Michael Lumb - Reino Unido
Local de nascimento: Yorkshire, England
Data de nascimento: 1945
Michael Lumb é um artista britânico, pesquisador, professor, curador, escritor, colecionador e arquivista, nascido em 1945 em Yorkshire, Inglaterra. Sua produção atravessa performance art, instalação, vídeo, livro de artista, publicação de artista, arte postal e práticas conceituais, enquanto sua atividade intelectual se concentra especialmente na história da Mail Art, nos livros de artista e nas redes alternativas de circulação artística. Formado inicialmente em Theatre Design pela Wimbledon School of Art, trabalhou para a BBC, televisão comercial e produções cinematográficas durante o final da década de 1960. Posteriormente desenvolveu uma carreira que aproximou criação artística, ensino superior, pesquisa histórica, curadoria, documentação e constituição de arquivos. Em 1998 recebeu o grau de MPhil pela University of East Anglia, resultado de sua pesquisa Mailart 1955 to 1995: Democratic Art as Social Sculpture, concluída em 1997 na School of World Art Studies and Museology.Lumb realizou sua primeira exposição individual há mais de cinquenta anos e desenvolveu uma trajetória internacional com exposições, performances e projetos na Grã Bretanha, Croácia, República Tcheca, França, Alemanha, Hungria, Israel, Letônia, Polônia, Sérvia e Ucrânia. Sua prática artística consolidou se principalmente em torno de performance, instalação, vídeo e bookworks. A partir de aproximadamente 1990, performance e instalação passaram a ocupar posição central em seu trabalho, frequentemente apresentadas em espaços informais e fora do circuito comercial convencional de galerias. Paralelamente, desde meados da década de 1970, o formato livro tornou se um dos principais veículos para suas ideias. Até 2020 Lumb declarava ter produzido mais de cem edições distintas, valorizando o livro como meio que lhe permitia controlar criação, produção e distribuição e manter uma política deliberadamente não comercial.Sua relação com a Mail Art começou antes de conhecer plenamente a dimensão internacional da rede. Em relato autobiográfico produzido para uma entrevista conduzida por Ruud Janssen, Lumb afirmou que em 1980 utilizou o sistema postal como veículo para uma ideia conceitual e enviou para um amigo residente na França seu primeiro trabalho postal, Nothing to Declare. A proposta nasceu de uma tentativa frustrada de transportar um pé cúbico de solo inglês através da alfândega para trocá lo por um volume equivalente de solo francês. A partir dessa experiência inicial, sua prática aproximou correspondência, deslocamento, território, comunicação e procedimentos conceituais. Posteriormente, seu conhecimento do circuito de Mail Art britânico foi ampliado por informações sobre projetos internacionais publicadas por Michael Leigh na revista Artists Newsletter.A atuação de Michael Lumb dentro da Mail Art ultrapassou a produção de correspondência artística. Ele se tornou pesquisador da história, funcionamento social, terminologia, dispositivos e redes internacionais da arte postal. Sua principal contribuição acadêmica nesse campo é Mailart 1955 to 1995: Democratic Art as Social Sculpture, dissertação apresentada em outubro de 1997 à University of East Anglia para obtenção do grau de Master of Philosophy. O trabalho situa a Mail Art dentro de uma história de aproximadamente quarenta anos e procura compreender a rede não apenas como produção de objetos enviados pelo correio, mas como estrutura social baseada em comunicação, intercâmbio e participação. A pesquisa emprega como referência a ideia de escultura social associada a Joseph Beuys e argumenta que a dimensão artística da Mail Art reside de maneira fundamental na própria rede e nas relações estabelecidas entre seus participantes.A dissertação de Lumb tornou se uma referência bibliográfica em estudos posteriores sobre arte postal. Pesquisas acadêmicas internacionais sobre história da Mail Art continuam citando Mailart 1955 to 1995: Democratic Art as Social Sculpture ao lado de estudos de autores como Chuck Welch, Michael Crane, Mary Stofflet, John Held Jr. e outros pesquisadores fundamentais do campo. Estudos latino americanos e europeus também identificam a dissertação de Lumb como uma das pesquisas acadêmicas relevantes para a historiografia da Mail Art.A dimensão documental de sua atuação é igualmente importante. O Tate Archive, em Londres, preserva os Personal papers of Michael Lumb sob a referência TGA 200732. A documentação compreende aproximadamente 35 caixas e cobre aproximadamente o período de 1985 a 2006. Registros do National Archives do Reino Unido descrevem o conjunto como documentos de Michael Lumb enquanto acadêmico e colecionador, incluindo materiais relacionados a Ray Johnson, correspondência com artistas e documentação relativa a Robin Crozier e Brian Lane. Esse fundo coloca Lumb não apenas como produtor de arte, mas também como agente de preservação da memória das redes alternativas britânicas e internacionais.A relação documental com Ray Johnson possui especial importância porque Johnson é uma figura central para a genealogia da Correspondence Art e da Mail Art. A presença de documentos sobre Ray Johnson dentro do fundo Michael Lumb na Tate demonstra que sua atividade investigativa esteve voltada diretamente para questões históricas fundamentais da arte postal. A mesma coleção conserva correspondência com artistas e materiais sobre Robin Crozier e Brian Lane, dois nomes vinculados às práticas alternativas de publicação, livros de artista e redes postais britânicas. Dessa forma, Michael Lumb deve ser compreendido simultaneamente como artista participante das redes e como pesquisador que recolheu, organizou e preservou testemunhos dessas mesmas redes.Robin Crozier ocupa posição particularmente significativa nesse contexto. Crozier foi um dos principais representantes britânicos da Correspondence Art e sua documentação integra o arquivo de Michael Lumb preservado pela Tate. Essa conexão possui importância para reconstruções