ABOUT
PEOPLE
CONTACT
PROJECTS
Boris Jardine

https://cambridge.academia.edu/BorisJardine
Miriam Austin

www.miriamaustin.co.uk
Matthew Drage

www.matthewdrage.com
https://www.reprosoc.sociology.cam.ac.uk/directory/matthew-drage
Paul Gwilliam

www.paulgwilliam.co.uk
Lizzy Laurance

www.lizzylaurance.com
Jenny Bangham

https://www.people.hps.cam.ac.uk/index/fellows-associates/bangham
Al Page

www.alpage.co.uk
Paul Gwilliam lives and works in London. He studied MA Sculpture at The Slade School of Fine Art (2011-2013) and his BA at Brighton University (2003-2007). Selected solo exhibitions include Out for a Duck, Catalyst Arts, Belfast, 2015, A Portrait of a Lynx, Grove House, London, 2014 and A Fully Wearable Colour, Lima Zulu, London 2014. He is the founder and director of Luna Elaine (2018 – present) and was a co-founder of Copenhagen Place (2010 – 2012). He is a member of SSea Projects (2016 – present) and a member of the collective Universal A (2013 – 2016). www.paulgwilliam.co.uk
Jenny Bangham, academic at the University of Cambridge; research focused on the practices, politics and representations of biomedicine. Current project: ‘FlyBase:Communicating Drosophila Genetics in the Digital Age’, examines the history of how scientific communities come together to produce community resources, such as repositories, newsletters, and databases. Book manuscript: Blood Relations: Transfusion and the Making of Human Genetics, documents the historical relationship between genetics and blood transfusion. Publications in History of the Human Sciences, LIMN, British Journal for the History of Science. Former editor at Development (2003-4) Nature Reviews (2004-5); geneticist at the University of Edinburgh (2005-8), and Research Scholar at the Max Planck Institute for the History of Science, Berlin (2012-2016). Co-organized conferences and working groups: ‘Making Human Heredity: Populations and Public Health in the Postwar Era’ (University of Cambridge, 2012); ‘Invisible Labour: Knowledge Production in the Human
Boris Jardine​: Academic and writer at the University of Cambridge; research focused on the material conditions and practices of science (instruments, collections, sites, buildings). Current project: ‘The Lost Museums of Cambridge Science, 1865–1936’ (Leverhulme/Isaac Newton funded). Other areas of expertise are: science and interwar politics, the social survey group Mass-Observation, and the history of social data. Formerly curator at the Science Museum, London (2011–2014). Founding editor of the Cambridge Literary Review (2009–2012). Prose and poetry in ArtLicks, Yellowfield, Holly White, Modern Review, LIMN and others. Conferences and working groups: ‘The Total Archive: Dreams of Universal Knowledge from the Encyclopaedia to Big Data’, CRASSH, University of Cambridge, 2015; ‘Elements of Religion’/UA (Bold Tendencies/Arts Council funded project, 2013–2016); ‘How Collections End: Objects, Meaning and Loss in Laboratories and Museums’, Whipple Museum of the History of Science, Cambridge, 2017.
Lizzy Laurance​: Composer and producer of electronic music; work concerned with issues of gender and subjectivity, embodiment, and the relationship between collectivity, technology and the transcendental. Currently an MMus student at Goldsmiths University and teacher of Music at Newham Music Trust. Recent performances and exhibitions include “The Surround” SET, London (2017) and “Noise Machiene” Amersham Arms, London (2017), “Ritual >>>>>>Enhancement” (2016), Chisenhale gallery, London “Lupercalia: performance and ritual evening” Bosse & Baum, London (2016) “Elements of Religion” Dragonfly Place, London (2016) and residency, during a residency at The Art Monastery Project, “Siquis Sitit” shown around Italy (2015).
Miriam Austin​: Born in New Zealand and lives and works in London. Recent exhibitions include: On the Heights, Yorkshire Sculpture Park, Yorkshire (2017); Lupercalia, Solo Show, Bosse and Baum, London (2016); Domusdei, Performance for Art Night festival, ICA, London (2016); We All Have a Problem with Representation, Screening, The Showroom, London (2016); Blossom Collar, Screening for Venice International Performance Art Week, Alma Zevi Gallery, Venice, Italy (2016) Ritual >>>>>> Enhancement, Performance in collaboration with UA, Chisenhale Studios Project Space, London (2016); Sculptors Drawings, Alma Zevi Gallery, Venice, Italy (2016); Inland Far, Herbert Read Gallery, University of the Creative Arts, Canterbury (2016); UA: Elements of Religion, AVB Project Space (as part of Art Licks Weekend), London (2016).
Matthew Drage​: Academic, artist and writer living between London and Cambridge, researching the intersections between biomedical institutionality, the ‘psy-’ disciplines and cybernetics, religious askesis and mysticism (especially Buddhist and Christian), gender and sexuality, and late liberal political rationality. In 2017 he completed a PhD at the University of Cambridge on the emergence of the contemporary ‘mindfulness’ meditation movement. Recent exhibitions and events include: Elements of Religion (with UA), TemporaryContemporary, 2016; The Total Archive: Dreams of Universal Knowledge from the Encyclopaedia to Big Data, CRASSH, University of Cambridge, 2015; Art (After) Death, Royal Academy of Art (Colloquium @Highgate Cemetery), London, 2014. Peristalsis, Arnolfini, Bristol, 2013; Elements of Religion, Bold Tendencies, London, 2013.
Al Page: ​Lives and works in London. Recent exhibitions include: Crawling over the Cardinal, Childers Street Projects, London (2017); The Gardens, Studio 60 Project Space, London (2017); Slade Schools Show, Slade School of Fine Art, London (2016); Slade School of Art Interim Show, Slade School of Fine Art, London (2015); Tropical Hospitality, London/Newcastle Project Space, London (Curated by Tomma Abts and Alastair Mackinven) (2015). Prizes and Awards: 2018 – Shortlisted for the Bridget Riley Fellowship at the British School at Rome; 2016 – Margarita & Mario Crema Travel Award, through the Slade School of Art. Publications: Art Licks Magazine, Issue 18 (Autumn 2016) and Issue 22 (Spring, 2018).
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