portfolio by paula roush

paula roush artistic & curatorial portfolio

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Contents 4 intimate tv - forward:delete (wayback safari) 8 classop (varied papers) 14 A field (of interconnected realities) 20 cctvecstasy 24 Persuasive* probes (1- space captology*) 26 browser landscapes 32 soundtrack for a cctv 36 arphield recordings 40 Protest Academy 44 mud dâ&#x20AC;&#x2122;artiste/ kunstniku muda 48 bowville 52 sos:ok 56 sos:ok at public services 58 SOS:OK exercise/ vaja sos:ok 62 b+b boycott biennale 66 m4: a mobile/modular/multiple urban centre 70 frankfurtress ghetto blast 74 you are free 76 workshift_eastopia 84 Local Worlds spaces, visibilities and transcultural flows 90 The Kinship International Strategy on Surveillance and Suppression 94 welcome goodbye adeus obrigada 100 out/ sourcing 106 Rkdk(ar-ca-de-cay) [the arcade project] 111 EXHIBITIONS (selection) 112 BIBLIOGRAPHY (selection)

intimate tv - forward:delete (wayback safari) cyberformance/performative-lecture by the webcam operators (paula roush, maria lusitano et al), kunstverein harburger bahnhof (hamburg) part of the programme channel tv, december 10th 2010

exploring links between the traces of webcam data found in the wayback machine archive and the ethics of logging and forgetting in network culture, fw: delete (wayback safari) is a performative presentation, in which images from the camgirls archive are re-activated and re-enacted by the webcam operators to explore the semiotic/ scopophilic implications of social life casting. the performative presentation debates the persistence of life traces in the network and the integration of technologies of surveillance/ sousveillance into the structures of desire. it reflects upon the (re) construction of the self, within a networked offline/online linked existence, where the possibilities of organically editing (though selecting and deleting) our online biographies, shape and challenge our construction of identity.

the webcam operators (paula roush, maria lusitano et al), intimate tv - forward:delete (wayback safari), cyberformance/performative-lecture, kunstverein harburger bahnhof (hamburg), 2010

classop (varied papers) exhibition classop (varied papers) by maria lusitano & paula roush, sput-e-nik gallery (Porto), 2010 installation and digital performance “The first stage of this project consisted of a residence in the archive of l. santos in lisbon. The resulting artist’s book, later bound in malmö by a traditional bookbinder- and titled classop (an abridgement for the two portuguese words classe operaria / ‘working class’)- is a sampling of a unique library specialised in the so called PREC - the period after the 25th april portuguese revolution. An archive of texts and images from books on architecture, urban planning and education, it reveals the influence of the historical events that marked the anti-fascist, May 68, student riots, and 1974 revolution of the carnations. A book about a library is an index which is also the construction of an epistemology about the book and the state of not-knowing. It is a fiction-book based on fragments of multiple realities, rehearsed representations of concepts in a state of flux. The library as place and non-place, site and non-site, relational space where the conversation is started, questions are raised, memories activated the myth of a country unfolded and entwined with that of others, in a critical and political intertextuality, made out of subjectivities and ideological representations. The cumplicity, the intimacy of that encounter that carries the bibliographic corpus from historical data into ghostly pixels.” Foreword by Louise Michel

maria lusitano & paula roush, classop (varied papers), installation and digital performance , sput-e-nik gallery (Porto), 2010

A field (of interconnected realities) performative installation by the webcam operators (paula roush, maria lusitano et al), the Living Room 10, Auckland CBD, April 2010

A performative installation featuring a collaboration between paula roush in Auckland (NZ) and Maria Lusitano in Malmo, (Sweden) that consisted in 5 live networked drawing sessions re-enacting Max Ernstâ&#x20AC;&#x2122;s 1934 book Une Semaine de Bonte (A week of goodness), for a new artistâ&#x20AC;&#x2122;s publication. Using webcams, each session was performed live, mixing hand drawing with the use of sketch-a-graph, a machine that can both enlarge and reduce an image whilst copying it.

the webcam operators (paula roush, maria lusitano et al), A field (of interconnected realities), performative installation, the Living Room 10, Auckland CBD, April 2010

cctvecstasy webcam performance part of AGM 09 under_ctrl January 15th - 25th, 2009 At QUAD (art center and cinema), Derby, and Broadway Media Centre, Nottingham. Curated by Alfredo Cramerotti and Iben Bentzen (AGM) AGM 09 under_ctrl explores our behavior with technologies of surveillance and counter-surveillance. New media artists, designers, writers and performers respond to the cultural environment generated by CCTV and (self ) recording. This 7th edition of the media art event AGM is part of the Radiator Biennial Festival and Symposium and includes exhibition, new media and video installations, performances, music and talks.

cctvecstasy explores webcam performance in the surveillance space. in front of a live audience, a webcam user (cctvecstasy), zaps through different live cams, projecting images of encounters â&#x20AC;&#x201C;planned and impromptu-taking place in one of the oldest webcam-chat online communities. the webcam operators featuring: paula roush as cctvecstasy, marie josiane agossou as marie_pix, deej fabyc as deedee4000, maria lusitano as alfazema, lara morais as byme, , lina jungergĂĽrd as opaean , aaron de montesse as de montesse, susana mendes silva as misssms, anne marte overaa as anne marte.

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the webcam operators, cctvecstasy, webcam performance, AGM 09 under_ctrl / Radiator Biennial Festival and Symposium, QUAD (art center and cinema), Derby, 2009

paula roush, cctvecstasy, webcam performance, AGM 09 under_ctrl / Radiator Biennial Festival and Symposium, Q

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QUAD (art center and cinema), Derby, 2009

browser landscapes

paula roush: browser landscapes I-IV, 2010, screen recordings transferred onto DVD with sound installation: 4 projectors, loop commissioned for the exhibition: tirésias - video de artistas made in portugal/ video by artists made in portugal, with the support of Instituto Camões and the Portuguese Embassy in Uruguai. Centro Cultural de EspaÑa in Montevideo, April-July 2010. Included in ikonokash Centro Cultural de Lagos, Algarve, Portugal, from the 5th June to the 31 July 2010. ikonoklash at slideshare browser landscapes the photobook, paperback, 166 paginas

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browser landscapes I-IV, 2010, screen recordings transferred onto DVD with sound installation, 4 projectors, loop