históricas das redes britânicas de Mail Art, pois reúne produção artística, correspondência, pesquisa e documentação em um mesmo circuito de relações. A trajetória de Lumb revela assim um método no qual participar de uma rede, pesquisar a rede e preservar seus documentos são atividades complementares.Seu interesse em documentação e arquivamento aparece igualmente no desenvolvimento de sua própria obra. Desde 2001 grande parte de sua produção tem sido informada por um projeto autobiográfico contínuo denominado Towards an Understanding of my Existence. Lumb procura associar objetos pessoais, fotografias, cartões postais e outros registros à construção do texto autobiográfico. A partir desse projeto surgiu Towards Artwork, no qual ele buscou registrar cada trabalho criativo produzido, assim como obras existentes, documentação e anotações presentes em seus cadernos. Esse procedimento aproxima autobiografia, inventário, arquivo, catálogo de obra e criação artística.Na área acadêmica, Lumb foi Course Leader do curso de MA in Visual Practice no University College Suffolk e também ensinou Alternative Practice Fine Art no curso de BA. Essa atividade reforça sua ligação entre pesquisa, pedagogia e produção experimental. Em 1998 uma biografia acadêmica registrava sua atuação como artista e curador trabalhando principalmente com performance e instalação na Inglaterra e na Europa Oriental, além de sua função docente em Suffolk.Como curador, Lumb desenvolveu projetos relacionados particularmente ao livro de artista e à circulação internacional da arte britânica. Com a artista Emma Johnson criou em 1999 a parceria GRIP, destinada à geração e curadoria de exposições internacionais em Ipswich e em outros países. Entre as atividades associadas a essa parceria aparecem beginning to get a GRIP, em 2000, Two works for Maxim G, também em 2000, Strands, em 2001, Listening Fragments, em 2002, apresentada em Ipswich e Kharkiv, e Two Texts, em 2003.Lumb também desempenhou papel importante na divulgação internacional dos livros de artista britânicos. Em 1998 organizou Bookarts in Britain, apresentado na Galeria Arsenal em Poznan, Water Tower Gallery em Konin e Museum of Bookarts em Lodz, Polônia. O catálogo Bookarts in Britain foi publicado pela Galeria Miejska Arsenal e possui ISBN 83 86932 34 1. Em 1999 participou da curadoria de British Artists Books, apresentada no National Museum of Foreign Art em Riga, Gallery Laipa em Valmiera e Madona Art Museum, na Letônia. Sua produção crítica inclui textos sobre livros de artista, publicação independente, performance e Mail Art.Entre seus textos documentados encontram se Ksiazki Artystyczne W Wielkiej Brytanii, publicado em 1996; Bookarts in Britain e Mailart 1955 to 1995: Democratic Art as Social Sculpture, de 1998; Information is power e o ensaio de catálogo Bookways, de 1999; The Once And Future Book, publicado em 2000; The Printed Performance Brian Lane Works 1966 99, de 2001; Newspeak and the Emperor?s New Clothes, de 2003; e Some Contemporary Approaches to Artists Books and their Origins, publicado em Moscou em 2004.A produção artística documentada de Lumb inclui numerosos trabalhos de performance e instalação. Entre eles estão Rebirth em 1993, Pathway e Ambition em 1994, Wedge e An Attempt at Survival in Alien Circumstances too em 1995, I Mediate e Energyfield em 1996, And on the Eighth Day e Traces em 1997, Other Echoes e Conduct Becoming em 1998, 750 to zero em 1999, Esmerelda em 2000, Walking and Moaning em 2001, Fragmented em 2002, Waiting em 2003, Metamorphosis e Sonority em 2004, Bergamot em 2006, Attachment, You and Me e Lachrymose em 2007, Poultice em 2010 e MAN AGE em 2013.Entre suas exposições individuais documentadas encontram se The Sensitive Heterosexual Male em 1993, Dark Works For the Wall e Prayer for St Simeon 2 em 1994, Hoping for the Sun e Traces em 1996, Do you Remember me e Slady em 1997, Burnt Norton no Museum of Bookarts em Lodz em 1998, Vitrine for Kosovo no National Museum of Foreign Art em Riga em 1999, On the Edge em 2002, Cinderella em 2005, Redemption em 2016 e Study for Don't Ask Me em 2017.Michael Lumb também aparece associado a coleções públicas internacionais. Seu currículo registra trabalhos no Canadian Museum of Civilisation, Museum of Graphic Design em Buenos Aires, Getty Foundation nos Estados Unidos, Museum of Bookarts em Lodz, King St Stephen Museum Artists Book Collection na Hungria, Union Fine Arts Station Kropswolde Collection nos Países Baixos e Tate Archive em Londres. O fundo documental conservado na Tate constitui atualmente um dos elementos mais importantes para investigação de sua atuação como artista, acadêmico, colecionador, pesquisador e preservador de documentos relacionados à Mail Art.Não foi localizada nas fontes consultadas uma participação direta comprovada de Michael Lumb no movimento brasileiro Poema Processo. Sua importância para o acervo e para uma plataforma dedicada ao Poema Processo decorre de outro eixo histórico. Sua produção e sua pesquisa oferecem documentação fundamental para compreender o campo internacional em que poesia visual, livro de artista, arte postal, performance, publicação experimental e redes alternativas passaram a circular de maneira transnacional. A relação deve portanto ser apresentada como contextual e comparativa, e não como pertencimento direto ao Poema Processo.Michael Lumb ocupa uma posição singular na história recente da arte experimental britânica porque combina papéis que muitas vezes aparecem separados. É simultaneamente artista, participante da rede internacional de Mail Art, pesquisador de sua história, autor de uma das dissertações acadêmicas de referência sobre o tema, curador de exposições de livros de artista, professor, colecionador de documentação e responsável pela formação de um arquivo posteriormente incorporado ao Tate Archive. Sua trajetória permite compreender a Mail Art não somente por seus objetos, mas também por seus sistemas de circulação, relações sociais, documentos, arquivos e processos de preservação histórica.
