Blazers/ /Blasons
La Valise, Nantes, 2017-18
« Il est des mythes qui ont la vie dure, et celui qui assimile armoiries et noblesse est de ceux-là.»
Michel Pastoureau, Traité d'héraldique
S’inscrivant dans une démarche globale et au long cours, Blazers/Blasons envisage la création au sens large : là où s’efface la frontière séparant l’hier de l’aujourd’hui. Alors se confrontent et se confortent des savoir-faire dans un rapport exiguë entre l’art contemporain, l’artisanat, la mode ... et toutes les ramifications qui apparaîtront au gré du temps, des rencontres et des potentiels.La seule constante est l’invitation faite à des artistes à réaliser leur propre blason, déclinaison de leur identité artistique dans un espace de 7 x 8 cm. Trois collections, présentées de 2016 à 2018, sont l’occasion d’explorer la question identitaire ainsi que la notion de multiples.
Invités par Bevis Martin & Charlie Youle:
Marie-Johanna Cornut, David de Tscharner, Florence Doléac, Florent Dubois, Sharon Kivland

'Mes plus belles coiffures
', for SALON No .6#, Salon Verlag, Cologne, Winter 2018
Felix Adam, Martin Assig, Johannes Brus, Marcel Dzama, Sveinn Fannar Jóhannsson, Sharon Kivland, Jürgen Klauke, Maik & Dirk Löbbert, Imke Lohmann, Steffen Missmahl, Ulrike Möschel, Ulrich Moskopp, Ulrich Pester, Eva-Maria Schön

'Mademoiselle la Marchandise', for OUTSIDE THE BOX, Zeitschrift für Feministische Gesellschaftskritik, Leipzig, 2016

Download a pdf here.

Their eyes travel across the pages and their hearts search out meaning, convened by Sami Jalili and Sharon Kivland, with Mura Ghosh. An evening of readings and performances at Senate House Library, from 6.00 to 7.30 p.m. on Saturday 26 April
Neil Chapman, Peter Jaeger, Rebecca LaMarre, Tamarin Norwood, Holly Pester
A small publication accompanies this event, with an introduction by Ahuvia Kahane, Professor of Greek and Head of the Department of Classics at Royal Holloway, University of London.

Library Interventions
February to March, 2014
Invited as part of the above to be artist-in residence at Leeds College of Art Library, I found that I did not have the time to devote to the work, so called for applications from willing agents to go in my place and do my reading for me, imagining what I would read and to what ends: subjects are various, but would clearly require a little research on my work in advance (nothing too arduous), and might include the subjects of collections, revolutions, fashion and dress, fragmented bodies, the uncanny, postcards, stuffed animals, embroidery (oh my, there is vast possibility). It was, I suppose, a master/slave relation, after Hegel, for there was lordship on my part, and a form of bondage on theirs, at least initially – for if one considers Hegel’s dialectic: after thesis and antithesis, there is self-realisation, and thus freedom. There was a period of research, each agent following his or her proposed line of investigation; then the writing of a report for me, a report on knowledge  (as I used to do a long time ago when I worked for a film company doing research), now added to the Library's collection. This lead to a publication of a modest yet attractive nature, of my own, and a publication or object or image from each of my agents (therein lies the self-realisation), installed in the library. My agents, who supposedlyslaved away, were: Abbie Canning, Alison J. Carr, Gin Dunscombe. Bryan Eccleshall, Helen Frank, Joanna Geldard, Chris Gibson, Chris Green & Katheryn Owens, Lesley Guy, Jane Harris. Lou Hazelwood & Jo Ray, Katya Robin, Rachel Smith, Holly Stevenson, Isabella Streffen, and Madeleine Walton.

, convened by Sharon Kivland with Mura Ghosh, as part of the Bloombury Festival, October 2013, for Senate House Library. An evening of readings, printed matter, performances, and films. Participants: Debbie Booth, Kate Briggs, Jan Campbell, Jamie Crewe, Dachy/MacDonald, Karen David, Annabel Frearson,Rachel Garfield and Janet Hodgson, Chris Gibson, Laura Gonzalez, Jane Harris, Peter Jaeger,Kreider + O'Leary, with Paul Bavister, Catherine Linton, Hayley Lock, Sophie Loss, John McDowall, Forbes Morlock, Hester Reeve, Naomi Segal, Sarah Sparkes, Holly Stevenson, Julie Westerman, Sarah Wood, and Gillian Wylde.