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Persuasive* probes (1- space captology*) exhibition Turn Me On, Pavilhão 28, Lisbon, 2008 for the launch of the book Video-Art & Art and essay film in Portugal). curated by : Bruno Marques, Israel Guarda, Ivo Braz, José Oliveira Persuasive* probes (1- space captology*) is an installation made of 3 elements -a small scale kinetic sculpture made out of a miniature model of a space probe that slowly turns around its axis is installed on site, just outside the room in pavilhao 28; the model is placed on the horizon of the planes flying over on the pathway to Lisbon airport; -a cctv camera incorporated in the model, streams the images to the room; when an airplane passes through, the occasional incident is captured live; -a video projector streams the live view of the model and airplane flights on the wall playing with ambiguities of optics, scale, transmission and truthful/ fictional narratives of international space missions and incidents. The rising and setting sun provide the outside installation’s environmental conditions, which is supplemented by the use of additional local light sources

References: *Persuasive Technology By B. J. Fogg (the emergence of captology)

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paula roush, persuasive probes (1- space captology, installation, exhibition Turn Me On, Pavilh達o 28, Lisbon, 2008

paula roush, persuasive probes (1- space captology, 2008, installation, exhibition Turn Me On, Pavilh達o 28, Lisbon

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n, 2008

soundtrack for a cctv voyeur project view gallery, lisbon dec 2007- jan 2008 curated by rodrigo vilhena soundtrack for a cctv explored the intersection of web 2.0 and ip-surveillance, and consisted of a networked camera and a loudspeaker placed outside the gallery, in timor street, lisbon. the web page soundtrackforacctv.msdm.org.uk displayed five successive alternate view frames of the same patch of the street (distant to closeup to 4 screen image) with embedded podcasts, playing mp3s occasionally addressing the pedestrians when the viewer looked through the peephole, the visual scene on the web page was one of their own body caught in the act of looking, as fed live via the networked camera, and accompanied by the soundtrack. The automatic refreshing of the web page provided different perspectives and sound files to accompany the scene. The camera, the speaker and the peephole were made visible through signage and a union jack. The use of cctv in the title of the project was a reference to the history of surveillance in video art.

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paula roush, soundtrack for a cctv, networked installation, voyeur project view gallery, lisbon dec 2007jan 2008

paula roush, soundtrack for a cctv, networked installation, voyeur project view gallery, lisbon dec 2007- jan 2008

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arphield recordings tagged exhibition, SPACE Media Arts London 2006 curated by: heather corcoran Showing at: TAGGED one day event at SPACE Media Arts (NodeLondon March 2006) Welcome Goodbye Adeus Obrigada (Stockwell Tube Station, June 2006), TAGGED exhibition, SPACE Media Arts October 2006 arphield recordings is a project documenting impromptu arphid sound performance produced by people scanning their oysters cards in the daily routine of access control to the london tube stations. Part of Tagged, an exhibition of five works by artists working with RFID technology, an ongoing project produced by [ s p a c e ] Media Arts. Standing for Radio Frequency Identification RFID can potentially function without your knowledge and with widespread functions across many commercial, public and governmental industries. All the artists in Tagged utilise electronic tagging technologies highlighting their increasing impact with society and their influence in shaping our day to day lives.

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paula roush, arphield recordings, installation, tagged exhibition, SPACE Media Arts London 2006

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Protest Academy installation and archive at Elastic Residence, London 2005 performative installation & free academy commissioned by elastic residency & heimat modern, london/leipzig, 2005-06 The academy was launched in London in February-March 2005 as an audio-visual archive that developed throughout a three weekend period at the Elastic Residence. For the occasion, the guest delegates participated with works of tactical sound for the 4 part collective score of the academy’s inaugural lecture titled: ‘What are we doing? What’s happening to us? What needs to be done? I prefer not to’ which was performed and streamed live during the weekend of 26th and 27th February. The audio archive is published as vinyl (ed 500) with insert libretto. msdm’s Protest Academy is part of General Panel’s introductory summer course on ‘Protest and Production of Urban Space’ [Leipzig, May –Aug 2005].

Elastic Residence, London (Feb 2005) Heimat Moderne Experimentale 1, Leipzig (Aug 2005), Kunsthalle Exerngrass, Vienna (Oct 2006)

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paula roush, Protest Academy installation and archive at Elastic Residence, London 2005

paula roush, I lost my voice today, protest academy installation and sound workshop at Kunsthalle Exerngrass, Vie

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enna, 2006

mud d’artiste/ kunstniku muda part of the exhibitions: Space Protocol, curated by Louise Garrett with paula roush/msdm and Manuela Ribadeneira/Artes No Decorativas S.A. Rael Artel Gallery, Pärnu, Estonia, 2005 GLOBAL TOUR Art, Travel & Beyond at W139, Amsterdam A group exhibition realised according to a concept by Amiel Grumberg, 2006 with: Boris Achour, Renaud Auguste-Dormeuil, Zeigam Azizov, Alberto Baraya, David Balula, Otto Berchem, Jordi Bernado, Candice Breitz, Mircea Cantor, Jota Castro, Coco Fusco, Meschac Gaba, Gerald, Hong Hao, IAT, Martin Krenn, Oliver Ressler, Paula Roush, Nika Spalinger, Manit Sriwanichpoom.

I was invited for a project by the Rael Artel Gallery in Pärnu, an Estonian seaside resort and a tourist destination renown for its many sanatoria and mud baths. I decided to work directly with mud. I was interested both in the material, its healing and artistic qualities, and in the place, the Pärnu Mudaravila, the first sanatorium and grand neo-classical building opened in 1838. The health programme developed in Pärnu has, over the years, mutated from a trade union health centre for workers during the soviet occupation to become, since Estonian independence, a liberalised post soviet event space. Today, the sanatorium also houses a wax museum, sharing the original treatment facilities with an exhibition of wax celebrity lookalikes, which includes, in an amazing feat of time-space compression, side-by-side simulacras of Stalin, Princess Diana and Arnold Schwarzenegger. Before travelling to Pärnu, I found the local weather report available online via a webcam that feeds live video from the main street’s tourism office. This webcam was part of a global network of surveillance cameras: the Axis 2100 Webcam (made in Sweden), is a pre-programmable device with its own server, which sends images from weather stations, shopping malls, university libraries and nature resorts all over the world. To address the relationship between tourism and surveillance and post 9/11 anti-terror legislation that make it illegal to wear face coverings such as masks and face paint in public space, I tried to obtain Pärnu mud to build a mud mask. This proved impossible as the local mud is not available for sale and can only be experienced as part of the sanatorium treatment. Furthermore, the Pärnu mud is only used on the body, facial treatment being excluded from the current mud treatment practice. I visited the sanatorium and negotiated my own special treatment, which consisted of a unique blend of mud to cover my head and face. When I finished the treatment I took away enough mud to be bottled as a small series of mud d’artiste (artist’s mud) multiples, which include two to be displayed locally - one for the Rael Artel gallery where the exhibition took place and the other for the Museum of Pärnu, which has an archive of the local mud baths sanatoria. The other mud d’artiste bottles are to be included in the exhibition, Global Tour Project, addressing the issues of tourism and surveillance. The mud d’artiste multiples are accompanied by a video juxtaposing the images of the mud mask treatment with the wax look-alikes, both filmed at the sanatorium. The project will be finalised the day I make a wax look-alike of myself with the mud mask. links Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, Paula Roush, Pilvi Takala. Maja, Estonian Architectural Review, Landscapes Issue, May 2006,Pp 39-43.

