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Artist's contribution to publication project edited by Salon for a Speculative Future and MA BIBLIOTHÈQUE.

The aim of the Salon is to champion major female contributions to society and culture through elaborating on and cross fertilising historical, trans-generational, and contemporary critical thought, and creative ideas for a positive future. 


Dates: 27 August -9 September 2018

Selected for a scholarship, alongside Renata DeBonis & Digital and Dead (Sarah Derat and Rachel McRae), to take part in


Contemporary Art Residency and Research in archeological site

In-ruins Residency is an international art research project enquiring into the dynamics of archaeology in relation to digital technology. The residency's aim is to create spaces of encounter between archaeological landscapes and contemporary art practices.

Archaeological sites are places where materiality and integrity still play a fundamental role because constantly searched and desired. Archaeological ruins, especially in the south of Italy, are slowly loosing appealing and that is why this residency, exploring ways of encounter between the fluidity and fragmentary of the digital and the “untouchable” and “sacred” ruins, wants to disclose new ways of looking at archaeology. ​

The residency provides space and time for focused research and art production in the archaeological park of Scolacium in the south of Italy. Artists will be hosted inside the archaeological park and provided of studio spaces, video editing studio and free access to the archaeological site and.


The Location

The Archaeological Park of Scolacium (Borgia, IT) is one of the most important e suggestive archaeological historical sites of southern Italy. The site comprises of archaeological monuments and a secular olive grove and it benefits from a proximity to the airport.


The archaeological ruins are the result of centuries of stratification by different powers: in the roman period it was called Minerva Scolacium, a Roman colony which was established in 123-122 B.C. on the site of the Greek city of Skylletion. After its decline, between the Greek-Gothic war of the sixth century A.D., and the definite abandonment of the city in the eighth century A.D., taking the name of Squillace, it became a Saracen fortress, and between the eleventh and twelfth centuries it was occupied by the Normans.


From 2005 to 2011, the site hosted a series of contemporary exhibitions titled Intersezioni (Intersections). The exhibitions featured important international artists like Daniel Buren, Stephan Balkenhol, Tony Cragg, Wim Delvoye, Jan Fabre, Antony Gormley, Mimmo Paladino, Marc Quinn, Dennis Oppenheim, Michelangelo Pistoletto and Mauro Staccioli.


New Relics 

1st – 24th June 

Thames-Side Studios Gallery

Trinity Wharf Studio TW27 

Harrington Way, Warspite Road 

Royal Borough of Greenwich 

London SE18 5NR 


Axisweb were commissioned to make a film about about Simona's time at the Art House in Wakefield. The film ca be seen here: 

Full film (4'37''):

Trailer (1'19''):



Read the Corridor8 review of Override, Simona's show at The Art House, Wakefield, here: ​



Solo Residency and Exhibition at The Art House, Wakefield

Drury Lane

WF1 2TE Wakefield

Residency Dates: 1st March - 29th March 2018

Exhibition Dates: 28th March - 11th May 2018

Artist Simona Brinkmann was in residency at The Art House throughout March. Art work developed during the residency was then exhibited in the main gallery, launching during the Artwalk on Wednesday 28 March 2018.




Simona Brinkmann, Rome Sculptures - A reversed-time exhibition catalogue with an introduction by Massimiliano Scuderi.

First presented at International Symposium, The Spur, Fondazione Per L'Arte, Rome, November 2017


Artist in residence at Fondazione per l'Arte, Rome, as part of European project The Spur


The Spur is a project aimed at creating a European cooperation network.


Six visual artists from across Europe were offered a grant to carry out research work on the theme of 'the city' in residencies in Albi, Bratislava, Girona, Montpellier, Palma de Mallorca and Rome.


Simona Brinkmann was selected to be resident at Fondazione per l'Arte in Rome.


2nd October - 30th November 2017



Three Works by Simona Brinkmann

Three Works, Weymouth

4-25 August 2017

Private view 4th August 2017 


Contribution to SCHIZM Magazine, Issue # 9 'Duplicity (Polarization and Truthiness)'


Issue #9 launch Wednesday 8th March 2017

with a reading by Sam Basu at 7.30pm


Marcus Campbell Books

43 Holland St, SE1 9JR London, United Kingdom

(opposite Tate Modern)


Schizm Magazine invites contemporary artists and writers to contribute pages in response to a theme which, as the title implies, engages with a paradoxical idea. Each issue combines archival material with original works and texts sent in by between fifteen to thirty contributors. Schizm has launch events as each issue materialises (film screenings, lectures, gigs etc...) and occasionally takes part in exhibitions.  Schizm Magazine is a project based in London, produced & edited by Emma Holmes.


