Second-Hand: tracing performative responses through drawing and archiving

Lead Research Organisation: University of the Arts London
Department Name: Wimbledon College of Art

Abstract

This Fellowship will explore the relationship between drawing as a form of evidence to capture the fleeting dynamics of social relations and co-authorship that take place in participatory practices.

The research takes as its starting point an interest in the potential of art to be a social as well as a creative contract between artists, collaborators and audiences, beyond the traditional role assigned to artists and their relationship to making art.

These collaborative works come out of unrehearsed and improvised situations that I orchestrate with other people. The performative encounters produce an abundance of documentary material, and this growing collection of 'performance relics' now requires an organising structure. My aim is to develop a manageable archive and utilise these documents as a studio-based practice, and as the basis for making drawings. The drawings that come out of these encounters mimic strategies of documentation, where I copy or trace texts or images that emerge during the process of the participation.

Whilst building on existing work, this Fellowship will represent a new departure by bringing into focus the antagonisms and creative forms of risk that takes place in collaborative work, and as such, there are ethical issues that arise that have to be addressed. These include providing an understanding amongst participants of the extent of their involvement, and their inclusion in the final outcome; identifying and clarifying where ownership and copyright resides; and sometimes, dealing with conflict during a participatory encounter. A significant part of my research will look at the debates and practices that have recently sprung up around the subject of art and social interaction. My aim will be to question the philanthropy that underlies this practice, often assuming that it is beneficial to the recipients, or that creative agency is a one-way channel that originates from the artist to the participants. However, what is often concealed by this kind of debate are the complex power relations and questions of ownership and authorship.

To delve deeper into these questions of the politics and poetics of social interaction as art, I shall take up an invitation by artist Jeanne van Heeswijk, to join the Blue House in IJburg; a recently developed residential area built on a cluster of man-made islands on the outskirts of Amsterdam. At the heart of this growing residential area Heeswijk has initiated an experimental community of artists, architects, thinkers and scholars to actively help shape the cultural dialogue between inhabitants of Block 35 and the emerging community.

The Centre for Drawing at Wimbledon College of Art will provide an excellent host for my Fellowship and it will enable me to explore the relationship between collaboration and drawing. Through an engagement and discussions with colleagues, it will be my first opportunity to consider this practice within an academic framework, and to ask what status drawing might occupy within this 'relational' context. The Project Space at the Centre for Drawing is an appropriate setting for the collaborative encounters and a suitable context for developing my ideas on copying and tracing.

Publications

10 25 50
 
Title "A Missing History: The Other Story Revisited". 
Description The 'Devotional Wallpaper' (since 2008) is a continuously changing digital wallpaper print that consists of 200 hand-drawn names of Black-British female singers, designed as a simple grid-like geometric pattern. The names of the performers are donated by members of the general public. The artwork was shown in the exhibition 'A Missing History: The Other Story Revisited' at the Aicon Gallery in London to commemorate the twentieth anniversary of the groundbreaking Other Story: Afro-Asian Artists in Postwar Britain exhibition that originally took place at the Hayward Gallery in 1989. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2009 
Impact This artwork is a dynamic and constantly shifting work, reliant upon an ongoing dialogue with members of the general public to update information on performers who face the possibility of collective amnesia. 
 
Title "Action" Exhibit, Bluecoat Gallery, Liverpool, 30 January - 28 March 2010. 
Description The 'Action' exhibition at the Bluecoat Gallery in Liverpool explored ideas around the depictions of performative actions in art. The exhibition was curated by Sonia Boyce and the four artists: Beverley Bennett, Appau Boayke-Yiadom, Robin Deacon and Grace Ndiritu were chosen because the object of their performative attention was not about depicting themselves. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2010 
Impact 'Action' accompanied the 'Like Love Parts One and Two' exhibitions at the Bluecoat Gallery. It involved all of the artists giving public presentations as part of the art centre's public engagement programme. 
URL http://www.artinliverpool.com/?p=16443
 
