AI Know You Intimately, You Know Me Not At All
Public Programming
MA Curating and Collections Student Led Conference
Chelsea Space
February 2024
Presented at Chelsea Space to accompany the screening of The Gold Diggers by Sally Potter, 1983, and in relation to the Women in Revolt! Art and Activism in the UK 1970-1990 exhibition at Tate Britain, I Know You Intimately and You Know Me Not at All, curated by the MA Curating and Collections students at Chelsea College of Arts, explores material from The Lindsay Cooper archive at UAL.
Responding to themes and contexts that are presented within The Gold Diggers such as its celebration of collaboration, shared histories, and alliances amongst women both in production and plot; this project in two parts reflects individuals reaching out to one another, seeking community and intimacy amidst the challenges of the time—asking for something, giving something, and finding solace in one another. The context for the film emerged during a period of profound political and economic upheaval in Britain, characterized by Thatcher‘s governance, dwindling public funding, and disproportionate impacts on marginalized communities. Drawing from the Lindsay Cooper Archive, housed at the University of the Arts London, the display exhibits photographs, documents, and audio, providing insight into the production of the film and beyond. Through this curatorial intervention, visitors are encouraged to reinterpret institutional paradigms and construct new pathways to collective liberation.
The second iteration of this programme is Improvising Antiphony
Curated by:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Wanjing Lin, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Shuyi Wang, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou
Responding to themes and contexts that are presented within The Gold Diggers such as its celebration of collaboration, shared histories, and alliances amongst women both in production and plot; this project in two parts reflects individuals reaching out to one another, seeking community and intimacy amidst the challenges of the time—asking for something, giving something, and finding solace in one another. The context for the film emerged during a period of profound political and economic upheaval in Britain, characterized by Thatcher‘s governance, dwindling public funding, and disproportionate impacts on marginalized communities. Drawing from the Lindsay Cooper Archive, housed at the University of the Arts London, the display exhibits photographs, documents, and audio, providing insight into the production of the film and beyond. Through this curatorial intervention, visitors are encouraged to reinterpret institutional paradigms and construct new pathways to collective liberation.
The second iteration of this programme is Improvising Antiphony
Curated by:
Nis Azmee Murat, Yining Bai, Stephanie Colclough, Mengze Geng, Riccardo Greco, Maria Herrero Tejada, Wenjing Huang, Yaqi Liang, Wanjing Lin, Yijia Liu, Heyue Lu, Ya-hsin Luo, Wenyan Ma, Aayushi Rajput, Qinxue Shen, Mahalia Sobers, Xinhe Tang, Ziyu Tang, Lily Tanprasert, Charmaine Wah, Jiaxin Wang, Shuyi Wang, Ziyan Xu, Xingcheng Xu, Jiabin Xu, Xueqing Xu, Wenbin Ye, Kun (Lydia) Yu, Lilian Zancajo-Lugo, Zihan Zhou