Issue # 9 contributors:

Naomi Afrassiabi, Bob Ajar, Noah Angell, Sam Basu, Simona Brinkmann,

Arnaud Desjardin, John Chilver, Luke Dowd, Patrick Goddard, Kathi Hofer,

Catherine Hughes, Nik Jaffe, Tibor Kuo, Agata Madejska, Benja Sachau & Fiona Sarison.




Get Double Zero'd

Why Simona Likes Black


An interview with artist Simona Brinkmann. Text by Julie Wilkins.





Group show faturing work by Simona Brinkmann, Carlos Noronha Feio, Alzbeta Jaresova, Willem Weissman, TROIKA, Nadege Meriau

Curated by Paul Carey-Kent

Opening 7th July 2016

ArthouSE1, London




23rd January 2016, 2-5pm

The Agency, London


As part of the extended exhibition The Making, the gallery hosts a talk faturing two of the participating artists, shedding light on their practices and concepts. 



Ruth Barker, Simona Brinkmann, Nooshin Farhid, 
Michelle Williams Gamaker, Helena Hamilton,

Andrea Heller, Philippa Snow, Brigitte Stepputis, Gallery 1 and 2 


 The Agency, London

November 2015 - January 2016


One of the most underrated elements of art is the process of making work. And even today, when we can safely assume a fairly level playing field for men and women in the arts, experimentation and techno-conceptual approaches are often insinctively attributed to male artists first. The forthcoming exhibition at the Agency brings together eight contemporary women artists from very different disciplines, who present a part of their process to the viewing public, to give a rare glimpse in how a work is made, reflected upon and in some cases changes meaning in different contexts. Rather than demystifying the practice and rendering it an imitable process, works in progress can reveal a multidimensional approach to considering the merits of an object, film or action. The exhibition will reveal elements of the conception process, which usually remains unseen. It will bring together sculpture, drawing, film, sound, live performance, interactive works and text. The works connect via a common strand of revealing a confident playfulness and an open mind, which is often part of "making" work. 
The period of time from the conception of an idea to the finished object or presentation is usually mystified or simply not mentioned. It takes confidence for an artist to reveal their "making" process and confidence from the viewer not to fear confusion or inaccessibility of thought processes, instead both allowing for a journey to take place. The process of reflection and realisation also throws up unfinished lines of thought or unresolved questions, which offer unexpected tangents in relation to the practice of an artist. In genres where technology is not key, but a craft based approach applies, such as sculpture and drawing the contextual thinking process can reveal astonishing links to notions of social space, financial feasibility and the transposition from one medium to another. Without the privileged access to " the making" of such works, the reading of a finished sculpture and drawing might just throw up genre related formal enquiries, which sometimes is not the answer to the origin of a thought or an underlying tension in the work. 
The insight into the 'process" can also reveal failure and a work in a different medium than originally planned may be the end result. Film and Performance involve scripting and rendering processes. Linguistic considerations can influence technical decisions and vice versa. In the case of performance or sound art "the making" can be less ephemeral than the act itself. During the process of making work aspects of collaboration or impetus also come to the fore, other artists, writers and thinkers take influence on the conceptual direction, which is either visible in the final work or occasionally obscured entirely. In recognition of the importance of collaborative processes and the relaxing of boundaries between disciplines practitioners, who mainly create in the field of writing and design, are contributing works, which show the closeness and striking congruence with art. 
Opening the curtains on the usually hidden part of studio practice expands the possibilities for the reading of a work or a practice overall and pre-empts the retrospective search of the art historian on the how and when. It also reveals the genre crossovers that can occur prior to the completion of a work and surprising possibilities for live interactions, bridging the conventional gap between art and public.


