With original essays by art historian Susan L. Aberth and curators Simon Grant and Lars Bang Larsen, this publication explores the anti-authoritarian political agendas of nineteenth-century Spiritualism and the movement’s close association to the history of feminism, as well as its continued influence on contemporary practitioners. Spanning diverse artistic approaches, Not Without My Ghosts offers a unique insight into the ties that bind spirit and mediumistic art across the centuries.
Artists featured include William Blake, Marjorie Cameron, Bonnie Camplin, Ann Churchill, Ithell Colquhoun, Louise Despont, Casimiro Domingo, Madame Fondrillon, Chiara Fumai, Madge Gill, Susan Hiller, Barbara Honywood, Georgiana Houghton, Anna Mary Howitt, Victor Hugo, Augustin Lesage, Pia Lindman, Ann Lislegaard, André Masson, Grace Pailthorpe, František Jaroslav Pecka, Olivia Plender, Sigmar Polke, Lea Porsager, Austin Osman Spare, Yves Tanguy, Suzanne Treister and John Varley.
Bonnie Camplin (b.1970) lives and works in London. Studied BA in Film and Video and a postgraduate degree in Advanced Photography at Central St. Martin’s School of Art. Camplin is known for her films Hallo Hero (2003), Good Health (2003) and Special Afflications by Roy Harryhozen (2006). She has exhibited nationally and internationally and has collaborated with Enrico David, Mark Leckey, Lucy MacKenzie and Paulina Olowska. For eight years, she was a para-theatrical producer, director and performer of experimental club nights in Soho, London as well as working across the disciplines of drawing, film-making, music and writing. Select projects include Soundworks, ICA, London (2012). She is represented by Cabinet Gallery, London and Galerie Cinzia Friedlaender, Berlin.
Susan Hiller (b. 1940, Ohio, USA) lives and works in London. Hiller studied film and photography at The Cooper Union, New York and archaeology and linguistics at Hunter College, New York. Hiller uses her background in archaeology and anthropology to inform her practice, which typically comprises audio and visual technology. The artist uses cultural artefacts as the starting point for her work to explore near death experiences and collective experiences of the paranormal. Hiller is considered to be one of the most influential artists in the UK. Her recent solo exhibitions include: MOT Gallery, Brussels (2016); Susan Hiller: The Last Silent Movie, FRAC, Franche-Comté (2016); Lisson Gallery, London (2015); Channels, Den Frie, Copenhagen (2014); Resounding (Infrared), Summerhall, The Edinburgh Art Festival (2014); Channels, Samstag Foundation, The Adelaide Festival, Australia (2014); and Provisional Realities, CCA Wattis Institute for Contemporary Arts, San Francisco (2014). Recent group exhibitions include: Line, Lisson Gallery, London (2016); Art and Anthropology: Ethnografische Bezüge in der zeitgenössischen Kunst Galerie im Kornerpark, Neukölln (2016); British Art Show, Edinburgh (2016); and Sublime: Tremblements du Monde, Pompidou, Metz (2016).
Olivia Plender (b.1977, UK) lives and works in London. Plender’s work often involves research into histories of social, radical and religious movements in Britain. Her work is manifest in a wide variety of forms: installations, drawings, videos, banners, costumes, performances and comics. Plender’s drawing for the Contemporary Art Society Auction is concerned with Sylvia Pankhurst, who used her artistic skills in the fight for women’s rights, designing badges, banners and flyers. Plender’s recent exhibitions include Arnolfini, Bristol; MK Gallery, Milton Keynes; Gasworks, London; KIOSK, Ghent; Marabouparken, Sundbyberg, Sweden.
Suzanne Treister (b.1958, London) lives and works in London. Graduated from Chelsea College of Art and Design, London (1982); and St Martin's School of Art, London (1981). Awards include COLLIDE International Award, CERN Geneva (2018); and the National Digital Art Prize, Australia (1999). Select solo exhibitions include Le voyage à Bordeaux de Suzanne Treister - Histoires parallèles et récits excentriques, CAPC musée d'art contemporain de Bordeaux, Bordeaux (2018); Works from SURVIVOR (F), IMT Gallery, London (2017); HFT The Gardener, Exhibition Research Lab, Liverpool Biennial, Liverpool (2016); HEXEN 2.0, Fig-2 ICA, London (2015); Post-Surveillance Art, Chisenhale Gallery, London (2014); In The Name of Art and Other Works, Annely Juda Fine Art, London (2013); and THE REAL TRUTH A WORLD'S FAIR, Raven Row, London (2012). Select group exhibitions include 50 Years – 50 Artists, Annely Juda Fine Art, London (2018); Now Play This, Somerset House, London (2018); Revolution: Records and Rebels 1966 - 1970 dai Beatles a Woodstock, V&A touring exhibition, Fabbrica del Vapore, Milan (2017); Perpetual Uncertainty, Bildmuseet, Umea (2017); New World Order, Casula Powerhouse, Sydney (2016); Artificial Intelligence, Hartware Medien Kunst Verein, Dortmund (2015); Anonymity no longer an option, Pierogi, The Boiler, New York (2015); Social Factory: 10th Shanghai Biennale, Shanghai (2014); and L'avenir (looking forward), 8th Biennale de Montréal, Montreal (2014).
