All posts by Giovanna Morra

Feminist Internet Futures Studio

Open call to join the Feminist Internet Futures Studio

The Teaching and Learning Exchange and UAL Futures are delighted to invite UAL students and recent graduates to take part in the Feminist Internet Futures Studio, from 29 August – 8 September 2017, in London. This intensive collaborative experience is FREE for UAL students and alumni.

Application Deadline: Midday Friday 14 July 2017.

What is the UAL Futures Studio?

UAL Futures Studios bring students and alumni together with educators and creative industry partners to work on projects that address social and cultural issues through collaborative creative practice. The Feminist Internet Futures Studio is a 10-day workshop where you will collaborate on projects that explore how the internet can strengthen feminist movements and advance women’s rights at a local and global level.
Experince working in a studio environment with students from across UAL.
Learn digital tools and collaborative methods used by design studios, startups, creative teams and educators.
Meet experts from the UAL Futures family who will give lectures, coaching and feedback on how your projects are developing.

Who are we looking for?

We need all kind of voices in feminism. That’s why we’re looking for a wide range of participants who want to collaborate with others and use their collective skills to imagine better futures. Students from ALL disciplines are welcome 🙂

Why is this worth doing?

We are moving to a multidisciplinary world. The Futures Studio will equip you with the digital agility and collaborative skills that employers in the digital creative industries are looking for.

How do I take part?

You have to be a current student or have graduated from UAL within the last 2 years (2015) and be available for the following dates:
Briefing session: Thursday 24th August (3 pm – 8 pm)
Feminist Internet Futures Studio: Tuesday 29th August – Friday 8th September (excl. Sunday 3rd September)
DEL Conference: Thursday 14th and Friday 15th September

There are bursaries available to support students from WP backgrounds. For more information please contact Tessa Read

Join our Pre-Studio Seminars

Students and staff are also invited to attend a series of open Pre-Studio Seminars on the following dates:
Wednesdays 5th, 12th, 19th and 26th July (5 pm – 7 pm)

To apply visit the UAL Futures blog

If you have questions, why not attend an info session?

We’ll be holding an information session on Wednesday 21 June (2 – 4 pm) at The Digital Learning Lab, London College of Fashion, 182 Mare Street. To book a place visit this doodle poll.

Anything else, contact Georgina Capdevila

Disobedience and Complex Systems: Art, Design, Media and the Political


A symposium organised by the Informed Matters research community, University of the Arts London to be held at Iklectik Arts Lab, London on 29 September 2017.

Call for Papers: We invite proposals for papers or presentations of 15 minutes in length, which speak to one of the panel topics below. If you would like to make a proposal please read the Symposium description below and prepare a 250-word abstract, which should be submitted by Sunday 16 July 2017 as part of a brief form you can find at:

Confirmed Speakers:

Marieke Borren, Utrecht University

Maria Tamboukou, University of East London

Neil Cummings, Chelsea College of Arts



Panel 1. Arendt and the Political

The symposium starts with a panel considering the contemporary relevance of Hannah Arendt’s contribution to political theory and, in particular, her concept of action. Marieke Borren’s presentation, which will introduce the panel, will explore the philosophical dimensions of what a ‘political phenomenology’ arising out of Arendt’s work might be, asking whether the phenomenological notion of the worldliness of human existence could be a promising resource for current debates on civil and political democracy.

Panel 2. Art and Politics after Arendt

The second panel explores the entanglements of art, action and politics, and will offer readings of Arendt’s theory of action diffracted through the prism of other thinkers’ arguments and art, design and media practices. The panel will begin with Maria Tamboukou’s articulation of Arendt with Ranciere’s politics of aesthetics, Deleuze and Guattari’s notion of assemblage and Karen Barad’s agential realism.


Panel 3. Disobedience and Complex Systems

The third panel engages with problems raised by the complexity of contemporary social, cyber and organisational systems for the exercise of political agency, posing the question of whether disobedient acts are the only responsible acts in these contexts. The panel will start with a presentation by artist Neil Cummings exploring the necessity, in an environment of state and commercial surveillance, of struggles for privacy and of thinking about encryption, openness and misuse.


About the Symposium:

The point of departure for the symposium is the work of Hannah Arendt.

Why Arendt? 

