Antonia is a London-based curator, predominantly concerned with how audiences engage with artistic practices beyond the exhibition format. She is currently Curator: Public Programme, at Zabludowicz Collection in London, where she leads on education, events and performance programming. She was previously Curator: Public Programmes at Whitechapel Gallery, London, where she organised projects with numerous artists and performers including Cally Spooner, Daniel Buren, Oliver Coates, and Heather Phillipson.
Antonia previously worked at the Institute of Contemporary Arts and Serpentine Galleries as Associate Curator – Talks and Assistant Curator, Public Programmes respectively. In a freelance capacity, she has organised exhibitions and events at Flat Time House; Gasworks; The Showroom – all in London; and at LOOP, Barcelona.
Antony is a solicitor with many years of experience working in film, television and the cultural sector. He is one of the founding partners of Swan Turton. Prior to this, he was a partner at The Simkins Partnership for ten years, having spent several years in the legal department of the EMI Group and two years as the Business Affairs Manager of THORN EMI Video, before returning to private practice.
Antony is the author of the 1991, 1998 and 1999 editions of the PACT Model Contracts, which are widely used by television production companies. Antony was for many years a member of the PACT Finance Committee and was previously on the Board of the Design and Artists Copyright Society (DACS) for five years. He is currently a trustee of the Directors Charitable Foundation.
Antony Mayfield (Chair)
Antony is CEO and co-founder of Brilliant Noise, a strategic digital agency with clients including Universal Pictures, Barilla, L’Oreal, Jaguar Land Rover and EDF Energy.
He has written several books on digital, business and culture including Me and My Web Shadow, which was published internationally by Bloomsbury.
He was named one of the 100 most influential people in the UK digital industry by the British Interactive Media Association (BIMA) in 2017 and 2018.
Elijah is an electronic music producer and co-founder of influential grime label Butterz, described by the Guardian as “one of the genre’s smartest operations”. He and the core artists (Flava D, Swindle & Royal-T) on the label he runs with his partner Skilliam have toured globally and have been a fixture across the club and festival circuit since 2010.
His work spans music programming, journalism, a&r and artist management, and shines a light on the artistic, social and economic challenges and opportunities for emerging artists.
Elijah was Associate Artistic Director at Lighthouse in 2017-18, during which he produced ‘Last Dance’, a timely and urgent look at the rapidly changing landscape of club culture.
Gaia Fugazza studied her BA in Painting at Brera Art Academy in Milan and obtained an MA in Fine Arts from UAL Chelsea College of Arts in 2014, where she was awarded a Vice Chancellor Scholarship. Her practice includes paintings and performance, exploring themes around the troubled relationship of humans and the natural environment, plant knowledge, reproduction and transcendental practices.
Recent solo and joint exhibitions have been held at Häusler Contemporary, Zurich; Gallleriapiù, Bologna and Zabludowicz Collection, London. Recent performances includeSuper Nature in two Parts, Lisson Gallery, London; Bastard Voices: Baltic Triennial 13, South London Gallery, London; Star Messenger, LUX, London; Water from the Waist Down, Kunsthall Oslo. Her work has been included in several Biennials and institutional shows such as Baltic Triennial 13: Give up the Ghost; Glasstress 2017, Venice; Mediterranea, Milan; The London Open, Whitechapel Gallery and Hrm 199 Ltd, Tinguely Museum, Basel.
Gaia is co-director of hrm199 ltd, a collaborative studio that produces artworks by both her and Haroon Mirza, and regularly collaborates with several artists, musicians, scientists and designers.
Haroon Mirza has won international acclaim for installations that test the interplay and friction between sound and light waves and electric current. He devises kinetic sculptures, performances and immersive installations, such as The National Apavillion of Then and Now (2011) – an anechoic chamber with a circle of light that grows brighter in response to increasing drone, and completely dark when there is silence. An advocate of interference (in the sense of electro-acoustic or radio disruption), he creates situations that purposefully cross wires. He describes his role as a composer, manipulating electricity, a live, invisible and volatile phenomenon, to make it dance to a different tune and calling on instruments as varied as household electronics, vinyl and turntables, LEDs, furniture, video footage and existing artworks to behave differently. Processes are left exposed and sounds occupy space in an unruly way, testing codes of conduct and charging the atmosphere. Mirza asks us to reconsider the perceptual distinctions between noise, sound and music and draws into question the categorisation of cultural forms. “All music is organised sound or organised noise,” he says. “So as long as you’re organising acoustic material, it’s just the perception and the context that defines it as music or noise or sound or just a nuisance” (2013).
Laura is a Vice President of Content and Innovation at Essence the full service media agency, where she leads the EMEA team in delivering bespoke branded content solutions and custom partnership projects for household brands such as Google, L'Oreal and BT.
Laura has a track record in award-winning solutions for brands and has built successful content teams within the media industry. Laura is also passionate about the media industry's role to build a sustainable society for all, including the planet.
Michael is a Chartered Accountant with over 20 years experience in finance roles within Investment Banking. Recent Director roles included providing financial support for the closure of the EMEA branch network and the legacy Equity Derivatives business as well as legal entity rationalisation.
Rebecca has a background as an award-winning Producer with experience in TV, shorts and feature film production. She has worked for membership organisations including BFI and The Producers’ Forum to increase their reach, to widen their engagement and support talent pipelines.
Her work at Wired Sussex has overseen the development and delivery of numerous innovation and business support programmes.
Away from the digital sector, Rebecca has worked for charities specialising in emergency maternal and child health and supporting people facing life-changing illness.
Sarah Naomi Lee
Sarah has been developing innovative culturally inclusive arts and media projects in Brighton and Hove since 2002 including a professional touring theatre piece created from stories that were collected from customers in a black hairdresser in Brighton, and a 3-year DFID funded digital media storytelling project which brought together schools in Ghana and the UK. She is also an experienced university research consultant currently working for the University of Sussex and the Royal College of Art.
As well as being a professional theatre and screenplay writer Sarah runs her own arts and media Community interest company (Plenty Productions CIC) and she is also the co-founder of Brighton and Hove Black History which recently completed a highly successful Heritage Lottery funded project about Thomas Highflyer, a boy freed from enslavement who lived and went to school in Brighton in the 1870s.
Tony is Executive Editor at BBC Radio 4. He leads the development of the channel’s strategy, ensuring that Radio 4 and 4 Extra are constantly evolving and reaching new audiences.
Tony has 20 years’ experience operating at senior level at the BBC, having previously worked in the private sector. He has a Masters in Decision Analysis, and has consulted on project management, decision-making and prioritisation.