
Taipei, Taiwan
2007 Bull Market, Ground Floor Gallery, Sydney
2005 Beam (video projections), assorted venues, Canberra
CBD
2004 Domestic Interiors, First Draft Gallery, Sydney
2001 Naturalistic (installation), IGA Supermarket, Canberra
SELECTED GROUP EXHIBITIONS
2009 Contemporary Flânerie: Reconfiguring Cities, Oakland
University Art Gallery, USA (curator Vagner M.
Whitehead)
2008 Avvolgere/Svolgere, Nunziante Magrone, Rome
Figure of 8, The British School at Rome
Intrude: Shanghai, Shanghai, China
Shadow Boxing, MOP Gallery, Sydney (curator Holly
Williams)
2007 Citylogue, Barry Gallery, TAV, Taipei, Taiwan
Concrete Cannot Stop Them, The Big Screen,
53

Liverpool (curator Bren O’Callaghan)
Figuratively Speaking: the Figure in Contemporary
Video Art, QUT Art Museum, Brisbane (curator
Simone Jones)
2006 safARI, MOP Gallery, Sydney (curators Lisa Corsi and
Margaret Farmer)
2005 Experimenta Vanishing Point, Melbourne (curator Liz
Hughes)
Mira Como Se Mueven (See How They Move), Salas de
Exposiciones de Fundación Telefonica, Madrid
(curator Martì Peran)
2001 Welcome to the Hotel California, Canberra
Contemporary Art Space, Canberra
AWARDS AND RESIDENCIES
2008 Australia Council for the Arts Residency, The British
School at Rome
2007 Asialink fellowship and residency at Taipei Artists
Village, Taiwan
Churchie Emerging Arts Prize: Overall winner,
Brisbane, Australia
2003 Artist Residency at Megalo Print Studios, Canberra,
Australia
2001 CCAS Emerging arts prize, Canberra, Australia
DRAGICA JANKETIC CARLIN
Abbey Fellow in Painting, October-December 2008
Lives and works in London
www.dragicacarlin.com
EDUCATION
1998 MA Fine Art, Chelsea College of Art, London
1994-97 BA Fine Art, Chelsea College of Art, London
SELECTED ONE PERSON EXHIBITIONS
2007 Pleasance Theatre, North Road, London
2006 Harefield Heart Hospital, Middlesex
1998 Gallery Differentiate, Shad Thames, London
SELECTED GROUP EXHIBITIONS
2008 Figure of 8, The British School at Rome
Centrefold art project, Zoo Art Fair, London
2007 Art Works, Newcastle upon Tyne
2004 Independent Space, Commercial Street, London
2000 Blink, Princelet Street, London
54
Fine Arts 2008-2009
1998 MA on A4, The Pump House Gallery, London
1995 Mayday Mayday, 148 Charing Cross Road, London
AWARDS AND SPONSORSHIPS
2008 Abbey Fellowship in Painting, The British School at
Rome
2007 Bunch Design Sponsorship
1994 Laura Ashley Sponsorship
LUKE CAULFIELD
Abbey Fellow in Painting, January-March 2009
Born 1969, London
EDUCATION
1996-2000 Fine Art, Slade School of Fine Art, University of
London (UCL)
1995-96 Fine Art, Kensington & Chelsea College, London
1988-91 Drama/Classics, University of London (QMW)
SELECTED ONE PERSON EXHIBITIONS
2008 One in the Other, London
2006 One in the Other, London
2004 Stasjon K, Sandnes Kunstforening, Stavanger, Norway
Hordaland Kunstsenter, Bergen, Norway (British
Council) (cat.)
Rogaland Kunstsenter, Stavanger, Norway (British
Council) (cat.)
2001 Dazed and Confused Gallery, London
SELECTED GROUP EXHIBITIONS
2010 Neuchâtel Centre d’Art, Switzerland (cat.)
2009 Laing Art Gallery, Newcastle (cat.)
2008 Phillips de Pury, London (British Friends Art
Museums of Israel) (cat.)
2007 Fieldgate Gallery, London E2
2006 Pallant House Gallery, Chichester (cat.)
Schauspielhaus, Zurich
2005 Le Musée de Marrakech, Morocco (cat.)
2004 Northern Gallery for Contemporary Art, Sunderland
(cat.)