Arendt’s work has been much invoked since the 1990s, after the end of the Cold War, and her visibility in political theory has become even more prominent since the Arab Spring of 2011 and the subsequent Occupy movements.

Like others, we recognise the resonances that her work holds for our own practices and its value for understanding the contemporary period. More specifically, Arendt has been chosen because her work has helped both to shape the themes that Informed Matters is exploring in 2016-201 – namely action, complex systems and disobedience in the context and horizon of art, design, media and digital practices – and to give us a means to develop an understanding of those themes. Arendt enables those of us who are engaged in art, design and media practices to re-conceptualise critically and creatively what it is that we ‘do’ in terms of her ‘political phenomenology’ (Borren, 2010; Lejeune, 2013; Marder, 2014).


How so? 

Firstly, she allows us to re-think the relationships between art, design, media and digital practices and the public and politics. Being able to evaluate these relationships with Arendt from the point of view of praxis enables us to conceive of and develop our practices as forms of (public) action that are political (and ethical) in character, rather than simply as (private) work or labour that are ‘expressive’ or ‘aesthetic’ in character.


Secondly, as a thinker of praxis (which she theorises as the vita activa or active life), Arendt allows us to think about contemporary practices, and the socio-political and socio-economic conjuncture which they articulate, in a ‘holistic’ and historic way. Her articulation of the distinctions among action, work and labour, as well as between power and violence, coupled with her analysis of totalitarian regimes, offer us a systemic approach to our situation, albeit through “what one might perhaps call her unsystematic system-building” (Canovan, 1992: 5).

Thirdly, she raises the question not only of ‘what is action?’, as well as of ‘what should we do?’ or ‘how should we act?’, but the importance of ‘thinking’ in that action too. That is, she raises questions of obedience to norms, rules, laws and established practices. In particular, she highlights the necessity, at times, of disobedience, and how acts of disobedience may yield specific insights into the potential ethical and political import of our practices in the current conjuncture, which might be called the Great Recession (Lanchester, 2011).

The Call: Building upon Arendt

Arendt is a starting point, but her work does not unproblematically yield insights that we can simply put into practice, apply or appropriate. The symposium is interested to consider, firstly, insights that Arendt’s work yields and might yet be or already have been put into practice, and secondly and equally, those generated from practice that can be used to extend and re-think Arendt’s concepts. Last and not least, we are keen, in light of Arendt’s work, to explore the interpenetration and interweaving of insights for practice and insights from practice.

It is these recognitions which lead to our call:

  • What other thinkers and what other kinds of works are needed to develop Arendt’s thinking so as to yield insights into contemporary art, design, media and digital practices, understood as action?
  • What other kinds of works and practices are of interest if we are to generate and put to work insights that are resonant with, even if critical of, the kind of reflexive and diffractive thinking that Arendt initiates and calls for?

If you would like to respond to these questions and participate in the symposium, please submit your proposal at the googleform address above by Sunday 16 July 2017.

We look forward to hearing from you.

If you have any questions please contact:

Andrew Chesher ( or 

Allan Parsons (

AHRC 2017 Research in Film Awards

Following on from the successful 2016 Research in Film Awards, submissions for the Arts and Humanities Research Council (AHRC) 2017 Awards is now open in a bid to identify new and emerging talent in the fields of filmmaking which has been influenced or is directly linked to arts and humanities research. The Awards ceremony will take place on the 9 November 2017 at BAFTA in London, featuring a line-up of academics and film industry experts, with writer and broadcaster Danny Leigh, hosting the event.

The AHRC’s Research in Film Awards is designed to showcase, reward and recognise the best of the growing number of high-quality short films (defined as no longer than 30 minutes) that are aligned with arts and humanities research. There are two new awards for 2017, including the International Development Award and the Doctoral Student or Best Early Career Film, with the latter celebrating the best films made by arts and humanities researchers at the start of their careers. For the third year running, members of the public will be eligible to enter the “Inspiration Award” provided their film has been inspired by research in the arts and humanities.

2 Best Doctoral or Early Career Film

This category is open to all doctoral students and Early Career Researchers funded by the AHRC (see Eligibility section for details). Applicants are not required to be registered as doctoral students at the point of submission or on the release date of the film, but the primary research for the film must have been conducted while the applicant was registered as a doctoral student. All films must have been completed or made available during the last year (since April 1st 2016).