2006– 8
A series of text works for the Institute of Germanic and Romance Studies, University of London, on the glass walls of room 269.

In the third edition of The Interpretation of Dreams, Freud adds the observation: ‘It is impossible to translate a dream into a foreign language’ (1900, p. 99, fn. 1). In a letter of 13th April 1911, to Samuel Jankelévitch, he remarks that his dream book seems to him to be untranslatable because of its dream texts, and if a translation were to be done, he feels it would probably scare French people away from further reading. Transcript is a project of impossible interpretation and translation, taking texts à la lettre and avant la lettre.

1. Walbaum, Caslon, Garamond

a dream is the fulfillment of a wish.

2. Bernard MT Condensed, Didot, Futura

the finding of an object is in fact a refinding of it

3. Bodoni, Goudy Old Style, Elegant Garamond

it is in the world of ideas, however, that the choice of an object is accomplished at first

4. Andale Mono, Hoefler, Modern no.20

the highest and the lowest are always closest to each other in the sphere of sexuality

5. Formal, Lucia, Engraver's Old English

neuroses are, so to say, the negative of perversions



La passante


Sharon Kivland continues to haunt the arcades of Paris in search of her subjects.

Transmission: Speaking and Listening

The Transmission series is a collaboration between Site Gallery, Sheffield Hallam University School of Cultural Studies and the Showroom Cinema, in which invited artists and occasionally speakers from other disciplines, present a discourse on their practices in relation to a given theme. Opening up the debate to a wider audience the subsequent discussions form part of a publication. Although the lectures are absent from the publication, the speakers retain their presence in other ways; through short introductory texts to their practice, works conceived for the pages, and as a dialogue with others.

Transmission: Speaking and Listening Volume 1

Sophy Rickett, Rut Blees Luxemburg, Cornford & Cross, Vong Phaophanit, Laura Godfrey-Isaacs, Mary Evans, Andrew Grassie, Roxy Walsh, Dutton & Peacock, Breda Beban, Sharon Kivland, Jane Prophet, Alan Johnston, Noble & Silver,Kristin Mojsiewicz, Neal Beggs, Sonia Boyce, Simon Patterson. Adam Chodzko, Daniel Marques, Susan Johanknecht, Laura Horelli, Jane Rendell, Duncan McLaren.

Two essays, by Jane Rendell and Duncan McLaren frame the discussions. The essays, like the discussions, explore what it means to speak, to listen, and to construct meaning or work in the interstice between the two.

Transmission: Speaking and Listening Volume 2

Although the lectures are absent from this book, the speakers retain their presence in other ways; through short introductory texts to their practice, works conceived for the pages, and as a dialogue with others. Four essays by Darian Leader, Sarah Wigglesworth, Michael Archer & Clementine Deliss frame the discussions. The essays, like the discussions, explore what it means to speak, to listen, and to construct meaning or work in the interstice between the two.

Transmission: Speaking and Listening Volume 3

Contributors: Jananne Al-Ani, David Bate, Kate Blacker, Kathrin Böhm, Pavel Büchler, Conroy / Sanderson, Mikey Cuddihy, Eggebert-and-Gould, Dan Hays, David Mabb, Monica Oechsler, Simon Periton, Paul Rooney, George Shaw, Sarah Staton, Jemima Stehli
essays by Jeanne Randolph and David Thorp

This volume takes up two themes: Ornament and Utility, which addresses the question of aesthetic judgement and the use (or usefulness) of a work of art; and Responsibility, which considers the ideology of artistic production.