Empire, London (cat.)
2003 Tullie House Museum, Carlisle (cat.)
Angel Row Gallery, Nottingham (cat.)
2002 Laurent Delaye Gallery, London
Cornerhouse Gallery, Manchester (cat.)

Bloomberg Space, London (cat.)
Air Guitar, Milton Keynes Gallery, Milton Keynes
(cat.)
Club, Le Confort Moderne, Poitiers, France
Oriel Mostyn Gallery, Llandudno
Kelvingrove Museum, Glasgow (cat.)
2001 Beaconsfield, London
Sotheby’s, Bond St, London
SELECTED AWARDS, RESIDENCIES, COMPETITIONS
2009 Abbey Fellowship in Painting, The British School at
Rome
2006 Arts Foundation Fellowship (short-listed)
2004 AIR Residency, Norway
2003 Cochemé Fellowship, Central St Martin’s (Byam
Shaw)
2002 Mostyn Open 12
2000 ACAVA First Base Studio Award
1999 John Moores 21 (Liverpool Biennial)
1998 Natwest Art Prize (Runners-up Prize)
SELECTED COLLECTIONS
Vanessa Branson
Paul Smith
The Wonderful Fund
Nelson Woo
Anita Zabluduwicz (own collection and works to be donated to
Tate Gallery)
KATIE CUDDON
Sainsbury Scholar in Painting and Sculpture, October 2008-
September 2009
EDUCATION
2004-06 MA, Royal College of Art, London
2002-03 MPhil, Glasgow School of Art
1999-2002 BA (Hons), Glasgow School of Art
SELECTED EXHIBITIONS
2009 Accademia delle Accademie, Temple of Hadrian,
Rome
Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
2008 Avvolgere/Svolgere, Nunziante Magrone, Rome
Figure of 8, The British School at Rome
Present Volume, The Space, Deutsche Bank, London
Overshoot and Collapse, Globe Gallery, Newcastle
upon Tyne (solo)
Salon, Whitecross Gallery, London
Supermarket, Independent Art Fair, Stockholm, in
association with Alma Enterprises Gallery
The Painting Room, Transition Gallery, London
2007 Estate Covers, live-art commission for the Coastal
Currents Festival 2007, Hastings
Stick, Stamp, Fly, with a performance presentation of
Common Fish at the exhibition closing event, It’s
Going To Be A Long Night, Gasworks, London
Alma Auction, Alma Enterprises Gallery, Vyner Street,
London
Target Text, Turf Gallery, London
Comfort Zones, national touring exhibition with Oriel
Davies Gallery, Newtown, Powys
Drawing Breath, international touring exhibition
with the Jerwood Foundation and Wimbledon
College of Art
2006 Tekenlust, Kunsthalle Lophem – Centre for
Contemporary Art, Loppem-Zedelgem, Belgium
Jerwood Drawing Prize, national touring exhibition
with the Jerwood Foundation and Wimbledon College
of Art
SELECTED AWARDS AND RESIDENCIES
2008-09 Sainsbury Scholar in Painting and Sculpture, The
British School at Rome
2007-08 Research Fellow in Sculpture, Newcastle University
2004 Winston Churchill Travel Fellowship
2005 Jerwood Drawing Prize, Second prize
2002 RIAS Millennium Award
Deutsche Bank Pyramid Award
PUBLICATIONS
2008 Katie Cuddon (essays by Sally O’Reilly, Katharine
Stout and Paul Usherwood), Art Editions North
2007 Target Text (essay by Sue Haddon), Turf Gallery,
London
55