Judges are looking for:
    • Films which portray or represent research excellence
    • Films which have brought new research to wider attention
    • Films which exemplify excellence in the dissemination of research findings, or
    • which bring arts and humanities research to new audiences
    • Films which highlight the value and importance of research in the arts and humanities, or
    • that highlight the value and importance of subjects or questions within the arts and humanities 
All entrants must complete and submit the form given in the Requirements section, where it is essential to supply a 300-word summary explaining the film’s connection with arts and humanities research, together with web links to the film being submitted and other relevant information. Please ensure this is written in plain English and bear in mind that some of the people judging your film may not be academics so please avoid jargon.


Entrants for all categories must complete and submit the Smart Survey Form by 4pm on Thursday 6th July 2017

For more information see:

Creative Resistance: Architecture, Art, Writing, a Life…


Tuesday 4 July, 9.30 – 20.00

Institute of Advanced Studies, UCL
IAS Common Ground, Ground Floor, South Wing, Wilkins Building, London WC1E 6BT

Jane Rendell (Bartlett School of Architecture, UCL), Hélène Frichot (KTH, Stockholm) and Emma Cheatle (Newcastle University) lead a workshop exploring and performing the role of critical and creative writing in research. How can experimental approaches to writing in architecture open up spaces for resistance, dissidence, liberation?

Themes include:

  • productive tensions between criticality and creativity
  • in the mix – exploring hybrid genres
  • possession/liberation – finding, making, taking voice
  • biography and life-writing, auto- and others
  • conditions for/expectations of – academic context as a place of liberation or


  • coming before v coming after – questions of citation and appropriation
  • writing, objects, spaces – trans-textualities

    9.30 Coffee

    9.45 Introductions
    Jane Rendell, Helene Frichot, Emma Cheatle.

    10.00 – 11.00 Keynote Presentation

    Justy Phillips and Margaret Woodward, Lost Rocks (2017–21) Chair HF
    45 minute presentation followed by 15 minute Q&A

    11.00 – 11.30 Coffee

    11.30 – 13.00 Session 1

    Architecture < in relation to

    Chair HF
    6 x 10 minute presentations
    Sepideh Karami, Writing Dissident Architecture
    Povilas Marozas, Photographic Life of Architecture: Postmodernist Treasure Rebecca Loewen, Near to a Still: Slideshow to Isolate an Inframince Martyna Marciniak, The Marienbad Palace as the Sadist
    Sol Pérez Martínez, Vignettes
    Sally O’Reilly, Public Address System on the 12:50 from Common Ground

    13.00 – 14.00 Lunch

    14.00 – 15.00 Keynote Presentation

    Hélène Frichot, Exhausting the Exhausted
    Chair JR
    45 minute presentation followed by 15 minute Q&A

15.00 – 16.15 Session 2

Script & Voice

Chair EC
4 x 10 minute presentations
Thandi Loewenson, A Sermon
Edwina Attlee, Many Hands, or the Oil Rig and the Opera
Joanne Preston, Talking Quilts: textural translations between London and West Yorkshire Rosa-Johan Uddoh, The Serve

16.15 – 16.45 Tea

16.45 – 18.00 Session 3

Traces, Fragments, Memories

Chair JR
4 x 10 minute presentations
Nigel Simpkins, From a List of Parts Required
Lili Zarzycki, fifteen ways to cross the desert
Leyla Williams, In the Park
Deborah Stevenson, Waterloo and the City [Private Thoughts in Public Spaces]

18.30 – 20.00 Book launch and drinks

Emma Cheatle, Part-Architecture: The Maison de Verre, Duchamp, Domesticity and Desire in 1930s Paris
Chair JR
30 minute presentation (EC) followed by 5 minute responses – Hélène Frichot (KTH Stockholm) and Barbara Penner (Bartlett, London), then Q&A.

Robot Futures: Vision and Touch in Robotics


Saturday 8 July 2017
Dana Research centre and Library
165 Queen’s Gate, Kensington, London, SW7 5HD


This symposium brings together engineers, scientists, cultural theorists and artists who work in the field of robotics to explore notions of embodiment, telepresence and virtual and augmented realities.