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paula roush, mud dâ&#x20AC;&#x2122;artiste/ kunstniku muda, Rael Artel Gallery, PĂ¤rnu, Estonia, 2005

paula roush, mud dâ&#x20AC;&#x2122;artiste/ kunstniku muda, GLOBAL TOUR Art, Travel & Beyond at W139, Amsterdam, 2006

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bowville commission for bow wireless/[SPACE]/ London, 2004 locative media performance

In August 2004 as the Home Office prepared to test the efficiency of the electronic tagging systems developed by major UK security companies, Marian Manesta Forrester was electronically tagged and given three days to earn her citizenship to Bowville. Commissioned by [SPACE/ bow wireless] London, the locative media performance used off-the -shelf purpose built equipment that simulated the official electronic tagging system to create a fictional game during which people were allowed to vote for and follow the movements of Marian Manesta Forrester to become a citizen of Bowville.

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paula roush, bowville, performative installation, bow wireless/[SPACE]/ London, 2004

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sos:ok performative installation commissioned by coleman project space, london 2004 This project plays with the role of in artistic practices in urban regeneration. Organized in the London neighbourhood of Bermondsey (known as Biscuit Town), the work brought together local residents and employees of now-closed Peek Freans Biscuit Factory to produce an “emergency biscuit.” As part of a series of events highlighting the area’s history, the team produced then a new series of nutritional biscuits, packaged as emergency food rations. The first stage of the project was a week of workshops that compiled the reminiscences of those who had worked in the factory. The second part gathered together four hundred volunteers, who then participated in the operation SOS:OK, the largest simulation of an emergency food relief program ever to take place in London. The launch and the time based performance of SOS:OK was inserted into a wider public campaign including billboards which explored the manufacture of place, in this case, the re-appropriation of Biscuit Town as a distinct location and provided a way of connecting the local production with global issues of productivity, emergency and international solidarity. The relational aspects of the artistic-curatorial practice, were tested as it responded to site-specific aspects of the commission, creating a new product for the area, which is freely released under a creative commons licensing scheme, allowing the former workers of the Peek Freans factory and others to re-use it as source for future creative work. The project also engages with current debates on the role of artists working in the public sphere, having been integrated in the touring exhibition Public Services which brings together projects by artists and architects whose works and research deal with problems involving the service sector in contemporary urban environments. These projects represent a critical consideration of alternative models of public services, which, ideally, are founded on the principles of openness, access, equality, participation, mobility, adaptability, and transformativity. http://www.msdm.org.uk/sos_ok/

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paula roush, sos:ok, performative installation, coleman project space, london 2004

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sos:ok at public services integrated in the exhibition Public Services curated by Tadej Pogacar, touring to Pavel Haus, Austria, gallery P74, Ljubljana, and Sparwasser gallery, Berlin The exhibition Public Services brings together projects by artists and architects whose works and research deal with problems involving the service sector in contemporary urban environments. These projects represent a critical consideration of alternative models of public services, which, ideally, are founded on the principles of openness, access, equality, participation, mobility, adaptability, and transformativity. When artists today think about structures and forms in the contemporary city, they think above all about the importance of open communication within urban structures. By occupying the space that lies between the many different users of cities, corporate capital (and its interests), and the urban structure, they draw attention to processes of degradation and appropriation, borders between public and private, the de-industrialization and agrarianization of cities, and so on, while developing new public-service models based on participation, exchange, and solidarity. Public Services presents five different starting points for engagement and five explicitly subjective approaches. These projects and creative works have been conceived as forms of immediate and physical intervention in the structure of the city, as social interaction, as a virtual utopian scheme, etc. In terms of their goals, these works may be either indirect or immediate, action-based or utopian. Paula Roush works in a variety of media - architecture, sound, video, photography, installation, etc. Her recent project SOS:OK (Save Our Souls: Zero Killings), organized in the London neighborhood of Bermondsey (known as Biscuit Town), brought together local residents and employees of now-closed Peek Freans Biscuit Factory to produce an “emergency biscuit.” As part of a series of events highlighting the area’s history, they produced a new series of nutritional biscuits, packaged as emergency food rations. The first stage of the project was a week of workshops that compiled the reminiscences of those who had worked in the factory. The second part gathered together four hundred volunteers, who then participated in the operation SOS:OK, the largest simulation of an emergency food relief program ever to take place in London. extracts from the curator’s text published in the catalogue Public Services

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paula roush, exhibition public services installation shot

SOS:OK exercise/ vaja sos:ok Ljubljana | 7 to 24 September gallery P74 vaja sos:ok The Gallery P74 stages the largest ever simulation of terror attack followed by the galleryâ&#x20AC;&#x2122;s decontamination

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paula roush, sos:ok exercise/ vaja sos:ok, performative installation gallery P74, Ljubljana, 2004

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b+b boycott biennale performative installation commissioned by b+b for the prague biennale National Gallery Prague and Czech Centre London, 2003 performative installation/archive B+B Boycott Biennale: A real time task-based performance of invigilation of the Boycott Biennale Archive - a participatory installation documenting the history of boycott to art biennales from 1968 to the present. Presented at ‘The Art of Survival’, Czech Embassy London, the National Gallery Prague and the Czech Centre London. The intervention at the Prague Biennale, included a street trade performance outside the gallery selling the t-shirts to the public who wore the slogan ‘B+B Boycott Biennale’ for the opening night. A catalogue of the Prague Biennale was published by Politi Editors. A foldable poster was published by b+b for the Czech Centre. paula roush(concept) with the collaboration of b + b (curators), patrice hanicotte (photography), anne marie etienne (modeling), general clothing (curators’ dress), consol rodriguez (design) multiples: set of t-shirts with B+B Boycott Biennale logo, edition of 200, silkscreen on cotton. Curator’s dress with B+B Boycott Biennale logo, edition of 1, silkscreen on linen.

