Notes on New Model Army

 

The New Model Army is my ongoing sculptural series which I began making in 2011, during my doctoral studies at Goldsmiths College (1).

 

My New Model Army sculptures are made from discarded objects and materials gathered from urban streets. I take these materials to my studio and care for them. Some of the materials need to rest before I can work with them. Others are, despite appearances, ready for action. When making the sculptures, I sometimes use a minimal amount of new materials bought from DIY and haberdashery stores. I work with these materials to make figurative sculptures that are upright and able to withstand being moved. When they are ready, I take them outside to photograph and film them individually and / or in groups, in urban sites that I have pre-selected. Collectively, I refer to these site-sensitive projects as Fieldworks.

 

My sculptures challenge the pre-structured, normativised gaze brought to art in the context of late capitalism. Rather than comply with this gaze, they dismantle it as it touches their bodies. This disrupts the larger, obscured politics underpinning the gaze. In this way, through their flesh, the sculptures bring new visibility to the effects of invisible labour (2) on women.

 

Invisible labour is currently - and has been historically- unequally distributed amongst women, through mechanisms imposed 'top-down' - such as class division, gender inequality, family background and / or (unsupported) motherhood. My sculptures combat this situation, beginning by insisting on the gaze as a two-way, bodily and ocular relation between artist and viewer. My way of looking, and the values inscribed into my gaze, are structured into and through the works. Through the sculptures, I insist upon a space for re-negotiating the politics of looking and the politics of representation.

 
 

(1) The works are made intuitively, but the underlying impulse to make them grew in response to my increased awareness regarding the lack of diverse representation of women's lived experiences, their (unequal) backgrounds, their invisible labour and the effects of this on their selfhood and creativity.

 

(2) The term invisible labour refers generally to women's hidden and / or under-valued emotional, psychological and physical labour, the effects of this on their embodied subjectivities, and their strength in overcoming these effects. Much of the labour that women do is inside and invisible in both a literal and less obvious sense - women work within the home and 'behind closed doors', and they work internally - emotionally and psychologically - to provide support and care for others, often without this being recognised, reciprocated or rewarded. Instead, women carrying burdens of invisible labour tend to be compared, according to patriarchal values, with relatively un-burdened, 'achieving' women, resulting in inequalities amongst them, rather than solidarity between them. Additionally, women work to bear the burden of objectification, including through the (digital) screen and screened oppression - that is, oppressive, flattening and fragmenting images and messages, disseminated as capitalist flows, through the screen and screen-related experiences. 

 

 

Education


 

2017: PhD Art (practice based): Goldsmiths College, University of London

2013: P.G. Certificate in Management of Teaching and Learning (HEA)

2003: MFA Fine Art: Distinction: Goldsmiths College, University of London

1995: BA Fine Art (hons): First Class: Manchester Metropolitan University

 


Fieldworks:


 

2018: With My Body, I Heard the Silenced Song of an Unknown Woman|Con il mio corpo, ho sentito la canzone silente di una donna sconosciuta:                    Vicolo dell'Amore, Italy

2017-18: Invisible Labour, Creekside, London

2017: Land Operation, Silver Road, London

2015: La Commercial Woman: Carrer del Rec, Barcelona


Solo Projects + Exhibitions


 

2018: New Model Army: Invisible Labour, APT Gallery, London

2016: "F" is for Fragment, V22, London

2012: New Model Army: Madder 139, London

2009: For Pretty Things Go Elsewhere, Grey Area Gallery, Brighton

 



Group Projects + Exhibitions


 

2016: Reproductive Labour | Parenting Beyond Patriarchy (Part 2): Women's Art Library, Goldsmiths College, London
2015: Couldn't Care Less: A Cross Cultural Live Art Project, Deptford Lounge, London
2013: Object Abuse: Spinach Gallery, London

2012: Jam (1): Gender & Language: The Sugarhouse, Bow Church, London

2011: A Piece of Paper: Madder 139, London 

2011: Model Vs Reality: Fold Gallery, London

2010: Inspired by Soane: Sir John Soane's Museum, London

2009: Gam/Dong/(Feel/Move): Art Village, Gohan-Sabuk, South Korea
2009: About Women: CCCB - Centre of Contemporary Culture Barcelona
2008: Feminista Mistah: AVA Gallery, East London University, London

2008: Routemaster General: Zabludowicz Collection, London

2006: Linda Aloysius, Alexis Harding, Warren Neidich: Andrew Mummery Gallery, London
2004: Flea Market: Temporary Contemporary, London
2003: Boutique: Two person site specific project, 118 New Cross Road, London. Curated by Kirsten Lyle
2003: Made in UK: Arch Gallery, Islington, London
2003: Infallible: APT Gallery, London. Curated by Roxy Walsh. Touring: Hatton Gallery, Newcastle (2005), The Arts Centre, Huddersfield (2004), Mead              Gallery, Coventry (2003)
2002: Shift: site specific project, 38 Ommaney Road, New Cross, London