Humans are embodied in robotic explorers; endowing them with ‘eyes’ and ‘hands’ robots are able to relate perceptions and experiences of places and objects physically unavailable to us. Although such robots might not ‘look’ human, it is the desire to see stereoscopically, and to feel through all the senses that endow robots with anthropomorphic qualities; we see and feel through the robot. In this way robots enable a more embodied experience, which is nonetheless mediated. It is in the development of virtual reality technologies that is increasingly enabling us to see and feel as the robot in order to get us closer to a more immersive experience.


Event link:

Brand Archaeology: Delving into the Past to Address the Future


Dr. Pedro Carvalho de Almeida University of Porto and Central Saint Martins

Central Saint Martins Culture and Enterprise Room C106

12 June 2017 14:00


‘Brand Archaeology’ is a practice-based research activity in design and brand identity (de Almeida, 2012). It employs hands-on methods to recover, organize and utilize entrepreneurial and private archives from heritage brands. By addressing the relevance of brand archives to companies, designers, and cultural institutions, the approach represents a critique and a response to how the unique cultural legacy of native brands is often overlooked and tends to dissolve amongst global influences. In this context, the generated wealth of historical and symbolically charged material culture proves a key organizational asset, and a critical strategic resource for content development and brand innovation.

This presentation introduces a collaborative research initiative culminating in ‘Cortebel 50’, a project that pays homage to the industrial legacy of iconic Portuguese footwear manufacturer, Cortebel, in its 50th year of operation. Its practical component involves brand archaeology, along with a design intervention exercising the tenets of ‘Designrascar’ in an industrial setting beset with infrastructural and resource- based constraints. The core objective of the ‘Designrascar’ approach is to promote the efficacy of ‘design by doing’ as a viable method for charting and navigating unpredictable territories in constantly shifting socio-economic landscapes. It endorses a hands-on approach to design and acknowledges circumstantial constraints as factors that inspire imaginativeness beyond understood thresholds.

The intervention which will be presented evolved through two main courses of action. One for leveraging in-stock materials through improvised admixing, the second seeking strategic partnerships with manufacturers
of textile materials not conventionally associated with footwear.

The reasoning behind the latter is to consider already existing varieties, instead of developing new materials, and to re- contextualize them as per requirement. One such partnership has been formed with Heranças do Passado, a non-for- profit association established to document, preserve and sustain the production of Almalaguês fabric.

Almalaguês is a traditional weaving technique, possibly dating back to the 11th century, homonymous with the village of its origin near Coimbra, Portugal. This traditional knowledge has been kept alive through many generations of weavers. However, according to research findings Almalaguês textile
faces an uncertain future due to a myriad of factors, including a lack of formal studies and inadequate promotion. It thereby remains largely unacknowledged despite its cultural significance and creative potential, which this project aims to address.

Outcomes include the production of an exclusive series of ‘Cortebel 50’ footwear in Almalaguês, using original designs and machinery from the 1960s, 1970s, and 1980s.

Dr. Pedro Carvalho de Almeida is a communication designer specialising in brand identity. He is assistant professor of design at the University of Aveiro, Portugal. He is currently undertaking a post-doctoral research project on brand archaeology (funded by FCT, Portugal) based at the Research Institute of Design Media and Culture (ID+) in Porto, in collaboration with Central Saint Martins University of the Arts London (CSM–UAL) where he completed his PhD (Brand Archives, 2012). His research interests address the recovery, organization and creative use of entrepreneurial and private archives as generative resources for brand innovation. As a design consultant he has worked with a range of organisations across Portugal and in the UK. He has international experience in Design education and research, including at Central Saint Martins (funded by AHRC), ENSCI-Les Ateliers Paris, and The Glasgow School of Art.

Chiang Mai Social Installation with David The

Wednesday 21 June 2017
1pm to 3pm

Please join us for an open editorial workshop with David Teh, discussing the ninth book in Afterall’s Exhibition Histories series, which will take Chiang Mai Social Installation (1992–98) as a focus for critical histories of contemporary art in Southeast Asia.

This event follows up on a conference co-convened by David Teh, Afterall and the University of Melbourne in November 2016: ‘Regions of the Contemporary – Transnational Art Festivals and Exhibitions in 1990s Southeast Asia’.

David Teh is a curator and researcher based at the National University of Singapore. His essays have appeared in Afterall, Third Text, ARTMargins and Theory, Culture and Society, and his book Thai Art: Currencies of the Contemporary was published this year by MIT Press. His most recent curatorial project, Misfits: Pages from a loose-leaf modernity, is showing at the Haus der Kulturen der Welt, Berlin until 3 July.

