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Marsha Bradfield



My practice as an artist, researcher, educator, curator and writer unfolds through collaborative cultural production. I co-author events, exhibitions, publications and other projects to explore authorship in an expanded sense. No aspect of my practice operates in isolation: they're all part of a wider, complex network which includes genres, materials, processes, concepts, contexts, resources and relationships, to name some of the conditions explored in my practice-based research. And what compels this investigation? It's 'the work of art' in relation to the 'the art of work' with authorship bridging the gap between.

I am currently undertaking in a two-year post-doc fellowship at CCW, University of the Arts London. It consders economies and ecologies of collaborative cultrual production My project evolved from my practice-based PhD on dialogic art (discussed below) and my research as part of Critical Practice. Overlapping in time/space, these enquires composed each other through a common focus. Both explored the authorship of cultural production as always already collaborative and contingent, subject to both specific and systemic conditions and shot through with a polyphony of voices past, present and future. I am especially interested in the interdependence of cultural production, with this spread across:

My recently completed PhD minds this gap by proposing a praxis of dialogic art. I define this as art brought into being through exchanges between people as they interact with information, objects, and/or each other. Dialogic art considers structures of cultural co-production (collectivity, collaboration, participation, etc.) to better understand the complex interactions through which culture is authored.

My practice-based research insists that in addition to co-creating artworks and cultures of collaboration, cultural producers also co-author their individual and shared subjectivities through working together. Elaborating an interdisciplinary framework for engaging the reciprocities among these three areas (work, culture, subjectivity) remains core to my research.

Dialogic art draws on Mikhail Bakhtin's philosophy of dialogue, John Law's and Bruno Latour's work on Actor Network Theory (ANT) and post-structuralist ideas about compound-complex subjectivities, viz. experience of self where individualization and collectivization get all messed up. Key terms include: the dialogic, reciprocal relations, methodological mess, hybrid authorship, politicised not knowing, the post-collaborative condition and self-portraiture of a process.

A long time ago I received a BA in History and Art History from the University of Victoria, Victoria, Canada and then a BFA from Emily Carr University of Art and Design, Vancouver, Canada. For several years I lived in Taipei Taiwan, where I studied Mandarin at National Taiwan Normal University (國立台灣師範大學國語教學中心) while working as a docent at The National Palace Museum.

At present I'm based London, UK but spend most of my time in other timezones and spaceslips working online and around the world.

When I'm not developing my post-doc project (described below/left), I'm probably meeting with Critical Practice, Precarious Workers Brigade and Pangaea Sculptors Centre.

Email me at marshabradfield@gmail.com

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