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Lisa Slominski

@slominski_projects

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Curator/Writer 📖 🎨 🇺🇸 🇬🇧
PhD Candidate @kingston.school.of.art
Co-Editor CSADA @manchester_university_press
Nonconformers @yalebooks

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19 days ago

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9 months ago

WATCH NOW | Curating and Coalition: Challenging and Expanding the Art World in the Wake of Nnena Kalu’s Turner Prize Win

Presented by @ActionSpace in partnership with @stanleypicker Gallery and Kingston School of Art PhD candidate Lisa Slominski (@slominski_projects) the symposium explored how practices such as Nnena Kalu’s are interpreted, supported, and sustained within contemporary art.

We’re pleased to share that the symposium webpage and recordings are now live. ⭐

We hope these recordings offer useful reflections and practical insights for curators, researchers, educators and organisations working to engage more thoughtfully and ambitiously with learning disabled artists.

Click the link in our bio to access the Symposium webpage and recordings. 🔗

#ContemporaryArt #Curating #InclusiveArts #TurnerPrize by @slominski_projects

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5 months ago

Venice highlights! 🍹🖼️🍦🎭
Short and sweet trip with @contemporaryartsociety colleagues (and buds) @megan.o.shea + @katharinaworf
Polish Pavilion presenting Liquid Tongues by @bogna_burska and @kotowski.daniel → Japan Pavilion presenting Grass Babies, Moon Babies by @ei.arakawa.nash → Detail of @anamibia’s installation for Helter Skelter at @fondazioneprada → Detail of a work by @qadamawi in In Minor Keys at the Arsenale → Venetian apartment bedroom décor → And the charm of Venice itself. A woman underwater in red seen from below, surrounded by circular mirrors that fragment and repeat faces, hands and reflections. Her face appears centrally within one mirror, with vivid red lipstick against a predominantly blue background. taken in Venice, Italy by @slominski_projects

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4 days ago

Introducing CEN member... LISA SLOMINSKI

Writer, curator and PhD researcher

Lisa Slominski is a writer, curator and PhD researcher at Kingston School of Art, Kingston University London, whose practice focuses on the representation of artists with non-normative communication and the responsibilities of the cultural intermediaries who work alongside them. Her current practice-based research, A Liminal Site: Cultural Intermediaries, Agency, Identity and Representation, considers questions of artistic agency, authorship, interpretation and representation of learning disabled artists through curatorial practice and interdisciplinary research. She is the author of Nonconformers: A New History of Self-Taught Artists (Yale University Press, 2022), Co-Editor of Manchester University Press’s Critical Studies in Art, Disability and Access series, Co-Founder of Art et al., and Senior Art Producer at Contemporary Art Society.

“My interest in curatorial ethics centres on the responsibilities of cultural intermediaries in the representation and interpretation of artists whose intentions may not be communicated through normative verbal or textual forms. My current practice-based PhD research considers how curators, facilitators, writers, galleries and institutions can work relationally to support artistic agency without speaking for artists, erasing difference, or allowing biography and disability to become reductive frameworks through which artistic practice is understood.

More broadly, my curatorial and research practice considers ethics as relational and situated: embedded in decisions around authorship, language, access, interpretation, collaboration and institutional representation. I am particularly interested in how questions of accountability, interdependence and plurality might inform curatorial methodologies, and how ethical practice can remain responsive to the specific artists, relationships and contexts through which it is enacted.” @slominski_projects by @slominski_projects

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a month ago

Nnena Kalu and ActionSpace appreciation post 💕

As I begin submitting the first draft chapters of my PhD thesis, I’ve been thinking about how lucky I’ve been to spend so much time with Nnena and to witness such an extraordinary period in her career.

So much of this research has been shaped by the generosity of others. A huge thank you @actionspace , especially to Charlotte Hollinshead (@wildcitycharlotte ) and Sheryll Catto (@sc99_uk ) for your support and encouragement over the past two years—it has meant more than you know! 🙏

Still lots to write, but to exciting times ahead. xx

📸 “Everyone’s a Winner”: Turner Prize Christmas Party, Studio Voltaire, London (December 2025)

#ActionSpace #NnenaKalu @ksa_research_hub Two women smiling together at a lively party inside Studio Voltaire during the Turner Prize celebrations. Nnena Kalu, wearing a silver sequined crown, hoop earrings and a silver necklace, rests her hands on the shoulders of the woman in front of her, who wears glasses and a purple top. The room is decorated with festive tinsel and colourful lights, with other guests gathered in the background. Both appear joyful, capturing a candid moment of celebration and friendship at the "Everyone's a Winner" Turner Prize Christmas Party in December 2025. taken in Studio Voltaire by @slominski_projects

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2 months ago

CAA 115th Annual Conference
🚨 Call For Proposals!🚨
📌 3-6 Feb 2027 New York
@caavisual

Session: Critical Studies in Art, Disability & Access: Visibility, Agency, and Interpretation

