Alexandra Chairetaki is a landscape urbanist with a particular interest in collaborative approaches to practice that allow for social, spatial and political contexts to coexist. Recently, she has been exploring how circular and peer-to-peer methodologies can enable equal access to resources and thus create more respectful cities.
Gráinne Charlton is a feminist researcher and organiser based between Marseille and Grantham. Gráinne’s writing and organising centres ending: deportations, detention centres and borders, fighting: precarity and corporate profit and building: renters and workers’ rights, transnational organising and political education.
Laurie Cummins is a creative producer, writer, and researcher. They are currently programme producer at The Art House Wakefield. Programmatic and research work is often aimed at: enabling creative process; expanding the definitions of culture; changing problematic policy structures; accessibility in the arts; and investigating visual art’s role in activism.
Phoebe Eustance is an artist and researcher. Their practice explores conditions of space and labour in relation to, and whilst also questioning, structures of institutional care. Drawing from queer, intersectional feminist discourse, they ask what is rendered visible and invisible by these conditions, and how agencies can be realigned through collective processes of unlearning.
Jade Foster is a curator, creative producer and artist of Caribbean heritage. They are the founder and initiator of Black Curators Collective (BCC), which is a collective and forum for black women and non-binary curators in the UK. BCC is an active space of rest, of reinforcement, of resistance. Jade cares about: queer-centred practices, intersectionality and black feminism.
Colette Griffin is a curator, creative producer and artist. Her interests centre on programming that explores the architecture of our lives, the institutions and expectations that shape everyday experiences, actions and interactions. Colette is curator at Mansions of the Future, an arts and cultural hub in Lincoln which privileges social, site-specific, and collaborative ways of working.
Milika Muritu is a curator in the visual arts and director of Cell Project Space. Her work re-examines approaches to working outside mainstream institutions, the concept and practice of collectivity and its resistance to social acquiescence along with the role and position of historical archives in the present day.
Hugh Nicholson is an artist, currently working between London and Nottingham. Ongoing concerns include: advertising; alienation; astronomy; autonomy; commoning; community; critique; collectivity; security-glass; strikes; contracts; cuckoos; publishing; packaging; pedagogy; property; violence; labour; birdsong; theft.
Ese Onojeruo’s practice as an interdisciplinary artist and curator is underpinned by a hyper-awareness of the ways gender and race can be felt as a phenomenological experience. Ese is particularly interested in how the communal experiences of ‘exclusion’ and the case of black feminism ‘unwomening’ are shared by women of colour and encourages alternative methodologies to learning.
Jessica Piette is a curator and writer based in Birmingham, whose research and practice is informed by ecocritical and intersectional feminist discourse. She explores the role of polyvocal discourse and collaboration in the production of the commons, and aims to create spaces where horizontal ways of working and living together are explored and shared.
Raúl Valdivia is a Peruvian-born independent researcher based in the UK. His interests include visual, cultural and curatorial studies, with a particular focus on Latin America. Trained in clinical psychology and sociology, Raúl received his Ph.D. from the School of Arts at Birkbeck, with a thesis on the photographic practice of marginalised groups in Peru. He enjoys photography in his spare time.
In 2019, Nottingham Contemporary launched CAMPUS, a non-formal education programme with a focus on critical pedagogies. Throughout a series of events which included seminars, lectures, and informal conversations, CAMPUS participants engaged in critical dialogues and collective learning. The views expressed in this text are not representative of the entire CAMPUS cohort.