English
Michael Lumb is a British artist, researcher, educator, curator, writer, collector and archivist, born in Yorkshire, England, in 1945. His practice encompasses performance art, installation, video, artists books, artists publications, mail art and conceptual practices, while his intellectual work has focused particularly on the history of Mail Art, book arts and alternative networks of artistic circulation. Initially trained in Theatre Design at Wimbledon School of Art, he worked for the BBC, commercial television and film productions during the late 1960s. He subsequently developed a career combining artistic production, higher education, historical research, curatorial practice, documentation and archive building. In 1998 he was awarded an MPhil by the University of East Anglia, following the completion in 1997 of his research Mailart 1955 to 1995: Democratic Art as Social Sculpture at the School of World Art Studies and Museology.Lumb held his first solo exhibition more than fifty years ago and developed an international career involving exhibitions, performances and projects in Britain, Croatia, the Czech Republic, France, Germany, Hungary, Israel, Latvia, Poland, Serbia and Ukraine. His artistic practice became particularly associated with performance, installation, video and bookworks. From approximately 1990 onward, performance and installation occupied an increasingly central position in his work, frequently taking place in informal venues and outside conventional commercial gallery structures. At the same time, since the mid 1970s the book format has been one of his principal vehicles for artistic ideas. By 2020 Lumb stated that he had produced more than one hundred different editions, regarding the book as a format that enabled him to control creation, production and distribution while maintaining a deliberately non commercial policy.His relationship with Mail Art began before he became fully aware of the international network. In an autobiographical account produced for an interview conducted by Ruud Janssen, Lumb recalled that in 1980 he used the postal system as a vehicle for a conceptual idea and sent his first postal work, Nothing to Declare, to a friend living in France. The project developed from a frustrated attempt to take one cubic foot of English soil through customs in order to exchange it for an equivalent amount of French soil. This early experiment connected correspondence, movement, territory, communication and conceptual procedures. His awareness of the wider British Mail Art network was later expanded through information about current Mail Art projects circulated by Michael Leigh in Artists Newsletter.Michael Lumb's involvement in Mail Art extended far beyond the production of postal correspondence. He became a researcher of the history, social organization, terminology, media and international networks of correspondence art. His major academic contribution to the field is Mailart 1955 to 1995: Democratic Art as Social Sculpture, submitted in October 1997 to the University of East Anglia for the degree of Master of Philosophy. The study examines approximately four decades of Mail Art and approaches the network not merely as the production of physical objects sent through the postal system but as a social structure based on communication, exchange and participation. Drawing conceptually on Joseph Beuys and the idea of social sculpture, Lumb argued for an understanding of Mail Art in which the network and the relationships created through it constitute a fundamental part of the artwork itself.Lumb's thesis became an important bibliographic reference in subsequent studies of Mail Art. Academic research on the history of correspondence networks continues to cite Mailart 1955 to 1995: Democratic Art as Social Sculpture alongside major historical studies by authors including Chuck Welch, Michael Crane, Mary Stofflet and John Held Jr. Research produced in Europe and Latin America has likewise identified Lumb's dissertation as an important contribution to the academic historiography of Mail Art.The documentary dimension of his activity is equally significant. Tate Archive in London preserves the Personal papers of Michael Lumb under reference TGA 200732. The material comprises approximately 35 boxes and covers approximately 1985 to 2006. Records published through the United Kingdom National Archives describe Lumb as an academic and collector and identify papers concerning Ray Johnson, correspondence with artists and material relating to Robin Crozier and Brian Lane. This archive establishes Lumb not only as an artistic producer but also as an important agent in the preservation of the history of British and international alternative art networks.The presence of documentation concerning Ray Johnson is particularly significant because Johnson occupies a central position in the genealogy of Correspondence Art and Mail Art. Material relating to Johnson within the Michael Lumb papers demonstrates the direct connection between Lumb's research activity and fundamental historical questions surrounding postal art. The archive also contains correspondence with artists and documentation concerning Robin Crozier and Brian Lane, figures closely associated with alternative publishing, artists books and British postal networks. Michael Lumb should therefore be understood simultaneously as a participant in these networks and as a researcher who collected, organized and preserved evidence of them.Robin Crozier is especially important within this documentary context. Crozier was one of the major British participants in Correspondence Art, and documentation concerning him forms part of the Michael Lumb archive preserved by Tate. This relationship is valuable for reconstructing British Mail Art networks because artistic production, correspondence, research and documentation coexist within the same relational field. Lumb's