2nd-5th October 

with  The Agency, London - Stand A10

VF BetriebsgesellschaftmbH
Museumstraße 3B/17
A-1070 Vienna


HOLD ON! Solo show at The Agency, London 

24th May - 21st June 2014
Private view: Friday 23rd May 2014



Group show with work by Shahin Afrassiabi, Elisabeth Bellet, Richard Bevan, Simona Brinkmann, Melanie Counsell, Mark Dean, Vicky Falconer, Lucy Harris, Melanie Jackson, Hannah James, Irena Kalodera, Jayne Parker, Melanie de Quincey, Isabelle Mallet, Henrietta Simson, Philip Warnell.

Private view: Tuesday 1st April 2014
Open Wednesday 2nd and Thursday 3rd April, 12-7.30pm and Friday 4th 12-5pm

Triangle Space, Chelsea College of Art 
University of the Arts London


The dub plate sound work LONG RIDER (2008) is now stocked by The Gutter, a new record store devoted to music by artists and run by David Risley Gallery in Copenhagen. 

Opening Friday 21st February 2014, 5pm. 

The Gutter
David Risley Gallery 
Bredgade 65 
1260, København K 


HUSH HUSH, curated by A-Z
With Matt Calderwood and Katja Davar

13th - 21st March 
11am-6pm daily (open until 9pm on 20 March)

One-day Sale open Saturday 22 March 2014, 8am-6pm

Dyson Building, 1 Hester Road, London SW11 4AN


Group show curated by Linda Persson, featuring work by: 

Anna Barriball (UK), Simona Brinkmann (IT/UK), Dara Birnbaum (US), Bettina Buck (DE), Mark Davey (UK), Ana Genoves (ES/UK) Linda Persson (SE/UK), Laure Prouvost (FR/UK), Natasha Rees (UK), Angharad Williams (UK), Carla Wright (U.K)

5 months, Faircharm, 6-8 Creekside, Deptford, LONDON, SE8 3DX

12th- 19th January 2014
Private view: Saturday 11th January, 4pm



November 2013 to May 2014


Solo show at FIVE YEARS, London
Unit 66, 6th Floor, Regent Studios, Andrews Road, London, E8 4QN,

26th October- 17th November 2013
Gallery open: Saturday-Sunday 1pm-6pm
Private view: Friday 25th October, 6pm-9pm

The title of Simona Brinkmann's show at Five Years lists two different ways of describing emptiness. The first is a commonplace expression denoting a vacant, detached state of being. The second is a paradoxical way of describing space. A hollow is ordinarily understood to have a volume. The idea of a 'flat hollow' collapses negative three-dimensional space into two dimensions. This introduces an un-straightforward relation to space. 

Works in the show employ an ambiguous conflation of different logics: the utilitarian nature of construction materials and functional objects coexists with an an interest in surface, the corporeal is pitted against the built environment, traces of living things are presented alongside un-living things. 

Concerned with the ways in which power can be articulated and claimed through space, Brinkmann's work often mines the creative and transformative potential of spatial estrangement, drawing from the conflicts and overlaps between private and public, the fetishisation of space (as well as that of the objects that are used to mediate it) and the idea that space is never neutral or static, but rather a complex process that is constantly 'being made', shaped by a number of factors including a relation to social antagonisms.


Edited by The Modern Language Experiment
Publication launch in Autumn 2013


W R A P P E R, group show featuring the work of four artists who worked in-residence at the Faculty of Art, Design and Architecture at Kingston University for one year between 2010 and 2012.

Platform, Kingston University FADA, Knights Park, Grange Road, Kingston Upon Thames

14th September - 5th October 2012





The possibility of an anti-library, as well as ideas of anti-knowledge and un-learning, informs a new project in SPACE’s LIBRARY gallery. For six weeks in November and December, the Anti-Library will house unread books gathered from over 150 invited contributors each asked to present a single book from their own anti-library, as well a short text outlining their selection. 

The Anti-Library will be displayed within an environment developed by Fay Nicolson and Oliver Smith, in which all the books and short texts submitted by participating artists will be available to handle and read.

SPACE, 129—131 Mare Street, London E8 3RH

From 4th November to 17 December 2011.



AA2A (Artists' Access to Art Colleges Scheme), KINGSTON UNIVERSITY

October 2011 to April 2012.