Transmission: Speaking and Listening Volume 4

Contributors: Gabriel Gbadamosi, Christopher Landoni, Goshka Macuga, Elizabeth Price, Nigel Cooke, Julian Walker, Nick Stewart, Steve Edwards, Simon Morris, Victor Burgin, Mark Titchner, ArtLab, C. Cullinan and J. Richards, Lucy Harrison, Brigid McLeer, Vera Dieterich and Caroline Rooney, Jane Rendell, Sally O’Reilly, and Pavel Büchler.

This volume takes up two themes: Provenance, which generally means the place of origin, and here takes on rather more complex meanings in relation to art and art objects, and the market or value systems that contain them; and Inscription, which addresses the reading of works of art, when they are produced as texts or incorporate text within them. Also included is a symposium on Inscription.

Transmission: Speaking and Listening Volume 5

Contributors: Jaspar Joseph-Lester, Becky Shaw, Ryan Gander, Neal Rock, Imogen Stidworthy, Neil Cummings and Marysia Lewandowska, Nayan Kulkarni, Mike Marshall, Carey Young, Dave Beech, Robert Milin, Doug Fishbone, Richard Wentworth, Hewitt and Jordan, Malcolm Miles, Amanda Beech, and Chris Oakley.

Volume 5 addresses the habits and rituals shaping our everyday lives, and their relation with art. When taken out of the context of the everyday and made into works of art, those practices that we perceive as natural or real appear as constructed fabrications. In exploring the theme of daily encounters , artists and writers address the ways in which art may provoke and antagonize patterns of behaviour and systems of belief that often remain unquestioned. The contributors consider how works of art appropriate and re-deliver the naturalized and the everyday as a series of fictions and, in so doing, reflect the mechanisms and frameworks constructing our lives.


The publication series is edited by Sharon Kivland; the programme was co-ordinated by Lesley Sanderson and Sharon Kivland, with Site Gallery and subsequently co-ordinated by Emma Cocker, Jaspar Joseph-Lester and Sharon Kivland.

Designed by Patrick Ward with Ben Weaver, the books are distributed by Cornerhouse Publications www.cornerhouse.org


Transmission: The Rules of Engagement

Series Editors: Sharon Kivland and Ben Hillwood-Harris

Available from Art Words

On Record: Advertising,Architecture and the Actions of Gina Pane
Alice Maude-Roxby & Francoise Masson
Artwords Press 2004
52 pages B&W reproductions. ISBN 0954390822
15 x 21 cm English text. Softcover
In On record:advertising, architecture and the actions of Gina Pane, Maude-Roxby examines the involvement of the live art photographer as part of a performance event. Her previous interviews with photographers have brought to light the collaborative aspect of their work with the principal performance artist and the way in which individual photographic styles influence how any performance is ultimately seen. Maude-Roxby became fascinated with the photographs of Françoise Masson, documenting the actions of Gina Pane. This is the first published interview with Masson, describing the trajectory of her career as a photographer and her work with Pane in the context of her practice.

Disorientation and spectacle in retail archictecture
Nayan Kulkarni & Jasper Joseph-Lester
Artwords Press 2004
43 pages B&W reproductions. ISBN 0954390830
15 x 21 cm English text. Softcover
Disorientation and spectacle in retail architecture traces the development of new retail and entertainment sites through three examples: Bluewater shopping centre (Kent), Canary Wharf shopping centre, and Selfridges department store. The authors ask if disorientation and spectacle can continue to properly engage with the imagination when fantasy has become part of everyday experience. They speculate if the ever-changing demands of a collective imagination have forced a mutation in the way disorientation and spectacle are considered by designers and architects,and ask if the challenges faced by retail and entertainment corporations might offer new possibilities for the wider cultural sphere of the practices of both art and architecture.

Autopoeisis: novelty, meaning and value
Simon Biggs & James Leach
Artwords Press 2004
37 pages B&W reproductions. ISBN 0954390849
15 x 21 cm English text. Softcover
Autopoeisis: novelty, meaning and value addresses the value of novelty in contemporary culture, and is co-authored from the point of view of two disciplines: fine art and anthropology. Sections of the text re-authored jointly while others are authored individually. There has been a process of question and answer and further revision, including instances where one author corrects or annotates the text of the other. Texts weave around each other thematically, sometimes in sympathy, sometimes in contrast. Images are drawn from the research practice of both authors.