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paula roush, B+B Boycott Biennale, performative installation/archive, National Gallery Prague and Czech Centre London, 2003

paula roush, B+B Boycott Biennale, performative installation/archive, National Gallery Prague and Czech Centre L

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London, 2003

m4: a mobile/modular/multiple urban centre dessau/ frankfurt/ graz mobile installation 2001-2003 In 2000 the city of Frankfurt opened the debate on the development of the largest european urban entertainment centre in the empty former trains station. The site was named the European Quarter and the commissioning process -launched amongst selected architectural practices- was contested by the residents of the surrounding quarters whose desires for a public park were largely ignored. Led by a group of artists, architects and scholars, the Bauhaus Kolleg programme at the Bauhas Dessau Foundation took the site and the public discussion as the case study for its research project ‘Event City”. My contribution was the m4, a multipurpose kiosk, as a symbolic a tool to initiate the occupation of the vacant European Quarter. In addition to activate the empty site and develop connections with the urban field, I saw it as a way to facilitate access and provoke other forms of occupation: activate a meeting point for both the Burgerinitiative ( European Quarter citizen’s action committee ) and the residents’ own touristic fantasies, facilitate an intermediary space for both the long-distance travellers and the urban nomads, and provide a multifunctional platform for informal economies. The term para-architecture (anthony vidier) references (following daniel sherer) the adoption of a type of artistic work which approximates architectural conditions without adopting exclusively architectural means and which appropriates methods of representation from architecture for its own ends. Within this practice, m4-uec investigates current models of networked entertainment, using guerilla like occupation of the terrain vague. Symbolic forms of architecture inspired in the vernacular topologies of the do-ityourself settlements and underground economies, from kyosks to red ligth sex vitrines, constitute subjective discursive sites for survival models of eco-located identities and citizenships

Exhibitions ‘Europe CC: Changing Cities 05’, Haus der Architektur, Graz, Austria, 2002 ‘Contemplation Room’, Overgaden Gallery, Copenhagen, Denmark, 2002 ‘Other Routes’, Generic Fun, New York, 2002 ‘Event City’, Mousonturm, Frankfurt/ Main, Germany, 2002 ‘Urban Detours’, Bauhaus Foundation, Dessau 2001 The project Event City was published as a book by Campus Verlag

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paula roush, m4, Urban Detours exhibition, Bauhaus Foundation, Dessau 2001

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frankfurtress ghetto blast computer game, 2001 A computer game as a strategy for mapping the global city was developed in collaboration with sociologist Regina Bittner during a fellowship residency at the Bauhaus Kolleg, Dessau. Part of the three-phase research programme set up by the Bauhaus Kolleg for the site of the European Quarter in Frankfurt/Main, Germany. On site research was focused on three levels: the cognitive maps and spatial scenes of Frankfurt that form the social image of the space, the architectural strategies for the creation of themed urban spaces and the everyday practices of creating places as interactive spaces. Frankfurtress Ghetto Blast transposes these ideas into the aesthetics of computer games ( the arcade style games). The game world (the play environment) is a cartography of the global city. It is a multi-layered spatial platform, consisting of 10 spatial plateaux which represent different sectors of urban condition, from the very centralised to the outer region. The ten plateaux are: citadel, ghetto, inner city, red light, neo-urban, para-urban, neo-rural, old-rural, airport and deportation zone. Alongside the spatiality, another entry into the game is through identity. I differentiated identity kits that can also be described as avatars. I list them: tourist, neo-urban, post-fordist middle-class, metro businessman, young urban entrepreneur, declasse, old rural, vagabond, neo-rural and hacker. What distinguishes these types is their living and working quarters as well as their model of urbanity. Presented at: Bauhaus Foundation Dessau and Monsotourm Frankfurt, ‘Brandscapes’, Hochschule Der Kunst, Berlin ‘Time and Space in Megalopolis’, City Gallery Prague Infoscapes: City cartography - Informational Navigation’, 5th Graz Biennial of Media and Architecture, Graz, Austria. Published in: (2002) Roush, P., ‘Frankfurt Ghetto Blast’ in ‘Glocal: Event City 1′, Catalogue, Bauhaus Dessau Foundation, Dessau (2002) Roush, P., ‘Effects of Locality: Frankfurtress Ghetto Blast’. In ‘Event City’, Edition Bauhaus Campus Verlag, Frankfurt /New York.

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paula roush, frankfurtress ghetto blast, flash games, screenshot, 2001

paula roush, frankfurtress ghetto blast, flash games, screenshots, 2001

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you are free city-wide campaign commissioned by the worldinformation.org for the world information city, 2005 IN COLLABORATION WITH: Institut für Neue Kulturtechnologien/t0 | World-Information City: Public Outreach Program, Bangalore, Various locations; zart21 Arte Urbana para Intervencao, Lisboa CONCEPT: You are free/ Tu es livre: This project consists of invading the everyday space of advertising, whose production and consumption cycle is dominated by a regime of intellectual property known as ‘copyright’ with an infiltration from the parallel production regime of copyleft. The posters You are free contain the URL http://www.msdm.org.uk/youarefree to download its source file and legal code. Along the lines of the overall topic “What do stricter intellectual property laws mean for the public, for digital ecology, accessibility of knowledge, and also for the future of urban spaces?” World-Information. Org presented billboards, posters and stickers in the public sphere. The World-Information Public Outreach Program aims to raise awareness on issues of the information society in the public sphere and will introduce these themes into the urban environment of Bangalore. Various media interventions were located in different parts of the city. Along with billboards, posters, stickers and traditional Indian media forms like cut-outs, banners over streets and wall paintings, the use of monitors and digital displays presented key messages.

