A Piece of Land: Alternative communities and living | Fran Cottell & Maisie Richards Cottell, Sisters of Jam, Nina Wakeford
Saturday 27 May 2017, 4pm


An afternoon of presentations considering alternative structures of collective living and models of domestic life.

Fran Cottell and her daughter Maisie Richards Cottell will discuss 'House Projects' (2001 - present); a series of architectural installations built in the artists' home, a former cemetery lodge in Greenwich. A screening of It Takes a Million Years to be a Woman (2010-14), a film documenting Sisters of Jam's ongoing interdisciplinary art project about Millett Farm; an art colony founded in 1978 by feminist author Kate Millett in Poughkeepsie, USA. Nina Wakeford presents an apprenticeship in queer I believe it was, a performance with 16mm film exploring the capacity of Greenham Common to transform the identities of those who lived there.


To reserve your place, please click here.



Fran Cottell is an artist producing installations, public interventions and performance since the 1970s; working collaboratively and individually, on social, feminist, environmental and domestic artworks, and curatorial projects. Fran is a Senior Lecturer in Fine Art at Camberwell College of Arts.


Maisie Richards Cottell graduated from Trinity College Dublin (2014) in English literature, before that she studied politics at Queens University Belfast. While at Trinity she was greatly involved in the student drama society 'Players'; winning Best Set Design at the Irish Student Drama Awards 2013. Since graduating she has worked in set design for both theatre and TV in London, and was previously a member of the Soho Theatre Young Company's Comedy Lab.


Sisters or Jam was founded in 2008 by artists Moa and Mikaela Krestesen. They work on interdisciplinary artistic research using photography, video, drawing, installation and text in an ongoing investigation of community, sisterhood, historiography and continuity. www.sistersofjam.com


Nina Wakeford is an artist and sociologist, and is Reader in Sociology at Goldsmiths. As an artist she makes work that begins with the unfinished business of past social movements, and the challenges of revisiting the energies that these movements created. Recently, drawing on a personal collection of feminist materials from the 1970s and 1980s, Nina has made a series of film and performance works that involve singing as a way of attaching herself to objects or images. She is the co-editor of Inventive Methods: The Happening of the Social (Routledge, 2012) which explores, amongst other things, how research might better work with openness and ambiguity. Her performances have been shown at BFI, ICA and the Wellcome Collection.



Image: Nina Wakeford, still from an apprenticeship in queer I believe it was, 2016. Courtesy of the artist. 

Audio recording