 

 



Residencies


 

2017-18: Ryder Project Space: APT, London

2016: Artist in Residence: Futuro House, London

2009: Artist in Residence: Gam-Dong (Feel-Move), Art Village, Gohan-Sabuk, South Korea

 



Press


 

2017: 'Linda Aloysius: To Keep Standing' by Cherry Smyth

2012: 'Linda Aloysius, New Model Army', Re-Title.com Featured Exhibitions

2012: 'A New Approach to Femininity', Seoul Art Guide

2012: 'Linda Aloysius, New Model Army', Paul Carey-Kent, Paul's Art World

2012: 'Linda Aloysius, New Model Army', Kostas Prapoglous, REVma -/+ 

2009: Exhibition Catalogue, Gam/Dong Public Art Project

 

 


Publications


2018: (forthcoming) New Model Army: Invisible Labour (2017-18), Feminist Review Issue 120, Currents, October 2018

2016: 'Not Fallen but Felled': Museological Review, Issue 20: The Global Microphone pp.63-70, April 2016

2005: 'The Rules of The Shop'. Co-authored with Tegan Aloysius. Reproduced in: In Search of The Real George Elliot, edited by Roxy Walsh.                            Article Press ISBN 1-873352 83-2    

 

 

 


Conferences Papers


 

2018: '(Im) Personification in the Making of New Model Army', Personification Across Disciplines, Durham University, 17th - 19th September, 2018

2018: 'Morphological Activism', Feminist Artivisms and Activisms, Middlesex University, 2nd July 2018

2018: 'Invisible Labour', In Your Own Time: On the Production of Body and Time under Capitalism, Central Saint Martins, 25th May, 2018

2017: 'Intimacy and Post-Internet Cities: Art + Women's Dirty Work in the Digital Age', Post-Internet Cities, MAAT, Lisbon, 26th May, 2017
2016: 'Parenting Beyond Patriarchy', Reproductive Labour | Parenting Beyond Patriarchy (Part 1), Goldsmiths College, University of London

2015: Un-themed: Goldsmiths PhD Research Symposium, Goldsmiths College, University of London

2015: 'Reproductive Labour, Motherhood and Art', Motherhood: Couldn't Care Less: ACross CulturalLive Art Project, Deptford Lounge, London

2015: 'We and "We": A Feminist Analysis of The Economics of Care', Comparing We's: Community, Cosmopolitanism and Emancipation in a Global                    Context, Centre for Comparative Studies, Faculty of Letters, Lisbon University, Portugal

2011: 'Irigaray's "To"', First Global conference: Gender and Love, Mansfield College, University of Oxford

2010: 'Notes on a Phallus', Goldsmiths College Research Symposium: New Notes on Sculpture: In/Out, Shake it All About: Artists, Objects and                        Ontology, Goldsmiths College, University of London

2009: Guest interlocutor for Young-In Hong, Goldsmiths College Research Symposium: (Im) Materiality, Goldsmiths College, University of London

2009: Artist-led debate with local female mining community, Gam/Dong Public Art Project, Gohan-Sabuk, South Korea

2008: 'Criticality's Crisis of Institutionalisation', Art Relations - Revisiting Crucial Concepts, Freie University, Berlin, Germany
2008: 'Other Artists', Fine Art Frameworks II: Contemporary Practices, Theories and Curatorial Strategies, Jerwood Space, London 

 

 

 


Artist Talks


 

2018: Linda Aloysius in Conversation with Dr Alexandra Kokoli: APT Gallery, London

2017: APT Gallery, London

2012: Contemporary Art Society, London

2012: Slade School of Fine Art, London

2011: Department of Art and Architecture, K College, University of Greenwich

2011: School of Art & Design, Bath Spa University 

2008: AVA Gallery, University of East London

 

 


Project Funding + Awards


 

2017: Ryder Project Space, APT, London

2015: Research Support Award: Goldsmiths College (Conference Convenor)

2009: Artist in Residence:Gam/Dong/(Feel/Move):Public Art Project, Gohan-Sabuk, South Korea:Funded by Mecena Korea + High 1 Resort, Korea

2008: Research Support Award: Goldsmiths College (Travel to Berlin)

2005: New Work Award (Visual Commission): Arts Council Heritage Lottery Fund

1995: Artist Project Sponsorship: Gabriel & Co. Birmingham