GRAHAM DURWARD
Abbey Fellow in Painting, April-June 2009
Born Aberdeen, UK, currently lives and works in New York
EDUCATION
1986 Whitney Museum Independent Study Program
1978 Postgraduate, Edinburgh College of Art
1977 Edinburgh College of Art
ONE PERSON EXHIBITIONS
2009 Maureen Paley, London
2007 White Room, White Columns, New York
2001 AC Projects, New York
1997 Marianne Boesky Gallery, New York
1994 Patrick Callery, New York
1993 Shedhalle, Zurich
GROUP EXHIBITIONS
2008 The Hidden, Maureen Paley, London
2006 Looking Back, White Columns, New York
2003 20th Anniversary Show, Gavin Brown’s Enterprise,
New York
2001 A painting, Trans Hudson Gallery, New York
2000 Under Pressure, Swiss Institute, New York
New Videos, Ad Hoc, New York
1998 I Love NY, video show curated by Graham Durward
for The Edinburgh International Festival
1996 Boesky Callery, New York
John Michael Kohler Art Center, Sheboygan, Wisconsin
Gender Affects, Kinsey Institute, Indiana University
1995 The Masculine Masquerade (curated by Andrew
Perchuk and Helaine Posner), MIT List Visual Arts
Center, Cambridge, MA
1994 The Use of Pleasure (curated by Robert Nickas),
Terrain, San Francisco, CA
1993 Dance ‘93 (curated by Noemi Smolik), Munich
1992 Mr B’s Curiosity Shop (curated by Saul Ostrow),
Threadwaxing Space, New York
PERFORMANCES AND FILMS
1994 Blackwatch, Patrick Callery, New York.
1984 Edinburgh Fruit Market Gallery Festival, Scottish Art
Now
Poor B.B. (performance), 369 Gallery, Edinburgh
Poor B.B., The Traverse Theatre, Edinburgh
J.A.W. Taped (film), London Filmmakers’ Co-operative
1983 J.A.W. Taped, Dublin Film Festival
56
Fine Arts 2008-2009
AWARDS
2009 Abbey Fellowship in Painting, The British School at
Rome
2007 Reema Hort Mann Foundation Award
PIERRE GENDRON
Québec Architecture Resident, April-June 2009
www.pierregendron.com
EDUCATION
2002-03 Master of Architecture, McGill University, Montréal,
Canada
1996 Summer studio, École d’architecture Paris-Villemin,
Paris, France
1993-97 Bachelor of Architecture, Université de Montréal,
Montréal
PROFESSIONAL MEMBERSHIPS
Ordre des Architectes du Québec (OAQ), Canada
ACADEMIC EXPERIENCE
2005-08 Adjunct professor, Université de Montréal School of
Architecture, Montréal
2003 Teaching assistant, McGill University School of
Architecture, Montréal
2001 Visiting critic, Southern California Institute of
Architecture, Los Angeles
2000 Visiting critic, Iowa State University School of
Architecture, Ames, USA
Visiting professor, Rensselaer Polytechnic Institute
School of Architecture, Troy, USA
PROFESSIONAL EXPERIENCE
2008- Pierre Gendron architecte, Montréal
2007-09 Provencher + Roy et associés architectes, Montréal
2001-02 George Yu Architects, Los Angeles
1998-2006 Atelier Big City, Cormier Cohen Davies architectes,
Montréal
1997-98 Brisbin Brook Beynon Architects, Ottawa
SELECTED GROUP EXHIBITIONS
2007 70 Architects On Ethics and Poetics, Centre de Design
de l’UQAM, Montréal
1996 RECIPROCITY Patkau +16, Canadian Pavilion,
Architecture Biennale, Venice

AWARDS
2009 Québec Architecture Residency, The British School at
Rome
2007 Finalist, Jardins éphèmères Espace 400e Competition,
Québec
2006 First Prize (ex aequo), Architecture-Québec magazine
Ideas Competition
2005 First Prize (ex aequo), Signature extérieure de la
Banque Laurentienne Ideas Competition
1998 Third Prize (ex aequo), Plans d’avenir pour un
nouveau confort Ideas Competition
SELECTED MEDIA
2007 Exhibition catalogue, 70 Architects On Ethics and
Poetics, Centre de Design de l’UQAM
2007 Architecture-Québec magazine, Villabyrinthe ARQ