trajectory demonstrates a model in which participating in a network, studying that network and preserving its documentary traces are interconnected activities.Lumb's archival interests are also visible within his own artistic practice. Since 2001 much of his work has been informed by an ongoing autobiographical project entitled Towards an Understanding of my Existence. In this project he connects personal possessions, photographs, postcards and other records to an expanding autobiographical text. An associated work, Towards Artwork, attempts to record every creative work he has produced together with surviving objects, documentation and individual notes contained in his notebooks. The method brings autobiography, inventory, archive, catalogue of works and artistic production into a single conceptual process.In higher education Lumb served as Course Leader of the MA in Visual Practice at University College Suffolk and also taught Alternative Practice Fine Art at BA level. An academic biography published in 1998 described him as an artist and curator working primarily in performance and installation in Britain and Eastern Europe, as well as recording his teaching responsibilities in Suffolk.As a curator, Lumb developed projects particularly concerned with artists books and the international circulation of British experimental art. Together with artist Emma Johnson, he established the GRIP partnership in 1999 to generate and curate international exhibitions in Ipswich and abroad. GRIP projects documented in his curriculum include beginning to get a GRIP in 2000, Two works for Maxim G in 2000, Strands in 2001, Listening Fragments in 2002 in Ipswich and Kharkiv, and Two Texts in 2003.Lumb also played an important role in the international presentation of British book arts. In 1998 he curated Bookarts in Britain, presented at Galeria Arsenal in Poznan, Water Tower Gallery in Konin and the Museum of Bookarts in Lodz, Poland. The accompanying Bookarts in Britain publication was issued by Galeria Miejska Arsenal and bears ISBN 83 86932 34 1. In 1999 he was involved in the presentation of British Artists Books at the National Museum of Foreign Art in Riga, Gallery Laipa in Valmiera and Madona Art Museum in Latvia. His critical writing has addressed artists books, alternative publishing, performance and Mail Art.Documented writings include Ksiazki Artystyczne W Wielkiej Brytanii in 1996, Bookarts in Britain and Mailart 1955 to 1995: Democratic Art as Social Sculpture in 1998, Information is power and the catalogue essay Bookways in 1999, The Once And Future Book in 2000, The Printed Performance Brian Lane Works 1966 99 in 2001, Newspeak and the Emperor?s New Clothes in 2003 and Some Contemporary Approaches to Artists Books and their Origins, published in Moscow in 2004.His documented artistic output includes numerous performance and installation works such as Rebirth in 1993, Pathway and Ambition in 1994, Wedge and An Attempt at Survival in Alien Circumstances too in 1995, I Mediate and Energyfield in 1996, And on the Eighth Day and Traces in 1997, Other Echoes and Conduct Becoming in 1998, 750 to zero in 1999, Esmerelda in 2000, Walking and Moaning in 2001, Fragmented in 2002, Waiting in 2003, Metamorphosis and Sonority in 2004, Bergamot in 2006, Attachment, You and Me and Lachrymose in 2007, Poultice in 2010 and MAN AGE in 2013.Documented solo exhibitions include The Sensitive Heterosexual Male in 1993, Dark Works For the Wall and Prayer for St Simeon 2 in 1994, Hoping for the Sun and Traces in 1996, Do you Remember me and Slady in 1997, Burnt Norton at the Museum of Bookarts in Lodz in 1998, Vitrine for Kosovo at the National Museum of Foreign Art in Riga in 1999, On the Edge in 2002, Cinderella in 2005, Redemption in 2016 and Study for Don't Ask Me in 2017.Lumb's work is also recorded in international public collections. His curriculum lists the Canadian Museum of Civilisation, Museum of Graphic Design in Buenos Aires, Getty Foundation in the United States, Museum of Bookarts in Lodz, King St Stephen Museum Artists Book Collection in Hungary, Union Fine Arts Station Kropswolde Collection in the Netherlands and Tate Archive in London. The documentary fonds preserved at Tate is now one of the most significant resources for investigating his activities as an artist, academic, collector, researcher and custodian of Mail Art documentation.No documented evidence was located in the sources consulted establishing Michael Lumb as a direct participant in the Brazilian Process Poem Movement. His relevance to a collection and research platform devoted to Poema Processo lies instead in a comparative and international historical context. His artistic production and scholarship provide important evidence for understanding the broader environment in which visual poetry, artists books, mail art, performance, experimental publishing and alternative networks developed forms of international circulation. His connection with Poema Processo should therefore be understood as contextual rather than as direct membership.Michael Lumb occupies a distinctive position in the history of British experimental art because he combines roles that are often separated. He is simultaneously an artist, participant in international Mail Art networks, historian of those networks, author of an important academic study of correspondence art, curator of artists book exhibitions, educator, collector of documentary material and creator of an archive subsequently incorporated into Tate Archive. His career makes it possible to study Mail Art not only through individual postal objects but also through circulation systems, social relationships, documents, archives and processes of historical preservation.
Currículo