Title "Afuera! Art in Public Spaces". 
Description The Cultural Center España Córdoba (CCEC) realizes the international exhibition of contemporary art called ¡Afuera! Arte en Espacios Públicos (OUTSIDE! Art in Public Spaces). Connecting the public spaces, the urban rhythms and the social spaces of communities and daily life, the productions of the invited artists will seek to give an incentive to reflections and encounters, they will seek to highlight secret bonds and conflicts, to activate the civic participation, to mediate between problems and potentials of the social reality and to regain the vital experience of the city and its habitants. The exhibition is structured into four sections: Public Space, El Panal (The Honeycomb), Residencies and the Auditory. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2010 
Impact The project involved a residency, the production of an artwork titled 'Gather: Justicia' and a series of public talks and educational engagements. 
URL http://www.e-artnow.org/announcement-archive/archive/2010/10/article/ACTION/4443/
 
Title "Ask Yo Mama". 
Description The title of the exhibition 'Ask Yo Mama' relates to the Afro-Atlantic tradition of signifying, rap and storytelling. While classic jazz songs such as "Signifying Monkey" by Oscar Brown Junior, hip-hop tracks such as Utfo's "Ask Yo Mama", the American trash-talking game "dirty dozen" or the numerous Yo Mama jokes use the "mother" figure just as an instrument of an artistic verbal fight to insult and psychologically undermine the opponent, the exhibition project Ask Yo Mama turns the insolent pattern of rap and scat inside out: it takes the words literally and consciously focuses on female artists, who present their version of the story in the form of an artistic work that relates to "black sound". The group exhibition which took place at the Kunstraum Niederoesterreich in Vienna, included the artworks of Ihu Anyanwu, Anna Zwingl, Ina Wudtke, Sangam Sharma, Constanze Schweiger, Yvette Mattern and Sonia Boyce. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2011 
Impact This exhibition showed the 'Devotional Wallpaper'. 
URL http://www.kunstraum.net/en/programme/42-ask-yo-mama
 
Title "Coming Ashore". 
Description Coming Ashore was an exhibition at the Berardo Museum/P-28 Container Project curated by Paul Goodwin and involving the artists Ines Amado and Sonia Boyce. Taking as its starting point the Praça do Império Gardens of Belém - a popular location in the heart of Lisbon, built to commemorate Portugal's imperial past. The exhibition sought to explore forms of post-colonial melancholia in the urban context. I produced a new three-screen video titled Dance of Belem. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2011 
Impact The exhibition sought to address approaches to post-colonial debates in contemporary art practice, and the public talk that followed the opening of the exhibition explored these themes further. The three-screen video 'Dance of Belem' was made for this exhibition. 
 
Title "Dance of Belem". 
Description Working with Lisbon-based contemporary dancer Vania Gala and DJ Johnny Cooltrain, forms of anxiety are expressed in aesthetic terms in the three-part film Dance of Belém, where the dancer and DJ are independently invited to create a response to the historic and contemporary nature of the Praça do Império gardens of Belém - a popular location in the heart of Lisbon, built to commemorate Portugal's imperial past. The project sought to explore independent curator Paul Goodwin's interest in forms of post-colonial melancholia. On the verge of the un-containable, the audacious movements of the dancer and the infectious rhythm of the soundtrack urge us to consider what it means for the black body to 'act-up' in the public realm. The film itself comprises of three distinct episodes: RUN, FALL, and WALK, all edited to the same Koduro-inspired soundtrack, yet possessing very different qualities. 
Type Of Art Artwork 
Year Produced 2011 
Impact 'Dance of Belem' was shown as part of the exhibition Coming Ashore at the Berardo Collection Museum/P-28 Container Project in Lisbon, along with the artist Ines Amado. 
URL http://www.theguardian.com/artanddesign/2011/jul/12/lisbon-shipping-containers-art
 
Title "Egg Cosy/The Resurrection" intervention at Compton Bverney, as part of 'What the Folk Say' Exhibit, combining object from Marx-Lambert Folk Collection with object from Northern European Collection. 
Description In a statement for the What the Folk Say brochure, I explained my choices to reposition two items in the Compton Verney Collection: "My current concerns are to find ways to activate pre-existing documents and objects to create new meanings - in short, to create collages. As such, it was rather impish of me to choose a hand-knitted egg cosy from the Marx-Lambert Collection. Once chosen, it seemed logical to fulfil its function to cover something else. Reverence aside, by juxtaposing the egg cosy with the alabaster relief 'The Resurrection', the combined object vacillates between comfort and its underside - aggression." 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2010 
Impact Compton Verney's British Folk Art collection appears in unexpected places around the collections and throughout the building. Curated with artist Paul Ryan, artists were invited to choose one Folk Art work to be repositioned and taken out of its usual context. Artists included: Tasha Amini, James Ayres, Daniel Baker, Sir Peter Blake, Sonia Boyce, Faye Claridge, Simon Costin, Jeremy Deller, Carolyn Flood, Jenny Gordon, Antonia Harrison, Susan Hiller, Juneau Projects, Alan Kane, Paula MacArthur, Mike Nelson, Martin Myrone, Paul Ryan and Sarah Woodfine. 
URL https://www.youtube.com/watch?v=bp8x9MP00SI
 