No. 140, Jeunes Pratiques, August 2007
1998 Competition catalogue, Plans d’avenir pour un
nouveau confort, Hydro-Québec
1996 Venice Biennale of Architecture, Canadian Pavilion
exhibition catalogue: RECIPROCITY Patkau +16
COLLECTIONS
TRACK 1, Project for the 1996 Venice Biennale of
Architecture, Canadian Centre for Architecture, Montréal,
Canada
CELIA HEMPTON
Sainsbury Scholar in Painting and Sculpture, October 2008-
June 2010
Born 1981, Stroud
EDUCATION
2005-07 MA Painting, Royal College of Art, London
2000-03 BA (Hons) Fine Art, Painting, Glasgow School of Art
SELECTED RECENT EXHIBITIONS
2009 Atlas: Separated by Intervals, The Crypt Gallery at
Saint Pancras Church, London
Accademia delle Accademie, Temple of Hadrian, Rome
Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
2008 Figure of 8, The British School at Rome
Celia Hempton, Contemporary Art Projects, London
00 Nature, Contemporary Art Projects, London
2007 My Penguin, 39 Gallery, London
Royal Academy Summer Show, Royal Academy of Arts,
London
S.A.W. Show, Sawmill, Glasgow
Material Intelligence, Keith Talent Gallery at Trinity
Buoy Wharf, London
Hot for Teacher, Nog Gallery, London
2006 St Mungo and Me, Lightbox Gallery, Los Angeles
2005 Circus Circus, Park Circus Gallery, Glasgow
2004 Discerning Eye Exhibition, Mall Galleries, London
Panorama, The Jail, Glasgow
New Scottish Contemporaries, Leith Gallery, Edinburgh
SELECTED AWARDS
2008-10 Sainsbury Scholarship in Painting and Sculpture, The
British School at Rome
2008 Shortlisted for Sovereign European Art Prize, Chelsea
Space, London
2007 Neville Burston Memorial Award, Royal College of
Art, London
2003 Carnegie Travel Award, Royal Scottish Academy,
Edinburgh
Landscape Drawing Prize, Glasgow School of Art
CATH KEAY
Arts Council England Helen Chadwick Fellow, September
2008-March 2009
EDUCATION
2005- PhD Sculpture, Newcastle University, Newcastle upon
Tyne
2000-02 MFA (Sculpture), Edinburgh College of Art,
Edinburgh
1987-92 BA (Hons) Fine Art, Glasgow School of Art, Glasgow
ONE PERSON EXHIBITIONS
2006 A New Destiny is Prepared, An Tobar, Tobermory
2005 Only the Facts are Clear, Atelier am Eck, Düsseldorf
Laing Solo: Cath Keay, Laing Art Gallery, Newcastle
upon Tyne
2004 Improve the Shining Hour, Market Gallery, Glasgow
GROUP EXHIBITIONS
2009 Award Winners, JD Fergusson Gallery, Perth
Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
57

2008 Tempo Reale, The British School at Rome
Inspire: Mortal and Visible, Wallspace Gallery,
London
2006 Scottish Collective, Royal Scottish Academy,
Edinburgh
2005 Roaring Out Confidences, An Tobar, Tobermory
See Scotland, Dick Institute, Kilmarnock
2004 What in the World Could Be More Beautiful?,
Crawford Arts Centre, St. Andrews
Presence, St Mary’s Cathedral, Glasgow
2000 Von Hier bis Dahin, Akademie Gallery, Munich
AWARDS
2008-09 Arts Council England Helen Chadwick Fellowship,
The British School at Rome and The Ruskin School
of Drawing and Fine Art, Oxford
2004 Norma Lipman Scholarship for PhD study at
Newcastle University
2004 Scottish Arts Council, Professional Development
Grant
2003 Royal Incorporation of Architects in Scotland –
Millennium Award
2003 Laing Open – Solo show at Laing Art Gallery,
Newcastle (2005)
2002 John Kinross Travel Scholarship to Florence. Royal
Scottish Academy
1998 J.D. Fergusson Travel Scholarship to Japan
REBECCA MADGIN
Giles Worsley Travel Fellow, October-December 2008
EDUCATION
2004-08 Doctor of Philosophy, Centre for Urban History,
University of Leicester (no amendments required).