IDENTIFICAÇÃONome principal: Michael LumbNascimento: 1945Local de nascimento: Yorkshire, InglaterraNacionalidade: britânicaCidade de atuação documentada: Ipswich, Suffolk, InglaterraÁreas de atuação: performance art, instalação, vídeo, livro de artista, bookworks, arte postal, Mail Art, arte conceitual, curadoria, pesquisa acadêmica, ensino, escrita, colecionismo e documentação artísticaQualificações registradas em seu currículo: BA, MPhil, FRSA, ILTMRelações e campos de pesquisa: Mail Art, Correspondence Art, artistas livros, publicação experimental, performance, instalação, redes artísticas alternativas, documentação e arquivosMichael Lumb nasceu em Yorkshire em 1945. Estudou Theatre Design na Wimbledon School of Art. Durante o final da década de 1960 trabalhou para BBC, televisão comercial e cinema. Posteriormente atuou como professor no University College Suffolk, onde foi Course Leader do MA in Visual Practice e ensinou Alternative Practice Fine Art no BA. Em 1998 recebeu MPhil pela University of East Anglia.FORMAÇÃODécada de 1960Theatre DesignWimbledon School of ArtLondres, Inglaterra1997Conclusão da dissertação Mailart 1955 to 1995: Democratic Art as Social SculptureSchool of World Art Studies and MuseologyUniversity of East AngliaInglaterra1998MPhilUniversity of East AngliaInglaterraATUAÇÃO PROFISSIONALFinal da década de 1960Atuação profissional em design e produção visual para BBC, televisão comercial e cinema.Período documentado em 1998Course LeaderMA Visual PracticeUniversity College SuffolkSuffolk, InglaterraDocente de Alternative Practice Fine ArtBA Fine ArtUniversity College SuffolkSuffolk, Inglaterra1999 em dianteCofundador com Emma Johnson da parceria GRIP para geração e curadoria de exposições internacionais em Ipswich e no exterior.MAIL ART E PESQUISA1980Nothing to DeclarePrimeiro trabalho postal identificado pelo próprio artistaEnviado a um amigo residente na FrançaProjeto conceitual relacionado à tentativa de intercâmbio entre um pé cúbico de solo inglês e um pé cúbico de solo francês.1994 e 1995Entrevista postal com Ruud JanssenTAM Mail Interview ProjectDiscussão sobre envolvimento de Michael Lumb com a Mail Art e sobre a pesquisa então em desenvolvimento.1997Mailart 1955 to 1995: Democratic Art as Social SculptureDissertação para Master of PhilosophyUniversity of East AngliaSchool of World Art Studies and MuseologyPesquisa sobre a história, estrutura social, redes e funcionamento da Mail Art.1998MPhil concedido pela University of East Anglia.PROJETOS E COLABORAÇÕES1999Criação da parceria GRIP com Emma JohnsonIpswich, InglaterraObjetivo documentado de gerar e realizar curadoria de exposições internacionais em Ipswich e no exterior.2000beginning to get a GRIPRed Dot GalleryIpswich2000Two works for Maxim GUnicorn GalleryIpswich2001StrandsForefront GallerySuffolk CollegeIpswich2002Listening FragmentsForefront GalleryIpswichCity Art GalleryKharkiv, Ucrânia2003Two TextsForefront GalleryIpswichEXPOSIÇÕES INDIVIDUAIS DOCUMENTADAS1993The Sensitive Heterosexual MaleForefront GalleryUniversity College Suffolk1994Dark Works For the WallForefront GalleryUniversity College Suffolk1994Prayer for St Simeon 2The PalaceSkoki, PolôniaVideo instalação1996Hoping for the SunForefront GalleryUniversity College Suffolk1996TracesRichmond HouseIpswich1997Do you Remember meAncient House CellarIpswich1997SladyGaleria ArsenalBialystok, Polônia1998Burnt NortonMuseum of BookartsLodz, Polônia1999Vitrine for KosovoNational Museum of Foreign ArtRiga, Letônia2002On the EdgeGarageIpswich2005CinderellaAsylumWoodbridge, Suffolk2016RedemptionSt Thomas Church TowerIpswich2017Study for Don't Ask MeWhistler GalleryDance EastIpswichEXPOSIÇÕES COLETIVAS E PROJETOS EXPOSITIVOS DOCUMENTADOS1994Four Ways of SeeingHatchards GalleryIpswichCuradoria de Michael Lumb documentada1994Aspects of Fine ArtForefront GalleryUniversity College SuffolkCuradoria documentada1994Inner spaces 2ON GaleriaPoznan, Polônia1995Inner spaces 3Galeria MiejskaPoznan, Polônia1996Sites abroadOctagon GalleryUniversity College SuffolkCuradoria documentada1996Inner spaces 4Galeria ArsenalBialystok, Polônia1996Inner spaces 4Galeria WyspaGdansk, Polônia1996By its coverSpeck StudiosLondres1997Future SuitcasesMuseum of WorkHamburgo, Alemanha1997Inner spaces 5Galeria MiejskaPoznan, Polônia1998Bookarts in BritainGaleria ArsenalPoznan, PolôniaCuradoria1998Bookarts in BritainWater Tower GalleryKonin, PolôniaCuradoria1998Bookarts in BritainMuseum of BookartsLodz, PolôniaCuradoria1998Inner spaces 6National MuseumPoznan, Polônia1999NetworkingP House GalleryTóquio, Japão1999British Artists BooksNational Museum of Foreign ArtRiga, LetôniaCuradoria1999British Artists BooksGallery LaipaValmiera, LetôniaCuradoria1999British Artists BooksMadona Art MuseumLetôniaCuradoria1999Sites Abroad 2Forefront GallerySuffolk CollegeIpswichCuradoria1999Inner spaces 7Centrum Sztuki WspolczesnejPoznan, Polônia2000For one night only25 Grimwade StreetIpswich2000Third International Artists Book ExhibitionKing St Stephen MuseumHungria2000Art CampJasbereny, Hungria2000Out of the BlueMamu GaleriaBudapeste, Hungria20006th Wexford Artists Book ExhibitionWexford Arts CentreWexford, Irlanda20017th Wexford Artists Book ExhibitionWexford Arts CentreWexford, Irlanda2001Art and Soul Artists BookworksGolden Hind BookshopDeal, Kent2002GEGartsSuffolk CollegeIpswich2003InspirationSt ClementsIpswich2003SegueSt Mary at the QuayIpswich2004VIP1Butley Mills StudiosSuffolk2004RemoteCentre NoroitArras, França2005Open 2 ArtMind ShopIpswich2006Beyond the Call of DutyTown Hall GalleriesIpswich2007Re Searching JourneyTullie HouseCarlisle2009Sacred DrawingsHay GalleryColchester Institute2010Still NowResponseLandguard FortFelixstowe2011The Static PerformancePeppermint ShedSproughton, Suffolk2013MAN AGEBorderline Performance FestivalBlackfriars CryptNorwichPERFORMANCE E VIDEO PERFORMANCE1993RebirthThe PalaceSkoki, PolôniaVideo performance1994PathwayThe PalaceSkoki, PolôniaVideo performance1994AmbitionSmart StreetIpswich1995An Attempt at Survival in Alien Circumstances tooSmart StreetIpswich1995I am HereCom Julian