Book unbinding: the ontological stain
Vera Dieterich & Caroline Rooney
Artwords Press 2005
60 pages B&W reproductions. ISBN 0954390857
13.5 x 21 cm English text. Softcover

Sharing an interest in the operation of weaving with regard to textual materialism and material text, the authors follow the operation of folding, cutting and biding, the operations that constitute the making of a book. The work contains two main sections, one on folding and the other on cutting, with a concluding section on binding. The sections on folding and cutting dramatize two approaches to the entanglements of thought, reflection and aesthetic practice. In the first, precedence is given to a conceptual elaboration of the fold in parallel with the reservations of an art of the fold that resists formalisation. The philosophical concentration on a logic of form in relation to practice and questions of process is deconstructed. Whilst the first section traces a philosophical and scientific investment in pre-established design, the second ruins this through attending to the possibilities that arise through cutting, generic interplay and bricolage. The book unbinds as it works from the tightly woven to a loosening of its threads, where finally the book cannot contain the book.

Misleading epiphenomena
Steve Dutton, Steve Swindells & Barbara Penner
Artwords Press 2005
38 pages B&W reproductions. ISBN 0954390873
13.5 x 21 cm English text. Softcover

Misleading epiphenomena takes Park Hill, a one-thousand-unit housing estate designed between 1957 and 1960 by Sheffield City Council, as the prompt for observations and conversations, addressing questions as varied as northern identity, architectural modernism, corporation, social housing, the sublime, ruin, the uncanny, aura, entropy, writing and the disciplinary limits of the authors. While Park Hill is the ‘site’ of encounter, reflection and inversion emerge as the processes and methods of exchange.

Sun-Shine, Moonshine
Conroy / Sanderson & Gabriel Gbadamosi
Artwords Press 2005
54 pages B&W reproductions. ISBN 0954390814
13.5 x 21 cm English text. Softcover

In Sun-Shine, Moonshine, Conroy / Sanderson and Gabriel Gbadamosi take up and challenge the rules of engagement, making up their own conventions as they go along. The text and images were developed over six months, in dialogues that took place both in the artists' studio and elsewhere. Images were made in response to conversations and writings were constructed on images, which then returned to visual representation. The work is founded on Jonathan Swift's satire Gulliver's Travels, and, like Swift, the authors reflect on identity and difference, the foreign and the far-fetched. In an entwining of text and image, figures (as tropes and real people) playing Gulliver (as tourist, stranger, lover or other) float disappear, double and mirror each other.

Dave Beech, Mark Hutchinson & John Timberlake
Artwords Press 2006
43 pages. ISBN 0954390881
13.5 x 21 cm English text. Softcover

Analysis is a collectively authored text examining contemporary collaborative art practice whilst grounding authorship in a social ontology. Despite the 'death of the author', the artist remains a possesive individual. Even collaborative practices - which Analysis differentiates from collective - confirm this, comprising individuals pooling their resourses only to serve their common private interests, effectively continuing to treat individuals as the basic social unit. Collectivity, Analysis argues, inverts this formula, treating the social as the basic unit from which the individual arises. It is the latter, therefore, that has the potential to transcend possesive individualism for contemporary art.

The Blue Guitar
Sarah Wood & Jonathan Tiplady
Artwords Press 2007
38 pages B&W reproductions. ISBN 9781906441005
13.5 x 21 cm English text. Softcover

The blue guitar is you. It shapes you. As surprise, by surprising you. You collaborate and lay hands on this guitar, sometimes reject it but cannot escape the delicacy of its riffs and affirmations. Whether it comes from Picasso, Michael Tippett, Derek Bailey, Rilke or Jacques Derrida, the blue guitar is a thing affirmed, a yes played over a final no. This book is a book is a book of comical roots: super-roots, radishes, beetroots, gooseberries, bobby dazzlers, and seabows. It is a prison book, a book of legend and song, a picture book, a book of the same, of affirmations as colours. It is a book of the freshly rooted and radically purposeful in poetry, figured out here by Wallace Stevens and his poem 'The Man with the Blue Guitar.'

