Artists-in-Residence
We provide an engaging community for artists working on postcolonial and decolonial subjects to develop their projects and interact with scholars, activists, and artists with similar interests.
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Our open call for Artists-In-Residence is posted twice a year on 1 July and 1 December.
The duration of the residency varies between one, three, and six months. The residency program offers opportunities to contribute to the Centre for Postcolonial Studies' programme of events and, more importantly, to develop original work. At the end of the residency, artists are encouraged to present their work to the broader Goldsmiths community and beyond.
Applications for the Artist-in-Residence program should be sent to Francisco Carballo. The application should include the desired appointment period, a brief description of the project undertaken during the Goldsmiths residency, and a curriculum vitae/portfolio.
Past Artists
Ningún hombre es una isla (Nessun uomo è un’isola) is a project conceived as an act of resistance in post-Brexit Britain.
Inspired by classic objects that are part of the permanent collection of the British Museum, through their re-appropriation and resignification in a contemporary narrative, using painting, video and performance as means to create an idea of a counter-Empire that seeks to protect narratives of solidarity, inclusion and multiculturalism within public and intimate domains.
The aim of this residency was to expand the reach of the ParaSite project by infiltrating the university through its research environment.
After 2016, the political discourse available in Western societies fails to explain the present. This residency is a direct response to a volatile political time, which directly undermines any option for progressive, postcolonial and future-facing political attitude.
Therefore, during this residency, we will set in motion a new approach to political discourse by provoking speculation, future thinking and wide participation.
We want to reverse the balance and put the big decisions about policy, budgets, strategy, etc., in the hands of those political amateurs, you, perhaps? Felipe Castelblanco is a multidisciplinary artist working at the intersection of socially engaged and Media art.
His work explores new frontiers of public space and enables coexistent encounters between unlikely audiences. Felipe holds an MFA from Carnegie Mellon University and in 2012 attended the Skowhegan School of Painting and Sculpture.
He has exhibited at museums and galleries in Europe, USA, and South America and is the recipient of several awards including the Starr Fellowship at the Royal Academy Schools in London.
In 2013 Nina Feldman and Deborah Mina worked on No Feedback with the help of The Centre for Postcolonial Studies.
No Feedback is a continuing interdisciplinary collaboration focused on how, in London today, we can engage with the process that leads to genocide, and why we should.
Taking as a starting point the document, “The 10 Stages of Genocide” by Genocide Watch, which outlines the degrees through which all genocides progress, No Feedback developed an interactive performance which takes audience members through these stages, highlighting how everyday social processes of identifying difference can easily lead to prejudice, discrimination and persecution.
The show is an engaging mix of theatricality, playfulness and participation, all developed by the 6 female performers who guide the journey.
Patrice Naiambana is an award-winning African-Performing Artist/Animateur Sierra Leonean-Bermudan. He apprenticed with African Theatre Masters Yulisa Amadu Maddy Artistic Director of Gbakanda Tiata in Leeds and Dele Charley Artistic Director of Tabule Tiata in Freetown
Current projects include facilitating a lab space, The Decolonial Salon; a digital performance piece on migration and exile entitled 'Perception Gap' and 'Fresh Conversations for Diversity in the NHS.'
He has been facilitating diaspora performance, post-colonial literacy, theatre process and training for over 25 years. He initiated Tribal Soul – a diaspora learning and creating space, in 1991. His lab facilitation and ensemble work on Shakespeare as a lingua franca and The Gospel of Othello diaspora canon spans 11 years in several countries in diverse environments.
His story-making vocation has been enriched by professional performing experience with world-leading practitioners and companies including Kwame Kwei-Armah (TREE), Bijan Sheibani (Barbershop Chronicles), Marcello Magni (Tell Them I am Young and Beautiful), Kathryn Hunter (Pericles), Steven Berkoff (Coriolanus), The Royal Shakespeare Company (The Histories, Othello), Adrian Noble (The Lion, The Witch and The Wardrobe), Film, Television, Radio and voice-overs.
His Edinburgh Fringe First award-winning solo show The Man Who Committed Thought toured internationally, facilitating artists and citizen labs creativity for social transformative action. He uses the story space to put ‘flesh on silences’ whilst developing community collaborations, craft, critical thinking and leadership skills.
His conceptualisations and directorial work include 'The Accused', 'Swarte Piet Speaks', 'Gravediggers', 'The Sacrifice' and 'Chapeltown Blues.' Underpinning his work is the creolisation aesthetic and exile heritages that characterise the Diasporic imagination.
Trawlwoolway artist Julie Gough is a descendant of Aboriginal leaders in Tasmania, including Woretemoeteyenner (c.1790–1847), a Trawlwoolway woman from Tebrikunna in northeast Lutruwita (Tasmania), and Mannalargenna (c.1775–1835), leader of the Plangermaireener. Gough creates works of art that often draw on the histories of her ancestors. She does not shy away from speaking the truth. Her works of art explore and expose forgotten histories and challenge the established colonial narrative perpetuated in Australia's national story.
Gough's studies in prehistoric archaeology have equipped her with foundational skills for working with archives, including investigating, gathering, and analysing historical records. When working with the colonial archive, Gough sees herself as a detective, and her forensic approach has influenced her art practice for the past twenty-five years. She works closely with historical texts and material collections to create installations, site-specific works, sound, and video. Gough is also a leading academic. Her work challenges the one-sidedness of the colonial archive as a national story and examines how the past continues to influence the present.