VESSEL is a curated exhibition of contemporary art running from 22nd September - 30th October taking place in a disused industrial space in Stonehouse, Plymouth, UK. It will showcasing the work of 17 international artists during the visiting months of the British Art Show 7.



Curated By: Carl Slater & Glen Johnston

VESSEL, 22 George Place, Stonehouse, Plymouth



REGARD MATRIXIELS, group show featuring work by Friederike Hamann, Emma Holmes, Cadine Navarro, Manuela Barcezwski, Simona Brikmann, Sarah Gerats, July Video Coalition.

Treignac Project, 2 Rue Ignac Dumergue, Teignac 19260, France

Show runs 26th March to 1st May 2011



THROUGH A GLASS DARKLY, group show featuring works by Miroslaw Balka, Mauro Bonacina, Filippa Barkman, Simona Brinkmann, Jeppe Hein, Julia Pfeiffer.

Maria Stenfors, Unit 4, 21 Wren Street, London W1CF OHX. 

Show runs 27th November 2010 -15th January 2011.


15th September to 7th October 2010

Treignac Project, 2 Rue Ignac Dumergue, Teignac 19260, France



LONG RIDER at DUB SHOP, Kleio Projects, 153 1/2 Stanton Street (Between Suffolk and Clinton Street), NEW YORK. 
6th and 7th March 2010

LONG RIDER (2008) will be fatured at Dub Shop, a pop-up exhibition organised by ((audience)) co-curators Alexis Bhagat and Lauren Rosati.  ((audience)) is a project that explores cinema as a 21st century concert hall. It is dedicated tot he advancement of aural arts by providing wide distribution and new contexts for works by emerging and established sound artists and composers. 

The exhibition will be on view on Saturday March 6th and Sunday March 7th, 2010. An opening reception, with a rotating cast of DJs to be announced, will take place on Saturday March 6th from 7pm til 11pm.

LONG RIDER (2008)  is an artist's dub plate recording of the looped sound of a needle jumping in a groove. The piece  was originally shown as part of  my solo presentation of work at the Marc dePuechredon booth at Art Athina, the International Contemporary Art Fair, in May 2008. The work operates on the level of an object as well as that of a sound piece, relying as it does on the discrepancy between the behaviour of the object as seen (the record spinning smoothly on the turntable) and the sound emanating from it (that of a stuck, skipping record). Dubplates are intrinsically experimental, ephemeral objects. They are one-off recordings, usually made on pvc or plastic with a somewhat inferior sound quality to vinyl and a limited life span. They were widely used, for example, by Studio One in Jamaica when trying out new tunes in dance halls, and many dub plates never made it to become commercially-released vinyl pressings. Each dub plate will only play a finite number of times before the sound quality will start to significantly degrade and it is an important feature of LONG RIDER that the recording will gradually and slowly efface itself with each play.

Each dub plate comes with individual sleeve artwork made from black wood-grain vinyl contact paper of the kind that  was often used to cover cheap speaker cabinets in the 1980s.




[the] Evidence at SUPERMARKET 
Kulterhuset, Sergels Torg, Stockholm
19th-21st February 2010
Press view: 18th February 2010

[the] Evidence is delighted to present bespoke artwork for the fair by past and future contributors to the publication:

Ana Genoves ... JacksonWebb ... Julika Gittner ... Simona Brinkmann ... Dean Kenning ... Geraint Evans ... Nicholas Symes ... Ludovica Gioscia ... Chris Grieves & Richard Battersby ... Dean Brannagan ... Anna Johnson ... Josephine Wood ... Linda Persson ... Jon Purnell ... Tanya Benardout ... Stuart Elliott ... Sarah Sparkes ... Damien Meade ... Sini Pelkki ... Jacopo Miliani ... Clare Kenny ... Linda Barck ... Richard Parry ...


15th January - 15th February

LONG RIDER (2008) will be featured as part of the merchandise at Never Records in New York from January 15th. Never Records is a pop-up artists' record shop located in the old Tower Records store on East 4th Street and Lafayette Street in Manhattan. Never Records is a one-month temporary store organized by artist Tom Reiderer, and made possible by an organization called "No Longer Empty" that donates empty storefronts to artists for public art projects. My recording will be featured in the section that has been given over to artists represented by the ((audience)) festival.

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