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paula roush, you are free, city-wide posters campaign, Bangalore, 2005

workshift_eastopia ‘ Work_shift: Eastopia: A public art performance for the Bow Festival consisting of a real time task-based performance of street invigilation of sites connected to radical feminist socialism of the London’ East End. Women were recruited via the job centre and trained with an expert in museum invigilation, adopting the work rota of the Tate Modern to the public space of Bow.

work_shift’ is the intersection of two task-based performances. Using the work of invigilation as its departure point, it explores the boundaries between archive and fiction, real-time performance and its documentation. The first performance is based in the historical archive of east london, including the work of sylvia pankhurst, an art student who left the academy to become a radical socialist and create the ‘people’s army’ and the ‘toy factory’, the first women-led co-op. A group of women were hired by the fictional company ‘eastopia’ and trained to invigilate both public and domestic spaces related to this archive, adapting the rota used by museum invigilators to the streets of east london. The real time taskbased performance was thought as a response to the policing of urban and museum spaces, building links between the materialist ideology of the labour archive and the aestheticisation of daily life in inner city for tourism and festivals. The second instance is the presentation of the london work at CAMJAP -the Lisbon Modern Art Centreand as a meta-archive considers the relationship between performance and its documentation. In addition to the use of random scripting in the presentation of the video material as a counter-documentary strategy, there is a proposal for a real-time invigilation in which an invigilator from SOV- the security company hired to invigilate CAMJAP- wears for her work shift one of the ‘eastopia’ uniforms and regularly reads fragments from the book ‘work& beauty’ using her wireless radio.

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work_shift archive-video-installation in the exhibition Ponto de Encontro/ meeting point, Centro de Arte Moderna Jose de Azeredo Perdigao, Lisbon 2004 Archive and task-based performance: work uniforms with logos (skirts, shirts, ties, arm-bands and identification cards), two-way radios, books ‘work & beauty’ (barcelona-london, 2002) and ‘out/sourcing’ (london 2002-2003) by msdm publications, photos, maps and other printed documents, random scripted digital video disk, digital video disk player, loudspeakers, tables and seats Dimensions variable.

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work_shift archive-video-installation in the exhibition Ponto de Encontro/ meeting point, Centro de Arte Modern

Archive and task-based performance: work uniforms with logos (skirts, shirts, ties, arm-bands and identification c msdm publications, photos, maps and other printed documents, random scripted digital video disk, digital video Dimensions variable.

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na Jose de Azeredo Perdigao, Lisbon 2004

cards), two-way radios, books ‘work & beauty’ (barcelona-london, 2002) and ‘out/sourcing’ (london 2002-2003) by o disk player, loudspeakers, tables and seats

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CURATORIAL PROJECTS

Local Worlds spaces, visibilities and transcultural flows co-curators: paula roush & Lúcia Marques Centro Cultural de Lagos + Forte Pau da Bandeira Lagos, Portugal - 13.06.2008 - 07.09.2008 Project developed under the programme ALLGARVE www.allgarve.pt | www.localworlds.org The project Local Worlds brings together a range of international contemporary media art and performance works that explore the relationship between the local and the global, looking at how experiences of travel, diaspora and displacement can inform our perceptions of identity, culture and nation. The title refers both to the way the world is part of Lagos local imaginary and the way the local is a form of engagement of the artists with the world they live in. Juxtaposing for the first time works whose sites of reflection include Portugal (specially the Algarve’s region), other Europes and different Africas, amongst other continents with colonial histories, the project maps out the complex spatialities and subjectivities crossed by those in transit. Engaging with emotional landscapes and personal narratives of place, each work invites the viewer to approach the local — be it intimate, public, real or imaginary — as a psycho geography of everyday objects and practices. Staged as a discursive platform, the exhibition includes site-specific work, installation, and video screenings, occupying the multiple spaces of Centro Cultural de Lagos, including artistic interventions in the Forte Pau da Bandeira. During June, July and August the multidisciplinary programme of events also involves performance, workshops, talks and cinema, in order to map the plurality of strategies that currently characterizes the dynamics of the local. Local Worlds is an initiative designed for the Centro Cultural de Lagos, under the 2th edition of the ALLGARVE and proposes a platform of artistic production for reflection on cultural diversity that characterizes the heterogeneity of cities today. Participants in the project: Adekunle Detokunbo-Bello, Ângela Ferreira, António da Cunha Telles, António Ole, Beatrice Catanzaro, Cláudia Cristóvão, Cláudia Lopes Costa, Eduardo Matos, Eduardo Padilha, Faisal Abdu’Allah, Francisco Vidal, Gustavo Sumpta, Inês Amado, Inês Gonçalves, Jane Thorburn, Jorge Pereira, Jorge Pereirinha Pires, José Pinheiro, Kiluanje Liberdade, LAC, Luísa Homem, Manthia Diawara, Melanie Jackson, Mónica de Miranda, Ondjaki, Paul Goodwin, Pedro Sena Nunes, Psychological Art Circus, Red Bull Music Academy, Renée Green, Ricardo Valentim, Susana de Medeiros, Susana Guardado, Tiago Cutileiro, Uncle C, Vasco Pimentel, Victor Lopes, Ynaiê Dawson.

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Faisal Abduâ&#x20AC;&#x2122;Allah: Shared World workshop, july 2008 at Centro Cultural de Lagos. On the cover of the Mundos Locais / Local Worlds catalogue.

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The Kinship International Strategy on Surveillance and Suppression a project directed and facilitated by Camilla Brueton, Joanna Callaghan, Deej Fabyc and Paula Roush with guest artists, exploring notions of surveillance and suppression in contemporary society. KISSS encompasses a large range of work through the utilisation of four curatorial strategies. Each strategy is led by a key artist: I See You See: public space surveillance / Camilla Brueton Media Watch: media speak, subtext and information dissemination methodologies / Joanna Callaghan Body Fortress: How our bodies reflect our culture(s), phobias, supresssed energies, hopes and dissapointments / Deej Fabyc Tagsonomy: addressing classificatory systems in current surveillance practice with a special focus on electronic tagging / Paula Roush exhibitions: KISSS was officially launched in August 2005 at the Whitechapel Gallery, London. The KISSS strategies were presented to a full house, in a live, intermedia combination of performance, video, interventions and working sessions. This was followed in September by a ‘summit’, which like Camp David, took place in an isolated country retreat, Woodspring Priory, a suppressed church, located near a high security MOD facility by the sea. A new piece of work Thomas’ Head was developed in response to the site, the historical archive and ideas of surveillance and suppression developed and enacted in public space. Also in September, London’s art radio Resonance 104.4 hosted a six week discussion program as part of Media Watch/KISSS In October 2005, the first KISSS exhibition took place at artist run space Conical Gallery in Melbourne Australia. In October 2008, KISSS at the Castelfield galllery was a mult-platform show featuring video, photography, installation and performance.