Room M207

Central Saint Martins 
University of the Arts London
Granary Building
1 Granary Square
London N1C 4AA

This event is open to all, if you would like to come along please email Lucy Steeds:
Please note the Tate event with David Teh, on Transnationalism and Its Limits, on Thursday 22 June, more here.

IAS Book Launch:

Communards and other Cultural Histories – Essays by Adrian Rifkin

Start: Jun 21, 2017 06:00 PM
End: Jun 21, 2017 08:00 PM

Location: IAS Common Ground, Ground Floor, South Wing, Wilkins Building

Communards and other Cultural Histories brings together a collection of 32 articles by Adrian Rifkin, written over a period of 40 years. It contains pathbreaking and influential studies on the archives of art, urbanism, music and popular life in France (and Britain) in the 19th and 20th centuries. Arranged around examinations of the Paris commune the book also includes chapters on Edith Piaf, the history of art education, opera and queer life in Paris.

An extended introduction by Steve Edwards works over the questions of uneven time in Marxist theory and the (in)disciplinary formations that underpin Rifkin’s work.

Adrian Rifkin will respond to a panel consisting of:

  • Professor Steve Edwards (Professor of History & Theory of Photography, Department of Art, Birkbeck, University of London)
  • Professor Tamar Garb (Durning Lawrence Professor in the History of Art and Director of the Institute of Advanced Studies, UCL)
  • Professor Esther Leslie (Professor of Political Aesthetics, Department of English and Humanities, Birkbeck, University of London)
  • Dr Richard Taws (Reader in the History of Art, UCL)

All welcome.

Please register here.

Local/Global Dynamics in Feminism and Contemporary Art

Venue: Middlesex University, Grove Building, Hendon Campus, The Burroughs, Middlesex University, London, NW4 4BT, UK.

Date: Monday 3 July 2017, 11-6pm.

This event is open to artists, academics and curators interested in feminism and contemporary art.

The conference will be organised through speeches, panel discussions, breakout sessions on particular topics and a discussion of attendee’s posters (see the invitation to all attendees, below).

Tickets :  £10 / £5 (students/discount) to cover catering costs.




10.30   Registration, Atrium, Grove Building.


11 – 11.30

Katy Deepwell (founder and editor of n.paradoxa: international feminist art journal and Professor of Contemporary Art, Theory and Criticism, Middlesex University)

‘Practicing local/global dynamics in feminist art criticism and history in the last 20 years’


11.30 – 1. 30

Panel discussion and presentation of current feminist research by:


Giulia Lamoni (art historian, Investigadora FCT, Instituto de Historio de Arte, Lisbon)


Ebru Yetiskin (curator, Associate Professor in Sociology, Media Theory, Digital Humanities. Istanbul Technical University)


Emanuela de Cecco (art critic/art historian, University of Bozen-Bolzano, Italy)


Martina Pachmanova (art historian, Associate Professor, Katedra teorie a d?jin um?ní, VŠUP/UMPRUM v Praze, Department of Art Theory and History, Academy of Arts, Architecture and Design in Prague)


1.30-3.30  Research exchange and lunch. Poster presentations of current research by attendees.


3.30-5.00  6 breakout sessions are discussion groups.

These will examine 1) histories of women’s film and video work; 2) women performance artists; 3) activism in the visual arts / cultural snipers ;  4) women artists working with sound; 5) rethinking domesticity and women’s labour; and 6) rewriting histories of contemporary art and feminism.


5.00-6.00  Plenary.






Writing in 1990, Elspeth Probyn argued that it was important to differentiate the concepts of locale, location and the local in order to address the broader questions of knowledge production and subject position in “where and how we may speak” – as well as a means to draw on a rich legacy of feminist thought from Adrienne Rich to Gayatri Spivak. In the production of artworks and in the analysis and presentation of the works of women artists in an international art world where globalisation, post-colonialism and a diasporic cultural politics have been predominant for two decades, this differentiation provides a starting point for this conference. Feminist questions about the politics of location; feminism’s role in countering “objective”/ “dominant” forms of knowledge, canons and historical agendas; as well as differentiating between speaking as women or Woman (as split and non-identitarian in her identifications) will be considered. Feminism has, for some time, argued that it can progress by “acting locally, thinking globally” in tackling women’s issues, often bypassing the question of the national en route to global comparisons on a world stage or by directing its critique at localised forms of nationalism.