Thesis: Urban Renaissance: The Meaning,
Management and Manipulation of Place, 1945-2002
2003-04 MA European Urbanisation, Centre for Urban History,
University of Leicester
2000-03 BA (Honours), History, 2:1, University of Leicester
EMPLOYMENT
2009- Department of Urban Studies, University of Glasgow
2007-08 Centre for Institutional Studies, University of East
London
2003-07 Economic and Social Research Council and
University of Leicester
58
Fine Arts 2008-2009
EXHIBITIONS
2008 Figure of 8, The British School at Rome
FELLOWSHIPS AND AWARDS
2008 Giles Worsley Travel Fellowship, The British School at
Rome
2007 European Fellowship for Training in Urban Studies –
FUTURE
2003-07 Economic and Social Research Council, 1+3 Full
Studentship
SELECTED PUBLICATIONS
2009 ‘Using Culture to turn De-industrial Space into Postindustrial
Place: a British-French Comparison’, in
Eckardt, F. and Nystrom, L. (eds), Culture and City,
Berlin: Berliner Wissenschaftsverlag (forthcoming)
‘Contesting Liberty: The Place of Industrial Heritage
in Leicester’s Urban Regeneration’, in Rodger, R. (ed),
Leicester: A Modern History, Lancaster: Carnegie Press
(forthcoming)
2008 ‘Making the Most of our Existing Urban Assets? New
Labour’s Focus on the Historic Urban Environment’,
in Nail, S. and Fee, D. (eds), Vers une Renaissance
Anglaise, Paris: Presse de la Sorbonne Nouvelle.
AMANDA MARBURG
Australia Council Resident Artist, July-September 2008
Born 1976, Melbourne
EDUCATION
1999 BFA (Painting), Victorian College of the Arts
1996 Associate Diploma of Visual Art (Painting), Western
Metropolitan College of TAFE, Melbourne
ONE PERSON EXHIBITIONS
2009 Guardians of The Departed, Uplands, Melbourne
2007 Lobster, Rex Irwin Art Dealer, Sydney
The Other Side, Uplands, Melbourne
2006 Hell needs this town, and it’s goin’ back and goin’ damn
quick, Melbourne Art Fair
2005 Mad Love Is Strange, Rex Irwin Art Dealer, Sydney
2004 Giving the Devil His Due, Melbourne Art Fair &
Newcastle Region Art Gallery
2003 Misery & Gin, Rex Irwin Art Dealer, Sydney
2002 Paintings, Rex Irwin Art Dealer, Sydney

2001 The Bomb, TCB Art Inc., Melbourne
SELECTED GROUP EXHIBITIONS
2008 Tempo Reale, The British School at Rome
2007 Primavera, Museum of Contemporary Art, Sydney
2005 Love and Other Bruises (with Kati Rule), TCB Art Inc.,
Melbourne
2004 The Sure Thing (with Kati Rule), Dudespace,
Melbourne
2003 Cover Image Coming Soon, TCB Art Inc., Melbourne
Depth of Field, Shepparton Art Gallery & Monash
University Gallery
2001 Glacier, RMIT Gallery, Melbourne & tour
Jon Campbell’s Rock The Boat, Uplands Gallery,
Melbourne
Roger Kemp Memorial Exhibition, VCA Gallery,
Melbourne
Five, Span Gallery, Melbourne
Unsigned Artists, Niagara Galleries, Melbourne
2000 Setting Up, Sutton Gallery, Melbourne
Fascination, Centre for Contemporary Photography,
Melbourne
A Brush With Death, La Trobe Street Gallery,
Melbourne
AWARDS AND RESIDENCIES
2008 Australia Council for the Arts Residency, The British
School at Rome
2005 Art & Australia / ANZ Private Bank Emerging Artist
Program
2001 Five, Span Gallery, Melbourne
1999 Roger Kemp Memorial Award, VCA, Melbourne
RUTH MURRAY
Derek Hill Foundation Scholar, October-December 2008
Born 26 July 1984