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camilla Brueton, KISSS at the Castelfield galllery , October 2008,

John McGrath, KISSS Symposium at the Castelfield galllery , October 2008,

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Carlos Amorales, KISSS video screening at the Castelfield galllery , October 2008,

welcome goodbye adeus obrigada A Portuguese season of artists who use journeys, dislocations and imaginary nations as the inspiration and departure for their work. Theatre events 3 May- 9 June 2006 at the Blue Elephant Theatre, Camberwell SE5 Visual arts 3 May- 30 June at the Blue Elephant Gallery, msdmSHOPPUB (Brixton Village Market) and in public locations in and around little Portugal in Stockwell SE9, South London With: Teatro Praga, Patrícia Portela, Beatriz Cantinho, Cão Solteiro, Rogério Nuno Costa, Marília Maria Mira, Valentim Quaresma, Teresa Milheiro, Rodrigo Vilhena, Liavali Coquet, Mónica De Miranda, Paula Roush, Ana António Gill, Luís Torres, Nuno Luz The projects share references to tourism, migration and new geographies, encouraging speculations about the existence of a third space: a hybrid territory developing from transnational encounters and cross-border dialogues embedded in the fabric of day to day life. The programme brings together for the first time Portuguese artists from Lisbon and living in the U.K. http://welcomegoodbye.blogspot.com/

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teresa Milheiro lives and works in Lisbon Creates wearable life systems reutilising animal bones and teeth within a new paradigm of objects for self-defence and survival. These are bio-jewels with a dual reference to antiquity and future, which have developed into interventive jewels, with a strong critical component, namely in reaction to current obsession with self-image, and the world economic leadersâ&#x20AC;&#x2122; response to ecological crisis. This is visible in the survival kit, a prototype for the emergency conversion of urine into drinkable water.

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liavali coquet lives and works in Sheffield Liavali Coquet has a dual background in philosophy and goldsmithing. This comes across in her research Chinese Rituals and Traditions: Looking Through the Female Eye between 960–1911 in China, which follows the history of foot-binding, where different issues surrounding the body come under scrutiny. Attempting to understand the female space, Liavali’s work concentrates on how and why this space is constructed and its repercussions on women’s bodies and their perceptions of the world they inhabit.

Mónica De Miranda lives and works in London Mónica’s work is rooted in a globalised culture, pushing boundaries and conventional notions of place and nation. At the core of her critical practice is an interest for the after-effects of colonisation on contemporary geographies and current flux of migratory movements. Projects such as ‘In between Lines’ – a participatory hand knitted luggage boat, with its references to both the Portuguese colonialism and women’s crafts-create cross cultural fertilisations, with diverse senses of identity and belonging.

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Rodrigo Vilhena lives and works in Lisbon ‘Solaris’ is a work in progress and it is about the painting process itself as a perpetual redrawing of boundaries. The unknown planet is recreated as an ocean of paintings floating in the immensity of the universe, “taking into consideration the desires hidden in the darkest recesses of our minds” (Stanislaw Lem– “Solaris”). Solaris’ interface between painting and display reveals Rodrigo’s double identity as an artist and curator of the Voyeur Project View, an alternative gallery located in the Anjos neighbourhood, in Lisbon. Solo exhibitions are shown to the public through a peephole in the door that can be accessed 24 hours a day.

out/ sourcing commissioned by iniva -institute of international visual arts, london -for the soft season installation and events 2002 A curatorial project for the Soft Season at the Institute of International Visual A, focused on artist-led curatorial strategies. Ten workers from different disciplines were gathered to investigate the interdependence of labour, aesthetics, and social thought within current notions of work. The exhibition’s starting point was the research into the nineteenth-century industrial history of Shoreditch [the area where the gallery is situated] with East London’s Geffrye Museum of English Domestic Interiors being a pivotal element. The museum, established by the founders of the Arts and Crafts Movement, acted as a conduit between past and present, the colonial and post-colonial, where issues around nation, class, labour and aesthetics converged. The installation at TheSpace@inIVA sampled architectural styles from the Geffrye Museum’s rooms. The project also included the outsourcing of the following: a collaborative [28 participants] book ‘Work & Beauty’, the textual-visual archive ‘El Sueno Colectivo’, the robotic software ‘coyBOTt’, the white paper ‘Background and Context for the Application of coyBOTt Software to Systematic Analysis of Branding, Boycott, and Cultural Sponsorship’, and the video screening ‘Work & Non Work’, during which members of the audience were paid to watch. The project is documented in the catalogue Out/sourcing.

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paula roush, out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002

coyBOTt launched for out-sourcing, msdm project for iniva's soft season The coyBOTt software and graphic interface is built around a simple database that contains several types of information about global brands. The data variables, gathered through a combination of static processes (data entry by hand) and dynamic functions (automated search tools), are: -brand name -brand rank from 1-100 in the Interbrand ‘World’s Most Valuable Brand’ list (published online at www. interbrand.com and by Business Week) -www.google.com search engine hits for online calls to boycott global brands -news & articles published about boycotts against the brand in major english-language newspapers from 1999 to 2001. These data are gathered for all 100 top global brands, and then used to calculate the position of an avatar that represents each brand in virtual 3D space. The user can select between various versions of the brand avatar, switching between cubes and spheres and choosing whether to texturize the avatar surface with the brand logo. In addition, these brand avatars have been made to ‘breathe,’ inflating and deflating according to the rise and fall of their stock quotes over the course of the year. Stock values are downloaded dynamically from a stock quotes database fed with financial information by Yahoo. Viewed all together, coyBOTt builds a 3D data cloud which allows the user to view the avatars of brand power and boycott activity like a school of fish in an aquarium, or a flock of pigeons in flight. The user is able to navigate between different views of the data cloud, zooming in and out, rotating the axes, and magnifying or shrinking the size of the avatars. The user can also toggle a viewing mode where brands are sorted by industry. In this case, a smooth animated transition shows the brand/boycott avatar cloud separate itself into its constituent industry cloudlets.In addition, the user can select any avatar to display a range of information about the brand, including global rank, boycott activity, stock rise and fall, and corporate arts sponsorship. The initial coyBOTt prototype was built around top global brands between the year 1999-2001. Future versions may track brand, boycott, and sponsorship activities year after year, and increase the brands studied to include national or local as well as global brands. In this complete version, coyBOTt might be able to constantly upgrade itself, and users might be able to develop and input new variables and categories of information to track and analyse practices of branding and resistance.