Title "Femmes 'R' Us". 
Description "Femmes 'R' Us: Feminism in pop music, art and film today" was a group exhibition at Radialsystem V in Berlin. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2008 
Impact "Femmes 'R' Us" was the first time the Devotional Wallpaper was exhibited, which at that point was a silk-screen print. It has subsequently been digitally printed. 
URL http://www.femmes-breaks.com/femmes-r-us/html/frames-engl.html
 
Title "Gather: Justicia". 
Description In 2010, Sonia Boyce was invited to make a work in Cordoba, the second largest city in Argentina. The programme - ¡Afuera! Art in Public Spaces, was a large-scale project inviting international artists to respond to the city. On the 4 October 2010, a choral group from the Architectural School, directed by Gustavo Maldino sang Maria Elena Walsh's song 'Oración a la Justicia' (A Prayer to Justice), in the former Police Detention Centre in the heart of the city, what is now the Memorial Museum, attesting to the violation of human rights that took place during the "Dirty War 1978-1983". A few days before, the Afuera curatorial team arranged with the local radio station for a call to go out to invite the general public to join the performance in the Museum. About 60 people joined the performance. Inevitably, given the recent history of these events, choir members and those who came to take part, knew some of the people who perished. 
Type Of Art Artwork 
Year Produced 2010 
Impact The ¡Afuera! Art in Public Spaces was a huge art project involving over 30 artists; commissions; a residency programme; public/educational projects; an exhibition and symposium. The 'Gather: Justicia' artwork now exists on YouTube so that those who took part (amongst others) can have access to it. 
URL https://www.youtube.com/watch?v=eEw5pFl3HmY
 
Title "Griot Girlz: Feminist Art and the Black Atlantic". 
Description "Griot Girlz: Feminist Art and the Black Atlantic" was a group exhibition at the Kunstlerhaus Büchsenhausen in Innsbruck. It was curated by artist Ina Wudtke, and included the artworks of Sonia Boyce, Minouk Lim, Yvette Mattern and Ina Wudtke. The 'Devotional Wallpaper' was shown in this exhibition as a digital print. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2010 
Impact This was the second showing of this wallpaper as artwork, and it has continued to give greater exposure to the project across Europe. 
URL http://www.e-artnow.org/announcement-archive/archive/2010/6/article/ACTION/3926/
 
Title "Ho Narro". 
Description The two-screen video 'Ho Narro' documents the Fasnacht carnival in Konstanz, Germany in 2009. Of particular interest is the transformative power of Carneval, and the chance it affords 'ordinary' people to act-up, transgress and escape commonplace power relations. One example of this is when the Freie Blätz (strange rooster-like masquerade figures, and one of the oldest Fasnacht Carneval Associations) enters the local school to free young people so that they may take their rightful place amongst the revelry. 
Type Of Art Artwork 
Year Produced 2009 
Impact 'Ho Narro' was shown at the Kunstverein Konstanz in November 2009; it was also shown as part of the Inclusive Museums conference events at Collecton Hall, alongside another work 'Crop Over'; and, is due to be shown again alongside 'Crop Over' in 'Everything Masquerade! Carnival, the Carnivalesque and Masquerade in Art, at MEWO Kunsthalle in Memmingen (22.11.2014-22.02.2015) 
URL http://www.mewo-kunsthalle.de/ausstellungen/allesmaskerade.html
 
Title "In-and-Outside - Writing". 
Description "In- and-Outside - writing", was a group exhibition at the Voorkamer in Lier. The exhibition explored the area when writing and drawing are most closely related. The contributing artists were Joe Amrhein (US) Kasper Andreasen (DK) Maria Barnas (NL) Simon Benson (UK) David Blackmore (IE) Beni Bischof (CH) Sonia Boyce (UK) James Brooks (UK) Ryan Brown (US) Pavel Büchler (UK) Kenny Callens (BE) Paul Casaer (BE) Kelly Chorpening (US) Geert Clarisse (BE) Klaus Compagnie (BE) Wouter Coolens (BE) Vaast Colson (BE) Anne Daems (BE) Rik De Boe (BE) Thierry De Cordier (BE) Voebe de Gruyter (NL) Johan De Wilde (BE) Reinhard Doubrawa (DE) Sacha Eckes (BE) Fred Eerdekens (BE) Rachel E. Foster (US) llse Ermen (BE) Benoît Felix (BE) Rebecca Fortnum (UK) Christoph Fink (BE) Joe Hardesty (US) Ane Mette Hol (NO) Toine Horvers (NL) Dean Hughes (UK) Adam Humphries (UK) Hiroko Ichihara (JP) Susan Johanknecht (US) David Kramer (US) Werner Mannaers (BE) Norma Markley (UK) Bert Mebius (NL) Tine Melzer (DE) Patrick Merckaert (BE) Louisa Minkin (UK) Carlo Mistiaen (BE) Peter Morrens (BE) Anna Mossman (UK) Marc Nagtzaam (NL) Rupert Norfolk (UK) Ans Nys (BE) Alice O'Hanlon (UK) Serge Onnen (FR/NL) Pol Pierart (BE) William Powhida (US) Guy Richards Smit (US) Steve Roden (US) Guy Rombouts (BE) Wilhelm Sasnal (PL) Armand Schulthess (CH) Rosalie Schweiker (DE) Kate Scrivener (UK) Frank Selby (US) Patricia Smith (US) Lore Smolders (BE) Deb Sokolow (US) Molly Springfield (US) Katrin Stroböl (DE) Walter Swennes (BE) Ante Timmermans (BE) Jim Torok (US) Cody Trepte (US) Philippe Vandenberg (BE) Stephan Van Den Burg (NL) Rinus Van de Velde (BE) Reinaart Vanhoe (NL) Marijn van Kreij (NL) Dries Warlop (BE) Melvin Way (UK) Ofer Wolberger (US) Stéphane Querrec (FR) 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2011 
Impact The 'Devotional Wallpaper' was shown in this exhibition. There was a subsequent publication. 
URL http://www.benoitfelix.com/actualit├ęs/and-outside-writing-voorkamer-lier-b-225-1772011-wwwvoorkamerb...
 
Title "Like Love Part Three" a series of 12 photographic prints, Potteries Museum & Art Gallery, Stoke-on-Trent. 
Description Working with a miniatures artisan in Stoke on Trent, and a fine artist in London, who carved figurines, Like love Part Three sought to address the question of care and love. The narrative that developed around this aspect of the trilogy of works (Parts One, Two and Three) produced a series of 12 photographs and 2 videos, concerned with the crafting of miniature worlds of love and home-making and make-belief. 
Type Of Art Artwork 
Year Produced 2010 
Impact This work was inspired by the Potteries Museum and Art Gallery's Barlaston Hall dolls house, and Sue Kirkham the miniatures artisan, was able to develop public workshops at the museum as a consequence of the project. In addition, the work produced features in the Like Love publication published by Greenbox Press, Berlin. 
URL http://www.stokesentinel.co.uk/Artist-s-work-goes-display/story-12492304-detail/story.html
 