EDUCATION
2006-08 MA Painting, Royal College of Art, London
2003-06 BA (Hons) Fine Art, Loughborough University
SELECTED EXHIBITIONS
2008 Figure of 8, The British School at Rome
4 New Sensations, The Truman Brewery, Brick Lane,
London
Pentimenti, Permanent Gallery, Brighton
Blank Canvas, 1-2 Carnaby Street, London
Show RCA – Postgraduate Art and Design Annual
Show 2008, Royal College of Art, London
RCA Painters, Bank of America, Canary Wharf,
London
Royal Society of Portrait Painters, Annual Exhibition
2008, The Mall Galleries, London
Figurative Art Prize, The Boundary Gallery, London
2006 Spent, Three Colts Gallery, London
Celeste Art Prize Finalists’ Exhibition, Old Truman
Brewery, Brick Lane, London
Nationwide Mercury Music Art Prize, Finalists
Exhibition, The Hospital Gallery, London
AWARDS
2008 Derek Hill Foundation Scholarship, The British
School at Rome
The Sheldon Bergh Award
De Laszlo Prize
Boundary Figurative Art Prize
2006-07 Stanley-Smith Scholarship
2006 Astra Zeneca Purchase Prize
2005 Alan Quiney Award
2004 Alan Quiney Award
EDDIE PEAKE
Abbey Scholar in Painting, October 2008-June 2009
Born 22 nd August 1981. Lives and works in London
EDUCATION
2002-06 Slade School of Fine Art, London
ONE PERSON EXHIBITIONS
2008 Ladies, Parade, London
2007 The Caspar Erasmus School of Art, The Hex, London
SELECTED GROUP EXHIBITIONS
2009 Middlemarch, auto-italia south east, London
Autofellatio: Boy In Da Corner, Take Courage, London
59

LIZ RIDEAL
Wingate Rome Scholar in the Fine Arts, September 2008-
January 2009
Lectures at the Slade and the National Portrait Gallery, London
www.lizrideal.com
RECENT ONE PERSON EXHIBITIONS, INSTALLATIONS,
COMMISSIONS
2009 Hawthorn Hall of Mirrors, 454308E-205690N,
Radcliffe Churchill Hospital, Oxford
2007 Cloth Fair, Bart’s, London
2006 Fall, River, Snow, Compton Verney, Warwickshire
Suc des Vosges, Lucas Schoormans Gallery, New York
Above and Below Ground, Gallery 339, Philadelphia
2000-05 Glass Drapes & Light Column, Birmingham
Hippodrome Theatre
2004 Kerfuffle, BBC Broadcasting House, London
2002 Mandrake Tango/Works 1992-2002, University of
Massachusetts
Monotypes, Aurobora Press, San Francisco
2001 Stills, Lucas Schoormans Gallery, New York
2000 Photographs 1996 -1998, Lucas Schoormans Gallery,
New York
Seasonal Stills, HackelBury Fine Art, London
SELECTED GROUP EXHIBITIONS
2008 Avvolgere/Svolgere, Nunziante Magrone, Rome
Figure of 8, The British School at Rome
2006-08 Picturing Eden, The George Eastman Kodak Museum,
Rochester, Museum for Photographic Arts, San Diego,
California & USA tour
2005 Revealed, Castle Museum, Nottingham, featuring
Tapis Volant; a tapestry (made at Dovecot Studios,
Edinburgh) commissioned by the Contemporary Arts
Society for the museum collection
2001 Hall of Mirrors: Variants of the Portrait, Museet for
Fotokunst, Denmark
Nageant vers Noël – Swimming towards Christmas
(projection), Town Hall, Lyon, France
AWARDS
2008 Wingate Rome Scholarship in Fine Arts, The British
School at Rome
2006 Fundación Valparaíso, Mojácar, Spain
2005 The British Council
2004 The Lorne Award
2002 RIBA (Special Mention for Glass Drapes at the
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Fine Arts 2008-2009