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paula roush, coyBOTt software for out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002

paula roush, el sueno collectivo video archive for out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002

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paula roush, work & beauty artists publication for out-sourcing, a curatorial project for the Soft Season at the inIVA, london 2002

Rkdk(ar-ca-de-cay) [the arcade project] The Brixton Electric Arcade and The Trade Apartment Gallery, London, 2001 Public interventions and installations Curated by:paula roush/msdm Participants: Zeigam Azivov, Pino Boresta, Inhabit, What we Call Progress, s/plice, Syndicate + Snorkel, Ana Laura Lopez de la Torre, Jorn Ebner, Oreet Ashery, Space Hijackers, Ronee Hui, Katarina Sevic/PP, Eduardo Padilha, Melina Berkenwald, and Gustav Metzger

A project for the Brixton Electric Arcade with a finale the Trade Apartment Gallery, with artists working in the intersection of art, urbanism and social space. The aim of exploring through group work and actionresearch the wider economic, cultural and political implications of working in the public sphere, was reflected on projects engaged with issues of progress, decay, and the memory of place.

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EXHIBITIONS (selection) Solo/selection 2010 classop (varied papers) by maria lusitano & paula roush, sput-e-nik gallery (Porto), 2010 2007 Soundtrack for a cctv, voyeur project view, Lisbon 2006 arphield recordings, tagged project at space, and welcome goodbye adeus obrigada, stockwell tube station, London 2005 Collaborative Aesthetics in a Self-Centred World, paula roush & eva rudlinger, ASC Studios, London Space Protocol, msdm & artes non-decorativas, Rael Artel Gallery, Parnu msdm Protest Academy, Heimat Moderne, Experimentale 1-general panel, Leipzig msdm What are we doing? What is happening to us? What needs to be done? I prefer not to, Elastic Residence, London 2004 SOS:OK Save Our Souls: Zero Killings Emergency Biscuit, Coleman Project Space, London Exercise SOS:OK, Gallery P74, Ljubljana Bowville, Bow Festival (Bow Wireless commission), London 2002: msdm Out/sourcing, Institute of International Visual Arts, London GROUP/selection 2010 intimate tv - forward:delete (wayback safari). kunstverein harburger bahnhof, Hamburg A field (of interconnected realities), the Living Room 10, Auckland CBD tirĂŠsias -video by artists made in portugal, Centro Cultural de EspaĂ&#x2018;a in Montevideo, ikonokash Centro Cultural de Lagos, Algarve, 2009 cctv ecstasy AGM 09 under_ctrl, At QUAD, Derby 2008 Local Worlds spaces, visibilities and transcultural flows, Centro Cultural de Lagos Turn me on, pavilhao 28, Lisbon 2007 Vtape, Hospital Julio de Matos, Lisbon Destinations, Area 10, London 2006 Ear Appeal, Kunsthalle Exerngrass, Vienna Love & Anarchy, K3, Zurich Tagged, SPACE Media Arts, , London Welcome Goodbye adeus Obrigada, The Blue ElephantTheatre, London Give(A) Way, Limerick Art Biennale, Limerick Public Services, P74, Ljubljana/ Sparwasser, Berlin 2005 Global Tour Project, W139, Amsterdam Public Services, Pavel Haus, Laafeld Disobedience, Play Gallery and Kunstraum Bethanien, Transmediale 05, Berlin 2004 Perfectly Placed, South London Gallery, London Meeting Point, Centro de Arte Moderna Jose Azeredo Perdigao, Lisboa 2003 Contested Space, Spacio Alcatraz Stazione Leopolda, Firenze Prague Biennale 1, Galleria Nazionale Veletrzni Palac, Prague 2002 out/sourcing, iniva -institute of international visual arts, london Europe cc. changing cities 05, Haus der Architektur, Graz Contemplation Room, Overgaden Gallery, Copenhagen

BIBLIOGRAPHY (selection) Bob Dickinson, KISSS Kinship International Strategy on Surveillance and Suppression. Art Monthly, November 2008, Issue n.321. Andy Murray, KISSS… your privacy goodbye. Metro, Monday, October 13, 2008 Mark Howarth-Booth, Conspiracy Dwellings. Aperture magazine Fall 2008, Issue n.192 . Luís Ricardo Duarte, Um banho de arte, Jornal de Letras, 18 Jun 2008 Jose Luis Porfirio, Lagos global, Expresso Actual Julho 08 Celso Martins, Cultura Emprestada, Expresso Actual 19 Julho 08 Jose Marmeleira, Virados ao sul, l+arte 50, julho 08 JM, Instalação convida a «provar e pensar» frutos, Jornal da Madeira/ Cultura / 2008-06-15 Laranjas algarvias transformadas em arte, Observatorio do Algarve, 14-06-2008 Simon Bainbridge, Where there’s art, there brass, British Journal of Photography, 18 June 2008 Armindo Vicente, Toneladas de laranjas marcaram arranque do programa “Allgarve” Barlavento online, 23 de Junho de 2008 Armindo Vicente, 20 mil pessoas já visitaram exposições do Allgarve, Barlavento online, 22 de Julho de 2008 Mark Howarth-Booth, Conspiracy Dwellings. Aperture magazine, Fall. Download the pdf here: aperture_ conspiracy.pdf Régine Debatty, New Brave World workshop at iMAL: RFID and art. March 2008. Pryle Behrman, 2007 Ad, Art Monthly, July-August 2007 Sheila McGregor, (2006). New art on view: celebrating the success of the contemporary art society’s special collection scheme. Scala Publishers. Régine Debatty, Orwellian projects. we-make-money-not-art.com. September 2006. Timo Arnall, Touch>Bruce Sterling at ‘How I learned to love RFID’ . June 2006 Régine Debatty, Arphid sound performances in the metro. we-make-money-not-art.com. April 2006. Anthony Alexander, Of RFIDs and Arphids: The logistics of the Future Mute magazine, June 2006 Armin Medosch, The Spychip Under Your Skin:RFID and the Tagged exhibition, Space Media Arts, October 2006 published online, read html here or download pdf: http://www.spacemedia.org.uk/files/Tagged_Essay.pdf Rael Artel, Artists In Fieldwork: Anu Vahtra, Jaanus Samma, Paula Roush, Pilvi Takala. Maja, Estonian Architectural Review, Landscapes Issue, May 2006,Pp 39-43.