Title "Like Love Part Two", a series of 4 films and 3 prints based on collaborative drawings, Bluecoat Gallery, Liverpool. 
Description 'Like Love' is a multi-media installation by Sonia Boyce originated from a residency at Meriton School for Young Parents in Bristol, where it was shown at Spike October 2009. The exhibition explores universal ideas around the concept of care - the emotion we invest in others and in the making of works of art. In Bristol, Boyce produced a series of artworks from classroom discussions, which address fragmentary experience of longing, and raise questions about due care and contemporary life. Unique to Liverpool, Like Love - Part Two includes new work by Boyce in collaboration with the Blue Room, a year round arts service for adults with learning disabilities that operates three days a week at the Bluecoat. The encounters the adults experienced around the question of care and desire has informed and drive the creative process. Boyce met regularly with the Blue Room group over a past six month period; engaging with the participants to create drawings and films around their experiences with love. In one encounter, Sonia and the Blue Room took to Crosby beach to make a film of the participants dancing to their favourite love songs. The artworks in the exhibition consisted of three filmed interviews with participants asking each to talk about love and care. Adjacent to these films hung three large-scale prints based on drawings made between the artists and the participants. On the other side of the gallery a single-channel video of the group dancing on Crosby Beach was screened. 
Type Of Art Artwork 
Year Produced 2010 
Impact The whole process of creating this work - alongside the other two parts of the trilogy - involved a durational period of engagement with participants to co-produce the final artworks. 
URL http://www.artinliverpool.com/?p=16443
 
Title "Like Love Part one" a series of drawings, prints & an animation derived from a series of discussions with the students of the Meriton School for Young Parents, Bristol. 
Description Like Love Part One was the first of a trilogy of artworks produced whilst in residency. A series of drawings, prints, photographs, a wallpaper and an animation were brought together as an installation and was produced as a result of discussions with students of the Meriton School for Young Parents in Bristol. The narrative combination of works speak about young desire and insecurities though is not a profile of the participants involved yet drew on their understanding of the subject. 
Type Of Art Artwork 
Year Produced 2009 
Impact The progressive nature of the residency programme Spike in the City (initiated by Spike Island in association with the Meriton School) and the works developed proved a big challenge. As part of the process, the young women/students were encouraged to make their own work, which became an animation that was shown at the Watershed. 
URL http://www.spikeisland.org.uk/events/exhibitions/sonia-boyce-love-part-one/
 
Title "Like Love Parts One, Two and Three". 
Description The publication 'Like Love' brings together elements from Sonia Boyce's exhibitions 'Like Love - Part One, Two and Three' at Spike Island, Bristol, the Bluecoat, Liverpool, and The Potteries Museum & Art Gallery, Stoke-on-Trent, respectively, with extracts from behind-the-scenes conversations and processes, newly commissioned texts and the literary sources that in part inspired Sonia Boyce, most notably Roland Barthes's A Lover's Discourse, which deconstructs the concept of love from the various viewpoints of its many bearers and sufferers. The structure of this artist book both reflects the fragmentary nature of Barthes's narrative, as well as the multiple perspectives of Boyce's collaborators, who worked with her to explore ideas around 'care', an emotion embodied in a steady, deep and enduring commitment to people and things; an emotion that is 'like love'. 
Type Of Art Creative Writing 
Year Produced 2010 
Impact Sonia Boyce Like Love 72 pages 48 illustrations 165 x 240 mm Hardcover - embossed, different papers English Design: Anja Lutz The Green Box, Berlin 2010 ISBN 978-3-941644-16-8 Like Love was made possible by Spike Island, Bristol in partnership with the Bluecoat Gallery, Liverpool and The Potteries Museum and Art Gallery, Stoke-on-Trent; Arts Council England National Touring; Liverpool City Council; The Green Box. Berlin; and, the AHRC 
URL http://www.thegreenbox.net/en/books/love
 