The slender margin between the real and the unreal
Andrew Sneddon, Gavin Morrison & Kiyoshi Okutsu
Artwords Press 2007
46 pages B&W reproductions. ISBN 9781906441012
13.5 x 21 cm English text. Softcover

Chikamatsu Monazaemon (1653-1724) comments that 'art is something that lies in the slender margin between the real and the unreal'. This is the origin of a discussion which recalls the experience and associated imaginings of the European gardens of the seventeenth and eighteenth century and their distant cousins, the stroll gardens of the Tokogawa and Meji periods of Japan. The shared use of the borrowed landscape or 'shakkei' allows for further enquiry into the similarities and difference. The three authors, through discussion, correspondence, and visits to particular gardens, built a relationship through the sharing of references and experiences.The garden reveals itself as a bountiful source of inspiration, a place of escapism, a cultural and social signifier, and as a place for thinking

Daniel Gustav Cramer, Florian Kempf & Phillip Seidel
Artwords Press 2007
54 pages B&W reproductions. ISBN 9781906441029
13.5 x 21 cm English text. Softcover

What did the chained men in Plato's allegory of the cave see when they looked at the shadows on the wall? Did they see pictures of the world or rather, reflections of their own imagination? What is the difference? Shadows examines the relation between image and mind from the point of view of the scientific image-archive and from the image-repertoire of a number of artists. Each of these perspectives shows a bond between perception and production, while simultaneously revealing an element that appears to be inexplicable, an enigmatic gap that may provide a key to the way we view the world and its images, the cave and its shadows.

Non-relational Aesthetics
Charlie Gere and Michael Corris
Artwords Press 2008
36 pages B&W reproductions ISBN 9781906441043
13.5 x 21 cm English text. Softcover

'Relational Art' and 'relational aesthetics' are commonplace terms in contemporary art discourse. Defined as a 'set of artistic practices which take as their theoretical and practical point of departure the whole of human relations and their social context, rather than an independent and private space' and as an aesthetic theory consisting in judging art works on the basis of the inter-human relations which they represent, produce or prompt'. In such an aesthetics, art is seemingly required to act as a replacement for the binding of the community through the rituals of religion.Non-relational Aesthetics proposes that all discourse involves alterity, difference and deferral. Non-relational Aesthetics offers a concept of art as an ethical encounter with the other, and the idea of art as 'hospitality' is anticipated as an alternative to that of 'relational aesthetics.'


Transmission: Host

Host: Bound Edition 2008
Editor: Sharon Kivland
Designed by Alan Rutherford
Artwords Press 2008
14 x 14 page books B&W reproductions. ISBN 9781906441210
12 x 21 cm English text. Softcover

The host selects and presents his or her guest. A critical engagement between host and guest is assumed; what exactly that relationship is made evident through discussion. There is an ethics of hospitality, of making the stranger welcome. A host has a standard of conduct, and historically, hospitality has been seen as a code, a duty, a virtue, and a law. There is a bond between host and guest, and here, the bond is formed by the engagement in the practice of art. Something is shared between host and guest, and this is shared with others, who are guests as well. The audience is also a host, with all the responsibilities that implies, receiving the stranger/guest with goodwill, liberality, and grace.

1. Host: Paul Haywood & Steve Hawley
2. Host: Sharon Kivland & Cesare Pietroiusti
3. Host: Nick Stewart & Matthew Noel-Tod
4. Host: Jeanine Griffin & Jan Verwoert
5. Host: Andrew Sneddon & Alec Finlay
6. Host: Rose Butler & HAG
7. Host: Hester Reeve & Brian Catling
8. Host: Julie Westerman & Christine Borland
9. Host: Sharon Kivland, Jaspar Joseph-Lester & Michael Corris
10. Host: Carl Von Weiler & Phyllida Barlow
11. Host: Jaspar Joseph-Lester & Roman Vasseur
12. Host: T.C. McCormack/Torsten Lauschman
13. Host: Lesley Sanderson/Paul Morrison
14. Host: David Cotterrell/Phil Coy