Birmingham Hippodrome Theatre)
1997 London Arts Board, Individual Artist Award
SELECTED PUBLIC COLLECTIONS
Arts Council of England
Bibliothèque Nationale, Paris
British Broadcasting Corporation
The British Museum
The Government Art Collection
Museet for Fotokunst, Denmark
The National Portrait Gallery
Tate, London
Vancouver Art Gallery, Canada
Victoria & Albert Museum
JAMES ROBERTSON
Rome Scholar in Architecture, January-March 2009
Born 5 July 1978. Lives and works in Manchester
EDUCATION
2004 RIBA Advanced Diploma in Professional Practice in
Architecture (Part 3), Pass
2001-02 Postgraduate Diploma in Advanced Architectural
Studies (RIBA Part 2), Pass with Distinction, The Scott
Sutherland School of Architecture (Robert Gordon
University), Aberdeen
1996-2001BSc (Hons) Architecture with Languages (RIBA Part
1), First Class, The Scott Sutherland School of
Architecture, Aberdeen
AWARDS
1998 Honourable Mention, Structur’Halle Competition,
Grenoble, France
Stage 2 Student Prize, Scott Sutherland School of
Architecture
1997 Stage 1 Student Prize, Scott Sutherland School of
Architecture
EXHIBITIONS
2009 Our Lives Are Full of Remarkable Coincidences, The
British School at Rome
2002 Royal Scottish Academy Student Exhibition, Glasgow
EMPLOYMENT
2007-08 WhiteBox Architecture, Knutsford, Cheshire, UK

2006-07 Richard Drinkwater Architects, Manchester
2002-06 Broadway Malyan (Architects), Manchester
2000 Triangle Architects, Manchester
1999-2000 Bergami-Gay Architectes, Clermont-Ferrand, France
DAVID SPERO
Photoworks Fellow, April-June 2009
Lives and works in London
www.davidspero.co.uk
EDUCATION
1990-93 MA Photography, Royal College of Art, London
RECENT ONE PERSON EXHIBITIONS
2009 Churches, The British School at Rome
Balls, Wood & Audiotape, The Winchester Gallery,
Winchester
2006 Settlements, New Art Gallery, Wallsall
2005 Settlements, Photographers’ Gallery, London
SELECTED GROUP EXHIBITIONS
2008 By Itself, Room Art Gallery, London
2007 How We Are: Photographing Britain, Tate Britain,
London
Something That I’ll Never Really See. Contemporary
Photographs from the V&A, touring exhibition
Look07 Photography Festival, CUBE Gallery, Manchester
2006 Arcadia, Yancey Richardson Gallery, New York
Saudade, Highbury Studios, London
Green, The Winchester Gallery, Winchester
The Mouse That Roared, Project 133, London
2005 Peculiar Encounters, Arts Space EC1, London
PhotoEspaña, Circulo de Bellas Artes, Madrid
Door To The River, Flaca, London
2004 Art of the Garden, Tate Britain, London
2003 Then Things Went Quiet, MWProjects, Frieze Art Fair,
London
2001 Darklight, Galerie Martin Kudlek, Cologne
Gone Missing, Frederieke Taylor Gallery, New York
Percy Miller Gallery, London
2000 Breathless, Photography and Time, Victoria & Albert
Museum, London
1999 Path, Chisenhale Gallery, London
1998 Re-Presenting Architecture, Victoria & Albert Museum,
London
The Citibank Collection, Photographers’ Gallery, London
Airport, Netherlands Photo Institute, Rotterdam
1997 Airport, Photographers’ Gallery, London
Little Boxes, Fotofusion Gallery, London
Zelda Cheatle Gallery, London
1994 B.T. New Contemporaries, Camden Arts Centre,
London; Cornerhouse, Manchester; Arnolfini, Bristol;