Title "Oh Adelaide: a collaboration with Ain Bailey". 
Description 'Oh Adelaide' (duration 7mins) is an exploration on the use of the archive. It is a collaboration with sound artist Ain Bailey, also known as DJ Miss Bailey - one of the named in the Devotional series, with Sonia Boyce. As a way to re-activate the archive Ain was invited to delve into the Devotional Collection to create a new sound work, while Sonia Boyce turned to the digital archive of the internet. They decided to settle on looking at the performer Adelaide Hall, a 1920s Jazz singer from New York, who came to Britain in the 1930s and decided to settle and make London her home, until she died in the 1990s. Adelaide Hall is noted as one of the pioneers of Jazz Scat, an improvisational form of wordless, often nonsensical, singing that plays with syllables. In 'Oh Adelaide', we hear the song 'Creole Love Call', a duet made with Duke Ellington, an excerpt of which features in the immersive soundtrack of the film, that compresses several musical tracks from the Devotional Collection. The treatment of the video footage, sees sheer brightness used which almost threatens to engulf everything in its path. 
Type Of Art Artwork 
Year Produced 2010 
Impact 'Oh Adelaide' has been shown in the following exhibitions: 'Oh Adelaide: a collaboration with Ain Bailey', Wimbledon space, University of the Arts London (2010) - as an interim exhibition of the AHRC Artist Fellowship 'There is no archive in which nothing gets lost', Museum of Fine Arts Houston (2012) - a group exhibition curated by Sally Frater with the artists Sonia Boyce, Wangechi Mutu and Lorna Simpson 'Sonia Boyce: Scat - Sound and Collaboration' solo exhibition, Iniva-Rivington Place, London, with an accompanying publication and public programme 'Assembly-For People', part of the Assembly: Survey of recent artists' film and video in Britain 2008-2013 at Tate Britain (2013-2014) 'Speaking in Tongues' (2014) a group exhibition at the Centre for Contemporary Art-Glasgow featuring the work of Susan Hiller, Pavel Buchler and Sonia Boyce 2015, S/N: Signal to Noise, Whitney Museum of Modern Art/The Kitchen, New York exhibition (22 May - 13 June 2015). 2015, Music for Museums: a season of events, films and audio interventions, Whitechapel Gallery, London (17 September - 29 November 2015). 2015, 'Oh Adelaide' - Sonia Boyce and Ain Bailey, A Palazzo Gallery, Brescia, Italy exhibition (20 November - 5 December 2015). 
URL http://www.tate.org.uk/download/file/fid/33647
 
Title "Sing for your Supper" - Series of Photographs, a dinner/performance/discussion on migration in Europe & Migrants 'without papers', the Blue House, IJ Burg, Amsterdam, the Netherlands. 
Description Sing for your Supper was a performative event that involved bringing together a number of artists and migrants 'without papers' to discuss Europe and the experience of migrants. A supper was created by an artist/migrant without papers with myself. The event was filmed and photographed, and took place during the closing week of the symposium Out of the Blue, a review of the 5-year artistic/cultural project titled Het Blauwe Huis (The Blue House) in IJburg, Amsterdam, led by artist Jeanne van Heeswijk. 
Type Of Art Artwork 
Year Produced 2010 
Impact In discussing the overall Blue House project, Paul O'Neill provides a listing of all the projects that took place in the House over a 5-year period: Het Blauwe Huis - an overview of activities and presentations, of which 'Sing for your Supper' constituted. 
URL http://www.jeanneworks.net/files/esy/i_0019/Paul_O_Neill__The_Blue_House.pdf
 
Title "The Devotional Wallpaper", a large scale print made up from 200 hand drawn names of black female singers. 
Description Celebrating Black-British females in the music industry, this unique wallpaper is a development of the 'Devotional Series', a body of work by the artist Sonia Boyce. The Devotional Series began in 1999, with a group of women from Liverpool, brought together with the artist through the Foundation for Art and Creative Technology (FACT). Asked to sing and recall the first record they ever bought, the women in the group began to build a collective map of black British performers they could remember. The first name to be nominated was Shirley Bassey and from that the Devotional Series was born. Since then, word of mouth has spread as members of the general public have added their favourites, and even personal items that have gone into the Devotional Collection. Today the list contains over two hundred names. Each celebrating an icon; each icon triggers a song; and each song a moment that is as significant to a personal memory as it is to a generation's collective memory. Ranging from the infamous to the unsung, from the early part of the twentieth century to the present, the Devotional Series is a group portrait that upholds the existence, the pleasures and the persistence of women who choose to make music. As a body of work, the Devotional Series has had a mutable existence, continually re-designing itself to embody aspects of its host. As the culmination of a decade of gathering, Boyce tailored the Devotional Wallpaper (2008) as a unique appraisal of the series. The display takes the form of two hundred names elaborately hand-drawn as repetitive concentric lines made into a wallpaper print measuring two metres high by five metres wide: a veritable roll call of legendary names. As such, over time some names come out of the design to allow others to enter, so that it is a continuously changing print. 
Type Of Art Artwork 
Year Produced 2008 
Impact The 'Devtional Wallpaper' has been shown in the following exhibitions: 2008, Femmes 'R' Us - Feminism in pop music, art and film today, Radialsystem V, Berlin 2010, Griot Girlz - Feminist Art and the Black Atlantic, Kunstlerhaus Büchsenhausen, Innsbruck 2010, Walls Are Talking: Wallpaper, Art and Culture, Whitworth Art Gallery, Manchester 2010, A Missing History: The Other Story Revisited, Aicon Gallery, London 2011, Drawing - In - and outside - Writing, Voorkamer, Lier 2011, Ask Yo Mama, Kunstraum Niederoesterreich, Wein 2013, Sonia Boyce: Scat - Sound and Collaboration, Iniva-Rivington Place, London 2014, Speaking in Tongues, Centre for Contemporary Art - Glasgow 2015, Liberties: 40 Years Since the Sex Discrimination Act, Collyer Bristow Gallery, London 2015, 1:54 Contemporary African Art Fair, London with A Palazzo Gallery 
URL http://www.youtube.com/watch?v=K4MI_KViM4w
 
