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BALTIC Professor Research

Dr Andrea Phillips is BALTIC Professor and Director of BxNU Research Institute, Northumbria University & BALTIC Centre for Contemporary Art, Gateshead, UK.

Andrea lectures and writes about the economic and social construction of public value within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganization within artistic and curatorial culture. Working as a teacher, writer and organiser within the arts, Andrea has participated in directing and speaking at many international arts institutional and academic events, and is a governor and advisory board member of many UK-based and international artists’ groups and organisations.

Previous to joining Northumbria University, Andrea has held professorial posts at the University of Gothenburg and Goldsmiths, London.

Recent publications include:

  • ‘Social Dreaming: Learning about curating at Iniva and Santiniketan’ in Practice International (London/Utrecht: Iniva/CASCO, 2019);
  • ‘The Imperative for Self-attainment: From Cradle to Grave’ in Unlearning (Utrecht: CASCO, 2018);
  • ‘Forgetting the Public’ in Park Lek (London: Black Dog, 2018);
  • ‘in conversation’ with Keller Easterling in How do Institutions Think? (Massachusetts: MIT, 2017);
  • ‘Artistic research, publishing and capitalisation’ in The Futures of Artistic Research (Helsinki: University of the Arts, 2017);
  • ‘Reclaiming Participation: Arts centres and the reinvention of social condensation’ in The social condenser: a century of revolution through architecture, 1917–2017, The Journal of Architecture Vol 22 Issue 3 (London: Taylor & Francis, 2017); Secularity (PARSE/GIBCA, 2017);
  • ‘Notas de uma Europa decadente: merito, invencao e igualdade nas artes’, Nossa Voz (Casa do Povo, 2017);
  • ‘Source Statements from Istanbul Biennial 2013’, I Can’t Work Like This (Sternberg, 2017); ‘Where is the “Former” in Necoloniality? Complications of Diversity-Led Inclusion in the Arts and the Dumbing Down of Cosmopolitical Discourse’ in Former West: Art and the Contemporary After 1989 (Massachusetts: MIT, 2016;
  • ‘In Service: art, value, merit and the making of publics’ in Public Servants: Art and the Crisis of the Common Good (Massachusetts/New York: MIT/New Museum, 2016)

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