Visual presentations of academic papers including ‘On the Drawings of Andrea Bowers’ by curator and writer Hannah Ellul; ‘Protest Drawings’ by artist Joy Gerrard; and ‘Nancy Spero: The War Series’ by art historian Rachel Warriner

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Tunisian artist Nidhal Chamekh leads a drawing masterclass, demonstrating drawings styles and his montage technique, with opportunities for participants to work with pen, pencil and ink. Nidhal Chamekh deploys classical drawing as a forensic tool to uncover evidence of historic acts of governmental injustice and brutality in his native Tunisia and to produce both small and large scale drawings that comment on the unfolding political events in the region. The small scale drawings are characterised by assemblages of heterogeneous images whilst the larger works use more traditional composition. His works on paper, executed in graphite, demonstrate his highly skilled drawing techniques.

With presentations from artists, collectors and curators, as well as experts in conservation, framing and collection management, the course will provide a comprehensive introduction to collecting contemporary drawing practice.

Artists’ Mounira Al Solh and Nidhal Chamekh in conversation with curator Amal Khalaf with an introduction by Kate Macfarlane, curator of Graphic Witness.

What happens to individuals caught up in political turmoil and how can drawing provide evidence of injustice, create powerful commentary and prompt social change? Artists’ Mounira Al Solh and Nidhal Chamekh, whose work can be seen in the Graphic Witness exhibition, and Amal Khalaf, Projects Curator of the Serpentine Gallery’s Edgware Road Project, will present their ideas and discuss the implications of their projects.

HOT LINES: 3 July 6.30 – 8.00pm

Through readings, presentations and discussion, Annotations artist Heather Phillipson and invited friends: Helen Cammock, artist; Karen di Franco, archivist and curator; Helen Nisbet, Curatorial Fellow, Cubitt; and Helena Reckitt, curator and resarcher, will consider intersections of drawn and written lines – the potential convergences for visual and poetic practices in attempting to, as Kathy Acker said, ‘mine the hot stuff’.