Hold Hold Fire, Olivia Plender, 2019
Commissioned by the ICA, Hold Hold Fire
(2019) is inspired by Olivia Plender’s ongoing research into the East London Federation of Suffragettes, and was produced after an extensive series of workshops with women’s groups across London exploring the women’s suffrage movement from contemporary feminist perspectives.
The screening is accompanied by a discussion with Olivia Plender and academics Janna Graham and Kirsten Lloyd.
Part of the ICA 75th Anniversary Season
Olivia Plender’s recent exhibitions include Our Bodies are Not the Problem
, currently showing at Maureen Paley, London, until 30 October 2022; The School of Creators: The Art of Learning from the 1960s to the present
, Centre Pompidou-Metz, France, 2022; 34th Bienal de São Paulo, Brazil, 2021; Life Support
, Glasgow Women’s Library, UK, 2021; Not Without My Ghosts
, Hayward Gallery Touring exhibition, UK, 2021-2022. A book on Olivia’s work, titled Rise Early, Be Industrious
, was published by Sternberg Press in 2016. In 2013 Olivia curated an exhibition of Sylvia Pankhurst’s artworks at Tate Britain with Hester Reeve, under the name The Emily Davison Lodge
. Olivia’s artworks are held in the collection of Tate Museums UK, Arts Council Collection England, and Malmö Konstmuseum Sweden amongst others.
Kirsten Lloyd is a Senior Lecturer in the School of History of Art at The University of Edinburgh. Her research focuses on late 20th and 21st art and mediation, including lens-based practice, participatory work and realism. She is a Research Fellow with the Feminism, Art, Maintenance (2019 – 2022) project, funded by the Swedish Research Council, and the Academic Lead for the University’s Contemporary Art Research Collection. Recent publications include Art, Life and Capitalist Social Reproduction: Curating Social Practice in the Journal of Curatorial Studies (2021). Kirsten is currently working on the collaborative exhibition and research project Life Support: Forms of Care in Art and Activism with Glasgow Women’s Library and a book called Contemporary Art and Capitalist Life.