The Role of Critical Engagement

Date: Wednesday 3 March, 7pm

Presenters: Lisa Slade, Mimi Chu, and Sina Najafi 

Guildhouse financial members Free
Non-members (COVID-19 hardship concession) $5
Non-members (full price) $15

Guided by Lisa Slade, key global arts and culture editors unpack the importance of accessible critical conversation; from the political and societal need to constantly question to analytical artist engagement.

Lisa Slade

Dr Lisa Slade is Assistant Director, Artistic Programs at the Art Gallery of South Australia. Her recent curatorial projects include Quilty, a national touring exhibition that surveyed the work of Australian artist Ben Quilty; John Mawurndjul: I am the old and the new, a retrospective of Australia’s premier bark painter; the 2016 Adelaide Biennial of Australian Art: Magic Object; and Sappers & Shrapnel: contemporary art and the art of the trenches. Several of these curatorial projects have been informed by her PhD research into Kunst and Wunderkammern culture, colonial collecting and contemporary art.

Mimi Chu

Mimi Chu is a writer based in London, UK. She is assistant editor at frieze magazine and has a penchant for contemporary art and the written word. Frieze is a leading magazine of contemporary art and culture. Mimi’s priority in all that she does is to reveal unacknowledged truths about art history, culture and current affairs.

Sina Najafi

Sina Najafi is the co-founder and editor-in-chief of Cabinet, a quarterly magazine of arts and culture, and executive editor of Cabinet Books. He is interested in making a variety of scholarly and artistic topics accessible to the non-specialist, inspiring a culture of curiosity that encourages an ethical engagement in the world. Cabinet redefines the way we think about “novelty,” pairing the historical and factual with non-prescriptive themes that range from the narrowly focused to the more interpretive and obscure.

Najafi has curated or co-curated numerous exhibitions and projects, including School of Death (Pompidou Center, 2016; Family Business, 2013, with Simon Critchley, A Collector’s Album of Traitors, Traders, Translators and Experientialists (Sharjah Biennial, 2011), and most recently And Warren Niesluchowski Was There. co-curated with Joanna Warsza (Foksal Gallery Foundation,Warsaw) in January 2020. He has taught courses at Cooper Union, Yale, and RISD.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Also backed by generous support from the Day Family Foundation and Creative Partnerships Australia.

Images (L-R): Lisa Slade, photograph Sven Kovac; Mimi Chu, photograph courtesy the speaker; Sina Najafi, photograph courtesy the speaker; Ben Quilty, Quilty (installation view), QAGOMA, 2019, photograph Joe Ruckli; Chromatopia (installation view), Art Gallery of South Australia, 2020, photograph Saul Steed; Ben Quilty, Quilty (installation view), Art Gallery of South Australia, 2019, photograph Grant Hancock; Cabinet (Issue 53), photograph courtesy the speaker; The People’s Account (still), 1985, photograph Julian Herbert courtesy Getty Images; Olu Ogunnaike, London Plain (installation view), 2020, photograph Rob Harris; Don’t Cry in the Morning, Hugger Fuku Town (installation view), Streams, Hong Kong, 2021, photograph courtesy the artists and Streams, Hong Kong; Cabinet (Issue 67), photograph courtesy the speaker; Cabinet (Issue 63), photograph courtesy the speaker.

Photographic portrait of James Dodd

James Dodd

Built Environment, Installation, Outdoor, Painting, Public Art, Sculpture, Teaching, Wall Work.
Photographic portrait of Fran Callen

Fran Callen

Drawing, Illustration, Mixed Media, Painting, Public Art, Teaching, Wall Work.
A painting by Tom Phillips of a man painting another portrait, while a cat looks up at the work

Tom Phillips