What initially attracted me to the course was its very specific focus and blending of disciplinary boundaries between the histories of art and film.
The course offered great professional development experiences and opportunities: preparing and organising a symposium for the inaugural LUX/ICA Biennial of Moving Images in 2012; and collaboratively developing the curatorial framework for Inner/Outer [Space] a public screening and performance programme and online exhibition.
The flexibility of the second year self-directed Independent Research Project allowed me to focus my research around a series of interview-based case studies exploring publishing of artists' film and video. The extended engagement with the independent project opened up a rich vein of research that I am still investigating through conference papers and articles as well as in practice in my job sourcing artists' books and DVDs for the BFI Shop.
A long standing interest in and a later practice in moving image, led me to progress from a background in electronic music composition and sound arts.
I was excited to learn about this kind of moving image that so interested and inspired me, and also to explore my critical writing and research interests, with a desire to inform my own video art projects, and also a route into academia.
I am now continuing my video art, audiovisual experimentation, and also embracing documentary-influenced filmmaking. The course split between Lux and CSM was fertile ground for some very different learning contexts and something very unique also. The depths between written theory and moving image spectacle converged over the course of the program, equipping us with research techniques and importantly knowledge of an under represented field of the arts.
The two years of MRes studies were very stimulating both intellectually and artistically. I would encourage anyone with an interest in artist moving image to pursue the MRes course.
We got a strong knowledge of the field’s history and theory from the first experiments with filmmaking to today’s practices and a deep understanding of the complex issues surrounding moving image practices, in terms of politics, ethics, distribution and diffusion. As a growing field in the arts, this course is a great opportunity to learn and to research thoroughly a personal field of interest. Alongside the theoretical engagement, the course also emphasises curating development, notably with LUX, which gave us all a great professional experience.
Since the end of the MRes, I have curated moving image programmes at the ICA as part of the ICA Forum and I have started a Moving Image Festival in Paris. In parallel I work on my own filmmaking practice.
The MRes course has pushed forward my understanding of curating and my own artistic practice. It’s a great course!