Co-Chairs: Amanda Cachia & Lisa Slominski

⏰ Deadline: 31 August 2026

From Nnena Kalu’s Turner Prize win, to Design and Disability (Victoria & Albert) and Christine Sun Kim’s All Day All Night (Whitney Museum), the growing visibility of disabled and learning disabled artists within major exhibitions has prompted critical attention to disability in art history and curatorial practice. Yet increased visibility also raises complex questions about agency and interpretation. Building on emerging scholarship, this session approaches disability not as a marginal identity but as a critical cultural position shaping how art is produced, encountered, and historicized. Rather than framing access as accommodation, participants consider access as an epistemological framework capable of transforming the infrastructures of art history, curatorial method and artistic practice. This session is inspired by the book series Critical Studies in Art, Disability & Access (Manchester University Press), co-edited by session co-chairs, foregrounding disability and access as vital frameworks to rethink the field. In that spirit, the session raises a more difficult question: when does a disability-centered lens expand artistic agency, and when might it risk overdetermining interpretation? As institutions increasingly foreground disability and access, how can the art world advocate for disabled artists while resisting interpretive frameworks that reduce artworks to biography, diagnosis, or support structures? The session seeks to hold such tensions productively open to consider how disability might function not as a category of inclusion but as a generative force for rethinking agency, interpretation, and the conditions through which art becomes knowable.

We welcome co-produced papers foregrounding learning disabled voices and collaborative reflections.

🔗Submission Link🔗
https://caa.confex.com/caa/2027/webprogrampreliminary/Session17833.html

#CAA #Art #ArtHistory #Design #CAA115 Graphic announcing the 115th College Art Association (CAA) Annual Conference. Large green and black typography on a grey background reads "CAA 115" and "2027," with the dates "February 3–6" and location "New York." Decorative black arrows and green asterisk motifs frame the design. taken in New York, New York by @slominski_projects

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2 months ago

What might a more inclusive art discourse look like?

Critical Studies in Art, Disability & Access is our new series edited by Amanda Cachia and Lisa Slominski. We welcome proposals for monographs and edited collections that demonstrate how disability transforms the conceptual, methodological, historical, or aesthetic stakes of the project.

Find out more at the link in our bio 🎨

Image credit: Joseph Grigely, Between the Walls and Me, 2023.
Photograph by Jon Verney. by @slominski_projects

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3 months ago

💻 Join us online Tuesday evening 6pm BST / 10am PDT!

Repost @goldsmithscca

💊 INTERVENTIONS IN FLARING UP: CURATORIAL PRACTICE, DISABILITY STUDIES, AND CRITICAL DIALOGUE 💊

Tuesday 21 July, 6–7pm, Online

Join ‘Flare Up’ curators, Natasha Hoare and Mariana Lemos, alongside Amanda Cachia and Lisa Slominski, co-editors of forthcoming book series Critical Studies in Art, Disability & Access (Manchester University Press), for an online discussion of curatorial practice, disability studies, access, and cultural production.

Taking ‘Flare Up’ as both a conceptual and political point of departure, the conversation will explore how disability and chronic illness unsettle normative assumptions around temporality, communication, aesthetics, labour, authorship, participation, and institutional practice.

Moving between exhibition-making and academic discourse, the event considers disability not as a supplementary framework for curating, but as a critical methodology that reshapes how contemporary art can be experienced, organised, and understood.

Sign up via the link in our bio to receive a link to join the discussion!

📷 Benoît Piéron, Pillbox of Dungeness Seed Bombs, 2018. Courtesy of the artist, Galerie Sultana, and Les Tanneries. Photo: © Tadzio. A large turquoise weekly pill organiser mounted on a white wall. The compartments are labelled in French for days of the week and times of day, with brightly coloured translucent panels in yellow, pink, blue, green and grey. Brown capsules fill many of the compartments, transforming a familiar medical object into a visually ordered composition. by @slominski_projects

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3 months ago

Critical Studies in Art, Disability and Access is our new series dedicated to rethinking the relationship between disability, art history and curatorial practice. Ahead of the launch, we caught up with the editors Amanda Cachia and Lisa Slominski to learn more about their vision for the series and its aim to challenge normative assumptions about embodiment, perception and expertise while foregrounding access as central to artistic and scholarly practice.

Read the full Q&A at the MUP blog 📖

Image credit: Joseph Grigely, Between the Walls and Me, 2023.
Photograph by Jon Verney. by @slominski_projects

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3 months ago

🙏 Really pleased to have contributed to this thoughtful feature by Sarah-Mace Dennis for @_artshub on the vital role supported studios play in fostering artistic careers and expanding opportunities for disabled artists. It was a pleasure to reflect on my long-term work with #NnenaKalu and @actionspace , and on how artistic excellence is sustained through relationships, facilitation, advocacy and collective networks—not despite them, but because of them.

Thanks to @sarahmacedennis for bringing together voices from across the UK and Australia. Screenshot of an ArtsHub article titled Breaking glass ceilings: the studios empowering disabled artists to shine. The subtitle reads: “For disabled artists, supported studios don't just provide opportunities to work, but also vital support networks.” The article is by Sarah-Mace Dennis and dated 29 June 2026. by @slominski_projects

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