Dr Sara Andersdotter is an artist, academic and researcher, with a practice-based PhD in Fine Art from the University of the Arts London. Sara’s practice is primarily installation based; projections of still and moving images, sound, smells, photography, found objects and video. Works and projects are often driven by interests in philosophy, challenging the stasis of representation, and concerned with issues of memory, becomings, affect, the animal and the non-human experience, ’minor’/dominant thought, the ‘scrambling of codes’, non-human imaging, fringe groups on the margins of dominant culture, dis/connections to place/space/time, literature, and alternative narratives.
Sara is the Course Director for Contextual Studies at Ravensbourne in London, and has extensive experience in Higher Education. She has lectured on MA/MSc and the BA/BSc courses at various institutions in London.
| EDUCATION . |
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| 2006 – 2015 | PhD in Fine Art, The University of the Arts London | |
| Title of thesis: Choking on the madeleine: encounters and alternative approaches to memory in a contemporary art practice. The University of the Arts London, UK. Supervised by Dr Mark Ingham and Prof Anne Tallentire . |
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| 2005 | Master of Art – Fine Art, Norwich University of the Arts, Norwich, UK | |
| 2003 | Photography & Communication (photographic theory), Göteborg University, Sweden | |
| 2001 | Bachelor of Fine Art, University of Newcastle, Australia | |
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| EXHIBITIONS | ||
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| Solo exhibitions | ||
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| 2012 | disruptive desires, The Crypt at St Mark’s Kennington, London, UK | |
| 2009 | Déjà Perdu, The Centre for Drawing, Wimbledon College of Art, London, UK | |
| 2004 | Fractions, Fotokompaniet Gallery, Göteborg, Sweden | |
| 2001 | Disconnection Portrait, The Foyer Space, University of Newcastle, Australia | |
| Das Schloss, The Foyer Space, University of Newcastle, Australia | ||
| Post-War Silence, Watt Space Galleries, Newcastle, Australia | ||
| Der Prozess, The Foyer Space, University of Newcastle, Australia | ||
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| Group exhibitions | ||
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| 2018
2012 |
Absence, LoosenArt
Orchestrated, Studio One Gallery, London, UK |
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| 2010 | W.A.V.E Borders & Edges, Wimbledon Space, London, UK | |
| Facing Fear, Sotiri prize 2010, Lindart Cultural Centre, Tirana, Albania | ||
| 2009 | CCW Festival (Luffare Narratives installation), Wimbledon College of Art, London, UK | |
| 2008 | Journeys Back, Going Up West, Occupy My Time, London, UK | |
| Urban Space (in collaboration with P. Glavey), Sao Paolo, Brazil | ||
| Urban Space (in collaboration with P. Glavey), NewLife festival, Berlin, Germany | ||
| Mirror for the 21 st Century, BECA Gallery, New Orleans, USA | ||
| 2006 | MA & Other Postgraduates Contemporary Art Exhibition, Atkinson Gallery, Somerset, UK | |
| 2005 | MA Exhibition, Norwich School of Art and Design, Norwich, UK | |
| MA Courses at NSAD,Francis House, Norwich School of Art and Design, Norwich, UK | ||
| 30.22.220, Norwich School of Art and Design, Norwich, UK | ||
| 2002 | Hatched 2002, Perth Institute of Contemporary Art, Perth, Australia | |
| What’s Your Poison , Watt Space Galleries, Newcastle, Australia | ||
| 2001 | Fin, Watt Space Galleries, Newcastle, Australia | |
| The National Tertiary Art Prize, Watt Space Galleries, Newcastle, Australia | ||
| This is _ _ _ art, Damien Minton Gallery, Newcastle, Australia | ||
| The Annual Student Acquisitive Art Prize, Watt Space Galleries, Newcastle, Australia | ||
| …Pre, Calipso Cafe, Cooks Hill, Australia | ||
| R-EVOLVE-R, Watt Space Galleries, Newcastle, Australia | ||
| Blue Static/White Noise, Watt Space Galleries, Newcastle, Australia | ||
| 2000 | Mural Show, The Foyer Space, University of Newcastle, Australia | |
| Stock Solution, Watt Space Galleries, Newcastle, Australia | ||
| The Annual Student Acquisitive Art Prize, Watt Space Galleries, Newcastle, Australia | ||
| Botanical Garden Sculpture Show, Botanical Gardens, Raymond Terrace, Australia | ||
| Alternative Photomedia, University of Western Sydney, Australia | ||
| Watt Next Innovations, Watt Space Galleries, Newcastle, Australia | ||
| 1999 | The Annual Student Aquisitive Art Prize, Watt Space Galleries, Newcastle, Australia | |
| Fibre Art Show, The Foyer Space, University of Newcastle, Australia | ||
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| PUBLICATIONS | ||
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| 2016 | ‘The Politics of Absence: “Minor” Experiences and the Alternative Archive’, The International Journal of Social, Political and Community Agendas in the Arts, Volume 12, Issue 1. Nov 16, 2016 |
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| ‘Editor’s Letter: Conflict’, Corrupted Files, Issue 2. Available: http://www.corruptedfiles.org.uk/portfolio/editors-letter-2/ |
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| 2015 | ‘Editor’s Letter: The Corruptive Forces of the New’, Corrupted Files Issue 1. Available: http://www.corruptedfiles.org.uk/portfolio/editors-letter/ |
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| Photographic work published in L. McQuiston, Visual Impact: Creative Dissent in in the 21st Century. | ||
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| 2010 | ‘Déjà-experiencé – Pastness, Personal Narratives, Memory and Metaphorlessness discussed through a practice-led Research Project’, Chapter in: Narrative, Memory & Ordinary Lives, Huddersfield: the Narrative & Memory Research Group, the University of Huddersfield |