Katy Deepwell: KISSS revealed: Deej Fabyc, Paula Roush and Camilla Brueton on Kinship International Strategy on Surveillance and Suppression (KISSS), KT PRESS, n.paradoxa, Volume 17, Jan 2006: Journeys/ order here Louise Garrett, Infiltrate Estonia: SPACE PROTOCOL, Rael Artel Gallery, Parnu, Estonia 2005 Suhjung Hur, Annie On Ni Wan, Andrew Paterson, Locative Media, on and off the beaten track, LEA Locative Media Gallery, 2006 Katy Deepwell, KISSS revealed: Deej Fabyc, Paula Roush and Camilla Brueton, n.Paradoxa, vol.17 2006 Sara Raza: Art in Security and Security in Art-KISSS Kinship International Strategy on Surveillance and Suppression, 2005 Tadej Pogacar, Public Services, Catalogue Public Services exhibition, PavelHaus, October 2005 Martin Mcnamara, Evidently Biscuit Town, Southwark Life, issue 51 p.18 Feb-Mar 2005 Hattie Spires, The Crisis of Interpretation: An Investigation Into The Dynamics of Engagement with SiteSpecific Art in the Age Of Squanto. Dissertation, Ma In Contemporary Art Theory, Goldsmiths College. September 2004. msdm Stenciled Papers, Date of Issue: January 2005 Joanna Callaghan, Go on! Have another one! True Review, December 2004 Sara Raza, Performance: Strategy And Process in The Work Of Adrian Piper, Lida Abdul, Sussan Dyhim, Reza Aramesh and Paula Roush. Notes for the Presentation Delivered at Artsadmin November 2004 Zeigam Azizov, POSTSCRIPT (Part One): Portuguese live art in the age of scripted reality: Teatro Praga, Cao Solteiro, Beatriz Cantinho and Valerio Romao, Rogerio Nuno Costa,November 2004 Heather Greig-Smith, Operation SOS:OK, Bermondsey, south London. Regeneration & Renewal, 5 November 2004, p8 Annie Kelly, Bermondsey takes the biscuit Former Peek Freen employees back community project The Guardian, Wednesday October 20, 2004 Will Pavia, Taking the biscuit Southwark Weekender 15 oct 2004 Alice Park, Current perspectives on the role of art in urban development. Do artistic interventions benefit a community? Art in Community Settings, Birkbeck College, University of London 2004, Published in SOS:OK guide, msdm publications 2004 Jaka Jeleznikar, interview with paula roush about â&#x20AC;&#x2DC;exercise sos:okâ&#x20AC;&#x2122; at gallery 74, Mladina, Ljubljana, September-October 2004 Boris Gorupic, Paula Roush, B B, deloskop 9.9-15.9.04 Tadeja Milek, preview segment on exercise sos:ok, Val 202 (Slovenia FM Radio) 06.09.04 Camelia Gupta, Artists' work is perfectly placed, 24 hour museum, aug 2004 Paul Rhys, 'Perfectly placed to enjoy the art of the people', ICNetwork Aug 27 2004

Jessica Lack, "prefectly Placed-Preview', The Guardian, August 7 2004 Zeigam Azizov, 'when PhD becomes an art work…' msdm stenciled papers, published for the exhibition Perfectly Placed, South London Gallery, date of issue: july 2004 Zeigam Azizov, Memory Factory at Coleman Project Space, Published in SOS:OK guide, msdm publications 2004 Will Pavia, Last week hundreds of people piled into a gallery in Bermondsey, Southwark News June 17 2004 Lúcia Marques, A Experiência da Cidade - Londres - 4 Perfis, Storm-magazine may-june 2004 Celso Martins, Balanco de Actividades Ar.Co – 25 anos a reinventar joalharia, Expresso April 3 2003 Axel Vogelsang, The Art Audience as User, PHD Research, Arts & Design, Central SaintMartins College, November 2003 Antje Mayer, Discount-Biennale. Kunst & Kultur July 2003 Antje Mayer, 'Boycott - Prague Biennale I', Kunst & Kultur, July 2003 Becky Shaw, 'The Pernicious Nature of Opposition Chic', The Static Pamphlet, Issue 03. 2004 Louis Armand, Prague Biennale , Artmargins 2003 Sarah Carrington and Sophie Hope, 'A Revolt at the Door' in B B (Ed.): Art of Survival London Artists Travel to Prague, poster publication 2003 Sarah Carrington and Sophie Hope,'The Art of Survival'. In Giancarlo Politi (Ed.): Prague Biennale1 Peripheries Become the Center, pp 506-514, Flash Art, Milan 2003 Paula Roush in Conversation with Ella Gibbs, Alasdair Hopwood, Barry Sykes and Sean Parfitt in The Art of Survival curated by B B (Sarah Carrington and Sophie Hope), Published in Politi, G. (Ed.), Prague Biennale1: peripheries become the center, Milan 2003, pp 506-515, 2003 Jonah Brucker-Cohen, J., 'Report from RAM2: A Joker in the Global Bunker Workshop',NOEMA Tecnologie e Società 2003 Jan Inge Reilstad, 'From The White Cube to The Black Box to The Personal Computer and out in The Grey Wide Open – or How to Reapproach New Media. An Essay on the Postdigital Artscene.' Localmotives.com 2003 Kandl, J., Kampfer fur's Gluck, Kunstverein Ulm 2003 Zeigam Azizov, 'Brand Ranking: Working in Between Consciousness and Conformity'. In Out/sourcing, msdm publications 2003 Melanie Keen, 'Interview'. In Out/sourcing, msdm publications 2003 Eva Schmidt, 'City Stripping', GAK: Gesellschaft fur Aktuelle Kunst, Bremen 2001 Regina Bittner, ' Places Out of Images', Urban Detours, Bauhaus Foundation, Dessau 2001

Kai Vockler, 'Time and Space in Megalopolis', The City Gallery, Prague 2001 Brian Holmes, Le mode de diffusion.PARACHUTE No.98(Avril, Mai et Juin) 2000 Jennifer Burnham, Women With Attitude, SMART, Issue 3, London 2000 Liz Farrelly, 'Peckham Calling'. In 'Blueprint', July/ August 2000

thank you!