The promise of a future venture

We are a collective of cross-disciplinary student researchers, practitioners and staff from Chelsea College of Art and Design. We are working together on a collaborative project researching experimental forms of art educational practice.

Exhibition; Monday 21st – Wednesday 30th May 2012

Project Description

examples of old Chelsea prospectuses for the basis of the Prospectus catalogue.

Tetsuo Kogawa

Starting to think about dissemination…



Hi All, 

Here is the Kickstarter website for Redmond Entwistle’s new film about Cal Arts which will be screened at Cubitt. Take a look!

- Natasha

Here are a couple of the pieces by Graeme Durant that I hope to use in a life drawing class.



Artist Martine Neddam on studying at the Institut:

"You don’t learn how to be an artist, but they looked at our work in an incredibly serious way. We were worth as much interest as Duchamp himself! I didn’t go to any other art school so I didn’t have to fight previous educational models. It stressed that the work is made at the reception. Banal, but when it’s a spirit…I guess I keep that spirit. That the reception of work is an artistic activity itself. A very high activity. Not passive. You have to use all you have as a viewer. This is what we did, we experienced being creative viewers. At the time we were exposing our works to other creative viewers. This is what we learnt from Hulten, the creativity in the reception of the works."

Pontus Hulten

Here is a photo of the Chelsea prospectuses (prospecti?) in chronological order from 1963 to the present day

Here is a photo of the Chelsea prospectuses (prospecti?) in chronological order from 1963 to the present day

Interesting story about life drawing at RA…


This short slide show and audio by Naomi Salaman is a really interesting history of the life room (particularly from a feminist perspective). You can find the video here:


At the Tate’s new Migrations show I stumbled across some an exhibition called The Devils Feast, an exhibition of black artists work which took place at Chelsea in 1987 and included Derek Rodney and Zarina Bhimji.

The catalogue for the show was a very interesting collective letter from the six artists who had been invited to take part, by the then librarian Liz Couch. They collectively stated that they were puzzled by Chelsea’s decision to mount such an exhibition at that moment and time, and questioned the purposiveness of it. However, in view of the racism endemic in the art world and at schools at the time they agreed to take part with the hope that this situation could be changed. 

Visiting the special collections at Chelsea library has yielded more information on the show, including letters from an artist who refused to take part, pv invites, essays on theory that were handed out at the show, floor plans and a video of artworks arriving with interviews with the artists. We plan to include these as part of the chronology of Chelsea at the exhibition.

The Devils Feast catalogue above and below. (Own photo)


Hi All, 

This is the archive piece by Celine Condorelli which featured in the Social Fabric show at INIVA. It displayed books, copies of drawings, texts and sound pieces. This is a great reference for the timeline / chronology of the archival section of the exhibition.

White Gold (C) Celine Condorelli

Support Structure (C) Celine Condorelli


I came across this piece by Group Material called AIDS Timeline.  It is an installation which forms a timeline formed from text, artworks, objects and ephemera, and it could provide inspiration for the format and presentation for the historical information we have gathered over the course of the project.

Group Material have made other timelines such as the Timeline: A Chronicle of US Intervention in Central and South America. 1984

These could be good ways of thinking about our research and how we collate and present it later.