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| Photographic work published in relation to the article ‘Familjevecka i Georgia, USA’, in: Nationellt Kunskapscenter för Dövblindfrågor Newsletter, Oct edition 2010 |
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| CONFERENCES, | SYMPOSIA AND PAPERS | |
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| 2017 | Choking on the madeleine: the Affect of Memory in Art Practice, ‘Human Interfaces: Borderless (Dis)connections and Disrupted Futures’, the Association for Photography in Higher Education (APHE), Norwich University of the Arts, Norwich, UK |
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| 2010 | Minoritarian Experiences: the Stuttering of Alternative Archives, ‘(De)Constructing the Archive in a Digital Age’ symposium, School of the Arts, The University of Loughborough, UK |
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| 2009 | Déjà-experiencé: Memory & Past-ness Considered Through a Practice-Led Research Project, ‘Photography, Archive & Memory’ day symposium, Centre for Research in Film and Audio Visual Cultures, Roehampton University, London, UK |
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| Déjà-experiencé: Memory & Past-ness Considered Through a Practice-Led Research Project, ‘Narrative, Memory & Ordinary Lives’ conference, Narrative & Memory Research Group 9th Annual Conference, University of Huddersfield, Huddersfield, UK |
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| Choking on the madeleine: issues of the metaphor for memory considered through a practice-led research project, ‘Self, Memory and Expression ‘ conference, Portuguese Association for Anglo-American Studies (APEAA) 30th annual conference, Porto, Portugal |
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| Choking on the madeleine: issues of the metaphor for memory considered through a practice-led research project, ‘Spring Research Symposium’ at the University of the Arts London, UK |
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| 2008 | Journeys Back, ‘The Art of Research: Research Narratives’ symposium, Chelsea College of Art, UK | |
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| Choking on the madeleine: issues of the metaphor for memory considered through a practice-led research project, ‘21 st Century Anxiety’ conference, chaired by WJT Mitchell, The University of Nottingham , UK |
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| 2006 | The ‘Mnemic Space’, ‘Summer Research Symposium’, the University of the Arts London, UK | |
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| ARTIST TALKS, | GUEST LECTURES AND PRESENTATIONS | |
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| 2017 | Corrupted Files: an experimental, interdisciplinary, open access journal of research, presentation as a nominee for the ‘Aphies award’ 2017, the Association for Photography in Higher Education (APHE), Norwich University of the Arts, Norwich, UK |
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| 2010 | Presentation on practice based research and the PhD process, The University of the Arts London, UK |
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| 2009 | Guest lecture on PhD research into philosophical notions of memory and the past to MA Fine Art students at Central St Martins, The University of the Arts London, UK |
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| Guest lecture on PhD research into philosophical notions of memory and the past to MA Digital Media at Kingston University, London, UK |
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| Guest lecture on PhD research into philosophical notions of memory and the past to MA Fine Art students at Wimbledon College of Art, The University of the Arts London, UK |
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| 2006 | Guest lecture on PhD research into memory, identity & family photographs, Thames Valley University (University of West London), Ealing, UK |
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| 2005 | Guest lecture on esearch into memory, identity & family photographs, Thames Valley University (University of West London), Ealing, UK |
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| BIBLIOGRAPHY | ||
| ‘Feature on… Sara Andersdotter’, WCA NEWSLETTER, Autumn 2008. Available: http://195.194.24.18/WCA%20Research%20News%20Autumn%20term%202008.pdf |
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| ‘Mirror for the 21 st Century’, SAATCHI ONLINE, Gerald, review, April/May 2008. Available: http://www.saatchi-gallery.co.uk/quick- critique/index.php?show_id=Mirror+for+the+21st+Century& |
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| . | ‘Morgue Meeting Just a Beginning’, THE NEWCASTLE HERALD article, 2001.12.06 | |
| ‘Priced Art’, THE NEWCASTLE HERALD, Chad Watson/Linda Barnier, review, 2001.10.05 | ||
| ‘Profoundity Wins Out’, THE NEWCASTLE HERALD – WEEKENDER, Robert Birch, review, 2001.09.29 | ||
| ‘Icons Fall Into Space’, THE NEWCASTLE HERALD, Jill Stowell | ||
| . | ‘Sharing The Surreal’, THE NEWCASTLE HERALD – WEEKENDER, Jill Stowell, review, 2001.07.21 | |
| ‘Clear Choice’, THE NEWCASTLE HERALD – WEEKENDER, Meryl Ryan, review, 2000.09.16 | ||
| . | ‘Space By The Lake’, THE NEWCASTLE HERALD – WEEKENDER, Jill Stowell, review, 2000.05.19 | |
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| AWARDS | ||
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| 2001 | The Annual Student Acquisitive Art Prize 2001, Winner – Photomedia/Electronic art | |
| 2000 | The Macquarie Manufacturing Sculpture Prize Winner – Best Performance in Sculpture | |
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| COLLECTIONS | ||
| University of Newcastle Union, Australia | ||
| Norwich University of the Arts, UK | ||
| In private collections in the USA, Australia, Hong Kong and Sweden | ||