Fruitmarket, Edinburgh
AWARDS
2009 Photoworks Fellowship, The British School at Rome:
2007 Arts Council International Artists Fellowship, Finland,
managed by Fotonet, hosted by The Northern
Photographic Institute, Oulu
PUBLICATIONS
2007 Churches, SteidlMACK, London
SELECTED COLLECTIONS
Victoria & Albert Museum, London
Citibank Collection, London
British Council
AMIKAM TOREN
Sargant Fellow, May-July 2009
Born in 1945, Israel
SELECTED ONE PERSON EXHIBITIONS
2008 Carrots, Anthony Reynolds Gallery, London
2006 Ten Last Drawings, The Room, London
2005 Plan B, Noga Gallery, Tel Aviv
2003 Golem, Anthony Reynolds Gallery, London
1997 Hand in Glove, Galerie Gabrielle Maubrie, Paris
1991 Chisenhale Gallery, London
1990 Ikon Gallery, Birmingham (cat.)
1989 Rotterdam Kunststichting, Rotterdam
1984 Actualities, Matt’s Gallery, London (cat.)
1981 Mirroring, Lewis Johnstone Gallery, London
1979 Replacing, ICA, London (cat.)
1976 Serpentine Gallery, London
1973 Annely Juda Fine Art, London
SELECTED GROUP EXHIBITIONS
2009 British Subjects 1948-2000, Neuberger Museum of Art,
New York
61

2008 Marc Camille Chaimowicz – In The Cherished
Company of Others, de Appel, Amsterdam; PMMK,
Oostende, Belgium
Intimacy, Australian Centre for Contemporary Art,
Victoria, Australia
2005 Whatever Happened to Social Democracy, Rooseum
Center for Contemporary Art, Malmö
2000 Live in Your Head: Concept and Experiment in Britain,
1965-75, Whitechapel Art Gallery, London (cat.)
1999 British Artists, Galerie Krinzinger, Vienna
John Moores Exhibition 21, Liverpool (Prize winner)
1998 A-Z (curator Matthew Higgs), The Approach, London
1997 L’empreinte, Musée National d’Art Moderne, Centre
Georges Pompidou, Paris
1993 Second Tyne International, Newcastle-upon-Tyne (cat.)
1992 And What Do You Represent?, Anthony Reynolds
Gallery, London
1991 Kunstlandschaft Europa, Kunstverein Freiburg
1986 Furniture Sculpture, Victoria Miro Gallery, London
1984 Problems of Picturing, Serpentine Gallery, London
1977 On Site, Arnolfini Gallery, Bristol
1967 Paris Biennale
SELECTED PUBLICATIONS
1991 Amikam Toren (preface Elisabeth A. Macgregor, texts
by Christoph Blase, Michael Archer, Conor Joyce and
Desa Philippi), Ikon Gallery, Birmingham; Arnolfini
Gallery, Bristol
1987 Amikam Toren, Pidgin Paintings (text by Patricia
Bickers), Anthony Reynolds Gallery, London
1984 Amikam Toren, Actualities (text by David Coxhead),
Matt’s Gallery, London
Problems of Picturing (text by Sarah Kent), Serpentine
Gallery, London
1979 Replacing, Amikam Toren (text by Sarah Kent),
Institute of Contemporary Art, London
62
Fine Arts 2008-2009

T HE BRITISH SCHOOL AT ROME
Director Andrew Wallace-Hadrill
Assistant Director Susan Russell
Research Professor in Archaeology Simon Keay
Research Professor in Modern Studies David Forgacs
Molly Cotton Fellow Helen Patterson
Cary Fellow Robert Coates-Stephens
Assistant Director (Fine Arts) Jacopo Benci
Fine Arts Research Assistant Alessandra Giacinti
Curator, Contemporary Arts Programme Cristiana Perrella
Assistant, Contemporary Arts Programme Maria Cristina Giusti
Librarian Valerie Scott
Deputy Librarian Beatrice Gelosia
Library Assistants Francesca De Riso, Francesca Deli
Archivist Alessandra Giovenco
Registrar & Publications Manager (London Office) Gill Clark
Director’s Assistant Eleanor Murkett
School Secretary Maria Pia Malvezzi
Hostel Supervisor Geraldine Wellington
Subscriptions Secretary Jo Wallace-Hadrill
Bursar Alvise Di Giulio
Accounts Clerk Isabella Gelosia
Domestic Bursar Renato Parente
Maintenance Fulvio Astolfi
Technical Assistant & Waiter Giuseppe Pellegrino
Cleaners Donatella Astolfi, Alba Coratti, Marisa Scarsella
Cooks Giuseppe Parente, Dharma Wijesiriwardana
Waiters/Porters Antonio Palmieri, Pathirannehelage Somapala
via Gramsci, 61 00197 Roma
tel. +39 06 3264939 fax +39 06 3221201
www.bsr.ac.uk
63

64
Fine Arts 2008-2009
Printed in Italy by Società Tipografica Romana, Rome
May 2009

Published by THE BRITISH SCHOOL AT ROME London
ISSN 1475-8733 ISBN 978-0-904152-55-5