Brooks e Oliver Cameron SwanSkoki, Polônia1995WedgeThe PalaceSkoki, Polônia1996I MediateSmart StreetIpswich1996Wo Bist du?Kunst AkademieStuttgart, Alemanha1996EnergyfieldThe PalaceSkoki, Polônia1996In AbsentiaRichmond HouseIpswich1997And on the Eighth DayVysoke UceniBrno, República Tcheca1997TracesGaleria ArsenalBialystok, Polônia1998Other EchoesThe OrangeryHolywells ParkIpswich1998Conduct BecomingStary RynekPoznan, Polônia1999750 to zeroSuffolk CollegeIpswich2000EsmereldaStudio Theatre Istvan PaalSzajol, Hungria2001Walking and MoaningTown CentreIpswich2002FragmentedCity Art GalleryKharkiv, Ucrânia2003WaitingSt ClementsIpswich2004Ready not readyButley StudiosSuffolk2004MetamorphosisStudents Cultural CentreBelgrado, Sérvia2004SonorityCentre NoroitArras, França2006BergamotCom Mel DonohoeArgyle StreetIpswich2006Like gossamerLocal não especificado no currículo consultado2007AttachmentArt Radonica LazaretiDubrovnik, Croácia2007You and MeNachlaot NeighbourhoodJerusalém, Israel2007Lachrymose 1Underground Prisoners MuseumJerusalém, Israel2007LachrymosePerformance Art PlatformTel Aviv, Israel2007Going OffMAP LIVE 2007Tullie HouseCarlisle2010PoulticeResponseLandguard FortFelixstoweLIVROS, TESES E PUBLICAÇÕES1996Ksiazki Artystyczne W Wielkiej BrytaniiZeszyty ArtystczneNúmero 9Poznan, PolôniaPáginas 128 a 1331997Mailart 1955 to 1995: Democratic Art as Social SculptureDissertação de Master of PhilosophyUniversity of East AngliaSchool of World Art Studies and Museology1998Bookarts in BritainTexto e catálogo relacionado às exposições na PolôniaGaleria Miejska ArsenalPoznanISBN 83 86932 34 11999Information is powerPrintmaking TodayVolume 8Número 3LondresPáginas 14 e 15ISSN 0960 92531999BookwaysEnsaio de catálogoMuseum of Foreign ArtRiga, LetôniaISBN 1 902174 06 22000The Once And Future BookStudijaNúmero 10 de 2000Riga, LetôniaPáginas 66 e 67ISSN 1407 34042001The Printed Performance Brian Lane Works 1966 99RGAPDerby, InglaterraPáginas 13 a 24ISBN 0 9540639 0 22003Newspeak and the Emperor?s New ClothesILTHE NewsletterNúmero 11Summer 2003Página 15ISSN 1475 44362004Some Contemporary Approaches to Artists Books and their OriginsEm Poetics of Search or Search of PoeticsEditores Y S Stepanov, N A Fateeva e N A NicolinaAzbukovnikMoscouPáginas 437 a 444ISBN 5 88744 056 2LIVROS DE ARTISTA E PUBLICAÇÕES DE ARTISTADesde meados da década de 1970Produção continuada de bookworks e edições de artistaMichael Lumb informa ter produzido mais de cem edições distintas até 2020.A relação bibliográfica individual dessas mais de cem edições não foi localizada de forma integral nas fontes consultadas e portanto não deve ser apresentada como lista completa.CURADORIAS1994Four Ways of SeeingHatchards GalleryIpswich1994Aspects of Fine ArtForefront GalleryUniversity College Suffolk1996Sites abroadOctagon GalleryUniversity College Suffolk1998Bookarts in BritainGaleria ArsenalPoznanWater Tower GalleryKoninMuseum of BookartsLodzPolônia1999British Artists BooksNational Museum of Foreign ArtRigaGallery LaipaValmieraMadona Art MuseumLetônia1999Sites Abroad 2Forefront GallerySuffolk CollegeIpswichA partir de 1999GRIPCom Emma JohnsonCuradoria e organização de exposições internacionais em Ipswich e no exterior.ARQUIVOS E FUNDOS DOCUMENTAISTate ArchiveLondres, Reino UnidoPersonal papers of Michael LumbReferência TGA 200732Período aproximado 1985 a 2006Extensão aproximada 35 caixasConteúdo documentado inclui materiais relacionados a Ray Johnson, correspondência com artistas e documentos relacionados a Robin Crozier e Brian Lane.COLEÇÕES PÚBLICAS DOCUMENTADASCanadian Museum of CivilisationCanadáMuseum of Graphic DesignBuenos Aires, ArgentinaGetty FoundationEstados UnidosMuseum of BookartsLodz, PolôniaKing St Stephen MuseumArtists Book CollectionHungriaUnion Fine Arts Station Kropswolde CollectionFoxhol, Países BaixosTate ArchiveLondres, Reino UnidoBIBLIOGRAFIA SELECIONADA SOBRE MICHAEL LUMB1982Adrian LinesThe Armchair ExperienceBA dissertationLondon College of Printing1984Andrew LagowskiA=Fl2Documentum RabidicusLondres1986Brian LaneThe Artist PublisherCrafts Council of Great Britain1988Diane ClayMichael Lumb ArtistBA assignmentBrentwood1990Michelle BraceMail Art Is FreedomThe Word 001Ipswich1997Marek WasilewskiNot waiting to be shotTexto de catálogo para SladyBialystok, Polônia1998John Bentley e Tanya PeixotoArtist?s Book Yearbook 1998 99Magpie Press1998Dmitry Bulatov, editorA Point of View. Visual Poetry: The 90sSimplisiiKaliningrad KoenigsburgCRONOLOGIA CONSOLIDADA1945Nascimento em Yorkshire, Inglaterra.Década de 1960Estudos de Theatre Design na Wimbledon School of Art.Final da década de 1960Trabalho para BBC, televisão comercial e cinema.Meados da década de 1970Início do uso sistemático do formato livro como suporte para suas ideias.1980Envio de Nothing to Declare para um amigo na França, identificado posteriormente por Lumb como seu primeiro trabalho de Mail Art.1993 em dianteAmpliação documentada da produção em performance, instalação e vídeo em circuitos britânicos e internacionais.1994 e 1995Participação no TAM Mail Interview Project de Ruud Janssen.1997Conclusão de Mailart 1955 to 1995: Democratic Art as Social Sculpture na University of East Anglia.1998Obtenção do MPhil.Curadoria de Bookarts in Britain na Polônia.1999Criação de GRIP com Emma Johnson.Curadoria de British Artists Books na Letônia.Década de 2000Continuidade das performances, exposições, curadorias e pesquisas sobre livros de artista.2001Desenvolvimento do projeto autobiográfico Towards an Understanding of my Existence e posteriormente Towards Artwork.2007Registro do ingresso dos documentos de Michael Lumb no Tate Archive sob referência TGA 200732.2013MAN AGE no Borderline Performance Festival em Norwich.2016Redemption em Ipswich.2017Study for Don't Ask Me na Whistler Gallery em Ipswich.2020Michael Lumb registra que havia produzido mais de cem diferentes edições em formato de livro desde meados da década de 1970.
English
CURRICULUM IN ENGLISHIDENTIFICATIONPrimary name: Michael LumbBorn: 1945Place of birth: Yorkshire, EnglandNationality: BritishDocumented base of activity: Ipswich, Suffolk, EnglandFields of activity: performance art, installation, video, artists books, bookworks, Mail Art, conceptual art, curating, academic research, teaching, writing, collecting and artistic documentationQualifications recorded in his curriculum: BA, MPhil, FRSA, ILTMResearch fields and associated practices: Mail Art, Correspondence Art, artists books, experimental publishing, performance, installation, alternative art networks, documentation and archivesMichael Lumb was born in Yorkshire in 1945. He studied Theatre Design at Wimbledon School of Art. During the late 1960s he worked for the BBC, commercial television and film. He later taught at University College Suffolk, where he served as Course Leader for the MA in Visual Practice and taught Alternative Practice Fine Art at BA level. He was awarded an MPhil by the University of East Anglia in 1998.EDUCATION1960sTheatre DesignWimbledon School of ArtLondon, England1997Completion of Mailart 1955 to 1995: Democratic Art as Social SculptureSchool of World Art Studies and MuseologyUniversity of East AngliaEngland1998MPhilUniversity of East AngliaEnglandPROFESSIONAL ACTIVITIESLate 1960sProfessional work for the BBC, commercial television and film.Documented in 1998Course LeaderMA Visual PracticeUniversity College SuffolkSuffolk, EnglandLecturer in Alternative Practice Fine ArtBA Fine ArtUniversity College SuffolkSuffolk, EnglandFrom 1999Co founder with Emma Johnson of GRIP, an initiative created to generate and curate international exhibitions in Ipswich and abroad.MAIL ART AND RESEARCH1980Nothing to DeclareFirst postal work identified by LumbSent to a friend living in FranceConceptual project developed from an attempted exchange of one cubic foot of English soil for an equivalent amount of French soil.1994 and 1995Mail interview with Ruud JanssenTAM Mail Interview ProjectDiscussion of Lumb's involvement in Mail Art and his developing academic research.1997Mailart 1955 to 1995: Democratic Art as Social SculptureMaster of Philosophy thesisUniversity of East AngliaSchool of World Art Studies and Museology1998MPhil awarded by University of East Anglia.PROJECTS AND COLLABORATIONS1999Establishment of GRIP with Emma JohnsonIpswich, England2000beginning to get a GRIPRed Dot GalleryIpswich2000Two works for Maxim GUnicorn GalleryIpswich2001StrandsForefront GallerySuffolk CollegeIpswich2002Listening FragmentsForefront GalleryIpswichCity Art GalleryKharkiv, Ukraine2003Two TextsForefront GalleryIpswichSOLO EXHIBITIONS1993The Sensitive Heterosexual MaleForefront GalleryUniversity College Suffolk1994Dark Works For the WallForefront GalleryUniversity College Suffolk1994Prayer for St Simeon 2The PalaceSkoki, PolandVideo installation1996Hoping for the SunForefront GalleryUniversity College Suffolk1996TracesRichmond HouseIpswich1997Do you Remember meAncient House CellarIpswich1997SladyGaleria ArsenalBialystok, Poland1998Burnt NortonMuseum of BookartsLodz, Poland1999Vitrine for KosovoNational Museum of Foreign ArtRiga, Latvia2002On the EdgeGarageIpswich2005CinderellaAsylumWoodbridge, Suffolk2016RedemptionSt Thomas Church TowerIpswich2017Study for Don't Ask MeWhistler GalleryDance EastIpswichGROUP EXHIBITIONS AND EXHIBITION PROJECTS1994Four Ways of SeeingHatchards GalleryIpswichCurated by Michael Lumb1994Aspects of Fine ArtForefront GalleryUniversity College SuffolkCuratorial role documented1994Inner spaces 2ON GaleriaPoznan, Poland1995Inner spaces 3Galeria MiejskaPoznan, Poland1996Sites abroadOctagon GalleryUniversity College SuffolkCuratorial role documented1996Inner spaces 4Galeria ArsenalBialystok, Poland1996Inner spaces 4Galeria WyspaGdansk, Poland1996By its coverSpeck StudiosLondon1997Future SuitcasesMuseum of WorkHamburg, Germany1997Inner spaces 5Galeria MiejskaPoznan, Poland1998Bookarts in BritainGaleria ArsenalPoznan, PolandCurated project1998Bookarts in BritainWater Tower GalleryKonin, PolandCurated project1998Bookarts in BritainMuseum of BookartsLodz, PolandCurated project1998Inner spaces 6National MuseumPoznan, Poland1999NetworkingP House GalleryTokyo, Japan1999British Artists BooksNational Museum of Foreign ArtRiga, LatviaCurated project1999British Artists BooksGallery LaipaValmiera, LatviaCurated project1999British Artists BooksMadona Art MuseumLatviaCurated project1999Sites Abroad 2Forefront GallerySuffolk CollegeIpswichCurated project1999Inner spaces 7Centrum Sztuki WspolczesnejPoznan, Poland2000For one night only25 Grimwade StreetIpswich2000Third International Artists Book ExhibitionKing St Stephen MuseumHungary2000Art CampJasbereny, Hungary2000Out of the BlueMamu GaleriaBudapest, Hungary20006th Wexford Artists Book ExhibitionWexford Arts CentreWexford, Ireland20017th Wexford Artists Book ExhibitionWexford Arts CentreWexford, Ireland2001Art and Soul Artists BookworksGolden Hind BookshopDeal, Kent2002GEGartsSuffolk CollegeIpswich2003InspirationSt ClementsIpswich2003SegueSt Mary at the QuayIpswich2004VIP1Butley Mills StudiosSuffolk2004RemoteCentre NoroitArras, France2005Open 2 ArtMind ShopIpswich2006Beyond the Call of DutyTown Hall GalleriesIpswich2007Re Searching JourneyTullie HouseCarlisle2009Sacred DrawingsHay GalleryColchester Institute2010Still NowResponseLandguard FortFelixstowe2011The Static PerformancePeppermint ShedSproughton, Suffolk2013MAN AGEBorderline Performance FestivalBlackfriars CryptNorwichPERFORMANCE WORKS1993RebirthThe PalaceSkoki, PolandVideo performance1994PathwayThe PalaceSkoki, PolandVideo performance1994AmbitionSmart StreetIpswich1995An Attempt at