Title "Walls are talking: Wallpaper, Art and Culture". 
Description The main focus of this exhibition was wallpapers designed by artists. Featuring more than 30 international artists, including Sonia Boyce, Catherine Berola, Thomas Demand, Robert Gober, Damien Hirst, Abigail Lane, Francesco Simeti and Niki de Saint Phalle, Walls Are Talking looks at the development of their interest in wallpapers, showing how they have used historical wallpaper motifs, styles and methods and how existing patterns have been adapted and subveted to telling effect. 
Type Of Art Artistic/Creative Exhibition 
Year Produced 2010 
Impact A major publication was produced: Publisher KWS and The Whitworth Art Gallery, 2010, ISBN 978-0-903-26165-4 plus there were several educational events and gallery tours for the general public. The'Devotional Wallpaper' was shown in this exhibition and purchased by the Whitworth Art Gallery. 
URL http://www.museum.manchester.ac.uk/medialibrary/documents/w_a_g/walls_are_talking_student_resource.p...
 
Title 'Oh Adelaide' 
Description 'Oh Adelaide' (duration 7mins) is an exploration on the use of the archive. It is a collaboration with sound artist Ain Bailey, also known as DJ Miss Bailey - one of the named in the Devotional series, with Sonia Boyce. As a way to re-activate the archive Ain was invited to delve into the Devotional Collection to create a new sound work, while Sonia Boyce turned to the digital archive of the internet. They decided to settle on looking at the performer Adelaide Hall, a 1920s Jazz singer from New York, who came to Britain in the 1930s and decided to settle and make London her home, until she died in the 1990s. Adelaide Hall is noted as one of the pioneers of Jazz Scat, an improvisational form of wordless, often nonsensical, singing that plays with syllables. In 'Oh Adelaide', we hear the song 'Creole Love Call', a duet made with Duke Ellington, an excerpt of which features in the immersive soundtrack of the film, that compresses several musical tracks from the Devotional Collection. The treatment of the video footage, sees sheer brightness used which almost threatens to engulf everything in its path. 
Type Of Art Artwork 
Year Produced 2010 
Impact S/N: Signal to Noise, Whitney Museum of Modern Art/The Kitchen, New York exhibition (22 May - 13 June 2015). Music for Museums: a season of events, films and audio interventions, Whitechapel Gallery, London (17 September - 29 November 2015). 'Oh Adelaide' - Sonia Boyce and Ain Bailey, A Palazzo Gallery, Brescia, Italy exhibition (20 November - 5 December 2015). 
URL http://whitney.org/Research/ISP/CuratorialProgram/2015Exhibition
 
Description The dynamics and complexities of power relations between myself and all the people that I work with has become increasingly apparent since pursuing the research. This has enabled me to ascertain, much more quickly, the potential inherent in social situations when trying to produce an artwork that reveals (spontaneously) the poetics and politics of social interaction.
Exploitation Route Embracing and working with some of the skills developed by the Tavistock Institute for Group Relations was probably the most influential aspect of the research. The methods used by the Tavistock to observe the roles that we take up in social situations are skills that could be used much more rigorously in the field of art that seeks to place social interaction and the social bond between people at its heart. Some of the findings are particularly pertinent to the educational field.
Sectors Education,Culture, Heritage, Museums and Collections

 
Description Works created during this fellowship have continued to be exhibited in public exhibitions in the USA, in Italy and in the UK.
First Year Of Impact 2010
Sector Culture, Heritage, Museums and Collections
Impact Types Cultural