CV

EDUCATION
2013 – 17 MPhil/PhD, University of Middlesex
2012 Whitney Museum of American Art: Independent Study Program, New York, USA
BA (Hons) Fine Art and Contemporary Critical Practice, Goldsmiths College, University of London

SELECTED RESIDENCIES / COMMISSIONS / FELLOWSHIPS
2016 Artist in Residence, Bemis Center for Contemporary Arts, USA
2015 Intersections Commission, Primary, Nottingham
2015 Critical Waves, Resonance FM
2011 Platform, Site Gallery, Sheffield
2008 artsdmin Bursary
2007 I Love Peckham, University of the Arts London / Southwark Council

SELECTED EXHIBITIONS
Solo / as the …And Beyond Institute for Future Research
2017 The Claudia Jones Space Centre, BALTIC & The New Bridge Project, Newcastle
2011 Paul Robeson Research Station, Site Gallery, Sheffield
Group
2015 Critical Waves, Resonance FM (Radio)
2013 Platform: In the Making, Site Gallery, Sheffield
2012 Whitney Independent Study Program, 161 Bowery NYC
2008 It’s your round, The Bear, London
2007 Instructions for films, Zoo Art Fair
I love Peckham, University of the Arts London / Southwark Council
2006 Reclassified Disembodiment, Novas Gallery, London
2004 Cockney Karaoke, Bow Festival, London

SELECTED PERFORMANCES / EVENTS
2016 Propositions 2016: One of Four, School of the Art Institute of Chicago
2015 Into the Future, Broadway and Nottingham Hackspace, Nottingham
2015 At the Intersections, Nottingham Contemporary
2014 The Politics of Food and Space, Delfina Foundation, London
2013 Odd Fangled Approaches, Curatorial Timeshare @ Enclave, London
2011 Networked: Dialogue & Exchange in the Global Art Ecology, Triangle Network / Gasworks Gallery, London


SELECTED TALKS / CONFERENCES

2017 Curating Carnival, The Tetley, Leeds
2017 “aPOCalypso,” Stuart Hall Research Network ‘Virtualities’ Programme, Iniva, London, May 2017.
2017 “Black/Feminist/Queer” Intersections,” University College London, May
2016 “aPOCalypso: Janelle Monae and (Science) Fictional Black Feminisms,” Current Research in Speculative Fiction, University of Liverpool, June 2016.
2015 No Colour Bar, Guildhall, London
2015 The Unspeakable Freedom Device, Primary, Nottingham
2011 Diversity: What’s Next? Arnolfini, Bristol
2010 Re-imagining Culture, A Foundation, London
Questionable Times, Iniva, London
The Creative Case for Diversity, Bank Street Arts, Sheffield
2009 China Europa Forum, Abitare Courtyard, Beijing
2008 Free at the point of interest, LUX 28, London
Art and Class, Rose Theatre, Kingston
Diversity Through the Arts, The Hague University, Holland
Elephant in the Room, Arts Council England, Birmingham
2007 Dissemination: The Revolutionary and the Radical, Gasworks Gallery, London
Battle of Ideas, Royal College of Art
Boxed In, Camden Arts Centre


PROJECT CURATION

2017 50 Years of Leeds West Indian Carnival, The Tetley, Leeds
2017 UnEarthing, The Queens House, London
2013 – 2016 Curator, Public Programmes, Tate Britain & Tate Modern
2007 – 2011 Chelsea Programme Coordinator @ Chelsea College of Art & Design, University of the Arts London
2010-11 Artists and Curators Talking, Wysing Arts Centre, Union 105, Turner Contemporary, Chapter Arts Centre
2011 Leave Those Kids Alone! Teaching, Learning and Resistance Through Art, The Showroom, London
2008 Temporary Agency – value, free labour, social capital, Chelsea Space Gallery, London
2007 Current Thinking, Tate Modern

BIBLIOGRAPHY / REVIEWS
2015 The …And Beyond Institute for Future Research, Left Lion
http://www.leftlion.co.uk/articles.cfm/title/sonya-dyer-on-…and-beyond-institute-for-future-research/id/7683

2011 Paul Robeson Research Station
‘Paul Robeson never dies, said she!’ Dr Sophie Hope
http://www.sitegallery.org/archives/3085#.UBBKzXB-wrY

Exhibitionist, The Guardian
http://www.guardian.co.uk/artanddesign/gallery/2011/feb/05/exhibitionist-art-shows#/?picture=371389952&index=7

Review ‘This is Tomorrow’
http://www.thisistomorrow.info/viewArticle.aspx?artId=754

Review ‘JUS News’ http://www.jusnews.co.uk/tag/sonya-dyer/

2008 PILOT 3

PUBLICATIONS
2017 “Mae Jemison: How the Future is Made,” Story in the Skies, (Mojisola Adebayo exhibition catalogue), Idle Women, UK.

2016 “Westworld” Science Fiction Research Association Review (Winter Issue). Liverpool, UK.

2016 “Janelle Monae: Three Albums,” Science Fiction Research Association Journal (Fall Issue). Liverpool UK.

2011 George, Kadija ed. “Black British Perspectives: A Series of Conversations on Black art forms,” Sable Publishing. London.

2010 Keidan, Lois, ed. “Live Art Now: Situating the Present and Projecting the Future,” In Time, Live Art UK. London,

2008 Temporary Agency (Ed.), Chelsea Space

2007 Boxed In: How Cultural Diversity Policies Constrict Black Artists, a-n the artists information company

2007 Instructions for Films, No.w.here

SELECTED ARTICLES

2017 Claudia Rankine, a-n online
2017 Mid Western Blues, a-n online
2013 Afrofuturism’s Others, a-n online
2012 To the Point of Total Liberation, Petunia Magazine
Feeling the Shape of the Arts Ecology, a-n magazine
2010 Wanted: A New Image, Prospect Magazine
2009 Mobile conference’ a-n Magazine, May 2009
2007 How to See a Work of Art in Total Darkness, Art Review
Why are the arts so white? Time Out London
Some thoughts on what ‘autonomy’ and ‘freedom’ might mean for artists in the present day Printed Project Journal, Visual Artist Ireland

TEACHING
2016 Guest Lecture, Dept. of Performance, School of the Art Institute of Chicago
2015 Guest Lecturer, BA Fine Art, University of Nottingham
2013 Guest Lecturer, MA Art Management, Birkbeck, University of London
2012 Guest Lecturer, MA Art Management, Birkbeck, University of London
2013 Guest Lecturer, MA Art Theory, Chelsea College of Art & Design

COLLECTIONS
Work in Novas Group collection

BOARDS
I was previously on the Board of Trustees for Live Art / New Media organisation New Work Network (2009 – 11), and an advisory panel member for NAN (Networking Artists Networks) (2004 – 10).

COLLECTIVES
2015 – present Member of “Museum Detox,” a collective of BME (Black and Minority Ethnic) gallery and museum workers.

2008 – 2011 Member of “Making a Living” artists group exploring precarity in the visual arts sector

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