Survival in Alien Circumstances tooSmart StreetIpswich1995I am HereWith Julian Brooks and Oliver Cameron SwanSkoki, Poland1995WedgeThe PalaceSkoki, Poland1996I MediateSmart StreetIpswich1996Wo Bist du?Kunst AkademieStuttgart, Germany1996EnergyfieldThe PalaceSkoki, Poland1996In AbsentiaRichmond HouseIpswich1997And on the Eighth DayVysoke UceniBrno, Czech Republic1997TracesGaleria ArsenalBialystok, Poland1998Other EchoesThe OrangeryHolywells ParkIpswich1998Conduct BecomingStary RynekPoznan, Poland1999750 to zeroSuffolk CollegeIpswich2000EsmereldaStudio Theatre Istvan PaalSzajol, Hungary2001Walking and MoaningTown CentreIpswich2002FragmentedCity Art GalleryKharkiv, Ukraine2003WaitingSt ClementsIpswich2004Ready not readyButley StudiosSuffolk2004MetamorphosisStudents Cultural CentreBelgrade, Serbia2004SonorityCentre NoroitArras, France2006BergamotWith Mel DonohoeArgyle StreetIpswich2006Like gossamerVenue not specified in the curriculum consulted2007AttachmentArt Radonica LazaretiDubrovnik, Croatia2007You and MeNachlaot NeighbourhoodJerusalem, Israel2007Lachrymose 1Underground Prisoners MuseumJerusalem2007LachrymosePerformance Art PlatformTel Aviv2007Going OffMAP LIVE 2007Tullie HouseCarlisle2010PoulticeResponseLandguard FortFelixstoweAUTHORED AND PUBLISHED TEXTS1996Ksiazki Artystyczne W Wielkiej BrytaniiZeszyty ArtystczneNumber 9Poznan, PolandPages 128 to 1331997Mailart 1955 to 1995: Democratic Art as Social SculptureMaster of Philosophy thesisUniversity of East AngliaSchool of World Art Studies and Museology1998Bookarts in BritainExhibition related publicationGaleria Miejska ArsenalPoznan, PolandISBN 83 86932 34 11999Information is powerPrintmaking TodayVolume 8Number 3LondonPages 14 and 15ISSN 0960 92531999BookwaysCatalogue essayMuseum of Foreign ArtRiga, LatviaISBN 1 902174 06 22000The Once And Future BookStudijaNumber 10Riga, LatviaPages 66 and 67ISSN 1407 34042001The Printed Performance Brian Lane Works 1966 99RGAPDerby, EnglandPages 13 to 24ISBN 0 9540639 0 22003Newspeak and the Emperor?s New ClothesILTHE NewsletterNumber 11Summer 2003Page 15ISSN 1475 44362004Some Contemporary Approaches to Artists Books and their OriginsIn Poetics of Search or Search of PoeticsEdited by Y S Stepanov, N A Fateeva and N A NicolinaAzbukovnikMoscowPages 437 to 444ISBN 5 88744 056 2ARTISTS BOOKS AND ARTISTS PUBLICATIONSFrom the mid 1970sContinuing production of bookworks and artists editionsBy 2020 Michael Lumb stated that he had produced more than one hundred different editions.A complete itemized bibliography of these editions was not located in the sources consulted and should therefore not be presented as a complete list.CURATORIAL PROJECTS1994Four Ways of SeeingHatchards GalleryIpswich1994Aspects of Fine ArtForefront GalleryUniversity College Suffolk1996Sites abroadOctagon GalleryUniversity College Suffolk1998Bookarts in BritainGaleria ArsenalPoznanWater Tower GalleryKoninMuseum of BookartsLodzPoland1999British Artists BooksNational Museum of Foreign ArtRigaGallery LaipaValmieraMadona Art MuseumLatvia1999Sites Abroad 2Forefront GallerySuffolk CollegeIpswichFrom 1999GRIPWith Emma JohnsonInternational exhibition organization and curatorial activity in Ipswich and abroad.ARCHIVES AND DOCUMENTARY FONDSTate ArchiveLondon, United KingdomPersonal papers of Michael LumbReference TGA 200732Approximate dates 1985 to 2006Approximately 35 boxesDocumented contents include material relating to Ray Johnson, correspondence with artists and papers concerning Robin Crozier and Brian Lane.PUBLIC COLLECTIONSCanadian Museum of CivilisationCanadaMuseum of Graphic DesignBuenos Aires, ArgentinaGetty FoundationUnited StatesMuseum of BookartsLodz, PolandKing St Stephen MuseumArtists Book CollectionHungaryUnion Fine Arts Station Kropswolde CollectionFoxhol, NetherlandsTate ArchiveLondon, United KingdomSELECTED BIBLIOGRAPHY1982Adrian LinesThe Armchair ExperienceBA dissertationLondon College of Printing1984Andrew LagowskiA=Fl2Documentum RabidicusLondon1986Brian LaneThe Artist PublisherCrafts Council of Great Britain1988Diane ClayMichael Lumb ArtistBA assignmentBrentwood1990Michelle BraceMail Art Is FreedomThe Word 001Ipswich1997Marek WasilewskiNot waiting to be shotCatalogue essay for SladyBialystok, Poland1998John Bentley and Tanya PeixotoArtist?s Book Yearbook 1998 99Magpie Press1998Dmitry Bulatov, editorA Point of View. Visual Poetry: The 90sSimplisiiKaliningrad KoenigsburgCHRONOLOGY1945Born in Yorkshire, England.1960sStudied Theatre Design at Wimbledon School of Art.Late 1960sWorked for the BBC, commercial television and film.Mid 1970sBegan using the book format extensively as a means of presenting artistic ideas.1980Produced and mailed Nothing to Declare to a friend in France, later identified by Lumb as his first Mail Art work.1993 onwardExtensive documented activity in performance, installation and video in Britain and internationally.1994 and 1995Participated in Ruud Janssen's TAM Mail Interview Project.1997Completed Mailart 1955 to 1995: Democratic Art as Social Sculpture at the University of East Anglia.1998Awarded MPhil.Curated Bookarts in Britain in Poland.1999Established GRIP with Emma Johnson.Curated British Artists Books in Latvia.2001Development of the ongoing autobiographical project Towards an Understanding of my Existence and the related documentation project Towards Artwork.2007Michael Lumb's papers recorded as an acquisition of Tate Archive under reference TGA 200732.2013MAN AGE presented at Borderline Performance Festival in Norwich.2016Redemption in Ipswich.2017Study for Don't Ask Me at Whistler Gallery, Ipswich.2020Lumb recorded that he had produced more than one hundred different book editions since the mid 1970s.