Feminism nevertheless has also to counter perceptions of itself as homogeneous, when it is actually heterogeneous and scattered in how the position of women artists is theorised globally, and how women artists as subjects, both represented and representative and neither singular nor stereotypical, are written about. Acknowledging that individually we may speak from a location, about a locale and address local concerns requires more than personal caveats, it necessitates a commitment to dialogue and exchange as well as to hearing and engaging with other voices in the world who represent different realities/locations as well as diverse theoretical positions to our own.


This conference has been organised with the aim of building new and shared understandings across generations and geographies to think about where feminist debate in the visual arts is positioned today, especially given the current “popularity” of women artists in museums, biennales and galleries, as well as its directions for the future. The conference aims to address how different local concerns appear internationally and how locales may produce different understandings

(locations) which may be productive for a stronger local and global dynamics within and across feminism(s).


All of the above approaches have been central to the work of the journal, n.paradoxa, for the last 20 years and this conference addresses the work of feminists, artists and researchers who have helped to create n.paradoxa: an international feminist art journal in a visual display of former contributors’ comments. The conference coincides with Volume 40 of n.paradoxa: international feminist art journal (July 2017) on the theme of Ends and Beginnings. In its 20 years of publication, over 400 women artists, writers and curators from more than 80 countries have contributed.


  1. Elspeth Probyn ‘Travels in the Postmodern, Making Sense of the

Local’ in L. Nicholson (ed) Feminism/ Postmodernism (Routledge, 1990)




All attendees, in the spirit of exchanging work and ideas, are invited to bring a poster outlining their own research work on feminism and contemporary art. The poster can represent a current art project, a research project, a thesis proposal or a plan for an article, chapter or book. The poster can be speculative, a proposition or a projection of future work. Part of the extended lunch time will be given over to attendees to discuss / present their poster displays.
Please bring a simple A1-A3 format on paper.



This is a Create/Feminisms event from the Department of Visual Arts, with the assistance of students from BA Fine Art, and staff in Fine Art/Visual Culture. This event is supported by ADRI research funds at Middlesex University and KT press, publishers of n.paradoxa:

international feminist art journal.


Organiser: Katy Deepwell <> or <>


Katy Deepwell,

Founder and Editor of n.paradoxa

Professor of Contemporary Art, Theory and Criticism, Middlesex University


n.paradoxa is published by:

KT press

38 Bellot St


SE10 0AQ, UK


Tel/fax: +44 208 858 3331





Current Volume of n.paradoxa, Volume 39 (Jan 2017) Organising/Organisations.
20th Year of publication: Volume 40 (July 2017) Ends and Beginnings


In 20 years, n.paradoxa: international feminist art journal has published more than 550 articles from artists, curators, and academics living and working in more than 80 countries.




Christian Bonnefoi


film screening and round-table discussion, Monday June 12, CSM, London.

, CSM 5.30 – 7.30pm The LVMH Lecture Theatre, Central Saint Martins, 5.30pm Screening of the film

Philip Armstrong, Mick Finch and Antoine Langenieux-Villard.

Christian Bonnefoi is a central figure on the French artistic scene. Since his retrospective in 2008 at the Centre Pompidou in Paris, his recognition as an artist who has radicalised pictorial practice has grown internationally, notably with recent expositions at Campoli Presti, London; the Jean-Paul Najar Foundation for Contemporary Art, Dubai; and Thea Westereich and Ethan Wagner, New York.

Two students from Central Saint Martins, Jean-Baptiste Lagadec and Antoine Langenieux-Villard, filmed an interview with Bonnefoi in 2016, concentrating on his relationship to collage, his ideas about painting and the tableau form, and the diagram he uses to map the development and motifs of his practice which takes the form of wall based collages and paintings. The resulting 58-minute film, Diagramme, Collage, Tableau, is an excellent introduction and insight to both Bonnefoi’s practice and his thinking, from the 1970s to the present day. The interview was conducted in French but has English sub-titles and is an early edit of a project that is a work in progress.

The screening of the film will be followed by a round-table conversation between Christian Bonnefoi, Philip Armstrong, Mick Finch and Antoine Langenieux-Villard.

For the non UAL audience the event is free of charge but places must be reserved by booking through this link: